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This volume aims at taking the first steps towards a revaluation of urban historiography in Northwest Europe, including rather than excluding texts that do not fit common definitions. It confronts examples from the Low Countries to well-studied cases abroad, in order to develop new approaches to urban historiography in general. In the authors' view, there are no fixed textual formats, social or political categories, or material forms that exclusively define 'the urban chronicle'. Urban historiography in pre-modern Western Europe came in many guises, from the dry and modest historical notes in a guild register, to the elaborate heraldic images in a luxury manuscript made on commission for a patrician family, to the legally founded political narrative of a professional scribe in an official town chronicle. The contributions in this volume attest to the diversity of the 'genre' and look more closely at these texts from a broader, comparative perspective, unrestrained by typologies and genre definitions. It is mainly because of these hybrid guises, that many examples of urban historiography from the Low Countries for instance succeeded in going unnoticed for a considerable amount of time.
A cross-cultural, comparative view on the transition from a predominant 'culture of handwriting' to a predominant 'culture of print' in the late medieval and early modern periods is provided here, combining research on Christian and Jewish European book culture with findings on East Asian manuscript and print culture. This approach highlights interactions and interdependencies instead of retracing a linear process from the manuscript book to its printed successor. While each chapter is written as a disciplinary study focused on one specific case from the respective field, the volume as a whole allows for transcultural perspectives. It thereby not only focusses on change, but also on simultaneities of manuscript and printing practices as well as on shifts in the perception of media, writing surfaces, and materials: Which values did writers, printers, and readers attribute to the handwritten and printed materials? For which types of texts was handwriting preferred or perceived as suitable? How and under which circumstances could handwritten and printed texts coexist, even within the same document, and which epistemic dynamics emerged from such textual assemblages?
Alongside annals, chronicles were the main genre of historical writing in the Middle Ages. All chronicles raise such questions as by whom, for whom, or for what purpose they were written, how they reconstruct the past, or which literary influences are discernible in them. Their significance as sources for the study of history, literature, linguistics, and art is widely appreciated. The series The Medieval Chronicle, published in cooperation with the Medieval Chronicle Society (medievalchronicle.org), provides a representative survey of on-going research in the field of chronicle studies, illustrated by examples from a wide variety of countries, periods, and cultural backgrounds.
Both in our time and in the past, death was one of the most important aspects of anyone’s life. The early modern period saw drastic changes in rites of death, burials and commemoration. One particularly fruitful avenue of research is not to focus on death in general, but the moment of death specifically. This volume investigates this transitionary moment between life and death. In many cases, this was a death on a deathbed, but it also included the scaffold, battlefield, or death in the streets. Contributors: Friedrich J. Becher, Benedikt Brunner, Isabel Casteels, Martin Christ, Louise Deschryver, Irene Dingel, Michaël Green, Vanessa Harding, Sigrun Haude, Vera Henkelmann, Imke Lichterfeld, Erik Seeman, Elizabeth Tingle, and Hillard von Thiessen.
The concept of a Northern European 'Renaissance' in the arts, in thought, and in more general culture north of the Alps often evokes the idea of a cultural transplant which was not indigenous to, or rooted in, the society from which it emerged. Classic definitions of the European 'Renaissance' during the 14th, 15th and 16th centuries have often seen it as an Italian import of, for example, humanism and classical learning into the Gothic North. There were certainly differences between North and South which have to be addressed, not least in the development of the visual arts. In this book, Malcolm Vale argues for a Northern Renaissance which, while cognisant of Italian developments, had a life of its own, expressed through such innovations as a rediscovery of pictorial space and representational realism, and which displayed strong continuities with the indigenous cultures of northern Europe. But it also contributed new movements and tendencies in thought, the visual arts, literature, religious beliefs and the dissemination of knowledge which often stemmed from, and built upon, those continuities. A Short History of the Renaissance in Northern Europe – while in no way ignoring or diminishing the importance of the Greek and Roman legacy – seeks other sources, and different uses of classical antiquity, for a rather different kind of 'Renaissance' in the North.
