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The final years of the Cromwellian Protectorate are usually written off as a brief interlude on the inevitable road to Restoration. This book galvanises this forgotten period of Interregnum studies by providing the first thoroughstudy of the Cromwellian 'Other House' - a new upper parliamentary chamber of nominated life peers created in 1657.Despite the execution of Charles I and the establishment of a kingless republic, the period of the English Civil Wars and their aftermath is rarely described as one of constitutional revolution. The notion that the 1650s were politically conservative is exemplified by the tendency of historians to fixate upon the offer of kingship to Oliver Cromwell and his increasingly monarchical appearance. This book rethinks the political history of the 1640s and 1650sby focusing instead upon the upper parliamentary chamber. Besides exploring changing attitudes towards the House of Lords during the Civil Wars, and the circumstances that led to its abolition in 1649, it provides the first thorough study of the Cromwellian "e;Other House"e; - a new upper parliamentary chamber of nominated life peers created in 1657. Jonathan Fizgibbons demonstrates how the Other House was much more integral to Cromwell's aims for a lasting post-war settlement than the offer of the Crown. More broadly, this book reconceptualises the political and constitutional history of the 1640s and 1650s by looking beyond outward forms of government and visual culture. It argues that radical shifts in political thought were concealed by apparent continuities in forms of government. Even though the new Cromwellian upper chamber had the familiar appearance of a House of Lords, the very meaning of the House of Lords was contested and transformed by the experience of the Civil Wars and their aftermath. JONATHAN FITZGIBBONS is Lecturer in Early Modern History at the University of Lincoln.

A multi-disciplinary approach to two of the most important legal institutions of the Middle Ages.The wars waged by the English in France during the fourteenth and fifteenth centuries led to the need for judicial agencies which could deal with disputes that arose on land and sea, beyond the reach of indigenous laws. This led to the jurisdictional development of the Courts of Chivalry and Admiralty, presiding over respectively heraldic and maritime disputes. They were thus of considerable importance in the Middle Ages; but they have attracted comparatively little scholarly attention. The essays here examine their officers, proceedings and the wider cultural and political context in which they had jurisdiction and operated in later medieval Western Europe. They reveal similarities in personnel, institutions and outlook, as well as in the issues confronting rulers in territories across Europe. They also demonstrate how assertions of sovereignty and challenges to judicial competence were inextricably linked to complex political agendas; and that both military and maritime law were international in reach because they were underpinned by trans-national customs and the principles and procedures of Continental civil law. Combininglaw with military and maritime history, and discussing the art and material culture of chivalric disputes as well as their associated heraldry, the volume provides fresh new insights into an important area of medieval life and culture. ANTHONY MUSSON is Head of Research at Historic Royal Palaces; NIGEL RAMSAY is Honorary Senior Research Associate in the Department of History at University College London. Contributors: Andrew Ayton, Richard Barber, John Ford, Laurent Hablot, Thomas K. Heeboll-Holm, Julian Luxford, Ralph Moffat, Philip Morgan, Bertrand Schnerb, Anne F. Sutton, Lorenzo Tanzini.

First English translation of the memoirs of the vaunted theater producer Aufricht, providing an inside account of the late Weimar theater scene in Berlin and much else of interest.This is the first English translation of the memoirs of the great German-Jewish theater producer Ernst Josef Aufricht (in German 1966, rpt. 1998). The title alludes to Brecht and Weill's Threepenny Opera, the premiere of which was produced by Aufricht at his Theater am Schiffbauerdamm in Berlin in 1928, launching Brecht and Weill to worldwide fame. Aufricht's book is most notable for its insider's account of the Berlin theater scene from the great days of the late 1920s and early 30s. Its range, however, from school years and the military to his time as an actor and then producer, the rise of the Nazis, and finally his long years of exile in France and America, gives the picture of a complex individual with a talent for survival and a winningly understated sense of humor. The book will be of interest to an academic audience, but its reflections on a period of momentous artistic and political events will expand its appeal to a wider group: those interested in twentieth-century German history, music and theater history, as well as the general reader. A selection of photographs, some rare and many showing Aufricht's famous productions, enhances this English edition. Benjamin Bloch is a clinical psychologist who studied German and English Literature at Oberlin College. Marc Silberman is Emeritus Professor of German at the University of Wisconsin.

