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Offers a full introduction to and survey of runes and runology: their history, how they were used, and their interpretation.Runes, often considered magical symbols of mystery and power, are in fact an alphabetic form of writing. Derived from one or more Mediterranean prototypes, they were used by Germanic peoples to write different kinds of Germanic language, principally Anglo-Saxon and the various Scandinavian idioms, and were carved into stone, wood, bone, metal, and other hard surfaces; types of inscription range from memorials to the dead, through Christian prayers and everyday messages to crude graffiti. First reliably attested in the second century AD, runes were in due course supplanted by the roman alphabet, though in Anglo-Saxon England they continued in use until the early eleventh century, inScandinavia until the fifteenth (and later still in one or two outlying areas).This book provides an accessible, general account of runes and runic writing from their inception to their final demise. It also covers modern uses of runes, and deals with such topics as encoded texts, rune names, how runic inscriptions were made, runological method, and the history of runic research. A final chapter explains where those keen to see runic inscriptions can most easily find them.Professor MICHAEL P, BARNES is Emeritus Professor of Scandinavian Studies, University College London.

A truly definitive work, this magisterial study draws on the latest evidence from across Europe to show in exhaustive detail the nature of the disease, its origin, spread, mortality, and its profound impact on history.The Black Death was a disaster of huge magnitude, shaking medieval Europe and beyond to its economic and social core.Building upon his acclaimed study of 2004, Ole Benedictow here draws upon new scholarship and research to present a comprehensive, definitive account of the Black Death and its impact on European history. The medical and epidemiological characteristics of the disease, its geographical origin, its spread across Asia Minor, the Middle East, North Africa, Europe and Russia, and the mortality in the countries and regions for which there are satisfactory studies, are clearly presented and thoroughly discussed. The pattern, pace and seasonality of the spread of the disease reflect current medical work and standard studies on the epidemiology of bubonic plague.Benedictow's findings make it clear that the true mortality rate was far higher than had been previously thought: some 60% of Europe's population. In the light of those findings, the discussion of the Black Death as a turning point in history takes on a new significance.

An examination of the uses, meanings, and social impact of Viking Age textiles. This volume offers the first full study of archaeological fabrics and their decoration found in the North Atlantic region and dating broadly from the Viking or Norse period. With contributions from both academic scholars and practitioners, it shows how approaching early medieval textiles from archaeological, historical and literary contexts, and through the processes of learning and employing the traditional skills of making them, brings about a more nuanced understanding of early medieval cloths: their creation, use and meanings within their respective societies. The book is divided into two parts. The first, "Textiles and their Interpretation", takes the reader on a journey from how wool was processed in the Viking Age, and the conservator's role in preserving and interpreting archaeological textiles, to different types of analyses that researchers use to understand and explain textiles from across the wide area of the Viking-influenced North Atlantic region. The second, "Understanding through Replicating", investigates the results of practical experiments in the reconstruction of surviving medieval fabrics and the resulting empirical conclusions that can be made about their manufacture and wider cultural implications.

A first-hand view of life in medieval France, as seen through the eyes of an elderly man instructing his young wife.The Goodman of Paris (Le Ménagier de Paris) wrote this book for the instruction of his young wife around 1393. He was a wealthy and learned man, a member of that enlightened haute bourgeoisie upon which the French monarchy was coming to lean with increasing confidence.When he wrote his Treatise he was at least sixty but had recently married a young wife some forty years his junior. It fell to her to make his declining years comfortable,but it was his task to make it easy for her to do so. The first part deals with her religious and moral duties: as well as giving a unique picture of the medieval view of wifely behaviour it is illustrated by a series of storiesdrawn from the Goodman's extensive reading and personal experience.In the second part he turns from theory to practice and from soul to body, compiling the most exhaustive treatise on household management which has come downto us from the middle ages. Gardening, hiring of servants, the purchase and preparation of food are all covered, culminating in a detailed and elaborate cookery book. Sadly the author died before he could complete the third section on hawking, games and riddles.This unique glimpse of medieval domestic life presents a worldly, dignified and compelling picture in the words of a man of sensibility and substance.The distinguished historian EILEEN POWER was Professor of Economic History at the University of Cambridge.

