emotional cultures; Early Modern; fashion and tradition; Reformation; innovation; values; craft; Renaissance; materiality; identities; gold; glas; veils; feathers
HANß STEFAN (2019), MATERIAL ENCOUNTERS: KNOTTING CULTURES IN EARLY MODERN PERU AND SPAIN, in The Historical Journal
, 62(3), 583-615.
BurkartLucas (2019), Die Renaissance als Kultur der Nachahmung, Aneignung und Neuschöpfung, in Matzke Michael (ed.), Battenberg Gietl Verlag, Regenstauf, 7-27.
Hanß Stefan (2018), Plumes: visions de l'Amérique précolombienne, in Colonial Latin American Review
, 26(4), 546-547.
Hanß Stefan (2018), Material Culture and Food - Conservation of Featherwork from Central and South America. Edited by Ellen Pearlstein . London: Archetype Publications, 2017. Pp. x, 106. 205 illustrations. $65.00 paper., in The Americas
, 75(1), 198-199.
HanßStefan (2018), Golden Kingdoms: Luxury Arts in the Ancient Americas. Edited by Joanne Pillsbury, Timothy Potts and Kim N. Richter. Los Angeles: J. Paul Getty Museum and Getty Research Institute, 2017., in The Americas: A Quarterly Review of Latin American History
, 75(4), 755-756.
CalviSonia (2018), Zur inspection und handhabung der angestelten reformation: Die Basler Reformationsherren im 17. und 18. Jahrhundert, in Basler Zeitschrift für Geschichte und Altertumskunde
, 118, 249-279.
Burkart Lucas (2016), Buchbesprechung: Contadini, Anna / Claire Norton (Hrsg.), The Renaissance and the Ottoman World, Farnham / Burlington 2013, Ashgate, in Zeitschrie fur Historische Forschung
, 43(1), 127-129.
BondKatherine, "Fashioned with Marvellous Skill”: Veils in the Costume Books of Sixteenth-century Europe, in Göttler Christine, Burkart Lucas, Rublack Ulinka, Burghartz Susanna (ed.), Amsterdam University Press, Amsterdam.
Rublack Ulinka, Befeathering the European: Feathers as Matter in the European Renaissance, in American Historical Review
, (March 2021).
Hanß Stefan, Making Feather-work in Early Modern Europe, in Göttler Christine, Burkart Lucas, Burghartz Susanna, Rublack Ulinka (ed.), Amsterdam University Press, Amsterdam.
Burkart Lucas, Burghartz Susanna, Rublack Ulinka, Göttler Christine (ed.), Materialized Identities: Objects - Affects - Effects in Early Modern Culture, 1450-1750
, Amsterdam University Press, Amsterdam.
Burghartz Susanna, Burkart Lucas, Göttler Christine, Rublack Ulinka, Materialized Identities: Objects - Affects - Effects in Early Modern Culture, 1450-1750: Introduction, in Göttler Christine, Burghartz Susanna, Burkart Lucas, Rublack Ulinka (ed.), Amsterdam University Press, Amsterdam.
BurghartzSusanna, Moral Materials: Veiling in Early Modern Protestant Cities; The Cases of Basel and Zurich, in Burkart Lucas, Burghartz Susanna, Rublack Ulinka, Göttler Christine (ed.), Amsterdam University Press, Amsterdam.
RublackUlinka, Moving Feathers in the Material Renaissance, in Gleixner Ulrike (ed.), Harassowitz, Wiesbaden.
BukartLucas, Negotiating the Pleasure of Glass: Production, Consumption and Affective Regimes in Renaissance Venice, in Göttler Christine, Burkart Lucas, Rublack Ulinka, Burghartz Susanna (ed.), Amsterdam University Press, Amsterdam.
HanßStefan, New World Feathers and the Matter of Early Modern Ingenuity: Digital Microscopes, Period Hands, and Period Eyes, in Marcaida José Ramón, Oosterhoff Richard J., Marr Alexander (ed.), University of Pittsburgh Press, Pittsburgh.
