Feminae: Medieval Women and Gender Index
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6 Record(s) Found in our database
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1.
Record Number:
43533
Author(s):
Wade, Erik,
Contributor(s):
Title :
The Birds and the Bedes: Race, Gender, and Sexuality in Bede’s
In Cantica Canticorum
Source:
Postmedieval: A Journal of Medieval Cultural Studies , 11., 4 ( 2020): Pages 425 - 433. Available open access:
https://doi.org/10.1057/s41280-020-00193-6
Funding provided by Projekt DEAL.
Year of Publication:
2020.
2.
Record Number:
9357
Author(s):
Pagoulatos, Gerasimos P.
Contributor(s):
Title :
The Liturgy of the Bridal Chamber: An Introduction to the Problem of its Origins
Source:
Byzantine Studies Conference. Abstracts of Papers , 28., ( 2002): Pages 13 - 14.
Year of Publication:
2002.
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.
4.
Record Number:
10279
Author(s):
Ladis, Andrew.
Contributor(s):
Title :
Immortal Queen and Mortal Bride: the Marian Imagery of Ambrogio Lorenzetti's Cycle at Montesiepi [The author describes the depiction of Mary as both a bride and a queen in one fourteenth-century cycle. Title note supplied by Feminae.].
Source:
Gazette des beaux-arts , 119., (mai-juin 1992): Pages 189 - 200.
Year of Publication:
1992.
5.
Record Number:
12732
Author(s):
Cohen, Esther and Elliott. Horowitz
Contributor(s):
Title :
In search of the sacred: Jews, Christians, and rituals of marriage in the later Middle Ages [For many centuries, Jews lived among Christians in most of Europe, and despite religious differences there was much interaction between the two communities in the realm of public social rituals. Even though the two faiths had different philosophies on the purpose of marriage and ethical status of marital sex, Jewish and Christian weddings ran parallel in the gradual sacralization of what was originally a secular ritual and the development of distinct rituals for the remarriage of widows. The upper classes in Jewish and Christian communities approached the marriage ritual as a way to draw sharp distinctions between the two faiths, including the location and timing of the event and what visual elements or objects were used. However, the lower classes often shared more similarities in their ritual behaviors due to a larger degree of contact within a shared culture and common experience. Title note supplied by Feminae.].
Source:
Journal of Medieval and Renaissance Studies , 20., 2 (Fall 1990): Pages 225 - 249.
Year of Publication:
1990.
6.
Record Number:
12745
Author(s):
Harbison, Craig.
Contributor(s):
Title :
Sexuality and Social Standing in Jan van Eyck's Arnolfini Double Portrait [The painting of Giovanni Arnolfini and his wife Giovanna Cenami depict the couple holding hands while standing in the bedroom, but the rest of the iconography and inscriptions throughout the image do not necessarily suggest that the double portrait is the visual equivalent of a marriage certificate or contract. The visual representation of husband and wife (including gestures and iconography) is instead a more generalized image of marriage that reflects the importance of fertility and defined sexual roles for men and women. Furthermore, the artist's detailed depiction of domestic space projects the social status, courtly aspirations, and religious values of the merchant class Arnolfini couple. Title note supplied by Feminae.].
Source:
Renaissance Quarterly , 43., 2 (Summer 1990): Pages 249 - 291.
Year of Publication:
1990.