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The London School of Economics and Political Science
The London School of Economics and Political Science Mercenaries and the State: How the hybridisation of the armed forces is changing the face of national security Caroline Varin A thesis submitted to the Department of International Relations of the London School of Economics for the degree of Doctor of Philosophy, London, September 2012 ii Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of <83,157> words. iii Abstract The military has been a symbol of nationhood and state control for the past two hundred years. As representatives of a society’s cultural values and political ambitions, the armed forces have traditionally been held within the confines of the modern state. Today, however, soldiers are expected to operate in the shadows of conflicts, drawing little attention to themselves and to their actions; they are physically and emotionally secluded from a civilian population whose governments, especially in the ‘West’, are proceeding to an unprecedented wave of demilitarisation and military budget cuts. -
Late-Medieval France
Late-Medieval France: A Nation under Construction A study of French national identity formation and the emerging of national consciousness, before and during the Hundred Years War, 1200-1453 Job van den Broek MA History of Politics and Society Dr. Christian Wicke Utrecht University 22 June 2020 Word count: 13.738 2 “Ah! Doulce France! Amie, je te lairay briefment”1 -Attributed to Bertrand du Guesclin, 1380 Images on front page: The kings of France, England, Navarre and the duke of Burgundy (as Count of Charolais), as depicted in the Grand Armorial Équestre de la Toison d’Or, 1435- 1438. 1 Cuvelier in Charrière, volume 2, pp 320. ”Ah, sweet France, my friend, I must leave you very soon.” Translation my own. 2 3 Abstract Whether nations and nationalism are ancient or more recent phenomena is one of the core debates of nationalism studies. Since the 1980’s, modernism, claiming that nations are distinctively modern, has been the dominant view. In this thesis, I challenge this dominant view by doing an extensive case-study into late-medieval France, applying modernist definitions and approaches to a pre-modern era. France has by many regarded as one of the ‘founding fathers’ of the club of nations and has a long and rich history and thus makes a case-study for such an endeavour. I start with mapping the field of French identity formation in the thirteenth century, which mostly revolved around the royal court in Paris. With that established, I move on to the Hundred Years War and the consequences of this war for French identity. -
Auguste Rodin's 'The Burghers of Calais' and The
www.amatterofmind.us From the desk of Pierre Beaudry Page 1 of 15 AUGUSTE RODIN’S ‘THE BURGHERS OF CALAIS’ AND THE BLACK DEATH POLICY OF THE ENGLISH How Auguste Rodin created an artistic composition of axiomatic change. by Pierre Beaudry October 20, 2014 FOREWORD ``If a Black Death could spread throughout the world once in every generation, survivors could procreate freely without making the world too full.'' Bertrand Russell – 1949 ``In the event that I am reincarnated, I would like to return as a deadly virus, to contribute something to solving overpopulation.'' Queen Elizabeth's consort Prince Philip – 1988 This is wake-up time. This report is a wake-up call attempting to answer a simple but difficult axiomatic question: “Why is it that American leaders and citizens don’t see that the plague of Ebola that is being brought to their doorsteps at this time is being carried out by the same people who brought about the Black Death to Europe during the fourteenth century?” The answer to that question can be found in the situation that the population of France found themselves into, when the King of England, Edward III, laid siege to the French town of Calais in 1346. www.amatterofmind.us From the desk of Pierre Beaudry Page 2 of 15 INTRODUCTION In his Chronicles, Jean Froissart (1337-1405), A French writer at the court of the King of England, told the story of how the French town of Calais’ people were spared a horrible death by the heroic action of six of their leaders, who voluntarily accepted to give their lives to save them from famine. -
02 Chapter 1 Stoessel
