Middle Ages

A don is an academic, particularly in British English. The term is particularly applied to fellows and tutors of colleges at traditional collegiate universities but is also used more generally for teaching staff at universities and colleges. The usage is also found in Canada and in rare instances in the United States.

Like the term don used for Roman Catholic priests, the term don derives from the Latin dominus, meaning "lord", and is a historical remnant of Oxford and Cambridge having started as ecclesiastical institutions in the Middle Ages.

Piers Plowman (written c. 1370–86; possibly c. 1377) or Visio Willelmi de Petro Ploughman (William's Vision of Piers Plowman) is a Middle English allegorical narrative poem by William Langland. It is written in un-rhymed, alliterative verse divided into sections called passus (Latin for "step").

Like the Pearl Poet's Sir Gawain and the Green Knight, Piers Plowman is considered by many critics to be one of the greatest works of English literature of the Middle Ages, preceding and even influencing Chaucer's Canterbury Tales. Piers Plowman contains the first known reference to a literary tradition of Robin Hood tales.

Medieval Welsh literature is the literature written in the Welsh language during the Middle Ages. This includes material starting from the 5th century AD, when Welsh was in the process of becoming distinct from Common Brittonic, and continuing to the works of the 16th century.

The Welsh language became distinct from other dialects of Old British sometime between AD 400 and 700; the earliest surviving literature in Welsh is poetry dating from this period. The poetic tradition represented in the work of Y Cynfeirdd ("The Early Poets"), as they are known, then survives for over a thousand years to the work of the Poets of the Nobility in the 16th century.

In classical music, a fugue (/fjuːɡ/, from Latin fuga, meaning 'flight' or 'escape') is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint.

In the Middle Ages, the term was widely used to denote any works in canonic style; however, by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.

Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards."

The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, "to explain by means of [analysis] is to decompose, to mutilate the spirit of a work".

Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period. Following the traditional division of the Middle Ages, medieval music can be divided into Early (500–1000), High (1000–1300), and Late (1300–1400) medieval music.

Medieval music includes liturgical music used for the church, other sacred music, and secular or non-religious music. Much medieval music is purely vocal music, such as Gregorian chant. Other music used only instruments or both voices and instruments (typically with the instruments accompanying the voices).

Celtic mythology is the body of myths belonging to the Celtic peoples. Like other Iron Age Europeans, Celtic peoples followed a polytheistic religion, having many gods and goddesses. The mythologies of continental Celtic peoples, such as the Gauls and Celtiberians, did not survive their conquest by the Roman Empire, the loss of their Celtic languages and their subsequent conversion to Christianity. Only remnants are found in Greco-Roman sources and archaeology. Most surviving Celtic mythology belongs to the Insular Celtic peoples (the Gaels of Ireland and Scotland; the Celtic Britons of western Britain and Brittany). They preserved some of their myths in oral lore, which were eventually written down by Christian scribes in the Middle Ages. Irish mythology has the largest written body of myths, followed by Welsh mythology.

The supernatural race called the Tuatha Dé Danann is believed to be based on the main Celtic gods of Ireland, while many Welsh characters belong either to the Plant Dôn ("Children of Dôn") or the Plant Llŷr ("Children of Llŷr"). Some figures in Insular Celtic myth have ancient continental parallels: Irish Lugh and Welsh Lleu are cognate with Lugus, Goibniu and Gofannon with Gobannos, Macán and Mabon with Maponos, and so on. One common figure is the sovereignty goddess, who represents the land and bestows sovereignty on a king by marrying him. The Otherworld is also a common motif, a parallel realm of the supernatural races, which is visited by some mythical heroes. Celtic myth influenced later Arthurian legend.

The yellow badge, also known as the yellow patch, the Jewish badge, or the yellow star (German: Judenstern, lit. 'Jew's star'), was an accessory that Jews were required to wear in certain non-Jewish societies throughout history. A Jew's ethno-religious identity, which would be denoted by the badge, would help to mark them as an outsider. Legislation that mandated Jewish subjects to wear such items has been documented in some Middle Eastern caliphates and in some European kingdoms during the medieval period and the early modern period. The most recent usage of yellow badges was during World War II, when Jews living in Nazi Germany and German-occupied Europe were ordered to wear a yellow Star of David to keep their Jewish identity disclosed to the public in the years leading up to the Holocaust.

According to different scholars, the history of anarchism either goes back to ancient and prehistoric ideologies and social structures, or begins in the 19th century as a formal movement. As scholars and anarchist philosophers have held a range of views on what anarchism means, it is difficult to outline its history unambiguously. Some feel anarchism is a distinct, well-defined movement stemming from 19th-century class conflict, while others identify anarchist traits long before the earliest civilisations existed.

Prehistoric society existed without formal hierarchies, which some anthropologists have described as similar to anarchism. The first traces of formal anarchist thought can be found in ancient Greece and China, where numerous philosophers questioned the necessity of the state and declared the moral right of the individual to live free from coercion. During the Middle Ages, some religious sects espoused libertarian thought, and the Age of Enlightenment, and the attendant rise of rationalism and science, signalled the birth of the modern anarchist movement.

Some philosophers distinguish two types of rights, natural rights and legal rights.

• Natural rights are those that are not dependent on the laws or customs of any particular culture or government, and so are universal, fundamental and inalienable (they cannot be repealed by human laws, though one can forfeit their enjoyment through one's actions, such as by violating someone else's rights). Natural law is the law of natural rights.
• Legal rights are those bestowed onto a person by a given legal system (they can be modified, repealed, and restrained by human laws). The concept of positive law is related to the concept of legal rights.

Natural law first appeared in ancient Greek philosophy, and was referred to by Roman philosopher Cicero. It was subsequently alluded to by Saint Paul, and then developed in the Middle Ages by Catholic philosophers such as Albert the Great, his pupil Thomas Aquinas, and Jean Gerson in his 1402 work "De Vita Spirituali Animae." During the Age of Enlightenment, the concept of natural laws was used to challenge the divine right of kings, and became an alternative justification for the establishment of a social contract, positive law, and government – and thus legal rights – in the form of classical republicanism. Conversely, the concept of natural rights is used by others to challenge the legitimacy of all such establishments.