English translation and revised edition of the most comprehensive and reliable biography of Claude Debussy.François Lesure's "critical biography" of Claude Debussy (Fayard, 2003) is widely recognized by scholars as the most comprehensive and reliable account of that composer's life and career as well as of the artistic milieu in whichhe worked. This encyclopedic volume draws extensively on Debussy's complete correspondence (at that time unpublished), a painstaking tracking of contemporary reviews and comments in the press, and an examination of other primary documents-including private diaries-that had not been available to previous biographers. As such, Lesure's book presents a wealth of new information while debunking a number of myths that had developed over the years since the composer's death in 1918.The present English translation and revised edition, by Debussy authority Marie Rolf, augments Lesure's numerous notes with several thousand new ones by Rolf, providing more precise information oncrucial and sometimes contentious points. It also reflects Debussy scholarship that has appeared since 2003, updating Lesure's seminal work. Rolf's translation-the first ever-will make Lesure's findings accessible to scholars, musicians, and music lovers in English-speaking lands and around the world. FRANÇOIS LESURE (1923-2001) was the Director of the Music division of the Bibliothèque nationale de France, Professor of Musicology at the Université libre de Bruxelles, and Chair of Musicology at the École pratique des Hautes Études.MARIE ROLF is senior associate dean of graduate studies and professor of music theory at the Eastman School of Music and a memberof the editorial board for the Ouvres complètes de Claude Debussy.

Sheds new light on the concept of "soundscapes", enriching our understanding of the functions of music and sound in medieval and early modern cultures.Scholarly interest in the idea of the "soundscape" has grown steadily in recent years, particularly in relation to the ways in which music and sound shaped communities, articulated social hierarchies, and marked significant events. However, while detailed studies have illuminated the sonic life of individual medieval and early modern cities, broader approaches to historical sensory experience have remained comparatively underexplored. This volume addresses that gap by asking how the sensory phenomena of the past might be recovered and understood. Moving beyond a primary focus on urban spaces and formal musical practice, it places sensory reality at its centre, across both urban and rural contexts, and examines the emotional and physical effects that sound and music exerted on participants and listeners alike.Organised into three thematic sections - sacred soundscapes; sound, identity, and belonging; and processional soundscapes - this book reconsiders the concept of the "soundscape" across the countries of medieval western Europe. It explores rural environments and liturgical atmospheres, sounds during processions and rituals, the sensory dimensions of pilgrimages and sea journeys, and the relationship between sound and collective identity. Drawing on previously unexamined archival sources, it brings medieval and early modern acoustic worlds vividly to life, highlighting diverse musical practices and forms of musicking across a variety of settings, from bell-ringing in medieval Avignon to the progresses of Henry VIII of England.This volume is open access with funding provided by the Universidad de Granada and the European Research Council ERC-2021-ADG no.101054069.

A new interpretation of Celtic Christianity, supported by images of Christ taken from manuscripts, metalwork and sculpture, and showing how it departed from continental practice largely due to a differing perception and application of Pelagianism.Christ in Celtic Christianity gives a new interpretation of the nature of Christianity in Celtic Britain and Ireland from the fifth to the tenth century. The written and visual evidence on which the authors base their argument includes images of Christ created in and for this milieu, taken from manuscripts, metalwork and sculpture and reproduced in this study. The authors challenge the received opinion that Celtic Christians were in unity with Romein all matters except the method of Easter reckoning and the shape of the clerical tonsure. They find, on the contrary, that the strain of the Pelagian heresy which rooted itself in Britain in the early fifth century influenced the theology and practice of the Celtic monastic Churches on both sides of the Irish Sea for several hundred years, creating a theological spectrum quite distinct from that of continental establishments. MICHAEL W. HERRENis Professor of Classics and Distinguished Research Professor at York University (Toronto), a member of the Graduate Faculty at the Centre for Medieval Studies in the University of Toronto, and an Honorary Member of the Royal Irish Academy; SHIRLEY ANN BROWN is Professor of Art History and a member of the Faculty of Graduate Studies at York University.

An engaging and informative survey of medieval pet keeping which also examines their representation in art and literature.Animals in the Middle Ages have often been discussed - but usually only as a source of food, as beasts of burden, or as aids for hunters. This book takes a completely different angle, showing that they were also beloved domestic companions to their human owners, whether they were dogs, cats, monkeys, squirrels, and parrots. It offers a full survey of pets and pet-keeping: from how they were acquired, kept, fed, exercised, and displayed, to the problems they could cause. It also examines the representation of pets and their owners in art and literature; the many charming illustrations offer further evidence for the bonds between humans and their pets, then as now. A wide range of sources, including chronicles, letters, sermons and poems, are used in what is both an authoritative and entertaining account.

