The eight papers presented here provide a useful introduction to medieval broadcloth, and an up-to-date synthesis of current research. The word broadcloth is nowadays used as an overall term for the woven textiles mass-produced and exported all over Europe. It was first produced in Flanders as a luxurious cloth from the 11th century and throughout the medieval period. Broadcloth is the English term, Laken in Flemish, Tuch in German, Drap in French, Klæde in the Scandinavian languages and Verka in Finish. As the concept of broadcloth has deriving from the written sources it cannot directly be identified in the archaeological textiles and therefore the topic of medieval broadcloth is very suitable as an interdisciplinary theme. The first chapter (John Munro) presents an introduction to the subject and takes the reader through the manufacturing and economic importance of the medieval broadcloth as a luxury item. Chapter two (Carsten Jahnke) describes trade in the Baltic Sea area, detailing production standards, shipping and prices. Chapters three, four and five (Heini Kirjavainen, Riina Rammo and Jerzy Maik) deal with archaeological textiles excavated in the Baltic, Finland and Poland. Chapters six and seven (Camilla Luise Dahl and Kathrine Vestergård Pedersen) concern the problems of combining the terminology from the written sources with archaeological textiles. The last chapter reports on an ongoing reconstruction project; at the open air museum in Eindhoven, Holland, Anton Reurink has tried to recreate a medieval broadcloth based on written and historical sources. During the last few years he has reconstructed the tool for preparing and spinning wool, and a group of spinners has produced a yarn of the right quality. He subsequently wove approximately 20 metres of cloth and conducted the first experiment with foot-fulling.
As sister of Henry III and aunt of the future Edward I, Eleanor de Montfort was at the heart of the bloody conflict between the Crown and the English barons. At Lewes in 1264 Simon de Montfort captured the king and secured control of royal government. A woman of fiery nature, Eleanor worked tirelessly to support her husband's cause. She assumed responsibility for the care of the royal prisoners and she regularly dispatched luxurious gifts to Henry III and the Lord Edward. But the family's political fortunes were shattered at the battle of Evesham in August 1265 where Simon de Montfort was killed. The newly-widowed Eleanor rose to her role as matriarch of her family, sending her surviving sons - and the family treasure - overseas to France, negotiating the surrender of Dover Castle and securing her own safe departure from the realm. The last ten years of her life were spent in the Dominican convent at Montargis. Drawing on chronicles, letters and public records this book reconstructs the narrative of Eleanor's remarkable life.
Surveys reveal that domestic abuse is more commonplace among teenagers and young adults than older populations, yet surprisingly little is written about young men’s involvement in it. Reporting on a three-year study based in the UK, this book explores young men’s involvement in domestic abuse, whether as victims, perpetrators or witnesses to violent behaviors between adults. Original survey data, focus group material and in-depth biographical interviews are used to make the case for a more thoroughgoing engagement with the meanings young men come to attribute to violent behavior, include the tendency among many to configure violence within families as "fights" that call for acts of male heroism. The book also highlights the dearth of services interventions for young men prone to domestic abuse, and the challenges of developing responsive practice in this area. Each section of the book highlights further online resources that those looking to conduct research in this area or apply its insights in practice can draw upon.
During the years between the campaign in Flanders, which was ended by a truce on September 25th, 1340, and the campaign of Cressy, in 1346, Edward had been principally occupied in preparations for renewing the war. Peace negotiations had been carried on before Pope Clement VI. by commissioners appointed by the two kings; but as neither party wished for peace, it could not be expected that these would lead to any result.
Héroïne spectrale à l’origine de la série Twin Peaks créée par Mark Frost et David Lynch, Laura Palmer est à la fois l’un des personnages les plus mystérieux de l’histoire du cinéma et, sur le papier, l’un des plus communs qu’on puisse rencontrer. Tout à la fois prom queen, femme fatale et demoiselle en détresse, Laura Palmer vogue sur le continuum reliant victime et vengeresse, accumule les masques jusqu’à devenir un personnage de fiction universel, figure fondamentalement multiple menaçant l’ordre établi par-delà la mort. Reine des absentes au royaume des reflets brisés, Laura Palmer résiste à la désincarnation en s’incarnant en puissance sous toutes sortes de peaux, (ré)animée par la colère du grand corps collectif que forment, comme une armée, les personnages féminins de Twin Peaks. Née en 1994, Louise Van Brabant est chroniqueuse littéraire, collaboratrice scientifique à l'université de Liège, libraire. Depuis la fin de son Master en arts du spectacle (orientation cinéma), elle a participé à différentes publications collectives, numéro de revues papier ou en ligne, en Belgique et à l’étranger. Ses domaines de recherche concernent les liens entre les humains, les non-humains et les territoires, ainsi que leur représentation dans la littérature et le cinéma contemporains.
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