Gewalt und die Eskalation von Gewalt werden oft von Emotionalisierung und Leidenschaft begleitet. Gewalt wird durch Emotionen vorbereitet, vorangetrieben und inszeniert und erweckt ihrerseits Emotionen, die zu Kontrollverlust und im Fall von kollektiv verübter Gewalt zu einer Intensivierung des Gemeinschaftsgefühls führen können. In literarischen und historiographischen Darstellungen von kollektiver Gewalt wird der Faktor "Emotion" je nach Kontext unterschiedlich eingesetzt, um Gewalt zu rechtfertigen, zu plausibilisieren, zu verurteilen oder aber nachvollzieh- und genießbar zu machen. Dies gilt für aktuelle ebenso wie für "vormoderne" Darstellungen. Der Frage, ob es doch epochentypische Zugänge zur emotionalen Seite der Gewalt gibt, gehen die hier versammelten Beiträge u.a. von Mitgliedern der Gießener Forschergruppe Gewaltgemeinschaften nach. Sie befragen mittelalterliche und frühneuzeitliche Darstellungen emotional gelenkter Gewalt nach ihrem Kontext, ihrer Aussage und Rezeptionsästhetik.

This book discusses the ways in which early modern hagiographic sources can be used to study lived religion and everyday life from the fifteenth to the seventeenth century. For several decades, saints’ lives, other spiritual biographies, miracle narratives, canonisation processes, iconography, and dramas, have been widely utilised in studies on medieval religious practices and social history. This fruitful material has however been overlooked in studies of the early modern period, despite the fact that it witnessed an unprecedented growth in the volume of hagiographic material. The contributors to this volume address this, and illuminate how early modern hagiographic material can be used for the study of topics such as religious life, the social history of medicine, survival strategies, domestic violence, and the religious experience of slaves.

Jan Huizinga and Roger Caillois have already taught us to realize how important games and play have been for pre-modern civilization. Recent research has begun to acknowledge the fundamental importance of these aspects in cultural, religious, philosophical, and literary terms. This volume expands on the traditional approach still very much focused on the materiality of game (toys, cards, dice, falcons, dolls, etc.) and acknowledges that game constituted also a form of coming to terms with human existence in an unstable and volatile world determined by universal randomness and fortune. Whether considering blessings or horse fighting, falconry or card games, playing with dice or dolls, we can gain a much deeper understanding of medieval and early modern society when we consider how people pursued pleasure and how they structured their leisure time. The contributions examine a wide gamut of approaches to pleasure, considering health issues, eroticism, tournaments, playing music, reading and listening, drinking alcohol, gambling and throwing dice. This large issue was also relevant, of course, in non-Christian societies, and constitutes a critical concern both for the past and the present because we are all homines ludentes.

Historians spend a lot of time thinking about violence: bloodshed and feats of heroism punctuate practically every narration of the past. Yet historians have been slow to subject 'violence' itself to conceptual analysis. What aspects of the past do we designate violent? To what methodological assumptions do we commit ourselves when we employ this term? How may we approach the category 'violence' in a specifically historical way, and what is it that we explain when we write its history? Astonishingly, such questions are seldom even voiced, much less debated, in the historical literature. Violence and Risk in Medieval Iceland: This Spattered Isle lays out a cultural history model for understanding violence. Using interdisciplinary tools, it argues that violence is a positively constructed asset, deployed along three principal axes - power, signification, and risk. Analysing violence in instrumental terms, as an attempt to coerce others, focuses on power. Analysing it in symbolic terms, as an attempt to communicate meanings, focuses on signification. Finally, analysing it in cognitive terms, as an attempt to exercise agency despite imperfect control over circumstances, focuses on risk. Violence and Risk in Medieval Iceland explores a place and time notorious for its rampant violence. Iceland's famous sagas hold treasure troves of circumstantial data, ideally suited for past-tense ethnography, yet demand that the reader come up with subtle and innovative methodologies for recovering histories from their stories. The sagas throw into sharp relief the kinds of analytic insights we obtain through cultural interpretation, offering lessons that apply to other epochs too.

In Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience — among both theatregoers and readers of drama — contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call ‘public sphere(s)’? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the ‘public’ existed in a variety of forms, locations, and cultures across early modern Europe — and in Asia.

Despite its unabated popularity with audiences, slapstick has received rather little scholarly attention, mostly by scholars concentrating on the US theater and cinema traditions. Nonetheless, as a form of physical humor slapstick has a long history across various areas of cultural production. This volume approaches slapstick both as a genre of situational physical comedy and as a mode of communicating an affective situation captured in various cultural products. Contributors to the volume examine cinematic, literary, dramatic, musical, and photographic texts and performances. From medieval chivalric romance and nineteenth-century theater to contemporary photography, the contributors study treatments of slapstick across media, periods and geographic locations. The aim of a study of such wide scope is to demonstrate how slapstick emerged from a variety of complex interactions among different traditions and by extension, to illustrate that slapstick can be highly productive for interdisciplinary research.

The legend of the Frankish emperor Charlemagne is widespread through the literature of the European Middle Ages. This book offers a detailed and critical analysis of how this myth emerged and developed in medieval German and Dutch literatures, bringing to light the vast array of narratives either idealizing, if not glorifying, Charlemagne as a political and religious leader, or, at times, criticizing or even ridiculing him as a pompous and ineffectual ruler. The motif is traced from its earliest origins in chronicles, in the Kaiserchronik, through the Rolandslied and Der Stricker's Karl der Große, to his recasting as a saint in the Zürcher Buch vom Heiligen Karl.