Feminae: Medieval Women and Gender Index
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4 Record(s) Found in our database
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1.
Record Number:
20788
Author(s):
Contributor(s):
Title :
Immersed in Things of the Body: Humor and Meaning in the Annunciation by Filippo Lippi [Examines the background figures in Lippi's Annunciation at the Palazzo Barberini and the significance of their gesture and movement as an iconographic foil to the interaction between Mary and the Archangel Gabriel; examines the parallels between the work's composition and the use of humor in contemporary drama in illustrating themes of Christ's incarnation. Title note supplied by Feminae.]
Source:
Studies in Iconography , 25., ( 2004): Pages 173 - 196.
Year of Publication:
2004.
2.
Record Number:
5030
Author(s):
Clifton, James,
Contributor(s):
Title :
Gender and Shame in Masaccio's "Expulsion from the Garden of Eden" ["Here both gestures - Eve in covering her erogenous zones, Adam in leaving his exposed and in covering only his face - suggest that, in conformity with Italian mores, it is only the woman's sexuality that is at issue and that the sin associated with her sexuality dishonours the man. Adam's exposure does not dishonour him; rather it serves to draw the insistent distinction between men and women, fundamental to the honour-shame paradigm, which is manifested most recognizably in anatomy." (Page 650)].
Source:
Art History , 22., 5 (December 1999): Pages 637 - 655.
Year of Publication:
1999.
3.
Record Number:
11069
Author(s):
Camille, Michael.
Contributor(s):
Title :
Gothic Signs and the Surplus: The Kiss on the Cathedral [The kiss was a sign with many meanings, and its symbolic significance in medieval visual and verbal representations is manifold. A sculpture on the West Front of Amiens Cathedral depicts the sin of lechery through the image of a man and woman kissing, yet the kiss did not always stand in for representations of sexual intercourse (legitimate or illicit). The kiss could have spiritual and allegorical significance (e.g., visual representations of the Song of Songs), legal force (e.g., feudal and courtly rituals), treacherous or transgressive overtones (e.g., representations of Judas and Christ or other same-sex couples kissing), mystical meanings, or devotional purposes (e.g., the kiss of peace). Title note supplied by Feminae.].
Source:
Yale French Studies
(Full Text via JSTOR) (1991): 151-170. Special Editions: Style and Values in Medieval Art and Literature.
Link Info
Year of Publication:
1991.
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.