Prologue La harpe de melodie faite saunz mirancholie par plaisir doit bien cescun resjorr pour l'armonie orr, sonner et vei'r. J With the prior verses begins one of the most fascinating musical works in the ars subtilior style, composed by the master musician Jacob de Senleches. This composer, as his name suggests, was a native of northern France whose scant biographical details indicate he was a valued musician at courts in the south at Castile, Navarre and possibly Avignon.2 La harpe de melodie typifies several aspects of the present study. Firstly, its presence in a n1anuscripe copied in the city of Pavia in Lombardy indicates the cultivation of ostensibly French music in the ars subtilior style in northern Italy. Secondly, its musical notation contains novel, experimental notational devices and note shapes that parallel intellectual developments in other fields of culture in this period. I "The melodious harp made without melancholy to please, well may each person rejoice to hear, sing and hear its harmony." (All translations are mine, unless otherwise specified.) 2 The conclusion that Jacob de Senleches was a native of northern France is made on the premise that Senleches is the near-homophone of Senlecques, a village just south of Calais in the County of Artois. The only surviving archival evidence concerning Jacob de Senleches consists of a dispensation made at the Court of Navarre by Charles II of Navarre on 21 sl August, 1383 which speCifies: ... 100 libras a Jacomill de Sen/aches, juglar de harpe, para regresar a donde se encontraba el cardenal de Aragon, su maestro (" 100 libras for Jacob de Senleches, player of the harp, to return to where he was to meet the Cardinal of Aragon, his master."), Jlid. -
Ceremony and Conflict in Fifteenth-Century France: Lancastrian Ceremonial Entries Into French Towns, 1415-1431
113 Ceremony and Conflict in Fifteenth-Century France: Lancastrian Ceremonial Entries into French Towns, 1415-1431 Neil Murphy he renewal of the Hundred Years' War by Henry V led to the rapid T expansion of Lancastrian power in northern France. Although England's military campaigns have been studied in great detail, historians have paid little attention to the Lancastrian monarchy's use of ceremony to establish its rule in France.! This article will principally focus on the ceremonial entry, which was a dynamic and versatile rite that could be adapted to suit the rapidly changing conditions engendered by Lancastrian successes in France. The ceremonial entry underwent a period of intense development in England and France during the later Middle Ages. Following the inclusion of multifaceted dramatic performances in England from 1377 and in France from 1380, entries became increasing complex (Kipling 6). A ceremonial entry was the moment at which a ruler took formal possession of a town, and these entries were used frequently in zones of persistent conflict, such as northern France, where towns regularly passed from one lord to another. Indeed, the Lancastrian rulers of France made at least twenty-three ceremonial entries in the sixteen years running from 1415 to 1431. This article will look at Lancastrian ceremonial entries during the period running from Henry V's invasion of France in August 1415 to his son's coronation at Paris in December 1431. It will provide a wider contextualisation of the Lancastrian monarchy's use of ceremony and relate the developments made to the form and function of the entry to the wider political and economic conditions created by war in northern France. -
Tom Watson's Article
Joanna of Navarre, the “invisible” Queen of England by Natalia Rodríguez-Salcedo and Tom Watson Above the Cathedral’s north aisle and close to the crossing, is the window celebrating the coronation of King George VI and Queen Elizabeth in 1936. Look higher up the window and you will see two other figures. (Fig 1) On the left is Henry IV and to the right is his second wife and queen-consort, Joan of Navarre, whom he married in 1403 at the Cathedral. The historical novelist Anne O’Brien recently called Joan (or Joanna) of Navarre (Juana de Navarra) a queen who was “more invisible than most” [1], but Joan was not only long-lived but a highly successful consort in two realms and once a regent. Fig 1 Images of Henry IV and Joan of Navarre in the Coronation Window designed by Hugh Easton Photos: Simon Newman Joan was probably born at Evreux in northern France on 10 July 1370, and died on 9 July 1437 at Havering-atte-Bower, Essex. [2] She was Duchess consort of Brittany and Queen consort of England. Joan was the regent of Brittany from 1399 until 1403 during the minority of her son John. 1 A member of the Evreux family, she was a daughter of King Charles II of Navarre (later called Charles the Bad) and Joan of Valois, daughter of Jean II of France. Aged sixteen she first married the nearly thirty-years-older Duke John IV of Brittany (Jean de Montfort), who had two English wives before her, at Saillé-près- Guérande on 2 September 1386. -
