Feminae: Medieval Women and Gender Index


3 Record(s) Found in our database

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1. Record Number: 3752
Author(s): Chinca, M.
Contributor(s):
Title : Women and Hunting-Birds are Easy to Tame: Aristocratic Masculinity and the Early German Love-Lyric [the author suggests two different interpretations of Der Von K├╝renberg's lyrics; the first assumes an exclusively male audience and gives the songs the role of reproducing and reinforcing patriarchal masculinity while the second model posits a mixed audience interested in debating masculinity.]
Source: Masculinity in Medieval Europe.   Edited by D.M. Hadley .   Women and Men in History Series. Addison Wesley Longman, 1999.  Pages 199 - 213.
Year of Publication: 1999.

2. Record Number: 10810
Author(s): Davidson, Clifford.
Contributor(s):
Title : The "Ordo Virtutum": a Note on Production [The article surveys some of the problems with designing and staging a modern production of Hildegard's "Ordo Virtutum", using the example of the Society for Old Music's production in 1984. Title note supplied by Feminae.].
Source: The Ordo Virtutum of Hildegard of Bingen: Critical Studies.   Edited by Audrey Ekdahl Davidson .   Medieval Institute Publications, 1992.  Pages 111 - 122.
Year of Publication: 1992.

3. Record Number: 10889
Author(s): Massip, J. Francesc
Contributor(s):
Title : The Staging of the Assumption in Europe [The death and Assumption of the Virgin Mary was one of the most widely enacted sequences in late medieval religious dramas. Various staging solutions were used across Europe: horizontal staging in churches; urban staging on fixed, horizontal stages; church staging with a vertical arrangement; urban staging on a moveable stage; and urban staging on a fixed vertical stage. While performances in the North often featured demons and devils, displays in the South featured sets that depicted the heavens and made use of aerial machines. Title note supplied by Feminae.].
Source: Comparative Drama , 25., 1 ( 1991):  Pages 17 - 28.
Year of Publication: 1991.