Accessing Alcuin enables an excellent multi-disciplinary appreciation of the scholar and theologian, Alcuin, through the manuscript collections and scholarship of medieval history and culture, European Church history and theology. Douglas Dales has provided an authoritative bibliography that comprehensively incorporates the research material that enabled him to complete his definitive study of Alcuin. In this two-volume study, Alcuin: His Life and Legacy and Alcuin: Theology and Thought (both available from James Clarke and Co Ltd), the author demonstrated that the eighth-century theologian, teacher, and statesman was a seminal influence on his generation and those after him. This bibliography is a reflection of the immense research undertaken to reveal not only the rich panorama of Christian culture during the reign of Charlemagne, which is well supported by primary texts and secondary scholarship of high quality, but also the warm personality of Alcuin. This culmination of intense study, academic rigour and historical sensitivity will prompt a fresh evaluation and appreciation of the foundations of Christian culture in Europe. Accessing Alcuin is readily accessible as an e-resource for anyone teaching or researching this subject.

This volume constitutes the post-workshop proceedings of the First International Workshop on Formal Methods – Fun for Everybody, FMFun 2019, held in Bergen, Norway, in December 2019. The 7 revised full papers and 2 revised short papers presented in this volume were carefully reviewed and selected from 15 submissions. A white paper and two keynote papers are also included. The papers explore ways of utilizing the pathway to transforming and spreading formal methods. The vision of this workshop series is that formal methods ought to be taught in such a way that every student can have fun with it.

Research into the emotions is beginning to gain momentum in Anglo-Saxon studies. In order to integrate early medieval Britain into the wider scholarly research into the history of emotions (a major theme in other fields and a key field in interdisciplinary studies), this volume brings together established scholars, who have already made significant contributions to the study of Anglo-Saxon mental and emotional life, with younger scholars. The volume presents a tight focus - on emotion (rather than psychological life more generally), on Anglo-Saxon England and on language and literature - with contrasting approaches that will open up debate. The volume considers a range of methodologies and theoretical perspectives, examines the interplay of emotion and textuality, explores how emotion is conveyed through gesture, interrogates emotions in religious devotional literature, and considers the place of emotion in heroic culture. Each chapter asks questions about what is culturally distinctive about emotion in Anglo-Saxon England and what interpretative moves have to be made to read emotion in Old English texts, as well as considering how ideas about and representations of emotion might relate to lived experience. Taken together the essays in this collection indicate the current state of the field and preview important work to come. By exploring methodologies and materials for the study of Anglo-Saxon emotions, particularly focusing on Old English language and literature, it will both stimulate further study within the discipline and make a distinctive contribution to the wider interdisciplinary conversation about emotions.

Essays on aspects of iconography as manifested in the material culture of medieval England.

"Christians and Pagans" offers a comprehensive and highly readable account of the coming of Christianity to Britain, its coexistence or conflict with paganism, and its impact on the lives of both indigenous islanders and invading Anglo-Saxons.The Christianity of Roman Britain, so often treated in isolation, is here deftly integrated with the history of the British churches of the Celtic world, and with the histories of Ireland, Iona, and Pictland. Combining chronicle and literary evidence with the fruits of the latest archaeological research, Malcolm Lambert illuminates how the conversion process changed the hearts and minds of early Britain.

Richly illustrated and exhaustively researched, "Glut" takes readers on an intriguing cross-disciplinary journey through the deep history of human knowledge systems and examines the problem of information overload.

Tirades against legal theatrics are nearly as old as law itself, and yet so is the age-old claim that law must not merely be done: it must be "seen to be done." Law as Performance traces the history of legal performance and spectatorship through the early modern period. Viewing law as the product not merely of edicts or doctrines but of expressive action, it investigates the performances that literally created law: in civic arenas, courtrooms, judges' chambers, marketplaces, scaffolds, and streets. It examines the legal codes, learned treatises, trial reports, lawyers' manuals, execution narratives, rhetoric books, images (and more) that confronted these performances, praising their virtues or denouncing their evils. In so doing, it recovers a long, rich, and largely overlooked tradition of jurisprudential thought about law as a performance practice. This tradition not only generated an elaborate poetics and politics of legal performance. It provided western jurisprudence with a set of constitutive norms that, in working to distinguish law from theatrics, defined the very nature of law. In the crucial opposition between law and theatre, law stood for cool deliberation, by-the-book rules, and sovereign discipline. Theatre stood for deceptive artifice, entertainment, histrionics, melodrama. And yet legal performance, even at its most theatrical, also appeared fundamental to law's realization: a central mechanism for shaping legal subjects, key to persuasion, essential to deterrence, indispensable to law's power, --as it still does today.

This multi-disciplinary collection of essays draws on various theoretical approaches to explore the highly visual nature of the Middle Ages and expose new facets of old texts and artefacts. The term 'visual culture' has been used in recent years to refer to modern media theory, film, modern art and other contemporary representational forms and functions. But this emphasis on visuality is not only a modern phenomenon. Discourses on visual processes pervade the works of medieval secular poets, theologians, and scholastics alike. The Middle Ages was a highly visual society in which images, objects, and performance played a dominant communicative and representational role in both secular and religious areas of society. The essays in this volume, which present various perspectives on medieval visual culture, provide a critical historical basis for the study of visuality and visual processes.

The first general study of Peter Lombard (c. 1100-1160) in a century, this book places Peter's thought in the context of the intellectual debates of his time in the effort to understand the substance of Lombardian theology and the reasons why his principal work, the Sentences , immediately became a classic of early scholastic theology with a durable influence, doing more to shape the education of university theologians and philosophers than any other work of systematic theology for the next four centuries. Attention is paid to the sentence collection as a genre of theological literature, the problem of theological language with which Peter and his contemporaries wrestled, and his contribution to early scholastic biblical exegesis as well as to the development of his systematic theology in the Sentences .