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This collection of essays by eight leading scholars is a landmark event in the study of crusading in the late middle ages. It is the outcome of an international network funded by the Leverhulme Trust whose members examined the persistence of crusading activity in the fifteenth century from three viewpoints, goals, agencies and resonances. The crusading fronts considered include the conflict with the Ottoman Turks in the Mediterranean and western Balkans, the Teutonic Order’s activities in the Baltic region, and the Hussite crusades. The authors review criticism of crusading propaganda on behalf of the crusade, the influence on crusading of demands for Church reform, the impact of printing, expanding knowledge of the world beyond the Christian lands, and new sensibilities about the sufferings of non-combatants.
Revised and updated, this edition makes use of new empirical material to examine the effect of market and trade restrictions on farm people. It argues that these policies have little or no effect on the welfare of such communities.
Forty-five year old Alexander Lebed is a charismatic figure whose dry wit and brusque no-nonsense style sets him apart from most of the familiar faces of Moscow's political elite. In this brawling autobiography, General Alexander Lebed tells his dramatic life story, demonstrating the strengths that make him a likely candidate for a future Russian leadership role. photos.
With a thirty-year run of award-winning, critically acclaimed, and commercially successful plays, from Rosencrantz and Guildenstern Are Dead (1967) to The Invention of Love (1997), Tom Stoppard is arguably the preeminent playwright in Britain today. His popularity also extends to the United States, where his plays have won three Tony awards and his screenplay for Shakespeare in Love won the 1998 Academy Award for Best Original Screenplay. John Fleming offers the first book-length assessment of Stoppard's work in nearly a decade. He takes an in-depth look at the three newest plays (Arcadia, Indian Ink, and The Invention of Love) and the recently revised versions of Travesties and Hapgood, as well as at four other major plays (Rosencrantz, Jumpers, Night and Day, and The Real Thing). Drawing on Stoppard's personal papers at the University of Texas Harry Ransom Humanities Research Center (HRHRC), Fleming also examines Stoppard's previously unknown play Galileo, as well as numerous unpublished scripts and variant texts of his published plays. Fleming also mines Stoppard's papers for a fuller, more detailed overview of the evolution of his plays. By considering Stoppard's personal views (from both his correspondence and interviews) and by examining his career from his earliest scripts and productions through his most recent, this book provides all that is essential for understanding and appreciating one of the most complex and distinctive playwrights of our time.