Early Modern Emotions

Early Modern Emotions is a student-friendly introduction to the concepts, approaches

and sources used to study emotions in early modern Europe, and to the perspectives
that analysis of the history of emotions can offer early modern studies more broadly.
The volume is divided into four sections that guide students through the key
processes and practices employed in current research on the history of emotions. The
first explains how key terms and concepts in the study of emotions relate to early
modern Europe, while the second focuses on the unique ways in which emotions
were conceptualized at the time. The third section introduces a range of sources and
methodologies that are used to analyse early modern emotions. The final section
includes a wide-ranging selection of thematic topics covering war, religion, family,
politics, art, music, literature and the non-human world to show how analysis of
emotions may offer new perspectives on the early modern period more broadly.
Each section offers bite-sized, accessible commentaries providing students new to
the history of emotions with the tools to begin their own investigations. Each entry
is supported by annotated further reading recommendations pointing students to the
latest research in that area and at the end of the book is a general bibliography, which
provides a comprehensive list of current scholarship.
This book is the perfect starting point for any student wishing to study emotions
in early modern Europe.

Susan Broomhall is Professor of Early Modern History at The University of Western

Australia and an Australian Research Council Future Fellow attached to the Australian
Research Council Centre of Excellence for the History of Emotions. Previous works
on emotions include (as editor) Ordering Emotions in Europe, 1100–1800 (2015), Gender
and Emotions in Medieval and Early Modern Europe: Destroying Order, Structuring Disorder
(2015), Spaces for Feeling: Emotions and Sociabilities in Britain, 1650–1850, (2015),
Authority, Gender and Emotions in Late Medieval and Early Modern England (2015) and,
with Sarah Finn, Violence and Emotions in Early Modern Europe (2015). Her monograph,
Gender, Emotions and the Dutch East India Company, is forthcoming from Amsterdam
University Press.
Early Modern Themes

Books in the Early Modern Themes series are aimed at upper level undergraduate and
postgraduate students who are looking more deeply at thematic topics in the early
modern period. They combine chapters offering a synthesis of the topic as it stands,
the key historiographical debates, and the cutting edge research which is driving the
field forward.

Early Modern Things

Edited by Paula Findlen

Early Modern Emotions

Edited by Susan Broomhall

Forthcoming:

Early Modern Childhood

Edited by Anna French

Early Modern Food

Edited by Roderick Phillips
Early Modern Emotions
An introduction

Edited by Susan Broomhall

First published 2017
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2017 Selection and editorial matter Susan Broomhall;
individual chapters the contributors
The right of the editor to be identified as the author of the editorial material,
and of the authors for their individual chapters, has been asserted in accordance
with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
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or registered trademarks, and are used only for identification
and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Broomhall, Susan, editor.
Title: Early modern emotions : an introduction / edited by Susan Broomhall.
Description: London ; New York : Routledge, [2017] | Includes bibliographical
references and index.
Identifiers: LCCN 2016020607| ISBN 9781138925748 (hardback : alk. paper) |
ISBN 9781138925755 (pbk. : alk. paper) | ISBN 9781315441368 (ebook)
Subjects: LCSH: Emotions—History.
Classification: LCC BF531 .E33 2017 | DDC 152.409—dc23
LC record available at https://lccn.loc.gov/2016020607

ISBN: 978-1-138-92574-8 (hbk)

ISBN: 978-1-138-92575-5 (pbk)
ISBN: 978-1-315-44136-8 (ebk)

Typeset in Bembo
by Florence Production Ltd, Stoodleigh, Devon, UK
Contents

Figures xiii
Tables xv
Acknowledgements xvi
Notes on contributors xviii
Introduction by Susan Broomhall xxxvi

SECTION I
Modern theories and models of emotions 1

I.1 Emotional community 3

ANDREW LYNCH

I.2 Emotives and emotional regimes 7

TANIA M. COLWELL

I.3 Affect theory 10

STEPHANIE TRIGG

I.4 Performance and performativity 14

KATIE BARCLAY

I.5 Materiality 17
SARAH RANDLES

I.6 Space and place 20

KATIE BARCLAY

I.7 Psychological approaches 23

SANDRA GARRIDO AND JANE W. DAVIDSON

I.8 Large data set mining 27

INGER LEEMANS
vi Contents
SECTION II
Early modern terms, concepts and practices of emotions 31

II.1 Language of emotions 33

R.S. WHITE

II.2 Emotion 36
PATRICIA SIMONS

II.3 Humoral theory 39

DANIJELA KAMBASKOVIC

II.4 The senses 42

HERMAN ROODENBURG

II.5 Pain and suffering 45

JAVIER MOSCOSO

II.6 Grammar 48
ROSS KNECHT

II.7 Mood 50
R.S. WHITE

II.8 Love 53
DANIJELA KAMBASKOVIC

II.9 Melancholy 56
ERIN SULLIVAN

II.10 Fellow-feeling 61
KATHERINE IBBETT

II.11 Sociality and sociability 64

KATRINA O’LOUGHLIN

II.12 Holy affections 67

HANNAH NEWTON

II.13 The passions 71

ALEKSONDRA HULTQUIST

II.14 Contemplation 74
CHRISTOPHER ALLEN

II.15 Sensibility 78
KATRINA O’LOUGHLIN
 Contents vii
II.16 The expressive face 81
LINDA WALSH

SECTION III
Sources and methodologies for early modern emotions 87

III.1 Poetry 89
DIANA G. BARNES

III.2 Drama 92
KATHRYN PRINCE

III.3 Epistolary literature 95

DIANA G. BARNES

III.4 Educational treatises 99

MERRIDEE L. BAILEY

III.5 Histories, chronicles and memoirs 102

ERIKA KUIJPERS

III.6 Medical sources 105

ROBERT L. WESTON

III.7 Economic records 108

MERRIDEE L. BAILEY

III.8 Judicial sources 112

JOANNE MCEWAN

III.9 Church and parish records 115

CHARLOTTE-ROSE MILLAR

III.10 Catholic missionary texts 118

ANANYA CHAKRAVARTI

III.11 Letters 121

CAROLYN JAMES

III.12 Archives 124

JAMES DAYBELL

III.13 Maps 127

ALICIA MARCHANT

III.14 Books 132

STEPHANIE DOWNES
viii Contents
III.15 Household objects 135
TARA HAMLING

III.16 Prints and illustrated broadsheets 140

CHARLES ZIKA

III.17 Fantasy figures 146

MELISSA PERCIVAL

III.18 Monuments 151

PETER SHERLOCK

III.19 Devotional objects 156

MARY LAVEN

III.20 Textiles 161

SALLY HOLLOWAY

III.21 The body 165

KAREN HARVEY

III.22 Gestures 168

JANE W. DAVIDSON AND ALAN MADDOX

III.23 Music 173

ALAN MADDOX AND JANE W. DAVIDSON

SECTION IV
Focus topics for the early modern period 177

Political realms 179

IV.1 Monarchies 179

HELEN WATANABE-O’KELLY

IV.2 Republics 182

CATHARINE GRAY

IV.3 Political revolutions 185

MICHAEL J. BRADDICK

IV.4 Radical formations 189

CHRISTINA PETTERSON

IV.5 Law 192

DAVID LEMMINGS
 Contents ix
IV.6 Punishment 195
UNA MCILVENNA

Destructive experiences 199

IV.7 Indebtedness 199

ELISE M. DERMINEUR

IV.8 War and violence 202

ERIKA KUIJPERS

IV.9 Plague 205

GORDON D. RAEBURN

IV.10 Domestic violence 208

RAISA MARIA TOIVO

Life stages 211

IV.11 Pregnancy and childbirth 211

JOANNE BEGIATO (BAILEY)

