Feminae: Medieval Women and Gender Index


3 Record(s) Found in our database

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1. Record Number: 4610
Author(s): Moore, Stephen D.
Contributor(s):
Title : The "Song of Songs" in the History of Sexuality [The author argues that medieval commentators read the "Song of Songs" as an allegory about the celibate male as the Bride who unites with Christ as the Bridegroom].
Source: Church History , 69., 2 (June 2000):  Pages 328 - 349.
Year of Publication: 2000.
2. Record Number: 13753
Author(s): McLaughlin, Megan.
Contributor(s):
Title : The Bishop as Bridegroom: Marital Imagery and Clerical Celibacy in the Eleventh and Early Twelfth Centuries [The author argues that reformers used the longstanding image of the bishop as a bridegroom of his church to combat problems of lay investiture, simony, and episcopal elections. In instances of clerical celibacy, the bridegroom allegory complicated matters. Nevertheless, it was not entirely eliminated from the debate. McLaughlin suggests this is an indication of the importance of the bridegroom metaphor to the reformist program. Title note supplied by Feminae.].
Source: Medieval Purity and Piety: Essays on Medieval Clerical Celibacy and Religious Reform.   Edited by Michael Frassetto Garland Medieval Casebooks Series .   Garland Publishing, 1998. Church History , 69., 2 (June 2000):  Pages 209 - 237.
Year of Publication: 1998.
3. Record Number: 12729
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : Donatello's Bronze 'David': Grillanda, Goliath, Groom? [Art historians have explored many perspectives on Donatello's youthful and androgynous representation of the nude David including psychoanalytic and homoerotic perspectives, but these male centered approaches overlook the possibility of a female audience for the statue. Paintings on contemporary Florentine cassoni (wedding chests), including scenes from the life of David (like his battle with Goliath or his subsequent wedding to a royal bride) or seemingly unrelated depictions of scantily clad males (often painted underneath the lids), establish the possibility of a wedding context for Donatello's sensuous nude. In the context of nuptial imagery, this representation of David might appeal to a prospective bride as well as the narcissistic or homoerotic desire of an imagined male audience. Title note supplied by Feminae.].
Source: Studies in Iconography , 15., ( 1993):  Pages 113 - 134.
Year of Publication: 1993.