In an exciting new approach to witchcraft studies, The Witch in the Western Imagination examines the visual representation of witches in early modern Europe. With vibrant and lucid prose, Lyndal Roper moves away from the typical witchcraft studies on trials, beliefs, and communal dynamics and instead considers the witch as a symbolic and malleable figure through a broad sweep of topics and time periods. Employing a wide selection of archival, literary, and visual materials, Roper presents a series of thematic studies that range from the role of emotions in Renaissance culture to demonology as entertainment, and from witchcraft as female embodiment to the clash of cultures on the brink of the Enlightenment. Rather than providing a vast synthesis or survey, this book is questioning and exploratory in nature and illuminates our understanding of the mental and psychic worlds of people in premodern Europe. Roper’s spectrum of theoretical interests will engage readers interested in cultural history, psychoanalytic theory, feminist theory, art history, and early modern European studies. These essays, three of which appear here for the first time in print, are complemented by more than forty images, from iconic paintings to marginal drawings on murals or picture frames. In her unique focus on the imagery of witchcraft, Lyndal Roper has succeeded in adding a compelling new dimension to the study of witchcraft in early modern Europe.

The Holy Roman Empire was the heartland of the witch craze, with around 23,000 witches executed in the early modern period. In this book, Laura Kounine uses case studies of witch trials in early modern Wurttemberg to examine how people sought to identify witches, and the ways in which ordinary men and women fought for their life to avoid the stake.

For the first time in English, Michael Ostling tells the story of the imagined Polish witches, showing how ordinary peasant-women got caught in webs of suspicion and accusation, finally confessing under torture to the most heinous of crimes.

Imagining the Witch explores emotions, gender, and selfhood through the lens of witch-trials in early modern Germany. Witch-trials were clearly a gendered phenomenon, but witchcraft was not a uniquely female crime. While women constituted approximately three quarters of those tried for witchcraft in the Holy Roman Empire, a significant minority were men. Witchcraft was also a crime of unbridled passion: it centred on the notion that one person's emotions could have tangible and deadly physical consequences. Yet it is also true that not all suspicions of witchcraft led to a formal accusation, and not all witch-trials led to the stake. Indeed, just over half the total number put on trial for witchcraft in early modern Europe were executed. In order to understand how early modern people imagined the witch, we must first begin to understand how people understood themselves and each other; this can help us to understand how the witch could be a member of the community, living alongside their accusers, yet inspire such visceral fear. Through an examination of case studies of witch-trials that took place in the early modern Lutheran duchy of Württemberg in southwestern Germany, Laura Kounine examines how the community, church, and the agents of the law sought to identify the witch, and the ways in which ordinary men and women fought for their lives in an attempt to avoid the stake. The study further explores the visual and intellectual imagination of witchcraft in this period in order to piece together why witchcraft could be aligned with such strong female stereotypes on the one hand, but also be imagined as a crime that could be committed by any human, whether young or old, male or female. By moving beyond stereotypes of the witch, Imagining the Witch argues that understandings of what constituted witchcraft and the 'witch' appear far more contested and unstable than has previously been suggested. It also suggests new ways of thinking about early modern selfhood which moves beyond teleological arguments about the development of the 'modern' self. Indeed, it is the trial process itself that created the conditions for a diverse range of people to reflect on, and give meaning, to emotions, gender, and the self in early modern Lutheran Germany.

This comprehensive study examines Polish demonology in relation to witchcraft trials in Wielkopolska, revealing the witch as a force for both good and evil. It explores the use of witchcraft, the nature of accusations and the role of gender.

There are good witches and bad witches, but the law says that all witches must be burned at the stake. So when an anonymous note warns, "Someone in this class is a witch," the students in 6B are nervous—especially the boy who's just discovered that he can cast spells and the girl who was named after the most famous witch of all. Witch Week features the debonair enchanter Chrestomanci, who also appears in Charmed Life, The Magicians of Caprona, and The Lives of Christopber Chant. Someone in the class is a witch. At least so the anonymous note says. Everyone is only too eager to prove it is someone else—because in this society, witches are burned at the stake.

Tami has traveled long and far from his home in the south, forbidden to return until he has become a man, in this coming-of-age story. Defeating monsters and saving princesses has not been enough, and now he must find the fabled flower of the witch, but in his quest Tami inadvertently sparks a feud between the villagers who shelter him and the demon Yabra! And when the conflict comes to a head, Tami will have to choose between proving himself as a man, and protecting the villagers he's come to love. Available for the first time in English, Enrico Orlandi's exciting tale of adventure and compassion is a timely reflection on identity, responsibility, and the true meaning of maturity. "My intention when I created Tami and the world of Il fiore della strega, was to tell a fantastic story that would capture the reader's imagination and inspire them to lose themselves in the cold forests of the far north, to feel the icy gaze of the spirits and the warmth of the hearths in each tent. Tami's journey, his difficulties and mistakes, are in essence what every child must face as they grow into adulthood. To those who read this book, I would like to say that a girl can go on adventures, that a boy can cry if he needs to, that there is no right way to grow up. You just have to take the time to understand who you want to be." -- Enrico Orlandi