Most of the women who ever lived left no trace of their existence on the record of history. Sixteenth- and seventeenth-century women of the middling and lower levels of society left no letters or diaries in which they expressed what they felt or thought. Criminal courts and magistrates kept few records of their testimonies, and no ecclesiastical court records are known to survive for the French Roman Catholic Church between 1540 and 1667. For the most part, we cannot hear the voices of ordinary French women - but this study allows us to do so. Based on the evidence of 1,200 cases brought before the consistories - or moral courts - of the Huguenot church of Languedoc between 1561 and 1615, The Voices of Nîmes allows us to access ordinary women's everyday lives: their speech, behaviour, and attitudes relating to love, faith, and marriage, as well as friendship and sex. Women appeared frequently before the consistory because one of the chief functions of moral discipline was the regulation of sexuality, and women were thought to be primarily responsible for sexual sin. This means that the registers include over a thousand testimonies by and about women, most of whom left no other record to posterity. Women also featured so prominently before the consistories because of an ironic, unintended consequence of the consistorial system: it empowered women. Women quickly learnt how to use the consistory: they denounced those who abused them, they deployed the consistory to force men to honour their promises, and they started rumours they knew would be followed up by the elders. The registers therefore offer unrivalled evidence of women's agency, in this intensely patriarchal society, in a range of different contexts, such as their enjoyment of their sexuality, choice of marriage partners, or idiosyncratic spiritual engagement. The consistorial registers, therefore, let us see how independent, self-determining, and vocal women could be in an age when they had limited legal rights, little official power, and few prospects. As a result, this book suggests we need to reconceptualize female power: women's power was not just hidden, manipulative, and devious, but also far more public than historians have previously recognized.

Most of the women who ever lived left no trace of their existence on the record of history. Sixteenth- and seventeenth-century women of the middling and lower levels of society left no letters or diaries in which they expressed what they felt or thought. Criminal courts and magistrates kept few records of their testimonies, and no ecclesiastical court records are known to survive for the French Roman Catholic Church between 1540 and 1667. For the most part, we cannot hear the voices of ordinary French women - but this study allows us to do so. Based on the evidence of 1,200 cases brought before the consistories - or moral courts - of the Huguenot church of Languedoc between 1561 and 1615, The Voices of Nîmes allows us to access ordinary women's everyday lives: their speech, behaviour, and attitudes relating to love, faith, and marriage, as well as friendship and sex. Women appeared frequently before the consistory because one of the chief functions of moral discipline was the regulation of sexuality, and women were thought to be primarily responsible for sexual sin. This means that the registers include over a thousand testimonies by and about women, most of whom left no other record to posterity. Women also featured so prominently before the consistories because of an ironic, unintended consequence of the consistorial system: it empowered women. Women quickly learnt how to use the consistory: they denounced those who abused them, they deployed the consistory to force men to honour their promises, and they started rumours they knew would be followed up by the elders. The registers therefore offer unrivalled evidence of women's agency, in this intensely patriarchal society, in a range of different contexts, such as their enjoyment of their sexuality, choice of marriage partners, or idiosyncratic spiritual engagement. The consistorial registers, therefore, let us see how independent, self-determining, and vocal women could be in an age when they had limited legal rights, little official power, and few prospects. As a result, this book suggests we need to reconceptualize female power: women's power was not just hidden, manipulative, and devious, but also far more public than historians have previously recognized.

Part of the new Ladybird Expert series, Witchcraft is a clear, simple and entertaining introduction to the magical myths that have coloured the popular imagination for centuries. Written by celebrated historian and broadcaster Dr Suzannah Lipscomb, Witchcraft explores the moment in history when witches were perceived to be especially dangerous: the famous witch hunts between 1450 and 1750. Written by the leading lights and most outstanding communicators in their fields, the Ladybird Expert books provide clear, accessible and authoritative introductions to subjects drawn from science, history and culture. For an adult readership, the Ladybird Expert series is produced in the same iconic small hardback format pioneered by the original Ladybirds. Each beautifully illustrated book features the first new illustrations produced in the original Ladybird style for nearly forty years.

The stereotype of Henry VIII presents us with the image of a corpulent, covetous, and cunning king whose appetite for worldly goods met few parallels, whose wives met infamously premature ends, and whose religion was ever political in intent. Moving beyond this caricature, 1536 - focusing on a pivotal year in the life of the King - reveals a fuller portrait of this complex monarch, detailing the finer shades of humanity that have so long been overlooked. We discover that in 1536 Henry met many failures - physical, personal, and political - and emerged from them a different man: a revolutionary new king who proceeded to transform a nation and reform a religion. A compelling story, 1536 shows what a profound difference can be made by changing the heart of a king.

Join historian Suzannah Lipscomb as she reveals the hidden secrets of palaces, castles, theatres and abbeys to uncover the stories of Tudor England. From the famous palace at Hampton Court where dangerous court intrigue was rife, to less well-known houses, such as Anne Boleyn's childhood home at Hever Castle or Tutbury Castle where Mary Queen of Scots was imprisoned, follow in the footsteps of the Tudors in the places that they knew. In the corridors of power and the courtyards of country houses we meet the passionate but tragic Kateryn Parr, Henry VIII's last wife, Lady Jane Grey the nine-day queen, and hear how Sir Walter Raleigh planned his trip to the New World. This lively and engaging book reveals the rich history of the Tudors and paints a vivid and captivating picture of what it would have been like to live in Tudor England.

