This book adopts a multidisciplinary and novel approach to the historical evolution of identities in Europe - identities connected with regions as a multi-layered and processual key concept in dialogue and/or conflict with the emerging nation-state. In the book, historical disciplines meet with anthropology, human ge-ography and cultural studies to discuss how regional identities of various kinds were created, challenged and redefined; how they were experienced and expressed and to what extent they produced feelings of attachment. Spatial, social, cultural and political manifestations of identities in Europe are historical phenomena. Their changes and forms help us understand the essential traits of European societies, in-cluding the development of differences and similarities, degrees of attachment and dynamics of physical and mental borders. Drawing on a wide range of sources - from historiography to in-terviews, hagiographical texts, images and songs - expressing evolving identities, this book presents an innovative approach to understanding identity formation in Europe.

Articles centred on the use made by European nations of medieval texts and other artefacts to define their history and origins. The 19th century was a time of fierce national competition for the "ownership" of medieval documents and the legitimation of national histories. This volume contains papers dealing with the attempts of French scholars to claim English documents (and vice versa), as also of disputes between Scandinavian and British scholars, and Dutch, German and Italian scholars. Regionalism is also a repeated topic, with claims made for the autonomy of Frisia within the Netherlands, and Languedoc within France. Other papers deal with the rediscovery of medieval music, with early American attempts to redirect the course of 20th century poetry by appeal to medieval precedent, and with the continuing vitality of Dante's Divina Commedia (especially the Inferno) in the light of 20th century experience. The volume as a whole sheds new light on the whole process of appropriating history, which remains a vital and contentioustopic, both inside and outside the academic world. CONTRIBUTORS: MARK BURDE, MAGNUS FJALLDAL, ALPITA DE JONG, ANNETTE KREUZIGER-HERR, NILS HOLGER PETERSEN, RACHEL DRESSLER, KARL FUGELS, WILLIAM QUINN, PETER CHRISTENSEN

Proceedings from The Nordic Festival and Conference of Gregorian Chant

Lutheran theology and religious practice re-shaped traditions from the ritual heritage of the Medieval Latin Church. Throughout the cultural history of European Lutheran areas, what came to be seen as 'the arts' may be discussed in the light of (changing) Lutheran traditions: the cultural heritage of Martin Luther. This volume presents a collection of nine essays on Lutheran traditions and the arts within the 500 years since the Reformation, as a special issue of the journal 'Transfiguration' in connection with the Tenth International Congress for Luther Research hosted at the Department of Church History, University of Copenhagen.

This volume addresses the history of saints and sainthood in the Middle Ages in the Baltic Region, with a special focus on the cult of saints in Russia, Prussia, Finland, Sweden, Denmark, Estonia, and Latvia (Livonia). Essays explore such topics as the introduction of foreign (and "old") saints into new regions, the creation of new local cults of saints in newly Christianized regions, the role of the cult of saints in the creation of political and lay identities, and the potential role of saints in times of war.

Lutheran theology and religious practice re-shaped traditions from the ritual heritage of the Medieval Latin Church. Throughout the cultural history of European Lutheran areas, what came to be seen as "the arts" may be discussed in the light of changing Lutheran traditions: the cultural heritage of Martin Luther. This volume presents a collection of 9 essays on Lutheran traditions and the arts within the 500 years since the Reformation, as a special issue of the journal Transfiguration. This issue has been planned in connection with the Tenth International Congress for Luther Research hosted at the Department of Church History, University of Copenhagen.

"Transfiguration" offers discussions of the relationship between art forms and Christianity in the European tradition from the early Church until today. The journal provides a much-needed venue for a broader theological forum that extends beyond the traditional boundaries of religious art scholarship. Looking beyond the contexts in which religious art works are typically situated, it aims to engage this art as a mode of expression that exists in the space between religious practice and aesthetic display. The present issue includes chapters on Luther's reflection on the life of a Christian, the motif of "imitatio Christi," the relationship between image and body, Jesus as a symbolist, and Nietzsche's "The Antichrist".""

The concepts of genre and ritual are central for the overall occupation with the relationship between the history of the arts and the history of Christianity in Western Culture. This special issue of the journal TRANSfiguration sheds light on the complex relationship between the two broad and difficult terms, genre and ritual, within the cultural history of Europe. This volumea collection of 15 essayswas planned on the basis of the first annual international conference at the Centre for the Study of the Cultural Heritage of Medieval Rituals, University of Copenhagen.

Text in Danish.

In 1993 and 1994, The Centre for Christianity and the Arts at the Institute of Church History, University of Copenhagen, arranged symposia with liturgy and the arts in the Middle Ages as the uniting theme. Scholars, with different professional backgrounds and from different European countries, as well as from the USA, presented papers of which 11 are collected and published in this book.

Transfiguration is a peer reviewed journal offering discussions of the relationship between art forms and Christianity in the European tradition from the early Church until today. There is an increasing interest in the more or less precisely defined religious contexts of the art forms. There is thus a demand for a theological journal that is not limited to the traditional matters within the discipline. The term theology is here used in a broader sense that includes the modes of expression and thought which have come into existence in a historical energy field between religious practice and aesthetic display. With contributions by John D. Caputo, Dorthe Jorgensen, Espen Dahl, Elisabeth Lovlie, Geir Hellemo, Uffe Holmsgaard Eriksen, Mette Birkedal Bruun, Hans Jorgen Frederiksen, Margunn Sandal, Leonora Onarheim, Kresten Thue Andersen, Martin Wangsgaard Jurgensen