#Christopher Tyerman
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Una delle cose più pratiche che permette di fare un e-reader è sottolineare i testi e avere poi a portata di mano tutti i passaggi che si vogliono conservare.Di seguito, una piccola raccolta di sottolineature, senza un particolare filo conduttore, tra saggi e narrativa, dagli ultimi tre anni circa di letture.
Alberto Grandi, Denominazione di origine inventataQuesto è il paese nel quale due tra…
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#Alberto Grandi#alessandro barbero#Anatolij Kuznecov#Anna Rizzo#Antonio Del Greco e Massimo Lugli#Bill Bryson#Christopher Tyerman#Don Winslow#Erika Fatland#Francesco Guccini#Franco Cardini e Alessandro Vanoli#giobbe covatta#J.R.R. Tolkien#Jacopo Tomatis#Johann Hari#John Banville#John Julius Norwich#Lawrence Wright#libri#Masha Gessen#Matt Ruff#Merlin Sheldrake#Roberto Bolaño#Stephen King#Tiziano Terzani#Valerio Evangelisti#Vera Gheno
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Let Your Knights Weep
One of the big things I've had to train myself out of when writing medieval historical fiction?
The stiff upper lip.
This used to really bewilder my editor, who for some time attempted to nudge me away from having my grown men weep and wail and blubber, but for me it's an essential part of the setting. Whether in grief or fear, medieval people did not hold things back.
Here are some of my favourite quotes to explain.
First, a couple from two great 20th century medievalists:
CS Lewis in his Letters put it this way:
“By the way, don't 'weep inwardly' and get a sore throat. If you must weep, weep: a good honest howl! I suspect we - and especially, my sex - don't cry enough now-a-days. Aeneas and Hector and Beowulf, Roland and Lancelot blubbered like schoolgirls, so why shouldn't we?”
Dorothy Sayers, in her fabulous Introduction to her translation of THE SONG OF ROLAND, speaking of Charlemagne discovering Roland's body on the battlefield:
Here too, I think we must not reckon it weakness in him that he is overcome by grief for Roland’s death, that he faints upon the body and has to be raised up by the barons and supported by them while he utters his lament. There are fashions in sensibility as in everything else. The idea that a strong man should react to great personal and national calamities by a slight compression of the lips and by silently throwing his cigarette into the fireplace is of very recent origin. By the standards of feudal epic, Charlemagne’s behaviour is perfectly correct. Fainting, weeping, and lamenting is what the situation calls for. The assembled knights and barons all decorously follow his example. They punctuate his lament with appropriate responses:
By hundred thousand the French for sorrow sigh;
There’s none of them but utters grievous cries.
At the end of the next laisse:
He tears his beard that is so white of hue,
Tears from his head his white hair by the roots;
And of the French an hundred thousand swoon.
We may take this response as being ritual and poetic; grief, like everything else in the Epic, is displayed on the heroic scale. Though men of the eleventh century did, in fact, display their emotions much more openly than we do, there is no reason to suppose that they made a practice of fainting away in chorus. But the gesture had their approval; that was how they liked to think of people behaving. In every age, art holds up to us the standard pattern of exemplary conduct, and real life does its best to conform. From Charlemagne’s weeping and fainting we can draw no conclusions about his character except that the poet has represented him as a perfect model of the “man of feeling” in the taste of the period.
OK, now let's dig into some quotes that I found just in Christopher Tyerman's Chronicles of the First Crusade and Joinville's Life of St Louis:
Truly you would have grieved and sobbed in pity when the Turks killed any of our men....
As for the knights, they stood about in a great state of gloom, wringing their hands because they were so frightened and miserable, not knowing what to do with themselves and their armour, and offering to sell their shields, valuable breastplates and helmets for threepence or fivepence or any price they could get....
When Guy, who was a very honourable knight, had heard these lies, he and all the others began to weep and to make loud lamentation....
They stayed in the houses cowering, some some for hunger and some for fear of the Turks....
Now at vigils, the time of trust in God’s compassion, many gave up hope and hurriedly lowered themselves with ropes from the wall-tops; and in the city soldiers, returning from the encounter, circulated widely a rumour that mass decapitation of the defenders was in store. To add weight to the terror, they too fled…
In the course of that day’s battle there had been many people, and of fine appearance too, who had come very shamefully flying over the little bridge you know of and had fled away so panic-stricken that all our attempts to make them stay with us had been in vain. I could tell you some of their names, but shall refrain from doing so, because they are now dead.
I could go on looking for quotes in all the other medieval literature I've read, but that would be beyond the scope of this Tumblr post.
In the meantime, this leads me to make some comments on how trauma was perceived.
In Jonathan Riley-Smith's The First Crusade and the Idea of Crusading, the author discusses the mental breakdowns suffered by the first crusaders during the second siege of Antioch, which caused many of them to flee at the moment of direst need:
In these stressful circumstances it is not surprising that the crusaders were often very frightened. At times, indeed, they seem to have been almost paralysed by a terror that they themselves could hardly comprehend. … When the crusade was bottled up in Antioch by Kerbogha's relief force it was gripped by such blind panic that there was the prospect of a mass break-out and on the night of 10 or 11 Juney 1098 Bohemond and Adhemar had the gates of the city closed. It is worth noting that many of those whom later chroniclers, writing after the events in comparative comfort in Europe, vilified for cowardice and desertion seem to have been treated more charitably by their fellow-crusaders, who must have understood what pressures they had been under.
--
In conclusion: the way we feel about things today in the English-speaking isn't necessarily the way people felt about things in the past (and this goes for other cultures, real or imagined, too). I'm continually catching myself writing people with stiff upper lips and emotional reservations, and having to remind myself that the culture was different back them. If a grown man wanted to weep, he could. That's a good thing.
(Oh, and my medieval historical fantasy? Check out the Watchers of Outremer series on Amazon or wherever books are sold!)
#history#writing#historical fiction#medieval history#medieval#middle ages#historical#masculinity#history of masculinity#toxic masculinity
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The Talisman Readalong Readalong
...no, that’s not a typo. And in part since Stephen King’s The Talisman is, at this point, more famous than Sir Walter Scott’s, we’re keeping “medievalism readalong” as the hashtag for this. But even just a few chapters in (!), it’s clear that a supplemental reading list might be desirable for those reading about our so-far-anonymous protagonists and feeling a bit overwhelmed.
Edward Saïd, Orientalism. The short version: Orientalism is taking “the basic distinction between East and West as the starting point for elaborate theories, epics, novels, social descriptions, and political accounts concerning ‘the Orient.’”
Christopher Tyerman, The Crusades: A Very Short Introduction. Any time Sir Walter Scott says anything in this novel about forms of religious antagonism and religious war, I find myself internally saying “now we don’t have time to unpack all of that...” He is Wrong About The Crusades, but often in ways that stayed mostly unpacked for decades after the time of writing
Jack Tannous, The Making of the Medieval Middle East. This is, uh, a brick, but it’s also fascinating and readable. And while Sir Walter, is, again Wrong About The Rise Of Islam, he’s wrong in ways that were common for a long time after The Talisman was written (and are still being dismantled by scholars in ways that haven’t yet fully trickled down into standard narratives... in part because of Orientalism.)
Marcus Bull, Thinking Medieval. I brought this up when we were reading Ivanhoe, too, because... Sir Walter’s version of the Middle Ages is hugely influential, and was not that far off from scholarly consensus at the time he was writing, which was before history was really established as an a academic discipline rather than the pursuit of antiquarians. All of which is kind of a long story.
Elizabeth A.R. Brown’s 1972 article “Feudalism: The Tyranny of a Construct” is accessible through @jstor, and explains why I twitch every time Sir Walter talks about the ‘feudal’ ages/society/norms/etc.
...All that said, this is a wildly entertaining novel, and it’s about to get wilder.
#medievalism readalong#the talisman#books#history#historical fiction#sir walter scott#sir walter i love you but i have NOTES#is a tag that i have
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News!!
Eddie Redmayne to Lead ‘The Day of the Jackal’ at Peacock, Sky
By Selome HailuPlus Icon
Eddie Redmayne has been cast in “The Day of the Jackal,” Peacock and Sky’s upcoming reimagining of Frederick Forsyth’s novel and Universal’s film of the same name. He will also executive produce the thriller series.
Redmayne will play the Jackal, who is hired by the OAS, a French dissident organization, to kill then-president of France Charles de Gaulle.
