The historical and cultural aspects of the Cold War have been much studied, yet its physical manifestations in England - its buildings and structures - have remained largely unknown. To the great landscape historian WG Hoskins writing in the 1950's they were profoundly alien: "England of the ... electric fence, of the high barbed wire around some unmentionable devilment.... Barbaric England of the scientists, the military men, and the politicians". Now these survivors of the Cold War are, in their turn, disappearing fast, like medieval monasteries and bastioned forts before them - only with more limited scope for regeneration and reuse. This book is the first to look at these monuments to the Cold War. It is heavily illustrated with photographs of the sites as they survive today, archive photographs (many previously unpublished), modern and historic air photographs, site and building plans, and specially commissioned interpretative drawings. It also endeavours look at the installations within the military and political context of what was one of the defining phenomena of the late 20th century.

This book critically explores ways in which our understanding of late medieval liturgy can be enhanced through present-day enactment. It is a direct outcome of a practice-led research project, led by Professor John Harper and undertaken at Bangor University between 2010 and 2013 in partnership with Salisbury Cathedral and St Fagans National History Museum, near Cardiff. The book seeks to address the complex of ritual, devotional, musical, physical and architectural elements that constitute medieval Latin liturgy, whose interaction can be so difficult to recover other than through practice. In contrast with previous studies of reconstructed liturgies, enactment was not the exclusive end-goal of the project; rather it has created a new set of data for interpretation and further enquiry. Though based on a foundation of historical, musicological, textual, architectural and archaeological research, new methods of investigation and interpretation are explored, tested and validated throughout. There is emphasis on practice-led investigation and making; the need for imagination and creativity; and the fact that enactment participants can only be of the present day. Discussion of the processes of preparation, analysis and interpretation of the enactments is complemented by contextual studies, with particular emphasis on the provision of music. A distinctive feature of the work is that it seeks to understand the experiences of different groups within the medieval church - the clergy, their assistants, the singers, and the laity - as they participated in different kinds of rituals in both a large cathedral and a small parish church. Some of the conclusions challenge interpretations of these experiences, which have been current since the Reformation. In addition, some consideration is given to the implications of understanding past liturgy for present-day worship.

This work constitutes an appraisal of the development of kingship and royal administration in the kingdoms which, by the seventh century AD, had been established in the former Western Roman Empire. By viewing the seventh century in its own terms, and providing a detailed critique of the primary sources, the author sets out to show that kings were stronger than has often been thought, and their administration more sophisticated. A feature of his analysis is its setting of the evidence for early Anglo-Saxon England alongside that relating to the continental kingdoms. The evolution of governmental structures in a period increasingly remote from the imperial past is traced, as is the relationship of the "barbarian" kingdoms to the Byzantine Empire, and it is argued that, despite emergent differences between the kingdoms, many of their administrative institutions continued to be influenced by a common inheritence of Roman traditions.

This book critically explores ways in which our understanding of late medieval liturgy can be enhanced through present-day enactment. It is a direct outcome of a practice-led research project, led by Professor John Harper and undertaken at Bangor University between 2010 and 2013 in partnership with Salisbury Cathedral and St Fagans National History Museum, near Cardiff. The book seeks to address the complex of ritual, devotional, musical, physical and architectural elements that constitute medieval Latin liturgy, whose interaction can be so difficult to recover other than through practice. In contrast with previous studies of reconstructed liturgies, enactment was not the exclusive end-goal of the project; rather it has created a new set of data for interpretation and further enquiry. Though based on a foundation of historical, musicological, textual, architectural and archaeological research, new methods of investigation and interpretation are explored, tested and validated throughout. There is emphasis on practice-led investigation and making; the need for imagination and creativity; and the fact that enactment participants can only be of the present day. Discussion of the processes of preparation, analysis and interpretation of the enactments is complemented by contextual studies, with particular emphasis on the provision of music. A distinctive feature of the work is that it seeks to understand the experiences of different groups within the medieval church - the clergy, their assistants, the singers, and the laity - as they participated in different kinds of rituals in both a large cathedral and a small parish church. Some of the conclusions challenge interpretations of these experiences, which have been current since the Reformation. In addition, some consideration is given to the implications of understanding past liturgy for present-day worship.