Feminae: Medieval Women and Gender Index


4 Record(s) Found in our database

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1. Record Number: 43540
Author(s): Lawless, Catherine
Contributor(s):
Title : ‘Make your house like a temple’: Gender, Space and Domestic Devotion in Medieval Florence
Source: Religions , 11., 3 ( 2020):  Pages [1] - [21]. Available open access on the MDPI website: https://doi.org/10.3390/rel11030120
Year of Publication: 2020.
2. Record Number: 262
Author(s): Zinck, Arlette.
Contributor(s):
Title : Vindication of the Feminine in the Showings of Julian of Norwich
Source: Sovereign Lady: Essays on Women in Middle English Literature.   Edited by Muriel Whitaker .   Garland Publishing, 1995. Religions , 11., 3 ( 2020):  Pages 171 - 187.
Year of Publication: 1995.
3. Record Number: 10528
Author(s): Piponnier, Francoise.
Contributor(s):
Title : The World of Women [Living quarters and work areas (and artistic representations of domestic activity) reveal much about the everyday life and work of medieval women. Rural women were involved in agricultural tasks like tending grapevines and animals, artisan wives and widows participated in selling crafts, and textile production was largely done by urban women (as were the professional activities of sewing and spinning). Evidence from medieval dwellings gives insight into women’s duties in the domestic sphere, including raising children, preparing meals, and even managing the household. Although they did dominate certain fields such as textile production, women at all levels of society enjoyed less freedom of movement and action than men. Title note supplied by Feminae.].
Source: A History of Women in the West. Volume 2: Silences of the Middle Ages.   Edited by Christiane Klapisch-Zuber .   Belknap Press of Harvard University Press, 1992. Religions , 11., 3 ( 2020):  Pages 323 - 335.
Year of Publication: 1992.
4. Record Number: 12745
Author(s): Harbison, Craig.
Contributor(s):
Title : Sexuality and Social Standing in Jan van Eyck's Arnolfini Double Portrait [The painting of Giovanni Arnolfini and his wife Giovanna Cenami depict the couple holding hands while standing in the bedroom, but the rest of the iconography and inscriptions throughout the image do not necessarily suggest that the double portrait is the visual equivalent of a marriage certificate or contract. The visual representation of husband and wife (including gestures and iconography) is instead a more generalized image of marriage that reflects the importance of fertility and defined sexual roles for men and women. Furthermore, the artist's detailed depiction of domestic space projects the social status, courtly aspirations, and religious values of the merchant class Arnolfini couple. Title note supplied by Feminae.].
Source: Renaissance Quarterly , 43., 2 (Summer 1990):  Pages 249 - 291.
Year of Publication: 1990.