Feminae: Medieval Women and Gender Index

5 Record(s) Found in our database

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1. Record Number: 43203
Author(s): Slefinger, John,
Title : Historicizing the Allegorical Eye: Reading Lady Mede
Source: Medieval Clothing and Textiles , 16., ( 2020):  Pages 85 - 100.
Year of Publication: 2020.

2. Record Number: 20779
Author(s): Meyer, Mati
Title : The Levite's Concubine: Imaging the Marginal Woman in Byzantine Society [Provides comparative discussion of different representations of the rape of the concubine within the corpus of illuminated Byzantine manuscripts; extrapolates on what these different representations -particularly of clothing--reveal about contemporary clergy's attitudes towards the concepts of women, sexuality, and the function of marriage. Title note supplied by Feminae].
Source: Studies in Iconography , 27., ( 2006):  Pages 45 - 76.
Year of Publication: 2006.

3. Record Number: 2471
Author(s): Hudson, Vivian Kay.
Title : Clothing and Adornment Imagery in "The Scale of Perfection" : A Reflection of Contemplation
Source: Studies in Spirituality , 4., ( 1994):  Pages 116 - 145.
Year of Publication: 1994.

4. Record Number: 11225
Title : A Relic, Some Pictures and the Mothers of Florence in the Late Fourteenth Century
Source: Gesta (Full Text via JSTOR) 30, 2 (1991): 91-99. Link Info
Year of Publication: 1991.

5. Record Number: 12734
Author(s): Barber, Charles.
Title : The imperial panels at San Vitale: a reconsideration [Two sixth century mosaics in the aspe of San Vitale in Ravenna, Italy, depict the Byzantine Emperor Justinian I (on the left) and his wife Theodora (on the right). Although the Emperor and Empress appear to be represented identically (with purple clothing, haloes, and similar postures), other types of iconography in the panels differentiate the role and status of the figures according to their gender. The Emperor, flanked by priests and soldiers, carries objects that indicate his priestly and military roles. The Empress, dressed in more lavish clothing and jewels and enclosed in a depiction of architectural space, reflects Byzantine society’s legal and social relegation of women (even aristocratic ones) to the domestic sphere. Nonetheless, Theodora’s position in image (in the center with males on one side of her, females, on the other) places her at the boundary between the sexes, as a transgressive figure who straddles both public and private spheres. Title note supplied by Feminae.].
Source: Byzantine and Modern Greek Studies , 14., ( 1990):  Pages 19 - 42.
Year of Publication: 1990.