Redmayne recently starred opposite Jessica Chastain in Netflix’s “The Good Nurse.” He is also known for playing Stephen Hawking in James Marsh’s 2014 biopic “The Theory of Everything,” which earned him the Oscar for best actor. Redmayne’s other prominent credits include “The Trial of The Chicago Seven,” “The Danish Girl,” “Les Miserables” and the “Fantastic Beasts” films.
He is repped by CAA, United Agents and Jackoway Tyerman Wertheimer Austen Mandelbaum Morris & Klein.
Ronan Bennett serves as showrunner of “The Day of the Jackal,” which hails from Universal International’s Carnival Films and was commissioned by Sky Studios and Peacock. Brian Kirk directs. Executive producers include Carnival CEO Gareth Neame alongside Nigel Marchant, as well as Sam Hoyle for Sky. Marianne Buckland serves as co-executive producer, Forsyth serves as consulting producer and Christopher Hall serves as producer. Production begins this year. The series will stream on Peacock in the U.S. and Sky in the U.K., Ireland, Italy, Germany, Switzerland and Austria. NBCUniversal Global Distribution will handle international sales of the series.
“We are excited to bring to life Ronan Bennett’s re-imagining of Forsyth’s revered thriller in the complex world in which we live today and are incredibly fortunate to have an actor of Eddie’s calibre as our Jackal,” said Neame. “Paired with Ronan’s screenplay and Brian Kirk’s direction, this is a first-class creative team.”
#eddie redmayne#best actor#news#The Day of the Jackal#sky#frederick forsyth#novel#variety.com#sky studios#obe#talent#oscar winner
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Supporters of Creative Community For Peace Open Letter (Support of Israel) - Part 1/2
The letter condemns the Supernova Music Festival attack on Oct 7, but fails to mention Palestinian civilians, then states:
"As Israel takes the necessary steps to defend its citizens in the coming days and weeks, social media will be overrun by an orchestrated misinformation campaign spearheaded by Iran."
see full letter (x)
Supporters:
Ari Ingel, Executive Director, Creative Community For Peace
Aaron Bay-Schuck, CEO/Co-Chairman, Warner Records
Brad Ableson, Animation Director, Illumination
Natalie Abrams, Co-EP
Deeba Abrishamchi, Senior Manager, A&R, Universal Music Publishing Group
Jason Adelman, VP, Brand Innovators Labs
Orly Adelson, Former President of ITV Studios, America
Marty Adelstein, CEO, Tomorrow Studios
Ali Adler, Producer
Ben Adler, Musician
Rachel Adler, Agent, CAA
Dan Ahdoot, Comedian
Jason Alexander, Actor/Director
Sasha Alexander-Ponti, Actress/ Director, The Ponti Company
Karen Allen, Actor/Director, Blue Willow Productions Inc.
Dan Aloni, Partner, WME
Kayla Alpert, Writer
Cindy Ambers, Co-Owner, Art/Work Entertainment
Leon Angel, Joint Head of Football, CAA Base Limited
Dennis Arfa, Chairman, IAG Music, Independent Artist Group
Jarred Arfa, EVP and Head of Music, Independent Artist Group
Taryn Ariel, Agent
Antonina Armato, Founder, Heroine Music Group
Jeff Astrof, Showrunner, Warner Brothers
Liz Astrof, Writer/Producer, 20th Century/Disney
Eve Attermann, Literary Agent, WME
Michael Auerbach, Partner, Jackoway Austen
Nate Auerbach, Partner, Versus Creative
Karl Austen, Attorney, Jackoway Austen
Meredith Averill, TV Writer/Showrunner,
Shahar Avnet, Creative Director & Founder, SHAHAR AVNET
Asi Azar, TV Host, Keshet
Irving Azoff, Chairman, Full Stop Management
Ivor Baddiel, Scriptwriter and Author
Gary Barber, CEO, Spyglass Media
Moshe Barkat, CEO, ColorTime, LLC.
Eve Barlow, Music Journalist
Jonathan Barnett, Chairman, CAA Stellar
Romi Barta, Writer
Jonathan Baruch, Partner, Rain
Richard Baskind, Partner & Head of Music, Simons Muirhead & Burton
Lance Bass, Music Artist
Neal Batra, President, Tradition Pictures
Brian Baumgartner, Actor
Jaime Becker, Writer/producer
M. Becker
Matt Earl Beesley, Director/Producer, This Much Films
Idan Ben abou, Football Agent, ISCOUT LTD
Karyn Ben-Gal, A&R Coordinator, Disney Music Publishing
Aton Ben-Horin, VP of Global A&R, Atlantic Records Group
Rachel Bendavid, Head of Scripted Programming, BBC Studios/Lionsgate Partnership
Pablo Bendersky, Producer/Artist
Steven Bensusan, President, Blue Note Entertainment Group
Ram Bergman, Producer, T-Street
Adam Berkowitz, Founder and President, Lenore Entertainment Group
Jim Berkus, Chairman of the Board of Directors, UTA
Jordan Berkus, Talent Agent, UTA
Greg Berlanti, Writer/Director/Producer, Berlanti Productions
Gail Berman, CEO, The Jackal Group
Luc Bernard, Director, Voices of the Forgotten
TJ Bernardy, Talent Agent, WME
Carolyn Bernstein, Exec VP, National Geographic
Jeff Bernstein, Partner & Board Member, Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein
Heather Besignano, CEO & Founder, ICON PR
Mayim Bialik, Actor/Host/Author
Sharon Bialy, Co-Owner of Bialy/Thomas Casting, Bialy/Thomas & Associates
Matthew Bierman, Producer
Allison Binder, Partner, Goodman Genow Schenkman Smelkinson & Christopher
Joshua P. Binder, Partner, Rotherberg, Mohr, and Binder LLP
Neil Blair, Partner, The Blair Partnership
Rachel Bloom, Writer
Doug Blu, Commercial Dept, Eris Talent Agency
Robyn Bluestone, Talent Manager, Robyn Bluestone Management
Steven Blume, COO, Content Partners LLC
Sawyer Bock, Coordinator, Elevate Entertainment
Evan Bogart, Songwriter & CEO, Seeker Music
Laura Bonner, Partner, WME
Michael Borkow, Writer/Producer, Tinder Hill Productions, Inc.
Betsy Borns, Television Writer/Producer
David Bradley, Partner, WME
Alan Braun, Agent, CAA
Dan Brecher, Principal/Owner, Rothman Brecher Ehrich Livingston
Chris Bremner, Screenwriter, Unknown Quantity
Tor Breon, Music Agent, WME
Theodore Bressman, Screenwriter
Josh Brill, Writer/Producer
Karen Brodkin Watson, EVP, Endeavor
Aline Brosh McKenna, Writer/Director/Producer
Brantley Brown, Talent Representative, Authentic Talent and Literary Management
Amy Brownstein, Founder, PRStudio
Ashley Brucks, President of Screen Gems, Sony
AJ Buckley, Artist
Mitch Bukhar, Talent Agent, CAA
Danny Burstein, Actor
Joannie Burstein Besser, Owner/Manager, Burstein Company
David Byrnes, Partner, Ziffren Brittenham LLP
Omri Caaspi, Former Professional Basketball Player
Ryan Cabrera, Musician
Trey Callaway, Television Showrunner
Bryan Carmel, Independent Producer, The Very Specific Corporation
Tia Carrere, Actress
Madeline Carver, Account Service Representative, Vevo
Markell Casey, Music Executive
Nir Caspi, Partner, Non-Scripted TV, WME
Daniela Cassorla, Associate, Grubman Shire Meiselas & Sacks, PC
Jennifer Cecil, Writer/Producer
Jared Ceizler, Talent Manager, MGMT Entertainment
Brian Celler, Founder, Bravo Charlie Management
Pamela Charbit, A&R Manager, Atlantic Records
Olivier Chastan, Founder & CEO, Iconoclast
Cliff Chenfeld, Co-Founder, Razor & Tie
Ted Chervin, Agent, CAA
Emmanuelle Chriqui, Actor
Jeffrey Ciabattari, Talent Manager
Patrick Clifton, Writer, Promise & Potential
Andrew Cohan, Co-Founder/C.E.O., ACI Licensing LLC
Ayala Cohen, Talent Agent, CAA
Etan Cohen, Writer/Director
Joe Cohen, Agent, CAA
Alex Cole, President, Elevate Entertainment
Lindsay Conner, Partner, O’Melveny & Myers
Henrietta Conrad, CEO, The Optimism Company
Lionel Conway, SVP, BMG
Adam Cooper, Partner, Jackoway Austen, et al.
