It was preceded by clay tablets and papyrus scrolls. Are those books? In this volume in the MIT Press Essential Knowledge series, Amaranth Borsuk considers the history of the book, the future of the book, and the idea of the book. Tracing the interrelationship of form and content in the book's development, she bridges book history, book arts, and electronic literature to expand our definition of an object we thought we knew intimately.Contrary to the many reports of its death (which has been blamed at various times on newspapers, television, and e-readers), the book is alive. Despite nostalgic paeans to the codex and its printed pages, Borsuk reminds us, the term “book” commonly refers to both medium and content. And the medium has proved to be malleable. Rather than pinning our notion of the book to a single form, Borsuk argues, we should remember its long history of transformation. Considering the book as object, content, idea, and interface, she shows that the physical form of the book has always been the site of experimentation and play. Rather than creating a false dichotomy between print and digital media, we should appreciate their continuities.

    Between these epochal events, many of the contours and patterns of English life that would endure for the next millennium were shaped. In this authoritative work, N. J. Higham and M. J. Ryan reexamine Anglo-Saxon England in the light of new research in disciplines as wide ranging as historical genetics, paleobotany, archaeology, literary studies, art history, and numismatics. The result is the definitive introduction to the Anglo-Saxon world, enhanced with a rich array of photographs, maps, genealogies, and other illustrations. The Anglo-Saxon period witnessed the birth of the English people, the establishment of Christianity, and the development of the English language. With an extraordinary cast of characters (Alfred the Great, the Venerable Bede, King Cnut), a long list of artistic and cultural achievements (Beowulf, the Sutton Hoo ship-burial finds, the Bayeux Tapestry), and multiple dramatic events (the Viking invasions, the Battle of Hastings), the Anglo-Saxon era lays legitimate claim to having been one of the most important in Western history.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    Adaptation, Hutcheon argues, has always been a central mode of the story-telling imagination and deserves to be studied in all its breadth and range as both a process (of creation and reception) and a product unto its own.Persuasive and illuminating, A Theory of Adaptation is a bold rethinking of how adaptation works across all media and genres that may put an end to the age-old question of whether the book was better than the movie, or the opera, or the theme park.

    The Vedas say that this library predated the creator’s creation of himself. Yet, almost as old as the idea of the library is the urge to destroy it. The reasons cited for this are many: educated people are much harder to govern, and some proclaim that only the illiterate can save the world. There are also great destructions brought about by weather, worms, and even the paranoia of the library’s owner. Books on Fire traces the history of this perpetual destruction from the burning of the great library of Alexandria (on three separate occasions) and the libraries of the Chinese Qing Dynasty to more modern catastrophic losses such as those witnessed in Nazi-occupied Europe and the 2003 invasion of Iraq. The author examines the causes for these disasters, the treasures that have been lost, and where the surviving books, if any, have ended up. His investigation also reveals a new danger facing libraries today with the digitalization of books threatening both the existence of the physical paper book and the very idea of reading for free. The promise of an absolute library offered by the computer may well turn out to equal the worst nightmares of Ray Bradbury, Aldous Huxley, and George Orwell.Books on Fire received the 2004 Société des Gens de Lettres Prize for Nonfiction/History in Paris.

    It was a time of uncertainty and incessant warfare, a time during which the crown was constantly contested, alliances were made and broken, and peasants and townsmen alike arose in revolt. This was the raw material of Shakespeare's dramas, and Norwich holds up his work to the light of history to ask: Who was the real Falstaff? How accurate a historian was the playwright? Shakespeare's Kings is a marvelous study of the Bard's method of spinning history into art, and a captivating portrait of the Middle Ages.

    The name evokes grandeur and exoticism - gold, cunning, and complexity. In this unique book, Judith Herrin unveils the riches of a quite different civilization. Avoiding a standard chronological account of the Byzantine Empire's millennium - long history, she identifies the fundamental questions about Byzantium - what it was, and what special significance it holds for us today.Bringing the latest scholarship to a general audience in accessible prose, Herrin focuses each short chapter around a representative theme, event, monument, or historical figure, and examines it within the full sweep of Byzantine history - from the foundation of Constantinople, the magnificent capital city built by Constantine the Great, to its capture by the Ottoman Turks.She argues that Byzantium's crucial role as the eastern defender of Christendom against Muslim expansion during the early Middle Ages made Europe - and the modern Western world - possible. Herrin captivates us with her discussions of all facets of Byzantine culture and society. She walks us through the complex ceremonies of the imperial court. She describes the transcendent beauty and power of the church of Hagia Sophia, as well as chariot races, monastic spirituality, diplomacy, and literature. She reveals the fascinating worlds of military usurpers and ascetics, eunuchs and courtesans, and artisans who fashioned the silks, icons, ivories, and mosaics so readily associated with Byzantine art.An innovative history written by one of our foremost scholars, Byzantium reveals this great civilization's rise to military and cultural supremacy, its spectacular destruction by the Fourth Crusade, and its revival and final conquest in 1453.

