This festschrift pays tribute to one of our most distinguished medievalists, who has helped shape the subject through his teaching and writing, and through his active support for societies and individuals.
The challenge in writing a comparative review of Kate Lowe’s fine study of early modern Italian convents Nuns’ Chronicles and Convent Culture with Sarah Dunant’s gripping novel Sacred Hearts is to find ways of making sense of the experience of reading both beyond stating the obvious.
This collection of essays, first presented at the Harlaxton Symposium in 2009, brings together a range of researchers interested in the intellectual and cultural history of Europe, under two equally broad and controversial themes. Frances Andrews's introduction goes some way to binding the ideas together.
In the Middle Ages a series of Old French knightly-spoken poems known as chansons de geste, devoted to the subject of crusades, took shape in the north of France.
When Pero Tafur visited Bruges in 1438 he had a keen eye for the material wealth of the town and the splendor in which its citizens seemed to indulge. In his famous travel diary he noted that ‘without doubt, the goddess of luxury has great power here, but it is not a place for poor men, who would be badly received here.
Michel Foucault famously asserted that sexual identity was a modern invention, remarking, ‘The sodomite had been a temporary aberration; the homosexual was now a species’.(1) For Foucault, the vocabulary and specificity of modern sexual identity were largely formulated under the impetus of 19th-century sexology.
The study of nationality (a term used to designate historically and constitutively diverse nations) poses a number of acute methodological, historical, and philosophical problems.
This is an eccentric book.
In an age of crisis a late Roman bureaucrat offered a plan for reforming military recruitment and training to an unnamed emperor, who requested the project’s continuation.
In his early 20th-century anti-clerical novel La Catedral, Vicente Blasco Ibáñez follows his protagonist into Toledo Cathedral’s Mozarabic Chapel for the daily celebration of what Richard Ford, in the 19th century, called ‘this peculiar ritual’: ‘As Gabriel listened to the monotonous singing of the Mozarabic priests he remembered the quarrels during the time of Alfonso VI between the