Leanne Coronel, President, The Coronel Group
Raye Cosbert, Managing Director, Metropolis Music
Ben Cosgrove, CEO, Leviathan Productions
Cassidy Crosby, Associate Manager of Marketing, Vevo
Jamie Lee Curtis, Actress
R.J. Cutler, Filmmaker, This Machine
Avi Dahan, Attorney, Boyarski Fritz LLP
Ian Daly, Head of Brand Strategy, Live Nation
Hannah Damico, Junior Designer, Vevo
Greg Daniels, Writer
Dani Darling, Entertainment Attorney, LaPolt Law
Ben Davis, Partner, Co-Head of Digital, WME
Doug Davis, The Davis Firm
Mitch Davis, Concert Promoter, The Artist Partnership
Taylor Dayne, Artist
Danielle Del, Partner, D2 Management
Jamie Denbo, Co-EP Grey’s Anatomy, ABC/Disney
David DeSantos, CEO, Cottonwood Productions
Meredith DeSantos, Writer/Producer
Josh Deutsch, Chairman/CEO, Premier Music Group
Ken Deutsch, Global Co-Chair, Entertainment and Media Group, Paul Hastings LLP
Vikram Dhawer, Partner, Authentic Talent & Literary Management
Avi Diamond, Director, Film & TV Licensing, Warner Music Canada
Michael Diamond, Talent Manager/Partner, MGMT Entertainment
Jessica DiBiase, Talent Agent, CAA
Lucy Dickins, Global Head of Music and Touring, WME
David DiGilio, Showrunner/Executive Producer, THE TERMINAL LIST – Amazon Prime
Kosha Dillz, Artist, Rapper
Matt Dines, Producer
Lee Dinstman, Partner, IAG
Brian Dobbins, Co-CEO, Artists First
Efrat Dor, Actor
Joella Dorenbaum, Talent Agent, CAA
Craig Dorfman, Partner/Manager, Three Six Zero
Rick Dorfman, Partner/Head of Comedy & Development, Authentic Talent & Literary Management
Michael Douglas, Actor/Producer
David Draiman, Frontman of the band Disturbed
Bill Duffy, Head of Basketball, WME Sports
Alex Edelman, Comedian/Writer
Julian Edelman, Co-Founder, Coast Productions
Scott Edelman, Senior Partner, Gibson Dunn
Lisa Edelstein, Actor
Jason Egenberg, CEO/Producer, Tiny Riot Entertainment
Jon Ehrlich, Founder/Composer, Qwire
Matthew Einstein, CEO, Tradition Pictures
Jessica Elbaum, Producer, Gloria Sanchez productions
Natasha Elie, Marketing Assistant, Atlantic Records
Talya Elitzer, Co-Founder, Godmode Music
Andy Elkin, Agent, CAA
Craig Emanuel, Partner, Entertainment & Media, Paul Hastings
Robert Emmer, Founding Partner, Shout! Factory
Alexandra Emmerman, Agent, CAA
Hannah Epstein, Agent, CAA
Dan Erlij, Partner, Co-Head of TV Lit, UTA
Ingrid Escajeda, Showrunner/EP
Henry Eshelman, Managing Director, PMG: Platform Media Group
Nancy Etz, Agent, CAA
Ikenna Ezeh, Partner, WME
Ron Fair, Record Producer & CEO, Faircraft Inc.
Veronica Falcón, Actor
Donny Farber, Dan Farber
Sharon Farber, Composer, Soaring Taurus, LLC
James Farrell, Agent, WME
Daniel Federman, Owner, Maccabi Tel-Aviv
Oded Fehr, Actor
Erik Feig, Founder/CEO, PICTURESTART
Jaime Feld, Talent Agent, CAA
James Feldman, Partner, Lichter Grossman Nichols Adler Feldman & Clark
Josh Feldman, Head of Film and Television, Altar Rock Pictures
Katie Feldman, Publicist
Ryan Feldman, Partner, WME
Patti Felker, Partner, Felker Toczek Suddleson Abramson McGinnis Ryan LLP
Jacob Fenton, Partner, UTA
Ken Fermaglich, Partner, UTA
Hannah Fidell, Filmmaker
Tommy Finkelstein, Head of Business Affairs, General Counsel, Independent Artist Group
Dylan First, Agent, WME
Bradley Fischer, Producer
Alexis Fisher, CEO, Timeline Management
Scott Fisher, Select Management Group
Seth Fisher, Showrunner
David Fishof, Producer and Music Executive
Wayne Fitterman, Talent Agent, WME
Carlos Fleming, Partner, WME
Josh Fluxgold, Founder and President, ONEWAY.
Beau Flynn, Producer, FlynnPictureCo
Erica Forster, Entertainment Attorney
Gary Foster, Principal, Krasnoff Foster Productions
Lauren Fox, TV Literary Agent, CAA
Sarah Francus, Manager, Roc Nation
Etan Frankel, Writer
Ashley Franklin, Partner/Talent Manager, Thruline Entertainment
Jordan Frazes, Founder, Frazes Creative
Bryan Freedman, Founding Partner, Freedman, Taitelman + Cooley
Jeffrey Freedman
Jessica Freedman, Singer, SAG-AFTRA
Jay Jay French, French Management, Twisted Sister
Geordie Frey, Owner, GEF Entertainment
Michael Fricklas
Stuart Fried, Grubman Shire Meiselas & Sacks
Jody Friedericks, Executive Creative Director, 160over90
Adam Friedman, Executive, CAA
Adina Friedman, President, Friends at Work Management
Daryl Friedman, Former Chief Advocacy & Industry Relations Officer, The Recording Academy
Stephen Fry, Actor/Writer
Antoine Fuqua, Producer/Director
Bryan Furst, Producer
Sean Furst, Producer, Global Position Studios
Gal Gadot, Actress, Producer, Pilot Wave
Alex Gansa, Writer/Producer, Gansa Films Inc.
Siri Garber, CEO & Founder, Platform Public Relations
Andy Garcia, Actor
Risa Bramon Garcia, Casting Director, Teacher, Director, The BGB Studio
David Gardner, President, Artists First
Jeremy Garelick, Founder / Owner, American High
Bruce Garfield, Executive Director, Columbus Music Commission
Spencer Garrett, Actor
Nancy Gates, Partner, UTA
Willie Gault, Retired NFL Player
Andrew Genger, Manager, Red Light Management
Paul George, Manager, Podwall Entertainment
David Gersh, Co-President Gersh Agency, Gersh Agency
Gary Gersh, President, Global Touring, A.E.G.
Jody Gerson, Chairman and CEO, Universal Music Publishing Group
Risa Gertner, Agent, CAA
Pete Giberga, President, AWAL
Jill Gillett, Agent, WME
Gary Ginsberg, Senior VP, SoftBank Group Corp.
Joyce Giraud, Actress/Model
Fran Glasenberg, Foundation Executive, CAA
Nikki Glaser, Comedian
Patricia L. Glaser, Partner, Glaser Wei Fink Howard Jordan & Shapiro
Daniel Glass, Founder/ CEO, Glassnote Records
Karen Glauber, President, HITS Magazine
David Glick, Founder & CEO, Edge Group
Joshua Glick, Manager
Jonathan Glickman, Founder, Panoramic Media Company
Jordan Glickson, VP, Music & Talent, Vevo
Mark Goffman, Executive Producer, Off The Cliff Entertainment
Ross Golan, Songwriter, Unknown Music Publishing
Elon Gold, Comedian/Actor
Hannah Gold, VP Marketing, Interscope Records
Judy Gold, Comedian, Actor, Writer
Andrew Goldberg, Writer/Producer
Dana Goldberg, Chief Creative Officer, Skydance
Saul Goldberg, Agent, CAA
Tracey Goldblum, VP commercials, KMR
Tony Goldring, Agent, WME
Alistair Goldsmith, President, Chosen Music
Lindy Goldstein, Producer, Lindy Goldstein Productions
Michal Goldstein, Co-President, Basset Hound Distribution
Michael Goldwasser, President/Co-Founder, Easy Star Records
Nichole Gomez, Agent, Eris Talent Agency
Adrianne Gonzalez, Owner, BYAGINC
Alissa Goodman, Manager, Authentic Talent & Literary Management
Brandon Goodman, Co-Founder / Co-Owner, Best Friends Music
Howard Gordon, Writer/EP
Jonathan Gordon, CEO, 1916 Enterprises LLC
Michael Gordon, Partner, CAA
Jeff Gorin, Partner/Talent Agent, WME
Hildy Gottlieb, Agent in MP Talent, CAA
Karen Gottlieb, Partner, Grubman Shire Meiselas & Sacks, P.C.
