Feminae: Medieval Women and Gender Index


20 Record(s) Found in our database

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1. Record Number: 43672
Author(s): Hinds, Sarah,
Contributor(s):
Title : Late Medieval Sexual Badges as Sexual Signifiers: A Material Culture Reappraisal
Source: Medieval Feminist Forum , 55., 2 ( 2020):  Pages 170 - 191. Available with a subscription: https://scholarworks.wmich.edu/mff/vol55/iss2/8/
Year of Publication: 2020.
2. Record Number: 10846
Author(s): Wolfthal, Diane.
Contributor(s):
Title : Picturing Same-Sex Desire: The Falconer and His Lover in Images by Petrus Christus and the Housebook Master [The author argues that the same-sex couple in the painting by Petrus Christus is intended as a negative example in comparison with the betrothed man and woman buying a ring. However, the drypoint print of the falconer shows a same-sex couple in a positive light. 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. Medieval Feminist Forum , 55., 2 ( 2020):  Pages 17 - 46.
Year of Publication: 2004.
3. Record Number: 8713
Author(s):
Contributor(s):
Title : Hyr Wombe Insaciate: The Iconography of the Feminised Monster [The author examines woodcuts and a painting in which the monsters are both feminized and sexualized. The author argues that they refer to a type of femininity that is both sexual and bestial. Title note supplied by Feminae.].
Source: Studies on Medieval and Early Modern Women: Pawns or Players?   Edited by Christine Meek and Catherine Lawless .   Four Courts Press, 2003. Medieval Feminist Forum , 55., 2 ( 2020):  Pages 177 - 196.
Year of Publication: 2003.
4. Record Number: 10746
Author(s): Smith, Susan L.
Contributor(s):
Title : The Gothic Mirror and the Female Gaze [The author explores the representations of couple on carved ivory mirror cases. Smith argues that in the majority of cases, the depicted female gaze is responsive to that of men with the male lover taking an active role. Title note supplied by Feminae.].
Source: Saints, Sinners, and Sisters: Gender and Northern Art in Medieval and Early Modern Europe.   Edited by Jane L. Carroll and Alison G. Stewart .   Ashgate, 2003. Medieval Feminist Forum , 55., 2 ( 2020):  Pages 73 - 93.
Year of Publication: 2003.
5. Record Number: 11649
Author(s): Dor, Juliette.
Contributor(s):
Title : The Sheela-na-Gig: An Incongruous Sign of Sexual Purity? [The author argues for a complex reading of the sheela na gig statues, naked women displaying their vulvas. Dor contextualizes them with references to Celtic goddesses as well as the sovereignty myth in which the old hag turns into a beautiful maiden. In concluding the author suggests that medieval audiences might have had different reactions and that the sculptures lend themselves to multiple readings. Title note supplied by Feminae.]
Source: Medieval Virginities.   Edited by Anke Bernau, Ruth Evans, and Sarah Salih .   Religion and Culture in the Middle Ages series. University of Wales Press; University of Toronto Press, 2003. Medieval Feminist Forum , 55., 2 ( 2020):  Pages 33 - 55.
Year of Publication: 2003.
6. Record Number: 6232
Author(s): Wolfthal, Diane.
Contributor(s):
Title : Picturing Same-Sex Desire: The Falconer and his Lover by Petrus Christus and the Housebook Master
7. Record Number: 11034
Author(s): Rees, Emma L.
Contributor(s):
Title : Sheela's Voracity and Victorian Veracity [The author examines the reactions of G.R. Lewis, Victorian artist and church architect, to a sheela-na-gig (a sqatting female figure who pulls open her vulva) carved on a Romanesque church in Kilpeck. Lewis sanitized the figure but Rees argues that the sculpture had meaning for the church's builders most likely as a warning against lust. Title note supplied by Feminae.].
Source: Consuming Narrative: Gender and Monstrous Appetite in the Middle Ages and the Renaissance.   Edited by Liz Herbert McAvoy and Teresa Walters .   University of Wales Press, 2002.  Pages 116 - 127.
Year of Publication: 2002.
8. Record Number: 8427
Author(s): Alexander, Jonathan.
Contributor(s):
Title : Obituary: Michael Camille (1958-2002) [Career and life of the art historian is memorialized. Title note supplied by Feminae.].
Source: Burlington Magazine , 144., 1196 (November 2002):  Pages 695
Year of Publication: 2002.
