Books in the British Academy Monographs series

The Myth of Pelagianism is a ground-breaking interdisciplinary work that combines textual research with sociological analysis and evidence from previously unpresented manuscripts. It offers a revision to our understanding of Pelagius and the formation of Christian doctrine.

In the first long-term analysis of Russian parliamentary elections, Hutcheson explores the country's seven rounds of election since 1993. Through the twists and turns of political reform, he combines official data, primary material and in-depth analysis to investigate the changes in Russia's political system.

Judiciary institutions in Central and Eastern Europe have become patterned on a template that maximises judicial empowerment to the detriment of national parliaments. Transnational Networks and Elite Self-Empowerment explores this new social class of elite legal professionals who make public policy in place of formal democratic institutions.

Sunnyside discusses changes to British house names from medieval naming practices to the present-day. The demise of pub names and shop names such as la Worm on the Hope and the Golden Tea Kettle & Speaking Trumpet are detailed alongside the rise of heraldic names such as the Red Lion.

Convent Autobiography explores the ways in which cloistered women evaluated and articulated their senses of self through letters, chronicles, accounts and other such genres. The book explores writings by women who composed under their own names and those who composed anonymously and considers three case studies devoted to anonymous chronicling.

This study of hundreds of manuscripts and early printed books reveals that the Bible has never been an abstract text. This book offers a new history of the Bible in England, putting the advent of moveable-type print and religious reform in a new perspective.

This study sheds new light on the trials of 'libertine' authors (a term for religious, sexual, social or moral subversion), by considering them primarily as legal defendants.

This book analyses the relationship between art and the Internet from 2008 to 2016. As well as offering a critical account of the field, it also proposes a wider historical argument about what it means to live, work, and make art with the Internet in the twenty first century.