IV.12 Childhood 214

CLAUDIA JARZEBOWSKI

IV.13 Marriage 217

KATIE BARCLAY

IV.14 Death 220

PETER SHERLOCK

Spaces 225

IV.15 Court culture 225

TRACY ADAMS

IV.16 Theatre and stage 228

SAMANTHA OWENS

IV.17 Church interiors 230

SING D’ARCY

IV.18 Battlefields 235

ALICIA MARCHANT

IV.19 Civic culture 238

NICHOLAS A. ECKSTEIN
x Contents
IV.20 Village 242
ELISE M. DERMINEUR

IV.21 Family and household 244

KATIE BARCLAY

Intellectual and cultural traditions 248

IV.22 Humanism 248

ANDREA RIZZI

IV.23 Print media 251

LUC RACAUT

IV.24 Antiquarianism 254

ALICIA MARCHANT

IV.25 Medicine and science 257

YASMIN HASKELL

IV.26 Baroque music 261

JANE W. DAVIDSON AND ALAN MADDOX

IV.27 Baroque art 264

STEPHANIE S. DICKEY

IV.28 Enlightenment 269

LAURA MANDELL

IV.29 Romanticism 273

R.S. WHITE

Beliefs 277

IV.30 Monastic communities 277

CLAIRE WALKER

IV.31 The reformations 280

SUSAN C. KARANT-NUNN

IV.32 Tolerance 284

GIOVANNI TARANTINO

IV.33 Protestant theology 287

ALEC RYRIE
 Contents xi
IV.34 Witchcraft 290
JACQUELINE VAN GENT

IV.35 Wonders of nature 293

JENNIFER SPINKS

IV.36 Racial othering – Jews 297

FRANÇOIS SOYER

IV.37 Muslim ‘others’ 300

AUDREY CALEFAS-STREBELLE

The world beyond Europe 304

IV.38 Global trading companies 304

JACQUELINE VAN GENT

IV.39 Amerindian and African slaves 307

GIUSEPPE MARCOCCI

IV.40 Missionary Catholicism 310

PETER A. GODDARD

IV.41 Protestant global missions 313

JACQUELINE VAN GENT

IV.42 Colonialism 316

DONNA MERWICK

IV.43 Theories of empire 320

NICOLE EUSTACE

IV.44 Indigenous/European encounters 323

MARIA NUGENT

The non-human world 327

IV.45 Relations with the divine 327

PHYLLIS MACK

IV.46 The Devil and demons 331

LAURA KOUNINE

IV.47 Ghosts, fairies and the world of spirits 334

JULIAN GOODARE
xii Contents
IV.48 Working animals 337
LOUISE HILL CURTH

IV.49 Familiars 340

CHARLOTTE-ROSE MILLAR

IV.50 Vermin 343

LUCINDA COLE

IV.51 Nature 346

GRACE MOORE

IV.52 Landscape 350

ANTHONY COLANTUONO

Select bibliography 355

Index 365
Figures

II.9.1 The all-male frontispiece in Robert Burton’s The Anatomy of

Melancholy 57
II.9.2 Copy of Albrect Dürer’s Melencolia I 59
II.14.1 Charles Le Brun, The Queens of Persia before the Feet of Alexander,
also known as the Tent of Darius 74
II.14.2 Nicolas Poussin, Christ and the Woman taken in Adultery 75
II.14.3 Selection of expressive heads drawn from the paintings of
Charles Le Brun. Henry Testelin, Sentimens des plus habiles
peintres 76
II.16.1 Jean-Baptiste Greuze, The Angry Wife 82
II.16.2 Francesco Bartolozzi, after Alexander Cozens, ‘Combination
of the Features of the Modest’, from Principles of Beauty
Relative to the Human Head 84
III.13.1 Abraham Ortelius, ‘Maris Pacifici’, Theatrum Orbis Terrarum 128
III.13.2 The Cantino Planisphere 130
III.13.3 Pierre Desceliers, World Map, France 131
III.15.1 Wooden bowl from the Mary Rose warship 136
III.15.2 Tin-glazed earthenware mug painted around the rim with
‘1628 ELIZABETH BROCKLEFIELD’ 137
III.15.3 Thomas Mangy, Spoon bearing the arms of the Strickland
family and words ‘LIVE TO DIE’ and ‘DIE TO LIVE’ on
the stem 138
III.16.1 Wolf Traut, Man of Sorrows and Mater Dolorosa 142
III.16.2 Cranach Workshop, The Location and Origin of Monks 143
III.16.3 A Wondrous Event that Occurred at Lonnerstadt Five Miles from
Nuremberg 144
III.16.4 Jan Ziarnko, Description and Depiction of the Witches Sabbath 145
III.17.1 Rembrandt van Rijn, An Old Man in Military Costume 147
III.17.2 Michiel Sweerts, Man Holding a Jug 148
III.17.3 Giovanni Battista Tiepolo, Young Lady in a Tricorn Hat 149
III.18.1 Monument of Mary Queen of Scots 153
III.18.2 Detail of title-page to Samuel Purchas, Hakluytus Posthumus
or Purchas his Pilgrimes 154
III.19.1 Religious pendant, probably Spanish 157
III.19.2 Dish, The Temptation, Brislington 158
xiv Figures
III.19.3 Sampler, Ann Smith, Scottish or English 159
III.20.1 Band of needle lace worked in human hair and possibly
horse hair 162
III.20.2 Embroidered flannel blanket used to identify an infant girl
admitted on 20 July 1759 163
III.20.3 Ivory silk garters with silver thread 163
III.22.1 Dolebit, taken from John Bulwer, Chirologia, or the Naturall
Language of the Hand, with Chironomia, or the Art of Manuall
Rhetorique 169
IV.14.1 The Torre Abbey Jewel, memento mori pendant in the form
of a skeleton in a coffin, enamelled gold 221
IV.14.2 Funeral of Frederik Hendrik, 1647 223
IV.17.1 Interior of the chapel of the Monastery of Jesus, Aveiro,
Portgual 232
IV.17.2 Interior of the Collegiate Church of the Divine Saviour,
Seville, Spain 233
IV.17.3 Detail of the lantern in the chapel of Saint Julian, Cathedral
of Cuenca, Spain 233
IV.27.1 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa 266
IV.27.2 Rembrandt van Rijn, Civic Guard of District II under the
Direction of Capt. Frans Banninck Cocq, known as The Night
Watch 267
IV.27.3 Juan de Valdés Leal, In Ictu Oculi 268
IV.35.1 Anonymous artist, Luther as the Monk Calf, woodcut, in
Arnaud Sorbin, Tractatus de monstris 296
IV.52.1 Giorgione and Titian, Concert Champêtre 351
IV.52.2 Nicolas Poussin, Landscape with a Man Killed by a Snake 352
IV.52.3 Salvator Rosa, Landscape with the Fable of the Dishonest
Woodsman 353
Tables

III.22.1 Alphabetical Arrangement of Symbolic Letters, from Gilbert

Austin’s Chironomia; or, a Treatise on Rhetorical Delivery 170
Acknowledgements

This volume has benefitted from the financial support and fellowship provided by
the Australian Research Council Centre of Excellence for the History of Emotions
(project number CE110001011). The Centre has enabled many of the authors to
meet and exchange ideas, and to contribute to this work. Colleagues at the Centre’s
headquarters at The University of Western Australia have provided valuable support
and assistance, as well as shared ideas and thoughts on emerging research. I am
particularly grateful to Joanne McEwan for her dedicated editorial assistance. I would
also like to thank all the participants in this volume for their enthusiasm about this
project, their willingness to engage with its core ideas and their patience with its editor.
Publishers’ acknowledgements

The Publishers would like to thank the following for their permission to reproduce
copyright material: Beinecke Rare Manuscript Library, Yale University; Coram;
London Metropolitan Archives; The Mary Rose Trust; The Metropolitan Museum
of Art; The National Gallery of Art, London; Staatsbibliothek, Berlin; the Tate Britain;
the Victoria and Albert Museum; Zentralbibliothek, Zürich.
Notes on contributors

Tracy Adams received a Ph.D. in French from Johns Hopkins University in

Baltimore, Maryland, in 1998. Associate Professor in French at the University
of Auckland, New Zealand, she has also taught at the University of Maryland,
the University of Miami and the University of Lyon III. She was a Eurias Senior
Fellow at the Netherlands Institute for Advanced Studies (2011–12) and an
Australian Research Council Centre of Excellence for the History of Emotions
Distinguished International Visiting Fellow in 2014. She is the author of Violent
Passions: Managing Love in the Old French Verse Romance (Palgrave Macmillan, 2005),
The Life and Afterlife of Isabeau of Bavaria (The Johns Hopkins University Press, 2010)
and Christine de Pizan and the Fight for France (Penn State University Press, 2014).
With Christine Adams, she has just edited Female Beauty Systems: Beauty as Social
Capital in Western Europe and the US, Middle Ages to the Present (Cambridge Scholars
Publishing, 2015).
Christopher Allen is an art critic and historian who graduated from The University
of Sydney, held a postdoctoral research position at the Collège de France in Paris
(1994–6) and lectured at the National Art School in Sydney for 12 years
(1997–2008). He is currently Senior Master in Academic Extension with teaching
responsibilities both in Art History and in Classical Greek at Sydney Grammar
School. Allen is the author of many works, including Art in Australia from
Colonization to Postmodernism (Thames and Hudson, 1997), French Painting in the
Golden Age (Thames and Hudson, 2003) and a new edition of a seventeenth-century
art theoretical treatise, Dufresnoy’s De arte Graphica (Droz, 2005). His latest book,
Jeffrey Smart: Unpublished Paintings 1940–2007 (Australian Galleries) was published
in 2008. He was art critic for the Australian Financial Review from 2005 to 2008
and since then has been national art critic for The Australian.
Merridee L. Bailey is a Senior Research Fellow with the Australian Research Council
Centre of Excellence for the History of Emotions at The University of Adelaide.
She works on the history of book culture and issues of socialisation and morality
in late medieval and early modern England. She has previously published on ideas
about virtue and courtesy in fifteenth- and sixteenth-century England, and more
recently has begun working on morality and emotions in merchant practices in
London. She has published a book on childhood in late medieval and early modern
England, Socialising the Child in Late Medieval England c. 1400–1600 (York Medieval
Press, 2012) and has articles and book chapters in Viator, Journal of the Early Book
Society and The Routledge History Handbook of Gender and the Urban Experience.
 Notes on contributors xix
Katie Barclay is an Australian Research Council DECRA Fellow in the Australian
Research Council Centre of Excellence for the History of Emotions, The
University of Adelaide. She is the author of the double-award winning Love,
Intimacy and Power: Marriage and Patriarchy in Scotland, 1650–1850 (Manchester
University Press, 2011), and numerous articles on emotion and family life. Recently
she has edited, with Deborah Simonton, Women in Eighteenth-Century Scotland:
Intimate, Intellectual, and Public Lives (Ashgate, 2013) and is one of the editors of
the forthcoming Routledge History Handbook on Gender and the Urban Experience
(2016).
Diana G. Barnes is a Postdoctoral Fellow at The University of Queensland with
research interests in early modern literature and the history of emotions. She has
published a book called Epistolary Community in Print, 1580–1664 (Ashgate, 2013).
Her current research includes a book provisionally entitled The Politics of Civility:
Historicising Early Modern Genres.
Joanne Begiato (Bailey) is a Professor in History at Oxford Brookes University.
She specializes in the history of the family, household, marriage and gender.
Her publications include Unquiet Lives: Marriage and Marriage Breakdown in
England 1660–1800 (Cambridge University Press, 2003) and Parenting in England
1760–1830: Emotions, Identity and Generation (Oxford University Press, 2012). She
is currently working on two book projects: Sex and the Church in the Long Eighteenth
Century with her co-author Professor William Gibson; and Manly Matters in England
1756–1856, which uses material culture, materiality and emotions to examine the
concept of being manly and its impact on society, culture and men.
Michael J. Braddick is Professor of History at the University of Sheffield. He has
published widely on aspects of state formation, political culture and forms of political
resistance in early modern England, as well as on the wider history of Britain,
Ireland and the British Atlantic World. His most recent publications are God’s Fury,
England’s Fire: A New History of the English Civil Wars (Penguin, 2008), and edited
collections on The Politics of Gesture: Historical Perspectives (Oxford University Press,
2009), The Oxford Handbook of the English Revolution (Oxford University Press, 2015)
and (with David L. Smith) The Experience of Revolution in Stuart Britain and Ireland
(Cambridge University Press, 2011). His study of John Lilburne and the English
Revolution was published in 2016.
Susan Broomhall is Professor of Early Modern History at The University of
Western Australia and an Australian Research Council Future Fellow attached to
the Australian Research Council Centre of Excellence for the History of Emotions.
She is editor of several studies of emotions, including Spaces for Feeling: Emotions
and Sociabilities in Britain, 1650–1850 (Routledge, 2015), Authority, Gender and
Emotions in Late Medieval and Early Modern England (Palgrave Macmillan, 2015),
Ordering Emotions in Europe, 1100–1800 (Brill, 2015), Gender and Emotions in
Medieval and Early Modern Europe: Destroying Order, Structuring Disorder (Ashgate,
2015), (with Sarah Finn), Violence and Emotions in Early Modern Europe (Routledge,
2015) and is a general editor of the six-volume A Cultural History of the Emotions
(Bloomsbury) with Jane W. Davidson and Andrew Lynch. Her latest monograph,
Gender, Emotions and the Dutch East India Company, is forthcoming from Amsterdam
xx Notes on contributors
University Press in 2017 and she is now working on a new study, entitled The
Power of Emotions: Catherine de Medici.
Audrey Calefas-Strebelle earned her Bachelor’s and Master’s degrees in History
from the University of Sorbonne Paris IV and her Ph.D. in French from Stanford
University. Her dissertation, entitled ‘Têtes de Turcs: une étude comparée des
représentations des grands seigneurs et des Turcs dans la France de l’Ancien
Régime’, reveals a correlation in modes of representation for two human types
that one might expect to have been considered antithetical. She is currently an
Assistant Professor in French and Francophone Studies at Mills College, California,
and an Honorary Research Fellow in History at The University of Western
Australia. Lately she published ‘Têtes de Turcs et Grands Seigneurs: Pratique de
la violence chez les Turcs et dans l’aristocratie française aux XVIe et XVIIe siècles’,
in L’Esprit Createur (winter 2013), ‘« Amours dénaturées » et autres débauches,
l’homosexualité à la cour du Grand Turc’, in Papers on French Seventeenth Century
Literature 17 (2014) and ‘Manipulation de l’image du Turc dans les conflits entre
la monarchie et la noblesse à l’aube de l’Ancien Régime’, in Le Verger-bouquet VIII
(2015). She is also writing an essay on maternal love in a collection on three essays
under the direction of Michel Serres.
Ananya Chakravarti is Assistant Professor of History at Georgetown University.
Previously, she served as the Abdelhadi H. Taher Professor in Comparative
Religion and Assistant Professor in the Department of History at The American
University in Cairo (2013–15). She received her Ph.D. in 2012 from the University
of Chicago and, before moving to Cairo, she was a Max Weber Postdoctoral Fellow
at the European University Institute. Her research has focused on Jesuit missions
in the early modern Portuguese empire.
Anthony Colantuono received a Ph.D. from The Johns Hopkins University in
1987 and is Professor of Early Modern Italian, French and Spanish art in the Depart-
ment of Art History and Archaeology, University of Maryland, College Park. He
has been a Fellow of the American Academy in Rome (FAAR 1985), Villa I Tatti
(2002–3) and the National Endowment for the Humanities (1990 and 2003). His
publications address a wide range of interpretative problems in early modern painting
and sculpture, especially in the works of Giovanni Bellini, Titian, Caravaggio, Guido
Reni, Nicolas Poussin and François Duquesnoy, and in related literary writings
from Mario Equicola and Francesco Colonna to Torquato Tasso and Giambattista
Marino.
Lucinda Cole is Visiting Associate Professor of English at the University of Illinois
Urbana-Champaign. She is author of Imperfect Creatures: Vermin, Literature, and the
Sciences of Life, 1600–1740 (University of Michigan Press, 2016). Her essays on
early modern literature have appeared in such venues as ELH, Criticism and Journal
for Early Modern Cultural Studies, and those on animal and environmental studies
in The Journal for Critical Animal Studies, The Eighteenth Century: Theory and
Interpretation and Configurations. With Robert Markley, she is the General Series
Editor of ‘AnthropoScene’ from Pennsylvania State University Press. Her new
book-length project explores scavenging and food systems in early modern literature
and culture.
 Notes on contributors xxi
Tania M. Colwell is a casual lecturer and Visitor in the School of History at the
Australian National University, Canberra, where she teaches medieval and early
modern cultural history, including a course on ‘Histories of Emotion in Premodern
Europe, 1100–1800’. In 2014, she was an Associate Investigator with the Australian
Research Council Centre of Excellence for the History of Emotions, a position
she retains in an honorary capacity. As well as writing a book on the reception of
the French Mélusine romances, she has published research on depictions of emotions
and gesture in French romance manuscripts and is currently working on ‘Beyond
Wonder’, an exploration of emotions of encounter in late medieval and early
modern French ethnographies.
Louise Hill Curth is Professor of Medical History at the University of Winchester.
She specializes in early modern English medical history with a particular focus on
the health and illness of early modern animals, and is author of English Almanacs,
Astrology & Popular Medicine, 1550–1700 (Manchester University Press, 2007), The
Care of Brute Beasts: A Social and Cultural History of Veterinary Medicine in Early Modern
England (Brill, 2009) and A plaine and easie waie to remedy a horse: equine medicine in
early modern England (Brill, 2013).
Sing d’Arcy is a Senior Lecturer in Interior Architecture at the University of New
South Wales, Australia, having completed doctoral studies in architectural history
at The University of Sydney. He was an Associate Investigator with the Australian
Research Council Centre of Excellence for the History of Emotions in 2013
and was a visiting scholar at the University of Seville in 2009. His research focuses
on the nexus between architecture and music, in particular the role of the pipe
organ in architectural space. He has published widely on the historiography of
early modern Spanish ecclesiastical architecture as well as regularly publishing
on contemporary Australian interior design.
Jane W. Davidson is Deputy Director of the Australian Research Council Centre
of Excellence for the History of Emotions and Professor of Creative and Performing
Arts (Music) at The University of Melbourne’s Faculty of the Melbourne
Conservatorium of Music and Victorian College of the Arts. Prior to this, she was
Callaway/Tunley Chair of Music at The University of Western Australia and, before
that, Professor of Music Performance Studies at the University of Sheffield. She
has published extensively, particularly on performance and psychological approaches
to music. As a practitioner, she has worked as an opera singer and a music theatre
Director, collaborating with groups such as Opera North in UK, Dramma per
musica in Portugal and the West Australian Opera Company.
James Daybell is a Professor of Early Modern British History at Plymouth University
and a Fellow of the Royal Historical Society. He is author of The Material
Letter in Early Modern England: Manuscript Letters and the Culture and Practices of Letter-
Writing, 1512–1635 (Palgrave Macmillan, 2012), Women Letter-Writers in Tudor
England (Oxford University Press, 2006); editor of Early Modern Women’s Letter-
Writing, 1450–1700 (Palgrave Macmillan, 2001), Women and Politics in Early Modern
England, 1450–1700 (Ashgate, 2004) and (with Peter Hinds) Material Readings
of Early Modern Culture, 1580–1730 (Ashgate, 2010), and has written more than
30 articles and essays on the subjects of early modern letter writing, women, gender
xxii Notes on contributors
and politics. He is co-director (with Kim McLean-Fiander, University of Victoria,
Canada) of the British Academy/Leverhulme–funded project ‘Women’s Early
Modern Letters Online’, co-director (with Svante Norrhem, Lund University) of
the AHRC-funded network ‘Gender, Politics and Materiality in Early Modern
Europe’, and with Adam Smyth (Balliol College, Oxford) he edits the Ashgate
book series ‘Material Readings in Early Modern Culture’. He is currently
completing a monograph entitled The Family and Materials of Memory in Early Modern
England.
Elise M. Dermineur is a Pro Futura Scientia Fellow at the Swedish Collegium for
Advanced Study in Uppsala and at Umeå University, Sweden. She received a Ph.D.
in History in 2011 from Purdue University, with the thesis ‘Women in Rural
Society: Peasants, Patriarchy and the Local Economy in Northeastern France,
1650–1789’. This dissertation shows that the experience of women in early modern
rural France illustrates some of the ways emerging social practices modified and
altered the traditional patriarchal model, thereby adjusting the social practices to
the economic and social context while skirting around legal norms. Dermineur’s
publications include articles published in the Journal of Social History, Journal of
Interdisciplinary History, Traverse Revue d’Histoire – Zeitschrift für Geschichte and the
European Review of Contract Law, among others. Her article titled ‘Female Peasants,
Patriarchy and the Credit Market in Eighteenth-Century France’ was awarded the
Ronald S. Love Prize of the Western Society for French History in 2009. Her
research interests range widely, from the history of justice and economics to gender
and women’s history. Above all, she is deeply interested in the study of rural
communities in early modern Europe. She currently examines the paradigms of
private credit and debt in early modern Europe from 1500 to 1800, with particular
reference to French rural communities.
Stephanie S. Dickey received her Ph.D. from the Institute of Fine Arts, New York
University, in 1994. She taught at Indiana University from 1995 to 2006 before
taking up the Bader Chair in Northern Baroque Art at Queen’s University in
Kingston, Ontario, Canada. She is the author of numerous publications on Dutch
and Flemish art of the seventeenth century, including the book Rembrandt: Portraits
in Print (Benjamins, 2004). Her research focuses on the art of Rembrandt and his
circle, representations of gender and emotion, portraiture as a cultural practice and
the history of printmaking. In 2010, she co-edited (with Herman Roodenburg)
The Passions in the Arts of the Early Modern Netherlands, vol. 60 of the Netherlands
Yearbook for the History of Art, to which she contributed the article ‘Damsels in
distress: gender and emotion in seventeenth-century Netherlandish art’ (pp. 52–81).
Stephanie Downes is a Postdoctoral Research Fellow at The University of
Melbourne. A graduate of The University of Sydney, in 2010–11 she was a British
Academy Visiting Scholar at Queen Mary, University of London and a Mayers
Fellow at the Huntington Library, San Marino in 2012. She was the Harvard
University Bloomfield Fellow in 2014. She has published on Anglo-French
manuscript culture, on bilingualism and emotional expression in literature and on
the history of emotions and Middle English. With Andrew Lynch, she is the editor
of a volume on Emotions and War: Medieval to Romantic Literature (Palgrave, 2015).
 Notes on contributors xxiii
Her current research fellowship is funded by the Australian Research Council Centre
of Excellence for the History of Emotions.
Nicholas A. Eckstein is the Cassamarca Associate Professor of Italian Renaissance
History in the History Department at The University of Sydney. His publications
include The District of The Green Dragon: Neighbourhood Life and Social Change in
Renaissance Florence (Leo S. Olschki, 1995), Sociability and its Discontents: Civil Society,
Social Capital and their Alternatives in Late Medieval and Early Modern Europe, (eds)
Nicholas A. Eckstein and Nicholas Terpstra (Brepols, 2009), The Brancacci Chapel:
Form, Function and Setting, ed. Nicholas Eckstein (Leo S. Olschki, 2007) and, most
recently, Painted Glories: The Brancacci Chapel in Renaissance Florence (Yale University
Press, 2014). He is currently writing a book related to urban space and neighbour-
hood in the early modern city, and has several articles related to this project
forthcoming.
Nicole Eustace is Professor of History at New York University. She is an historian
of eighteenth-century British America and the early United States. Her publications
include 1812: War and the Passions of Patriotism (University of Pennsylvania Press,
2012) and Passion Is the Gale: Emotion, Power, and the Coming of the American
Revolution (University of North Carolina Press, 2008).
Sandra Garrido is an Australian Research Council/National Health and Medical
Research Council Dementia Research Development Fellow at the MARCS
Institute at Western Sydney University. She completed her Ph.D. at the University
of New South Wales and has also worked as a postdoctoral research fellow at the
Australian Research Council Centre of Excellence for the History of Emotions
and the Melbourne Conservatorium of Music. With a background in both music
history and psychology, her work focuses on the use of music for mood regulation
and to improve mental health and wellbeing in both historical and modern day
contexts. She is a committee member of the Australian Music and Psychology
Society, and a member of the editorial board of the esteemed journal Musicae
Scientiae. She has also previously been a member of the National Committee of
the Musicological Society of Australia.
Peter A. Goddard was educated at the University of British Columbia and at Oxford
University (D.Phil), and now teaches at the University of Guelph, Ontario. He is
an historian of early modern religious culture and works on the religious organ-
izations of the Catholic reformation. He has published articles and entries on Jesuit
and Franciscan activity in France and in the seventeenth-century New World. His
current work involves reconstructing the evangelical program of the Capuchins, a
new branch of the Franciscan Movement that became known for its exuberant and
effusive preaching and missionizing in Europe and in non-European mission fields.
Julian Goodare is Reader in History, University of Edinburgh. He is author of
The European Witch-Hunt (Routledge, 2016, forthcoming). He was Director
of the Survey of Scottish Witchcraft, which went online in 2003. His edited books
include The Scottish Witch-Hunt in Context (Manchester University Press, 2002),
Witchcraft and Belief in Early Modern Scotland (Palgrave Macmillan, 2008) (co-edited
with Lauren Martin and Joyce Miller) and Scottish Witches and Witch-Hunters
xxiv Notes on contributors
(Palgrave Macmillan, 2013). With Rita Voltmer and Liv Helene Willumsen, he
is currently co-editing Demonology and Witch-Hunting in Early Modern Europe.
Catharine Gray is Associate Professor of English at the University of Illinois at
Champaign-Urbana. She is author of Women Writers and Public Debate in Seventeenth-
Century Britain (Palgrave, 2008). In addition to articles on seventeenth-century
women writers and politics, she has published essays on military identity, the body
politic and Royalist elegy in two recent book collections. These essays are part of
her new book project, Unmaking Britain: Poetry and War in Seventeenth Century
Britain. With Erin Murphy, she is also co-editor of Milton Now (Palgrave, 2014),
a collection of new essays on the work of John Milton published in honour of
Mary Nyquist and Margaret Ferguson’s 1987 volume, Re-membering Milton.
Tara Hamling is Senior Lecturer in the History Department, University of
Birmingham. Her research focuses on the visual arts and material culture of early
modern Britain, especially in a domestic context. She is author of Decorating the
Godly Household: Religious Art in Post-Reformation Britain (Yale University Press,
2010) and editor (with Catherine Richardson) of Everyday Objects: Medieval and
Early Modern Material Culture (Ashgate, 2010) and (with Richard L. Williams) Art
Re-formed: Reassessing the Impact of the Reformation on the Visual Arts (Cambridge
Scholars Publishing, 2007). Her next book, A Day at Home in Early Modern
England: The Materiality of Domestic Life (co-authored with Catherine Richardson)
is due for publication in 2016 with Yale University Press.
Karen Harvey is Reader in Cultural History at the University of Sheffield. Her work
on eighteenth-century Britain explores gender, material culture and the body. She
has published several books and articles in these areas, including The Little Republic:
Masculinity and Domestic Authority in Eighteenth-Century Britain (Oxford University
Press, 2012).
Yasmin Haskell, FAHA, is Cassamarca Foundation Chair in Latin Humanism at
The University of Western Australia and a Chief Investigator in the Australian
Research Council Centre of Excellence for the History of Emotions, in which she
leads projects on ‘Passions for Learning’ and ‘Jesuit Emotions’. She is the author
of Prescribing Ovid: The Latin Works and Networks of the Enlightened Dr Heerkens
(Bloomsbury, 2013) and Loyola’s Bees: Ideology and Industry in Jesuit Latin Didactic
Poetry (British Academy and Oxford University Press, 2003), and editor of (inter
alia), Diseases of the Imagination and Imaginary Disease in the Early Modern Period
(Brepols, 2011) and (with Susan Broomhall), ‘Humanism and Medicine in the Early
Modern Period’, special issue of Intellectual History Review 18.1 (2008).
Sally Holloway completed her Ph.D. on romantic love at Royal Holloway, University
of London in 2013, funded by the Arts and Humanities Research Council. Sally is
an Associate Researcher at Historic Royal Palaces and Affiliated Research Scholar
at the Centre for the History of the Emotions, Queen Mary, University of London.
In 2014 she was a Visiting Fellow of Chawton House Library, and in 2016 an Early
Career International Research Fellow at the Australian Research Council Centre
of Excellence for the History of Emotions. Sally teaches at Oxford Brookes
University and Richmond, The American International University in London.
 Notes on contributors xxv
Aleksondra Hultquist is an Honorary Associate Investigator for the Australian
Research Council Centre of Excellence for the History of Emotions, based at
The University of Melbourne. She has worked as an Assistant Professor in the
United States and a lecturer in Australia. Her work focuses on the literature
and culture of the long eighteenth century, especially women writers, and she has
published articles in Philological Quarterly, Eighteenth-Century Theory and Interpretation,
and several edited collections. She is a Managing Editor of ABO: Interactive Journal
for Women and the Arts 1640–1830. She is currently finishing her monograph,
The Amatory Mode, as well as editing Aphra Behn’s Love-Letters between a Nobleman
and his Sister for the forthcoming Cambridge University Press edition of The Writings
of Aphra Behn.
Katherine Ibbett is Reader in Early Modern Studies in the School of European
Literatures at University College, London. She is the author of The Style of the
State in French Theater (Ashgate, 2009) and the co-editor of a special issue of Yale
French Studies on ‘Walter Benjamin’s Hypothetical French Trauerspiel’ (2013). She
is completing a book on compassion and its failures in early modern France, and
with Kristine Steenbergh she is co-editing a volume on compassion across early
modern Europe.
Carolyn James is Cassamarca Associate Professor in the School of Philosophical,
Historical and International Studies, Monash University. She has edited the letters
of the fifteenth-century Italian writer, Giovanni Sabadino degli Arienti and analysed
his literary works (Olschki, 1996 and 2002), translated, with Antonio Pagliaro, the
late medieval letters of Margherita Datini (Centre of Reformation and Renaissance
Studies Toronto, 2012) and is presently working on a monograph entitled
A Renaissance Marriage: Isabella d’Este and Francesco Gonzaga, to be published by
Oxford University Press.
Claudia Jarzebowski is an Assistant Professor at the Department of History at the
Free University Berlin and a Partner Investigator at the Australian Research
Council Centre of Excellence for the History of Emotions. Her recent research
focuses on childhood and emotion in the early modern period. She has held a
Distinguished International Visitor Fellowship at The University of Western
Australia (2013) and a Feodor-Lynen-Fellowship at the University of Pennsylvania
(2007/08). Her recent publications include (edited with Thomas Max Safley)
Childhood and Emotion: Across Cultures 1450–1800 (Routledge, 2013) and ‘The
Meaning of Love. Incest Discourses in Sixteenth-Century Europe’, in David
Luebke and Mary Lindemann (eds), Mixed Matches. Transgressive Unions in Germany
from the Reformation to the Enlightenment (Berghahn, 2014).
Danijela Kambaskovic is a Research Associate with the Australian Research Council
Centre of Excellence for the History of Emotions and formerly Assistant Professor,
Shakespeare and Renaissance Studies, The University of Western Australia. Her
scholarly output includes two scholarly books and numerous articles and research
chapters on Shakespeare, Renaissance poetry, the human senses in pre-modern
religious, ethical and medical writing and pre-modern treatises on mental health.
Her recent edited collection, Conjunctions of Mind, Body and Soul from Plato to the
Enlightenment (Springer) appeared in 2014. Danijela is also an award-winning poet.
xxvi Notes on contributors
Susan Karant-Nunn is Director of the Division for Late Medieval and Reformation
Studies and Regents’ Professor of History at the University of Arizona. She has
published extensively on ritual, the emotions and gender during the longer
Reformation era. Her most recent monograph is The Reformation of Feeling: Shaping
the Religious Emotions in Early Modern Germany (Oxford University Press, 2010).
She is presently at work on the subject of the reformed body. She has served as
president of the Sixteenth Century Studies Conference and the Society for
Reformation Research, both North American professional organizations.
Ross Knecht is Assistant Professor of English at Emory University and was formerly
a Postdoctoral Research Fellow in the Australian Research Council Centre of
Excellence for the History of Emotions at The University of Queensland. His
work focuses on Shakespeare and early modern literature, with a special interest
in the early modern discourse of the passions, the philosophy of language and
the history of pedagogy. He is the author of articles in Comparative Literature and
ELH: English Literary History and is currently at work on a manuscript concerning
the intersections of passion, grammar and schooling in sixteenth-century literary
texts.
Laura Kounine is Lecturer in Early Modern History at the University of Sussex
and was previously a Postdoctoral Fellow at the Centre for the History of Emotions,
in Berlin. She completed her Ph.D. on ‘The Gendering of Witchcraft in Early
Modern Württemberg’ in 2013 at Clare College, University of Cambridge. In
2014, she was an Early Career International Research Fellow at the Australian
Research Council Centre of Excellence for the History of Emotions, based at The
University of Melbourne. She is currently revising her thesis for publication. She
is co-editor of the forthcoming essay collection on Cultures of conflict resolution in
early modern Europe (Ashgate, 2016), and co-editor of Emotions in the History of
Witchcraft: Unbridled Passions, with the ‘History of Emotions’ series at Palgrave
(2016).
Erika Kuijpers is Assistant Professor at the Vrije Universiteit in Amsterdam. She is
the author of Migrantenstad. Immigratie en sociale verhoudingen in 17e-eeuws Amsterdam
(Verloren, 2005). From 2008 to 2013, she worked at Leiden University researching
personal memories of the Dutch Revolt, in the VICI research project, ‘Tales of
the Revolt: Memory, Oblivion and Identity in the Low Countries, 1566–1700’.
She co-edited Memory Before Modernity: Practices of Memory in Early Modern Europe
(Brill, 2013) and is working on a monograph about how early modern witnesses
and victims of war dealt with traumatic memories. Her current research entails
a pilot project into the computational semantic mining of emotions in early
modern texts: ‘Embodied Emotions: Mapping Bodily Expression of Emotions from
a Historical Perspective’.
Mary Laven is Reader in Early Modern History at the University of Cambridge and
a Fellow of Jesus College. Her publications include Virgins of Venice: Enclosed Lives
and Broken Vows in the Renaissance Convent (Viking, 2002) and Mission to China:
Matteo Ricci and the Jesuit Encounter with the East (Faber and Faber, 2011). During
the period 2013–17, she is co-directing the European Research Council project
‘Domestic Devotions: The Place of Piety in the Renaissance Italian Home’.
 Notes on contributors xxvii
Inger Leemans is Professor of Cultural History at Vrije Universiteit Amsterdam and
Director of ACCESS – the Amsterdam Center for Cross-Disciplinary Emotion
and Sensory Studies. Her research focuses on the history of emotions, history of
pornography, digital humanities, Dutch literature and cultural economics. She
currently works on a cultural history of early modern stock trade. In 2013, Inger
Leemans and Gert-Jan Johannes published Worm en Donder, a volume on the
eighteenth century in the Dutch Language Union Series ‘Geschiedenis van de
Nederlandse Literatuur’ [History of Dutch Literature].
David Lemmings is Professor of History in the School of Humanities at the
University of Adelaide and ‘Change’ Program Leader in the Australian Research
Council Centre of Excellence for the History of Emotions. He is the author of
Gentlemen and Barristers: The Inns of Court and the English Bar, 1680–1730 (Oxford
University Press, 1990) and Professors of the Law: Barristers and English Culture in the
Eighteenth Century (Oxford University Press, 2000), editor of The British and their
Laws in the Eighteenth Century (Boydell Press, 2005) and (with Claire Walker) Moral
Panics, the Media and the Law in Early Modern England (Palgrave Macmillan, 2009).
His latest books are English Law and Government in the Long Eighteenth Century:
From Command to Consent (Palgrave Macmillan, 2011), and two edited collections,
Crime, Courtrooms and the Public Sphere in Britain, 1700–1850 (Ashgate, 2012) and
(with Ann Brooks) Emotions and Social Change: Historical and Sociological Perspectives
(Routledge, 2014).
Andrew Lynch is a Professor in English and Cultural Studies at The University of
Western Australia and Director of the Australian Research Council Centre for the
History of Emotions. He has recently published International Medievalism and Popular
Culture, co-edited with Louise D’Arcens (Cambria, 2014); Understanding Emotions
in Early Europe (Brepols, 2015), with Michael Champion; and War and Emotions:
Medieval to Romantic Literature (Palgrave, 2015), with Stephanie Downes and Katrina
O’Loughlin. He is a contributor to the forthcoming Cambridge Companion to
Medievalism (2016).
Phyllis Mack is Professor of History and Women’s Studies (Emerita as of June 2015)
at Rutgers University. Her most recent publications include Heart Religion in the
British Enlightenment: Gender and Emotion in Early Methodism (Cambridge University
Press, 2008); ‘The Senses in Religion: Listening to God in the Eighteenth Century’,
in A.C. Vila (ed.), A Cultural History of the Senses in the Age of Enlightenment
(Bloomsbury, 2014); ‘Religion and Gender in Enlightenment England: The
Problem of Agency’, in A. Sterk and N. Caputo (eds), Faithful Narratives: Historians,
Religion, and the Challenge of Objectivity (Cornell University Press, 2014).
Alan Maddox is Senior Lecturer in Musicology at the Sydney Conservatorium of
Music, The University of Sydney, where he teaches early modern music history
and coordinates the undergraduate Musicology program. With a background as a
professional singer, his main research interests are in early modern Italian vocal
music and Australian colonial music, as well as in the intersections between music
and the history of emotions, and music in intellectual history. Recent publications
include a series of articles on rhetoric in eighteenth-century Italian vocal music,
and a study of the role of music in prison reform in the nineteenth-century penal
xxviii Notes on contributors
colony on Norfolk Island. He is an Associate Investigator with the Australian
Research Council Centre of Excellence for the History of Emotions, a member
of the National Committee of the Musicological Society of Australia and consultant
musicologist to the Australian Brandenburg Orchestra.
Laura Mandell is Director of the Initiative for Digital Humanities, Media, and Culture
and Professor of English at Texas A&M University. She is the author of Breaking
the Book: Print Humanities in the Digital Age (Wiley Blackwell, 2015), Misogynous
Economies: The Business of Literature in Eighteenth-Century Britain (University of
Kentucky Press,1999), a Longman Cultural Edition of The Castle of Otranto and
Man of Feeling, and numerous articles primarily about eighteenth-century women
writers. Her article in New Literary History, ‘What Is the Matter? What Literary
History Neither Hears Nor Sees’, describes how digital work can be used to conduct
research into conceptions informing the writing and printing of eighteenth-century
poetry. She is Project Director of the Poetess Archive, an online scholarly edition
and database of women poets, 1750–1900 (http://poetessarchive.org), Director of
18thConnect (http://18thConnect.org) and Director of ARC (www.ar-c.org),
the Advanced Research Consortium overseeing NINES (the Networked
Infrastructure for Nineteenth-century Electronic Scholarship), 18thConnect,
ModNets (Modernist Networks) and MESA (the Medieval Electronic Scholarly
Alliance).
Alicia Marchant is a University Associate in History at the University of Tasmania,
where her work focuses on the history of emotions, heritage, narrative and dark
tourism. She completed her Ph.D. in Medieval and Early Modern History at The
University of Western Australia in 2012, and between 2012 and 2014 was a
Research Associate at the Australian Research Council Centre of Excellence for
the History of Emotions, based at The University of Western Australia. She is the
author of The Revolt of Owain Glyndŵr in Medieval English Chronicles (Boydell and
Brewer, 2014), and is currently editing a collection provisionally entitled Historicising
Heritage and Emotions: The Affective Histories of Blood, Stone and Land from Medieval
Britain to Colonial Australia (Routledge, forthcoming).
Giuseppe Marcocci is Associate Professor of Early Modern History at the University
of Viterbo (Italy). He holds a Ph.D. in History from the Scuola Normale Superiore,
Pisa (Italy), and was Visiting Professor at the University of Lisbon (2009) and at the
École des Hautes Études en Sciences Sociales, Paris (2013). His publications include
numerous entries and articles in international journals, as well as four books: I custodi
dell’ortodossia: Inquisizione e Chiesa nel Portogallo del Cinquecento (Edizioni di Storia e
Letteratura, 2004); L’invenzione di un impero: Politica e cultura nel mondo portoghese,
1450–1600 (Carocci, 2011); A consciência de um império: Portugal e o seu mundo, sécs.
XV–XVII (Imprensa da Universidade de Coimbra, 2012); and (with José Pedro Paiva)
História da Inquisição portuguesa, 1536–1821 (A Esfera dos Livros, 2013).
Joanne McEwan is a Research Associate in History at The University of Western
Australia and a Research Assistant with the Australian Research Council Centre
of Excellence for the History of Emotions. Her research focuses on gender, crime
and social and emotional attachments in Britain from the seventeenth to the
nineteenth century. She has previously published on lodging arrangements in
 Notes on contributors xxix
eighteenth-century London, attitudes towards domestic violence and infanticide
in early eighteenth-century Scotland. She is the editor (with Pamela Sharpe) of
Accommodating Poverty: The Housing and Living Arrangements of the English Poor,
c. 1600–1850 (Palgrave Macmillan, 2010) and (with Philippa Maddern and Anne
Scott) Performing Emotions in Early Europe (Brepols, 2017).
Una McIlvenna is Lecturer in Early Modern Literature at the University of Kent.
From 2011 to 2014, she was Postdoctoral Research Fellow with the Australian
Research Council Centre of Excellence for the History of Emotions, based at The
University of Sydney, where she undertook a project on execution ballads in early
modern Europe. She has published an article on this research, ‘The Power of Music:
The Significance of Contrafactum in Execution Ballads’, Past & Present 229 (2015),
47–89. Her first monograph, Scandal and Reputation at the Court of Catherine de
Medici, was published by Ashgate in 2016.
Donna Merwick received her Master’s degree at DePaul University in l962. She
was awarded a Ph.D. in American Intellectual History from The University of
Wisconsin in 1967. From 1969 to 1995, she was a member of the Department
of History at The University of Melbourne (Australia), retiring as Associate
Professor/Reader in 1995. She is presently a Fellow at the Australian National
University, Research School of the Humanities and an Adjunct Associate Professor
at Swinburne University, Melbourne. She has written or edited six major
publications. Four of these have been in the area of her special research interest,
seventeenth-century Dutch New York: Possessing Albany, 1630–1710: The Dutch
and English Experiences (Cambridge University Press, 1990); Death of a Notary:
Conquest and Change in Colonial New York (Cornell University Press, 1999); The
Shame and the Sorrow: Dutch-Amerindian Encounters in New Netherland (University
of Pennsylvania Press, 2006). In 2013, she published a biographical study on Peter
Stuyvesant, the governor of New York from 1647 to 1664, titled Stuyvesant Bound:
An Entry on Loss Across Time (University of Pennsylvania Press). This book was
awarded the New Netherland Institute’s Hendricks Prize in 2015.
Charlotte-Rose Millar is an Associate Investigator and Research Assistant in the
Australian Research Council Centre of Excellence for the History of Emotions
and is based at The University of Melbourne. Her recently completed Ph.D.