9. 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.
10. Record Number: 3713
Author(s): Hanson, John.
Contributor(s):
Title : Erotic Imagery on Byzantine Ivory Caskets
Source: Desire and Denial in Byzantium: Papers from the Thirty-First Spring Symposium of Byzantine Studies, University of Sussex, Brighton, March 1997.   Edited by Liz James. Society for the Promotion of Byzantine Studies, Publications 6 .   Variorum (Ashgate Publishing), 1999. Art History , 24., 2 (April 2001):  Pages 171 - 184.
Year of Publication: 1999.
11. Record Number: 3787
Author(s): Horne, Peter.
Contributor(s):
Title : The Besotted King and His Adonis: Representations of Edward II and Gaveston in Late Nineteenth-Century England
Source: History Workshop Journal , 47., (Spring 1999):  Pages 30 - 48.
Year of Publication: 1999.
12. Record Number: 4025
Author(s): Gourlay, Kristina E.
Contributor(s):
Title : A Positive Representation of the Power of Young Women: The Malterer Embroidery Re-examined [The author argues that the embroidery is to be interpreted as "positive and good-natured acknowledgment of the power of love and female sexuality and the responsibility of men in succumbing to this power..."].
Source: Young Medieval Women.   Edited by Katherine J. Lewis, Noel James Menuge, and Kim M. Phillips .   St. Martin's Press, 1999. Art History , 24., 2 (April 2001):  Pages 69 - 102.
Year of Publication: 1999.
13. Record Number: 4349
Author(s): Even, Yael.
Contributor(s):
Title : Daphne (Without Apollo) Reconsidered: Some Disregarded Images of Sexual Pursuit in Italian Renaissance and Baroque Art
Source: Studies in Iconography , 18., ( 1997):  Pages 143 - 159.
Year of Publication: 1997.
14. Record Number: 1919
Author(s): Ricco, John Paul.
Contributor(s):
Title : Queering Boundaries: Semen and Visual Representations from the Middle Ages and in the Era of the AIDS Crisis [analysis of the sexuality expressed in a carved corbel that represents two men tugging on each other's beards; comparison with recent paintings by Ridgeway Bennett].
Source:   Edited by Whitney Davis Journal of Homosexuality , 27., 40180 ( 1994):  Pages 57 - 80. Published simultaneously in Gay and Lesbian Studies in Art History. Edited by Whitney Davis. Haworth Press, 1994. 57-80
Year of Publication: 1994.
15. Record Number: 10366
Author(s): Bernstein, Joanne G.
Contributor(s):
Title : The Female Model and the Renaissance Nude: Durer, Giorgione, and Raphael
Source: Artibus et Historiae , 13., 26 ( 1992):  Pages 49 - 63.
Year of Publication: 1992.
16. Record Number: 10734
Author(s): Bynum, Caroline Walker.
Contributor(s):
Title : The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg [The author argues against Steinberg’s notion that Renaissance painters focused on Christ’s penis in order to make a theological statement about sexuality; she suggests instead that fifteenth-century artists show Jesus as both male and female, and saw his as a generative body. Title note supplied by Feminae.].
Source: Fragmentation and Redemption: Essays on Gender and the Human Body in Medieval Religion. Caroline Walker Bynum .   MIT Press, 1991. Artibus et Historiae , 13., 26 ( 1992):  Pages 79 - 118.
Year of Publication: 1991.
17. 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.
18. Record Number: 12677
Author(s): Mills, James.
Contributor(s):
Title : Sexuality in the Danish Medieval Wall-Paintings [The author briefly surveys wall paintings with sexual content in both Denmark and the parts of Sweden that were under the control of Denmark. Many of the paintings depict the punishment of sexual sinners in the afterlife. Title note supplied by Feminae.]
Source: Homo Carnalis: The Carnal Aspect of Medieval Human Life.   Edited by Helen Rodite Lemay Acta .   Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton, 1990.  Pages 129 - 139. Papers presented at a conference held at the State University of New York at Stony Brook in 1987
Year of Publication: 1990.
19. Record Number: 43215
Author(s):
Contributor(s):
Title : The Triumph of Venus, with six legendary lovers
Source:
Year of Publication:
20. Record Number: 43661
Author(s):
Contributor(s):
Title : The Prodigal Son at the Brothel
Source:
Year of Publication: