Feminae: Medieval Women and Gender Index


6 Record(s) Found in our database

Search Results

1. Record Number: 6636
Author(s): Easton, Martha.
Contributor(s):
Title : Pain, Torture, and Death in the Huntington Library "Legenda aurea" [The author analyzes the manuscript illuminations representing the torture and executions of male and female martyrs, arguing that the binary system of gender was frequently transcended].
Source: Gender and Holiness: Men, Women, and Saints in Late Medieval Europe.   Edited by Samantha J. E. Riches and Sarah Salih .   Routledge, 2002.  Pages 49 - 64.
Year of Publication: 2002.

2. Record Number: 8089
Author(s): Price, Merrall Llewelyn.
Contributor(s):
Title : Imperial Violence and the Monstrous Mother: Cannibalism at the Siege of Jerusalem [The author explores the popular tale of Maria of Jerusalem who ate her own infant during a siege of Jerusalem. The author is interested in her as both a double and opposite of the Virgin Mary whose son was also sacrificed. 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.  Pages 272 - 298.
Year of Publication: 2002.

3. Record Number: 8090
Author(s): Laskaya, Anne.
Contributor(s):
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.  Pages 299 - 341.
Year of Publication: 2002.

4. Record Number: 5696
Author(s): Stones, Alison.
Contributor(s):
Title : Nipples, Entrails, Severed Heads, and Skin: Devotional Images for Madame Marie [the author argues that the Marie for whom Ms. 16251 was created was the noble woman Marie de Rethel who in 1266 became the third wife of Wautier d'Enghien; the author suggests that the many scenes of torture and death in the illustrations of Bible stories and saints' lives were intended to remind the viewer of Marie's roles as mother and wife].
Source: Image and Belief: Studies in Celebration of the Eightieth 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, 1999.  Pages 47 - 70.
Year of Publication: 1999.

5. Record Number: 2543
Author(s): Martin, Nell Gifford.
Contributor(s):
Title : Vision and Violence in Some Gothic Meditative Imagery [analyzes manuscript images of ritual sacrifice (Jephthah's daughter and Abraham's offering of Isaac) and Christ's crucifixion for meanings conveyed by gender].
Source: Studies in Iconography , 17., ( 1996):  Pages 311 - 348.
Year of Publication: 1996.

6. Record Number: 12747
Author(s): Emison, Patricia.
Contributor(s):
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.