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Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

A run-down coastal resort becomes the epicenter of unimaginable evil when two mysterious women suddenly appear there seeking refuge. Alluring Clara (Gemma Arterton, Hansel & Gretel: Witch Hunters) and schoolgirl Eleanor (Saoirse Ronan, Hanna) meet local loner Noel (Daniel Mays, Atonement) and take up residence in his deserted guesthouse, Byzantium. Before long Eleanor befriends another local, Frank (Caleb Landry Jones, Antiviral) and reveals to him the lethal secret the two women share: they wer

A run-down coastal resort becomes the epicenter of unimaginable evil when two mysterious women suddenly appear there seeking refuge. Alluring Clara (Gemma Arterton, Hansel & Gretel: Witch Hunters) and schoolgirl Eleanor (Saoirse Ronan, Hanna) meet local loner Noel (Daniel Mays, Atonement) and take up residence in his deserted guesthouse, Byzantium. Before long Eleanor befriends another local, Frank (Caleb Landry Jones, Antiviral) and reveals to him the lethal secret the two women share: they wer

Japanese Version Featuring a Bonus Track: Breakfast at Tiffany's (Acoustic Live).

The history of Russia is often considered as if that immense country had always been an isolated continent. However, at the time of its rise as a nation, it was politically a province of the Mongol Empire, whose capital was in Central Asia; and ecclesiastically, it was a dependency of the Orthodox Patriarchate of Constantinople, or Byzantium. This book describes the role of Byzantine (predominantly ecclesiastical) diplomacy in the emergence of Moscow as the capital of Russia in the fourteenth century, and the cultural, religious and political ties which connected the Northern periphery of the Byzantine Orthodox 'Commonwealth' with its centre in Constantinople. After 1370, the religious and monastic revival in Byzantium and the weakening of Mongol power provided an orientation to the policies of the Orthodox church in Russia: towards supra-national unity, spiritual and artistic achievements, and political reconciliation between principalities.

This full-color catalog explores the interrelationships between the East and West during the first millennium. This was the first time that the Roman Empire was gradually replaced by barbarian invaders, who spread through Europe and created new styles of jewelry; it was also when the capital shifted eastward to the newly founded city of Constantinople.Among the themes treated are the transition from Late Roman types to Byzantine ones, including the design of new shapes; an interest in exotic stones and changes in fashion; the function of rings (marriage, personal monograms, official status and religious iconography); and the Western Gothic imitation and development of Byzantine prototypes.Examples from the early third and fourth centuries in Rome feature an elaborate 'key' ring, pierced with the words utere felix (use with luck) and an ornate yet sophisticated band set entirely with emeralds. There is a late fifth-century Byzantine Parure that includes a pendant cross and related earrings. From the same era, an Ostogothic group is comprised of polyhedral earrings, a pendant cross and a ring, all with beautiful garnet inlay.Jeffrey Spier is a university associate and adjunct professor at the University of Arizona. He has published extensively on Greek and Roman gems and jewelry and on early Christian and Byzantine art. His publications include: Treasures of the Ferrell Collection (2010); Picturing the Bible. The Earliest Christian Art (2007); Late Antiquity and Early Christian Gems (2007); and Ancient Gems and Finger Rings: Catalogue of the Collections. The J. Paul Getty Museum (1993).The Preface is by Sandra Hindman, a medievalist and owner of Les Enluminures (Paris, Chicago and New York).Accompanying the exhibition, Byzantium and the West: Jewelry in the First Millennium, held in November 2012 at Les Enluminures, New York

This book presents the first analytical account in English of major developments within Byzantine culture, society and the state in the crucial formative period from c.610-717. The seventh century saw the final collapse of ancient urban civilization and municipal culture, the rise of Islam, the evolution of patterns of thought and social structure that made imperial iconoclasm possible, and the development of state apparatuses--military, civil and fiscal--typical of the middle Byzantine state. Also, during this period, orthodox Christianity finally became the unquestioned dominant culture and a religious framework of belief (to the exclusion of alternative systems, which were henceforth marginalized or proscribed).

The central theme of the articles reproduced in these two volumes is the role of the visual arts and architecture in the cultural interaction between medieval societies, Christian and Muslim, in the eastern Mediterranean. Visual forms of production and communication amongst Christian communities themselves, and between Christian and Muslim, are discussed within their specific social and political contexts. Placing the emphasis on areas which passed between Christian and Muslim raises questions of the formation of identities as well as the relationship of the periphery to the centre. Focusing on the areas of Egypt, Syria and Palestine in relation to Byzantium, Islam, and the West provides a framework for consideration of particular issues, especially the identity of particular communities. The core of the work considers the period between the twelfth and fourteenth centuries, when these areas were at the centre of eastern Mediterranean politics, and seeks to interpret little known evidence in the light of political and cultural circumstances with an interdisciplinary approach as its starting point. Vol. I features papers on the legacy of Byzantine art, and the medieval Christian art of Egypt. Vol. II covers the Christian art of Medieval Syria, and the art of the Crusader states.

Book is in NEW condition. 0.87

Iconoclasm, the debate about the legitimacy of religious art that began in Byzantium around 720 and continued for nearly one hundred and twenty years, has long held a firm grip on the historical imagination. This is the first book in English for over fifty years to survey this most elusive and fascinating period in medieval history. It is also the first book in any language to combine the expertise of two authors who are specialists in the written, archaeological and visual evidence from this period, a combination of particular importance to the iconoclasm debate. The authors have worked together to provide a comprehensive overview of the visual, written and other materials that together help clarify the complex issues of iconoclasm in Byzantium. In doing so they challenge many traditional assumptions about iconoclasm and set the period firmly in its broader political, cultural and social-economic context.