An advanced introduction for students and a re-orientation for Nietzsche scholars and intellectual historians on the development of his thought and the aesthetic construction of his identity as a philosopher.Nietzsche looms over modern literature and thought; according to Gottfried Benn, "everything my generation discussed, thought through innerly; one could say: suffered; or one could even say: took to the point of exhaustion -- allof it had already been said . . . by Nietzsche; all the rest was just exegesis." Nietzsche's influence on intellectual life today is arguably as great; witness the various societies, journals, and websites and the steady stream ofpapers, collections, and monographs. This Companion offers new essays from the best Nietzsche scholars, emphasizing the interrelatedness of his life and thought, eschewing a superficial biographical method but taking seriously his claim that great philosophy is "the self-confession of its author and a kind of unintended and unremarked memoir."Each essay examines a major work by Nietzsche; together, they offer an advanced introduction for students of German Studies, philosophy, and comparative literature as well as for the lay reader. Re-establishing the links between Nietzsche's philosophical texts and their biographical background, the volume alerts Nietzschescholars and intellectual historians to the internal development of his thought and the aesthetic construction of his identity as a philosopher.Contributors: Ruth Abbey, Keith Ansell-Pearson, Rebecca Bamford, Paul Bishop, Thomas H. Brobjer, Daniel W. Conway, Adrian Del Caro, Carol Diethe, Michael Allen Gillespie and Keegan F. Callanan, Laurence Lampert, Duncan Large, Martin Liebscher, Martine Prange, Alan D. Schrift.Paul Bishop is William Jacks Chair of Modern Languages at the University of Glasgow.

Richly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings.Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination.KIRK AMBROSE is Associate Professor & Chair, Department of Art and Art History, University of Colorado Boulder.

A revealing and accessible commentary on the Book of Revelation, guiding the reader through one of the most often misunderstood books of the New Testament.Revelation is a book that many Christians find confusing due to the foreign nature of its apocalyptic imagery. It is a book that has prompted endless discussions about the 'end times' with theological divisions forming around epicenters such as the rapture and the millennium. In this book, award winning author Gordon Fee attempts to excavate the layers of symbolic imagery and provide an exposition of Revelation that is clear, easy to follow, convincing, and engaging. Fee shows us how John's message confronts the world with the Revelation of Jesus Christ so that Christians might see themselves as caught up in the drama of God's triumph over sin, evil, and death. Fee draws us into the world of John and invites us to see the world through John's eyes as the morbid realities of this world have the joyous realities of heaven cast over them. In this latest installment in the New Covenant Commentary Series we see one of North America's best evangelical exegetes at his very best.

The best scholarship focused on shoes and everyday dress accessories from the Middle Ages. Indispensable. SPECULUMUntil recently, very little was known about medieval shoes. Glimpses in manuscript illustrations and on funerary monuments, with the occasional reference by a contemporary writer, was all that the costume historian had as evidence, not least because leather tends to perish after prolonged contact with air, and very few actual examples survived. In recent years, however, nearly 2,000 shoes, many complete and in near-perfect condition, have been discovered preserved on the north bank of the Thames, and are now housed in the Museum of London. This collection, all from well-dated archaeological contexts, fills this vast gap in knowledge, making it possible to chart precisely the progress of shoe fashion between the twelfth and fifteenth centuries.

A close study of the military and political strategies of Edward III and the Black Prince, whose great victories had by 1360 made England the foremost martial nation of Europe.Contemporaries considered Edward III of England "the wisest and shrewdest warrior in the world", but he has not fared so well in the estimation of modern historians, many of whom have argued that he was a fine tactician but a poorstrategist. This is despite the fact that by 1360 the English had become the foremost martial nation of Europe; that famous victories had been won at Dupplin Moor, Halidon Hill, Crécy, and Poitiers; and David II of Scotland and Jean II of France were Edward's prisoners, and the French, with the Treaty of Brétigny, had agreed to surrender a third of their kingdom to his sovereign rule in exchange for peace.In War Cruel and Sharp, Professor Rogers offers a powerfully argued and thoroughly researched reassessment of the military and political strategies which Edward III and the Black Prince employed to achieve this astounding result. Using a narrative framework, he makes the case that the Plantagenets' ultimate success came from adapting the strategy which Robert Bruce had used to force the "Shameful Peace" on England in 1328. Unlike previous historians, he argues that the quest for decisive battle underlay Edward's strategy in every campaign he undertook, though the English also utilized sieges and ferocious devastation of the countryside to advance their war efforts.CLIFFORD J. ROGERS is Professor of History, United States Military Academy, West Point.

