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The purpose of this paper is to apply what can be learned from the emergence of nature tourism to understand some current and future trends of tourism.

This study adopted the evolutionary paradigm for investigation.

The emergence of nature tourism in early medieval China can be attributed to four major factors, including transformation of value orientations, seeking longevity, interest in suburbs and population migration.

Historical studies help understand the current and future trends. When the contributing factors for nature tourism are linked to the contemporary world, it can be found that these factors are still playing a part in shaping tourism trends or patterns in their original or alternative forms. These trends or patterns are worthy of scholarly investigations.

This paper offers a comprehensive understanding of the origins of nature tourism.

Zech’s so-called Nachdichtung or ‘adaptation’ Die lasterhaften Lieder und Balladen des François Villon is one of the most printed books of German lyric poetry and has been widely misinterpreted as a translation of French medieval poet François Villon. The erroneous attribution of these texts has caused an immense amount of confusion and misinformation to spread in relation to the authorship of several poems due to the popularisation of these supposedly medieval texts by medieval metal bands In Extremo and Subway to Sally. Zech’s fascinating artistic fraud forms the framework for questioning how source material, which ranges from authentic historical texts through to ex nihilo pseudo-medieval writings, is situated between the related, at times conflicting, norms and traditions of medieval market music and mittelalter metal.

This chapter analyses the different ways in which metal album covers draw upon medieval media. The analysis is situated within the broad theoretical frame of intermediality, and more specifically view the process where medieval media cross the borders and find their way into metal album covers as media transformation. Four different types of media transformation are analysed, and it is argued that the medievalism of album covers can be defined in terms of media transformation. Likewise, neomedievalism is defined in terms of second-order media transformation. The album cover is described as a media patchwork, and the chapter gives examples of the patches in terms of relationship and properties.

In Part One of ?From the Genius of the Man to the Man of Genius’ I argued that classical and medieval inscriptions of genius figures suggest a coevalence between characters in their respective cosmologies, making it relatively more difficult to delineate Man from “spirits” and “other organisms”. The labour that genii performed flowed around two significant tropes of production and reproduction whose specificities were inflected in and across sources. In medieval poetry, for instance, genius figures took up a new role in regard to the reproduction trope, as promoter of virtue (in the form of censuring the seven deadly sins) and condemner of vice (in the form of prohibition against same sex intercourse). The sedimentation (complex processes of character‐formation), directionality (patterns of descent) and sexual ecology (emergence of a field of ethics) that the medieval literature embodies also indexes an opening disarticulation of Man from universe and the possibility of grounding “morality” in and as His love choices. Through a series of narrative structures, binary concepts and new sources of authority under Christianity the figure now referred to in philosophy as “the subject” is given early grounds upon which to form in the medieval poems.

The two articles that comprise this analysis springboard from the availability and increased popularity of the term genius to nineteenth and twentieth century educational scholars and its (temporary) location along a continuum of mindedness that was relatively new (i.e., as opposite to insanity). Three generations of analysis playfully structure the argument, taking form around the gen‐ root’s historical association with tropes of production and reproduction. Of particular interest in the analysis is how subject‐formation, including perceptions of non‐formation and elusivity, occurs. I examine this process of (non)formation within and across key texts on genius, especially in relation to their narrative structures, key binaries and sources of authority that collectively produce and embed specific cosmologies and their moral boundaries. The argument is staged across two articles that embody the three generations of analysis.

This chapter explores the potential for musical medievalism within metal, exploring the ways in which metal musicians have sought to include ‘authentic’ medieval musical languages within their music. The medieval repertoire poses many challenges even for early music specialists, and the musical idioms of metal and medieval music rarely overlap, leading many medievalist metal bands to rely instead on normative metal styles with occasional references to specific identifiable melodies. The chapter focusses particularly on the American metal band Obsequiae, who have drawn inspiration particularly from the medieval polyphonic repertoire, which required creating much more oblique musical connections. Obsequiae’s albums feature acoustic guitar and harp arrangements of medieval polyphonic works, but their metal songs likewise adopt some general qualities of medieval polyphony. The obscure nature of the connections is likely beyond many listeners, but paradoxically the lack of obvious musical medievalism can also cultivate the appearance of a deeper connection.

The aim of this publication is to list the catalogues of the Department of Manuscripts which are in regular use. Catalogues which have been superseded by later publications are not normally included, since whatever their historical or bibliographical interest they are no longer everyday working tools. To save space in cross‐reference, the catalogues, etc., here listed have been numbered serially in Clarendon type, thus: 31. This numeration has no other significance.

THE College of Librarianship is best considered on its own terms, as an institution unique in the history and present pattern of British library education, but its significance and probable future development can best be assessed if two external factors are kept in mind.

AT A TIME when tape cassettes are being marketed and promise in time to replace discs as the standard form of sound recording, it may be thought inopportune to write about discs of literature. But the latter are still being issued successfully, and there are good reasons why they should continue to be bought. For one thing, discs do not have to be rewound after each hearing; besides, there must be several hundreds of record players for every tape‐cassette player and rewinder in British homes, although doubtless this position could eventually be reversed. By the time that occurs, however, we shall be in the midst of yet another communications revolution, as teleplayers and videotapes become a commercial proposition.