Edinburgh University Press Blog (original) (raw)

This interview explores how Christine of France used Baroque court spectacles to shape political authority, global imagination, and cultures of consumption.
May 8, 2026
Read more: Q&A with the author of Performing Worlds at the Baroque Court of Christine of France

Q&A with Belal Abu-Alabbas, author of Al-Bukhārī

Belal Abu-Alabbas explores the making of the first comprehensive critical biography of Muhammad ibn Ismāʿīl al-Bukhārī.

Q&A on French Horror

Stone gargoyle perched on Notre-Dame Cathedral overlooking the dense rooftops of Paris, with the Seine River running alongside the city and the Eiffel Tower visible in the distance beneath a dramatic, cloud-filled sky.

Q&A with Reece Goodall, author of French Horror

Five of the most unusual Sunday Opening conditions

A dimly lit movie theater filled with seated audience members facing a large, brightly glowing screen. Rows of red upholstered seats extend toward the front, and the ceiling features curved architectural details with recessed panels. The atmosphere suggests a film screening in progress.

Peter looks at how wartime Britain reshaped cinema-going on Sundays

Interview with Maggie Humm

Maggie Humm reflects on feminist criticism, life-writing, and Virginia Woolf’s influence.

Standing on the Shoulders of Giants: From William Still’s Underground Railroad Records to Digital Analysis

Jeremy Mennis and Nilgun Anadolu-Okur trace the journey of William Still’s 19th century Underground Railroad records into their 21st century digital forms.

Beyond ‘girlboss feminism’: queering Irish women’s writing

Naoise Murphy re-examines Irish women’s writing through queer and feminist perspectives, exposing how literary narratives can obscure violence and postcolonial complexity.

Q&A: ‘Wladzio D´Attainville and the House of Balenciaga (1924–1948)’

Profile half-length photograph of a man facing to the left wearing a dark jacket and tie, holding a cigarette in his hand, with a white handkerchief in his jacket breast pocket. The man has a prominent straight nose, slicked back hair and his tie forms a slight arch from the knot. In the background, on the left side of the image, there is another half-length frontal portrait of a man. He has white hair, also wears a jacket and tie, is looking to the right, and is smiling.

Ana Balda uncovers Wladzio D’Attainville's crucial impact on Cristóbal Balenciaga's fashion empire.

Q&A: The Rise and Fall of the Barmakids

Tales of courtly intrigue, moral testing, romance and reversals of fortune from a rare Persian manuscript…

Who needs advice?

Margaret Mullett investigates advice literature from Byzantine texts to modern self-help culture.