Feminae: Medieval Women and Gender Index
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3 Record(s) Found in our database
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1.
Record Number:
6642
Author(s):
Mills, Robert.
Contributor(s):
Title :
Ecce Homo [the author critiques both Caroline Bynum and Leo Steinberg in regard to their interpretations of the erotic in religious thought and imagery; the author argues for a recognition of the homoerotic observing "Christ's body was a fundamentally ambivalent symbol, invested with both hegemonic and counter-hegemonic significance" (page 164)].
Source:
Gender and Holiness: Men, Women, and Saints in Late Medieval Europe. Edited by Samantha J. E. Riches and Sarah Salih . Routledge, 2002. Pages 152 - 173.
Year of Publication:
2002.
2.
Record Number:
6684
Author(s):
Camille, Michael
Contributor(s):
Title :
For Our Devotion and Pleasure: The Sexual Objects of Jean, Duc de Berry
Source:
Art History , 24., 2 (April 2001): Pages 169 - 194.
Year of Publication:
2001.
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.