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During the crusades, Ethiopians, Jews, Muslims, and Mongols were branded enemies of the Christian majority. Illustrated with strikingly imaginative and still disturbing images, this book reveals the outrageously pejorative ways these rejected social groups were represented--often as monsters, demons, or freaks of nature. Such monstrous images of non-Christians were not rare displays but a routine aspect of medieval public and private life. These images, which reached a broad and socially varied audience across western Europe, appeared in virtually all artistic media, including illuminated manuscripts, stained glass, sculpture, metalwork, and tapestry. Debra Higgs Strickland introduces and decodes images of the "monstrous races," from demonlike Jews and man-eating Tartars to Saracens with dog heads or animal bodies. Strickland traces the origins of the negative pictorial code used to portray monsters, demons, and non-Christian peoples to pseudoscientific theories of astrology, climate, and physiognomy, some dating back to classical times. She also considers the code in light of contemporary Christian eschatological beliefs and concepts of monstrosity and rejection. This is the first study to situate representations of the enemies of medieval Christendom within the broader cultural context of literature, theology, and politics. It is also the first to explore the elements of that imagery as a code and to elucidate the artistic means by which boundaries were effectively blurred between imaginary monsters and rejected social groups.

Sophia, a beautiful courtesan, is torn between Daoud ibn Abdullah, a leader of the Saracens, and Simon de Gobignon, a French count and leader of the Crusaders

During the crusades, Ethiopians, Jews, Muslims, and Mongols were branded enemies of the Christian majority. Illustrated with strikingly imaginative and still disturbing images, this book reveals the outrageously pejorative ways these rejected social groups were represented--often as monsters, demons, or freaks of nature. Such monstrous images of non-Christians were not rare displays but a routine aspect of medieval public and private life. These images, which reached a broad and socially varied audience across western Europe, appeared in virtually all artistic media, including illuminated manuscripts, stained glass, sculpture, metalwork, and tapestry. Debra Higgs Strickland introduces and decodes images of the "monstrous races," from demonlike Jews and man-eating Tartars to Saracens with dog heads or animal bodies. Strickland traces the origins of the negative pictorial code used to portray monsters, demons, and non-Christian peoples to pseudoscientific theories of astrology, climate, and physiognomy, some dating back to classical times. She also considers the code in light of contemporary Christian eschatological beliefs and concepts of monstrosity and rejection. This is the first study to situate representations of the enemies of medieval Christendom within the broader cultural context of literature, theology, and politics. It is also the first to explore the elements of that imagery as a code and to elucidate the artistic means by which boundaries were effectively blurred between imaginary monsters and rejected social groups.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.19

In the first century of Islam, most of the former Christian Roman Empire, from Syria to Spain, was brought under Muslim control in a conquest of unprecedented proportions. Confronted by the world of Islam, countless medieval Christians experienced a profound ambivalence, awed by its opulence, they were also troubled by its rival claims to the spiritual inheritance of Abraham and Jesus and humiliated by its social subjugation of non-Muslim minorities. Some converted. Others took up arms. Still others, the subjects of John Tolan's study of anti-Muslim polemics in medieval Europe, undertook to attack Islam and its most vivid avatar, the saracen, with words.In an effort to make sense of God's apparent abandonment of Christendom in favor of a dynamic and expanding Muslim civilization, European writers distorted the teachings of Islam and caricatured its believers in a variety of ways. What ideological purposes did these portrayals serve? And how, in turn, did Muslims view Christianity? Feelings of rivalry, contempt, and superiority existed on both sides, tinged or tempered at times with feelings of doubt, inferiority, curiosity, or admiration. Tolan shows how Christian responses to Islam changed from the seventh to thirteenth centuries, through fast-charging crusades and spirit-crushing defeats, crystallizing into polemical images later drawn upon by Western authors in the fourteenth to twentieth centuries. Saracens explores the social and ideological uses of contempt, explaining how the denigration of the other can be used to defend one's own intellectual construction of the world.

In the Middle East, not only were the 12th and 13th centuries punctuated by European Crusades but, even more significantly, the mid-11th century saw the invasion of the Saljuq Turks and the mid-13th century witnessed a devastating Mongol assault. Crucial to the Middle Eastern forces involved was the professional cavalryman, known as a faris or 'horseman'. A faris' training was far more wide-ranging than that of a contemporary European knight, including the use of horse-archery and the ability to fight on foot as well as general horsemanship and the use of the lance and sword. David Nicolle's text presents a detailed view of these fascinating and versatile warriors.

Good reading copy. Bookstore stamp on first page, light shelf wear, light yellowing of pages.

By the time of the Crusades, the Islamic world had developed its own sophisticated styles of fortification. Distinctive and highly effective, the region's unique military architecture continued to evolve in response to the Crusader and Mongol threats, and also drew upon the traditions of their foes and neighbors. The resulting Islamic concepts of military architecture had an influence upon fortifications in Western Europe, including Italy and the Iberian Peninsula. Rather than providing security for feudal aristocracies, however, as was increasingly the case in Europe, Islamic fortifications continued to focus upon the defence of cities and frontiers Covering fortifications as far apart as North Africa, Afghanistan and northern India, this volume focuses on the Islamic side of the conflict, highlighting the fortifications in use when the Crusaders sought to reconquer the Holy Land, as well as the eventual absorption of the territories of Byzantium into the Islamic world.