True Stori He Con Ott Er
T R UE ST O R I HE C O N OTT E R N F. HAMILT O N ! AC ! SO Wi th Illu s t ra ti ons by t he A n t/t a r SA N DS C O . LO N DO N : n H N R I T T A ST R T ST R AN D , E E EE , DIN BUR G H : 1 BAN ! ST R T E 3 . E E 7 h C O N T E N TS C HA PT E R PAG E PREPA C E W H AT W A S A CONDOTTIERE T H E U M L T A W H C H P II . COMM NAL I I I I RECEDED T H E MERCENARY BANDS T H E O R G N S H ST O R Y T H E III . I I AND I OF FREE COMPANIES I I OH H W ! W V . S R ! N A OOD N D G DA B B V . ALB ERICO A IOVANNI AR IANO P VI . ACINO CANE I I O SSON I L M O V . BU I G FRANCESC , CALLED CAR A N LA V . BR A C C O D A O O FO R T E BR AC C IO III I M NT NE, CALLED I X . NICOLO P I C C I N IN O MUZ O A T T E N DOLO O Z I , CALLED SF R A X I. O Z U! O F FRANCESC SFOR A , D E MILAN X I I DA G . -
A Gendered Analysis of Catherine Benincasa's Letters
The College of Wooster Libraries Open Works Senior Independent Study Theses 2017 Saint or Politician: A Gendered Analysis of Catherine Benincasa’s Letters Jacob Hailperin-Lausch The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Recommended Citation Hailperin-Lausch, Jacob, "Saint or Politician: A Gendered Analysis of Catherine Benincasa’s Letters" (2017). Senior Independent Study Theses. Paper 7556. https://openworks.wooster.edu/independentstudy/7556 This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2017 Jacob Hailperin-Lausch The College of Wooster Saint or Politician: A Gendered Analysis of Catherine Benincasa’s Letters By Jacob Hailperin-Lausch Presented in Partial Fulfillment of the Requirements of Senior Independent Study Supervised by Madonna Hettinger Department of History Spring 2017 Abstract: Over the nearly seven hundred years since Catherine Benincasa’s death there has been a flow of almost continuous scholarly and spiritual work that has been written about her. Catherine is one of the few well documented women, of her historical period, in history. However, there is a large gap in the historiography of Catherine, and that is looking at the effect of her letters on her audience and possible implications of her letters on the political and spiritual landscape of her time and beyond. An important piece of looking at Catherine’s spiritual and political career is using a feminist or subaltern methodology to understand how Catherine’s gender influenced the outcome of her career. -
Saint Joan Timeline Compiled by Richard Rossi
1 Saint Joan Timeline Compiled by Richard Rossi A certain understanding of the historical background to Saint Joan is necessary to fully understand the various intricacies of the play. As an ocean of ink has been spilled by historians on Joan herself, I shall not delve too deeply into her history, keeping closely to what is relevant to the script. My dates, which may not necessarily match those that Shaw used, are the historically accepted dates; where there is discrepancy, I have notated. In some cases, I have also notated which characters refer to certain events in the timeline. There is a great deal of history attached to this script; the Hundred Years War was neither clean nor simple, and Joan was, as The Inquisitor says, “...crushed between these mighty forces, the Church and the Law.” 1st Century: Saint Peter founds the Catholic Church of Rome. (Warwick mentions St. Peter) 622: Establishment of Mohammad’s political and religious authority in Medina. (Cauchon mentions the prophet) 1215: The Waldensian movement, founded by Peter Waldo around 1170, is declared heretical at the Fourth Lateran Council. The movement had previously been declared heretical in 1184 at the Synod of Verona, and in 1211 80+ Waldensians were burned at the stake at Strausbourg. This was one of the earliest proto-Protestant groups and was very nearly destroyed. 1230’s: Establishment of the Papal Inquisition, which would later prosecute the trial against Joan of Arc. (Mentioned by Warwick. This is the same inquisition mentioned throughout the script) 1328: Charles IV of France dies without a male heir, ending the Capetian Dynasty and raising some very serious questions regarding the right of inheritance. -
The Crown of Aragon