A fresh examination of one of the most contentious issues in runic scholarship - magical or not?The runic alphabet, in use for well over a thousand years, was employed by various Germanic groups in a variety of ways, including, inevitably, for superstitious and magical rites. Formulaic runic words were inscribed onto small items that could be carried for good luck; runic charms were carved on metal or wooden amulets to ensure peace or prosperity. There are invocations and allusions to pagan and Christian gods and heroes, to spirits of disease, and even to potential lovers. Few such texts are completely unique to Germanic society, and in fact, most of the runic amulets considered in this book show wide-ranging parallels from a variety of European cultures.The question ofwhether runes were magical or not has divided scholarship in the area. Early criticism embraced fantastic notions of runic magic - leading not just to a healthy scepticism, but in some cases to a complete denial of any magical element whatsoever in the runic inscriptions. This book seeks to re-evaulate the whole question of runic sorcery, attested to not only in the medieval Norse literature dealing with runes but primarily in the fascinating magical texts of the runic inscriptions themselves.Dr MINDY MCLEOD teaches in the Department of Linguistics, Deakin University, Melbourne; Dr BERNARD MEES teaches in the Department of History at the University of Melbourne.

WINNER OF THE FRANK WATSON BOOK PRIZE 2021. SHORTLISTED IN SCOTLAND'S NATIONAL BOOK AWARDS 2021The first full-scale, interdisciplinary treatment of the wide-ranging connections between the Gaelic world and the Northumbrian kingdom.Northumbria was the most northerly Anglo-Saxon kingdom; its impressive landscape featured two sweeping coastlines, which opened the area to a variety of cultural connections. This book explores influences that emanated from the Gaelic-speaking world, including Ireland, the Isle of Man, Argyll and the kingdom of Alba (the nascent Scottish kingdom). It encompasses Northumbria's "Golden Age", the kingdom's political and scholarly high-point of the seventh and early eighth centuries, and culminates with the kingdom's decline and fragmentation in the Viking Age, which opened up new links with Gaelic-Scandinavian communities. Political and ecclesiastical connections are discussed in detail; the study also covers linguistic contact, material culture and the practicalities of travel, bringing out the realities of contemporary life. This interdisciplinary approach sheds new light on the west and north of the Northumbrian kingdom, the areas linked most closely with the Gaelic world. Overall, the book reveals the extent to which Gaelic influence was multi-faceted, complex and enduring.Dr FIONA EDMONDS is Reader in History and Director of the Regional Heritage Centre at Lancaster University.

An introduction and commentary to the Didache, or the Teaching of the Twelve Apostles, one of the earliest writings of the Christian Church.Shawn J. Wilhite’s commentary on the Didache complements the study of early Christianity through historical, literary, and theological readings of the Apostolic Fathers, seeking to be mindful of the critical while commenting on a final-form text. The Didache includes a brief introduction to this relevant text, the use of Scripture by the Didachist, and the theology of the Didache. The commentary proceeds section by section with a close ear to the text of the Didache, relevant early Christian literature, and current scholarship.

A comprehensive reference of over 1000 entries, from Aaron to Zucchetto, explaining the major symbols and subjects from 2000 years of Christian art.Christian art is rich, complex and heavily invested with symbolism. The painting reproduced on the cover of this book is a case in point. Who are the central figures? (A glance at the entry under 'Baptism' will enlighten those who are unsure). And, perhaps more challenging, how can we identify the fourteen saints around them? Do the flowers at Jesus' feet have a special significance? The Dictionary of Christian Art provides the answers, giving the modern reader access to the pictorial tradition that was once the common visual vocabulary of western Europeans. There are over 1,000 entries, from Aaron to Zucchetto, covering the following areas: artists, art and architectural terms, the symbolism of numbers, flora and fauna, and parts of the body, Christian saints, biblical and mythological figures, liturgical objects and vestments. In addition, there are more than 160 reproductions by the greatest artists from the two millennia of Christian art, ranging from sixth-century mosaics and icons, through the great Italian fresco painters of the Middle Ages and the contribution of the Renaissance, to Georges Rouault and Salvador Dali in more modern times.