Andrew Gould, Music Executive
David Graber, SVP, Content Licensing, Warner Brothers Discovery
Jessica Graboff, Agent, CAA
Marc Graboff, Consultant
Nicholas Grad, President, FX Entertainment
Cary Granat, Co-Founder and Partner, Destiny Media, EMH Media
Jack Dylan Grazer, Actor, JDG Creative Services
Michael Green, Writer
Roger Green, Partner, WME
Trudy Green, Trudy Green Management/HK
Alison Greenberg, Author and screenwriter,
Scott Greenberg, Partner, LBI
Stacy Greenberg, Head of Scripted, US, Merman
Steve Greenberg, Founder and President, S-Curve Records
Ava Greenfield, Scripted TV Agent, CAA
Josh Greenstein, President Sony Pictures Motion Picture Group
Dan Gregor, Writer
Adam Griffin, Manager, Vault Entertainment
Iris Grossman, Partner, Echo Lake Entertainment
Jonathan Grossman, Coordinator, Elevate Entertainment
Lynn Grossman, CEO, Secret Road
Jeremy Gruber, Friends at Work, Head of Artist Marketing
Tony Guanci, Chairman, EDGEOUT
Marc Guggenheim, Writer/Producer
Gary Gulman, Comedian/Writer
Julie Gurovitsch, Music Producer, The Tonight Show
Paul Haas, Partner, WME
Michael Hackman, CEO, Hackman Capital Partners
Amanda Hacohen, Agent, WME
Amir Haddad, Singer Songwriter, Warner Music France
Shirley Halperin, Editor-in-Chief, Los Angeles Magazine
Marilou Hamill
Mark Hamill, Actor
Alicia Hannah-Kim, Actor
Amy B. Harris, Writer/Producer
Lynn Harris, Producer/Partner, 6th & Idaho
Ronnie Harris, Partner, Harris & Trotter LLP
Ashley Harrison, Agent, CAA
Jo Hart, Founder, Hart Media
Becky Hartman Edwards, Writer/Producer, Two in A Tub Productions
Ryan Hayden, Partner, UTA
Josh Heald, Writer/Producer
Patricia Heaton, Actress/Producer, FourBoysEntertainment
Julianne Heitzer, Attorney, Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein
Scott Henderson, Partner, WME
Karen Hermelin, EVP, Marketing, Strategy & Insights, Paramount Pictures
Peter Hess, Co-Head, CAA Commercials Endorsements
Stephen Hill, Actor
Avi Hirshbein, A&R Coordinator, Electric Feel Ent.
Beth Holden-Garland, Manager, Authentic
Shawn Holiday, Full Stop Management
Laura Holstein, Producer
Billy Hopkins, Casting Director, Hopkins Ingram Casting
Matthew Horowitz, Agent, CAA
Samuel Horowitz, Television/Film Writer
Chris Horsman, Talent Agent, CAA
Allison Howard, Talent Agent, WME
Andrew Howard, Attorney, Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein
Linda Edell Howard, Attorney, Novick Law
Lindsay Howard Parker, EVP, Head of Scripted Literary, Independent Artist Group
David Hunt, Founder, FourBoys Entertainment
Michelle Hurd, Actor and Activist
Jon Hurwitz, Showrunner
Richard “BournRich” Ingram, Artist/Creative Director
Susana Ivanir, Executive, CAA
Basil Iwanyk, Producer, Thunder Road Films
Chukwudi Iwuji, Actor
Levi Jackson, Agent, WME
Mara Jacobs, Producer
Neil Jacobson, Founder of Hallwood Media
Chris Jacquemin, Partner, WME
Jonathan Jakubowicz, Writer & Director, Epicentral Studios
Tim James, Co-Founder, Rock Mafia
Maxwell Jenkins, Actor
Raymond Jimenez, Talent Manager, Zero Gravity Management
Brandt Joel, Agent, WME
Douglas Johnson, Agent, CAA
Jasmine Joseph-Danielpour, Manager
Nancy Josephson, Partner, WME
Al Joyner, Former Olympian
Brooke Jung, Talent Agent, WME
Heather Kadin, President, Scripted TV Range Studios, Range Media Partners
Rachel Kalban, Children’s Television Producer
Rachel Kaplan, Producer, Absecon Entertainment
Marisa Kapust, Attorney, Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein
Dorian Karchmar, Agent and Partner, WME
Mike Karz, Partner, Gulfstream Pictures
Zach Katz, President and COO, FaZe Clan
Ryan Kavanaugh, Founder, Proxima
Stephen Kay, General Counsel, Roku, Inc.
Jonathan Kellerman, Novelist
Cari Kenny, Talent Agent, Eris Talent Agency
Lee Kern, Writer
Craig Kestel, Partner, WME
Ilan Kidron, Artist & Musician
April King, Talent Agent, WME
Russell King, Director, King Law Firm
Melanie Kirschbaum, Writer/Co-EP
David Kissinger, CEO, DK Media
Dana Klein, Writer/Creator, Can’t Get Five Productions
Jenny Klein, Writer
Lance Klein, Partner, WME
Barbie Kligman, Writer/Producer
Scott Kluge, President, Tremendous Entertainment
Zachary Knighton, Actor, Independent
Amanda Kogan, Agent, The Gersh Agency
Keetgi Kogan Steinberg, Writer/Producer
Blair Kohan, Board Member/Partner, UTA
Jenji Kohan, Writer/Producer/Showrunner, Tilted Productions
Ben Kohn, CEO, Playboy
Courtney Kohn
Marc Korman, Agent, WME
Barry Kotler, Agent, CAA
Steve Kram, CEO, Content Partners LLC
Ynon Kreiz, Chairman and CEO, Mattel, Inc.
Rick Krim, CEO, Krim Music + Media
Erik Kritzer, Owner/Partner, Link Entertainment
Josh Kurfirst, Music Agent, WME
Andrew Kurland, Talent Agent, CAA
Michelle Kydd, Chief Innovation Officer, CAA
Stephanie LaFera, Head of Electronic, WME
Angela LaFever, Management, Independent
Ricki Lake, Television Host/Actress
Evan Lamberg, President, North America, Universal Music Publishing
Amy Landecker, Actress
John Landgraf, CEO, FX Networks
Gabz Landman, VP, A&R, Warner Records
Sherry Lansing, Former CEO, Paramount Pictures/Founder, The Sherry Lansing Foundation
Dina LaPolt, Entertainment Attorney, LaPolt Law, PC
Estelle Lasher, President, Lasher Group
Sanaz Lavaedian, SVP of Music, MOCEAN
Inbar Lavi, President, Tuna Productions
Dennis Lavinthal, Owner, Hits magazine
Adam Leber, Founder, REBEL
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Michelle Leibel, Writer/Producer, One Trick Pony Productions
Doron Leidner, Football Player, Olympiacos
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Greg Lessans, Weed Road Pictures
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Zachary Levi, Actor
Ben Levine, Partner, Link Entertainment
Michael Levine, Co-head, CAA Sports, Creative Artist Agency
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David Levy, Founder and CEO, Back Nine Ventures
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Richard B. Levy, Managing Director, Executive Talent Management, P.C.
Michelle Lewis, Executive Director/Songwriter, SONA
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Chuck Liddell, UFC Hall of Famer
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Sydney Lipsitz, Chief of Staff, CAA
Cory Litwin, Managing Partner, Music, Range Media Partners
Steve Lobel, CEO, LMG
Jonathan Lomma, Lawyer, WME
Alexandria Longo, Director of PR/Publicist, Blended Strategy Group
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Jonathan Lonner, Partner, Grubman Shire Meiselas & Sacks, P.C.
George Lopez, Comedian/Actor
Amy Lord, CEO, Eris Talent Agency
Dean Lorey, Showrunner
Bryan Lourd, CEO, CAA
Richard Lovett, Co-Chairman, CAA
Doug Lucterhand, Agent
Kris Lythgoe, TV Producer
Nigel Lythgoe, President, Nigel Lythgoe Productions
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Ben Maddahi, SVP A&R, Columbia Records + President, Unrestricted Publishing & Mgmt
Allysa Mahler, Partner, WME
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Howie Mandel, Comedian
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Daniel March, Managing Partner, Dynamic Television
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Deborah Marcus, Executive, CAA
Ashlee Margolis, Founder, The A List
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Rebecca Marlis, VP, Publicity, Interscope Records
Ori Marmur, VP, Original Studio Film, Netflix
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Sarah Martin, Senior Legal Counsel EMEA, WME
John Mass, President, Content Partners, LLC
Nancy Matalon, VP of A&R, Spirit Music Group
Andrew Mathes, Partner, WME
Austin Matloff, Coordinator, Broadway Video
Arielle Matza, Associate Attorney, Grubman Shire Meiselas & Sacks, P.C.
