Literatura académica sobre el tema "Christian hagiography – early works to 1800"

The purpose of the article is to give an overview of the main trends in the study of Early Christian Martyrdoms of the 2–4 centuries in modern science. The first part enumerates new editions of hagiographic texts. The second part analyzes modern studies that touch upon such topics as the genesis of early Christian martyrdom, psychoanalytic approaches to this phenomenon, the role of martyrdom in the formation of the historical memory of Christians, hagiographic works in the context of Roman spectacles, the Second sophistry and ancient rhetoric, and other methods of studying these texts.

The Institute of Saints is a phenomenon in the history of the Christian Church. This article examines one of the main sources of veneration of Christian saints - the phenomenon of early Christian martyrdom. The author focuses on the early stages of the Christian Church's existence and aims to find the origins of the veneration of holiness in Christian martyrdom, which is a feature of the period of pre-Nicene Christianity. The article examines the main reason for the strained relations between the official authorities of the Roman Empire and the early Christian ecclesia, which led to the emergence of the phenomenon of martyrdom. The reasons for the veneration and sacralization of martyrs in the early Christian pre-Nicene period have been clarified. In order to prove the available examples of sacralization of Christian martyrdom in the pre-Nicene period of the Church's history, the author has previously studied the works of early Christian apologists of the II-III centuries AD - the basis of the early Christian tradition. Because of this, the author draws attention to the Jewish origins of the phenomenon of the sanctity of martyrdom. Accordingly, the article also focuses on the books of the Old Testament. The spiritual and ideological factor of Christian doctrine, which encouraged Christians to glorify martyrs as heroes, is also traced. Key and formative aspects of samples of early hagiography are revealed. According to these sources, an analysis of the places of death of early Christian martyrs and their burials that became fundamental elements to the foundation of the institution of honoring martyrdom is made. The evolution of the glorification of martyrs from the early existence of Christian ecclesia to the period of the conciliar Christian Church in alliance with the Roman state is traced. To this end, the sources of the Church Fathers of the IV-V centuries AD are considered. Based on the treatises of John Chrysostom, the author concludes that the veneration of the days of remembrance of the martyrs was canonically established in the late antique Christian Church. Evidences of the official sacralization of the martyrs is also given by elaborating the texts of the Local and Ecumenical Church Councils. Based on these sources, there are a lot of evidences of the Church's official veneration of martyrs in the initial period of the Church's legal existence in the Roman Empire. Given that the initial veneration of saints took place through the prism of the sacralization of early Christian martyrdom, this article is an integral part of the study of the field of hagiography and the institution of holiness within the history of the Church.

Between the years 850 and 859 forty-eight Christians were decapitated for offences against Islam in Córdoba, the capital of the Islamic Umayyad dynasty in Al-Andalus, Spain (756–1031). The majority of those executed had deliberately instigated their own deaths by making derogatory comments about the Prophet Muhammad, a known capital offence. The calculated nature of their behaviour, in action against rulers considered by their contemporaries to be fellow monotheists, and without the supernatural support of widely accepted miracles, strained the already fractured Christian community. While the Córdoban bishop and the metropolitan of Seville worked closely with the emirs to stop the would-be martyrs, Eulogius, a Córdoban priest and bishop-elect of Toledo, and his friend Paul Alvar composed martyrologies and apologies for the group. Written for prisoners preparing for martyrdom and for circulation amongst the religious communities surrounding the city, the works allow insight into a movement of martyrs composed of men and women, lay and religious, with Christian and non-Christian backgrounds. The works of Eulogius and Alvar reflect an intense preoccupation with public behaviour as an expression of identity in a religiously diverse society. This emphasis on the bodies of Muslims, Christians and martyrs in both hagiography and act draws attention to the movement’s motives by highlighting its relationship with the strictly ascetic monastic communities of Córdoba, where monks and nuns used their own bodies as means of preserving and articulating Christian culture in early medieval Spain.

An episode unique to the late ninth-century Life of Gregory the Great by John the Deacon reports a famine that occurred in the year of Gregory’s death; a hostile party blamed the lavish generosity of the late pope for Rome’s suffering. The fury of the people was roused and they set out to burn Gregory’s books. However, the deacon Peter, Gregory’s familiarissimus, intervened to dissuade them, telling the people that Gregory’s works were directly inspired by God. As proof he asked God to take his life, and promptly dropped dead. This episode is not found in the earlier accounts of Gregory’s life: the brief account in the mid seventh-century Liber pontificalis, the early eighth-century Life by an anonymous monk of Whitby, and the mid eighth-century account by Paul the Deacon. Doubtful as John the Deacon’s account of the exchange between Peter and the mob may be, it does tell us something about the status of Gregory and his works in the mid 870s, when Pope John VIII commissioned the new hagiography. Gregory the Great became one of the most widely read authors of the Middle Ages, and even in his lifetime some of his works were eagerly sought after. With his popularity and influence Gregory not only added to the body of Christian literature, but also made a lasting contribution to the debate over what kinds of works it was appropriate for Christians to read. This essay will survey his works and discuss his ideas on reading and literature, and on the establishment of a Christian literary canon. The influence of Gregory’s works and ideas will be examined in relation to one particular medieval nation - Anglo-Saxon England. As the instigator of the Anglo-Saxon mission, Gregory enjoyed a great reputation as an author in Anglo-Saxon England, where his ideas on literature and society had a lasting impact.

The article is devoted to the publication history of two poetic gnomologies (collections of maxims) as part of the collection “Anfologion” published in 1660 at the Moscow Print Yard. This collection house primarily published works translated from the Modern Greek Venetian editions, which presented new versions of monuments of hagiography and Byzantine patristic heritage, theological treatises and poetic works of medieval Christian authors. Some translations were made by the publisher — director (spravshchik) of the Printing House Arseny Grek. Among his translations there were also collections of poetic maxims Chapters… from the book Paradise and Tetrastichae sententiae by Gregory Nazianzen. Until now these texts were known in Slavic translation only from the Moscow edition of 1660. The article provides information about the previously unknown translation of both gnomologies, found in a Western Russian manuscript of the early 17th century. The study of the texts showed that one of them ( Chapters… from the Book Paradise ) was published in Anfologion in this translation, and the newly found translation of the maxims of Gregory Nazianzen was used by Arseny Greek to work on his text. The author expresses a hypothesis about the origin of the newly found translation of two gnomologies from the literary circles of the Ostrog Book publishing Center, and its possible attribution to Cyprian, the author, publisher and translator directly related to the works of the Ostrog printing house and the printing house of the Derman Monastery. Newly found translations are published in the Appendix.

The article examines ancient Ukrainian literary works about the life and tragic death in the Horde of Prince (Kniaz) Mykhailo of Chernihiv. The article aims to trace the process of literary transformation of the ancient story and to introduce this material into the circle of research in Ukrainian medieval studies. The content of the story reflects events from the life of Mykhailo of Chernihiv, focusing on his journey with boyar Fedir to the Horde in 1245 to obtain permission from Batu Khan to own lands in Rus. There, they refused to bow to the khan according to Mongolian custom, and were killed for it. Ancient authors saw this as a Christian feat, and Mykhailo was proclaimed a saint. This is how he appears in the «life» created by Dmytro Tuptalo. This life (early 18th century) does not fit into the Byzantine hagiographic canon because it does not tell the whole life of Mykhailo, but focuses only on his stay in the Horde, where tragic events occur that are intended to move the reader and evoke sympathy for the martyr, a faithful Christian. In addition, the hagiography was written in the Baroque period, so it is characterized by pomp and circumlocution, emblematic and symbolic images, rhetorical figures, authorial reflections, and quotations from other texts, which ultimately play a role in reinforcing the highly moral image of Mykhailo. The prince is portrayed differently in the Galician-Volhynian Chronicle: it does not emphasize Mykhailo’s feat, but praises Danylo Halytskyi, who obtained permission from the khan by obeying non-Christian customs. The deaths of Mykhailo of Chernihiv and his boyar Fedir in the Horde are striking, and historical events fade into the background, becoming the background for the depiction of strong personalities. It cannot be said that Mykhailo of Chernihiv is a strong personality. Rather, he is a victim of the circumstances. He was credited with heroism, and Danylo Halytskyi with diplomatic wisdom. This is despite the fact that the Mongol-Tatar invasion pushed back the development of the ancient Ukrainian lands for several centuries, bringing decline and languishing on the edge of Europe that survived that horror.

