A fascinating selection of Early Medieval objects registered as part of the Portable Antiquities Scheme. From the fall of the Roman Empire to the battle of Hastings, the early-mediaeval period is one of our most engaging historical eras. It covers the formation of the kingdoms and countries of Britain, the establishment of Christianity, Viking invaders and semi-mythical monarchs. Sometimes mischaracterized as the 'Dark Ages', it was actually a time of tremendous advances in art, technology and trade. The fifty objects in this book are some of the most important and interesting archaeological finds illuminating this span of history. They include weaponry, horse fittings, hacksilver hoards and jewellery featuring the sinuous knotwork of the period's animal art, from the humblest of pins and brooches to the gold and garnet wonders of the Staffordshire Hoard. Each was found by a member of the public and reported to the Portable Antiquities Scheme, which has recorded over 1.5 million items in England and Wales. Through these objects and their stories, we can understand this fascinating and perhaps most misunderstood period of history.
A new account of racial logics in premodern Islamic literature. In Black Knights, Rachel Schine reveals how the Arabic-speaking world developed a different form of racial knowledge than their European neighbors during the Middle Ages. Unlike in European vernaculars, Arabic-language ideas about ethnic difference emerged from conversations extending beyond the Mediterranean, from the Sahara to the Indian Ocean. In these discourses, Schine argues, racialized blackness became central to ideas about a global, ethnically inclusive Muslim world. Schine traces the emergence of these new racial logics through popular Islamic epics, drawing on legal, medical, and religious literatures from the period to excavate a diverse and ever-changing conception of blackness and race. The result is a theoretically nuanced case for the existence and malleability of racial logics in premodern Islamic contexts across a variety of social and literary formations.
The now-classic tale of a sixteenth-century miller facing the Roman Inquisition.
The Cheese and the Worms is an incisive study of popular culture in the sixteenth century as seen through the eyes of one man, the miller known as Menocchio, who was accused of heresy during the Inquisition and sentenced to death. Carlo Ginzburg uses the trial records to illustrate the religious and social conflicts of the society Menocchio lived in.
For a common miller, Menocchio was surprisingly literate. In his trial testimony he made references to more than a dozen books, including the Bible, Boccaccio's Decameron, Mandeville's Travels, and a "mysterious" book that may have been the Koran. And what he read he recast in terms familiar to him, as in his own version of the creation: "All was chaos, that is earth, air, water, and fire were mixed together; and of that bulk a mass formed--just as cheese is made out of milk--and worms appeared in it, and these were the angels."
Ginzburg's influential book has been widely regarded as an early example of the analytic, case-oriented approach known as microhistory. In a thoughtful new preface, Ginzburg offers his own corollary to Menocchio's story as he considers the discrepancy between the intentions of the writer and what gets written. The Italian miller's story and Ginzburg's work continue to resonate with modern readers because they focus on how oral and written culture are inextricably linked. Menocchio's 500-year-old challenge to authority remains evocative and vital today.
What we eat, who we are, and the relationship between the two. Eating and Being is a history of Western thinking about food, eating, knowledge, and ourselves. In modern thought, eating is about what is good for you, not about what is good. Eating is about health, not about virtue. Yet this has not always been the case. For a great span of the past--from antiquity through about the middle of the eighteenth century--one of the most pervasive branches of medicine was known as dietetics, prescribing not only what people should eat but also how they should order many aspects of their lives, including sleep, exercise, and emotional management. Dietetics did not distinguish between the medical and the moral, nor did it acknowledge the difference between what was good for you and what was good. Dietetics counseled moderation in all things, where moderation was counted as a virtue as well as the way to health. But during the nineteenth century, nutrition science began to replace the language of traditional dietetics with the vocabulary of proteins, fats, carbohydrates, and calories, and the medical and the moral went their separate ways. Steven Shapin shows how much depended upon that shift, and he also explores the extent to which the sensibilities of dietetics have been lost. Throughout this rich history, he evokes what it felt like to eat during another historical period and invites us to reflect on what it means to feel about food as we now do. Shapin shows how the change from dietetics to nutrition science fundamentally altered how we think about our food and its powers, our bodies, and our minds.