examined the role of the Devil and emotion in all extant seventeenth-century
English witchcraft pamphlets and is currently under contract with Ashgate. The
book will significantly expand the work of the thesis by covering the entire period
of state-sanctioned executions (1563–1735). She is the author of eight peer-
reviewed articles and book chapters and has been awarded two prizes for her
published work.
Grace Moore is a Senior Research Fellow at the Australian Research Council Centre
for Excellence in the History of Emotions, based at The University of Melbourne.
Her monograph, Dickens and Empire (Ashgate) was shortlisted for the NSW
Premier’s Award for Literary Scholarship in 2006 and she is also the author of
The Victorian Novel in Context (Continuum, 2012). Grace is at present working
on a book-length study of settlers and bushfires, Arcady in Flames, while developing
a research interest in emotions and the environment.
xxx Notes on contributors
Javier Moscoso is Research Professor of History and Philosophy of Science at the
Spanish Research Council (CSIC), in Madrid. His latest book, Pain: A Cultural
History (Palgrave, 2012), was previously published in Spanish (Taurus, 2011) and
has also been released in French (by Les prairies ordinaires) in 2015. He is the
principal investigator of a research group that deals with the history and philosophy
of experiences based in Madrid. He has been recently appointed George Lurcy
Visiting Professor at the University of Chicago.
Hannah Newton is a social and cultural historian of early modern England,
specializing in the histories of medicine, emotions and childhood. Hannah’s first
book, The Sick Child in Early Modern England, 1580–1720 (Oxford University Press,
2012), was awarded the European Association for the History of Medicine and
Health 2015 Book Prize. From 2011to 2014, Hannah undertook a Wellcome Trust
Fellowship at the University of Cambridge and researched for her second
monograph, Misery to Mirth: Recovery from Illness in Early Modern England (under
contract, Oxford University Press). During her Fellowship, Hannah was also
Director of Studies for the Department of History and Philosophy of Science at
St John’s College. Since 2014, she has been based at the University of Reading.
Maria Nugent is Fellow, Australian Centre for Indigenous History, in the School
of History, Australian National University. She is the author of Captain Cook Was
Here (Cambridge University Press, 2009). She co-authored, with Shino Konishi,
an entry on Indigenous Australian people’s encounters with ‘newcomers’
(c. 1600–1800) in The Cambridge History of Australia, vol. 1 (Cambridge University
Press, 2013), and is currently involved in a collaborative research project on cross-
cultural histories of Australian exploration.
Katrina O’Loughlin holds an Australia Research Council Discovery Early Career
Research Award and is based at The University of Western Australia. She is a
literary and cultural historian with research interests in eighteenth-century writing,
travel and intellectual exchange, particularly among women. She has published on
various aspects of Enlightenment and Romantic literature, and her monograph
Women, Writing and Travel in the Eighteenth Century: The Paper Globe will be
published with Cambridge University Press in 2016. Her current research project
investigates friendship, or the affective dimensions of literary sociability, in the
Romantic period.
Samantha Owens is Associate Professor of Musicology at the New Zealand School
of Music, Victoria University of Wellington. Her research is primarily in the
field of historical performance practice and performance cultures, focusing
particularly on seventeenth- and eighteenth-century European court music.
A Fellow of the Australian Academy of the Humanities, she has held visiting
fellowships at Clare Hall, University of Cambridge, and at the Martin-Luther-
Universität Halle-Wittenberg (as an Alexander von Humboldt Fellow). Recent
publications have included an edited book on Music at German Courts, 1715–1760:
Changing Artistic Priorities (Boydell & Brewer, 2011).
Melissa Percival is Associate Professor in French and Art History at the University
of Exeter. She has published widely on topics connected with the human face.
 Notes on contributors xxxi
Among her publications are Physiognomy and Facial Expression in Eighteenth-Century
France (Maney Publishing, 1999), Physiognomy in Profile: Lavater’s Impact on European
Culture (University of Delaware Press, 2005) and Fragonard and the Fantasy Figure:
Painting the Imagination (Ashgate, 2012). She guest-curated the exhibition Ceci n’est
pas un portrait: figures de fantaisie de Murillo, Fragonard, Tiepolo . . . at the Musée des
Augustins, Toulouse (November 2015–March 2016).
Christina Petterson is a Research Associate at the Religion, Marxism and Secularism
Network in the School of Humanities and Social Sciences at the University of
Newcastle. She holds a Masters of Theology from Copenhagen University and
a Ph.D. in Cultural Studies from Macquarie University, Sydney. Her work, which
covers early Christianity and early modern Europe and its colonies, seeks to
examine Christianity through the lenses of theology, history and cultural theory.
Kathryn Prince is a theatre historian with a particular interest in early modern
drama. Her current work focuses on the intersections of space, bodies, objects and
emotions in early modern performance, as well as ‘performance’ in a broader sense
relating to early modern accounts of cross-cultural contact. Her recent publications
include Performing Early Modern Drama Today (Cambridge University Press, 2013)
and History, Memory, Performance (Palgrave Macmillan, 2014), as well as articles,
book chapters and books on early modern drama in performance from the
eighteenth to the twenty-first centuries. She is an Associate Professor at the
University of Ottawa in the Department of Theatre, and for part of 2015 was an
Early Career International Research Fellow at the Australian Research Council
Centre of Excellence for the History of Emotions in Australia.
Luc Racaut is Lecturer in History at Newcastle University (UK). He has published
extensively in the field of the history of printing and religious reform during the
French Wars of Religion, including Hatred in Print: Catholic Propaganda and Protestant
Identity during the French Wars of Religion (Ashgate, 2002). He is currently preparing
a monograph for Routledge on the history of the body and emotions in the context
of the European wars of religion, entitled The World Inside Out.
Gordon D. Raeburn completed his Ph.D. at the University of Durham, UK, in
2013. His thesis, ‘The Long Reformation of the Dead in Scotland’, investigated
the changing nature of Scottish burial practices between 1542 and 1856. He
is currently a Postdoctoral Research Fellow with the Australian Research Council
Centre of Excellence for the History of Emotions, based at The University of
Melbourne, and is working on the emotional responses to early modern Scottish
disasters and how these emotional responses shaped personal, communal and
national identities.
Sarah Randles is an Honorary Research Fellow in the School of Historical
and Philosophical Studies at The University of Melbourne and was recently a
Postdoctoral Research Fellow in the Australian Research Council Centre of
Excellence for the History of Emotions. Her current research project explores the
emotions of pilgrimage and sacred place, focusing on the relics and other aspects
of material culture of Chartres Cathedral. She has published on medieval and later
textiles, the Arthurian legend and on medievalism in Australian architecture.
xxxii Notes on contributors
Andrea Rizzi is an Australian Research Council Future Fellow (2014–18) at The
University of Melbourne. He has published on vernacular translators in early
Renaissance Italy, courtly culture in Ferrara and Mantua and Italian diplomats and
translators at the court of Elizabeth I. His latest book on fifteenth-century Italian
translators and their self-fashioning statements will be published by Brepols. Andrea
has been a Deborah Loeb Brice Fellow (2011) at the Villa I Tatti Harvard
University Center for Italian Renaissance Studies, Florence.
Herman Roodenburg is Professor of Historical Anthropology at the Free University
of Amsterdam and a Senior Researcher at the Meertens Institute, also in Amsterdam.
A cultural historian, he likes to cooperate with cultural anthropologists and art
historians. Among his English publications are The Eloquence of the Body (Waanders,
2004) and, as editor, Forging European Identities, 1400–1700 (Cambridge University
Press, 2007) and A Cultural History of the Senses in the Renaissance (Bloomsbury,
2014). He is currently finishing a history of the Dutch and their religious emotions
(provisionally called The Crying Dutchman).
Alec Ryrie is Professor of the History of Christianity at Durham University and
co-editor of the Journal of Ecclesiastical History. He is author of books including
Being Protestant in Reformation Britain (Oxford University Press, 2013), The Age of
Reformation (Longman Pearson, 2009), The Sorcerer’s Tale (Oxford University Press,
2008) and The Gospel and Henry VIII (Cambridge University Press, 2003), and
is co-editor, with Tom Schwanda, of Puritanism and Emotion in the Early Modern
World (Palgrave, 2016).
Peter Sherlock is Vice-Chancellor of the University of Divinity, Melbourne,
Australia. His scholarship centres on death, commemoration and memory in early
modern European societies, especially the study of monuments as a source for
engaging with the past. He is author of Monuments and Memory in Early Modern
England (Ashgate, 2008).
Patricia Simons is Professor of History of Art at the University of Michigan, Ann
Arbor. She is author of The Sex of Men in Premodern Europe: A Cultural History
(Cambridge University Press, 2011) and co-editor of Patronage, Art, and Society in
Renaissance Italy (Clarendon Press, 1987). Her numerous entries analysing the visual
and material culture of early modern Europe have been published in anthologies
and peer-review journals such as Art History, I Tatti Studies, Journal of Medieval and
Early Modern Studies, Renaissance Quarterly and Renaissance Studies, ranging over such
subjects as the visual dynamics of desire, secrecy and scandal, female homoeroticism
and the visual role of humour.
François Soyer is an Associate Professor in History at the University of Southampton.
He is the Author of Popularizing Anti-Semitism in Early Modern Spain and its Empire.
The Centinela contra Judíos of Fray Francisco de Torrejoncillo (1674) (Brill, 2014) and
The Persecution of the Jews and Muslims of Portugal. King Manuel I and the End of
Religious Tolerance (1496–7) (Brill, 2007).
Jennifer Spinks is Lecturer in Early Modern History at the University of Manchester.
Prior to her arrival in Manchester in 2012, she was an Australian Research
Council Postdoctoral Fellow at The University of Melbourne, Australia (2009–12),
 Notes on contributors xxxiii
where she worked on a collaborative project with Charles Zika and Susan
Broomhall. From 2011 to 2012, she was an Associate Investigator with the
Australian Research Council Centre of Excellence for the History of Emotions.
Her publications include: Monstrous Births and Visual Culture in Sixteenth-Century
Germany (Pickering and Chatto, 2009); Early Modern Women in the Low Countries:
Feminizing Sources and Interpretations of the Past (Ashgate, 2011; co-authored with
Susan Broomhall); and The Four Horsemen: Apocalypse, Death and Disaster (National
Gallery of Victoria, 2012; co-edited with Cathy Leahy and Charles Zika, and
accompanying a collaboratively-curated exhibition). She is currently working on a
study of wonder books in early modern Reformation and Counter-Reformation
northern Europe, supported by an Arts and Humanities Research Council (UK)
Early Career Fellowship.
Erin Sullivan is a Senior Lecturer and Fellow at the Shakespeare Institute, University
of Birmingham. She has published several articles on early modern sadness and
is the co-editor of The Renaissance of Emotion: Understanding Affect in Shakespeare
and His Contemporaries (Manchester University Press, 2015). Her first monograph,
Beyond Melancholy: Sadness and Selfhood in Renaissance England, was published
by Oxford University Press in 2016.
Giovanni Tarantino is a Research Fellow of the Australian Research Council Centre
of Excellence for the History of Emotions at The University of Melbourne, and
Editor-in-Chief of Cromohs. He is a former Hans Kohn Member of the Institute
for Advanced Study in Princeton and Balzan Research Associate at the Scuola
Normale of Pisa. He was elected a Fellow of the Royal Historical Society in 2013.
Recent publications include: ‘Disaster, Emotions and Cultures: The Unexpected
Wink of Shiba Kokan (1738–1818)’, Rivista Storica Italiana 128 (2016); ‘The
Mysteries of Popery Unveiled: Affective Language in John Coustos’ and Anthony
Gavín’s Accounts of the Inquisition’, in Susan Broomhall (ed.), Spaces for Feeling:
Emotions and Sociabilities in Britain, 1650–1850 (Routledge, 2015), pp. 35–51;
‘Mapping Religion (and Emotions) in the Protestant Valleys of Piedmont’,
ASDIWAL 9 (2014); Republicanism, Sinophilia and Historical Writing: Thomas Gordon
(c. 1691–1750) and His History of England (Brepols, 2012).
Raisa Maria Toivo is an Academy of Finland Research Fellow at the Centre
of Excellence in History: ‘History of a Society, Re-thinking Finland 1400–2000’,
at the University of Tampere, Finland. She has studied the history of early modern
religion, witchcraft, gender and violence. Her publications include Witchcraft and
Gender in Early Modern Society (Ashgate, 2008) and Writing Witch-Hunt Histories,
edited with Marko Nenonen (Brill, 2014).
Stephanie Trigg is Professor of Medieval English Literature in the School of Culture
and Communication at The University of Melbourne. Her books include Congenial
Souls: Reading Chaucer from Medieval to Postmodern (University of Minnesota
Press, 2002) and Shame and Honor: A Vulgar History of the Order of the Garter
(University of Pennsylvania Press, 2012). She was also editor of a special issue of
Exemplaria: A Journal of Theory in Medieval and Renaissance Studies on pre-modern
emotions (2014).
xxxiv Notes on contributors
Jacqueline Van Gent is an early modern historian at The University of Western
Australia and a Chief Investigator with the Australian Research Council Centre
of Excellence for the History of Emotions. She has published on Swedish magic,
the body and emotions, gender and colonial mission encounters in Australia and
the Atlantic, and gender and emotions in the Nassau-Orange family. Her recent
publications include: Magic, Body and the Self in Eighteenth-Century Sweden (Brill,
2009); with Susan Broomhall (eds), Governing Masculinities in the Early Modern Period:
Regulating Selves and Others (Ashgate, 2011); J. Van Gent, N. Etherington, P. Brock
and G. Griffiths, The Indigenous Christian Evangelist in British Empire History
1750–1940: Questions of Authority (Brill, 2015); with Angelika Schaser and Kirsten
Rüther, Gender and Conversion Narratives in the Nineteenth Century. German Mission
at Home and Abroad (Ashgate, 2015); and, with Spencer Young, ‘Emotions and
Conversion’, special issue of Journal of Religious History (December 2015). With
Susan Broomhall, she will publish Gender, Power and Identity in the Early Modern
Nassau Family, 1580–1814 (Ashgate, 2016) and Dynastic Colonialism: Gender,
Materiality and the Early Modern House of Orange-Nassau (Routledge, 2016). She
edited, with Raisa Maria Toivo, ‘Gender, objects and emotions in Scandinavian
history’, special issue of Journal of Scandinavian History (2016). Her current research
project concerns the role of emotions in early modern colonial encounters,
especially in the context of Protestant missions, East India Companies and early
ethnographies.
Claire Walker is a Senior Lecture in Early Modern History at The University of
Adelaide. She has written extensively about the post-Reformation English women’s
religious communities exiled in France, the Southern Netherlands and Portugal.
Claire has recently co-edited a collection of entries, Fama and Her Sisters: Gossip
and Rumour in Early Modern Europe (Brepols, 2015) and she is currently co-writing
a monograph, Governing Emotion: the Affective Family, the Press and the Law in Early
Modern Britain, with Katie Barclay and David Lemmings.
Linda Walsh was until recently Senior Lecturer in Art History at the Open University,
UK. She has written teaching texts focusing on art-historical topics ranging from
the seventeenth to the mid-nineteenth centuries. Her research publications include
work on facial expression and on neoclassicism and romanticism in European
sculpture.
Helen Watanabe-O’Kelly has been Professor of German Literature at Oxford
University since 1994. Among her books are Melancholie und die melancholische
Landschaft (Francke Verlag, 1978), Triumphal Shews. Tournaments at German-Speaking
Courts in their European Context 1560–1730 (Gebrüder Mann Verlag, 1992) and
Court Culture in Dresden from Renaissance to Baroque (Palgrave Macmillan, 2002).
She has edited The Cambridge History of German Literature (Cambridge University
Press, 1997), Spectaculum Europaeum: Theatre and Spectacle in Europe, (1580–1750)
with Pierre Béhar (Harrassowitz, 1999) and Europa Triumphans: Court and Civic
Festivals in Early Modern Europe with J. R. Mulryne and Margaret Shewring
(Ashgate, 2004). Her most recent book is Beauty or Beast? The Woman Warrior in
the German Imagination from the Renaissance to the Present (Oxford University Press,
2010). In 2012, she was elected a Fellow of the British Academy. She is the leader
 Notes on contributors xxxv
of the project ‘Marrying Cultures: Queens Consort and European Identities
1500–1800’ (www.marryingcultures.eu), which is funded by HERA (Humanities
in the European Research Area).
Robert L. Weston is an Honorary Research Fellow at The University of Western
Australia. His interests lie in the field of European history of medicine. In 2013,
his book Medical Consulting by Letter in France 1655–1789 was published by Ashgate.
He has also published articles and book chapters on issues of gender, masculinity
and emotion in later early modern French medicine.
R. S. White, MA (Adelaide), D.Phil (Oxford), is FAHA, Chief Investigator for the
Australian Research Council Centre of Excellence for the History of Emotions
and Leader of the Centre’s ‘Meanings’ program. He has been an Australian
Professorial Fellow and is Professor of English at The University of Western
Australia. He has published books and articles on Shakespeare and the Romantics,
and among his recent works are Pacifism in English Poetry: Minstrels of Peace (Palgrave,
2008), John Keats: A Literary Life (Palgrave, 2010) (which has been reissued in
paperback), and Avant-Garde Hamlet: Text, Stage, Screen (The Fairleigh Dickinson
University Press, 2015). He is a past President of the Australian and New Zealand
Shakespeare Association.
Charles Zika is a Professorial Fellow in the School of Historical and Philosophical
Studies at The University of Melbourne and Chief Investigator in the Australian
Research Council Centre of Excellence for the History of Emotions. His interests
lie in the intersection of religion, emotion, visual culture and print in early modern
Europe. He is the author of The Appearance of Witchcraft: Print and Visual Culture
in Sixteenth-Century Europe (Routledge, 2007); co-editor of a collection with Cathy
Leahy and Jenny Spinks, related to a 2012 exhibition at the National Gallery
of Victoria, The Four Horsemen: Apocalypse, Death & Disaster (NGV, 2012); and
a co-author with Margaret Manion, of Celebrating Word and Image 1250–1600
(Fremantle Press, 2013).
Introduction
Susan Broomhall

