The Liber feudorum maior of the counts of Barcelona: the cartulary as an expression of power

The Liber feudorum maior, the late-twelfth-century cartulary of the counts of Barcelona, is at once one of the earliest surviving lay cartularies and a rare example of an illuminated cartulary. Although much of the original has been lost, its modern editor was able to use surviving single-sheet documents and early registers to reconstruct its contents: over nine hundred individual records in two volumes. Drawing on this reconstruction, this article considers the date of the cartulary, its composition, its organization, and its functions. For each of these questions the inclusion and placement of many blank folios in the original two volumes prove significant. Considered together, the organization of the cartulary and its distinctive pictorial programme, which includes some of the earliest depictions of the ceremony of homage in Europe, reveal the Liber feudorum maior as not simply an administrative tool, but as a written expression of power.     

The Feasibility of Teaching Scientific and Technical Russian without the Prerequisite of a General Russian Language Course

The plot of the short novel La mano en la trampa (Beatriz Guido, 1961) is about a young woman who becomes a heroine while trying to find out the truth about a family secret known as “El Opa.” Her work as a spy needs to be done in complete secrecy. Her family is behind her and she needs to escape from censorship. Her family story is similar to Argentina's context at that time when many people had to avoid the control and excessive power of Peron's government. Everything seems to be double in this novel: spaces, characters, life stories, ghosts, vampires, haunting and repressive atmospheres. All of these elements contribute to the gothic spirit in La mano en la trampa that I explore in this article.     

An English chronicle entry on Robin Hood

This short article introduces a previously unknown pre-Reformation chronicle entry about Robin Hood. Until now, no English chronicle entry has been discovered, and only Scottish authors are thought to have set Robin in a chronological context. The new find places Robin Hood in Edward I's reign, thus supporting the belief that his legend is of thirteenth-century origin. It contains a uniquely negative assessment of the outlaw, and provides rare evidence for monastic attitudes towards him (topical, in light of the outlaw's anti-monastic behaviour). By mentioning Sherwood it buttresses the evidence for a medieval connection between Robin and the Nottinghamshire forest with which he has become so closely associated. It also constitutes more evidence for the strength of West Country Robin Hood traditions in the late middle ages.     

An English chronicle entry on Robin Hood

This short article introduces a previously unknown pre-Reformation chronicle entry about Robin Hood. Until now, no English chronicle entry has been discovered, and only Scottish authors are thought to have set Robin in a chronological context. The new find places Robin Hood in Edward I's reign, thus supporting the belief that his legend is of thirteenth-century origin. It contains a uniquely negative assessment of the outlaw, and provides rare evidence for monastic attitudes towards him (topical, in light of the outlaw's anti-monastic behaviour). By mentioning Sherwood it buttresses the evidence for a medieval connection between Robin and the Nottinghamshire forest with which he has become so closely associated. It also constitutes more evidence for the strength of West Country Robin Hood traditions in the late middle ages.     

Preaching in thirteenth-century hospitals

This article uses thirteenth-century hospital sermons as a window into the moral and religious environment of these charitable institutions, large numbers of which were founded during the twelfth and thirteenth centuries. What emerges from the reportationes of sermons preached in the hôtel-dieu of Paris and ad status sermons directed at hospitals' personnel and inmates by Jacques de Vitry, Humbert of Romans and Guibert de Tournai is a spirituality that stressed the penitential (and potentially salvific) power of doing works of mercy (in the case of hospital workers) and bodily suffering (in the case of hospital inmates). The particular social context of hospital preaching is also evident in preachers' anxieties about the quality of hospital administration. The sermons that were preached in thirteenth-century hospitals reflect the heightened value placed on caring for the sick and poor, a historical development more often associated with the later middle ages.     

Preaching in thirteenth-century hospitals

This article uses thirteenth-century hospital sermons as a window into the moral and religious environment of these charitable institutions, large numbers of which were founded during the twelfth and thirteenth centuries. What emerges from the reportationes of sermons preached in the hôtel-dieu of Paris and ad status sermons directed at hospitals' personnel and inmates by Jacques de Vitry, Humbert of Romans and Guibert de Tournai is a spirituality that stressed the penitential (and potentially salvific) power of doing works of mercy (in the case of hospital workers) and bodily suffering (in the case of hospital inmates). The particular social context of hospital preaching is also evident in preachers' anxieties about the quality of hospital administration. The sermons that were preached in thirteenth-century hospitals reflect the heightened value placed on caring for the sick and poor, a historical development more often associated with the later middle ages.     

Between two kings: Pope Honorius III and the seizure of the kingdom of Jerusalem by Frederick II in 1225

The consensus on Pope Honorius III (1216–27) is that he was a conciliatory politician who lacked the harder edge possessed by Innocent III, his immediate predecessor, and Gregory IX, his successor. Yet, using overlooked evidence regarding the role of Honorius in Frederick II's seizure of the kingdom of Jerusalem from John of Brienne in 1225, this article reveals that he was capable of acting in a ruthlessly pragmatic manner. It provides a rare case study of the duplicitous uses that could be made of the papal chancery by an early thirteenth-century pope while navigating a difficult diplomatic path between two kings.     

A Life in Progress: Motion and Emotion in the Autobiography of Robert M. La Follette

Abstract

This article is a study of La Follette's Autobiography, the autobiography of the leading Wisconsin progressive Robert M. La Follette, which was published serially in 1911 and, in book form, in 1913. Rather than focusing, as have other historians, on which parts of La Follette's account are accurate and can therefore be trusted, it explains instead why and how this major autobiography was conceived and written. The article shows that the autobiography was the product of a sustained, complex, and often fraught series of collaborations among La Follette's family, friends, and political allies, and in the process illuminates the importance of affective ties as well as political ambition and commitment in bringing the project to fruition. In the world of progressive reform, it argues, personal and political experiences were inseparable.     

Natàlia's Journey from the Imaginary to the Symbolic in Mercè Rodoreda's La plaza del Diamante

In Mercé Rodoreda's La plaza del Diamante (La plaça del Diamant), the main character Natàlia rejects the Symbolic Order, represented by the nom du père (“Name-of-the-Father”), the imposition of the Law by the father. This article analyzes Natàlia's journey from the Symbolic to the Imaginary in Lacanian terms. In the novel, the Symbolic manifests itself on the plain of the forces hostile toward the protagonist, signifying suffering and displacement, the war, the losses, hunger, the doves, and ultimately, her first husband, Quimet. Natàlia rejects the Symbolic Order represented by the father by denying him access to her life and by rejecting his presence. In Lacan's analyses, the father represents the culture and the language. Thus, by imposing the nom du père, the father imposes the Law and becomes the one “that makes possible the Symbolic Order and the separation from the state of nonconsciousness of the Imaginary” (Carbonell 23). Natàlia's moments of disorientation and lack of self-identity are triggered when she is opposed by the Symbolic Order, when, according to Lacan, the Name-of-the-Father is foreclosed. Natàlia, initially unable to come to terms with the male-dominated hostile Symbolic Order, through numerous transformations in her life achieves to break out of her Imaginary existence and become incorporated into the Symbolic world.     

The 14th-Century Rebuilding of the Collegiate Church of St Mary’s,Warwick

The 14th-century rebuilding of the collegiate church of St Mary’s by the earls of Warwick has received surprisingly little scholarly consideration, despite the status of its patrons and the distinctiveness of its architecture. This article uses drawings of the building before the fire of 1694, which destroyed its west end, together with the college’s extensive cartulary and other records, to reconstruct the 14th-century church. From this a timeline for the construction of the church is proposed. Regional, national and international stylistic precedents and antecedents are explored and used to test the validity of the ‘centre/periphery’ model of architectural change. The article concludes with a brief discussion of methodological insights drawn from the analysis.     

From the Absent Mother to the Oppressive Mother to the New Mother in Lucía Etxebarria's Un milagro en equilibrio

This article examines the transformation of maternal and paternal images that occurs in Lucía Etxebarria's 2004 novel Un milagro en equilibrio. Sandra Schumm argues that the novel engages and transforms the postwar archetype of the “absent mother.” Using Schumm's study as a springboard, my article takes this argument further by showing how Etxebarria rewrites a second maternal archetype, the “oppressive mother,” a figure that symbolizes patriarchal values and the Francoist regime in many postwar narratives by women. At first, protagonist Eva Agulló characterizes her mother, Eva Benayas, as one of these oppressive mothers, a characterization that Etxebarria has also employed in her two most famous novels to date, Amor curiosidad, prozac y dudas and Beatriz y los cuerpos celestes. Un milagro en equilibrio marks a change in Etxebarria's treatment of mothers because, as the novel progresses, Agulló questions and then complicates this portrayal. The Benayas that emerges is a complex woman influenced by personal, familial, and national conflicts. Conversely, Agulló's father comes to assume more culpability for family abuse and dysfunction as Agulló associates him with Francoism. This reassessment of maternal and paternal roles demonstrates Etxebarria's own evolution in maternal representations as it dialogues with and recreates previous works such as Ana María Moix's 1969 novel Julia and Ana María Matute's 1959 Primera memoria and 1969 La trampa—three foundational novels that also employ tyrannical maternal figures. In rejecting the oppressive mother role she had assigned to her mother, Agulló rewrites a long history of maternal figures associated with the Francoist regime in many postwar narratives by women.     

Mary McLeod Bethune's Feminism: Black Women as Citizens of the World

This article focuses on the particular moment of the 1945 United Nations charter meeting as a catalyst for a shift in Mary McLeod Bethune's feminist thought. The meeting, where Bethune served as the only African American female delegate, signalled a change in Bethune's thinking about equality for black women, so she used the founding of the United Nations as a platform to promote black women's alliances with other women of colour. Her idea was to reframe black women as citizens of the world, thus putting them in a numerical and ideological majority rather than keeping them in a minority position. Bethune has often been viewed as a reformer of race and gender issues in the early twentieth century, but a focus on her activism has hidden the intellectual contributions that she made to a form of black feminism that emerged out of her work with other clubwomen and through the United Nations in the 1920s through the 1950s. Specifically, this article argues that Bethune's intellectual work created a framework for African American women's feminism that emphasised anti-colonialism and their global alliance with other women of colour throughout the world.     

Having her hand in it? Elite women as ‘makers’ of textile art in the Middle Ages

ABSTRACT

In the Middle Ages, elite women acted as creators, donors and recipients of textile art. This article analyses a small but representative group of seventh- to thirteenth-century embroideries in order to examine the motivation for their creation and to investigate the ways in which women could mark their own presence through textile art. It discusses written sources alongside the material evidence; these sources include documentary, hagiographical and literary texts, which provide information about cultural norms and the expectations of society. Set within the context of these sources, the evidence suggests that society both channelled women's creativity into textile art and idealised it. At the same time, as artists and patrons of ornamented textiles, noblewomen had creative control over the medium; embroidery became a field in which their works were noted and celebrated.     

Reclaiming the Land,Reclaiming the Indian: The La Salle Series of George Catlin

In 1847, American painter George Catlin completed a series of paintings depicting La Salle's travels through North America, ostensibly at the request of King Louis-Philippe. This article argues that the La Salle series is an unusually coherent statement by Catlin about the value of the American wilderness and Native American culture for white America. A close examination of the paintings and Catlin's writing exposes the La Salle series as a reclamation project in which Catlin sought to rescue an imagined “pure” past at contact and preserve it in paint in order to make it available and useful to the present.     

Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

“Obra de arte yo too”: Eduardo Mendicutti on soccer,glamour, and the “Beckham effect”

ABSTRACT

La Susi en el vestuario blanco (2003) is a fictional chronicle of life in the Real Madrid locker room, a privileged insight into the sanctum sanctorum of the world's richest soccer team. The hiring of Susi as glamour coach ostensibly aims to boost the competitive advantage of the galácticos in foreign as well as local markets (reflecting the reality of the club at the time). In Mendicutti's homoeroticizing gaze, it also serves to uncover the homophobic substrate reportedly still common in male team sports and teases at the anxieties of the players. This article explores the peculiar function of Susi as she sets the comic tone of the work and engages with the varied virilities before her. It examines the notions of “glamour” and “identification” both as tongue-in-cheek team objectives and as phenomena with wider relevance for the way spectators relate to sport and players relate to the world around them.