Charlemagne's Defeat in the Pyrenees
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ABSTRACT Savannah Dehart. BRACTEATES AS INDICATORS OF
ABSTRACT Savannah DeHart. BRACTEATES AS INDICATORS OF NORTHERN PAGAN RELIGIOSITY IN THE EARLY MIDDLE AGES. (Under the direction of Michael J. Enright) Department of History, May 2012. This thesis investigates the religiosity of some Germanic peoples of the Migration period (approximately AD 300-800) and seeks to overcome some difficulties in the related source material. The written sources which describe pagan elements of this period - such as Tacitus’ Germania, Bede’s Ecclesiastical History of the English People, and Paul the Deacon’s History of the Lombards - are problematic because they were composed by Roman or Christian authors whose primary goals were not to preserve the traditions of pagans. Literary sources of the High Middle Ages (approximately AD 1000-1400) - such as The Poetic Edda, Snorri Sturluson’s Prose Edda , and Icelandic Family Sagas - can only offer a clearer picture of Old Norse religiosity alone. The problem is that the beliefs described by these late sources cannot accurately reflect religious conditions of the Early Middle Ages. Too much time has elapsed and too many changes have occurred. If literary sources are unavailing, however, archaeology can offer a way out of the dilemma. Rightly interpreted, archaeological evidence can be used in conjunction with literary sources to demonstrate considerable continuity in precisely this area of religiosity. Some of the most relevant material objects (often overlooked by scholars) are bracteates. These coin-like amulets are stamped with designs that appear to reflect motifs from Old Norse myths, yet their find contexts, including the inhumation graves of women and hoards, demonstrate that they were used during the Migration period of half a millennium earlier. -
Hunnic Warfare in the Fourth and Fifth Centuries C.E.: Archery and the Collapse of the Western Roman Empire
HUNNIC WARFARE IN THE FOURTH AND FIFTH CENTURIES C.E.: ARCHERY AND THE COLLAPSE OF THE WESTERN ROMAN EMPIRE A Thesis Submitted to the Committee of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science. TRENT UNIVERSITY Peterborough, Ontario, Canada © Copyright by Laura E. Fyfe 2016 Anthropology M.A. Graduate Program January 2017 ABSTRACT Hunnic Warfare in the Fourth and Fifth Centuries C.E.: Archery and the Collapse of the Western Roman Empire Laura E. Fyfe The Huns are one of the most misunderstood and mythologized barbarian invaders encountered by the Roman Empire. They were described by their contemporaries as savage nomadic warriors with superior archery skills, and it is this image that has been written into the history of the fall of the Western Roman Empire and influenced studies of Late Antiquity through countless generations of scholarship. This study examines evidence of Hunnic archery, questions the acceptance and significance of the “Hunnic archer” image, and situates Hunnic archery within the context of the fall of the Western Roman Empire. To achieve a more accurate picture of the importance of archery in Hunnic warfare and society, this study undertakes a mortuary analysis of burial sites associated with the Huns in Europe, a tactical and logistical study of mounted archery and Late Roman and Hunnic military engagements, and an analysis of the primary and secondary literature. Keywords: Archer, Archery, Army, Arrow, Barbarian, Bow, Burial Assemblages, Byzantine, Collapse, Composite Bow, Frontier, Hun, Logistics, Migration Period, Roman, Roman Empire, Tactics, Weapons Graves ii ACKNOWLEDGEMENTS I would first like to thank my thesis advisor, Dr. -
Dynamics of Religious Ritual: Migration and Adaptation in Early Medieval Britain
