Feminae: Medieval Women and Gender Index


15 Record(s) Found in our database

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1. Record Number: 11760
Author(s): Schleif, Corine.
Contributor(s):
Title : Men on the Right- Women on the Left: (A)symmetrical Spaces and Gendered Places [The author argues that the symbolism attached to left and right becomes gendered so that male and female donors have their appointed places. Yet some situations and artworks make the categories more complicated than a simple binary. Title note supplied by Feminae.].
Source: Women's Space: Patronage, Place, and Gender in the Medieval Church.   Edited by Virginia Chieffo Raguin and Sarah Stanbury .   State University of New York Press, 2005.  Pages 207 - 249.
Year of Publication: 2005.
2. Record Number: 11407
Author(s): Lifshitz, Felice.
Contributor(s):
Title : The Persistence of Late Antiquity: Christ as Man and Woman in an Eighth-Century Miniature [The author discusses a miniature in which she argues that Christ is portrayed twice, once as the crucified Jesus and beneath as a female blessing figure. Lifshitz connects this to an intellectual milieu in which aristocratic women in monastic double houses were used to having spiritual authority. Furthermore they had access to late antique sources with similar outlooks including the Priscillianist tractates and the "Apocryphal Acts of the Apostles." Title note supplied by Feminae.]
Source: Medieval Feminist Forum , 38., (Winter 2004):  Pages 18 - 27.
Year of Publication: 2004.
3. Record Number: 16586
Author(s): Hults, Linda C.
Contributor(s):
Title : Dürer's "Four Witches" Reconsidered [The author argues that Dürer's engraving should be viewed in conjunction with the "Malleus maleficarum" as part of the developing theory on women's sexuality and witchcraft. Hults suggests that Dürer cleverly combined a variety of visual allusions includ
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 , 38., (Winter 2004):  Pages 94 - 126.
Year of Publication: 2003.
4. Record Number: 10996
Author(s): de Vries, Joyce.
Contributor(s):
Title : Caterina Sforza's Portrait Medals: Power, Gender and Representation in the Italian Renaissance Court [Caterina Sforza ruled Forli and Imola after the murder of her husband. She commissioned a series of portrait medals that established her persona first as a noble young wife, then a widow-ruler, and finally as a triumphant regent. The medals use motifs associated with male political power to indicate her authority and success. Title note supplied by Feminae.].
Source: Woman's Art Journal , 24., 1 (Spring/Summer 2003):  Pages 23 - 28.
Year of Publication: 2003.
5. Record Number: 11434
Author(s): Dunlop, Anne.
Contributor(s):
Title : Flesh and the Feminine: Early-Renaissance Images of the Madonna with Eve at Her Feet
Source: Oxford Art Journal , 25., 2 ( 2002):  Pages 127 - 147.
Year of Publication: 2002.
6. Record Number: 7252
Author(s): Sheingorn, Pamela.
Contributor(s):
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. Woman's Art Journal , 24., 1 (Spring/Summer 2003):  Pages 156 - 167.
Year of Publication: 2002.
7. 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. Woman's Art Journal , 24., 1 (Spring/Summer 2003):  Pages 299 - 341.
Year of Publication: 2002.
8. Record Number: 10645
Author(s): Karkov, Catherine E.
Contributor(s):
Title : Broken Bodies and Singing Tongues: Gender and Voice in the Cambridge, Corpus Christi College 23 "Psychomachia" [The author argues that the Anglo-Saxon reader of the "Psychomachia" and the "Passio Sancti Romani" (also by Prudentius) was encouraged through text and illustrations to see the self as masculine and the body as feminine. Karkov notes that the Anglo-Saxon "Psychomachia" manuscripts were the first to depict the Virtues and Vices as primarily female, rather than the earlier practice of Virtues as male warriors and the Vices as monsters. Title note supplied by Feminae.].
Source: Anglo-Saxon England , 30., ( 2001):  Pages 115 - 136.
Year of Publication: 2001.
9. Record Number: 5970
Author(s): Ketskemety, Esther.
Contributor(s):
Title : The Court, the Forest, and the Symbolism of the "chasse" in "The Bear Hunt," a Late Fifteenth Century Burgundian Tapestry Design
Source: Gender and Conflict in the Middle Ages. Gender and Medieval Studies Conference, York, January 5-7 2001. .  2001. Oxford Art Journal , 25., 2 ( 2002):
Year of Publication: 2001.
10. 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.
11. Record Number: 5957
Author(s): Jacobus, Laura
Contributor(s):
Title : Piety and Propriety in the Arena Chapel [the author argues that the "Early Life of the Virgin" frescoes in the Arena Chapel were intended in part to convey models of behavior to the wife, mother, and daughter of Enrico Scrovegni, the patron; using devotional works and secular conduct literature the author argues that the ideals for upper class women's behavior (modesty, chastity, courtliness, humility, charity, and attention to their husbands and families) were linked to piety and represented by Giotto in the images of the Virgin and other holy women].
Source: Renaissance studies : journal of the Society for Renaissance Studies , 12., 2 (June 1998):  Pages 177 - 205.
Year of Publication: 1998.
12. 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.
13. Record Number: 2722
Author(s): Jensen, Robin M.
Contributor(s):
Title : The Femininity of Christ in Early Christian Iconography [suggests that feminine attributes of Jesus, including long, curly hair, smooth, beardless cheeks, and small, protruding breasts, were borrowed from savior deities of the mystery cults, especially Dionysus and Orpheus].
Source: Studia Patristica , 29., ( 1995):  Pages 269 - 282. Papers Presented at the Twelfth International Conference on Patristic Studies Held in Oxford. Historia, Theologica et Philosophica, Critica et Philologica
Year of Publication: 1995.
14. 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.
15. Record Number: 42645
Author(s):
Contributor(s):
Title : St Sebastian
Source: Artibus et Historiae , 13., 26 ( 1992):
Year of Publication: