Feminae: Medieval Women and Gender Index

7 Record(s) Found in our database

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1. Record Number: 10857
Author(s): Salih, Sarah.
Title : The Medieval Looks Back: A Response to "Troubled Vision" [Salih provides a brief case study of manuscript illuminations of monsters from a copy of "Mandeville's Travels." She argues that the hyper-masculinity of the naked giants defines them as other, bereft of culture and social order. Title note supplied by Feminae.].
Source: Troubled Vision: Gender, Sexuality, and Sight in Medieval Text and Image.   Edited by Emma Campbell and Robert Mills .   Palgrave Macmillan, 2004.  Pages 223 - 231.
Year of Publication: 2004.

2. Record Number: 7252
Author(s): Sheingorn, Pamela.
Title : Joseph the Carpenter's Failure at Familial Discipline [The author examines representations of Joseph in some fourteenth century texts and illustrations concerning apocryphal stories of the flight into Egypt. He is presented very negatively both as a Jew and a member of the lower class. His masculinity is even further questioned because he cannot protect his family nor can he assert his patriarchal authority over his wife and child. Title note supplied by Feminae.].
Source: Insights and Interpretations: Studies in Celebrations of the Eighty-Fifth Anniversary of the Index of Christian Art.   Edited by Colum Hourihane .   Index of Christian Art, Department of Art and Archaeology, Princeton University in association with Princeton University Press, 2002.  Pages 156 - 167.
Year of Publication: 2002.

3. Record Number: 6209
Title : The Medieval Hero Through a Modernist Painter's Eyes: David Jones and the Pictorial Re-presentation of Lancelot
Source: Seeing Gender: Perspectives on Medieval Gender and Sexuality. Gender and Medieval Studies Conference, King's College, London, January 4-6, 2002. .  2002.
Year of Publication: 2002.

4. Record Number: 8852
Author(s): Baskins, Cristelle L.
Title : (In)Famous Men: The Continence of Scipio and Formations of Masculinity in Fifteenth-Century Tuscan Domestic Painting [The author explores the representation of Scipio Africanus in Florentine "cassoni" paintings on wedding furniture and argues for a range of masculinities. Some paintings celebrate his sexual restraint with Scipio returning the captured princess to her betrothed. However, other paintings present him as a conqueror with booty, an exemplar of masculine financial and political success for the bridegroom viewer. Title note supplied by Feminae.].
Source: Studies in Iconography , 23., ( 2002):  Pages 109 - 136.
Year of Publication: 2002.

5. Record Number: 8090
Author(s): Laskaya, Anne.
Title : The Feminized World and Divine Violence: Texts and Images of the Apocalypse [The author argues that the illustrations in late medieval Apocalypse books present a triumphant militant masculinity opposed to a variety of feminized threats including the Great Whore of Babylon, monsters, and even the verdant earth. Title note supplied by Feminae.].
Source: Domestic Violence in Medieval Texts.   Edited by Eve Salisbury, Georgiana Donavin, and Merrall Llewelyn Price .   University Press of Florida, 2002. Studies in Iconography , 23., ( 2002):  Pages 299 - 341.
Year of Publication: 2002.

6. Record Number: 3654
Author(s): Dressler, Rachel.
Title : Steel Corpse: Imaging the Knight in Death [The author argues that British tomb effigies constructed an elite, warrior masculinity].
Source: Conflicted Identities and Multiple Masculinities: Men in the Medieval West.   Edited by Jacqueline Murray .   Garland Medieval Casebooks, volume 25. Garland Reference Library of the Humanities, volume 2078. Garland Publishing, 1999. Studies in Iconography , 23., ( 2002):  Pages 135 - 167.
Year of Publication: 1999.

7. Record Number: 12747
Author(s): Emison, Patricia.
Title : The Word Made Naked in Pollaiuolo's "Battle of the Nudes" [It is unknown whether Antonio Pollaiuolo's late fifteenth century engraving of nude men engaged in battle refers to a text or not. While previous depictions of nude males (such as figures of David) often relied upon an explicit or implicit textual reference and depicted the youthful male as the ideal of masculine beauty, Pollaiulo's engraving does not clearly invoke any text and offers a virile, adult ideal for the male nude. Interpretations of the engraving have varied, as some of the items throughout the image (such as weapons and chains) could have allegorical significance if they are interpreted as iconography. The author suggests that works of art produced during Pollaiuolo's time that feature nudes, which some have tried to interpret as depicting certain classical myths, epics, or moments in history, may communicate as images without reference to any text. Artists may produce works of art for purely formal or aesthetic reasons with no subject or text in mind. Title note supplied by Feminae.].
Source: Art History , 13., 3 ( 1990):  Pages 261 - 275.
Year of Publication: 1990.