Feminae: Medieval Women and Gender Index


10 Record(s) Found in our database

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1. 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.
2. Record Number: 2920
Author(s): Krüger, Annette and Gabriele Runge
Contributor(s):
Title : Lifting the Veil: Two Typological Diagrams in the "Hortus Deliciarum" [on folios 67r and v there are two circular diagrams that juxtapose Moses and Old Testament scenes with Jesus].
Source: Journal of the Warburg and Courtauld Institutes (Full Text via JSTOR) 60 (1997): 1-22. Link Info
Year of Publication: 1998.
3. 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.
4. Record Number: 231
Author(s): Smith, Susan L.
Contributor(s):
Title : Bride Stripped Bare: A Rare Type of the Disrobing of Christ
Source: Gesta (Full Text via JSTOR) 34, 2 (1995): 126-146. Link Info
Year of Publication: 1995.
5. Record Number: 12728
Author(s): Hull, Vida J.
Contributor(s):
Title : The Sex of the Savior in Renaissance Art: The Revelations of Saint Bridget and the Nude Christ Child in Renaissance Art [Bridget's description of the nude Christ child at the Nativity, written during the fourteenth century, had a strong influence on fifteenth century visual representations of the Christ child, who was often depicted as naked infant with genitals in open view. The exposure of the Christ child's penis is a moment of revelation that displays His gender and also exemplifies His humanity. This was a common motif in the Brigittine scenes of the Nativity and the Adoration of the Shepherds, but was later transferred into other contexts, such as the Adoration of the Magi and devotional images of the Virgin and Child. Title note supplied by Feminae.].
Source: Studies in Iconography , 15., ( 1993):  Pages 77 - 112.
Year of Publication: 1993.
6. 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. Studies in Iconography , 15., ( 1993):  Pages 79 - 118.
Year of Publication: 1991.
7. Record Number: 12755
Author(s): Leveto, Paula D.
Contributor(s):
Title : The Marian Theme of the Frescoes in Santa Maria at Castelseprio
Source: Art Bulletin , 72., 3 ( 1990):  Pages 391 - 413.
Year of Publication: 1990.
8. Record Number: 12746
Author(s): Bergman, Robert P.
Contributor(s):
Title : The Earliest Eleousa: A Coptic Ivory in the Walters Gallery [The author sets the date of the ivory Virgin and Child between the late sixth and early seventh century, and the iconography of the sculpture (which resembles other ivories carved in a similar style) confirms its attribution to an early Christian Egyptian workshop. Title note supplied by Feminae.].
Source: Journal of the Walters Art Gallery , 48., ( 1990):  Pages 37 - 56.
Year of Publication: 1990.
9. Record Number: 33715
Author(s):
Contributor(s):
Title : Initial C for Psalm 105, showing a woman interceding with Christ
Source: Art Bulletin , 72., 3 ( 1990):
Year of Publication:
10. Record Number: 39182
Author(s):
Contributor(s):
Title : Mary Magdalene with the Vera Icon
Source: Art Bulletin , 72., 3 ( 1990):
Year of Publication: