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This book offers an integrated interpretative analysis of the major thematic aspects of the English fourteenth-century romance Sir Gawain and the Green Knight. The chief aim of author Piotr Sadowski is to look at the contents of the narrative in their entirety and to take full advantage of the poem's exceptional and widely praised harmony of structure and design. Within that design, Sadowski focuses on the poem's presentation of the main protagonist and his adventures, seen first of all as a generalized metaphor of the human life understood as a spiritual quest, and, in a more historical sense, as an expression and critique of certain ideals, values, and anxieties that characterized the late medieval institutions of the court, chivalry, and the Church. Sadowski built the interpretive framework of Sir Gawain from an eclectic theoretical base that he believes is most valuable and useful in approaching medieval literature. The main focus of the study remains the literary text itself, created by an author who communicates his view of the world through the poem.
This book tells the extraordinary story of a village of peasants and miners who were slaves belonging to the king of Spain and whose local patroness was a vision of the virgin. It explores the ways the royal slaves, assisted by te force of popular religion, achieved a degree of freedom unprecedented in other colonial societies of the New World.
The monk and the knight -- the two quintessentially medieval European heroes -- were combined in the Knights Templar and in the other military orders founded in the era of the Crusades. With characteristic eloquence, Bernard of Clairvaux voices the cleric's view of knights, warfare, and the conquest of the Holy Land in five chapters on the knights' vocation. Then the cistercian abbot who never visited Palestine and discouraged monks who proposed doing so, in another eight chapters, provides a spiritual tour of the pilgrimage sites guarded by this 'new kind of knighthood and one unknown to ages gone by.'
For countless centuries, I've been the assassin for the infamous Merlin, even though the woman who birthed me sits at the right hand of our enemy, Morgen le Fey. Now both my mother and Morgen have decided that it's time I take my place on their side of this conflict. Normally, telling them no wouldn't be a problem, except for the fact that the good guys I protect think that I'm an even worse demon than the ones we fight. Hmm, maybe they're right. I have to say that I do enjoy maiming anyone who gets in my way. At least until my mother gives me a simple choice: join Morgen's Circle of the Damned or see an innocent woman die. I'm all for saving the innocent, but Merewyn isn't as innocent as she seems. And she's none too fond of the fact that her fate is in my dubious hands. Personally I'm all for taking the easy way out, but leaving her to Morgen is rough, even for me. Now the only way to save both our lives is to face the evilest forces ever known—my mother and Morgen. And two people who know nothing of trust must learn to rely on each other or die: provided we don't kill each other first.
Shown on the back cover is a pictures of Fern Falls in Rocky Mountain National Park of the USA (about one mile high) taken by the Author in 2012 Mister Brian Starr . On the front cover are some old talesiens, The Knight Maker has many secrets found in Christianity as well the title Knight, meaning the past times. The book has many pages that any Christian would benefit from.
Some fifty years before Chrétien de Troyes wrote what is probably the first and certainly the most influential story of the Holy Grail, images of the Virgin Mary with a simple but radiant bowl (called a “grail” in local dialect) appeared in churches in the Spanish Pyrenees. In this fascinating book, Joseph Goering explores the links between these sacred images and the origins of one of the West’s most enduring legends. While tracing the early history of the grail, Goering looks back to the Pyrenean religious paintings and argues that they were the original inspiration of the grail legend. He explains how storytellers in northern France could have learned of these paintings and how the enigmatic “grail” in the hands of the Virgin came to form the centerpiece of a story about a knight in King Arthur’s court. Part of the allure of the grail, Goering argues, was that neither Chrétien nor his audience knew exactly what it represented or why it was so important. And out of the attempts to answer those questions the literature of the Holy Grail was born.
Scotland, 1540 Katrina McLeod fled an arranged marriage, decreed by King James of Scotland, to a man with a fearful reputation, only to find herself on trial for her life! Accused of witchcraft, her salvation lies in the hands of brooding nobleman Duncan Rothmore…. When Duncan saves Katrina from a grisly fate in exchange for warming his bed, he has no idea she is really an untouched, high-born lady. He knows only that she stirs something in his wounded heart and afflicted body that no other woman ever has. But if he wishes to make Katrina his bride, Duncan must betray his king.
Examining English, Latin, French, and German texts, The Knight, the Cross, and the Song traces the role of secular chivalric literature in shaping Crusade propaganda across three centuries.
The Knight, the Cross, and the Song offers a new perspective on the driving forces of crusading in the period 1100-1400. Although religious devotion has long been identified as the primary motivation of those who took the cross, Stefan Vander Elst argues that it was by no means the only focus of the texts written to convince the warriors of Western Christianity to participate in the holy war. Vander Elst examines how, across three centuries, historiographical works that served as exhortations for the Crusade sought specifically to appeal to aristocratic interests beyond piety. They did so by appropriating the formal and thematic characteristics of literary genres favored by the knightly class, the chansons de geste and chivalric romance. By using the structure, commonplaces, and traditions of chivalric literature, propagandists associated the Crusade with the decidedly secular matters to which arms-bearers were drawn. This allowed them to introduce the mutual obligation between lord and vassal, family honor, the thirst for adventure, and even the desire for women as parallel and complementary motivations for Crusade, making chivalric and literary concerns an indelible part of the ideology and practice of holy war. Examining English, Latin, French, and German texts, ranging from the twelfth-century Gesta Francorum and Chanson d'Antioche to the fourteenth-century Krônike von Prûzinlant and La Prise d'Alixandre, The Knight, the Cross, and the Song traces the historical development and geographical spread of this innovative use of secular chivalric fiction both to shape the memory and interpretation of past events and to ensure the continuation of the holy war.