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This volume in honour of Mayke De Jong offers twenty-five essays focused upon the importance of religion to Frankish politics, a discourse to which De Jong herself has contributed greatly in her academic career. The prominent and internationally renowned contributors offer fresh perspectives on various themes such as the nature of royal authority, the definition of polity, unity and dissent, ideas of correction and discipline, the power of rhetoric and the rhetoric of power, and the diverse ways in which power was institutionalised and employed by lay and ecclesiastical authorities. As such, this volume offers a uniquely comprehensive and valuable contribution to the field of medieval history, in particular the study of the Frankish world in the eighth and ninth centuries.

One of the primary visual representations of the danse macabre , as well as an accompanying poetic text, may be found in a book printed in Paris by Guyot Marchant in 1485, based on the frescoes and inscription painted on the inner wall of the Cemetery of the Innocents. The metaphor of the mirror (presented in the preface of this 1486 edition), is critical to understanding the didactic intent of the danse macabre . Beyond the obvious mirror effects—the viewer/reader finding himself reflected in one of the secular or ecclesiastical figures of the social hierarchy represented by the dance, and also each living figure finding himself grotesquely mirrored by his corpse-partner—there is other, more subtle mirror play to be found within the text, and, occasionally, a mirror relationship between the image and the corresponding text. This article explores various manifestations of the mirror in Marchant’s Danse macabre , incorporating a few selected images from Marchant’s book.

This chapter covers the pervasive medieval Christian association of Jews with the devil, such as the assumption of an undying hatred of Jews for Christians and the tendency to see the Jew not as a person but as a symbol. In particular, the chapter focuses on the 12th- and 13th-century awakening of Christian thinkers to the development of Talmudic and (later) Qabbalistic thinking among Jews, which fed both their fears and their hatreds. Both the Talmud and the Qabbalah are at once attacked as lies and scanned for proof of Christianity's truth: the selfsame text embodies both sacred and satanic “truth.” The paradox embodies the deeply contradictory relationship of medieval Christians to Jews, a schizophrenic ambivalence that would only intensify under conditions of Jewish freedom in modern society.

A multifaceted picture of the dynamic concepts of time and temporality is demonstrated in medieval and Renaissance art, as adopted in speculative, ecclesiastical, socio-political, propagandist, moralistic, and poetic contexts. Questions regarding perception of time are investigated through innovative aspects of Renaissance iconography.

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium.\"—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. John Hyman’s The Objective Eye is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? The Objective Eye explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find The Objective Eye challenging and absorbing.

This book places identity at the centre of a project to better understand medieval society. By exploring the multiplicity of personal identities, the ways in which these were expressed within particular social structures (such as feudalism), and their evolution into formal expressions of collective identity (municipalities, guilds, nations, and so on) we can shed new light on the Middle Ages. A specific legacy of such developments was that by the end of the Middle Ages, a sense of national identity, supported by the late medieval socio-economic structure, backed in law and by theological, philosophical, and political thought, defined society. What is more, social structures coalesced across diverse elements, including language, group solidarities, and a set of assumed values.

An insightful account of how medieval people experienced time. Alle Thyng Hath Tyme recreates medieval people's experience of time as continuous, discontinuous, linear, and cyclical—from creation through judgment and into eternity. Medieval people measured time by natural phenomena such as sunrise and sunset, the motion of the stars, or the progress of the seasons, even as the late-medieval invention of the mechanical clock made time-reckoning more precise. Negotiating these mixed and competing systems, Gillian Adler and Paul Strohm show how medieval people gained a nuanced and expansive sense of time that rewards attention today.

Marine megafauna has always elicited contrasting feelings. In the past, large marine animals were often depicted as fantastic mythological creatures and dangerous monsters, while also arousing human curiosity. Marine megafauna has been a valuable resource to exploit, leading to the collapse of populations and local extinctions. In addition, some species have been perceived as competitors of fishers for marine resources and were often actively culled. Since the 1970s, there has been a change in the perception and use of megafauna. The growth of marine tourism, increasingly oriented towards the observation of wildlife, has driven a shift from extractive to non-extractive use, supporting the conservation of at least some species of marine megafauna. In this paper, we review and compare the changes in the perception and use of three megafaunal groups, cetaceans, elasmobranchs and groupers, with a special focus on European cultures. We highlight the main drivers and the timing of these changes, compare different taxonomic groups and species, and highlight the implications for management and conservation. One of the main drivers of the shift in perception, shared by all the three groups of megafauna, has been a general increase in curiosity towards wildlife, stimulated inter alia by documentaries (from the early 1970s onwards), and also promoted by easy access to scuba diving. At the same time, environmental campaigns have been developed to raise public awareness regarding marine wildlife, especially cetaceans, a process greatly facilitated by the rise of Internet and the World Wide Web. Currently, all the three groups (cetaceans, elasmobranchs and groupers) may represent valuable resources for ecotourism. Strikingly, the economic value of live specimens may exceed their value for human consumption. A further change in perception involving all the three groups is related to a growing understanding and appreciation of their key ecological role. The shift from extractive to non-extractive use has the potential for promoting species conservation and local economic growth. However, the change in use may not benefit the original stakeholders (e.g. fishers or whalers) and there may therefore be a case for providing compensation for disadvantaged stakeholders. Moreover, it is increasingly clear that even non-extractive use may have a negative impact on marine megafauna, therefore regulations are needed.

This chapter contains sections titled: Pedestrian Encounters Urban Vantage Points Constructing the City: Theorists and Poets Composite Approaches, Transhistorical and Multilingual References

Historical listening has long been a topic of interest for musicologists. Yet, little attention has been given to the systematic study of historical listening practices before the common practice era (c. 1700–present). In the first study of its kind, this research compared a model of medieval perceptions of “sweetness” based on writings of medieval music theorists with modern day listeners’ aesthetic responses. Responses were collected through two experiments. In an implicit associations experiment, participants were primed with a more or less consonant musical excerpt, then presented with a sweet or bitter target word, or a non-word, on which to make lexical decisions. In the explicit associations experiment, participants were asked to rate on a three-point Likert scale perceived sweetness of short musical excerpts that varied in consonance and sound quality (male, female, organ). The results from these experiments were compared to predictions from a medieval perception model to investigate whether early and modern listeners have similar aesthetic responses. Results from the implicit association test were not consistent with the predictions of the model, however, results from the explicit associations experiment were. These findings indicate the metaphor of sweetness may be useful for comparing the aesthetic responses of medieval and modern listeners.