Witch Trials: Discontent in Early Modern Europe
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Accused: Fairfield’S Witchcraft Trials September 25, 2014 – January 5, 2015 Educator Guide
Accused: Fairfield’s Witchcraft Trials September 25, 2014 – January 5, 2015 Educator Guide Accused: Fairfield’s Witchcraft Trials September 25, 2014 – January 5, 2015 Teacher Guide Index Introduction: The Legacy of Witchcraft Page 3 Essential Questions & Big Ideas Page 5 Accused Suggested Mini-Activity Page 6 Online Teacher Resources: Lesson Plans & Student Activities Page 7 Student & Teacher Resources: Salem Pages 9 - 10 New England Witchcraft Trials: Overview & Statistics Page 10 New England Witchcraft Timeline Pages 12 - 13 Vocabulary Page 14 Young Adult Books Page 15 Bibliography Page 15 Excerpts from Accused Graphic Novel Page 17 - 19 Educator Guide Introduction This Educator Guide features background information, essential questions, student activities, vocabulary, a timeline and a booklist. Created in conjunction with the exhibition Accused: Fairfield’s Witchcraft Trials, the guide also features reproductions of Jakob Crane’s original illustrations and storylines from the exhibition. The guide is also available for download on the Fairfield Museum’s website at www.fairfieldhistory.org/education This Educator Guide was developed in partnership with regional educators at a Summer Teacher Institute in July, 2014 and co-sponsored by the Fairfield Public Library. Participants included: Renita Crawford, Bridgeport, CT Careen Derise, Discovery Magnet School, Bridgeport, CT Leslie Greene, Side By Side, Norwalk, CT Lauren Marchello, Fairfield Ludlowe High School, Fairfield, CT Debra Sands-Holden, King Low Heywood Thomas School, Stamford, CT Katelyn Tucker, Shelton Public Schools, CT About the Exhibition: In 17th century New England religious beliefs and folk tradition instilled deep fears of magic, evil, and supernatural powers. How else to explain unnatural events, misfortune and the sudden convulsions and fits of local townspeople? In this exhibition, the fascinating history of Connecticut’s witchcraft trials is illuminated by author and illustrator Jakob Crane. -
Feasting in Homeric Epic 303
HESPERIA 73 (2004) FEASTING IN Pages 301-337 HOMERIC EPIC ABSTRACT Feasting plays a centralrole in the Homeric epics.The elements of Homeric feasting-values, practices, vocabulary,and equipment-offer interesting comparisonsto the archaeologicalrecord. These comparisonsallow us to de- tect the possible contribution of different chronologicalperiods to what ap- pearsto be a cumulative,composite picture of around700 B.c.Homeric drink- ing practicesare of particularinterest in relation to the history of drinkingin the Aegean. By analyzing social and ideological attitudes to drinking in the epics in light of the archaeologicalrecord, we gain insight into both the pre- history of the epics and the prehistoryof drinkingitself. THE HOMERIC FEAST There is an impressive amount of what may generally be understood as feasting in the Homeric epics.' Feasting appears as arguably the single most frequent activity in the Odysseyand, apart from fighting, also in the Iliad. It is clearly not only an activity of Homeric heroes, but also one that helps demonstrate that they are indeed heroes. Thus, it seems, they are shown doing it at every opportunity,to the extent that much sense of real- ism is sometimes lost-just as a small child will invariablypicture a king wearing a crown, no matter how unsuitable the circumstances. In Iliad 9, for instance, Odysseus participates in two full-scale feasts in quick suc- cession in the course of a single night: first in Agamemnon's shelter (II. 1. thanks to John Bennet, My 9.89-92), and almost immediately afterward in the shelter of Achilles Peter Haarer,and Andrew Sherrattfor Later in the same on their return from their coming to my rescueon variouspoints (9.199-222). -
Odysseus and Feminine Mêtis in the Odyssey Grace Lafrentz
Vanderbilt Undergraduate Research Journal, Vol. 11 Weaving a Way to Nostos: Odysseus and Feminine Mêtis in the Odyssey Grace LaFrentz Abstract. My paper examines the gendered nature of Odysseus’ mêtis, a Greek word describing characteristics of cleverness and intelligence, in Homer’s Odyssey. While Odysseus’ mêtis has been discussed in terms of his storytelling, disguise, and craftsmanship, I contend that in order to fully understand his cleverness, we must place Odysseus’ mêtis in conversation with the mêtis of the crafty women who populate the epic. I discuss weaving as a stereotypically feminine manifestation of mêtis, arguing that Odysseus’ reintegration into his home serves as a metaphorical form of weaving—one that he adapts from the clever women he encounters on his journey home from Troy. Athena serves as