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Catalog of an exhibition held at the Bibliothaeque royale de Belgique.
A historical and biographical study of Charles's personality and his role as ruler, 1467-1477, discussing his relationship with his subjects and his neighbours, and giving particular attention to his imperial plans and projects and his clash with the Swiss.
Philip, who ruled from 1419 to 1467, was one of the most powerful and influential rulers of the fifteenth century. Forced into an alliance with the English, he soon found that he held the balance of power between England and France - reflected in the final crucial phase of the Hundred Years War. Under Philip the Good, grandson of the founder of the duchy's power, Burgundy reached its apogee. Professor Vaughan portrays not only Philip the Good himself, perhaps the most attractive personality among the four great dukes, butthe workings of the court and of one of the most efficent - if not necessarily the most popular - administrations in fifteenth-century Europe. The complex diplomatic history of Philip the Good's long ducal reign (1419-1467) occupies much of the book, in particular Burgundy's relations with England and France. The central theme is Philip the Good's policy of territorial and personal aggrandisement, which culminated in his negotiations with the Holy Roman Emperor for a crown. And due attention is given to the great flowering of artistic life in Burgundy which made Philip's court at Dijon an important cultural centre in the period immediately preceding the Renaissance. All this is based on the close study of the considerable surviving archives of Philip's civil service, and on the chronicles and letters of the period. Philip the Good provides a definitive study of the life and times of the rulerwhose position and achievements made him the greatest magnate in Europe during what has been called "the Burgundian century".
The Illuminated Chronicle was composed in 1358 in the international artistic style at the royal court of Louis I of Hungary. Its text, presented here in a new edition and translation, is the most complete record of Hungary's medieval historical tradition, going back to the eleventh century and including the mythical past of its people. The pictures in this manuscript—formerly known as the Vienna Chronicle—are not merely occasional illustrations added to some exemplars, but text and image are closely connected and mutually related to each other, to qualify it as a proper “illuminated chronicle”. The artistic value of the miniatures is quite high, and the characters are drawn with detail and with a knowledge of anatomy. Forty-two of the miniatures are included in the present volume. A full color facsimile will be accessible online. The 147 pictures are an invaluable source of information on late medieval cultural history, costume, and court life. In a historiographical context, The Illuminated Chronicle is an attempt at the popularization of the national history and a systematic appeal to circles beyond the old monastic-clerical audience. The Illuminated Chronicle (Chronica de gestis Hungarorum e codice picto saec. xiv.) is the ninth volume in the Central European Medieval Texts, a Latin–English bilingual series.
A broad multidisciplinary study that uses the Epistre Othea to examine the visual presentation of knowledge
An exploration of emotional life in the West, considering the varieties, transformations and constants of human emotions over eleven centuries.
The Colossus of Rhodes is both the most famous and the least well-known monument of Ancient Greece. Numbered among the Seven Wonders of the World, this bronze statue of the god Helios, thirty-four metres in height, was created by the sculptor Chares of Lindos between the years 295 and 283 BC, only to be destroyed by an earthquake in 227 BC. The legends that have spread after its collapse seem so strange and contradictory that, from an archaeological point of view, it has become a minor and almost neglected object, which specialists in Greek sculpture barely mention in their work. In The Colossus of Rhodes, the first comprehensive examination of the Colossus, Nathan Badoud mobilises a large array of sources, ranging from antiquity to the present day, proposing an intellectual excavation through the layers of the literary, artistic, and scientific tradition to discover the historical Colossus. It envisages the statue in its religious, political, and topographical contexts, exploring its function, its technique, its appearance, its meaning, and its location. Badoud reconsiders the beginnings of the Hellenistic world, marked by the emergence of Rhodes as an imperial power, embodied by the Colossus.
During the early modern period, regional specified compendia – which combine information on local moral and natural history, towns and fortifications with historiography, antiquarianism, images series or maps – gain a new agency in the production of knowledge. Via literary and aesthetic practices, the compilations construct a display of regional specified knowledge. In some cases this display of regional knowledge is presented as a display of a local cultural identity and is linked to early modern practices of comparing and classifying civilizations. At the core of the publication are compendia on the Americas which research has described as chorographies, encyclopeadias or – more recently – 'cultural encyclopaedias'. Studies on Asian and European encyclopeadias, universal histories and chorographies help to contextualize the American examples in the broader field of an early modern and transcultural knowledge production, which inherits and modifies the ancient and medieval tradition.
A new history of early global literature that treats translators as active agents mediating cultures. In this book, Zrinka Stahuljak challenges scholars in both medieval and translation studies to rethink how ideas and texts circulated in the medieval world. Whereas many view translators as mere conduits of authorial intention, Stahuljak proposes a new perspective rooted in a term from journalism: the fixer. With this language, Stahuljak captures the diverse, active roles medieval translators and interpreters played as mediators of entire cultures—insider informants, local guides, knowledge brokers, art distributors, and political players. Fixers offers nothing less than a new history of literature, art, translation, and social exchange from the perspective not of the author or state but of the fixer.
Drawing on statistical techniques and samples this book offers an estimate of medieval production rates of manuscripts in the Latin West. Such information is a helpful production indicator for a period of which we have so little other quantitative data.