The problems of synthesis of religious art and literature in medieval culture are considered in the article. The nature of interactions of the artistic material and its text basis is investigated. Historical lore and the descriptions of the eyewitnesses of the Jesus Christ, the Mother of God, Apostles have been of a great significance at the early stages of icon painting images development. The period of iconography formation on the base of the evidences, memories and sacred texts has lasted till the 8th century. Gradually the icon is transformed into a peculiar sacred matrix, independent cult object, where the problem of historical similarity is replaced by reality, determined by the consent of Christian community. The necessity of comprehension with the help of faith and mind of what is reproduced by the sacred images – their spiritual, true idea – appears in the foreground. Starting from the 17th century Ukrainian masters gain knowledge of iconographic canons, technique of icon painting, theological admonitions and precepts from Herminia – a special reference book-teaching aid for the painters. The image of a certain saint, especially the physiognomic features, is described in them by words. Several descriptions of the saints’ appearance in their lifetime are also known. These are in particular the images of Saint Nicholas, kept in ancient synaxaria. According to the dogma on veneration of icons (adopted by the Second Council of Nicaea in 787), the inscription of the saint name is an integral attribute of the icon painting. It determines sameness between the image and its prototype. Inscriptions, signatures and accompanying texts are introduced consistently into ancient easel works, wall paintings and miniatures. The images of saints are applied to the faithful, showing them the opened books, unfolded scrolls. In the Old Ruthenian art the classical thematic structure of the saints’ life cycles, basing on the Byzantine hagiography, has been supplemented with plots of the actions of Kyiv recording. Sometimes in Ukrainian monuments the inscriptions are placed near the image, on the icon’s background. These are the so-called supplementary texts. The plots of the living icons have been connected with the written sources. The synthesis of written sources and artistic material is the most evident in the book miniature. Observation of convergence of the visual material and literature shows, that the experience of various arts isn’t transferred mechanically on the surface foreign for them, but is changed, transformed, adopted by art, which has perceived it and at the same time crystallizes the peculiarity of each of them.

In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era). An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology. The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’. The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi). Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain). As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.

The History of Revisions of Prayers in Johann Arndt’s ROJAUS DARǮELIS (1807 – 1817) S u m m a r y Johann Arndt (1555–1621), the German theologian and next-generation religious reformer is the author of the uniquely successful prayer book titled Paradiesgärtlein (Magdeburg,1612). The first known Lithuanian translation of Arndt’s Paradiesgärtlein appeared in early 19th century in Prussian Lithuanian. It was published in 1807 by the widow of Gottlieb Lebrecht Hartung, a printer from Königsberg. This article aims to reveal the history of revisions of six prayers from Johann Arndt’s Rojaus Darelis (The Garden of Paradise) that were first published in Königsberg in 1807. The goal is to show the revision trends and content transformations Arndt’s texts underwent in the second, 1816 Königsberg edition of Rojaus Darǯelis, the 1816 Tilsit edition, and the unofficial 1817 conventiclers’ (Lith. surinkimininkai) hymnal Wiſſokies Naujes Gieſmes arba Ewangelißki Pſalmai (Tilsit). The analysis of the prayers has shown that the language of the hymnal Rojaus Darelis (Königsberg, 1807) is rather grounded on the standard of the official ecclesiastical and philological papers of Prussian Lithuania: the prevalent southern subdialect of the Western Aukštaitians of Prussian Lithuania. It is dominated by rather stable normative elements of morphology and diacritic orthography, as evidenced in the philological written works of the period: the grammars of the Lithuanian language by Gottfried Ostermeyer (1791) and Christian Gottlieb Mielcke (1800). The only identifiable non-grammatical orthography trait is the ending -ęs that sometimes appears in the acc. sg. endings of feminine adjectives, pronouns, and numerals. A comparison of the prayers from Rojaus Darǯelis that were published in Königsberg in 1807 and in 1816 has revealed that the texts had remained stable and free from major or significant revisions content-wise. This edition is even more consistent in its placement of the stress-marks than the one before. Efforts are made to keep up with the standard trend of spelling and language that prevailed in the official printed texts (grammars) of Prussian Lithuanian. It has been established that the making of the new edition of Rojaus Darelis published by the printing house of Johann Heinrich Post in Tilsit in 1816 relied on the Königsberg edition that had been released earlier that year. This is evidence in the morphological and lexical revisions that had been carried over. Structurally, the prayers in the 1816 Tilsit edition had remained intact. There were a little bit more orthography and syntactic differences compared to the 1816 Königsberg edition. It is probable that the Tilsit edition had had an effect on the preparation of Arndt’s prayers that were later featured in Wiſſokies Naujes Gieſmes arba Ewangelißki Pſalmai, a hymnal by Kristijonas Endrikis Mertikaitis (Tilsit, 1817). Nonetheless, it is the 1816 Königsberg edition (or the prior 1807 edition) that is to be considered the original source of the prayers published in Mertikaitis’s hymnal. It was in Wiſſokies Naujes Gieſmes arba Ewangelißki Pſalmai by Kristijonas Endrikis Mertikaitis (Tilsit, 1817) that Arndt’s prayers underwent the greatest extent of transformation. Contrary to the Königsberg or Tilsit editions mentioned in this article, this edition is teeming with differences on all sorts of levels: orthography, phonetics, morphology, lexis, word formation, and syntax. Analysis of the relationship between the sources shows that Mertikaitis’s hymnal did not try to follow the widely recognised grammatical usage. This unconventional approach most probably was the product of Mertikaitis’s savvy of the period language and lack of literacy. It is worth mentioning that Mertikaitis was not a man of academic or spiritual elite, but rather a vibrant preacher of the home-prayer service and schoolteacher who tended to pastoral care, matters of saving his own soul and those of the others as well as eternal life, someone who did not see making language more grammatically correct and standard-compliant as an important part of his earthly concern.