In the first century of Islam, most of the former Christian Roman Empire, from Syria to Spain, was brought under Muslim control in a conquest of unprecedented proportions. Confronted by the world of Islam, countless medieval Christians experienced a profound ambivalence, awed by its opulence, they were also troubled by its rival claims to the spiritual inheritance of Abraham and Jesus and humiliated by its social subjugation of non-Muslim minorities. Some converted. Others took up arms. Still others, the subjects of John Tolan's study of anti-Muslim polemics in medieval Europe, undertook to attack Islam and its most vivid avatar, the saracen, with words.In an effort to make sense of God's apparent abandonment of Christendom in favor of a dynamic and expanding Muslim civilization, European writers distorted the teachings of Islam and caricatured its believers in a variety of ways. What ideological purposes did these portrayals serve? And how, in turn, did Muslims view Christianity? Feelings of rivalry, contempt, and superiority existed on both sides, tinged or tempered at times with feelings of doubt, inferiority, curiosity, or admiration. Tolan shows how Christian responses to Islam changed from the seventh to thirteenth centuries, through fast-charging crusades and spirit-crushing defeats, crystallizing into polemical images later drawn upon by Western authors in the fourteenth to twentieth centuries. Saracens explores the social and ideological uses of contempt, explaining how the denigration of the other can be used to defend one's own intellectual construction of the world.

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In the first century of Islam, most of the former Christian Roman Empire, from Syria to Spain, was brought under Muslim control in a conquest of unprecedented proportions. Confronted by the world of Islam, countless medieval Christians experienced a profound ambivalence, awed by its opulence, they were also troubled by its rival claims to the spiritual inheritance of Abraham and Jesus and humiliated by its social subjugation of non-Muslim minorities. Some converted. Others took up arms. Still others, the subjects of John Tolan's study of anti-Muslim polemics in medieval Europe, undertook to attack Islam and its most vivid avatar, the saracen, with words.In an effort to make sense of God's apparent abandonment of Christendom in favor of a dynamic and expanding Muslim civilization, European writers distorted the teachings of Islam and caricatured its believers in a variety of ways. What ideological purposes did these portrayals serve? And how, in turn, did Muslims view Christianity? Feelings of rivalry, contempt, and superiority existed on both sides, tinged or tempered at times with feelings of doubt, inferiority, curiosity, or admiration. Tolan shows how Christian responses to Islam changed from the seventh to thirteenth centuries, through fast-charging crusades and spirit-crushing defeats, crystallizing into polemical images later drawn upon by Western authors in the fourteenth to twentieth centuries. Saracens explores the social and ideological uses of contempt, explaining how the denigration of the other can be used to defend one's own intellectual construction of the world.

Captain Ramage sails to Naples in the frigate Calypso, expecting to be given the rather tedious task of escorting merchantmen across the Mediterranean. It is not long after Trafalgar and the last thing he expects is an encounter with two French ships of the line. Adventure follows, as it does when he finally arrives in Naples and is given details of his mission. He is to sail to Sicily where the Saraceni - Barbary Coast pirates - have been attacking the local fishing ports.

Near Fine in a Fine jacket. 1st Printing

Malta 1941. To most people HMS Saracen is just an ugly, obsolete ship with an equally ugly recent history: her last commander is due for court-martial after shelling the troops he was sent to protect. But to Captain Richard Chesnaye she brings back memories―memories of the First World War when he and the old monitor went through the Gallipoli campaign together. It seems that captain and ship are both past their best. But as the war enters a new phase, Chesnaye senses the possibility of a fresh, significant role―for him and the Saracen.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 1.81

New! This book is in the same immaculate condition as when it was published 1.81

Introd. in English, main text in English and Latin.

Salah al Din Yusif ibn Ayyub, known to his Muslim contemporaries as al Nasi, 'The Victorious', and to an admiring Europe as Saladin, is the most famous single figure in the history of the Crusades, being even better known outside the English-speaking world than his Christian foe Richard the Lionheart. Traditionally portrayed as a quiet, deeply religious and even humble man, Saladin was a typical product of his day and his culture. This title shows how the societies and military systems that he and his successors led from defeat to eventual triumph were far more sophisticated than is generally realised, and brings vividly to life the history, organisation, arms and armour of Saladin and the Saracens.

Print on Demand. This book delves into the captivating history of the Saracenic civilization, tracing its rise and fall, as well as its profound impact on the world. It explores the ethical and moral foundations that propelled the Saracens to prominence, their remarkable journey from a patriarchal society to a sophisticated system of governance, and their significant contributions to various facets of human knowledge. The author skillfully situates the Saracens within the broader historical landscape of the Middle Ages, highlighting their interactions with neighboring empires and the legacy they left for future generations. The book sheds light on the intricate workings of Saracenic society, encompassing their administrative structures, cultural achievements, and the lives of ordinary people. Through a comprehensive examination of the factors that led to the decline of the Saracenic civilization, this book offers invaluable insights into the dynamics of power, the challenges of cultural assimilation, and the enduring significance of intellectual pursuits. The author's analysis underscores the importance of adapting to changing circumstances and embracing progress while cherishing one's heritage. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book.

Having barely escaped the revolution they had a huge (if accidental) part in causing, sharp-eyed orphan Mosca Mye; her guard goose, Saracen; and their sometimes-loyal companion, the con man Eponymous Clent, must start anew.But Toll, the odd town they end up in, is a dangerous place that changes its entire personality as day turns to night. Soon Mosca and her friends find themselves embroiled in fresh schemes and twisting politics. Somehow they must manage to escape with their lives—and hopefully a little money in their pockets!