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A fantasy of an alternate Byzantine Empire by a Hugo and Nebula Award finalist. Byzantium lies at the intersection of East and West, in the heart of the most opulent empire the world has ever known. Warrior Prince Marric has to fight for his right to defend his position as heir of the kingship. Last in the powerful line of kings descended from Alexander the Great, he is ordained by the gods of the people to rule alongside his beloved and wise sister, Alexa. But a sorcerer of dark magic has usurped the throne and Marric is exiled. To win back his rule, he must learn the arts of magic in order to defeat the dark sorcerer. In the land of Egypt, amidst the slave markets and the luxurious perfumed villas of the wealthy, he encounters a silver‐haired slave girl who can teach him the arts of magic, for Marric knows that he cannot vanquish his enemy with sword and strength alone.
Details the role of sports in the classical world from early Greece through the late Roman and early Byzantine empires.
Byzantium's Balkan Frontier is the first narrative history in English of the northern Balkans in the tenth to twelfth centuries. Where previous histories have been concerned principally with the medieval history of distinct and autonomous Balkan nations, this study regards Byzantine political authority as a unifying factor in the various lands which formed the empire's frontier in the north and west. It takes as its central concern Byzantine relations with all Slavic and non-Slavic peoples - including the Serbs, Croats, Bulgarians and Hungarians - in and beyond the Balkan Peninsula, and explores in detail imperial responses, first to the migrations of nomadic peoples, and subsequently to the expansion of Latin Christendom. It also examines the changing conception of the frontier in Byzantine thought and literature through the middle Byzantine period.
Byzantine art has been an underappreciated field, often treated as an adjunct to the arts of the medieval West, if considered at all. In illustrating the richness and diversity of art in the Byzantine world, this handbook will help establish the subject as a distinct field worthy of serious inquiry. Essays consider Byzantine art as art made in the eastern Mediterranean world, including the Balkans, Russia, the Near East and north Africa, between the years 330 and 1453. Much of this art was made for religious purposes, created to enhance and beautify the Orthodox liturgy and worship space, as well as to serve in a royal or domestic context. Discussions in this volume will consider both aspects of this artistic creation, across a wide swath of geography and a long span of time. The volume marries older, object-based considerations of themes and monuments which form the backbone of art history, to considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, and so on-in an up-to-date synthesis of scholarship on Byzantine art and architecture. The Oxford Handbook of Byzantine Art and Architecture is a comprehensive overview of a particularly rich field of study, offering a window into the world of this fascinating and beautiful period of art.
Publicly performed rituals and ceremonies form an essential part of medieval political practice and court culture. This applies not only to western feudal societies, but also to the linguistically and culturally highly diversified environment of Byzantium and the Mediterranean basin. The continuity of Roman traditions and cross-fertilization between various influences originating from Constantinople, Armenia, the Arab-Muslim World, and western kingdoms and naval powers provide the framework for a distinct sphere of ritual expression and ceremonial performance. This collective volume, placing Byzantium into a comparative perspective between East and West, examines transformative processes from Late Antiquity to the Middle Ages, succession procedures in different political contexts, phenomena of cross-cultural appropriation and exchange, and the representation of rituals in art and literature. Contributors are Maria Kantirea, Martin Hinterberger, Walter Pohl, Andrew Marsham, Björn Weiler, Eric J. Hanne, Antonia Giannouli, Jo Van Steenbergen, Stefan Burkhardt, Ioanna Rapti, Jonathan Shepard, Panagiotis Agapitos, Henry Maguire, Christine Angelidi and Margaret Mullett.
The Byzantine Empire, fragmented and enfeebled by the Fourth Crusade in 1204, never again recovered its former extent, power and influence. Its greatest revival came when the Byzantines in exile reclaimed their capital city of Constantinople in 1261 and this book narrates the history of this restored empire from 1261 to its conquest by the Ottoman Turks in 1453. First published in 1972, the book has been completely revised, amended, and in part rewritten, with its source references and bibliography updated to take account of scholarly research on this last period of Byzantine history carried out over the past twenty years.
This book, the first of this scope to have been published, traces the diplomatic, cultural and commercial links between Constantinople and Venice from the foundation of the Venetian republic to the fall of the Byzantine Empire. It aims to show how, especially after the Fourth Crusade in 1204, the Venetians came to dominate first the Genoese and thereafter the whole Byzantine economy. At the same time the author points to those important cultural and, above all, political reasons why the relationship between the two states was always inherently unstable.
The twelve studies contained in this second collection by Henry Maguire are linked together by a common theme, namely the relationship of Byzantine art to the imaginary. They show how art enabled the Byzantines not only to imagine the sacred events of the past, but also to visualize the invisible present by manifesting the spiritual world that they could not see. The articles are grouped around the following five topics: the depiction of nature by the Byzantines before and after iconoclasm, especially in portrayals of the earthly and the spiritual Paradise; the social functions and theological significance of classical artistic forms in Byzantine art after iconoclasm; the association between rhetoric and the visual arts in Byzantium, especially in contrast to the role played by liturgical drama in western medieval art; the relationship of the visual arts to Byzantine concepts of justice and the law, both human and divine; and portrayals of the two Byzantine courts, the imperial court on earth and the imagined court in heaven. The papers cover a wide range of media, including floor and wall mosaics, paintings in manuscripts and churches, ivory carvings, coins, and enamel work.
The eleventh century marked a turning point in the history of the Byzantine Empire. At its start Byzantium was the paramount power in the Mediterranean world, by turns feared, respected and admired. By the century's close the empire had lost half of its territory and had managed only a partial recovery under the leadership of the Komnenos family. How did a powerful and famously wealthy empire collapse so quickly? The contemporary accounts of this turbulent 'long' century (taken here as c. 950–1100) attribute the empire's decline to the emperors' reckless and self-serving favouring of civilian bureaucrats and, while these sources are today widely acknowledged as biased and unreliable, modern assessments of the century have hitherto failed to suggest any tangible alternatives. To circumvent this dearth of archival material, Jonathan Shea has meticulously analysed 2,200 unpublished seals from the period (more than a third of the known total extant today) to uncover exactly whom the emperors were favouring and promoting, as well as developing a nuanced and revealing picture of the makeup of the much-chastised civilian bureaucracy. The sigillographic evidence is throughout measured against the written material to give a fresh account of this key transitional century and a rare insight into Byzantine politics.
The Byzantine princess Theophano, who came to the West in 972 to marry the Ottonian emperor Otto II, died as empress of the Ottonian Empire in Nijmegen in 991. In commemoration of this event a group of distinguished scholars met in 1991 at the castle of Hernen in the Netherlands with the aim of discussing various issues and aspects of Theophano's background in Byzantium, her life in the West, and her impact on society at the turn of the first millennium. This volume brings together in carefully edited form a group of the papers and proceedings from 1991. Each contribution helps to place Theophano in a broad cultural and historical context. The historical, intellectual and artistic background of her age are described, and there are essays on her education, her surroundings, and on the image of noble women in the middle ages.