Edelmayer, Friedrich / Gerhard Pfeisinger (Hrsg.), Ozeane. Mythen, Interaktionen und Konflikte (Studien zur Geschichte und Kuktur der iberischen und iberoamerikanischen Länder, 16), Münster 2017, Aschendorff, 336 S. / Abb., € 49,00. (Ruth Schilling, Bremen / Bremerhaven) Jaynes, Jeffrey, Christianity beyond Christendom. The Global Christian Experience on Medieval Mappaemundi and Early Modern World Maps (Wolfenbütteler Forschungen, 149), Wiesbaden 2018, Harrassowitz in Kommission, 483 S. / Abb., € 128,00. (Gerda Brunnlechner, Hagen) Weltecke, Dorothea (Hrsg.), Essen und Fasten. Interreligiöse Abgrenzung, Konkurrenz und Austauschprozesse / Food and Fasting. Interreligious Differentiations, Competition and Exchange (Beihefte zum Archiv für Kulturgeschichte, 81), Köln / Weimar / Wien 2017, Böhlau, 130 S., € 30,00. (Helmut W. Klug, Graz) Dirmeier, Artur (Hrsg.), Essen und Trinken im Spital. 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Der Forschungseinfluss Peter Moraws auf die deutsche Mediävistik (Studien und Texte zur Geistes- und Sozialgeschichte des Mittelalters, 10), Affalterbach 2016, Didymos-Verlag, 275 S. / Abb., € 54,00. (Christian Jörg, Tübingen) Flemmig, Stephan / Norbert Kersken (Hrsg.), Akteure mittelalterlicher Außenpolitik: Das Beispiel Ostmitteleuropas (Tagungen zur Ostmitteleuropaforschung, 35), Marburg 2017, Verlag Herder-Institut, VI u. 376 S., € 57,50. (Sabine Wefers, Jena) Neumann, Christian A., Venedig und Aragon im Spätmittelalter (1280 – 1410). Eine Verflechtungsgeschichte (Mittelmeerstudien, 15), Paderborn 2017, Fink / Schöningh, 809 S. / CD-ROM, € 129,00. (Tobias Daniels, München) Blennemann, Gordon / Christine Kleinjung / Thomas Kohl (Hrsg.), Konstanz und Wandel. Religiöse Lebensformen im europäischen Mittelalter (Studien und Texte zur Geistes- und Sozialgeschichte des Mittelalters, 11), Affalterbach 2016, Didymos-Verlag, 280 S. / Abb., € 54,00. 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Überlieferung – Analyse – Edition (Archiv für Diplomatik, Schriftgeschichte, Siegel- und Wappenkunde, Beiheft 15), Köln / Weimar / Wien 2017, Böhlau, 582 S., € 70,00. (Werner Maleczek, Wien) Fumasoli, Beat, Wirtschaftserfolg zwischen Zufall und Innovativität. Oberdeutsche Städte und ihre Exportwirtschaft im Vergleich (1350 – 1550) (Vierteljahrschrift für Sozial- und Wirtschaftsgeschichte. Beihefte, 241), Stuttgart 2017, Steiner, 580 S., € 82,00. (Oswald Bauer, Kastelruth) Gneiß, Markus, Das Wiener Handwerksordnungsbuch (1364 – 1555). Edition und Kommentar (Quelleneditionen des Instituts für Österreichische Geschichtsforschung, 16), Wien / Köln / Weimar 2017, Böhlau, 670 S. / Abb., € 130,00. (Patrick Schmidt, Rostock) Andresen, Suse, In fürstlichem Auftrag. Die gelehrten Räte der Kurfürsten von Brandenburg aus dem Hause Hohenzollern