Takes the recent wave of German autobiographical writing on illness and disability seriously as literature, demonstrating the value of a literary disability studies approach.

Cutting-edge scholarly articles on diverse aspects of Goethe and the Goethezeit, featuring in this volume a special section on acoustics around 1800.The Goethe Yearbook is a publication of the Goethe Society of North America, encouraging North American Goethe scholarship by publishing original English-language contributions to the understanding of Goethe and other authors of the Goethezeit while also welcoming contributions from scholars around the world. Volume 25 features a special section on acoustics around 1800, edited by Mary Helen Dupree, which includes, among others, contributionson sound and listening in Ludwig Tieck's Der blonde Eckbert (Robert Ryder) and on the role of the tympanum in Herder's aesthetic theory (Tyler Whitney). The volume also contains essays on Goethe and stage sequels(Matthew Birkhold), on figures of armament in eighteenth-century German drama (Susanne Fuchs), on the dialectics of Bildung in Wilhelm Meister (Galia Benziman), on the Gothic motif in Goethe's Faust and "e;Von deutscher Baukunst"e; (Jessica Resvick), on Goethe and Salomon Maimon (Jason Yonover), on Goethe's "e;Novelle"e; (Ehrhard Bahr), and on Schiller's Burger critique (Hans Richard Brittnacher). Contributors: Ehrhard Bahr, Galia Benziman, Matthew H. Birkhold, Hans Richard Brittnacher, Linda Dietrick, Mary Helen Dupree, Susanne Fuchs, Deva Kemmis, Jessica C. Resvick, Robert Ryder, Patricia Anne Simpson, Chenxi Tang, Tyler Whitney, Jason Yonover, Chunjie Zhang. Adrian Daub is Associate Professor of German at Stanford University. Elisabeth Krimmer is Professor of German at the University of California Davis.

Traces Eisler's art songs through the political crises of the twentieth century, presenting them as a way to intervene in the nationalist appropriation of aesthetic material.Best known for his collaborations with Bertolt Brecht, composer Hanns Eisler also set nineteenth-century German poetry to music that both absorbs and disturbs the Lieder tradition. This book traces Eisler's art songs (German: Kunstlieder) through twentieth-century political crises from World War I to Nazi-era exile and from Eisler's postwar deportation from the US to the ideological pressures he faced in the early German Democratic Republic. His artsongs are presented not as an escape from the "e;dark times"e; Brecht lamented but rather as a way to intervene in the nationalist appropriation of aesthetic material. The book follows a chronological arc from Eisler's early Morgenstern songs to his Lied-like setting of Brecht's 1939 "e;To Those Who Come After"e; and his treatment of Holderlin's poetry in the 1940s Hollywood Songbook; the final two chapters focus on Eisler's Goethe settings in the early GDR, followed by his late Serious Songs recalling Brahms in their reflective approach. In its combination of textual and musicological analysis, this book balances technical and lay vocabulary to reach readers with or without musical background. The author's practical perspective as a singer also informs the book, as she addresses not only what Eisler asks of the voice but also the challenge of evoking both intimacy and distance in his politically fraught art songs. Heidi Hart holds a PhD in German Studies from Duke University. She is an instructor in the College of Humanities and Social Sciences at Utah State University.

