Feminae: Medieval Women and Gender Index


3 Record(s) Found in our database

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1. Record Number: 6642
Author(s): Mills, Robert.
Contributor(s):
Title : Ecce Homo [the author critiques both Caroline Bynum and Leo Steinberg in regard to their interpretations of the erotic in religious thought and imagery; the author argues for a recognition of the homoerotic observing "Christ's body was a fundamentally ambivalent symbol, invested with both hegemonic and counter-hegemonic significance" (page 164)].
Source: Gender and Holiness: Men, Women, and Saints in Late Medieval Europe.   Edited by Samantha J. E. Riches and Sarah Salih .   Routledge, 2002.  Pages 152 - 173.
Year of Publication: 2002.
2. Record Number: 6684
Author(s): Camille, Michael
Contributor(s):
Title : For Our Devotion and Pleasure: The Sexual Objects of Jean, Duc de Berry
Source: Art History , 24., 2 (April 2001):  Pages 169 - 194.
Year of Publication: 2001.
3. Record Number: 12729
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : Donatello's Bronze 'David': Grillanda, Goliath, Groom? [Art historians have explored many perspectives on Donatello's youthful and androgynous representation of the nude David including psychoanalytic and homoerotic perspectives, but these male centered approaches overlook the possibility of a female audience for the statue. Paintings on contemporary Florentine cassoni (wedding chests), including scenes from the life of David (like his battle with Goliath or his subsequent wedding to a royal bride) or seemingly unrelated depictions of scantily clad males (often painted underneath the lids), establish the possibility of a wedding context for Donatello's sensuous nude. In the context of nuptial imagery, this representation of David might appeal to a prospective bride as well as the narcissistic or homoerotic desire of an imagined male audience. Title note supplied by Feminae.].
Source: Studies in Iconography , 15., ( 1993):  Pages 113 - 134.
Year of Publication: 1993.