In late medieval and early modern Europe, textual and visual records of disaster and mass death allow us to encounter the intense emotions generated through the religious, providential and apocalyptic frameworks that provided these events with meaning. This collection brings together historians, art historians, and literary specialists in a cross-disciplinary collection shaped by new developments in the history of emotions. It offers a rich range of analytical frameworks and case studies, from the emotional language of divine providence to individual and communal experiences of disaster. Geographically wide-ranging, the collection also analyses many different sorts of media: from letters and diaries to broadsheets and paintings. Through these and other historical records, the contributors examine how communities and individuals experienced, responded to, recorded and managed the emotional dynamics and trauma created by dramatic events like massacres, floods, fires, earthquakes and plagues.

Fascinating and highly informative, The Appearance of Witchcraft explores how visual representations of witchcraft contributed to the widespread acceptance of witch beliefs in sixteenth-century Europe and helped establish the preconditions for the widespread persecution of witches.

Focusing on the visual contraction, or figure of the witch, and the activity of witchcraft, Zika places the study in the context of sixteenth-century withcraft and demonological theory, and in the turbulent social and religious changes of the period.

Zika argues that artists and printers used images to relate witchcraft theories, developed by theologians and legitimated by secular authorities, to a whole range of contemporary discourses on women and gender roles, sexuality, peasant beliefs and medical theories of the body. He also examines the role of artist as mediators between the ideas of the elite and the ordinary people.

For students of medieval history or anyone interested in the appearance of witchcraft, this will be an enthralling and invaluable read.

Feeling Exclusion: Religious Conflict, Exile and Emotions in Early Modern Europe investigates the emotional experience of exclusion at the heart of the religious life of persecuted and exiled individuals and communities in early modern Europe. Between the late fifteenth and early eighteenth centuries an unprecedented number of people in Europe were forced to flee their native lands and live in a state of physical or internal exile as a result of religious conflict and upheaval. Drawing on new insights from history of emotions methodologies, Feeling Exclusion explores the complex relationships between communities in exile, the homelands from which they fled or were exiled, and those from whom they sought physical or psychological assistance. It examines the various coping strategies religious refugees developed to deal with their marginalization and exclusion, and investigates the strategies deployed in various media to generate feelings of exclusion through models of social difference, that questioned the loyalty, values, and trust of "others". Accessibly written, divided into three thematic parts, and enhanced by a variety of illustrations, Feeling Exclusion is perfect for students and researchers of early modern emotions and religion.

Shortlisted for the 2008 Katharine Briggs Award.

For centuries the witch has been a powerful figure in the European imagination; but the creation of this figure has been hidden from our view. Charles Zika s groundbreaking study investigates how the visual image of the witch was created in late fifteenth- and sixteenth-century Europe. He charts the development of the witch as a new visual subject, showing how the traditional imagery of magic and sorcery of medieval Europe was transformed into the sensationalist depictions of witches in the pamphlets and prints of the sixteenth century.

This book shows how artists and printers across the period developed key visual codes for witchcraft, such as the cauldron and the riding of animals. It demonstrates how influential these were in creating a new iconography for representing witchcraft, incorporating themes such as the power of female sexuality, male fantasy, moral reform, divine providence and punishment, the superstitions of non-Christian peoples and the cannibalism of the New World.

Lavishly illustrated and encompassing in its approach, The Appearance of Witchcraft is the first systematic study of the visual representation of witchcraft in the later fifteenth and sixteenth centuries. It will give the reader a unique insight into how the image of the witch evolved in the early modern world.

In late medieval and early modern Europe, textual and visual records of disaster and mass death allow us to encounter the intense emotions generated through the religious, providential and apocalyptic frameworks that provided these events with meaning. This collection brings together historians, art historians, and literary specialists in a cross-disciplinary collection shaped by new developments in the history of emotions. It offers a rich range of analytical frameworks and case studies, from the emotional language of divine providence to individual and communal experiences of disaster. Geographically wide-ranging, the collection also analyses many different sorts of media: from letters and diaries to broadsheets and paintings. Through these and other historical records, the contributors examine how communities and individuals experienced, responded to, recorded and managed the emotional dynamics and trauma created by dramatic events like massacres, floods, fires, earthquakes and plagues.

This collection extends and deepens understanding of the political, social, and cultural contexts through which the meanings of Durer's works can be perceived, and focuses on images which provide insights into his rich cultural milieu. Expanding views of nature and landscape, cultural strategies of collecting, the construction of national cultural identity, the humanist concern for a moral life, the transgressions of sexual order, and the gendered rituals of courtship are just some of the contemporary discourses and practices to which Durer's works are linked. Also discussed is the manner in which images were viewed in the early-sixteenth century, and the powers and dangers with which they were associated, and the collection concludes with an appreciation of the changing historical role which Durer himself has had within the European cultural tradition.

Feeling Exclusion: Religious Conflict, Exile and Emotions in Early Modern Europe investigates the emotional experience of exclusion at the heart of the religious life of persecuted and exiled individuals and communities in early modern Europe. Between the late fifteenth and early eighteenth centuries an unprecedented number of people in Europe were forced to flee their native lands and live in a state of physical or internal exile as a result of religious conflict and upheaval. Drawing on new insights from history of emotions methodologies, Feeling Exclusion explores the complex relationships between communities in exile, the homelands from which they fled or were exiled, and those from whom they sought physical or psychological assistance. It examines the various coping strategies religious refugees developed to deal with their marginalization and exclusion, and investigates the strategies deployed in various media to generate feelings of exclusion through models of social difference, that questioned the loyalty, values, and trust of "others". Accessibly written, divided into three thematic parts, and enhanced by a variety of illustrations, Feeling Exclusion is perfect for students and researchers of early modern emotions and religion.

This collection of sixteen essays deals with the role of magic, religion and witchcraft in European culture, 1450-1650, and the critical role of the visual in that culture. It covers the relationship of humanism and magic; the intersection of religious ritual, orthodoxy and power; the discursive links between the visual language of witchcraft and contemporary anxieties about sexuality and savagery.
The introductory chapter urges us to exorcise our tendency to reduce historical experiences of the demonic to forms of unreason created in a distant past. Only then can we understand the role of the demonic in our historical definition of the self and the other. Richly illustrated with 112 images, the book will interest historians and art historians.