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Essays In Naval History, From Medieval To Modern
The articles collected here (two appearing for the first time in English) cover a number of topics central to naval history and illustrate the author's contention that this is not only, or even chiefly, a distinct area of special study, but rather a central theme running through the history of England, and of the whole British Isles. Though the subjects and the styles vary a good deal, the studies are linked by a common approach and some common ideas. Hence many examine ways in which naval history has formed a key element in such subjects as intellectual, religious, administrative or medical history and explored the nature and meaning of sea power as a theme. At the same time naval history is a technical subject, which demands a willingness to understand warships - the most complex artefacts - and the structure of large and complex organisations. Detailed evidence about ships and weapons can build large conclusions, for example about late Anglo-Saxon government and military organisation, or about the nature of warfare at sea in the Renaissance era.
While mostly written from the British point of view, several essays explicitly survey naval developments over a range of countries, and even the most narrowly focused are at least implicitly aware of the wider world of war at sea.
Medieval Scholarship: V.3
This is the third of a three-volume set on medieval scholarship that presents original biographical essays on scholars whose work has shaped medieval studies for the past four hundred years.
A companion to "Volume 1: History and Volume 2: Literature and Philology, " "Volume 3: Philosophy and the Arts "covers the lives of twenty eminent individuals-from Victor Cousin (1792-1867) to Georges Chehata Anawati (1905-1994) in Philosophy; from H.J.W. Tillyard (1881-1968) to Gustave Reese (1899-1977) in Music; and from Alois Riegl (1858-1905) to Louis Grodecki (1910-1982) in Art History-whose subjects were the art, music, and philosophical thought of Europe between 500-1500. The scholars of medieval philosophy strove to identify the nexus of philosophical truth, whether they were engaged in the clash of the Christian church and secular republicanism as reflected in the tension between theology and philosophy, in addressing the conflicting perceptions of Muslim identity, or in defining Jewish philosophical theology in non-Jewish culture. Medieval musicologists, who are included as the subjects of the essays, pioneered or recontextualized traditional views on the definition of music as subject matter, on the relationship between music and philosophical concepts, on interpretative distinctions between secular and sacred music, monophony and polyphony, and concepts of form and compositional style. The art historians treated in this volume not only overturn the view of medieval art as an aesthetic decline from classical art, but they demonstrate the continual development of form and style inclusive of minor and major arts, in textiles, architecture and architectural sculpture, manuscripts, ivory carvings, and stained glass.
The philosophers, musicologists, and art historians who appear in Volume 3 worked in three newly-emerging disciplines largely of nineteenth-century origin. In their distinguished and extraordinary output of energy in scholarly and academic arenas, they contributed significantly to the emergence and formation of medieval studies as the prime discipline of historical inquiry into and hence the key to understanding of the human experience.
The Brummer Collection Of Medieval Art
The Brummer Collection of Medieval Art in the Duke University Museum of Art is one of the finest to be found in any American university museum. It is remarkable for its breadth and the variety of objects represented, with works varying in scale from monumental stone pieces to small-scale objects in wood, ivory, or metal, and ranging from the seventh to eighth centuries through the sixteenth century. This fine catalog makes available for the first time this rich but little-known collection.
Five studies by leading art scholars focus on key works in the collection and contribute to a new understanding of the origins of many of the pieces. Two introductory essays comment on the character of the collection as a whole, its acquisition by Duke University, and its conservation. Finally, the catalog section discusses the more important pieces in the collection and is followed by a checklist of entries and smaller photographs of all other objects.
Contributors. Ilene H. Forsyth, Jean M. French, Dorothy F. Glass, Dieter Kimpel, Jill Meredith, Linda S. Roundhill
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