A rich interdisciplinary exploration of the world of Sara Levy, a Jewish salonniere and skilled performing musician in late eighteenth-century Berlin, and her impact on the Bach revival, German-Jewish life, and Enlightenment culture.Sara Levy nee Itzig (1761-1854), a salonniere, skilled performing musician, and active participant in enlightened Prussian Jewish society, played a powerful role in shaping the dynamic cultural world of late eighteenth- and earlynineteenth-century Berlin. A patron and collector of music, she studied harpsichord with Wilhelm Friedemann Bach (1710-84) and commissioned musical compositions from both Friedemann and his brother Carl Philipp Emanuel Bach (1714-88). Archival evidence demonstrates Levy's position as an essential link in the transmission of the music of their father, Johann Sebastian Bach (1685-1750), and as a catalyst for the "e;Bach revival"e; of the early nineteenth century, which was led by her great-nephew Felix Mendelssohn. Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin represents the first scholarly exploration of the cultural, political, and aesthetic contexts that shaped Levy's world. Bringing together leading scholars from the fields of musicology, Jewish Studies, history, literary studies, gender studies, and philosophy, this volume presents cutting-edge, multidisciplinary research on the numerous mutually reinforcing aspects of Levy's life and work. Contributors: Rebecca Cypess, Marjanne E. Gooze, Barbara Hahn, Martha B. Helfer, Natalie Naimark-Goldberg, Elias Sacks, Yael Sela, Nancy Sinkoff, George B. Stauffer, Christoph Wolff, Steven Zohn Rebecca Cypess is Associate Professor of Music at Rutgers University. Nancy Sinkoff is Associate Professor of Jewish Studies and History and Director ofthe Center for European Studies at Rutgers University.

A careful study of the political thought of Machiavelli, Hobbes, and Locke, revealing the roots of modern democracy

This pathbreaking study reveals Purcell's extensive use of symmetry and reversal in his much-loved trio sonatas, and shows how these hidden structural processes make his music multilayered and appealing.

The composer's diaries, translated for the first time, with commentary on his distinctive musical aesthetics and his relationship to artistic cross-currents in Czechoslovakia, France, and America.Bohuslav Martinu (1890-1959) was one of the most productive and frequently performed composers of the mid-twentieth century, renowned for such works as his opera Julietta; the Double Concerto for Two String Orchestras, Piano, and Timpani; and Symphony no. 6 ("e;Fantaisies symphoniques"e;). History books, however, rarely give a sense of what he stood for as a musician. Martinu's Subliminal States fills this gap by discussing the political, cultural, and musical challenges that he faced. The book also offers, for the first time, a translation of the composer's American Diaries, in which he set down his musical philosophy in direct and convincing terms. Martinu's diaries are, in large measure, a quest to establish a new kind of discourse on music. In place of the Romantic sentiment that he found others invoking to explain musical inspiration, Martinu suggested looking for"e;emotion"e; elsewhere, such as in the technical decisions a composer makes while producing the score, or even in the composer's ability to work "e;without conscious involvement."e; And in place of the schematic formal analyses that hefelt were misleading listeners about a work's "e;musical structure,"e; he urged that we treat the work as a Gestalt, or as a synergy of functional relations. Martinu's diaries provide a unique contribution to the history of musical aesthetics and shed light on a composer who loomed large in the musical worlds of Europe and America. THOMAS D. SVATOS is Assistant Professor at Zayed University.

An assessment of the life, work and reputation of Spain's leading Golden Age dramatist

Investigations into the heroic - or not - behaviour of the protagonists of medieval romance.

New essays by leading scholars examining today's vibrant and innovative German crime fiction, along with its historical background.

Analyzes two groups of "musical novels" -- novels that take music as a model for their construction -- including jazz novels by Toni Morrison and Michael Ondaatje, and novels based on Bach's Goldberg Variations.

The leading publication on Brecht, his work, and topics of interest to him; this annual volume documents the International Brecht Society's 2016 symposium, "Recycling Brecht."

The 'Vulgate' and 'Post-Vulgate' cycles are the French equivalent of Malory's Morte Darthur, written in the thirteenth century. Malory drew on both of them as his source, and they are the cornerstone text of all Arthurian romance.

Chapter by chapter summary of the contents of the Vulgate Cycle and the Post-Vulgate Cycle, providing an invaluable outline of them both.

