Feminae: Medieval Women and Gender Index
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5 Record(s) Found in our database
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1.
Record Number:
4603
Author(s):
Hairston, Julia L.
Contributor(s):
Title :
Skirting the Issue: Machiavelli's Caterina Sforza
Source:
Renaissance Quarterly
(Full Text via JSTOR) 53, 3 (Autumn 2000): 687-712.
Link Info
Year of Publication:
2000.
2.
Record Number:
12728
Author(s):
Hull, Vida J.
Contributor(s):
Title :
The Sex of the Savior in Renaissance Art: The Revelations of Saint Bridget and the Nude Christ Child in Renaissance Art [Bridget's description of the nude Christ child at the Nativity, written during the fourteenth century, had a strong influence on fifteenth century visual representations of the Christ child, who was often depicted as naked infant with genitals in open view. The exposure of the Christ child's penis is a moment of revelation that displays His gender and also exemplifies His humanity. This was a common motif in the Brigittine scenes of the Nativity and the Adoration of the Shepherds, but was later transferred into other contexts, such as the Adoration of the Magi and devotional images of the Virgin and Child. Title note supplied by Feminae.].
Source:
Studies in Iconography , 15., ( 1993): Pages 77 - 112.
Year of Publication:
1993.
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:
11196
Author(s):
Ahern, John.
Contributor(s):
Title :
Nudi Grammantes: The Grammar and Rhetoric of Deviation in Inferno XV [Male genitalia have a complex range of metaphorical meanings. Certain writers in the medieval rhetorical tradition align sexuality and rhetoric, comparing forms unorthodox sexuality (like sodomy) with perversions of language. Most notably, Brunetto Latini, a grammarian and sodomite who appears in the Inferno, uses a series of puns involving the word “fico” (fig or tree), confusing the word’s natural (biological) and grammatical gender. In Latin and Italian, this word (meaning both tree and fruit) could metaphorically stand for either the male or the female sexual organs. Brunetto’s learned yet ambiguous use of language thus suggests his own sexual deviancy. Title note supplied by Feminae.].
Source:
Romanic Review , 81., 4 ( 1990): Pages 466 - 486.
Year of Publication:
1990.
5.
Record Number:
Author(s):
Contributor(s):
Title :
Feast in the Garden of Love
Source:
Romanic Review , 81., 4 ( 1990):
Year of Publication: