Women come to the fore in witchcraft trials as accused persons or as witnesses, and this book is a study of women’s voices in these trials in eight countries around the North Sea: Spanish Netherlands, Northern Germany, Denmark, Scotland, England, Norway, Sweden, and Finland. From each country, three trials are chosen for close reading of courtroom discourse and the narratological approach enables various individuals to speak. Throughout the study, a choir of 24 voices of accused women are heard which reveal valuable insight into the field of mentalities and display both the individual experience of witchcraft accusation and the development of the trial. Particular attention is drawn to the accused women’s confessions, which are interpreted as enforced narratives. The analyses of individual trials are also contextualized nationally and internationally by a frame of historical elements, and a systematic comparison between the countries shows strong similarities regarding the impact of specific ideas about witchcraft, use of pressure and torture, the turning point of the trial, and the verdict and sentence. This volume is an essential resource for all students and scholars interested in the history of witchcraft, witchcraft trials, transnationality, cultural exchanges, and gender in early modern Northern Europe.

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Having written a bestselling book at 22, survived a harrowing battle with anorexia nervosa, and pursued a successful career as a clinical psychologist, Lucy Daniels has led a remarkable life. In With a Woman's Voice: A Writer's Struggle for Emotional Freedom, her first book in 40 years, Daniels shares the experience of overcoming emotional hardships and gaining valuable insights from them, through psychoanalysis, that has enabled her to help others. With a Woman's Voice is Daniels' memoir of the struggles she faces as a writer and a doctor of psychology, struggles that began at a very young age and continued long after the success of her two novels. As the child of a wealthy newspaper family, Daniels was emotionally deprived by her demanding parents and plagued by her own feelings of inadequacy and helplessness. Sent to a mental hospital for treatment of her anorexia, she spent years enduring brutal regimens of electroshock therapy, insulin injections, and force-feedings. It was during this time that she wrote Caleb, My Son. Caleb, My Son became a national bestseller, earning accolades for its portrayal of racial and generational conflict in the South of the 50s. Her second book, High on a Hill, was a fictional account of the time she spent in the hospital. Her novels won her a Guggenheim fellowship and extensive praise. After this early success, Daniels succumbed to writer's block that lasted several decades. She tells in her memoir of her decision to examine and resolve her problems, leading her to seek psychoanalytic treatment while pursuing a doctorate in clinical psychology. After years of examining her difficulties and learning how they could be treated, she created a foundation that helps artists overcome emotional disorders and gain creative insight from both self-examination and psychotherapy. With a Woman's Voice recalls these achievements, and the difficult years that led up to them, with insight, humor, and wisdom. Daniels provides a moving account of

This book is an autobiography of Samuel Leech, a young sailor in the Royal Navy and the United States Navy during the War of 1812. Leech's nautical career began in 1810, at the age of thirteen, when Lord William FitzRoy agreed to take Samuel into his frigate HMS Macedonian, as a favor to FitzRoy's sister Frances, the wife of Francis Spencer, 1st Baron Churchill, Leech being the son of one of her servants.

Digressive Voices in Early Modern English Literature looks afresh at major nondramatic texts by Donne, Marvell, Browne, Milton, and Dryden, whose digressive speakers are haunted by personal and public uncertainty. To digress in seventeenth-century England carried a range of meaning associated with deviation or departure from a course, subject, or standard. This book demonstrates that early modern writers trained in verbal contest developed richly labyrinthine voices that captured the ambiguities of political occasion and aristocratic patronage while anatomizing enemies and mourning personal loss. Anne Cotterill turns current sensitivity toward the silenced voice to argue that rhetorical amplitude might suggest anxieties about speech and attack for men forced to be competitive yet circumspect as they made their voices heard.

This text contains Samuel Leech's fascinating account of his nautical adventures. 'Thirty Years From Home, Or, A Voide From the Main Deck' provides an intriguing insight into life in a man of war - recounted as it appears to the sailor on board. Leech made it his duty to 'state facts as they were when I was a sailor', with an object of giving as true a picture as possible, of everyday occurrences in naval service. This is a unique book, now incredibly scarce, providing a valuable contribution to the historical narrative - of both the British and American navies, as well as providing a rare account of the capture of the Macedonian by the United States in 1812. Many vintage texts such as this are becoming increasingly hard to come by, and it is with this in mid that we are republishing this volume in an affordable, modern addition. It now comes complete with a specially commissioned new biography of the author.

First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

An exploration of the castrato as a critical provocation to explore the relationships between sound, music, voice instrument, and machine. Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon’s revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell.

A model for cultural activism and pedagogy through art and community engagement