The subject of historical emotions is a growing area of interest and one with which
many scholars and students are keen to engage. This presents a need for an introduction
to the wide range of current research from scholars primarily of early modern Europe,
from varied disciplines, which can offer an entry point to their questions, to the
concepts, approaches and sources that currently are, or might be, used in the analysis
of early modern emotions, and to the potential perspectives that the history of
emotions can offer early modern history more broadly. This volume therefore offers
short, accessible commentaries from period experts, which are intended to assist a
beginner to history of emotions approaches to begin investigating topics of interest.
The aim of the present work is to provide a straightforward and introductory textbook
that can help students and scholars to understand the state of the field and allow them
to translate and apply its approaches and ideas into their scholarship.
The history of emotions is a burgeoning area of research. Major research centres
for the historical study of emotions worldwide have proved a catalyst to the pro-
duction of carefully-nuanced monographic texts as well as large-scale, collaborative
volumes, and indeed to innovative practitioner-based and community-oriented
research practices for the humanities. A range of book series with scholarly presses
worldwide now captures the current scholarly interest in emotions in history, historical
emotions and the emotional practices of specific time periods.
The scholarship on emotions in the early modern period is already vast, stimulated
perhaps particularly by the fact that two influential theorists, Barbara H. Rosenwein
and William M. Reddy, have grounded their conceptualizations of historical emotional
practice in concrete study of medieval and early modern Europe.1 The breadth of early
modern emotion scholarship calls for a student-level text to assist a newcomer to the
field to bring together what currently exists, the methodologies by which it has been
undertaken to date, potential avenues of future interests and the kinds of findings that
these approaches are producing. This text’s title ‘Early Modern Emotions’, makes clear
the understanding taken by the contributors – that emotions themselves are cultural
and social practices that change over time.2 We start from the assumption that
emotional display and practice are culturally- and historically-specific, and should be
understood as expressions of early modern society. The choice of the term ‘emotion’,
however, is entirely pragmatic. It locates the text in the current ‘history of emotions’
scholarship, and as part of a wider series of such introductory texts that will span other
time periods. In doing so, it avoids the dilemma of which of varied emotion terms
from the period itself should be given pride of place over others – passions, sentiments,
affections among them – each defined by distinct discursive contexts.
 Introduction xxxvii
The authors of this volume seek to explore therefore what ‘emotions’ were termed
over this 300-year period, how and why such terms changed in use, the discourses in
which they were used, the sources in which we can locate emotion terms and evidence
of experiences, displays and practices. We explore what emotions did and meant in
the social and cultural practice of early modern Europe. It is hoped that this volume
will present a useful database for future comparative work with other key periods, such
as the medieval and nineteenth century, both periods about which dynamic scholarship
has been produced.3 What is ‘early modern’ about emotional experiences, terms,
practices and display will emerge when we have similar analyses for Europe in other
periods. Moreover, to capture the richness and diversity of early modern emotional
life requires not just the conventional sources and analytical contributions of historians,
but also those of literary, art and music scholars of the period as well. The inclusion
of sources and methods of a wide range of disciplines presents challenges for reconciling
different scholarly practices and methodologies but also reveals exciting new
opportunities for future multi- and interdisciplinary scholarship.
This textbook primarily concerns Western European practices of emotions but also
explores emotions created and exhibited through Europe’s interactions globally during
the period. It keenly awaits comparable volumes analysing other societies worldwide
at this period. As the ‘early modern’, broadly speaking it spans 1500 to 1800, although
some entries attend to events and sources slightly beyond these chronological
demarcations as is appropriate to their specific topics. The volume entries most
commonly concern emotions as human interactions but we also explore the possibilities
for considering human relations with material, animal, environmental and supernatural
phenomena.
The volume is largely representative of current research trends and questions in
early modern emotions research. It is not exhaustive in the coverage of topics that
could potentially be analysed in consideration of emotions, but its selection is intended
to be exemplary and representative of current study. Some entries are necessarily more
speculative than others, reflective of a slimmer basis of extant research, where analysis
of emotions constitutes a relatively new perspective for the field. Ultimately, these
entries serve as springboards to further thinking produced by individual authors rather
than definitive statements of shared approaches. The authors are experts in a wide
range of different disciplines that they bring to bear in their contributions. As historians,
musicologists, art historians, literary and architectural scholars of the period, they
provide coverage of the different ways in which early modern emotions research is
currently conducted in various scholarly communities around the globe. The wide
range of contributors intentionally showcases the diversity of approaches to the field,
the ways in which different kinds of scholars, scholarly disciplines and international
scholarly traditions employ emotions to make new interventions.
The entries to follow are categorized into four sections that are intended to assist
readers to understand the processes and practices by which history of emotions
research is presently conducted. Section I, ‘Modern theories and models of emotions’,
presents key methods, terms and concepts of emotion, considering how they have
been, or might be, applied to the early modern period. In Section II, ‘Early modern
terms, concepts and practices of emotions’, the focus turns to particular early modern
conceptualizations of, and terms for, emotions that are unique to that time or that
have meanings quite distinct from those applied at other periods. In the third section,
xxxviii Susan Broomhall
‘Sources and methodologies for early modern emotions’, authors consider a range of
potential methodologies for analysis of early modern emotions, and provide examples
applied to particular data sets at use in or available for the early modern period.
In the final section of the text, we analyse the impact of history of emotions research
for ‘Focus topics for the early modern period’. This section reflects upon the potential
for historical analyses through the lens of emotions to change how the early modern
period is considered more broadly. How do these common topics for discussion in
the period shift when emotions are placed in the foreground of analysis? This section
is further sub-divided thematically, into ‘Political Realms’; ‘Destructive Experiences’;
‘Life Stages’; ‘Spaces’; ‘Intellectual and Cultural Traditions’; ‘Beliefs’; ‘The World
Beyond Europe’ and ‘The Non-Human World’.
Each individual entry includes both key references and several annotated
recommendations for further reading on emotions research in that area. The ‘Select
bibliography’ compiles a comprehensive, though not exhaustive, list of current
scholarship pertaining to early modern emotions. Finally, a detailed ‘Index’ to the
volume serves an important role in highlighting links across the discussion within
individual entries and acts as a significant cross-referencing tool for the volume as a
whole.

