From Abelard to Zubaydah, here is a biographical dictionary of notable men and women of the Middle Ages. Hundreds of entries span the fifth to the fifteenth centuries, covering a broad range of creative, vigorous, and influential people from Europe and the Middle East. Each entry includes both personal and historical details, alternate name spellings, and references for further reading. A rich selection of appendices includes a chronology of events; a chronology of popes, emperors and monarchs; a list of colleges and universities of the Middle Ages; a list of major monasteries, abbeys, and convents and an alphabetical list of individuals by occupation.

Whose Middle Ages? is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths. Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms. Each essay uses its author’s academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right’s errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge.

A Dictionary of the lives of men and women who dominated the time between the collapse of the Roman Empire and the Renaissance. Each portrait provides a historical outline of a life and assesses that life in relation to the contemporary background.

How did people in the Middle Ages live? What were their social, economic, political, and cultural lives like? This title answers these questions and more with informative text, colorful photographs and original source materials, and clear maps and diagrams to show readers what life was like in ancient civilizations.

In this indispensable volume, one of America's ranking scholars combines a life's work of research and teaching with the art of lively narration. Both authoritative and beautifully told, The Middle Ages is the full story of the thousand years between the fall of Rome and the Renaissance - a time that saw the rise of kings and emperors, the flowering of knighthood, the development of Europe, the increasing power of the Catholic Church, and the advent of the middle class. With exceptional grace and wit, Morris Bishop vividly reconstructs this distinctive era of European history in a work that will inform and delight scholars and general readers alike.

The Middle Ages, in our cultural imagination, are besieged with ideas of wars, tournaments, plagues, saints and kings, knights, lords and ladies. In his era-defining work, Inventing the Middle Ages, Norman Cantor shows that these presuppositions are in fact constructs of the twentieth century. Through close study of the lives and works of twenty of the twentieth century's most prominent medievalists, Cantor examines how the genesis of this fantasy arose in the scholars' spiritual and emotional outlooks, which influenced their portrayals of the Middle Ages. In the course of this vigorous scrutiny of their scholarship, he navigates the strong personalities and creative minds involved with deft skill. Written with both students and the general public in mind, Inventing the Middle Ages provided an alternative framework for the teaching of the humanities. Revealing the interconnection between medieval civilisation, the culture of the twentieth century and our own assumptions, Cantor provides a unique standpoint both forwards and backwards. As lively and engaging today as when it was first published in 1991, his analysis offers readers the core essentials of the subject in an entertaining and humorous fashion.