Haim Mazar, President, Haim Mazar Music, LLC
David Mazouz, Actor
Rebecca Mazouz, Assistant, Plan C Productions
Michel J. Mazouz MD, Physician
Paul McCrane, Actor
Judith McCreary, Executive Producer, Griot, Inc
Allison McGregor, Agent, CAA
Deborah McIntosh, Agent, WME
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AJ McLean, Music Artist, Backstreet Boys
David McMillan, TV writer/producer
Barry McPherson, Partner/Executive VP of Talent, IAG
Brian Medavoy, Partner, More Medavoy Management
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Debra Messing, Actor
Tom Miceli, Agent, WME
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Daniel Miller, President, Ironbound Films, Inc.
Rina Mimoun, Warner Brothers
Arika Mittman, Showrunner/Executive Producer
Mike Mizanin, WWE Personality
Alfred Molina, Actor
Jordana Mollick, President and Co-Founder, Semi-Formal Productions
Carolyn Moneta, Partner, WME
Tony Morales, Composer
Erwin More, Founding Partner, More/Medavoy Management
Jessica Morgulis, Talent Manager, Authentic
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Meg Mortimer, Partner and Manager, Authentic Talent and Literary Management
Michele Mulrooney, Partner, Willkie Farr & Gallagher LLP
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Talia Myers, Agent, UTA
DJ Nash, Creator/Executive Producer, A Million Little Things
Chen Neeman, Songwriter, Chen Neeman Music
Brie Neimand, SVP Current, Cable and Streaming, CBS Studios
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Paul Nelson, Manager, Mosaic
Lauren Neustadter, President, Film & TV, Hello Sunshine
Eric Newman, Film and TV Producer
Robert Newman, Agent, WME
Alan Nierob, Chairman, Entertainment, RCPMK
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Sharona Nomder, Morse Artists
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Annette O’Toole, Actress,
Mike O’Malley, Actor/Writer
Tracy-Ann Oberman, Actress
Julie Oh, Film Producer, OhCo
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Jim Osborne, CEO, Independent Artist Group
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Scott Packman, Founder and Managing Member, SSP Partners LLC
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Shauna Perlman, Talent Agent, CAA
Numa Perrier, Filmmaker
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Jack Peterson, Assistant, 3 Arts Entertainment
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Mekhi Phifer, Actor
Brian Pianko, Head Of Creative Advertising, Paramount Pictures
Chris Pine, Actor
Naomi Pitt, Front Office Coordinator
Jeremy Piven, Comedian/Actor
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Wendy Plaut, SVP, Paramount
Eric Podwall, President, Podwall Entertainment
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Alissa Pollack, EVP, Global Music Marketing, iHeartMedia
Billy Porter, Artist, INCOGNEGRO
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Monique Powell, Sole Owner, Lead Entertainer, Save Ferris
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Dawn Prestwich, Writer/Showrunner
Rhonda Price, Manager Partner, The Gersh Agency
Bryan Rabin, President/Founder, Bryan Rabin Inc
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Ross Raphael, Partner, WME
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Remedy, Artist
David Renzer, Chairman & Co-Founder of CCFP & Former Chairman/CEO, Universal Music Publishing
Peter Riegert, Actor
Seth Robbins, Actor
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Hanna Rochelle, Founder, Purple Productions LLC
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Dan Rosen, President, Warner Music Australasia
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Claudia Rosha, Marketing Manager, Atlantic Records
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Michael Rotenberg, Partner, 3 Arts Entertainment
Eli Roth, Director
Harrison Rothman, Manager, Elevate Entertainment
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Kate Rothschild, Artist Manager, Roc Nation
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Carin Sage, EVP Feature Film, Skydance
Rebecca Sahim, Head of Publishing, Salxco
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Mark Satlof, Sr Vice President, Shore Fire Media
Jacqueline Saturn, President, Virgin Music
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Fred Savage, Director
Malina Saval, Editor-in-Chief, Pasadena Magazine/Contributing Editor, Variety
Murray Sawchuk, Itz Gone Productions
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Thomas Scherer, President, BMG
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Jordan Schur, CEO and Chairman, Mimran Schur Pictures and Suretone Entertainment
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Ben Silverman, Chairman and Co-CEO, Propagate Content
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Jonathan Tropper, Showrunner, N/A
Eric Tuchman, Writer, Producer + President, Goldensoul Inc.
Montana Tucker, Music Artist
Brad Turell, Chief Marketing and Communications Officer, Independent Artist Group
Dor Turgeman, Football player, Maccabi tel aviv
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Darah Wagner Boaz, Producer
Matt Walden, Producer, Walden Entertainment
Cymbre Walk Sklar, VP, Casting, Feature Animation at Netflix
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Michael H. Weber, Screenwriter
Steven Weber, Actor
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Alex Weingarten, Managing Partner, Los Angeles, Willkie Farr & Gallagher LLP
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Modi Wiczyk, Co-Founder, Co-Chairman, MRC
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Deborah Williams, Associate Director, Freelance
Sabrina Wind, Executive Producer, WPM
Evan Winiker, Managing Partner, Range Media
Yale Wolman, Agent, CAA
Don Wongprapan, Partner, Authentic Talent & Literary Management
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Alexandra Wright, Actor
Michael Yanover, Head of Business Development, CAA
Sharon Tal Yguado, Founder & CEO, Astrid Entertainment
Kevin Yorn, Founder & Managing Partner, Yorn Levine Entertainment Law Firm
Rick Yorn, Co-Founder, LBI Entertainment
Mark Young, CEO, The Orion Stars Group
Jonathan Yunger, Film/TV Producer
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Chris Zaccaria, Sr. Director, Sales Analytics
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Alex Zamm, Director/Screenwriter, Zammgate Ent.
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David Zedeck, Global Co-Head of Music, UTA
Jennifer Zeller, VP, Promotion, Interscope Records
Ian Ziering, Actor
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Melissa Zukerman, Managing Partner, Principal Communications Group
Jessica Zysberg, Manager, Marketing Solutions, Vevo
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Black Music Action Coalition (BMAC)
Songwriters of N America (SONA)
Additional Signers:
Mark Schiff, Comedian
Adam Biren, TV Agent, CAA
Paul Craig, Founder, Nostromo
Vanessa Livingston, Agent, RBEL Agency
Tom Rothman, Chairman & CEO, Sony Pictures Entertainment
Greg Grunberg, Actor
Guy Nattiv, Filmmaker
Bruce Resnikov, President and CEO, Universal Music Enterprises
John Fogerty, Musician
Julie Fogerty
Asher Angel, Actor
Gary Goetzman, Producer
Cedric Kyles, Actor/Producer
Samantha Levenshus, Writer/Producer
Richard Trank, Documentary Filmmaker, Moriah Films
Jeremy Norkin, President, Exile Music
Carly Rosenberg, Business Affairs Executive, CAA
Oded Raz, Director/Filmmaker, Raz Production
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News!! Here's another article published by "Variety" today, from Eddie's next proyect!
"Eddie Redmayne to Lead ‘The Day of the Jackal’ at Peacock, Sky"
Eddie Redmayne has been cast in “The Day of the Jackal,” Peacock and Sky’s upcoming reimagining of Frederick Forsyth’s novel and Universal’s film of the same name. He will also executive produce the thriller series.
Redmayne will play the Jackal, who is hired by the OAS, a French dissident organization, to kill then-president of France Charles de Gaulle.
Redmayne recently starred opposite Jessica Chastain in Netflix’s “The Good Nurse.” He is also known for playing Stephen Hawking in James Marsh’s 2014 biopic “The Theory of Everything,” which earned him the Oscar for best actor. Redmayne’s other prominent credits include “The Trial of The Chicago Seven,” “The Danish Girl,” “Les Miserables” and the “Fantastic Beasts” films.
He is repped by CAA, United Agents and Jackoway Tyerman Wertheimer Austen Mandelbaum Morris & Klein.