Over 1700 entries cover mythology and religion of heathen Germanic tribes: Scandinavians, Goths, Angles and Saxons, 1500 BC-1000 AD.For two and a half thousand years, from 1500 BC to AD 1000, a culture as significant as the classical civilisation of the Mediterranean world settled an immense area in northern Europe that stretched from Iceland to the Black Sea.But the sources of our knowledge about these societies are relatively few, leaving the gods of the North shrouded in mystery.In compiling this dictionary Rudolf Simek has made the fullest possible use of the information available -Christian accounts, Eddic lays, the Elder Edda, runic inscriptions, Roman authors (especially Tacitus), votive stones, place names and archaeological discoveries. He has adhered throughout to a broad definition of mythology which presents the beliefs of the heathen Germanic tribes in their entirety: not only tales of the gods, but beings from lower levels of belief: elves, dwarfs and giants; the beginning and end of the world; the creation of man,death and the afterlife; cult, burial customs and magic - an entire history of Germanic religion.RUDOLF SIMEK is Professor of Medieval German and Scandinavian literature at the University of Bonn in Germany.

New readings demonstrate the centrality of the rood to the visual, material and devotional cultures of the Middle Ages, its richness and complexity.The rood was central to medieval Christianity and its visual culture: Christ's death on the cross was understood as the means by which humankind was able to gain salvation, and depictions of the cross, and Christ's death upon it,were ubiquitous.This volume brings together contributions offering a new perspective on the medieval rood - understood in its widest sense, as any kind of cross - within the context of Britain and Ireland, over a wide periodof time which saw significant political and cultural change. In doing so, it crosses geographical, chronological, material, and functional boundaries which have traditionally characterised many previous discussions of the medieval rood. Acknowledging and exploring the capacity of the rood to be both universal and specific to particular locations and audiences, these contributions also tease out the ways in which roods related to one another, as well as how they related to their physical and cultural surroundings, often functioning in dialogue with other images and the wider devotional topography - both material and mental - in which they were set.The chapters consider roods in a variety of media and contexts: the monumental stone crosses of early medieval England, twelfth-century Ireland, and, spreading further afield, late medieval Galicia; the three-dimensional monumental wooden roods in English monasteries, Irish friaries, and East Anglian parish churches; roods that fit in the palm of a hand, encased in precious metals, those that were painted on walls, drawn on the pages of manuscripts, and those that appeared in visions, dreams, and gesture.

An invitation to reassess one of the greatest German composers, and consider whether he merits the darkening of his image during the past 60 years.Wagner has the most villainous reputation of any figure in the arts. He is often held to have inspired Hitler's murderous anti-Semitism, and an army of ruthless mercenaries-the Wagner Group-has taken its name from him. Yet many of the worst things laid to his charge are based on misconstruction or even fabrication: on a letter he never wrote, or opinions he never expressed. Key passages in Cosima Wagner's diaries have been misinterpreted through failure to check their background. In Wagner: The Invention of a Monster, Derek Hughes re examines this controversial figure, tracing the progressive falsifications of his opinions from the 1960s to the present day. There is much new research into the early reception and understanding of his operas, and Hughes contrasts modern assessments of the composer with those current in Wagner's own era, and then during the Third Reich. Ultimately, the book reaches a perhaps surprising conclusion: many modern critics see more Nazism in Wagner than the Nazis ever did.

Told with simplicity, humanity and humour, this is the best-selling biography of the great Welsh preacher and founder of the Bible College of Wales. Best known as the founder of the Bible College of Wales, Rees Howells was a man of little worldly fame, yet through Norman Grubb's best-selling biography, his life story is known to millions. Born in a Welsh mining village, he left school at twelve and worked in a tin mill and a coal mine. As he came to know the redeeming power of his Lord and Saviour he faced the implications of an entire surrender, learned to love the unlovely and found the key to the power of prayer. As a result, he became a man of great Christian inspiration to others in both Britain and Southern Africa where he became the channel of a mighty revival.Norman Grubb describes all this, but also the foundation of the Bible College of Wales at Swansea, perhaps the greatest monument of his work, and the intercessory prayer that became the hallmark of Rees Howells, impacting as it did on national policy and international affairs.Rees Howells' life was so great that the Church of Christ still feels the impact of his truths of the Spirit and the Scriptures in a unique and amazing way. Every chapter in this biography is full of drama and light. Rees Howells, Intercessor is an enthralling story, told with simplicity, humanity and humour, and it has proved an inspiration for nearly half a century.

