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Imagining the Witch explores emotions, gender, and selfhood through the lens of witch-trials in early modern Germany. Witch-trials were clearly a gendered phenomenon, but witchcraft was not a uniquely female crime. While women constituted approximately three quarters of those tried for witchcraft in the Holy Roman Empire, a significant minority were men. Witchcraft was also a crime of unbridled passion: it centred on the notion that one person's emotions could have tangible and deadly physical consequences. Yet it is also true that not all suspicions of witchcraft led to a formal accusation, and not all witch-trials led to the stake. Indeed, just over half the total number put on trial for witchcraft in early modern Europe were executed. In order to understand how early modern people imagined the witch, we must first begin to understand how people understood themselves and each other; this can help us to understand how the witch could be a member of the community, living alongside their accusers, yet inspire such visceral fear. Through an examination of case studies of witch-trials that took place in the early modern Lutheran duchy of Württemberg in southwestern Germany, Laura Kounine examines how the community, church, and the agents of the law sought to identify the witch, and the ways in which ordinary men and women fought for their lives in an attempt to avoid the stake. The study further explores the visual and intellectual imagination of witchcraft in this period in order to piece together why witchcraft could be aligned with such strong female stereotypes on the one hand, but also be imagined as a crime that could be committed by any human, whether young or old, male or female. By moving beyond stereotypes of the witch, Imagining the Witch argues that understandings of what constituted witchcraft and the 'witch' appear far more contested and unstable than has previously been suggested. It also suggests new ways of thinking about early modern selfhood which moves beyond teleological arguments about the development of the 'modern' self. Indeed, it is the trial process itself that created the conditions for a diverse range of people to reflect on, and give meaning, to emotions, gender, and the self in early modern Lutheran Germany.
In an exciting new approach to witchcraft studies, The Witch in the Western Imagination examines the visual representation of witches in early modern Europe. With vibrant and lucid prose, Lyndal Roper moves away from the typical witchcraft studies on trials, beliefs, and communal dynamics and instead considers the witch as a symbolic and malleable figure through a broad sweep of topics and time periods. Employing a wide selection of archival, literary, and visual materials, Roper presents a series of thematic studies that range from the role of emotions in Renaissance culture to demonology as entertainment, and from witchcraft as female embodiment to the clash of cultures on the brink of the Enlightenment. Rather than providing a vast synthesis or survey, this book is questioning and exploratory in nature and illuminates our understanding of the mental and psychic worlds of people in premodern Europe. Roper’s spectrum of theoretical interests will engage readers interested in cultural history, psychoanalytic theory, feminist theory, art history, and early modern European studies. These essays, three of which appear here for the first time in print, are complemented by more than forty images, from iconic paintings to marginal drawings on murals or picture frames. In her unique focus on the imagery of witchcraft, Lyndal Roper has succeeded in adding a compelling new dimension to the study of witchcraft in early modern Europe.
For the first time in English, Michael Ostling tells the story of the imagined Polish witches, showing how ordinary peasant-women got caught in webs of suspicion and accusation, finally confessing under torture to the most heinous of crimes.
This comprehensive study examines Polish demonology in relation to witchcraft trials in Wielkopolska, revealing the witch as a force for both good and evil. It explores the use of witchcraft, the nature of accusations and the role of gender.
There are good witches and bad witches, but the law says that all witches must be burned at the stake. So when an anonymous note warns, "Someone in this class is a witch," the students in 6B are nervous—especially the boy who's just discovered that he can cast spells and the girl who was named after the most famous witch of all. Witch Week features the debonair enchanter Chrestomanci, who also appears in Charmed Life, The Magicians of Caprona, and The Lives of Christopber Chant. Someone in the class is a witch. At least so the anonymous note says. Everyone is only too eager to prove it is someone else—because in this society, witches are burned at the stake.
"Women, the body and primitive accumulation"--Cover.