    The story of how this group of warriors, driven byfaith, greed, and wanderlust, created new Christian-ruled states in parts of the Middle East is one of the best-known in history. Yet it is offers not even half of the story, for it is based almost exclusively on Western sources and overlooks entirely the perspective of the crusaded. How didmedieval Muslims perceive what happened?In The Race for Paradise, Paul M. Cobb offers a new history of the confrontations between Muslims and Franks we now call the Crusades, one that emphasizes the diversity of Muslim experiences of the European holy war. There is more to the story than Jerusalem, the Templars, Saladin, and theAssassins. Cobb considers the Arab perspective on all shores of the Muslim Mediterranean, from Spain to Syria. In the process, he shows that this is not a straightforward story of warriors and kings clashing in the Holy Land, but a more complicated tale of border-crossers and turncoats; ofembassies and merchants; of scholars and spies, all of them seeking to manage a new threat from the barbarian fringes of their ordered world. When seen from the perspective of medieval Muslims, the Crusades emerge as something altogether different from the high-flying rhetoric of the Europeanchronicles: as a cultural encounter to ponder, a diplomatic chess-game to be mastered, a commercial opportunity to be seized, and as so often happened, a political challenge to be exploited by ambitious rulers making canny use of the language of jihad.An engrossing synthesis of history and scholarship, The Race for Paradise fills a significant historical gap, considering in a new light the events that distinctively shaped Muslim experiences of Europeans until the close of the Middle Ages.

    At seven o'clock on the morning of 13th February 1542, Catherine Howard stepped out into the cold of the great courtyard of the Tower of London. Slowly she was escorted across the yard and carefully helped up the steps of the wooden scaffold. Only a small group of sightseers had gathered to watch the death of a queen; there was no weeping, no remorse, only chilly curiosity. The ax rose and fell, a life ceased, an episode came to an end. The life and death of Catherine was truly a Tudor tragedy. A mere teenager, the vivacious and flirty Catherine Howard was an unsuitable bride for the elderly and fat Henry VIII. Like most of Henry's wives she had come to his attention at court whilst lady-in-waiting to his fourth wife of only a few months, Anne of Cleves. Henry was soon besotted and came to adore Catherine, his 'very jewel of womanhood'. His head already turned by the 19 year old, Henry never consummated his marriage to Anne, he divorced her and married for the fifth time on 28th July 1540.Lacey Baldwin Smith, one of the finest historians of the Tudor age, narrates the rise and fall of the most tragic of Henry's queens, the woman who dared to cuckold the king of England.

    He shares his passion for books, which began with ordering through The Weekly Reader in grade school. Interwoven throughout is an historical account of the bookseller's trade--from the great Alexandria library with an estimated one million papyrus scrolls to Sylvia Beach's famous Paris bookstore, Shakespeare and Company, which led to the effort to publish and sell James Joyce's Ulysses during the 1920s.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    It includes the historiography and coverage of medieval society and women.

    The book also provides a map of the development of cultural studies through discussion of its most influential approaches. Organized around a series of case studies, each chapter focuses on a different media form and presents a critical overview of the methodology for the actual study of popular culture. Individual chapters cover topics such as television, fiction, film, newspapers and magazines, popular music, and consumption (fan culture and shopping).For students new to the field, the book provides instantly usable theories and methods; for those more familiar with the procedures and politics of cultural studies, it provides a succinct and accessible overview.This edition has been revised, rewritten, and expanded throughout. The book now includes new sections on television audiences, reception theory, and globalization.

    Building on a foundation of newly discovered primary sources and recent secondary interpretations, Jeffrey Burton Russell first establishes the facts and then explains the phenomenon of witchcraft in terms of its social and religious environment, particularly in relation to medieval heresies. Russell treats European witchcraft as a product of Christianity, grounded in heresy more than in the magic and sorcery that have existed in other societies. Skillfully blending narration with analysis, he shows how social and religious changes nourished the spread of witchcraft until large portions of medieval Europe were in its grip, from the most illiterate peasant to the most skilled philosopher or scientist. A significant chapter in the history of ideas and their repression is illuminated by this book. Our enduring fascination with the occult gives the author's affirmation that witchcraft arises at times and in areas afflicted with social tensions a special quality of immediacy.

    While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.