Heraldry is often seen as a traditional prerogative of the nobility. But it was not just knights, princes, kings, and emperors who bore coats of arms to show off their status in the Middle Ages. The merchants and craftsmen who lived in cities, too, adopted coats of arms and used heraldic customs, including display and destruction, to underline their social importance and to communicate political messages. Medieval burgesses were part of a fascination with heraldry that spread throughout pre-modern society and looked at coats of arms as honoured signs of genealogy and history. Heraldry in Urban Society analyses the perceptions and functions of heraldry in medieval urban societies by drawing on both English- and German-language sources from the late fourteenth to the early sixteenth centuries. Despite variations that point to socio-political differences between cities (and their citizens) in the relatively centralized monarchy of medieval England and the more independent-minded urban governments found in the less closely connected Holy Roman Empire, urban heraldry emerges as a versatile and ubiquitous means of multimedia visual communication that spanned medieval Europe. Urban heraldic practices defy assumptions about clearly demarcated social practices that belonged to 'high'/'noble' as opposed to 'low'/'urban' culture. Townspeople's perceptions of coats of arms paralleled those of the nobility, as they readily interpreted and carefully curated them as visual expressions of identity. These perceptions allowed townspeople of all ranks, as well as noble outsiders, to use heraldry and its display - along with its defacement and destruction - in manuscripts, spaces (such as town houses, public monuments, halls, and churches), and performances (like processions and joyous entries) to address perennial problems of urban society in the Middle Ages. The coats of arms of burgesses, guilds, and cities were communicative means of individual and collective representation, social and political legitimization, conducting and resolving conflicts, and the pursuit of elevated status in the urban hierarchy. Likewise, heraldic communication negotiated the all-important relationship between the city and wider, extramural society - from the commercial interests of citizens to their collective ties to the ruler.
The articles here concern the period from the end of the Roman Empire up to the 10th-11th centuries and the lands between the Loire and the Rhine, most particularly the Low Countries. Rural history forms the subject of the first studies, which focus on the large ’classical’ estates of the Carolingian period. Adriaan Verhulst has argued convincingly that these were medieval creations, not any inheritance from Late Antiquity, and emphasizes their regional differences. The following section, on urban history, consists of three studies on the origins and early development of the key Flemish cities of Ghent, Bruges and Antwerp (this last now in English), and three broader-ranging essays which seriously challenge Pirenne’s long accepted views of town origins. In these the author makes full use of contemporary archaeological research to supplement the scanty written sources and to examine the possibilities of (dis)continuity from Roman times through the early Middle Ages. Cette série d’articles concerne la période allant de la fin de l’Empire romain jusqu’aux 10 et 11e siècles et le territoires situés entre la Loire et le Rhin, avec un attachement plus particulier aux pays bas. Les premières études, qui se concentrent sur les grands domaines ’classiques’ de l’époque carolingienne, ont pour sujet l’histoire rurale. Adriaan Verhulst a soutenu de façon convaincante qu’il s’agissait là de créations médiévales, plutôt que d’un héritage provenu de l’Antiquité tardive, et il en souligne les différences régionales. La section suivante, qui traite de l’histoire urbaine, consiste en trois études sur les origines et le développement des cités flamandes de Gand, Bruges et Anvers, et en trois essais moins spécifiques, qui remettent sérieusement en question les opinions de Pirenne - acceptées de longue date - sur les origines de la ville. Au travers de ces dernières, l’auteur se sert pleinement de la recherche arché
This collection focuses overtly on the internal dynamics and links between art markets in the early modern period, but presupposes that art objects - here visual images - are objects of desire. During this period, however, desire changed; a great deal more of these objects came to be made for ordinary domestic consumption, including devotional purposes, than as tokens of the magnificence, piety, cultivation or learning of individual commissioners. Probably most still were commissioned, but to satisfy tastes that, though differentiated internationally, were widely shared within one country or region. Most too were commissioned at a distance, by agents, and were moved between maker and end-point distributor by specialized traders, many of whom, though far from all, were large-scale operators. The dominant focus of contributors here therefore is on the agents of this distance trade, its mechanisms and its impacts in terms of both satisfying and subtly shaping tastes, all at a range of prices. Measurement and mappings are aspects of this traffic. Focus was sharpened by concentrating on three questions: what is currently known about the numbers of images, whether in the form of paintings, prints, small sculptures or woven textiles, that circulated in early modern Europe? Through what channels and networks were they distributed? And what were the economic, social and institutional contexts?
Alisa van de Haar sheds new light on the debates regarding the form and status of the vernacular in the early modern Low Countries, where both French and Dutch were spoken as local tongues.