Rebecca Reisert's mesmerizing first novel re-imagines Macbeth, Shakespeare's classic tragedy of power and madness, through the eyes of a mysterious young woman on a dangerous quest for vengeance. For the girl called Gilly, life in the wilds of Birnam Wood is little more than a desperate struggle for survival. Seven long years have passed since she was first taken in and sheltered by Nettle and Mad Helga, the hut-dwelling wise-women whose inscrutable powers of alchemy and prophecy are feared and reviled throughout good King Duncan's kingdom. Living under the threat of deadly persecution by witch-hunting villagers, the threesome ekes out a life by peddling potions and elixirs, scavenging for food, and robbing the bloodied corpses of Scotland's battle-scarred hills for precious metals and weapons. But Gilly is haunted by recollections of a much brighter life. She clings to fading memories of a time when she was contented and adored -- until tragedy swept all that happiness away and young Gilly's life was changed forever. I have made my life an arrow, and His heart is my home. I have made my heart a blade, and His heart is my sheath....Obsessed with avenging her loss and putting out the fire that still rages in her heart, Gilly has dedicated herself to destroying Macbeth, the boundlessly ambitious man who took away her childhood, and his goading wife. Disguising herself as a poor servant boy, she insinuates herself into their lives and, as she bears horrified witness to Macbeth's violent path to power, Gilly subtly begins to take a hand in the forces governing his fate. But as the culmination of her revenge draws near, Gilly finds her own life at risk when she confronts the troubling legacy of a long-concealed heritage. The Third Witch is a brilliantly imagined, wonderfully satisfying novel. In a riveting story of ruthlessness and revenge, debut author Rebecca Reisert demonstrates a profound understanding of the Bard's timeless drama -- and of the real-life Macbeth upon whom Shakespeare's incarnation is modeled.
A new dark historical fantasy from the “supremely gifted”* Cherie Priest, author of Mapelcroft and Boneshaker. In the trenches of Europe during the Great War, Tomás Cordero operated a weapon more devastating than any gun: a flame projector that doused the enemy in liquid fire. Having left the battlefield a shattered man, he comes home to find yet more tragedy—for in his absence, his wife has died of the flu. Haunted by memories of the woman he loved and the atrocities he perpetrated, Tomás dreams of fire and finds himself setting match to flame when awake.... Alice Dartle is a talented clairvoyant living among others who share her gifts in the community of Cassadaga, Florida. She too dreams of fire, knowing her nightmares are connected to the shell-shocked war veteran and widower. And she believes she can bring peace to him and his wife’s spirit. But the inferno that threatens to consume Tomás and Alice was set ablaze centuries ago by someone whose hatred transcended death itself.... *Christopher Golden, #1 New York Times Bestselling Author
NEW YORK TIMES BESTSELLER • From the acclaimed author of The Flight Attendant: “Historical fiction at its best…. The book is a thriller in structure, and a real page-turner, the ending both unexpected and satisfying” (Diana Gabaldon, bestselling author of the Outlander series, The Washington Post). A young Puritan woman—faithful, resourceful, but afraid of the demons that dog her soul—plots her escape from a violent marriage in this riveting and propulsive novel of historical suspense. Boston, 1662. Mary Deerfield is twenty-four-years-old. Her skin is porcelain, her eyes delft blue, and in England she might have had many suitors. But here in the New World, amid this community of saints, Mary is the second wife of Thomas Deerfield, a man as cruel as he is powerful. When Thomas, prone to drunken rage, drives a three-tined fork into the back of Mary's hand, she resolves that she must divorce him to save her life. But in a world where every neighbor is watching for signs of the devil, a woman like Mary—a woman who harbors secret desires and finds it difficult to tolerate the brazen hypocrisy of so many men in the colony—soon becomes herself the object of suspicion and rumor. When tainted objects are discovered buried in Mary's garden, when a boy she has treated with herbs and simples dies, and when their servant girl runs screaming in fright from her home, Mary must fight to not only escape her marriage, but also the gallows. A twisting, tightly plotted novel of historical suspense from one of our greatest storytellers, Hour of the Witch is a timely and terrifying story of socially sanctioned brutality and the original American witch hunt.
Bringing together leading historians, anthropologists, and religionists, this volume examines the unbridled passions of witchcraft from the Middle Ages to the present. Witchcraft is an intensely emotional crime, rooted in the belief that envy and spite can cause illness or even death. Witch-trials in turn are emotionally driven by the grief of alleged victims and by the fears of magistrates and demonologists. With examples ranging from Russia to New England, Germany to Cameroon, chapters cover the representation of emotional witches in demonology and art; the gendering of witchcraft as female envy or male rage; witchcraft as a form of bullying and witchcraft accusation as a form of therapy; love magic and demon-lovers; and the affective memorialization of the “Burning Times” among contemporary Pagan feminists. Wide-ranging and methodologically diverse, the book is appropriate for scholars of witchcraft, gender, and emotions; for graduate or undergraduate courses, and for the interested general reader.