Feminae: Medieval Women and Gender Index


3 Record(s) Found in our database

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1. Record Number: 8572
Author(s): Laynesmith, J. L.
Contributor(s):
Title : Constructing Queenship at Coventry: Pagentry and Politics at Margaret of Anjou's 'Secret Harbor' [Coventry, one of the largest cities in England, was particularly loyal to Margaret of Anjou. In 1456 she was welcomed there with great pageantry. In these presentations, the queen was compared to the Virgin Mary as the mother of a royal son and to Saint Margaret as a dragon slayer. These ceremonies underlined her power, not that of her feeble husband, but Margaret did not arrogate the king's royal symbols to herself. Title note supplied by Feminae.].
Source: Fifteenth Century , 3., ( 2003):  Pages 137 - 147. Thematic issue: Authority and Subversion
Year of Publication: 2003.
2. Record Number: 10458
Author(s): Sanok, Catherine.
Contributor(s):
Title : Performing Feminine Sanctity in Later Medieval England: Parish Guilds, Saints' Plays, and the "Second Nun's Tale" [The author signals the "oppositional potential" of plays, pageants, and Chaucer's dramatic recounting of the lives of female martyrs. Seeing women, who are normally excluded from authority, portrayed as preaching and teaching (without any suggestion of heterodoxy) must have made civic and ecclesiastical officials nervous. Title note supplied by Feminae.].
Source: Journal of Medieval and Early Modern Studies (Full Text via Project Muse) 32, 2 (Spring 2002): 269-303. Link Info
Year of Publication: 2002.
3. Record Number: 12744
Author(s): Balas, Edith.
Contributor(s):
Title : Cybele and Her Cult in Andrea Mantegna's "The Triumph of Caesar" [English adaptation of French abstract: The article explains in detail the presence, never before noted, of the pagan goddess Cybele in the series of paintings by Mantegna, "The Triumph of Caesar." Mantegna draws upon Classical and early medieval art and literature in order to present Cybele in different roles: political, military, and religious. The author analyzes Cybele in relation to her cult, suggesting that, during the time of Julius Caesar, she became a national goddess. She was carried along from Gaul by the army for protection, and was brought into Rome in triumph as a spoil of war. Title note supplied by Feminae.].
Source: Gazette des Beaux-Arts , 115., (January 1990):  Pages 1 - 14.
Year of Publication: 1990.