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England, 1191. Richard Lionheart has left the realm bankrupt and leaderless in his quest for glory. Only Prince John seems willing to fight back the tide of chaos threatening England – embodied by the traitorous ‘Hood.’ But John has a secret weapon: Guy of Gisburne, outcast, mercenary, and now knight. From intercepting the jewel-encrusted skull of John the Baptist to investigating a string of grisly deaths linked to the Prince's own past, Guy is John’s hound, combating chaos and fighting the enemies of England wherever they may be found. From Ireland to Marseilles and as far as the Levant, aided by his faithful squire Galfrid and the beautiful and secretive Mélisande, Gisburne battles his way with sword, lance and bow in England’s name, drawing ever nearer the day he will have to confront his oldest and greatest foe... Collects the novels Knight of Shadows and The Red Hand.
England, 1191. Richard Lionheart has left the realm bankrupt and leaderless in his quest for glory. Only Prince John seems willing to fight back the tide of chaos threatening England ? embodied by the traitorous ?Hood.? But John has a secret weapon: Guy of Gisburne, outcast, mercenary, and now knight. His first mission: to intercept the jewel-encrusted skull of John the Baptist, sent by the Templars to Philip, King of France. Gisburne?s quest takes him from the Tower of London to the hectic crusader port of Marseilles ? and into increasingly bloody encounters with ?The White Devil?: the fanatical Templar de Mercheval. Relentlessly pursued back to England, and aided by the beautiful and secretive M‚lisande, Gisburne battles his way with sword, lance and bow to a bitter confrontation at the Castel de Mercheval. But beyond it ? if he survives ? lies an even more unpredictable adversary.
In A Pious Belligerence Uri Zvi Shachar examines one of the most contested and ideologically loaded issues in medieval history, the clash between Christians, Muslims, and Jews that we call the Crusades. He does so not to write about the ways these three groups waged war to hold onto their distinct identities, but rather to think about how these identities were framed in relation to one another. Notions of militant piety in particular provided Muslims, Christians, and Jews paths for thinking about both cultural boundaries and codependencies. Ideas about holy warfare, Shachar contends, were not shaped along sectarian lines, but were dynamically coproduced among the three religions. The final d...
Islam's 1,400-year history has made an important contribution to world civilization. In its nascent state, it miraculously brought the mighty Christian Byzantine and Zoroastrian Persian empires to their knees. In the span of a generation, the Islamic world became one of the largest empires in history. Despite the stereotype of Islam being spread with the sword, it was mainly adopted and practiced peacefully. Islam recognizes the fundamental importance of the individual's right to religious self-determination. Islam's aversion to compulsion and its affirmation of the individual's right to choose are clearly stated in the Quran. Nevertheless, a transformation has occurred in the Muslim world t...
In 1644, the news that Antonio de Montezinos claimed to have discovered the Lost Tribes of Israel in the jungles of South America spread across Europe fuelling an already febrile atmosphere of messianic and millenarian expectation. By tracing the process in which one set of apocalyptic ideas was transmitted across the Christian and Islamic worlds, this book provides fresh insight into the origin and transmission of eschatological constructs, and the resulting beliefs that blurred traditional religious boundaries and identities. Beginning with an investigation of the impact of Montezinos’s narrative, the next chapter follows the story to England, examining how the Quaker messiah James Nayle...
Presents the history of the Crusades, including the organizational problems, the multiple political alliances, biographies of notable figures on both sides of the conflict, and the reasons for the final defeat of the Europeans.
'Salah ad-Din, or Saladin as he is known to the Franks, was a Kurd, the son of despised people, and yet he became Sultan of Egypt and Syria. He united the peoples of Allah, recaptured Jerusalem, and drove the Crusaders to the very edge of the sea. He battled, and in the end tamed King Richard the Lionheart, who well deserved his savage name. He was a great man, the greatest man that I ever knew, but when I first met him, he was only a skinny child . . .' The Chronicle of Yahya al-Dimashq But alongside the legend of Saladin there is another story. When the Crusader army is routed beneath the walls of Damascus in 1148, a young Saxon named John is captured and enslaved. He is bought by Yusuf, a...
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On July 14, 1099, the Crusaders took Jerusalem and founded the Latin kingdom of Jerusalem. Not even a century had passed when, on Friday, October 2, 1187, Saladin recaptured the Holy City for Islam. Between those two dates, there was a kingdom ruled by Christians in Palestine. Immersed in a Muslim world, influenced by the Byzantine Empire, subject to a constant flow of crusaders from Europe, the Latin kingdom of Jerusalem was turned into a melting pot of cultures and ideas. Soon the flexibility and tolerance of other cultures prevalent in the kingdom began to clash with the intransigence of the newcomers. Due to the constant wars and unhealthy conditions faced during military campaigns, noblewomen became widows at a very young age. Being rich and powerful, they had many suitors and invariably chose the most attractive candidate. Thus, their daughters were even more beautiful and more desirable and, in their turn, married the finest crusaders who arrived. In a spiraling vortex of beauty and diversity of ideas, a kingdom of conspiracy and intrigue was founded.
It was believed that September 11th would make certain kinds of films obsolete, such as action thrillers crackling with explosions or high-casualty blockbusters where the hero escapes unscathed. While the production of these films did ebb, the full impact of the attacks on Hollywood's creative output is still taking shape. Did 9/11 force filmmakers and screenwriters to find new methods of storytelling? What kinds of movies have been made in response to 9/11, and are they factual? Is it even possible to practice poetic license with such a devastating, broadly felt tragedy? Stephen Prince is the first scholar to trace the effect of 9/11 on the making of American film. From documentaries like F...