Titlebook: Disaster, Death and the Emotions in the Shadow of the Apocalypse, 1400–1700; Jennifer Spinks,Charles Zika Book 2016 The Editor(s) (if appl

ostensible

The Man,erstandings of plague’s supernatural causes and terrestrial effects, and the emotional regimes elicited in response. Examined individually and as unfolding sequence, set against and interacting with surrounding text, the miniatures fulfil a range of commemorative, hortatory and cathartic functions.

小淡水鱼

laxative

Five Ways of Looking at “Ought”ature, were closely linked to the early modern perception of death as a process in which the entire community engaged. Ballads acted both as a pedagogic tool, encouraging their listener-singers to interpret negative events as a warning of divine retribution, and as a meditative device, offering an opportunity to repent for one’s sins.

ARBOR

Five Ways of Looking at “Ought”ets. Invariably, the ballads accused a wealthy local nobleman or burgher of refusing bread, thereby neglecting their communal duty of love for one’s neighbors. In punishment, they were dragged to hell, condemned by moralist authors (presumably Lutheran) for their failure of brotherly love.

高脚酒杯

scotoma

无可争辩

,, Catastrophe, and Divine Judgment: Words, Concepts and Images for ‘Natural’ Threats to Social Ordeed in images. Whereas this concept has developed in the Roman languages since the fourteenth century the almost forgotten concept of “catastrophe” has come into use for similar events in the German-speaking area only since the sixteenth century.

exigent

Disaster, Apocalypse, Emotions and Time in Sixteenth-Century Pamphletstime, a new dimension in which linear time had collapsed and could be both lengthened and shortened. As a result emotions often became more intense and also conflicted, and the meaning and memory of disaster could be transformed.