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The Old English Life of Saint Pantaleon survives in one eleventh century manuscript: it appears here for the first time in an easily available edition. This edition is based both on independent research and on the work of previous scholars. It is a challenging text, from a much-damaged manuscript, but well worth reading: it is interesting both from a linguistic point of view, as a testimony of late Anglo-Saxon language, and also as a sign of continental influence on Anglo-Saxon culture and of a change in literary taste in England on the eve of the Norman Conquest. It is preceded by a full introduction dealing with the history of the text, from Greece to Western Europe and the context of its translation into Old English. The text is accompanied by copious notes dealing with difficult passages and it is made more accessible by a Modern English translation. The edition is completed by a 12th century Latin version which seems to be the closer to its Old English counterpart. The edition is completed by an Anglo-Saxon glossary.

The visual landscape north of the Alps between the 14th and 16th centuries was shaped by colossal representations of epic and mythological giants, reincarnated and cast as Christian heroes. In contexts religious or lay, private or public, giants dominated urban spaces but also rural ones. They were painted on church facades and stood tall as sculptures in town squares. Rather than portraying specific characters from particular texts, the figures embodied the notion of "the gigantic" as it appeared in contemporary writings: superhuman creatures from foreign lands and liminal geographies, often associated with supernatural powers, magic, hypermasculinity, and, concomitantly, matriarchy. Since the naming and identity of these giants do not always correlate--thus destabilizing the images' semiotics--the gap could be filled by fabricated memories of the ancient world. Hence, imagery of giants bridged mythological, biblical, and contemporary times, while producing novel political metaphors. This book explores the role and function of the vision and the experience of the gigantic. Executed "out of scale" and communicating ideas about excess, giants were experienced as physically and ethically abject and, at the same time, as magnificent, apotropaic, and redemptive; as such they came to embody the very notion of the medieval sublime.

Glossaries are the dictionaries of the medieval period. They were created at a time when no comprehensive dictionary of the Latin language existed, but lexicographical resources were urgently needed to engage with the writings of Classical and Late Antiquity as well as near-contemporary texts. In the non-Romance speaking areas in north-western Europe, the compilers of glossaries were quick to have recourse to their vernacular languages. Glossaries are often the places in which these languages were put into writing for the first time. Hence, the effort to explain Latin vocabulary resulted in bilingual lexicography and in the establishment of the vernaculars as written languages in their own right. The negotiation of linguistic and cultural barriers lies at the centre of the glossaries. Consequently, medieval traditions of glossography are highly interconnected. This volume represents the first reference work dedicated to medieval glossaries in English and related traditions, including other languages spoken in the British Isles (Celtic languages, Anglo-Norman) and the Germanic languages (High and Low German, Dutch, Scandinavian, Gothic). As such, it is intended as a vademecum for researchers in order to facilitate modern approaches to medieval glossography, lexicology and lexicography, which often require some familiarity with different traditions. Written by experts in the field, the fifty chapters of this volume highlight important characteristics and themes of medieval glossaries and outline different glossographic traditions; they facilitate access to individual glossaries, or groups of related glossaries, by providing detailed discussions of the texts, their sources, relationships and transmission; they also give an account of the current state of research and highlight important resources.

This volume investigates the origins of one of the most important notions of the contemporary society: privacy. Based on case studies from the early modern Low Countries, privacy is tackled from various historical perspectives: social and cultural history, and the history of art and architecture. The Dutch Republic is well-known for its financial success, which went hand in hand with the development of a distinguished bourgeois culture and religious toleration. The accumulation of wealth among the urban population led to changes in various spheres, from daily life to art. Privacy, as a concept, start to develop in this period. Indeed, new ideas about housing with the invention of corridors, separate rooms that could be locked, and the separation of the 'common' and the 'private' space, all illustrate the growing importance of privacy in this geographical area. In this volume, we trace perspectives on early modern privacy and private life based on primary sources in several domains: letters, diaries, and poems; genre painting in art; communal life as illustrated by the Jewish community; and finally, the homes of the Dutch elite. The essays in this volume make a key contribution to the emergence of early modern privacy studies as a research field, and to the ongoing discussion of privacy in the Low Countries. Equally, these case studies can serve as models for the analysis of privacy in other European contexts.

On the evening of 9 December 1496, Princess Joanna, Infanta of Castile, reaches the outskirts of Brussels where a procession of secular and ecclesiastical dignitaries welcomes her. After having been married to Philip the Fair in Lier, Joanna travelled to Brussels by herself. Equipped with torches and processional crosses, the citizens accompany her all the way to the heart of the city, the large market square with its magnificent town hall. The Berlin manuscript 78 D5 is the first illustrated report of an entry concentrating on one single lady. The manuscript is a treasure to all those interested in urban culture of the Early Modern period. The author of the festival booklet compares the well-lit city with the splendours of Troy and Carthage. Twenty-eight stage sets, or Tableaux Vivants, and an elaborate procession mirror the costly intellectual program presented to the sixteen-year-old princess. The carefully planned theatrical productions underscore themes of marriage, female virtues and the politics of war and peace. The program includes entertainments, soundscapes, and pyrotechnic amusements. The Latin texts are made available in English translation. The entire manuscript, with its sixty-three folios, is reproduced in colour. Eleven leading scholars present their new findings on this spectacular entry from an interdisciplinary approach.

