It traces the development of one individual consciousness, "playing over such issues as motherhood, racism, history, poetry, the uses of scholarship, the politics of language". A. Rich has written a headnote for each essay, briefly discussing the circumstances of its writing. "I find in myself both severe and tender thoughts toward the women I have been, whose thoughts I find here".

    His disturbing narrative opens up an entire culture, revealing the dark side of Renaissance man and politician Lorenzo de' Medici.On a Sunday in April 1478, assassins attacked Lorenzo and his brother as they attended Mass in the cathedral of Florence. Lorenzo scrambled to safety as Giuliano bled to death on the cathedral floor. April Blood moves outward in time and space from that murderous event, unfolding a story of tangledpassions, ambition, treachery, and revenge. The conspiracy was led by one of the city's most noble clans, the Pazzi, financiers who feared and resented the Medici's swaggering new role as political bosses--but the web of intrigue spread through all of Italy. Bankers, mercenaries, the Duke of Urbino, the King of Naples, and Pope Sixtus IV entered secretly into the plot. Florence was plunged into a peninsular war, and Lorenzo was soon fighting for his own and his family's survival.The failed assassination doomed the Pazzi. Medici revenge was swift and brutal--plotters were hanged or beheaded, innocents were hacked to pieces, and bodies were put out to dangle from the windows of the government palace. All remaining members of the larger Pazzi clan were forced to change theirsurname, and every public sign or symbol of the family was expunged or destroyed.April Blood offers us a fresh portrait of Renaissance Florence, where dazzling artistic achievements went side by side with violence, craft, and bare-knuckle politics. At the center of the canvas is the figure of Lorenzo the Magnificent--poet, statesman, connoisseur, patron of the arts, and ruthlessboss of bosses. This extraordinarily vivid account of a turning point in the Italian Renaissance is bound to become a lasting work of history.

    Southern describes the chief forms of social, political & religious organization.

    It begins with Julius Caesar's invasion in the first century BC and goes on to tell of the kings and bishops, monks and nuns who helped to develop government and convert the people to Christianity during these crucial formative years. Relating the deeds of great men and women but also describing landscape, customs and ordinary lives, this is a rich, vivid portrait of an emerging church and nation by the 'Father of English History'.Leo Sherley-Price's translation from the Latin brings us an accurate and readable version of Bede's History. This edition includes Bede's Letter to Egbert, denouncing false monasteries; and The Death of Bede, an admirable eye-witness account by Cuthbert, monk and later Abbot of Jarrow, both translated by D. H. Farmer.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    AD 539-594) is a fascinating exploration of the events that shaped sixth-century France. This volume contains all ten books from the work, the last seven of which provide an in-depth description of Gregory's own era, in which he played an important role as Bishop of Tours. With skill and eloquence, Gregory brings the age vividly to life, as he relates the exploits of missionaries, martyrs, kings and queens - including the quarrelling sons of Lothar I, and the ruthless Queen Fredegund, third wife of Chilperic. Portraying an age of staggering cruelty and rapid change, this is a powerful depiction of the turbulent progression of faith at a time of political and social chaos.

    He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power.The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power.The Field of Cultural Production will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies.

    Trefan Morys, Morris's home between the sea and mountains of the remote northwest corner of Wales, is the 18th-century stable block of her former family house nearby. Surrounding it are the fields and outbuildings, the mud, sheep, and cattle of a working Welsh farm.She regards this modest building not only as a reflection of herself and her life, but also as epitomizing the small and complex country of Wales, which has defied the world for centuries to preserve its own identity. Morris brilliantly meditates on the beams and stone walls of the house, its jumbled contents, its sounds and smells, its memories and inhabitants, and finally discovers the profoundest meanings of Welshness.

    It is one of Europe's greatest treasures and its own story is full of drama and surprise. Who commissioned the tapestry? Was it Bishop Odo, William's ruthless half-brother? Or Harold's dynamic sister Edith, juggling for a place in the new court? Hicks shows us this world and the miracle of the tapestry's making: the stitches, dyes and strange details in the margins. For centuries it lay ignored in Bayeux cathedral until its 'discovery' in the eighteenth century. It became a symbol of power as well as art: townsfolk saved it during the French Revolution; Napoleon displayed it to promote his own conquest; the Nazis strove to make it their own; and its influence endures today. This marvellous book, packed with thrilling stories, shows how we remake history in every age and how a great work of art has a life of its own.

