Titlebook: Disaster, Death and the Emotions in the Shadow of the Apocalypse, 1400–1700; Jennifer Spinks,Charles Zika Book 2016 The Editor(s) (if appl

軍火

玷污

God’s Executioners: Angels, Devils and the Plague in Giovanni Sercambi’s Illustrated , (1400)ary Giovanni Sercambi. Completed in 1400, the richly illustrated manuscript (Lucca, Archivio di Stato, ms. 107) records seven epidemics, from the Black Death to the century’s end. Demons or angels are shown unleashing the disease on helpless humanity. Among the earliest visual evocations of the expe

flourish

辯論的終結(jié)

Framing Warfare and Destruction in Sixteenth-Century Netherlandish Prints: The , Series by Maarten vions from what once happened to the Jewish people. Maarten van Heemskerck treats the Old Testament stories like a visual documentary with short text, a factual account that opens a window into the past. While Heemskerck’s . (1569)—a single print of larger dimensions—is an image full of drama and emo

hypertension

ungainly

armistice

Dragged to Hell: Family Annihilation and Brotherly Love in the Age of the Apocalypser of a family by a member followed by their suicide) are particularly sensational because the affective relationship between murderer and victim traditionally presupposes an individual duty of care. While also true for the early modern period, media representations of family annihilations mitigated

廚師

發(fā)怨言

Palgrave Studies in the History of Emotionshttp://image.papertrans.cn/e/image/280887.jpg

古老

https://doi.org/10.1057/978-1-137-44271-0Disaster; European History; Europe; Death; Apocalypse