Historia Langobardorum (Paolo Diacono – Paulus Diaconus).

Книга «История лангобардов» состоит из предисловия, разделенного на несколько тематических частей, легенды о происхождении названия лангобардов в семи абзацах, шести книг «Истории лангобардов» Павла Диакона и «Хроники» Андрея Бергомского из девятнадцати разделов, дополняющих повествование «Истории».

Примечания немногочисленны, но практичны - они взяты из Википедии и позволяют читателям легко перемещаться между списками пап, императоров и королей, упомянутых в тексте.

Причина издания старинной книги на латыни в том, что история всегда субъективна, будучи продуктом определенной культуры и общества. Каждая эпоха по-своему оценивает исторические события и произведения искусства.

Точные даты начала и конца исторических эпох условны и зависят от социальных изменений. Переход от Античности к Средневековью был постепенным. Важны не только даты, но и ощущение эпохи, выраженное в искусстве и культуре.

Издание книги о лангобардах, завоевавших Италию, имеет целью подчеркнуть единство Италии с центром в Риме, в противовес сепаратистским тенденциям.

The book consists of a short introduction which is divided into several thematic sections. Then comes the Origo Gentis Langobardorum which includes in its seven sections the legends of the name. Then there is the Historia Langobardorum by Paolus Diaconus, whose six books are followed by the Chronicon of Andreas Bergomas which, with nineteen sections, supplements the Historia. The notes deserve a brief comment: they are few but practical, they are sourced from Wikipedia and allow the readers to easily luxuriate among the lists of popes, emperors and kings. When one wanders between successors and predecessors, almost all of the people mentioned in the text can be found. The HISTHORY, why are you eagerly waiting for an old lateinisch-language book which is obviously biased? The reason is precisely there, in the definition ”biased”: the written history is always biased, because it is generated by a ”cultural good”. Indeed, the entities created often coincide with the “national state”. In practice, for the same valid concept applies to art history, each age gives a different opinion about a particular work of art. While I studied art at high school, I frequented the library at the school where was shown a famous and beautiful series of painters. These books featured the critical opinions of art experts and artists from various eras. There one could see the change in opinion over time. That baroque opera might be enjoyed then becomes frowned upon and then found beautiful again. This opinion is closely linked to historical events and social changes. To explain that some fundamental concepts of art history continue to use parallelism, what, in my opinion, is best suited. The story here is a personal experience I had at university in a medieval history exam. Supporting fellow students in their exam, I noticed their difficulties in determining the eras; I also noticed their attachment to certain terms. The professor of history at the university of M.