Notes
1 B.H. Rosenwein, Emotional Communities in the Early Middle Ages (Ithaca: Cornell University Press,
2006); Rosenwein, Generations of Feeling: A History of Emotions, 600–1700 (Cambridge: Cambridge
University Press, 2015); W.M. Reddy, The Navigation of Feeling: A Framework for the History of Emotions
(Cambridge: Cambridge University Press, 2001); Reddy, The Making of Romantic Love: Longing and
Sexuality in Europe, South Asia, and Japan, 900–1200 CE (Chicago: University of Chicago Press, 2012);
an accessible discussion of these and other perspectives from North American historians can be found
in N. Eustace, E. Lean, J. Livingston, J. Plamper, W.H. Reddy and B.H. Rosenwein, ‘AHR
conversation: the historical study of emotions’, American Historical Review 117, 5 (2012), 1487–1531.
2 For a wider analysis of methodologies for the history of emotions, weighing the anthropological relativist
position against the universalism of the neurosciences and other disciplines, see J. Plamper, The History
of Emotions: An Introduction, (trans.) K. Tribe (Oxford: Oxford University Press, 2015); and emerging
work in psychology on social contexts for emotion, B. Mesquita and M. Boiger, ‘Emotions in context:
a sociodynamic model of emotions’, Emotion Review 6, 4 (2014), 298–302.
3 For recent comprehensive study of the medieval, see the important collaborative research of Piroska
Nagy and Damian Boquet: Nagy (ed.), ‘Emotions médiévales’, Critique (2007); Boquet and Nagy
(eds), Le Sujet des émotions au moyen âge (Paris: Beauchesne, 2009); Boquet and Nagy (eds), Politques
des émotions au moyen âge (Florence: Sismel, 2010); Boquet, Nagy and Moulinier-Brogi (eds), ‘La Chair
des émotions’, Médiévales 61 (2011); Boquet and Nagy, Sensible Moyen Age (Paris: Seuil, 2015); and
for the nineteenth century, T. Dixon, From Passions to Emotions: The Creation of a Secular Psychological
Category (Cambridge: Cambridge University Press, 2003); U. Frevert, C. Bailey, P. Eitler, B. Gammerl,
B. Hitzer, M. Pernau, M. Scheer, A. Schmidt and N. Verheyen, Emotional Lexicons. Continuity and
Change in the Vocabulary of Feeling 1700–2000 (Oxford: Oxford University Press, 2014).
Section I
Modern theories and
models of emotions
This page intentionally left blank
I.1 Emotional community
Andrew Lynch