Dynamics of Religious Ritual: Migration and Adaptation in Early Medieval Britain A Dissertation SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Brooke Elizabeth Creager IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Peter S. Wells August 2019 Brooke Elizabeth Creager 2019 © For my Mom, I could never have done this without you. And for my Grandfather, thank you for showing me the world and never letting me doubt I can do anything. Thank you. i Abstract: How do migrations impact religious practice? In early Anglo-Saxon England, the practice of post-Roman Christianity adapted after the Anglo-Saxon migration. The contemporary texts all agree that Christianity continued to be practiced into the fifth and sixth centuries but the archaeological record reflects a predominantly Anglo-Saxon culture. My research compiles the evidence for post-Roman Christian practice on the east coast of England from cemeteries and Roman churches to determine the extent of religious change after the migration. Using the case study of post-Roman religion, the themes religion, migration, and the role of the individual are used to determine how a minority religion is practiced during periods of change within a new culturally dominant society. ii Table of Contents Abstract …………………………………………………………………………………...ii List of Figures ……………………………………………………………………………iv Preface …………………………………………………………………………………….1 I. Religion 1. Archaeological Theory of Religion ...………………………………………………...3 II. Migration 2. Migration Theory and the Anglo-Saxon Migration ...……………………………….42 3. Continental Ritual Practice before the Migration, 100 BC – AD 400 ………………91 III. Southeastern England, before, during and after the Migration 4. Contemporary Accounts of Religion in the Fifth and Sixth Centuries……………..116 5. -
14 Pierrepont at a Crossroads of Literatures
14 Pierrepont at a crossroads of literatures An instructive parallel between the first branch of the Karlamagnús Saga, the Dutch Renout and the Dutch Flovent Abstract: In the French original of the first branch of the Karlamagnús Saga [= fKMSI], in the Dutch Renout and in the Dutch Flovent – three early 13th century texts from present-day Bel- gium – a toponym Pierrepont plays a conspicous part (absent, however, from the French models of Renout and Flovent); fKMSI and Renout even have in common a triangle ‘Aimon, vassal of Charlemagne – Aie, his wife – Pierrepont, their residence’. The toponym is shown to mean Pierrepont (Aisne) near Laon in all three texts. In fKMSI, it is due almost certainly to the intervention of one of two Bishops of Liège (1200−1238) from the Pierrepont family, and in the other two texts to a similar cause. Consequently, for fKMSI a date ‘before 1240’ is proposed. According to van den Berg,1 the Middle Dutch Flovent, of which only two frag- ments are preserved,2 was probably written by a Fleming (through copied by a Brabantian) and can very roughly be dated ‘around 1200’ on the basis of its verse technique and syntax. In this text, Pierrepont plays a conspicuous part without appearing in the French original.3 In the first fragment, we learn that King Clovis is being besieged in Laon by a huge pagan army (vv. 190 ss.). To protect their rear, the pagans build a castle at a distance of four [presumably French] miles [~18 km] from Laon. Its name will be Pierlepont (vv. -
La Aventura Espeleológica De Don Quijote
LA AVENTURA ESPELEOLÓGICA DE DON QUIJOTE por Alejandro TenorioTenorio Lemir: Estudios, Libros e Investigaciones (2005) ISSN 1579-735X Alejandro Tenorio Tenorio La aventura espeleológica de Don Quijote Lemir –Estudios, Libros e Investigaciones ISSN 1579-735X ÍNDICE Págs. O. INTRODUCCIÓN 3 1. CUESTIONES PREVIAS 18 1.1. El “Quijote” de 1605 18 1.2. Locura, ensueños y perspectivas 20 1.3. La verdad de las mentiras de don Quijote 33 1.4. Componentes artúricos del relato 37 1.5. Elementos carolingios de la cueva 43 1.6. El Camino de Santiago y el Romancero 53 1.6.1. La formación del Camino de Santiago 53 1.6.2. El Romancero viejo 58 2. LA PENITENCIA DE SIERRA MORENA 63 2.1.El Amadís de Gaula 64 2.1.1. Fecha y autoría 64 2.1.2. Algunos destacados personajes de su trama argumental 67 2.2.La entrada en Sierra Morena y marcha de Sancho Panza 69 2.3.Monólogo de don Quijote o los inciertos límites entre locura y cordura 74 3. LA CUEVA DE MONTESINOS 75 3.1.Antecedentes de las sublimes visiones en la cueva 78 3.2. Don Quijote prosigue hacia la sima 80 3.3. Los disparates eruditos del Primo 82 3.4. El sueño-pesadilla de don Quijote narrado al salir de la cueva 90 3.4.1. Héroes épicos del sueño 93 3.4.2. Dulcinea encantada 99 4. CONCLUSIONES 104 5. BIBLIOGRAFÍA 110 2 Alejandro Tenorio Tenorio La aventura espeleológica de Don Quijote Lemir –Estudios, Libros e Investigaciones ISSN 1579-735X La aventura espeleológica1 de Don Quijote .. -
