Feminae: Medieval Women and Gender Index

6 Record(s) Found in our database

Search Results

1. Record Number: 6690
Author(s): Troncarelli, Fabio.
Contributor(s):
Title : Immagini di streghe nei manoscritti medievali [increased belief in witches in the late Middle Ages also involved more frequent illustration of them and their revels; lascivious human figures were combined with animal or demonic figures, often in orgiastic scenes; like Venus, lascivious witches were symbols of lust, in contrast to sacred love; satanic love magic was one of the crimes attributed to witches].

Source: Imaging Humanity/Immagini dell' umanità. Edited by John Casey, Mary Warnement, Jim Whelton, and Anne Wingenter . Bordighera, 2000. Pages 79 - 92.
Year of Publication: 2000.

2. Record Number: 4504
Author(s):
Contributor(s):
Title : A Women is Like… [the author examines three heroines in Chrétien de Troyes and Marie de France; she argues that they are compared to horses and birds in order to indicate their unreliable sexuality]

Source: Romance Quarterly , 46., 2 (Spring 1999): Pages 67 - 73.
Year of Publication: 1999.

3. Record Number: 8633
Author(s): Block, Elaine C.
Contributor(s):
Title : Half Angel - Half Beast: Images of Women on Misericords [The author investigates the reasons why carvings of women appear on misericords, and shows how these carvings evoke women's negative associations with abstract vices, beasts, and devils. A comprehensive list of women on misericords appears at the end of the article. Title note supplied by Feminae.].

Source: Reinardus: Yearbook of the International Reynard Society , 5., ( 1992): Pages 17 - 34.
Year of Publication: 1992.

4. Record Number: 12699
Author(s): Brown, David Alan.
Contributor(s):
Title : Leonardo and the Ladies with the Ermine and the Book [Although Isabella d'Este and Cecilia Gallerani were both active, fashionable, and learned patrons of letters, Leonardo da Vinci (who was patronized by both) depicts the women very differently in his paintings. Cecilia appears in Leonardo's "Lady with the Ermine" as a lively woman whose gaze faces the viewer, but Isabella d'Este appears in Leonardo's drawings as more stately and reserved, sometimes pointing at a book. Isabella likely played a large role in shaping her own image in her portraits, preferring more formal and Classical motifs including the profile pose. Title note supplied by Feminae.].

Source: Artibus et Historiae , 11., 21 ( 1990): Pages 47 - 61.
Year of Publication: 1990.

5. Record Number: 12872
Author(s): Williamson, Joan B.
Contributor(s):
Title : The Lady with the Unicorn and the Mirror [The article discusses the relationship between literature and the Tapestries of the Lady with the Unicorn in the Musée de Cluny, Paris. Title note supplied by Feminae.].

Source: Reinardus: Yearbook of the International Reynard Society , 3., ( 1990): Pages 213 - 225.
Year of Publication: 1990.

6. Record Number: 11198
Author(s): Smith, Susan L.
Contributor(s):
Title : The Power of Women Topos on a Fourteenth-Century Embroidery

Source: Viator , 12., ( 1990): Pages 203 - 234.
Year of Publication: 1990.