The discovery of the fascinating and richly documented story of Sister Benedetta Carlini, Abbess of the Convent of the Mother of God, by Judith C. Brown was an event of major historical importance. Not only is the story revealed in Immodest Acts that of the rise and fall of a powerful woman in a church community and a record of the life of a religious visionary, it is also the earliest documentation of lesbianism in modern Western history. Born of well-to-do parents, Benedetta Carlini entered the convent at the age of nine. At twenty-three, she began to have visions of both a religious and erotic nature. Benedetta was elected abbess due largely to these visions, but later aroused suspicions by claiming to have had supernatural contacts with Christ. During the course of an investigation, church authorities not only found that she had faked her visions and stigmata, but uncovered evidence of a lesbian affair with another nun, Bartolomeo. The story of the relationship between the two nuns and of Benedetta's fall from an abbess to an outcast is revealed in surprisingly candid archival documents and retold here with a fine sense of drama.

'THE history book for now. This is why and how historians do what they do. And why they need to' Dan Snow 'What is History, Now? demonstrates how our constructs of the past are woven into our modern world and culture, and offers us an illuminating handbook to understanding this dynamic and shape-shifting subject. A thought-provoking, insightful and necessary re-examination of the subject' Hallie Rubenhold, author of The Five 'The importance of history is becoming more evident every day, and this humane book is an essential navigation tool. Urgent and utterly compelling' Sathnam Sanghera, author of Empireland 'Important and exciting' Kate Williams, author of Rival Queens Inspired by the influential text WHAT IS HISTORY? authored by Helen Carr's great-grandfather, E.H. Carr, and published on the 60th anniversary of that book, this is a groundbreaking new collection addressing the burning issue of how we interpret history today. What stories are told, and by whom, who should be celebrated, and what rewritten, are questions that have been asked recently not just within the history world, but by all of us. Featuring a diverse mix of writers, both bestselling names and emerging voices, this is the history book we need NOW. WHAT IS HISTORY, NOW? covers topics such as the history of racism and anti-racism, queer history, the history of faith, the history of disability, environmental history, escaping imperial nostalgia, hearing women's voices and 'rewriting' the past. The list of contributors includes: Justin Bengry, Leila K Blackbird, Emily Brand, Gus Casely-Hayford, Sarah Churchwell, Caroline Dodds Pennock, Peter Frankopan, Bettany Hughes, Dan Hicks, Onyeka Nubia, Islam Issa, Maya Jasanoff, Rana Mitter, Charlotte Riley, Miri Rubin, Simon Schama, Alex von Tunzelmann and Jaipreet Virdi.

After 500 years Henry VIII still retains a public fascination unmatched by any monarch before or since. Whilst his popular image is firmly associated with his appetites - sexual and gastronomic - scholars have long recognized that his reign also ushered in profound changes to English society and culture, the legacy of which endure to this day. To help take stock of such a multifaceted and contested history, this volume presents a collection of 17 essays that showcase the very latest thinking and research on Henry and his court. Divided into seven parts, the book highlights how the political, religious and cultural aspects of Henry's reign came together to create a one of the most significant and transformative periods of English history. The volume is genuinely interdisciplinary, drawing on literature, art history, architecture and drama to enrich our knowledge. The first part is a powerful and personal account by Professor George W. Bernard of his experience of writing about Henry and his reign. The next parts - Material Culture and Images - reflect a historical concern with non-documentary evidence, exploring how objects, collections, paintings and buildings can provide unrivalled insight into the world of the Tudor court. The parts on Court Culture and Performance explore the literary and theatrical world and the performative aspects of court life, looking at how the Tudor court attempted to present itself to the world, as well as how it was represented by others. The part on Reactions focuses upon the political and religious currents stirred up by Henry's policies, and how they in turn came to influence his actions. Through this wide-ranging, yet thematically coherent approach, a fascinating window is opened into the world of Henry VIII and his court. In particular, building on research undertaken over the last ten years, a number of contributors focus on topics that have been neglected by traditional historical writing, for example gender, graffiti and clothing. With contributions from many of the leading scholars of Tudor England, the collection offers not only a snapshot of the latest historical thinking, but also provides a starting point for future research into the world of this colourful, but often misrepresented monarch.

"Common women" in medieval England were prostitutes, whose distinguishing feature was not that they took money for sex but that they belonged to all men in common. Common Women: Prostitution and Sexuality in Medieval England tells the stories of these women's lives: their entrance into the trade because of poor job and marriage prospects or because of seduction or rape; their experiences as street-walkers, brothel workers or the medieval equivalent of call girls; their customers, from poor apprentices to priests to wealthy foreign merchants; and their relations with those among whom they lived. Through a sensitive use of a wide variety of imaginative and didactic texts, Ruth Karras shows that while prostitutes as individuals were marginalized within medieval culture, prostitution as an institution was central to the medieval understanding of what it meant to be a woman. This important work will be of interest to scholars and students of history, women's studies, and the history of sexuality.

Poetry. Translated from the French by Cole Swensen. Borrowed voices, invented voices, and a very personal but unplaceable voice all wind their way through these mock-philosophical meditations on nature and cosmos. Juxtaposed with her precise and abstract photographs, Doppelt's text considers astronomy, weather, the five senses, plant life, the insect world, and the nature of time, all in an implicit dialogue with the pre-Socratics. Often funny, often wry, this book betrays an affectionate love for the world. Some pre-Socratic fragments appear translated into a phonetic language by the composer Georges Aperghis.While teaching philosophy and literature in Paris, Suzanne Doppelt developed an interest in photography and has ever since pursued a double career. Several of her books combine images and text. At present Suzanne Doppelt is working on ghosts and what the fantastic logic of their appearances and disappearances might imply for an economy of the living. Cole Swensen's books of poetry include NOON, TRY, Such Rich Hour, and The Book of a Hundred Hands. She has translated Pierre Alferi, Olivier Cadiot, Pascalle Monnier and Jean Fremon. Both her poetry and her translations have won many prizes.