UNIVERSITY of CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early M
UNIVERSITY OF CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Sara Victoria Torres 2014 © Copyright by Sara Victoria Torres 2014 ABSTRACT OF THE DISSERTATION Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia by Sara Victoria Torres Doctor of Philosophy in English University of California, Los Angeles, 2014 Professor Christine Chism, Co-chair Professor Lowell Gallagher, Co-chair My dissertation, “Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia,” traces the legacy of dynastic internationalism in the fifteenth, sixteenth, and early-seventeenth centuries. I argue that the situated tactics of courtly literature use genealogical and geographical paradigms to redefine national sovereignty. Before the defeat of the Spanish Armada in 1588, before the divorce trials of Henry VIII and Catherine of Aragon in the 1530s, a rich and complex network of dynastic, economic, and political alliances existed between medieval England and the Iberian kingdoms. The marriages of John of Gaunt’s two daughters to the Castilian and Portuguese kings created a legacy of Anglo-Iberian cultural exchange ii that is evident in the literature and manuscript culture of both England and Iberia. Because England, Castile, and Portugal all saw the rise of new dynastic lines at the end of the fourteenth century, the subsequent literature produced at their courts is preoccupied with issues of genealogy, just rule, and political consent. Dynastic foundation narratives compensate for the uncertainties of succession by evoking the longue durée of national histories—of Trojan diaspora narratives, of Roman rule, of apostolic foundation—and situating them within universalizing historical modes. -
The Necklace As a Divine Symbol and As a Sign of Dignity in the Old Norse Conception
MARIANNE GÖRMAN The Necklace as a Divine Symbol and as a Sign of Dignity in the Old Norse Conception Introduction In the last century a wooden sculpture, 42 cm tall, was found in a small peat-bog at Rude-Eskildstrup in the parish of Munke Bjergby near Soro in Denmark. (Picture 1) The figure was found standing right up in the peat with its head ca. 30 cm below the surface. The sculpture represents a sit- ting man, dressed in a long garment with two crossed bands on its front. His forehead is low, his eyes are tight, his nose is large, and he wears a moustache and a pointed chin-beard. Part of his right arm is missing, while his left arm is undamaged. On his knee he holds an object resembling a bag. Around his neck he wears a robust trisected necklace.1 At the bottom the sculpture is finished with a peg, which indicates that it was once at- tached to a base, which is now missing (Mackeprang 1935: 248-249). It is regarded as an offering and is usually interpreted as depicting a Nordic god or perhaps a priest (Holmqvist 1980: 99-100; Ström 1967: 65). The wooden sculpture from Rude-Eskildstrup is unique of its kind. But his characteristic trisected necklace is of the same type as three famous golden collars from Västergötland and Öland. The sculpture as well as the golden necklaces belong to the Migration Period, ca. 400-550 A.D. From this period of our prehistory we have the most frequent finds of gold, and very many of the finds from this period are neck-ornaments. -
Guido M. Berndt the Armament of Lombard Warriors in Italy. Some Historical and Archaeological Approaches