Rublack Ulinka, Performing America: Feather-work and Affective Politics, in Burkart Lucas, Göttler Christine, Rublack Ulinka, Burghartz Susanna (ed.), Amsterdam University Press, Amsterdam.
Scuro Rachele, Shaping Identity through Glass in Renaissance Venice, in Rublack Ulinka, Burkart Lucas, Göttler Christine, Burghartz Susanna (ed.), Amsterdam University Press, Amsterdam.
SeehaferMichèle, Shimmering Virtue: Joris Hoefnagel and the Uses of Shell Gold in the Early Modern Period, in Rublack Ulinka, Göttler Christine, Burghartz Susanna, Burkart Lucas (ed.), Amsterdam University Press, Amsterdam.
GöttlerChristine, Yellow, Vermilion, and Gold: Colour in Karel van Mander’s Schilder-Boeck, in Burghartz Susanna, Rublack Ulinka, Göttler Christine, Burkart Lucas (ed.), Amsterdam University Press, Amsterdam.
This project will engage with the agentive qualities of matter; it will show how affective dimensions in history connect with material history; and it will explore the religious and cultural identities dimensions of the use of objects and materials. It is embedded in a fresh perspective onto the material culture of the early modern period which has produced a distinguished historiography in recent years. We argue that it is important to address the vibrancy of matter itself, that is to say the ability of things to exceed their status as mute objects through their material properties. We will ask, how, in a particular culture and emotional community, were interactions with particular materials valorised and which emotions did they elicit? And how did the interplay of matter and emotion shape individual and group identities? Historians of emotions have firmly established that each period is distinguished by different emotional styles, communities and mandatory regimes. However, the role of objects as constitutive of subjectivities and emotions has only recently begun to attract scholarly attention. By taking current debates into new directions, this project seeks to formulate nuanced accounts of agentive materialities in relation to early modern social life, politics and cultures. To achieve this goal the project will approach ‘the material’ through four themes - gold, glass, veils and feathers - in relation to specific individuals as well as interpretative communities. These four types of materialities and object groups were each attached to different sensory regimes and valorisations, which underwent significant changes during this period.Our focus on materials and their relation to values and affects means working through a series of research questions, which will benefit especially from interdisciplinary collaboration. We work from the premise that subjectivities in this period emerged in relation to an ever-increasing object world. Artefacts embodied and produced values, they reflected and shaped emotional desires as well as bodily sensations. As historians and art historians have begun to show, artists and other creators and makers in the late medieval and early modern periods often played with, used and interrogated materiality. They were open to experiencing the qualities and histories of matter not in metaphorical terms but as potential carriers of sentient feeling. This dialogue with matter vigorously continued in the Reformation and confessional age. These redefined the spiritual status of matter rather than obliterating it, and we need to gain a much better understanding of how this was so. Almost everyone in late medieval and early modern society in some way lived from or experimented with transforming matter, through their labour, interests or quotidian practices. At the same time many of these societies were involved in a continuous struggle with materiality and its threats to societal order. A long-lasting conflict between tradition and fashion grew from these tensions, a conflict that remained unresolved throughout the Early Modern period. A crucial aspect of these insights is therefore that art and craft in this period was no frozen ‘tradition’ or just the realm of specific experts - the early modern period was a made world and a world in the making.Our methodologies will combine a qualitative analysis of serial records and ego-documents with object-led approaches. The cooperation of academics with curators and makers allows for fresh perspectives in the field and in turn impacts on museum exhibitions or displays. This proposed research group has five overarching aims:1. to rethink the category of materiality.2. to connect the history of material culture to the history of emotions.3. to shape religious milieus and cultures and to add protestant as well as converso-cultures into a European topography of Early Modern material culture dominated by catholic cultures of Renaissance Italy.4. to enhance the communication and collaboration between the academy and museums.5. to strengthen the visibility of Swiss research in the largely Anglo-American research debate on material history in the early modern world.