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The historiography of the Crusades is how historians and the popular culture have dealt with the Crusades. There are many viewpoints, since Western and Eastern judgments differ sharply. The dichotomy is "crusade" as a valiant struggle for a supreme cause, and "crusade" as a byword for barbarism and aggression. This contrasting view is a millennium old and the crusades were controversial even among contemporaries. Western sources speak of both heroism, faith and honor, emphasized in chivalric romance, but also of acts of brutality. Orthodox Christian and Islamic chroniclers tell stories of barbarian savagery and brutality, although it was not until 1899 that the first Islamic history of the Crusades was written. Prior to the growth of Arab nationalism in the 20th century, the Crusades were virtually ignored in the Islamic world.〔Amin Maalouf, ''Crusades Through Arab Eyes''〕 In the 21st century the most widely accepted approach among scholars is the ''pluralist'' school of crusade history. It has a broad definition that includes as ''crusades'' all those medieval military endeavors that were penitential in nature (like pilgrimages), were authorized by bishops or the Pope, and whose participants typically engaged in the rite of taking the cross and the crusader’s vow. ==Popular reputation in Western Europe== Legend and literature surrounded the Crusades with an aura of romance and grandeur, of chivalry and courage.〔 See Dana Carleton Munro, ("War and History,' ''American Historical Review'' 32:2 (January 1927): 219–31 online ) 〕The myth is only remotely related to reality. The countless tales of the gallant knights of the Cross glitter in hyperbole. Many stories are true about the crusaders' feats of valor. However the crusaders occupied the Holy Land only temporarily. In their major mission, the crusaders lost in the very long run. In Western Europe, the Crusades have traditionally been regarded by laypeople as heroic adventures, though the mass enthusiasm of common people was largely expended in the First Crusade, from which so few of their class returned. Today, the "Saracen" adversary is personified in the lone figure of Saladin; his adversary Richard the Lionheart is, in the English-speaking world, the archetypical crusader king, while Frederick Barbarossa and Louis IX fill the same symbolic niche in German and French culture. Even in contemporary areas, the crusades and their leaders were romanticized in popular literature; the ''Chanson d'Antioche'' was a chanson de geste dealing with the First Crusade, and the Song of Roland, dealing with the era of the similarly romanticized Charlemagne, was directly influenced by the experience of the crusades, going so far as to replace Charlemagne's historic Basque opponents with Muslims. A popular theme for troubadours was the knight winning the love of his lady by going on crusade in the east. In the 14th century, Godfrey of Bouillon was united with the Trojan War and the adventures of Alexander the Great against a backdrop for military and courtly heroics of the Nine Worthies who stood as popular secular culture heroes into the 16th century, when more critical literary tastes ran instead to Torquato Tasso and Rinaldo and Armida, Roger and Angelica. Later, the rise of a more authentic sense of history among literate people brought the Crusades into a new focus for the Romantic generation in the romances of Sir Walter Scott in the early 19th century. Crusading imagery could be found even in the Crimean War, in which the United Kingdom and France were allied with the Muslim Ottoman Empire, and in World War I, especially Allenby's capture of Jerusalem in 1917. In Spain, the popular reputation of the Crusades is outshone by the particularly Spanish history of the ''Reconquista''. El Cid is the central figure. In a broader sense, ''crusade'' was used, in a rhetorical and metaphorical sense, to identify as righteous any war that was given a religious or moral justification. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Historiography of the Crusades」の詳細全文を読む スポンサード リンク
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