The acceptance of Christianity in the tenth century is the most significant cultural event in the history of modern Russia, Ukraine, and Belarus. A vast reservoir of cultural concepts, expressions, and iconographic images has developed within the Eastern Orthodox tradition, and now Slavic specialists, theologians, historians, and literary scholars can turn to a collection which examines the majestic sweep of a thousand years of Slavic Christianity. This three-volume collection brings together essays from two international conferences. The present volume explores the history and influence of Christianization from the tenth to the seventeenth century. Volume II will examine cultural history from the eighteenth to the twentieth century, and Volume III will examine literature of the nineteenth and twentieth centuries. The acceptance of Christianity in the tenth century is the most significant cultural event in the history of modern Russia, Ukraine, and Belarus. A vast reservoir of cultural concepts, expressions, and iconographic images has developed within the Eastern Orthodox tradition, and now Slavic specialists, theologians, historians, and literary scholars can turn to a collection which examines the majestic sweep of a thousand years of Slavic Christianity. This three-volume collection brings together essays from two international conferences. The present volume explores the history and influence of Christianization from the tenth to the seventeenth century. Volume II will examine cultural history from the eighteenth to the twentieth century, and Volume III will examine literature of the nineteenth and twentieth centuries.

This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries while challenging the temporal and geographic parameters of the study of medieval, Byzantine, post-byzantine and early-modern art. Contact and interchange between the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula and the Carpathian Mountains. The specificities of each region, and in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the arts of these regions by addressing issues of transmission and appropriation, expanding and theorizing cross-cultural contact, while also putting on the global map of art history the rich artistic production of Eastern Europe.

Winner of the 2020 Verbruggen prize This book provides a comprehensive synthesis of scholarship on Eastern Europe in the Middle Ages. The goal is to offer an overview of the current state of research and a basic route map for navigating an abundant historiography available in more than 10 different languages. The literature published in English on the medieval history of Eastern Europe—books, chapters, and articles—represents a little more than 11 percent of the historiography. The companion is therefore meant to provide an orientation into the existing literature that may not be available because of linguistic barriers and, in addition, an introductory bibliography in English. Winner of the 2020 Verbruggen prize, awarded annually by the De Re Militari society for the best book on medieval military history. The awarding committee commented that the book ‘has an enormous range, and yet is exceptionally scholarly with a fine grasp of detail. Its title points to a general history of eastern Europe, but it is dominated by military episodes which make it of the highest value to anybody writing about war and warmaking in this very neglected area of Europe.’ See inside the book.

Any reader of scholarship on the ancient and early medieval world will be familiar with the term 'Germanic', which is frequently used as a linguistic category, ethnonym, or descriptive identifier for a range of forms of cultural and literary material. But is the term meaningful, useful, or legitimate? The term, frequently applied to peoples, languages, and material culture found in non-Roman north-western and central Europe in classical antiquity, and to these phenomena in the western Roman Empire’s successor states, is often treated as a legitimate, all-encompassing name for the culture of these regions. Its usage is sometimes intended to suggest a shared social identity or ethnic affinity among those who produce these phenomena. Yet, despite decades of critical commentary that have highlighted substantial problems, its dominance of scholarship appears not to have been challenged. This edited volume, which offers contributions ranging from literary and linguistic studies to archaeology, and which span from the first to the sixteenth centuries AD, examines why the term remains so pervasive despite its problems, offering a range of alternative interpretative perspectives on the late and post-Roman worlds.

Byzantium in Eastern European Visual Culture in the Late Middle Ages focuses on how the heritage of Byzantium was continued and transformed alongside local developments in the artistic and cultural traditions of Eastern Europe between the fourteenth and sixteenth centuries.

Law | Book | Culture in the Middle Ages takes a detailed view on the role of manuscripts and the written word in legal cultures, spanning the medieval period across western and central Europe.

The final chapter sets the early medieval developments into the perspective of the history and culture of modern Europe. A series of specially compiled maps chart the main cultural changes taking place over six centuries in this relatively unknown part of Europe."--BOOK JACKET.