Volume 1 of the series. Includes 32 pages of illustrations, and 11 maps and tables.

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Michael Angold's book is a clear, concise and authoritative history of the successor state to the Roman Empire, known as the Byzantine Empire. It was named after Byzantium, which Emperor Constantine I rebuilt in 330 AD as Constantinople and made the capital of the entire Roman Empire. Angold begins in the heart of Byzantium, the city of Constantinople from which a new Empire emerged. He shows how the foundation and growth of the city altered the balance of the Roman empire, shifting the centre of gravity east. He describes the emergence of political factions and their impact on political life and traces the rise of Islam. Angold concludes his book by stressing the continuing attraction and influence of imperial Byzantium, best seen in Norman Sicily.

From Byzantium to Modern Greece: Hellenic Art in Adversity, 1453-1830, examines the evolution of Hellenic art and culture during four centuries of tumultuous change under Venetian and Ottoman occupation. More than 137 works from all sectors of artistic production- icons , painting, woodcarving, metalwork, embroidery, costumes, jewelry, and pottery-present a comprehensive visual history of Hellenic culture from the fall of Byzantium in 1453, with the fall of Constantinople, to the founding of the modern Greek State in 1830. The color-illustrated catalogue includes 9 informative essays that explore the historic and socio-economic context of the period, the spiritual and artistic legacy of the Orthodox Church, the importance of home and decorative arts, the adornment of women, the depictions of Greece by foreign travelers, and the Greek Enlightenment and founding of the modern Greek State. Contributors to the exhibition catalogue include, in addition to the editors, Dimitris Arvanitakis, Head of Historical Research Department, Benaki Museum, Athens; Spyros I. Asdrachas. Historian, Research Director Emeritus, National Hellenic Research Foundation, Athens; Anna Ballian, Curator of Islamic Collection, post-Byzantine Metalwork and Textiles, Benaki Museum. Athens; Anastasia Drandaki, Curator of Byzantine Collection, Benaki Museum, Athens; Paschalis M. Kitromilides, Professor of Political Science, University of Athens; Director, Institute of Neohellenic Research/National Hellenic Research Foundation, Athens; George Tolias, Research Director, Institute of Neohellenic Research /National Hellenic Research Foundation, Athens; and Fani-Maria Tsigakou, Curator of Paintings, Prints and Drawings, Benaki Museum. Athens.

This is a study of how and why the Byzantine empire lost many of its most valuable provinces to Islamic conquerors in the seventh century, provinces that included Syria, Palestine, Mesopotamia and Armenia. It investigates conditions on the eve of those conquests, mistakes in Byzantine policy toward the Muslims, the course of the military campaigns, and the problem of local official and civilian collaboration with the Muslims. It also seeks to explain how after some terrible losses the Byzantine government achieved some intellectual rationalization of its disasters and began the complex process of transforming and adapting its fiscal and military institutions and political controls in order to prevent further disintegration.

This is a narrative political history of the northern Balkans in the period 900-1204. It treats the Balkans as the frontier of the Byzantine empire, and considers imperial relations with the peoples living in the Balkans, including the Serbs, Croats, Bulgarians and Hungarians. It also considers responses to invasions from beyond the frontier: by steppe nomads, from beyond the Danube, and by western powers through Hungary and across the Adriatic sea. The first four crusades, 1095-1204, are considered in some detail, and extensive use is made of archaeology.

This book presents the first analytical account in English of major developments within Byzantine culture, society and the state in the crucial formative period from c.610-717. The seventh century saw the final collapse of ancient urban civilization and municipal culture, the rise of Islam, the evolution of patterns of thought and social structure that made imperial iconoclasm possible, and the development of state apparatuses--military, civil and fiscal--typical of the middle Byzantine state. Also, during this period, orthodox Christianity finally became the unquestioned dominant culture and a religious framework of belief (to the exclusion of alternative systems, which were henceforth marginalized or proscribed).

The vibrant culture of Byzantium influenced the artistic traditions of neighboring cultures in Western Europe and the Islamic East well into the modern era.  The Metropolitan Museum of Art’s 2004 exhibition catalogue Byzantium: Faith and Power, 1261-1557 was among the first to focus on the art of the empire’s final two centuries and its exceptional heritage. This collection of essays by international scholars continues to expand on this area of study, exploring critical issues of politics, trade, religion, and culture that helped shape the last centuries of the empire as well as the rise of the early modern age. By taking different and innovative approaches to the period, the authors arrive at a more complete portrait of Byzantium and its artistic legacy.  Included are essays by Hans Belting, Professor Emeritus of Art History and Media Studies, Staatliche Hochschule für Gestaltung Karlsruhe, and Honorary Professor, University of Heidelberg, and Thomas F. Mathews, Institute of Fine Arts, New York University.

Maxim Arturovitch Pyatnitski, a student at St. Petersburg, discovers the pleasures of sex and cocaine and glimpses a sophisticated world beyond his horizons before the storm of the October revolution breaks, from which he is deflected into more immediate concerns, caught up in the rip-tide of history.

Hardcover with dust jacket. VG/G. Faded to edges and spine of jacket.