Alan Allport is Associate Professor of History in the Maxwell School of Citizenship and Public Affairs at Syracuse University. The author of acclaimed books on demobilisation (Demob, 2009) and the British army (Browned Off and Bloody-Minded, 2015), Alan has now published the first of a two volume history of Britain in the Second World War, Britain at Bay. To mark its publication, Alan talked to Dan Todman, who published the second of his two volume history of Britain in the Second World War, A New World in March this year.
A statement from the Head of the School of History. This text was first sent to all staff and students in the School of History on Friday June 5th, 2020.
Johan Huizinga's Autumn of the Middle Ages offers an immersion in the late medieval world that encompasses all senses. An art historian reflects on Huizinga's assessment a century on. This is the fifth post in our series celebrating the centenary of Huizinga’s work.
Since its first appearance a century ago, Johan Huizinga's Herfsttij der Middeleeuwen has gone through multiple English editions. Graeme Small is one of a team of four responsible for the new edition and translation to mark the centenary. In this blogpost he places the latest translation in its line of interpretations and reflects on the continued conversation. This is the fourth post in our series celebrating the centenary of Huizinga’s work.
The ‘Malleus Maleficarum’ (Hammer of Witches) is a text like no other. Published in the late 15th century, it provided a guide for hunting and persecuting witches that would heavily influence the next 200 years of the European witch craze. It is one of the great landmarks in the history of witchcraft. This post exploring the history and impact of that text is adapted from coursework completed for Peter Denley’s ‘Frontiers of the Medieval Imagination’ module.
Musicologist Marianne C.E. Gillion compiled a playlist of late medieval and early modern music to accompany and inform the centenary (re)reading of Johan Huizinga’s The Autumn of the Middle Ages. In this blogpost, she discusses the musical landscape of these periods and asks what Huizinga’s work might have looked like if he incorporated information concerning the music of the time. This is the third post in our series celebrating the centenary of Huizinga’s work.
Over the course of a century, the many translations and editions of Johan Huizinga's Autumn of the Middle Ages have sprouted as many interpretations. Michael Bailey dissects and reflects on the different depictions of witchcraft across the multiple editions. This is the second post in our series celebrating the centenary of Huizinga’s work.