Titlebook: Emotions in the History of Witchcraft; Laura Kounine,Michael Ostling Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 emotio

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2946-5958 bridge between these two areas of study.Multidisciplinary aBringing 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 en

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Pathophysiology of Hydrocephalus,d Kounine raise methodological issues concerning representation, explore the limitations of the evidence available, and frame the volume in terms of key concepts from recent scholarship on emotions: emotives, emotionology, emotional communities, and emotional regimes.

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https://doi.org/10.1007/978-3-031-06231-5h compromised humoral flows. They are also works of artistic imagination that communicate the inability of witches to weep, to feel compassion and empathy, one of the defining characteristics of Christianity through this period.

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George S. Stergiou,Angeliki Ntinerithought. Moreover, rather than portraying an image of female lust, hatred, and weakness, Remy could imagine the Devil as violent, jealous, and angry to explain why people—both men and women—could fall prey to witchcraft.

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Nutrition in Paediatric Liver Diseases,me, however, in practice witchcraft suspects were identified less by their appearance than by their conduct, relationships and reputations, located within specific social spaces: households, neighbourhoods and communities.

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The Cruelty of Witchcraft: The Drawings of Jacques de Gheyn the Youngerh compromised humoral flows. They are also works of artistic imagination that communicate the inability of witches to weep, to feel compassion and empathy, one of the defining characteristics of Christianity through this period.