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9th-century Byzantium has always been viewed as a mid-point between Iconoclasm and the so-called Macedonian revival; in scholarly terms it is often treated as a ’dead’ century. The object of these papers is to question such an assumption. They present a picture of political and military developments, legal and literary innovations, artisanal production, and religious and liturgical changes from the Anatolian plateau to the Greek-speaking areas of Italy that are only now gradually emerging as distinct. Investigation of how the 9th-century Byzantine world was perceived by outsiders also reveals much about Byzantine success and failure in promoting particular views of itself. The chapters here, by an international group of scholars, embody current research in this field; they recover many lost aspects of 9th-century Byzantium and shed new light on the Mediterranean world in a transitional century. The papers in this volume derive from the 30th Spring Symposium of Byzantine Studies, held for the Society for the Promotion of Byzantine Studies at the University of Birmingham in March 1996.
This is a major study of the collapse of the pan-European Carolingian empire and the reign of its last ruler, Charles III 'the Fat' (876–888). The later decades of the empire are conventionally seen as a dismal period of decline and fall, scarred by internal feuding, unfettered aristocratic ambition and Viking onslaught. This book offers an alternative interpretation, arguing that previous generations of historians misunderstood the nature and causes of the end of the empire, and neglected many of the relatively numerous sources for this period. Topics covered include the significance of aristocratic power; political structures; the possibilities and limits of kingship; developments in royal ideology; the struggle with the Vikings and the nature of regional political identities. In proposing these explanations for the empire's disintegration, the book has broader implications for our understanding of this formative period of European history more generally.
Informed by multicultural, multidisciplinary perspectives, The Cambridge History of Early Medieval English Literature offers a new exploration of the earliest writing in Britain and Ireland, from the end of the Roman Empire to the mid-twelfth century. Beginning with an account of writing itself, as well as of scripts and manuscript art, subsequent chapters examine the earliest texts from England, Ireland, Scotland and Wales, and the tremendous breadth of Anglo-Latin literature. Chapters on English learning and literature in the ninth century and the later formation of English poetry and prose also convey the profound cultural confidence of the period. Providing a discussion of essential texts, including Beowulf and the writings of Bede, this History captures the sheer inventiveness and vitality of early medieval literary culture through topics as diverse as the literature of English law, liturgical and devotional writing, the workings of science and the history of women's writing.
Byzantine Military Rhetoric in the Ninth Century is the first English translation of the ninth-century Anonymi Byzantini Rhetorica Militaris. This influential text offers a valuable insight into the warrior ethic of the period, the role of religion in the justification of war, and the view of other military cultures by the Byzantine elite. It also played a crucial role in the compilation of the tenth-century Taktika and Constantine VII’s harangues during a period of intense military activity for the Byzantine Empire on its eastern borders. Including a detailed commentary and critical introduction to the author and the structure of the text, this book will appeal to all those interested in Byzantine political ideology and military history.
Recreates the 9th-century world of Charlemagne through portraits of outstanding figures of the age
"One of the most valuable and original works on the Grail yet to appear in any language." --John Matthews, author of The Mystic Grail "The definitive work on the historical background to the Grail Romances of the mediaeval age." --Trevor Ravenscroft, author of The Spear of Destiny Much plagiarized and its contents distorted over the years, Stein's seminal work is a classic of original scholarly and spiritual research. In studying the central Grail narrative of Wolfram von Eschenbach's Parzival, Stein takes a twofold approach. On the one hand, he searches historical records for the identity of actual people and events concealed behind the Grail epic's veil of romance. On the other hand, Stein deciphers Eschenbach's hidden spiritual messages, showing Parzival to be an esoteric document containing powerful pictures of the human being's inner path of development. Stein reveals the period of the ninth century to be far deeper and more important than to be of mere historical and academic interest. It is the karmic ground from which grows the very destiny of our modern era--the grand battle that must take place between the powers of the Grail and the hindrance of sinister anti-Grail forces at large today.
The Byzantines used imagery to communicate a wide range of issues. In the context of Iconoclasm - the debate about the legitimacy of religious art conducted between c. AD 730 and 843 - Byzantine authors themselves claimed that visual images could express certain ideas better than words. Vision and Meaning in Ninth-Century Byzantium deals with how such visual communication worked and examines the types of messages that pictures could convey in the aftermath of Iconoclasm. Its focus is on a deluxe manuscript commissioned around 880, a copy of the fourth-century sermons of the Cappadocian church father Gregory of Nazianzus which presented to the Emperor Basil I, founder of the Macedonian dynasty, by one of the greatest scholars Byzantium ever produced, the patriarch Photios. The manuscript was lavishly decorated with gilded initials, elaborate headpieces and a full-page miniature before each of Gregory's sermons. Forty-six of these, including over 200 distinct scenes, survive. Fewer than half however were directly inspired by the homily that they accompany. Instead most function as commentaries on the ninth-century court and carefully deconstructed both provide us with information not available from preserved written sources and perhaps more important show us how visual images communicate differently from words.