Feminae: Medieval Women and Gender Index

19 Record(s) Found in our database

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1. Record Number: 10857
Author(s): Salih, Sarah.
Contributor(s):
Title : The Medieval Looks Back: A Response to "Troubled Vision" [Salih provides a brief case study of manuscript illuminations of monsters from a copy of "Mandeville's Travels." She argues that the hyper-masculinity of the naked giants defines them as other, bereft of culture and social order. Title note supplied by Feminae.].

Source: Troubled Vision: Gender, Sexuality, and Sight in Medieval Text and Image. Edited by Emma Campbell and Robert Mills . Palgrave Macmillan, 2004. Pages 223 - 231.
Year of Publication: 2004.

2. Record Number: 6636
Author(s): Easton, Martha.
Contributor(s):
Title : Pain, Torture, and Death in the Huntington Library "Legenda aurea" [The author analyzes the manuscript illuminations representing the torture and executions of male and female martyrs, arguing that the binary system of gender was frequently transcended].

Source: Gender and Holiness: Men, Women, and Saints in Late Medieval Europe. Edited by Samantha J. E. Riches and Sarah Salih . Routledge, 2002. Pages 49 - 64.
Year of Publication: 2002.

3. Record Number: 5042
Author(s): Innes- Parker, Catherine.
Contributor(s):
Title : Sheela-na-gigs and Other Unruly Women: Images of Land and Gender in Medieval Ireland

Source: From Ireland Coming: Irish Art from the Early Christian to the Late Gothic Period and Its European Context. Edited by Colum Hourihane . Index of Christian Art, Deparment of Art and Archaeology, Princeton University in association with Princeton University Press, 2001. Pages 313 - 331.
Year of Publication: 2001.

4. Record Number: 5408
Author(s): Collier, Jo-Kate.
Contributor(s):
Title : Cassoni: The Inside Story [The author argues that the nude paintings of men and women inside the cassoni lids were intended to arouse sexually the newly married husband and wife so that they would quickly produce a male heir].

Source: Renaissance Papers , ( 2000): Pages 1 - 11.
Year of Publication: 2000.

5. Record Number: 3714
Author(s): Zeitler, Barbara.
Contributor(s):
Title : Ostentatio genitalium : Displays of Nudity in Byzantinum

Source: Desire and Denial in Byzantium: Papers from the Thirty-First Spring Symposium of Byzantine Studies, University of Sussex, Brighton, March 1997. Edited by Liz James. Society for the Promotion of Byzantine Studies, Publications 6 . Variorum (Ashgate Publishing), 1999. Art History , 22., 5 (December 1999): Pages 185 - 201.
Year of Publication: 1999.

6. 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.

7. Record Number: 1486
Author(s): Smith, Susan L.
Contributor(s):
Title : A Nude Judith from Padua and the Reception of Donatello's Bronze David [argues that the bronze statuette of Judith is modelled on Donatello's David and shares with it an ambiguous, eroticized vision of the usual heroic nude].

Source: Comitatus , 25., ( 1994): Pages 59 - 80. [contributions are accepted from graduate students and those who have received their doctorate within the last three years]
Year of Publication: 1994.

8. Record Number: 1920
Author(s): Simons, Patricia.
Contributor(s):
Title : Lesbian (In)Visibility in Italian Renaissance Culture: Diana and Other Cases of "donna con donna"

Source: Edited by Whitney Davis Journal of Homosexuality , 27., 40180 ( 1994): Pages 81 - 122. Published simultaneously in Gay and Lesbian Studies in Art History. Edited by Whitney Davis. Haworth Press, 1994. 81-122
Year of Publication: 1994.

9. 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.

10. 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.

11. Record Number: 12747
Author(s): Emison, Patricia.
Contributor(s):
Title : The Word Made Naked in Pollaiuolo's "Battle of the Nudes" [It is unknown whether Antonio Pollaiuolo's late fifteenth century engraving of nude men engaged in battle refers to a text or not. While previous depictions of nude males (such as figures of David) often relied upon an explicit or implicit textual reference and depicted the youthful male as the ideal of masculine beauty, Pollaiulo's engraving does not clearly invoke any text and offers a virile, adult ideal for the male nude. Interpretations of the engraving have varied, as some of the items throughout the image (such as weapons and chains) could have allegorical significance if they are interpreted as iconography. The author suggests that works of art produced during Pollaiuolo's time that feature nudes, which some have tried to interpret as depicting certain classical myths, epics, or moments in history, may communicate as images without reference to any text. Artists may produce works of art for purely formal or aesthetic reasons with no subject or text in mind. Title note supplied by Feminae.].

Source: Art History , 13., 3 ( 1990): Pages 261 - 275.
Year of Publication: 1990.

12. Record Number: 40750
Author(s):
Contributor(s):
Title : Fragment of a Floor Mosaic: Adam and Eve