The Story of Merlin depicts the role of the seer Merlin in the conception and birth of Arthur, who is to rescue Britain from the Saxons and establish an ideal kingdom. It follows Arthur's career as he is designated king bythe magical sign of the Sword in the Stone, triumphs over his rebellious barons and drives out the Saxons. With his marriage to Guinevere, he acquires the Round Table, and sets up the famous order of knighthood which is at the centre of his power. The Merlin was written after the last three romances of the Vulgate Cycle were already complete, and serves as a prologue to the history of Arthur, just as the History of the Holy Grail is theprologue to the adventures of the Grail. For a full description of the Vulgate Cycle see the blurb for the complete set.

The revised version of The Quest of the Holy Grail gives a greater role to Perceval, and introduces a number of knights not found in the Vulgate; but the largest change is that much of the story of Tristan (and of his rivalPalamedes) is incorporated into the story. The achievement of the Grail quest centres on Galahad's healing of Pellehan, which has to be accomplished before the knights can reach the Grail itself. The Death of Arthur is little more than a relatively brief postscript, bringing the story of the adventures of the kingdom of Logres to an end; Lancelot and Guenevere are revealed as lovers, and Arthur fights both Lancelot and then the Romans. Despite thisvictory, he is betrayed and killed by Mordred, as has been foreshadowed from the outset of the new material. The romance ends with king Mark of Cornwall's death when he attempts to kill Lancelot and Bors at the hermitage to whichthey have retreated. For a full description of the Post-Vulgate Cycle see the blurb for the complete set.

Representations of the seven sacraments in medieval art examined in the context of theological, didactic and liturgical sources.

Historians, numismatists and philologists consider fundamental aspects of 9c political and economic history.

"Anglo-Norman Studies" has established itself as one of the leading annuals in the field and this index aims to simplify access to the first decade of scholarhip produced by the Battle Conference. Primarily an index of persons and places, it also includes wider subject entries.

Articles on masterpieces of European religious music, from the middle ages to Stravinsky and Tavener.

Goldsmiths' products examined, combining discussion of object with analysis of inscription and design, and literary and archaeological evidence for smiths and their work.Throughout the Anglo-Saxon period, goldsmiths produced work of a high standard in both design and craftsmanship, both for personal adornment, and to embellish bookbindings, reliquaries, vessels and weapons. Some works are well known, particularly the magnificent gold and garnet regalia from Sutton Hoo, but this represents only a fraction even of the surviving work, and much more has been lost. This book is the first to look at the goldsmiths' products through the eyes of both a specialist in the period and a practical craftsman, combining close examination of the surface and structure of the objects with analysis of inscriptions and evidence for design, and with literary and visualsources of evidence for smiths and their work. Archaeological and documentary evidence for workshops, tools and working processes is also assessed, and up-to-date technical information on materials and techniques is juxtaposed with new practical research to throw light on manufacturing and decorative processes, and, more widely, to give a fresh idea of the position of the goldsmith in his society. Dr ELIZABETH COATSWORTH is Senior Lecturer inthe Department of History of Art and Design, Manchester Metropolitan University; Dr MICHAEL PINDER is Senior Lecturer in the Department of Architecture, Landscape and 3DD, at the same university.

The first comprehensive analysis of the dynamic interpenetration of religion and war in the West from C4 to early C13.

A study of power in the middle ages: the Nevilles of Raby, who included among their members Warwick the Kingmaker, was one of the major baronial families in England.

A study of the career of John of Ibelin, followed by his record of the institutions, government and resources of the kingdom of Jerusalem in the 13c.

Comparative studies of medieval chant traditions in western Europe, Byzantium and the Slavic nations illuminate music, literacy and culture.

The vogue in Victorian times for matters Arthurian owes much to the poetry of Arnold and Morris. Unlike Tennyson, however, neither of these poets is now remembered primarily for his Arthurian poems. Thus no modern anthology is devoted to this area of their output, a gap this book seeks to rectify.