the starting point for my discussion of mêtis, and I then turn to Calypso and Circe—two crafty weavers who attempt to ensnare Odysseus on their islands. I also examine Helen, whom Odysseus himself does not meet, but whose weaving is importantly witnessed by Odysseus’ son Telemachus, who later draws upon the craft of weaving in his efforts to help Odysseus restore order in his home. The last woman I present is Penelope, whose clever and prolonged weaving scheme helps her evade marriage as she awaits Odysseus’ return, and whose lead Odysseus follows in his own prolonged reentry into his home. I finally demonstrate the way that Odysseus reintegrates himself into his household through a calculated and metaphorical act of weaving, arguing that it is Odysseus’ willingness to embrace a more feminine model of mêtis embodied by the women he encounters that sets him apart from his fellow male warriors and enables his successful homecoming. -
Download Circe and Odysseus in Ancient
Circe and Odysseus in Ancient Art This resource offers a series of questions that will help students engage with four ancient artifacts that represent the goddess Circes interactions or influences upon Odysseus and his companions. All these artifacts were made several centuries after the Odyssey was composed, but they should not be approached as straightforward or mere illustrations of episodes from the Odyssey. Rather, all five works of art (four artifacts and the epic poem) represent different versions of the story of how Circe interacts with Odysseus and his men. This resource assumes that students already will have read Books 9 and 10 of the Odyssey. This handout is formatted as a guide that an instructor can use to facilitate a conversation during a class meeting. The questions are meant to be asked by the instructor while students actively look at images of each artifact, using the weblinks provided. After each question, examples of possible observations that students might offer are included in italics. The italicized answers also sometimes include extra information that the instructor can share. Artifact #1: A kylix (drinking cup) at the Museum of Fine Arts (Boston) Attributed to the Painter of the Boston Polyphemos Made in Athens (Attica, Greece) ca. 550-525 BCE https://collections.mfa.org/objects/153469/drinking-cup-kylix-depicting-scenes-from-the- odyssey;jsessionid=31E168DC9A32CBB824DCBBFFA1671DC1?ctx=bb1a3a19-ebc8-46ce-b9b1- 03dc137d5b86&idx=1 Accession number 99.518 1. We are going to look at both sides of this kylix, but we will begin with the first image on the website (“Side A” of the kylix, which does not include anyone holding a shield). -
Sensory Witchcraft in Shakespeare's <I>Antony and Cleopatra</I>
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of Spring 4-20-2020 "You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth Hannah Kanninen University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Kanninen, Hannah, ""You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth" (2020). Dissertations, Theses, and Student Research: Department of English. 162. https://digitalcommons.unl.edu/englishdiss/162 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH by Hannah Kanninen A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: English Under the Supervision of Professor Julia Schleck Lincoln, Nebraska May, 2020 “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH Hannah Kanninen, M.A. University of Nebraska, 2020 Advisor: Julia Schleck Scholarship on witches and witchcraft within Shakespeare’s plays has been a popular subject for many scholars. But one of Shakespeare’s most famous characters has not yet been integrated into this scholarship: Cleopatra from Antony and Cleopatra. -
Competing Philosophies in Calderon's El Mayor Encanto, Amor
Bulletin of Spanish Studies, Volume LXXXVII, Number 2, 2010 The Figure of Circe and the Power of Knowledge: Competing Philosophies in Caldero´n’s El mayor encanto, amor JONATHAN ELLIS Oklahoma State University At first, Caldero´n’s mythological play follows the well-known story of Homer’s Odyssey. On their way home from the Trojan War, Ulises1 and his crew stop at the island of the witch Circe. Most of the Greeks search the island and arrive at the palace of Circe as their leader waits at the beach. Rather than be wary, they choose to indulge their desires and baser natures. As we know, Circe transforms all but one of them into beasts with a potion. However, from this point on Caldero´n begins to introduce significant changes into the story known from both Homer and Ovid. When Ulises confronts Circe, she gives him also a potion, but he does not drink, having learned of its danger and having learned how to render it useless.2 Defeated, Circe cries out, ‘¿Quie´n cielos airados, / quie´nma´s ha sabido que yo?’ (1515a).3 This early passage is key, indicating that she recognizes knowledge to be the basis of her power with which she attempts to control all of nature, the elements and men. However, 1 I have retained the Spanish spelling of the names throughout, in order to clearly distinguish between Caldero´n’s characters and those of Classical literature. 2 In Homer, Odysseus is aided by Hermes who provides the moly root as protection against the effects of Circe’s potion. -
Circe Readers' Guide
Women’s Prize for Fiction 2019 Reading Group Guide Circe Also by Madeline Miller: by Madeline Miller The Song of Achilles (2011) Bloomsbury Publishing About the book In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe has neither the look nor the voice of divinity, and is scorned and rejected by her kin. Increasingly isolated, she turns to mortals for companionship, leading her to discover a power forbidden to the gods: witchcraft. When love drives Circe to cast a dark spell, wrathful Zeus banishes her to the remote island of Aiaia. There she learns to harness her occult craft, drawing strength from nature. But she will not always be alone; many are destined to pass through Circe’s place of exile, entwining their fates with hers. The messenger god, Hermes. The craftsman, Daedalus. A ship bearing a golden fleece. And wily Odysseus, on his epic voyage home. There is danger for a solitary woman in this world, and Circe’s independence draws the wrath of men and gods alike. To protect what she holds dear, Circe must decide whether she belongs with the deities she is born from, or the mortals she has come to love. About the author Madeline Miller is the author of The Song of Achilles, which won the Orange Prize for Fiction 2012, was shortlisted for the Stonewall Writer of the Year 2012, was an instant New York Times bestseller, and was translated into twenty-five languages. Madeline holds an MA in Classics from Brown University, and she taught Latin, Greek and Shakespeare to high school students for over a decade. -
Sea Scenarios
SEA SCENARIOS ellas is said to be a land of a thousand islands, so warbands Determine the Scenario: The player in the Sea realm rolls a d6. often must necessarily travel by sea in pursuit of their For each battle that the player has won since his warband has been Hgoals. A warband that has entered the realm of the Sea has at Sea, the player adds 1 to the result. If the player’s last battle was loaded their men, horses, and equipment into penteconters – small a loss, the player subtracts 1 from the total. The final result is the warships with a single sail and fifty oars. In these ships they sail the player’s Scenario: waters of the Middle Sea, travelling ever further from their homes 1. (or less) Fresh Water in the city-states of Hellas. Each Sea Scenario represents an en- 2. The Hostage counter on one of the islands where the warband stops to resupply, 3. Shipwrecked and some even contain valuable Clues to be found that will guide 4. Defend the Ship them closer to their goal. The Scenarios are organized by number, 5. Safe Passage with the lower numbers representing early encounters close to the 6. The Isle of Torment safe waters of home, and the higher numbers are distant, mysteri- 7. Isle of the Cyclopes ous islands with strange and dangerous inhabitants. 8. All Men Are Pigs 9. Isle of the Lotus Eaters The Beach: In practical terms, the main difference between Land 10. Beyond the Pillars of Heracles and Sea Scenarios is that the Sea Scenarios always take place next Once a player progresses to Scenario #10 and wins, the player’s to the ocean – one table edge will always represent a beach. -
Erichtho's Mouth: Persuasive Speaking, Sexuality and Magic
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-15-2015 Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic Lauren E. DeVoe University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classical Literature and Philology Commons, Comparative Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Literature in English, British Isles Commons Recommended Citation DeVoe, Lauren E., "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic" (2015). University of New Orleans Theses and Dissertations. 2020. https://scholarworks.uno.edu/td/2020 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements of the degree of Master of Arts in English Literature by Lauren E. -
The Relationship Between Witchcraft and Femininity: Witchcraft As a Sex-Specific Crime Witchcraft in Early Modern English Drama
