By Laura Kounine, Michael Ostling
Bringing jointly major historians, anthropologists, and religionists, this quantity examines the unbridled passions of witchcraft from the center a long time to the current. Witchcraft is an intensely emotional crime, rooted within the trust that envy and spite could cause ailment or perhaps demise. Witch-trials in flip are emotionally pushed via the grief of alleged sufferers and by way of the fears of magistrates and demonologists.
With examples starting from Russia to New England, Germany to Cameroon, chapters conceal the illustration of emotional witches in demonology and paintings; the gendering of witchcraft as woman envy or male rage; witchcraft as a kind of bullying and witchcraft accusation as a kind of treatment; love magic and demon-lovers; and the affective memorialization of the “Burning occasions” between modern Pagan feminists. Wide-ranging and methodologically diversified, the publication is acceptable for students of witchcraft, gender, and feelings; for graduate or undergraduate classes, and for the common reader.
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Additional resources for Emotions in the History of Witchcraft
But de Gheyn was also fascinated by the nature of the imagination, and especially the fertile and deluded human imagination. His scenes of witchcraft, of which he produced many, were depictions of what many contemporaries imagined witches did: overturning divinely ordered nature; crippling communities through natural disasters such as storms, lightning, and avalanches; harvesting and cooking up body parts for their ghastly magical salves. Yet he applied to these witchcraft images C. Zika Centre for the History of Emotions, University of Melbourne © The Author(s) 2016 L.
Their gaze is fixed on their victim, and their wrinkled faces, sunken eyes, the rigid line of their noses, and unkempt hair communicate a lack of compassion in their work. The whole scene is enshrined in a series of archways, providing a strong sense of an underground location where evil acts can be carried out secretly, hidden from the eyes of others. Many of these features can be found in de Gheyn’s other witchcraft images. In a drawing held by the Ashmolean (Fig. 3 A large shadow cast by one of the witches pointing at the corpse helps to create an ominous atmosphere.
38 The Clippeum was out of print within a year of its publication, and Institoris issued a second edition in Olomouc on 20 March 1502. 40 In the Clippeum, Institoris presents the Bohemian Brethren as a heterodox group that is intimately linked to witches, because both sects form part of the diabolic conspiracy to undermine the church. 41 While this gendered division of labour reflects Institoris’s presumptions about women’s greater propensity to witchcraft, it also attests to his enduring fear of the menace posed by heterodox men and male-led heretical groups.