Material and Emotional Worlds of Albrecht Dürer’s Nuremberg

Jennifer Spinks is Hansen Associate Professor in History, University of Melbourne. Her publications include Monstrous Births and Visual Culture in Sixteenth-Century Germany (2009), Disaster, Death and the Emotions in the Shadow of the Apocalypse, 1400–1700 (co-edited, 2016), and Albrecht Dürer’s Material World (co-edited, 2023). Sasha Handley is Professor of Early Modern History at the University of Manchester. Her publications include New Directions in Social and Cultural History (co-edited, 2018), Sleep in Early Modern England (2016), and Visions of an Unseen World: Ghost Beliefs and Ghost Stories in Eighteenth-Century England (2007). Charles Zika is Professorial Fellow in History, University of Melbourne. His publications include Feeling Exclusion: Religious Conflict, Exile and Emotions in Early Modern Europe (co-edited, 2019), The Appearance of Witchcraft: Print and Visual Culture in Sixteenth-Century Europe (2007), and Dürer and his Culture (co-edited, 1998).

• 1. Albrecht Dürer and Nuremberg – Material Connections and Emotional Resonances Part I: Nuremberg’s Material Creativity 2. Dürer and the Allure of Silver 3. Dürer’s Pillows 4. Multispecies Affectivity in Albrecht Dürer’s Material Renaissance: The Matter of Birds 5. Soundings of Albrecht Dürer’s Affective Material World Part II: Engendering Communities 6. The Collaborative Dürer 7. Parungan and Paragone: Subject and Object in Dürer’s Venetian Letters 8. Nuremberg Sculptors, Materials and Devotions in the Choir of St. Sebald’s 9. Confronting Jews in Dürer’s Nuremberg 10. Dürer’s Sensory Journey to the Netherlands. Material Encounters of a Curious Mind Part III: Reshaping Visual Cultures 11. “A miraculous gift from God”: Dürer’s Translation of the Physical World into Art 12. Blood Rain: Wonder, Materiality and Emotions in Albrecht Dürer’s Gedenkbuch 13. The Enigma of the Object and the Flight of Melancholy in Albrecht Dürer’s Melencolia I 14. Engravings worth one Gulden’: Dürer, Money and the Value of Art 15. Making and Remaking Melencolia I: Nuremberg, Antwerp and Manchester