THE RELATIONSHIP BETWEEN WITCHCRAFT AND FEMININITY: WITCHCRAFT AS A SEX-SPECIFIC CRIME WITCHCRAFT IN EARLY MODERN ENGLISH DRAMA A Master’s Thesis by TURKAN YILMAZ Lingue e Letterature Europee, Americane e Postcoloniali European Joint Masters’ Degree in English and American Studies CA’ FOSCARI UNIVERSITY VENICE February, 2015 To the lost womanhood… ii THE RELATIONSHIP BETWEEN WITCHCRAFT AND FEMININITY: WITCHCRAFT AS A SEX-SPECIFIC CRIME WITCHCRAFT IN EARLY MODERN ENGLISH DRAMA Lingue e Letterature Europee, Americane e Postcoloniali Universita Ca Foscari, Venezia by TURKAN YILMAZ In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in European Joint Masters’ Degree in English and American Studies CA’ FOSCARI UNIVERSITY VENICE February, 2015 iii ABSTRACT THE RELATIONSHIP BETWEEN WITCHCRAFT AND FEMININITY: WITCHCRAFT AS A SEX-SPECIFIC CRIME WITCHCRAFT IN EARLY MODERN ENGLISH DRAMA Yilmaz, Turkan M.A., Department of Literature Supervisor: Prof. Dr. Laura TOSI February, 2015 The present thesis is an attempt to understand the close relationship between femininity and witchcraft in early modern English society, and to analyze the religious, socio- historical, and cultural reasons for that association. Then, I aim to present how witchcraft material is approached by the contemporary English dramatists. With this aim, the first chapter consists of four subchapters each of which includes the explanation of four different reasons for the strong association of witchcraft with femininity. The second chapter includes comparative analysis of three plays; namely The Witch by Thomas Middleton, The Witch of Edmonton by William Rowley, Thomas Dekker and John Ford, and Macbeth by William Shakespeare. Accordingly, how witchcraft theme is interpreted and incorporated in the corpora of those plays and the function of witch scenes constitute the main concern of the second chapter. -
Finding the Witch's Mark
Hamline University DigitalCommons@Hamline Departmental Honors Projects College of Liberal Arts Spring 2014 Finding the Witch’s Mark: Female Participation in the Judicial System During the Hopkins Trials 1645-47 Shannon M. Lundquist Hamline University Follow this and additional works at: https://digitalcommons.hamline.edu/dhp Part of the Cultural History Commons, European History Commons, History of Gender Commons, History of Religion Commons, Social History Commons, and the Women's History Commons Recommended Citation Lundquist, Shannon M., "Finding the Witch’s Mark: Female Participation in the Judicial System During the Hopkins Trials 1645-47" (2014). Departmental Honors Projects. 18. https://digitalcommons.hamline.edu/dhp/18 This Honors Project is brought to you for free and open access by the College of Liberal Arts at DigitalCommons@Hamline. It has been accepted for inclusion in Departmental Honors Projects by an authorized administrator of DigitalCommons@Hamline. For more information, please contact [email protected], [email protected]. Finding the Witch’s Mark: Female Participation in the Judicial System During the Hopkins Trials 1645-47. Shannon Lundquist An Honors Thesis Submitted for partial fulfillment of the requirements for graduation with honors in History from Hamline University March 31, 2014 1 Table of Contents Introduction ........................................................................................................................ 2 The Hopkins Trials ............................................................................................................. -
Witch Fever Gripped East Anglia for 14 Terrible Months
Witch-hunts! © This article looks at some of the long, sad history of anti-witch laws in England and Wales and takes a peek also at the situation today elsewhere. Can’t look at everything, but this is an eclectic view of laws, case studies and practice. The real start was in Ireland, in Kilkenny with Petronilla de Meath, who was burned at the stake for witchcraft and heresy on 3 November 1324, but she was the only recorded such burning in Ireland. It’s probably worth looking at this case in more detail as she was executed as the scapegoat for her employer – have a look on www.headstuff.org/history/terrible-people-from-history/petronilla-de- meath-irish-witch/. Henry VIII passed the Witchcraft Act 1542 against the following crimes: “... use, devyse practise or exercise, or cause to be devysed practised or exercised, any Invovacons or conjuracons of Sprites witchecraftes enchauntementes or sorceries to the intent to fynde money or treasure or to waste consume or destroy any persone in his bodie membres, or to pvoke [provoke] any persone to unlawfull love, or for any other unlawfull intente or purpose ... or for dispite of Cryste, or for lucre of money, dygge up or pull downe any Crosse or Crosses or by such Invovacons or conjuracons of Sprites witchecraftes enchauntementes or sorceries or any of them take upon them to tell or declare where goodes stollen or lost shall become.” This law was repealed by Edward VI in 1547, only to be replaced by the Witchcraft Act 1563 by Elizabeth I.