The first full edition and English translation of the RA I.34 Firework Book. Produced from the early fifteenth century onwards, Firework Books are, broadly speaking, manuals on how to use gunpowder, witnessing a major development in warfare. Surviving in a corpus of some 65, each text has different content and components, but core elements are present throughout. An important example is a manuscript in the collection of the Royal Armouries (RA I.34), written in Early New High German, and (unlike many other manuscripts) still in what appears to be its original format and binding; it also, unusually, contains a number of illustrations.This volume provides the first full edition and English translation of the material, with a detailed analysis of its content and context. It positions the Firework Books at a crucial stage in the development of gunpowder artillery, offering an unparalleled insight into fifteenth-century gunpowder technology at a critical juncture of military and technological change at the end of the Middle Ages.

Representative examples of swords from 8th-11th century, fully described and illustrated, with general overview.This beautifully illustrated work fills a gap in the literature in English on the swords made and used in northern Europe during the Viking age, between the mid eighth and the mid eleventh centuries. Ewart Oakeshott outlines the significance and diversity of these ancient heirlooms; co-author Ian Peirce, who handled hundreds of swords in his research for this book in museums across northern Europe, selects and describes sixty of the finest representative weapons. Where possible, full-length photographs are included, in addition to illustrations of detail; an illustrated overview of blade types and construction, pattern-welding, inscription and handle forms and their classificationprefaces the catalogue of examples which is the principal part of this work.IAN PEIRCE was a lecturer and museum consultant specialising in early swords; EWART OAKESHOTT was renowned for his pioneer studies on a wide range of medieval swords.

Offers a full introduction to and survey of runes and runology: their history, how they were used, and their interpretation.Runes, often considered magical symbols of mystery and power, are in fact an alphabetic form of writing. Derived from one or more Mediterranean prototypes, they were used by Germanic peoples to write different kinds of Germanic language, principally Anglo-Saxon and the various Scandinavian idioms, and were carved into stone, wood, bone, metal, and other hard surfaces; types of inscription range from memorials to the dead, through Christian prayers and everyday messages to crude graffiti. First reliably attested in the second century AD, runes were in due course supplanted by the roman alphabet, though in Anglo-Saxon England they continued in use until the early eleventh century, inScandinavia until the fifteenth (and later still in one or two outlying areas).This book provides an accessible, general account of runes and runic writing from their inception to their final demise. It also covers modern uses of runes, and deals with such topics as encoded texts, rune names, how runic inscriptions were made, runological method, and the history of runic research. A final chapter explains where those keen to see runic inscriptions can most easily find them.Professor MICHAEL P, BARNES is Emeritus Professor of Scandinavian Studies, University College London.

A wide-ranging study of the significance of swords throughout the whole Anglo-Saxon period, offering valuable insights into the meaning of and attitude towards swords.Swords were special in Anglo-Saxon England. Their names, deeds and pedigrees were enshrined in writing. Many were curated for generations, revealed by their worn and mended condition. Few ended their lives as casual discards, placed instead in graves, hoards and watercourses as part of ritualised acts. Contemporary sources leave no doubt that complex social meanings surrounded these weapons, transcending their use on the battlefield; but they have yet to transcend the traditional view that their primary social function was as status symbols. Even now, half a century after the first major study of Anglo-Saxon swords, their wider significance within their world has yet to be fully articulated.This book sets out to meet the challenge. Eschewing modern value judgements, it focuses instead on contemporary perceptions - exploring how those who made, used and experienced swords really felt about them. It takes a multidisciplinary and holistic approach, bringing together insights from art, archaeology and literature. Comparison with Scandinavia adds further nuance, revealing what was (and was not) distinctive of Anglo-Saxon views of these weapons. Far from elite baubles, swords are revealed to have been dynamic "living" artefacts with their own identities, histories and places in social networks - ideas fuelled by their adaptability, durability and unique role in bloodshed.