The Armament of Lombard Warriors in Italy 299 Guido M. Berndt The Armament of Lombard Warriors in Italy. Some Historical and Archaeological Approaches Early medieval Europe has often been branded as they have entered upon the sacred soil of Italy, a violent dark age, in which fierce warlords, war- speaks of mere savage delight in bloodshed and riors and warrior-kings played a dominant role in the rudest forms of sensual indulgence; they are the political structuring of societies. Indeed, one the anarchists of the Völkerwanderung, whose de- quite familiar picture is of the early Middle Ages as light is only in destruction, and who seem inca- a period in which armed conflicts and military life pable of culture”.5 This statement was but one in were so much a part of political and cultural devel- a long-lasting debate concerning one particular opment, as well as daily life, that a broad account question that haunted (mainly) Italian historians of the period is to large extent a description of how and antiquarians especially in the nineteenth cen- men went to war.1 Even in phases of peace, the tury – although it had its roots in the fifteenth conduct of warrior-elites set many of the societal century – regarding the role that the Lombards standards. Those who held power in society typi- played in the history of the Italian nation.6 Simply cally carried weapons and had a strong inclination put, the question was whether the Lombards could to settle disputes by violence, creating a martial at- have contributed anything positive to the history mosphere to everyday life in their realms. -
Les Talens Lyriques the Ensemble Les Talens Lyriques, Which Takes Its
Les Talens Lyriques The ensemble Les Talens Lyriques, which takes its name from the subtitle of Jean-Philippe Rameau’s opera Les Fêtes d’Hébé (1739), was formed in 1991 by the harpsichordist and conductor Christophe Rousset. Championing a broad vocal and instrumental repertoire, ranging from early Baroque to the beginnings of Romanticism, the musicians of Les Talens Lyriques aim to throw light on the great masterpieces of musical history, while providing perspective by presenting rarer or little known works that are important as missing links in the European musical heritage. This musicological and editorial work, which contributes to its renown, is a priority for the ensemble. Les Talens Lyriques perform to date works by Monteverdi (L'Incoronazione di Poppea, Il Ritorno d’Ulisse in patria, L’Orfeo), Cavalli (La Didone, La Calisto), Landi (La Morte d'Orfeo), Handel (Scipione, Riccardo Primo, Rinaldo, Admeto, Giulio Cesare, Serse, Arianna in Creta, Tamerlano, Ariodante, Semele, Alcina), Lully (Persée, Roland, Bellérophon, Phaéton, Amadis, Armide, Alceste), Desmarest (Vénus et Adonis), Mondonville (Les Fêtes de Paphos), Cimarosa (Il Mercato di Malmantile, Il Matrimonio segreto), Traetta (Antigona, Ippolito ed Aricia), Jommelli (Armida abbandonata), Martin y Soler (La Capricciosa corretta, Il Tutore burlato), Mozart (Mitridate, Die Entführung aus dem Serail, Così fan tutte, Die Zauberflöte), Salieri (La Grotta di Trofonio, Les Danaïdes, Les Horaces, Tarare), Rameau (Zoroastre, Castor et Pollux, Les Indes galantes, Platée, Pygmalion), Gluck -
Ruggiero Transl
Francesca Caccini La Liberazione di Ruggiero dall’isola d’Alcina Translation © 2013 Anne Graf / Selene Mills FRANCESCA CACCINI music for women’s voices, for herself and her (1587 to post-1641) pupils, and contributed to many court entertainments, but this is her only surviving ‘La Liberazione di Ruggiero dall’isola opera. d’Alcina’ (1625): The opera: ‘La liberazione di Ruggiero Commedia in musica: Prologue and 4 Scenes dall’isola d’Alcina ’ was commissioned by Florence’s Regent Archduchess, Maria Introduction, Dramatis Personae & List of Magdalena of Austria (hence her honorific Scenes, Synopsis, and Translation mention in the opera’s concluding ballet stage (the last with much help from Selene Mills): directions). It was published under her auspices for the state occasion of the visit to Anne Graf 2010 / rev. 2013 Carnival by a Polish prince, Wladislas Sigismund. It celebrates his recent victory Sources over the Turks (symbolised in the opera by the Edition by Brian Clark 2006, pub. Prima la wicked sorceress Alcina). The first Musica! 3 Hamilton St, Arbroath, DD11 5JA performance was in Florence in the Villa (http://www.primalamusica.com), with Notes Poggia Imperiale on 3 February 1625, and it therein; and separate text of the Libretto by was revived in Warsaw in 1628. Ferdinand Saracinelli; -with additional information from the article The music: Francesca set the libretto as a on Francesca Caccini by Suzanne G. Cusick ‘Balletto in Musica ’, part opera, part ballet, in ‘The New Grove Dictionary of Music and lasting about 2 hours, with music, drama and Musicians’ ed. S. Sadie 1980, 2 nd edn.2001, dance, concluding with a grand ‘Cavalry vol.4 pp775-777; Ballet’on horseback ( balletto a cavallo ) such -and from the English translation of ‘ Orlando as was popular in Florence from the mid- Furioso ’ by Guido Waldmann 1974, Oxford 1610’s onwards. -