In the study of early modern emotions, few terms are more widely employed than
‘emotional community’. Its popularity stems from several influential books and essays
by the historian Barbara H. Rosenwein, but what ‘emotional community’ means in
its different usages can vary considerably. A close look at Rosenwein’s formulation
and practice of the term is helpful:

Emotional communities are largely the same as social communities – families,

neighborhoods, syndicates, academic institutions, monasteries, factories, platoons,
princely courts. But the researcher looking at them seeks above all to uncover
systems of feeling, to establish what these communities (and the individuals
within them) define and assess as valuable or harmful to them (for it is about such
things that people express emotions); the emotions that they value, devalue, or
ignore; the nature of the affective bonds between people that they recognize;
and the modes of emotional expression that they expect, encourage, tolerate, and
deplore.1

Roughly speaking, Rosenwein sees the ‘communities’ she studies as already in

existence, but they are revealed and understood as emotional communities through her
analysis of sets of emotion terms taken from a variety of documentary evidence about
them. Her method is partly quantitative, partly qualitative. Always allowing for the
skewed social distribution and preservation of surviving sources – we know much
less about poor than rich, women than men – she works on the principle that assessing
a wide range of materials will offset the potential distortion caused by concentration
on a smaller selection. Where possible, she does not rely on only one informant, one
narrative, or one genre of writing. In cases where the generic range is more limited,
for example in her examination of funerary epitaphs in Gaul, 350–700, she makes a
comparative analysis of different locations, distinguishing between their vocabulary
choices and emotional emphases.
Rosenwein’s overall purpose is to find the historical ‘mind-sets’ in which past
emotions were expressed and understood. In doing so, she does not privilege the
‘sincere’ or discount the ‘banal’ in the emotion-related utterances she collects. She
looks instead for the testimony they provide of what was emotionally imaginable, or
socially normative, in their time and place, and of what emotion concepts were
regarded as compatible within the same frame of reference. Her work continues the
interest in deliberative and ritualized emotion seen in her earlier collection Anger’s
Past.2 That interest also underpins her explicit rejection of Norbert Elias’s view of a
childishly uninhibited middle ages undergoing increasing emotional regulation by the
super-ego into modern times.3 Departing from the idea of emotion as a ‘drive’ needing
‘discharge’, she emphasizes the cognitive, relational and culturally constructed nature
of emotional understanding and expression.
4 Andrew Lynch
Accordingly, Rosenwein’s view of the emotions’ relation to historical change is
fine-grained and textually attuned. She takes the view that variations in emotional
vocabularies and the rise and fall of emotional styles may indicate longer-term change
in the conditions of political and social organization or new dominant ideological
influences, but that they may also reflect relatively short-term local occurrences.
Changes in forms of emotional expression are treated as occasions for further historical
investigation, but a key feature of Rosenwein’s approach is that she allows for the
simultaneous existence of various emotional communities within the one time and
place, and that individuals may inhabit multiple such communities. She explains this
through a complex model of emotional ‘circles’:

Imagine, then, a large circle within which are smaller circles, none entirely
concentric but rather distributed unevenly within the given space. The large circle
is the overarching emotional community, tied together by fundamental assump-
tions, values, goals, feeling rules, and accepted modes of expression. The smaller
circles represent subordinate emotional communities, partaking in the larger one
and revealing its possibilities and its limitations. They too may be subdivided. At
the same time other large circles may exist, either entirely isolated from or
intersecting with the first at one or more points.4

In practice, Rosenwein’s use of the term ‘emotional community’ is therefore very

flexible and covers quite different entities: Christian congregations in particular Gallic
cities; the audience implied by the emotional norms of the voluminous writings of
Gregory the Great (c. 540–604); even a group of just two people – Gregory of Tours
(c. 538–94) and Venantius Fortunatus (c. 530–c. 600/09). Rather than operating as a
blanket term indicating general likeness, her idea of ‘community’ is often used to
make subtle distinctions of difference in emotional style. So, for instance, although
Pope Gregory, Fortunatus and Gregory of Tours all share basic attitudes to heavenly
joy and worldly pleasure, Pope Gregory tends to reject family-based emotions in the
interests of a greater community of God, while the other two seem quite willing to
apply the same emotions to earthly and heavenly objects.
As Rosenwein acknowledges, her use of ‘emotional communities’ relates in part
to Brian Stock’s concept of ‘textual communities’.5 Stock employed this term in
describing how the spread of literacy activated medieval heretical and reformist groups:
‘What was essential to a textual community was not a written version of a text, although
that was sometimes present, but an individual, who having mastered it, then utilized
it for reforming a group’s thought and action’.6 Stock’s textual community seems to
resemble an emotional community most especially when its members have reached
the stage of ‘shared assumptions’ about interpretation of their text, ‘the textual
foundation of behaviour having been entirely internalized’.7
An apparent major difference is that Stock concentrates on the role of particular
text use (including further oral dissemination of texts) in the formation and functioning
of individual groups. Rosenwein, by contrast, analyses patterns of emotion terms in
large-scale samples (‘dossiers’) of the written record of existing ‘social communities’
such as cities, clerical and monastic circles and courts. She indicates, nevertheless, that
these could also be considered as ‘textual communities’, broadly speaking, for whose
members books were ‘part of the self ’, providing intimate models of emotional
 Emotional community 5
behaviour and evaluation. If an ‘emotional community’ can be derived from one man’s
writings (Pope Gregory’s) or from the circulation of works by anonymous writers
who probably did not know each other personally, then the constitution of these
communities seems as much textual as social, a back-formation from the documents
themselves. In her most recent book, Rosenwein discusses early modern English
writings on melancholy by Spenser, Shakespeare, Burton and Bunyan simply as
‘representative literary works of the period . . . that must have appealed to a wide and
literate public’.8
Rosenwein’s reference to shared ‘norms of emotional expression’ also gives her
emotional communities a relation to the idea of ‘emotionology’, as put forward by
Peter and Carol Stearns: ‘the attitudes or standards that a society, or a definable group
within a society, maintains toward basic emotions and their appropriate expression’.9
On the other hand, Rosenwein rejects the Stearns’ time-line of growth in emotional
control, and is alert to textual factors which contradict or complicate the picture derived
from studying emotional prescriptions. That said, it is difficult to treat emotional
experience, emotion language and emotional expression as quite separate categories.
Rosenwein herself anticipates Jan Plamper’s comment that ‘[e]motional commun-
ities could have . . . affinities with Foucault’s “discourse”, Bourdieu’s “habitus” and
William Reddy’s “emotives” ’.10
Reddy’s ‘emotional regimes’ are also a related concept: in their ‘strict’ form these
‘require individuals to express normative emotions and to avoid deviant emotions’.11
Rosenwein speaks occasionally of ‘emotion scripts’ but sees them as the outcome of
a freer process of social interaction and negotiation.12 To her Reddy’s ‘emotional
regimes’ may represent an overly restrictive binarism – ‘either one is at court or one
is in a sentimental refuge’.13 She prefers to speak of a co-existing variety of emotional
‘constellations’ or ‘sets’ which include and exclude, privilege and downplay, particular
emotions and versions of emotional life. Even within the one emotional community,
she writes, there may be places of both ‘suffering’ and ‘refuge’, in Reddy’s terms.
Jan Plamper has argued that Rosenwein’s own terminology may be ‘insufficiently
open and radical’: ‘the boundaries of an emotional community’ are ‘so porous and
transient that one should rather be compelled to move away from the terminology
of “boundary” and hence of “community” ’.14 Yet it might be said that this porosity
is already accepted within Rosenwein’s notion of emotional community on the level
of individual practice. Her model of overlapping and non-concentric emotional
‘circles’, cited above, already weakens the restrictive implications of ‘community’: she
notes ‘some people’s adaptability to different sorts of emotional conventions as they
move from one group to another’.15 More broadly, the term ‘community’ suits her
fundamental view of emotions as both forms and products of social relations.
One valuable aspect of ‘emotional community’ is its portability and flexibility; it
is equally applicable to a convent, a school of artists, a court, an epistolary network
or texts from a military culture. A potential problem stems from the far greater range
and quantity of documents from the early modern period in comparison to the earlier
medieval era that Rosenwein originally researched. That makes the selection of
historical sources used to define ‘community’ and to track emotional changes –
Rosenwein uses the archaeological term ‘judgmental sampling’16 – more controversially
directive. How does one decide amongst the many potential ‘communities’ that might
be constructed? The term will perhaps always be most persuasive when it relates
6 Andrew Lynch
strongly to an existing social unit or a specific shared enterprise, but in general the
necessity of including emotional commonalities amongst the important factors that
both shape and distinguish early modern communities seems indisputable.

Further reading
Karant-Nunn, S., The Reformation of Feeling: Shaping the Religious Emotions in Early Modern Germany
(Oxford: Oxford University Press, 2010)
—considers how church leaders and preachers of various confessions in the sixteenth and seventeenth
centuries used different modes of emotional expression and engagement to shape a communal religious
consciousness amongst their followers.
Kuijpers, E., ‘ “O, Lord, save us from shame”: Narratives of Emotions in Convent Chronicles by Female
Authors During the Dutch Revolt, 1566–1635’, in S. Broomhall (ed.), Gender and Emotions in
Medieval and Early Modern Europe: Destroying Order, Structuring Disorder (Farnham: Ashgate, 2015),
127–46.
—analyses writings by enclosed nuns about their sufferings in the Dutch wars of religion to exemplify
communal management of emotions according to available cultural means, including familiarity with
various written genres and a shared practice of emotional ‘styles’.
Mullaney, S., The Reformation of Emotions in the Age of Shakespeare (Chicago: University of Chicago Press,
2015)
—discusses Elizabethan popular theatre ‘as a kind of affective laboratory . . . oriented toward the location,
exploration and exploitation of those fault-lines and dissonances of feeling that characterized the
emotional communities of post-Reformation England’. (69)

Notes
1 B.H. Rosenwein, ‘Problems and Methods in the History of Emotions’, Passions in Context: Journal of
the History and Philosophy of the Emotions 1, 1 (2010), online at www.passionsincontext.de/index.php/
?id=557, accessed 27 June 2016.
2 Rosenwein (ed.), Anger’s Past: The Social Uses of an Emotion in the Middle Ages (Ithaca: Cornell University
Press, 1998)
3 N. Elias, The Civilizing Process (Oxford: Blackwell, 1994)
4 Rosenwein, Emotional Communities in the Early Middle Ages (Ithaca: Cornell University Press, 2006),
24.
5 B. Stock, The Implications of Literacy: Written Language and Models of Interpretation in the 11th and 12th
Centuries (Princeton: Princeton University Press, 1983)
6 Ibid., 90.
7 Ibid., 91.
8 B.H. Rosenwein, Generations of Feeling. A History of Emotions, 600–1700 (Cambridge: Cambridge
University Press, 2015), 254.
9 P.N. Stearns with C.Z. Stearns, ‘Emotionology: Clarifying the History of Emotions and Emotional
Standards’, American Historical Review 90, 4 (1985), 813–36, quote 813.
10 J. Plamper, The History of Emotions: An Introduction, (trans) K. Tribe (Oxford: Oxford University Press,
2015), 69. See Rosenwein, Emotional Communities, 25.
11 W.M. Reddy, The Navigation of Feeling (Cambridge: Cambridge University Press, 2001), 125.
12 Rosenwein, ‘Problems and Methods’, 20.
13 Rosenwein, Emotional Communities, 23.
14 Plamper, The History of Emotions, 71.
15 Rosenwein, Emotional Communities, 25.
16 Rosenwein, Generations of Feeling, 12.