Both monastic rule and military manual, the Rule is a unique document and an important historical source.The Order of the Knights Templar, whose original purpose was to protect pilgrims to the Holy Land, was first given its own Rule in 1129, formalising the exceptional combination of soldier and monk. This translation of Henri de Curzon's 1886 edition of the French Rule is derived from the three extant medieval manuscripts. Both monastic rule and military manual, the Rule is a unique document and an important historical source. It comprises thePrimitive Rule, Hierarchical Statutes, Penances, Conventual Life, the Holding of Ordinary Chapters, Further Details on Penances, and Reception into the Order. There are details of clothing, armour and equipment; instructions on conduct while on campaign; information on the daily life of members of the order and on the discipline which made it a formidable fighting force. The Rule evolved over almost 150 years of the Order's history, and is thus a dynamic piece of work, showing how the Templars adapted to political change and formulated their disciplinary code. An introduction gives the historical background to the Rule and summarises the various sections. An appendixby MATTHEW BENNETT discusses the military implications. J.M. UPTON-WARD gained her M.Phil. at the University of Reading.

Anne of France (1461-1522) composed these lessons - presented as a portrait of an ideal princess - as guidance in negotiating the pitfalls facing a woman in the world of politics. First English translation.Anne of France (1461-1522), daughter of Louis XI and sister of Charles VIII, was one of the most powerful women of her time. As the fifteenth century drew to a close, Anne composed a series of enseignements, "lessons", forher daughter Suzanne of Bourbon. These instructions represent a distillation of a lifetime's experience, and are presented through the portrait of an ideal princess to help her negotiate the difficult passage of a woman in the world of politics. The lessons are here translated into English for the first time and accompanied by full introduction, commentary and notes.Professor Sharon L. Jansen teaches in the Department of English, Pacific Lutheran University.

An authoritative survey of music and its context in the Renaissance.The sixteenth and early seventeenth centuries - the so-called Golden Age of Polyphony - represent a time of great change and development in European music, with the flourishing of Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Schütz among others.The chapters of this book, contributed by established scholars on subjects within their fields of expertise, deal with polyphonic music - sacred and secular, vocal and instrumental - during this period. The volume offers chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain); genre studies (Mass, motet, madrigal, chanson, instrumental music, opera); and is completed with essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, concepts of "Renaissance" and "Baroque"). It thus provides a complete overview of the music and its context.Contributors: GARY TOMLINSON, JAMES HAAR, TIM CARTER, GIULIO ONGARO, NOEL O'REGAN, ALLAN ATLAS, ANTHONY CUMMINGS, RICHARD FREEDMAN, JEANICE BROOKS,DAVID TUNLEY, KATE VAN ORDEN, KRISTINE FORNEY, IAIN FENLON, KAROL BERGER, PETER BERGQUIST, DAVID CROOK, ROBIN LEAVER, CRAIG MONSON, TODD BORGERDING, LOUISE K. STEIN, GIUSEPPE GERBINO, ROGER BRAY, JONATHAN WAINWRIGHT, VICTOR COELHO, KEITH POLK

A new translation of Jacques Ellul's landmark theological contribution, including the second volume in English for the first time.In To Will and To Do, twentieth-century French thinker Jacques Ellul presented his landmark theological contribution, yet the full text has never before been available in English. Incorporating recent insights on Ellul, and benefitting from the discovery of a lost manuscript, this new publication remedies this, combining a fresh translation of Volume One with a first English translation of Volume Two. Together, the two volumes constitute the first part of Ellul's planned four-part treatment of Christian ethics. In Volume One, Ellul examines the origin of the problem of Good and Evil, surveys the contemporary morality of Western society, and provocatively sketches the paradox of an impossible and yet necessary Christian ethics. In Volume Two, he carries this discussion forward, outlining the characteristics and conditions of Christian ethics, and analysing the relationship between ethics, the legal texts of the Bible, and dogmatic theology. He concludes by reimagining the theological use of the 'analogy of faith' for scriptural interpretation. Throughout, Ellul remains in dialogue with Karl Barth, Dietrich Bonhoeffer, Paul Ricoeur and others, helping to cement To Will and To Do as a major intervention in twentieth-century theological ethics.