Ronan Bennett serves as showrunner of “The Day of the Jackal,” which hails from Universal International’s Carnival Films and was commissioned by Sky Studios and Peacock. Brian Kirk directs. Executive producers include Carnival CEO Gareth Neame alongside Nigel Marchant, as well as Sam Hoyle for Sky. Marianne Buckland serves as co-executive producer, Forsyth serves as consulting producer and Christopher Hall serves as producer. Production begins this year. The series will stream on Peacock in the U.S. and Sky in the U.K., Ireland, Italy, Germany, Switzerland and Austria. NBCUniversal Global Distribution will handle international sales of the series.
“We are excited to bring to life Ronan Bennett’s re-imagining of Forsyth’s revered thriller in the complex world in which we live today and are incredibly fortunate to have an actor of Eddie’s calibre as our Jackal,” said Neame. “Paired with Ronan’s screenplay and Brian Kirk’s direction, this is a first-class creative team.
#eddie redmayne#eddieredmayne#redmayne#the good nurse#new project#variety#the day of the jackal#march 2023
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One of the longer books I've read at 927 pages:
The concept of crusades, like that of Jihad has a really simple definition as a type of Christian holy war, and a great many more sophisticated elements both intertwined with the simple definition and which greatly complicate it. Both also tend to be removed from the actual realities faced by the soldiers of God, who for all that they declare themselves using military means to secure their souls are not, in fact, removed from the realities of other wars.
These dualities reflected most bluntly in the First Crusade, won by virtue of a mixture of dogged determination and very good timing that the medieval era unironically saw as providence where more secular ages would incline to luck, and equally so with the explanations for what happened when the luck ran out and instead of fragile swiftly rising and even more swiftly falling ephemeral states of Turkic warrior lords they fought consolidated new states under the Ayyubids and the Mamluks. The medieval era could not admit that the divine sanction given to the actions of the Papacy could not, in fact, see the inferior civilization beat the superior one when the superior one got its shit together, which after the First Crusade it did.
That, in a nutshell, is how 927 pages seek to explain the various permutations of Crusading, with focuses as well on the Northern Crusades and the Reconquista as expansions of the broader concept of Crusades and what a Crusade was and what it wasn't.
7/10.
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WHY GRAND MASTER FREEMASON GANDHI CHOSE NEHRU OVER THE FAR FAR MORE POPULAR PATEL, AS INDIA'S 1ST PM! - A 'HARROW'ING TALE STRAIGHT OUTTA "GODFATHER" !
Remember Gandhi's famously shocking/trivial words in Birla Bhavan,
just before Independence, when asked why chose Nehru over the far far more popular Patel, as 1st PM?
"We need a Harrow boy to deal with the British!"
(Part of his collected works)
We can now uncode what that means!
Christopher Tyerman's 'A History of Harrow School 1324-1991' establishes how #Freemasonry was a essential & central part of Harrow life, with all headmasters, group masters & most governors as freemasons, Grand Masters deciding for students, & the London school steeped in Freemason culture.
👇
https://critica-massonica.webnode.it/prescot/
P.S. : Did You Know-
The Grand Master of the Allahabad Freemason Lodge, actually unveiled a portrait of Pt. Motilal Nehru, father of Jawaharlal Nehru, few decades back, dressed in supposedly Masonic costume, heralding him as a fellow Freemason.
Further corroborating his name being mentioned by the Grand Lodge of India on it's official honor rolls.
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The Crusades were considered ‘God’s War’
#original photographers#photographers on tumblr#stilllife#trash#garbage#book#toronto#ontario#christopher tyerman
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The Crusades, A Very Short Introduction, by Christopher Tyerman
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Started #reading The Crusades: A Very Short Introduction, by Christopher Tyerman.
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How to Plan a Crusade: Reason and Religious War in the Middle Ages :: Christopher Tyerman
How to Plan a Crusade: Reason and Religious War in the Middle Ages :: Christopher Tyerman
How to Plan a Crusade: Reason and Religious War in the Middle Ages :: Christopher Tyerman soon to be presented for sale on the outstanding BookLovers of Bath web site!
London: Allen Lane, 2015, Hardback in dust wrapper.
Includes: Black & white photographs; Chronological tables (1); Colour plates; Maps; Frontispiece;
From the cover: The story of the wars and conquests initiated by the First…
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#978-1-8461-4477-6#bernard clairvaux preaching tour#books by christopher tyerman#crusade transport galley#crusader history#first edition books#fourth lateran council#french crusaders gaza#history crusades#ignacia ruiz#medieval history#medieval warfare#military history#mongol invasion#planning crusades#planning wars#preaching tour pope urban ii#recover holy land
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Hello,
I’ve been following you for a while. But some thing you have just posted has resonated with me.
I’m writing my dissertation for my MA in creative writing and it’s an historical fiction set in the third crusade. And one of the big things that I am doing is trying to unpick the stereotyping and assumptions of the role of women and also the Templars in that time. You made reference to the Muslim writers. Could you share particular works that you have read that are useful in regards to the women in Outremer. At the moment I’m focused on the recruitment drive around Wales in 1188. But this is definitely something I want to explore later.
really interested to read your work.
Hey! Thanks for reaching out on a subject I'm so enthusiastic about!
Women in the Third Crusade include some lady knights captured at the siege of Acre by Saladin's army and a female archer in green who helped resist a Saracen assault on Frankish fortifications for hours one afternoon before being killed. You can read about these in Francesco Gabrieli's ARAB HISTORIANS OF THE CRUSADES.
For the lay (non-academic) reader, Geoffrey Hindley's A BRIEF HISTORY OF THE CRUSADES contains many errors of fact and interpretation and I would not ordinarily recommend it, except for chapter 6, on women in the Crusader states, which is actually a very decent introduction to the subject! I would also recommend reading some decent historical overview of the history of the Crusader states which will introduce you to some of the major players, like Morphia, Melisende and her sisters, Agnes of Courteney, Sibylla, Isabella I, Lucy of Tripoli, Isabella d'Ibelin and Eschiva d'Ibelin of Beirut...try Christopher Tyerman's magisterial, detailed and accurate GOD'S WAR: A NEW HISTORY OF THE CRUSADES.
For the reader who isn't afraid of academic reading, have I got recommendations for you...
Susan B Edgington's GENDERING THE CRUSADES contains a brilliant collection of essays on various aspects of life for women during the crusades.
Helen J Nicholson's book SYBIL OF JERUSALEM reconstructs the life of Sibylla, one of the many ruling queens of the Crusader States. Forthcoming is also Danielle E A Park's FULK AND MELISENDE which will detail one of the most amazing queens, and her partnership with her much older husband, with whom she fought and won an early power struggle!
One book I'm aware of but haven't read on this subject is also Katherine Pangonis' QUEENS OF JERUSALEM - it looks written for a more popular audience but tackles some of the most interesting ladies of the 12th century crusader states.
Another very recent publication from the grand dame of crusader scholarship is Helen J Nicholson's WOMEN IN THE CRUSADES which I would love to read but haven't yet!
James Brundage's 1991 article on "Marriage law in the Latin kingdom of Jerusalem" will add helpful context. Bernard Hamilton has a brief and mostly descriptive article on "Women in the Crusader States: the Queens of Jerusalem (1100-1190)".
Two articles that are not strictly about the Crusades but have helped me understand the period better in general are Katherine Hager's "Endowed with manly courage: Medieval perceptions of women in combat" on women warriors and Susan Mosher Stuard's 1995 article "Ancillary evidence for the decline of medieval slavery" which is highly relevant to the Crusader states given their numerous population of male and female slaves.
I hope you do read the WATCHERS OF OUTREMER books and enjoy them, too! I do find myself writing about a lot of the historical women I hear about, although I can't claim to be a real historian writing careful nonfiction!
#Watchers of Outremer#My books#historical fiction#history#medieval history#Medieval women#Crusader history#women's history#reading recommendations
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“…War often necessitated the absence of men from their families and their homes. While we have already touched on the fact that women could exercise military leadership during such an absence, the importance of their domestic role in the context of the husbands’ or sons’ military activities is worth considering, even if the women themselves were not all directly involved in military activity. For, in their men-folk’s absence, women sometimes assumed full control over the governance of the household or estate, along with all the lands which came with it – a role which took on an added significance amongst marriages of the more powerful nobles of Western Europe whose landholdings often entailed extensive seigniorial rights.