    Jacques Le Goff has written a book which will not only be read by generations of students and historians, but which will delight and inform all those interested in the history of medieval Europe. Part one, Historical Evolution, is a narrative account of the entire period, from the barbarian settlement of Roman Europe in the fifth, sixth and seventh centuries to the war-torn crises of Christian Europe in the fourteenth and fifteenth centuries.Part two, Medieval Civilization, is analytical, concerned with the origins of early medieval ideas of culture and religion, the constraints of time and space in a pre-industrial world and the reconstruction of the lives and sensibilities of the people during this long period. Medieval Civilization combines the narrative and descriptive power characteristic of Anglo-Saxon scholarship with the sensitivity and insight of the French historical tradition.

    She had arranged for a ride through the campus bulletin board at the University of Michigan in Ann Arbor, where she was one of a handful of pioneering women students at the law school. Her body was found the following morning just inside the gates of a small cemetery fourteen miles away, shot twice in the head and strangled. Six other young women were murdered around the same time, and it was assumed they had all been victims of alleged serial killer John Collins, who was convicted of one of these crimes not long after. Jane Mixer's death was long considered to be one of the infamous Michigan Murders, as they had come to be known. But officially, Jane's murder remained unsolved, and Maggie Nelson grew up haunted by the possibility that the killer of her mother's sister was still at large.In an instance of remarkable serendipity, more than three decades later, a 2004 DNA match led to the arrest of a new suspect for Jane's murder at precisely the same time that Nelson was set to publish a book of poetry about her aunt's life and death - a book she had been working on for years, and which assumed her aunt's case to be closed forever.The Red Parts chronicles the uncanny series of events that led to Nelson's interest in her aunt's death, the reopening of the case, the bizarre and brutal trial that ensued, and the effects these events had on the disparate group of people they brought together. But The Red Parts is much more than a "true crime" record of a murder, investigation, and trial. For into this story Nelson has woven an account of a girlhood and early adulthood haunted by loss, mortality, mystery, and betrayal, as well as a look at the personal and political consequences of our cultural fixation on dead (white) women.

    Convinced that the veil is a symbol of unjust male authority over women, in The Veil and the Male Elite, Moroccan feminist Fatima Mernissi aims to investigate the origins of the practice in the first Islamic community.

    David Levine, writing in The New York Times Book Review, called Hanawalt's book "as stimulating for the questions it asks as for the answers it provides" and he concluded that "one comes away from this stimulating book with the same sense of wonder that Thomas Hardy's Angel Clare felt [:] 'The impressionable peasant leads a larger, fuller, more dramatic life than the pachydermatous king.'" Now, in Growing Up in Medieval London, Hanawalt again reveals the larger, fuller, more dramatic life of the common people, in this instance, the lives of children in London. Bringing together a wealth of evidence drawn from court records, literary sources, and books of advice, Hanawalt weaves a rich tapestry of the life of London youth during the fourteenth and fifteenth centuries. Much of what she finds is eye opening. She shows for instance that--contrary to the belief of some historians--medieval adults did recognize and pay close attention to the various stages of childhood and adolescence. For instance, manuals on childrearing, such as "Rhodes's Book of Nurture" or "Seager's School of Virtue," clearly reflect the value parents placed in laying the proper groundwork for a child's future. Likewise, wardship cases reveal that in fact London laws granted orphans greater protection than do our own courts. Hanawalt also breaks ground with her innovative narrative style. To bring medieval childhood to life, she creates composite profiles, based on the experiences of real children, which provide a more vivid portrait than otherwise possible of the trials and tribulations of medieval youths at work and at play. We discover through these portraits that the road to adulthood was fraught with danger. We meet Alison the Bastard Heiress, whose guardians married her off to their apprentice in order to gain control of her inheritance. We learn how Joan Rawlyns of Aldenham thwarted an attempt to sell her into prostitution. And we hear the unfortunate story of William Raynold and Thomas Appleford, two mercer's apprentices who found themselves forgotten by their senile master, and abused by his wife. These composite portraits, and many more, enrich our understanding of the many stages of life in the Middle Ages. Written by a leading historian of the Middle Ages, these pages evoke the color and drama of medieval life. Ranging from birth and baptism, to apprenticeship and adulthood, here is a myth-shattering, innovative work that illuminates the nature of childhood in the Middle Ages.

    Salka, an actress in Europe, now married to theater director Bertold Viertel, finds herself living in LA and becoming a scriptwriter. She befriends arriving emigres like Thomas Mann, Brecht and Franz Werfel. Her story turns dark with W2 and then the Blacklist.

    Using the words of the women themselves, 'Bluestockings' charts the fight for and expansion of higher education for women from 1869 through to the 1930s.

    Other topics include humanism during the first half of the 12th century, the archpoet, the scholars' lyric, and the Carmina Burana.