Roland Tragedie Lyrique in Tre Atti Libretto Di Jean-François Marmontel (Da Roland Di Philippe Quinault)
Nicolò Piccinni ROLAND TRAGEDIE LYRIQUE IN TRE ATTI LIBRETTO DI JEAN-FRANÇOIS MARMONTEL (DA ROLAND DI PHILIPPE QUINAULT) Roland baritono Angélique soprano Médor tenore Thémire soprano Astolfe tenore Coridon tenore Bélise soprano Tersandre baritono Logistille soprano Un isolano tenore Isolani, amanti incantati, marinai, pastori, cavalieri e dame francesi Prima rappresentazione: Parigi, Opéra, 27 gennaio 1778 Piccinni: Roland - atto primo ATTO PRIMO Scena I° La scena rappresenta un villaggio Angelica, Temira ANGELICA ANGÉLIQUE Ah! Il mio cuore è agitato! Ah! que mon cœur est agité! L’amore combatte l’orgoglio. L’amour y combat la fierté. Non so chi dei due prevalga. Je ne sais qui des deux l’emporte, A volte la gloria è più forte, Tantôt la gloire est la plus forte; a volte è l’amore il vincitore. Et tantôt l’amour est vainqueur. Nel mio petto la loro guerra mortale Dans mon sein, leur guerre mortelle Si rinnova ogni momento. A chaque instant se renouvelle. Che tormento, ahimè!, che crudeltà! Quel trouble, hélas! quelle rigueur! Amore funesto! Gloria crudele, Funeste amour, gloire cruelle, non smetterete mai di tormentare il mio cuore? Ne cesserés-vous pas de déchirer mon cœur? TEMIRA THÉMIRE Dimenticate il valore dell’Eroe che vi ama. Vous négligés les dons du Héros qui vous aime. ANGELICA ANGÉLIQUE L’invincibile Orlando ha fatto fin troppo per me. L’invincible Roland n’a que trop fait pour moi. Fatemi ricordare di che cosa gli sono debitrice. Fais-moi ressouvenir de ce que je lui doi. TEMIRA THÉMIRE Non gli dovete nulla per il suo sconfinato Que ne devés-vous pas à son amour extrême? amore? ANGELICA ANGÉLIQUE Ho pensato anche di poterlo fare, J’y pense autant que je le puis; ma, malgrado tutte le mie cure, nel tormento in Mais, malgré tous mes soins, dans le trouble cui sono, où je suis, temo di essermi dimenticata di me stessa. -
Robert Garnier's Bradamante (1582): an English Translation of Act IV, with An
Robert Garnier's Bradamante (1582): An English Translation of Act IV, With an Introduction Concerning the Historical Development of the Title Character An Honors Thesis (HONRS 499) by Nathan Rush Thesis Advisor Dr. Donald Gilman Ball State University Muncie, Indiana May 2009 Expected Date of Graduation: December 2009 c I ( f '-11 ," -11 ! ( .~ ..;.3 0 Table of Contents ;.' ( , . k -il' ~ , ' f 1. Abstract .................................................................. '" .................................................... 3 2. Acknowledgements ...................................................................................................... 4 3. Introduction .................................................................................................................. 5 4. Difficulties of Translation .......................................................................................... 16 5. Works Cited ................................................................................................................ 18 6. Translation .................................................................................................................. 20 7. Endnotes ..................................................................................................................... 39 2 Abstract The title character of Robert Garnier's Bradamante (1582) was introduced to French literature through the matiere de France (Matter of France), epic poems written during the Middle Ages. The personage of Bradamante was expanded over time