Tintinnabula

"In wild times and in wartime, in times of fear and illness, I goto Tintinnabula, where soft rains fall. Tintinnabula is a story about moving from discomfort to peace, from violence and uncertainty to a still, sure place. It reminds us that our best friend in hard times can often be ourselves."--Publisher's description.

This is the third in a series of catalogs and bibliographies of the Cicadoidea covering 1981-2010. The work summarizes the cicada literature, providing a means for easy access to information previously published on a particular species or to allow researchers the ability to locate similar work that has been published on other species. A total of 2,591 references are included in the bibliography. The book is a source of biological and systematic information that could be used by zoologists, entomologists, individuals interested in crop protection, and students studying entomology as well as anyone interested in cicadas or who require specific information on the insects. Each genus/species is identified with the reference, the page number, any figures (if applicable), the topics covered by the reference, any synonymies, and any biogeographic information mentioned for the species in the individual reference. An added benefit to the catalog is that it is the first complete species list for the Cicadoidea, including all synonymies and new combinations through 2012. Provides nearly four times the number of references of the previous catalog, demonstrating the explosion of data since that time Contains all references found that mention a genus or species name in the work Includes more than 300 additional references that were not in the two previous works on this subject Features the first complete species list for the Cicadoidea, including all synonymies

This book explores the role of music in the some five hundred feature-length films on the Middle Ages produced between the late 1890s and the present day. Haines focuses on the tension in these films between the surviving evidence for medieval music and the idiomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off-screen to a minstrel singing his song. Medieval film music must be considered in the broader historical context of pre-cinematic medievalisms and of medievalist cinema’s main development in the course of the twentieth century as an American appropriation of European culture. The book treats six pervasive moments that define the genre of medieval film: the church-tower bell, the trumpet fanfare or horn call, the music of banquets and courts, the singing minstrel, performances of Gregorian chant, and the music that accompanies horse-riding knights, with each chapter visiting representative films as case studies. These six signal musical moments, that create a fundamental visual-aural core central to making a film feel medieval to modern audiences, originate in medievalist works predating cinema by some three centuries.

This second volume in the new TRAC Themes in Roman Archaeology series seeks to push the research agendas of materiality and lived experience further into the study of Roman magic, a field that has, until recently, lacked object-focused analysis. Building on the pioneering studies in Boschung and Bremmer's (2015) Materiality of Magic, the editors of the present volume have collected contributions that showcase the value of richly-detailed, context-specific explorations of the magical practices of the Roman world. By concentrating primarily on the Imperial period and the western provinces, the various contributions demonstrate very clearly the exceptional range of influences and possibilities open to individuals who sought to use magical rituals to affect their lives in these specific contexts – something that would have been largely impossible in earlier periods of antiquity. Contributions are presented from a range of museum professionals, commercial archaeologists, university academics and postgraduate students, making a compelling case for strengthening lines of communication between these related areas of expertise.

This is a path-breaking contribution to the study of medieval metalwork and to the broader re-evaluation of medieval art.