This volume traces Egisto Macchi's creative process for the soundtrack of The Assassination of Trotsky directed by Joseph Losey (1972). Through a close reading of the sources preserved at the Egisto Macchi Collection at the Institute of Music, Fondazione Giorgio Cini, (Venice) and at the Joseph Losey Collection at the British Film Institute (London), the book sheds light on the first collaboration between Losey and Macchi, which continued in the following years for the film Mr. Klein (1976). Why did Losey choose this apparently unknown composer? How did an avant-garde composer approach the cinematic system? What kind of audio-visual experience did Macchi and Losey explore through this film? To answer these questions, the volume deals with different aspects of the creative process, combining letters, notes, drafts, sketches, and the final orchestral scores. The introductory essay presents Egisto Macchi within the context of the Roman avant-garde and the cinematic environments of the Sixties and early-Seventies. The volume is complemented by a wide selection of sources reproduced in facsimile.

This volume is a collection of studies on Latin American scholasticism originally presented at the Fourth International Conference of Medieval Philosophy at the Pontificia Universidade Catolica do Rio Grande do Sul (PUCRS), Porto Alegre, Brazil, November 12-14, 2012. These essays provide a significant overview of authors, works and areas of interest associated to scholastic thought in the 16th-18th centuries, focusing particularly on Latin American or European-born authors whose philosophical and theological careers were significantly set in Latin American soil and, due to their education, reveal a profound acquaintance with European philosophical theories and problems. The reception and development of Medieval thought in Baroque scholasticism, the connections between European philosophy, mainly Iberian scholasticism, and philosophical-theological debates in the New World, and the revisiting by Latin American scholars of Medieval schools of thought and theoretical patterns taught in Europe, prompted by the encounter with several peoples living in the new continent and the search and justification for models of colonization, are some of the relevant issues discussed in here. The studies collected in this volume place colonial scholasticism in the history of ideas by letting authors and their writings speak for themselves.

Music is not only an art (either as the art of composition or the art of performance) but also a subject for scientific investigation. Scientists have always been interested in musical sound, philosophers in the impact of music on the human mind, and musicians may have been puzzled by the scientific foundations of their art. This book collects fourteen studies by authors from various countries about the interrelations between music and science as apparent in the long century from the lifetime of Leonardo da Vinci (1452-1519) to that of Galileo Galilei (1564-1642), a period termed Renaissance, Early Modern or the time of the (first) Scientific Revolution depending on the angle from which this period is approached. It is a time when the Aristotelian physics was replaced by modern pre-Newtonian physics, when Catholicism was challenged by the Reformation, when traditional polyphonic musical styles were supplemented by new monodic styles, vocal and instrumental. Both Leonardo and Galileo had vivid interests in music, but they were not the only ones. The ideas of scientists and philosophers, such as Marin Mersenne, Rene Descartes, Giordano Bruno and Philipp Melanchton are also discussed.

Improvisation is an important aspect of music, not only in jazz and other 'improvised music', but also of classical music. Pianists may add improvised interludes to their recitals and cadenzas to a concerto they perform. They may conclude their recitals by playing compositions composed on the spot, freely invented or on themes handed to them by the public. Violinists and other instrumentalists may do the same. Singers may add embellishments to their arias which are not notated in their scores, a practice widely spread in nineteenth-century opera. For the listener it may perhaps not make very much difference whether or not what he hears is improvised or composed, but for the performer it does, of course. In fact, the improviser shows that he is a real master of the art: he can do at once, without preparation, what others can do only with preparation. But there is also a genre of written compositions which is supposed to sound as improvisations, especially those entitled Improvisation, Fantasy, Impromptu, Prelude, and so forth. Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries brings together twenty essays that do confirm the many sides of the concept of 'improvisation' and the wide range of approaches that can be taken to it. Because of the collective nature of this volume, the approaches do indeed vary greatly. Some contributions deal with improvisation from the conceptual point of view: what really is improvisation? Others deal with certain repertoires, or with specific examples. Some deal with improvised additions, others with improvisational aspects of written compositions. The contribution on the improvisations of the French organist Louis Vierne deals directly with recorded improvisations. The contribution on the flute-cadenza in Donizetti's Lucia di Lammermoor encompasses recorded material, but this was rather semi-improvisational, prepared certainly, but not necessarily notated and not necessarily performed identically every time. Contemporary descriptions of improvisations are found in contributions on Italian music theorists and musicians in general, and in those on composers such as Hummel, Paganini, Beriot, Clara Wieck Schumann, Czerny, Liszt and Henselt. Compositions in improvisatory style are discussed in several of these contributions and in one on nineteenth-century Hungarian or so-called 'Gypsy' music. Ad libitum ornamentation is discussed in relation to Tartini's violin sonatas and nineteenth-century operatic arias. Other contributions discuss the instability that is a property of nearly all music or the migration of motives and schemes from one composition to another, processes that pave the way for improvised additions. Several contributions provide theoretical reflections on improvisation. Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries contains contributions by Carmela Bongiovanni (Genoa), Philippe Borer (Boudry, Switzerland), Rogerio Budasz (Riverside, California), Vincenzo Caporaletti (Rome), Gregorio Carraro (Padoa), Simone Ciolfi (Rome), Damien Colas (Paris), Mariateresa Dellaborra (Pavia), Raffaele Di Mauro (Rome), Martin Edin (Stockholm), Valerie Woodring Goertzen (New Orleans), Martin Kaltenecker (Paris), John Lutterman (Walla Walla, Washington), Naomi Matsumoto (London), Laura Moeckli (Bern), Csilla Petho-Vernet (Paris), Rudolf Rasch (Utrecht), Renato Ricco (Salerno), Rohan Stewart-MacDonald (Cambridge), and Steven Young (Bridgewater, Massachusetts).