The Crown of Aragon A Singular Mediterranean Empire Edited by Flocel Sabaté Linguistic correction by Chris Boswell LEIDEN | BOSTON For use by the Author only | © 2017 Koninklijke Brill NV Contents Preface vii Flocel Sabaté List of Maps xi List of Contributors xii 1 The Crown of Aragon in Itself and Overseas: A Singular Mediterranean Empire 1 Flocel Sabaté 2 The Northeast Iberian Peninsula and its Muslim Rulers (Eighth–Twelfth Century) 37 Jesús Brufal 3 Aragon and the Catalan Counties Before the Union 70 Adam J. Kosto 4 An Intense but Stymied Occitan Campaign 92 Pere Benito 5 The Culture (Ninth–Twelfth Centuries): Clerics and Troubadours 125 Isabel Grifoll 6 The Romanesque in the Mountains and on the Border 150 Xavier Barral-i-Altet 7 Territory, Power and Institutions in the Crown of Aragon 172 Flocel Sabaté 8 The Beginnings of Urban Manufacturing and Long Distance Trade 201 Antoni Riera 9 Crises and Changes in the Late Middle Ages 237 Antoni Riera For use by the Author only | © 2017 Koninklijke Brill NV vi Contents 10 The Commercial Influence of the Crown of Aragon in the Eastern Mediterranean (Thirteenth–Fifteenth Centuries) 279 Damien Coulon 11 The People: Labourers and Rulers in an Expanding Society 309 Maria Bonet 12 Islands and the Control of the Mediterranean Space 337 Alessandra Cioppi and Sebastiana Nocco 13 Language: From the Countryside to the Royal Court 361 Lola Badia and Isabel Grifoll 14 Writers at the End of Middle Ages 387 Lola Badia 15 A Gothic Mediterranean Catalan Art 411 Xavier Barral-i-Altet 16 Identities in Contact in the Mediterranean 431 Flocel Sabaté 17 The Medieval Legacy: Constitutionalism versus Absolutism. -
De France Ou Recueil Général Des Généalogies Historiques
N O BT LIAI R E UNIVERSEL DE FRANCE OU RECUEIL GÉNÉRAL DES GÉNÉALOGIES HISTORIQUES DES MAISONS NOBLES DE CE ROYAUME PAR M. DE SAINT-ALLAIS AVEC LE CONCOURS DE MM. DE COURCELLES, L’ABBÉ DE L’ESPINES, DE SA1NT-PONS ET AUTRES GENEALOGISTES CELEBRES TOME SEPTIÈME DEUXIÈME PARTIE PARIS LIBRAIRIE BAC HE LIN-DE F LO RENNE 3 , QUAI HA LAQUAIS , 3 MDCCCLXXIV CRACOVTENSIS 6 n v| i Biblioteka Jagiellortska 1001425436 DE LA BOESSIÈRE CHAMBORS. 2 57 léon , maison dont MM. d’Esclignac et de Montesquiou se font honneur d’être issus, et qui était ellè-même une branche de celle des premiers rois de Navarre et d’Ara gon ; elle était fille de Louis-AIexandre , marquis de Poli- gnac, et de Constance-Gabrielle-Bonne Le Vicomte de Rumain, dame d’honneur de Madame la duchesse d’Or léans; elle mourut à Lisbonne en 1799. Madame de Polignac avait pour mère Constance-Si- mone-Flore-Gabrielle de Rouault, descendante du maré chal de ce nom, et pour sœur la marquise d’Usson , dame pour accompagner M a d a m e Elisabeth , sœur des rois Louis XVI et Louis XVIII. La comtesse de Chambors n’a laissé qu’une fille, Caro- line-Marie-Thérèse-Constance, née en 1787 et tenue sur les fonts de baptême par M o n s ie u r , frère du R oi, et par M adam e duchesse d’Angoulême; elle a épousé, en 1811 , Héracle-Charles-Alexandre, comte de Polignac, fils de Charles-Louis-Alexandre , comte de Polignac, maréchal- de-camp, et d’Adélaïde-Christine-Adolphe Sanguin de Livry, dame pour accompagner M a d a m e , épouse du roi Louis XVIII. -
0X0a I Don't Know Gregor Weichbrodt FROHMANN
0x0a I Don’t Know Gregor Weichbrodt FROHMANN I Don’t Know Gregor Weichbrodt 0x0a Contents I Don’t Know .................................................................4 About This Book .......................................................353 Imprint ........................................................................354 I Don’t Know I’m not well-versed in Literature. Sensibility – what is that? What in God’s name is An Afterword? I haven’t the faintest idea. And concerning Book design, I am fully ignorant. What is ‘A Slipcase’ supposed to mean again, and what the heck is Boriswood? The Canons of page construction – I don’t know what that is. I haven’t got a clue. How am I supposed to make sense of Traditional Chinese bookbinding, and what the hell is an Initial? Containers are a mystery to me. And what about A Post box, and what on earth is The Hollow Nickel Case? An Ammunition box – dunno. Couldn’t tell you. I’m not well-versed in Postal systems. And I don’t know what Bulk mail is or what is supposed to be special about A Catcher pouch. I don’t know what people mean by ‘Bags’. What’s the deal with The Arhuaca mochila, and what is the mystery about A Bin bag? Am I supposed to be familiar with A Carpet bag? How should I know? Cradleboard? Come again? Never heard of it. I have no idea. A Changing bag – never heard of it. I’ve never heard of Carriages. A Dogcart – what does that mean? A Ralli car? Doesn’t ring a bell. I have absolutely no idea. And what the hell is Tandem, and what is the deal with the Mail coach? 4 I don’t know the first thing about Postal system of the United Kingdom.