im 15. Jahrhundert (Schriftenreihe der Historischen Kommission bei der Bayerischen Akademie der Wissenschaften, 97), Göttingen 2017, Vandenhoeck & Ruprecht, 655 S. / Abb., € 90,00. (Markus Frankl, Würzburg) Lüpke, Beatrice von, Nürnberger Fastnachtspiele und städtische Ordnung (Bedrohte Ordnung, 8), Tübingen 2017, Mohr Siebeck, 286 S., € 64,00. (Thorsten Schlauwitz, Erlangen) Wenzel, Silke, Lieder, Lärmen, „L’homme armé“. Musik und Krieg 1460 – 1600 (Musik der frühen Neuzeit, 4), Neumünster 2018, von Bockel, 422 S. / Abb., € 48,00. (Kirstin Wichern, Bad Homburg) Wilangowski, Gesa, Frieden schreiben im Spätmittelalter. Entstehung einer Vertragsdiplomatie zwischen Maximilian I., dem römisch-deutschen Reich und Frankreich (Ancien Régime, Aufklärung und Revolution, 44), Berlin / Boston 2017, de Gruyter Oldenbourg, X u. 288 S., € 69,95. (Harald Kleinschmidt, Tokio) Gamper, Rudolf, Joachim Vadian 1483/84 – 1551. Humanist, Arzt, Reformator, Politiker, Zürich 2017, Chronos, 391 S. / Abb., € 48,00. (Jan-Hendryk de Boer, Essen) Sowerby, Tracey A. / Jan Hennings (Hrsg.), Practices of Diplomacy in the Early Modern World c. 1410 – 1800 (Routledge Research in Early Modern History), London / New York 2017, Routledge, VII u. 306 S. / Abb., £ 105,00. (Hillard von Thiessen, Rostock) Weber, Alison (Hrsg.), Devout Laywomen in the Early Modern World (Women and Gender in the Early Modern World), London / New York 2016, Routledge, XIII u. 373 S. / Abb., £ 110,00. (Andreas Rutz, Bonn / Düsseldorf) Richter, Susan / Michael Roth / Sebastian Meurer (Hrsg.), Konstruktionen Europas in der Frühen Neuzeit. Geographische und historische Imaginationen. Beiträge zur 11. Arbeitstagung „Globale Verflechtungen – Europa neu denken“ der Arbeitsgemeinschaft Frühe Neuzeit im Verband der Historiker und Historikerinnen Deutschlands, 17. bis 19. September 2015 in Heidelberg, Heidelberg 2017, Heidelberg University Publishing, 338 S., € 54,90. 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The English nun Hugeburc of Heidenheim wrote lives of two kinsmen, Willibald and Wynnebald, and became the only female hagiographer of the Carolingian period. Hugeburc’s work represents an important milestone for the construction of institutional memory in a region undergoing Christianization. While writing hagiography can be seen as a feminist act, the power structures and world views inscribed in these works conform to dominant ideologies in the Christianization process. To assess the cultural work these texts perform, this chapter looks beyond the quality of Hugeburc’s Latin to better understand the hierarchies that the texts construct, revealing that while Hugeburc’s activities challenge a discursive arena that is almost exclusively male, her writings uphold a patriarchal and Christian world view.