From Neanderthal string to 3D knitting, an "expansive" global history that highlights "how textiles truly changed the world" (Wall Street Journal)
The story of humanity is the story of textiles--as old as civilization itself. Since the first thread was spun, the need for textiles has driven technology, business, politics, and culture.
In The Fabric of Civilization, Virginia Postrel synthesizes groundbreaking research from archaeology, economics, and science to reveal a surprising history. From Minoans exporting wool colored with precious purple dye to Egypt, to Romans arrayed in costly Chinese silk, the cloth trade paved the crossroads of the ancient world. Textiles funded the Renaissance and the Mughal Empire; they gave us banks and bookkeeping, Michelangelo's David and the Taj Mahal. The cloth business spread the alphabet and arithmetic, propelled chemical research, and taught people to think in binary code.
Assiduously researched and deftly narrated, The Fabric of Civilization tells the story of the world's most influential commodity."We are taken on a journey as epic, and varying, as the Silk Road itself.... [The Fabric of Civilization is] like a swatch of a Florentine Renaissance brocade: carefully woven, the technique precise, the colors a mix of shade and shine and an accurate representation of the whole cloth."
--New York Times
"Textile-making hasn't gotten enough credit for its own sophistication, and for all the ways it undergirds human technological innovation--an error Virginia Postrel's erudite and complete book goes a long way toward correcting at last."
--Wired
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LONGLISTED FOR THE 2023 CUNDIL HISTORY PRIZE
A "Next Big Idea Book Club" Must Read?
A groundbreaking reappraisal of medieval femininity, revealing why women have been written out of history and why it matters
The Middle Ages are seen as a bloodthirsty time of Vikings, saints and kings; a patriarchal society that oppressed and excluded women. But when we dig a little deeper into the truth, we can see that the "Dark" Ages were anything but.
Oxford and BBC historian Janina Ramirez has uncovered countless influential women's names struck out of historical records, with the word FEMINA annotated beside them. As gatekeepers of the past ordered books to be burned, artworks to be destroyed, and new versions of myths, legends and historical documents to be produced, our view of history has been manipulated.
Only now, through a careful examination of the artifacts, writings and possessions they left behind, are the influential and multifaceted lives of women emerging. Femina goes beyond the official records to uncover the true impact of women, such as:
Jadwiga, the only female king in Europe Margery Kempe, who exploited her image and story to ensure her notoriety Loftus Princess, whose existence gives us clues about the beginnings of Christianity in England
In Femina, Ramirez invites us to see the medieval world with fresh eyes and discover why these remarkable women were removed from our collective memories.
LONGLISTED FOR THE 2023 CUNDIL HISTORY PRIZE
A "Next Big Idea Book Club" Must Read?
A groundbreaking reappraisal of medieval femininity, revealing why women have been written out of history and why it matters
The Middle Ages are seen as a bloodthirsty time of Vikings, saints and kings; a patriarchal society that oppressed and excluded women. But when we dig a little deeper into the truth, we can see that the "Dark" Ages were anything but.
Oxford and BBC historian Janina Ramirez has uncovered countless influential women's names struck out of historical records, with the word FEMINA annotated beside them. As gatekeepers of the past ordered books to be burned, artworks to be destroyed, and new versions of myths, legends and historical documents to be produced, our view of history has been manipulated.
Only now, through a careful examination of the artifacts, writings and possessions they left behind, are the influential and multifaceted lives of women emerging. Femina goes beyond the official records to uncover the true impact of women, such as:
In Femina, Ramirez invites us to see the medieval world with fresh eyes and discover why these remarkable women were removed from our collective memories.
Funny, informative, and down-to-earth, this ebook features thirteen of the most popular articles from Medievalist.net's Five-Minute Medievalist, Danièle Cybulskie. Readers will learn about everything from the Templars, to popular movie myths, to love and lust advice from a 12th-century priest. Exclusive content includes two never-before-published articles on quirky medieval words we still use every day, and the surprising sexual secrets of the Middle Ages. Unlock the mysteries of the medieval world, five minutes at a time.
The first biography of Henry VIII's court fool William Somer, a legendary entertainer and one of the most intriguing figures of the Tudor age
In some portraits of Henry VIII there appears another, striking figure--a gaunt and morose-looking man with a shaved head and, in one case, a monkey on his shoulder. This is William or "Will" Somer, the king's fool, a celebrated wit who reportedly could raise Henry's spirits and spent many hours with him, often alone. Was Somer an "artificial fool," a cunning comic who could speak freely in front of the king, or a "natural fool," someone with intellectual disabilities, like many other members of the profession? And what role did he play in the tumultuous and violent Tudor era? Fool is the first biography of Somer--and perhaps the first of a Renaissance fool. After his death, Somer disappeared behind his legend, and historians struggled to separate myth from reality. Unearthing as many facts as possible, Peter K. Andersson pieces together the fullest picture yet of an enigmatic and unusual man with a very strange job. Somer's story provides new insights into how fools lived and what exactly they did for a living, how monarchs and courtiers related to commoners and people with disabilities, and whether aspects of the Renaissance fool live on in the modern comedian. But most of all, we learn how a commoner without property or education managed to become the court's chief mascot and a continuous presence at the center of Tudor power from the 1530s to the reign of Elizabeth I. Looking beyond stereotypes of the man in motley, Fool reveals a little-known world, surprising and disturbing, when comedy was something crueler and more unpleasant than we like to think.
A deep dive into the text of Richard III's personal prayer and Book of Hours
As a person's religious convictions can be considered fundamental to their character and behavior, the nature of King Richard III's piety has been the subject of considerable debate. Much of this controversy has focused on the Book of Hours adopted by the king for his own private use following his coronation, and to which certain prayers, including that known as the 'Prayer of Richard III', were added.This study explores the manuscript and the prayer's text. The manuscript (now preserved in Lambeth Palace Library) was originally produced in London around 1420. The text shows the preoccupations of a devout man of the fifteenth century and its decoration puts it in the context of the development of London manuscript illumination of the period. Moreover, in this analysis of the manuscript, the authors offer an insight into the personality of Richard III, one of the most controversial figures in medieval history.
An alternative history of the Renaissance--as seen through the emerging literature of beauty tips--focusing on the actresses, authors, and courtesans who rebelled against the misogyny of their era. Beauty, make-up, art, power: How to Be a Renaissance Woman presents an alternative history of this fascinating period as told by the women behind the paintings, providing a window into their often overlooked or silenced lives. Can the pressures women feel to look good be traced back to the sixteenth century? As the Renaissance visual world became populated by female nudes from the likes of Michelangelo and Titian, a vibrant literary scene of beauty tips emerged, fueling debates about cosmetics and adornment. Telling the stories of courtesans, artists, actresses, and writers rebelling against the strictures of their time, when burgeoning colonialism gave rise to increasingly sinister evaluations of bodies and skin color, this book puts beauty culture into the frame. How to Be a Renaissance Woman will take readers from bustling Italian market squares, the places where the poorest women and immigrant communities influenced cosmetic products and practices, to the highest echelons of Renaissance society, where beauty could be a powerful weapon in securing strategic marriages and family alliances. It will investigate how skin-whitening practices shifted in step with the emerging sub-Saharan African slave trade, how fads for fattening and thinning diets came and went, and how hairstyles and fashion could be a tool for dissent and rebellion--then as now. This surprising and illuminating narrative will make you question your ideas about your own body, and ask: Why are women often so critical of their appearance? What do we stand to lose, but also to gain, from beauty culture? What is the relationship between looks and power?