Stephen of Blois, for instance, alluded to the power that his wife Adela had whilst he was absent on the First Crusade when he wrote that ‘I send [the wish] that you do well and dispose of your things superbly, and treat your sons and your men honorably, as befits you’. This statement reveals the lordly authority which Adela maintained as regent while Stephen was absent and which she was to retain after his early death in May 1102 – right up until she took the veil as a nun in 1120. The military authority she wielded as lord is demonstrated by the fact that she once sent a large number of knights to support her lord Louis VI (c.1081-1137) while he was fighting rebellious castellans north of Paris in 1101.
But Adela was not the only women whose regency resulted from the call to crusade: when Louis IX went on crusade he entrusted the governance of the French kingdom to his mother, Blanche of Castile, who had proven herself a reliable and effective ruler during his minority. Eleanor of Aquitaine (1122-1204), queen of France and later England, similarly acted as regent in England for her son Richard I while he went on crusade, and was involved in mediating ecclesiastical disputes in his absence as well as in matters of governance. Likewise, Clementia of Burgundy, wife of Robert II of Flanders, held his county while he was left on the First Crusade, much like Eremburge of Maine governed the county of Anjou during her husband’s absence on crusade in 1120.
In the Holy Land the wife of Joscelin the Younger, count of Edessa (d. 1159), governed the county ably after he had been taken prisoner in 1150 – ‘far beyond the strength of a woman’, according to William of Tyre. His remark hints at the way in which medieval women who did govern well were thought by their male contemporaries to have transcended the ‘weakness’ of their sex, much like other comments regarding militant women referred to their masculine qualities in order to explain their involvement. Regardless of how well they governed, though, the key point is that it was war that forced these women to assume governing roles at home in support of their husbands or sons.
Women were also sometimes entrusted with the administration and coordination of affairs in preparation for war. Thus in 1267 the earl of Pembroke wrote to his wife, who had command over the castle of Winchester, informing her that he had sent men to help her defend the castle from attack and instructing her that she had ‘power over them all...to ordain and arrange in all things according to that which you shall see to be best to do’. More striking is a letter sent by Edward III in 1335 to three women: Margaret, widow of Edmund, earl of Kent; Marie, wife of Aymer de Valence, earl of Pembroke; and Joan, wife of one Thomas Botetourt.
In this letter Edward, who was absent fighting in Scotland, commanded these women to gather trusted advisors together in London to ‘treat and ordain on the safe custody and secure defence of our realm and people, and on resisting and driving out the foreigners’ who Edward had heard were massing warships and men at sea. The women were then ordered to ‘arm and array your people...to repel powerfully and courageously the presumptuous boldness and malice of our same enemies...if those enemies invade’. Although we do not know the extent to which these women were successful in carrying out the king’s orders, Edward nevertheless showed remarkable faith in the capacity of these women to prepare for the defence of the realm in his absence – certainly no small task.
Another particularly important arena in which women could directly aid the military effort was through their efforts to help finance and raise money for wars within Western Europe and the Holy Land. Funding for military campaigns was raised in many different ways – taxation, general donations, mortgaging or selling property – and women formed an important part of this process, especially when it came to paying for costly crusades to the East. We have already seen how Pope Innocent III, at the turn of the thirteenth century, began to make greater allowances for women to accompany their husbands on crusade or take a crusade vow if they were able to take armed followers with them to the Holy Land, but what really freed up this process was the promulgation of Innocent III’s decretal Quia maior in April 1213 (which pronounced the Fifth Crusade).
Quia maior stipulated regular liturgical processions of men and women, during which the participants would hear sermons, receive some degree of remission of sins just for listening (according to an earlier letter of Innocent), and pray for God to deliver the Holy Land. Furthermore, it promoted greater financial participation by making it possible for women to finance male warriors to go in their place and also specified monthly Church collections to which men and women could contribute. Perhaps most importantly, Quia maior decreed that anyone of either sex who so chose could take a crusade vow and might redeem or commute it if necessary (in return for a monetary payment), thus widening the number of people who might contribute financially to the crusade movement.
Later papal policy expanded this practise by enforcing the payment of vow redemptions if crucesignati (the legal term used to signify someone who had taken a vow) did not leave on crusade. As far as women are concerned there seems to be not enough evidence to gauge how much they actually contributed to the overall amount of money collected from redemptions, or even how much was collected in the first place. Nevertheless, Innocent’s reforms certainly allowed women to take on a greater financial and spiritual role in supporting the crusades, even if their circumstances prevented them from going on crusade in person.
Vow redemptions were, however, only one means by which women could provide monetary assistance. Often more financially taxing were instances in which women were forced to sell their husbands’ property or mortgage dower lands, which left some destitute and others fighting in the courts for their property rights, as Christopher Tyerman has explored in the case of English women. At other times, women helped contribute funds collectively, especially in the case of poorer crusaders who had to rely more on donations from the whole family, in which case the selling and mortgaging of property was again the most common way of financing a family member for war.
Similarly, women who had control over a significant source of income could play a key role in helping finance men on crusade: Hodgson, for instance, cites the examples of Marie of Champagne and Blanche of Castile, both of whom acted as regents and sent money to their sons while they were crusading in the Holy Land, but has also noted other women whose large dower was a key financial source for crusade expeditions. Another more indirect means by which women could assist the continuing military struggle in the Holy Land came from the revenues of female convents associated with the recently founded military orders, of which part went towards financing the latter’s activities in the East (although these payments were not large and varied from one house to another depending on each convent’s financial means).
Finally, we cannot discount the role female taxpayers may have had in helping pay for war, although again it is very difficult to discern how much women contributed in this regard, since the head of the household (the eldest male) was the one who paid taxes and who thus appeared in tax records. The only women to appear were those active in an independent trade of their own or who were widowed and lived in a house in which no male heirs were also residing, though such women only seem to have made up a small proportion of taxpayers.
Thus, even if most or all tax revenue before the sixteenth century went towards financing war, as has been argued in the case of England, the percentage of the revenue that came directly from female taxpayers would have been much less than that of male taxpayers (though both sexes were adversely affected by the effects of high taxation in times of war). Considering all of the means by which women could contribute financially, therefore, it is reasonable to assume that Western European women were a substantial source of finances for military campaigns, especially for the crusades, although the precise extent to which this assistance actually contributed towards the success of these campaigns is hard to quantify.
Women’s enthusiasm for war and their recruitment efforts formed another facet of their home front involvement. This is one area where women may not have always acted in support of their men, and instead actively tried to discourage their men from leaving, hence the actions of such women are worth exploring as they could have influenced the number of men who went to war. The chances of women successfully preventing men’s involvement in warfare appear highest in the case of the crusades because, although wives’ emotional responses to their husbands’ departure could not prevent the latter from leaving, canon law stipulated both husband and wife required each other’s consent before leaving to go on crusade.
Thus women were, for a period, legally able to veto their husbands’ decision to participate. To what extent women were successful at doing so is not entirely clear – some of those who preached the crusade appear to have felt women were among the ones preventing the crusades from being successful, although after Pope Innocent III issued his decretal Ex multa in 1201, which removed the requirement for men to obtain their wives consent before leaving, they would have had little cause for further concern. These developments suggest that some women, at least up until 1201, were successful in stopping men from leaving, but it is hard to say for certain.
Emotional distress at the departure of loved ones on crusade may have played a role though: Odo of Deuil noted that there were tears on the part of women when the Second Crusade departed, as did Ambroise before the Third Crusade. Some years earlier Fulcher of Chartres elaborated at greater length on the sorrow before the First Crusade: ‘Oh what grief there was! What sighs, what weeping, what lamentation among friends when husband left his wife so dear to him, his children, his possessions however great...Then husband told wife the time he expected to return...He commended her to the Lord, kissed her lingeringly, and promised her as she wept that he would return.’
Departure scenes such as this one, it has been argued, were deliberately used by chroniclers to portray the crusades as a male affair in which women were not expected to participate. Certainly, such an account does reinforce conventional gender stereotypes: the emotionally controlled, pious husband, and the overwhelmed, irrational wife unable to maintain her composure. Nevertheless, it is not unreasonable to assume that some women would have been reluctant for their men to depart and upset if the latter eventually did, although we cannot know the extent of their influence on limiting the numbers of men on crusade.
At the same time, medieval women also seem to have encouraged and even recruited men for war. Thus the author of the Itinerarium Peregrinorum asserted that ‘Brides urged their husbands and mothers incited their sons to go, their only sorrow being that they were not able to set out with them because of the weakness of their sex’. Although gender stereotyping is again evident in the way women’s ‘weakness of sex’ is said to have prevented them from leaving, there are some actual examples of women who tried to persuade men to fight. Adela of Blois, for instance, is well-known for her efforts to persuade her husband Stephen to return to the Holy Land after he deserted and came home during the difficult siege of Antioch in 1098.
Similarly, Alice de Montfort was active in recruiting men, notably her brother (the Constable of France) during the Albigensian crusade, as was, supposedly, Eleanor of Aquitaine before the Second Crusade. Riley-Smith, too, has also discussed women, notably the Montlhéry sisters in the Île-de-France, whom he feels ‘transmitted an enthusiasm for crusading to the families into which they married’ and which can help ‘account for the concentrations of crusaders in certain kindred’ during the early crusades. Of course, whilst the genealogical preponderance of crusaders in certain families does not prove for certain that women necessarily had anything to do with recruiting or persuading men to fight, the examples given above do suggest that we should not discount their possible influence.
Lastly, it is also worth considering the role which urban women active in certain trades had in supplying various resources used in military affairs. For although most women were active in the textile and cloth-making industries during the Middle Ages, there were apparently some who worked sharpening tools and making scabbards for swords and knives, and others who even trained in arms manufacture (making chain mail and fletching strings to bows) – definitely a trade that would have thrived on war. Admittedly, the numbers of women engaged in such crafts were very few and their likely effect on military affairs slight. Accordingly, we should not make too much of their employment or we risk over-emphasising their contribution. All the same, they do at least serve to draw attention to other more indirect means by which women on the ‘home front’ may have supported the whole industry of war by supplying military goods and services.
- James Michael Illston, ‘An Entirely Masculine Activity’? Women and War in the High and Late Middle Ages Reconsidered
#james michael illston#military#crusades#history#high middle ages#late middle ages#noblewomen#medieval
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I was tagged by @marquisevonobst
Rules: tag 9 people you’d like to know better/catch up with.
Last Song: Some song that is on the best of Dubliners CD that I was listening to this morning. I don’t know which song was playing when I switched of my stereo.
Last Movie: I haven’t watched a movie in weeks... idk.
Currently reading: Baptism of Fire by Andrzej Sapkowski (and involuntary on hold is The Silmarillion by Tolkien and The World of the Crusades by Christopher Tyerman because I left them in my flat and have not been able to pick stuff up from there since Christmas)
Currently watching: The man from U.N.C.L.E, season one.
Currently craving: just like the rest of you... hugs. really.
I am tagging @nonejohnnywithleftslime @sorrel-ly @pansytheleia @lovableparrotfish idk... whoever wants to do it. You also don’t have to do it id you do not want to. But yeah... you know.
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Hi. I'm the lucky person who's (hopefully) gonna have to write a term paper on the diachronic transformation of the idea and definition of the crusades through the middle ages, based on the first crusade. Do you have literature suggestions? Thanks!
Aha, okay. I’ve rummaged through some of my old bibliographies from my master’s thesis (some of which was turned into my book chapter about the crusades in the modern world; I’m willing to send you said book chapter if you want to DM me your email) and my PhD dissertation, and this is a rough list of things that might be useful to you. These all focus on the crusades after the crusades were over -- in other words, they’re not historiographies of the actual period (though some of them obviously do touch on that), but focus on their subsequent political impacts, cultural legacies, scholarly approaches, and modern-day usages. Some of them also discuss the intellectual and legal aspects of the crusades over the time period in question, and how that was perceived by medieval society, such as the Riley-Smith and Tyerman books. These are also fairly general topics. If you want, I can do a second list with the really specialist stuff, covering deeply nitpicky things like the legal evolution of the Latin term “cruce signatus” post-1187, but I’m going to guess you don’t need that at this point. (If you do, hey, hmu.)
These are almost entirely secondary sources, though there are one or two collections of printed primary sources in there, which might help if you’re focusing on the development of the crusade ideal in the Middle Ages as viewed by their contemporaries and not only modern scholarship. The material spans from the official “end” of the crusades (usually given as 1291, though arguably as late as 1456) until the modern day, and mostly deals with their political, social, and cultural ramifications in Europe, the Arab world, and America.
Tal Dingott Alkopher, 'The Social (And Religious) Meanings That Constitute War: The Crusades as Realpolitik vs. Socialpolitik,’ International Studies Quarterly 49 (2005), 725–37
Robert J. Allison, The Crescent Obscured: The United States and the Muslim World, 1776-1815 (New York: Oxford University Press, 1995)
Karen Armstrong, Holy War: The Crusades and Their Impact on Today’s World (New York: Anchor Books, 2001)
Akil Awan and A. Warren Dockter, ‘ISIS and the Abuse of History’, History Today, 66 (2016) [http://www.historytoday.com/akil-n-awan-and-warren-dockter/isis-and-abuse-history]
David C. Barker, Jon Hurwitz, and Traci L. Nelson, ‘Of Crusades and Culture Wars: ‘Messianic’ Militarism and Political Conflict in the United States,’ Journal of Politics 70 (2008), 307–22
Jessalyn Bird, Edward Peters, and James M. Powell, eds., Crusade and Christendom: Annotated Documents in Translation from Innocent III to the Fall of Acre, 1187-1291 (Philadelphia: University of Pennsylvania Press, 2013)
Karl Borchardt, ‘Casting Out Demons by Beelzebul: Did the Papal Preaching against the Albigensians Ruin the Crusades?’, in La Papauté et les Croisades/The Papacy and the Crusades, ed. Michel Balard (Farnham: Ashgate, 2011), pp. 77–90
James Brundage, ed. and trans., The Crusades: A Documentary Survey (Milwaukee: Marquette University Press, 1962)
Carl Erdmann, The Origins of the Idea of Crusade (Princeton: Princeton University Press, 1977)
Matthew Gabriele, ‘Debating the ‘Crusade’ in Contemporary America,’ The Mediaeval Journal 6 (2016), 73–92
Nickolas Haydock and E.L. Risden, eds., Hollywood in the Holy Land: Essays on Film Depictions of the Crusades and Christian-Muslim Clashes (Jefferson, NC: McFarland, 2008)
Geraldine Heng, ‘Holy War Redux: The Crusades, Futures of the Past, and Strategic Logic in the ‘Clash’ of Religions,’ PMLA 126 (2011), 422–31
Bruce Holsinger, Neomedievalism, Neoconservatism, and the War on Terror (Chicago: Prickly Paradigm, 2007)
Adam Knobler, ‘Holy Wars, Empires, and the Portability of the Past: The Modern Uses of Medieval Crusades,’ Society for Comparative Studies of Religion and History 48 (2006), 293–325
Anouar Majid, Freedom and Orthodoxy: Islam and Difference in the Post-Andalusian Age (Redwood City: Stanford University Press, 2004).
Tomasz Mastnak, Crusading Peace: Christendom, The Muslim World, and Western Political Order (Berkeley: University of California Press, 2002)
Jonathan Phillips, ‘The Call of the Crusades,' History Today 59 (2009) [http://www.historytoday.com/jonathan-phillips/call-crusades]
Emran Qureshi and Michael Sells, eds. The New Crusades: Constructing the Muslim Enemy (New York: Columbia University Press, 2003)
Jonathan Riley-Smith, The First Crusade and the Idea of Crusading (Philadelphia: University of Pennsylvania Press, 2009)
Jonathan and Louise Riley-Smith, The Crusades: Idea and Reality, 1095-1274 (London: Edward Arnold, 1981)
Omar Sayfo, ‘From Kurdish Sultan to Pan-Arab Champion and Muslim Hero: The Evolution of the Saladin Myth in Popular Arab Culture,’ The Journal of Popular Culture 50 (2017), pp. 65–85.
Elizabeth Siberry, Criticism of Crusading: 1095-1274 (Oxford: Clarendon Press, 1985)
Elizabeth Siberry, The New Crusaders: Images of the Crusaders in the 19th And Early 20th Centuries. (Farnham: Ashgate, 2000)
Christopher Tyerman, The Debate on the Crusades 1099-2010 (Oxford: Oxford University Press, 2011)
Christopher Tyerman, The Invention of the Crusades (Toronto: University of Toronto Press; 1998)
Hopefully you will be able to get your hands on at least some of those, and they will be useful to you. As noted, send me a DM if you’d like a PDF copy of my book chapter (it deals with the function of crusading rhetoric in the post-9/11 world, which might be a little too chronologically late for your project, but the option is there).
Happy researching!
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