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Titlebook: Gender, Otherness, and Culture in Medieval and Early Modern Art; Carlee A. Bradbury,Michelle Moseley-Christian Book 2017 The Editor(s) (if

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发表于 2025-3-21 19:33:11 | 显示全部楼层 |阅读模式
书目名称Gender, Otherness, and Culture in Medieval and Early Modern Art
编辑Carlee A. Bradbury,Michelle Moseley-Christian
视频video
概述Analyzes a wide variety of medieval and early-modern media, including manuscripts, prints, paintings, metalwork, textiles and funerary sculpture.Contextualizes medieval construction of gender identity
丛书名称The New Middle Ages
图书封面Titlebook: Gender, Otherness, and Culture in Medieval and Early Modern Art;  Carlee A. Bradbury,Michelle Moseley-Christian Book 2017 The Editor(s) (if
描述.This collection examines gender and Otherness as tools to understand medieval and early modern art as products of their social environments. The essays, uniting up-and-coming and established scholars, explore both iconographic and stylistic similarities deployed to construct gender identity. The text analyzes a vast array of medieval artworks, including Dieric Bouts’s .Justice of Otto III, .Albrecht. .Dürer’s .Feast of the Rose Garland, .Rembrandt van Rijn’s .Naked Woman Seated on a Mound, .and Renaissance-era transi tombs of French women to illuminate medieval and early modern ideas about gender identity, poverty, religion, honor, virtue, sexuality, and motherhood, among others. .
出版日期Book 2017
关键词Jew of Bourges; Aspectu Desiderabilis; reliquary of David; face of Medusa; Clare of Assisi; gendered test
版次1
doihttps://doi.org/10.1007/978-3-319-65049-4
isbn_softcover978-3-319-87936-9
isbn_ebook978-3-319-65049-4Series ISSN 2945-5936 Series E-ISSN 2945-5944
issn_series 2945-5936
copyrightThe Editor(s) (if applicable) and The Author(s) 2017
The information of publication is updating

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Representing Women and Poverty in Late Medieval Art,tatus. To understand late medieval visualizations of poor women, this essay will examine images of poor women that range from voluntarily poor religious women to involuntarily poor women shown as recipients in scenes of charitable giving. In my comparison of representations depicting poor women to t
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,Dürer’s , and the , as Strategies for Mediating Foreign, Masculine Identity, relations could disrupt business and damage profits. This was especially true for a group of merchants required to live together despite particular regional differences and tensions. Members of the . were classified as others whose public and business behaviors were under the scrutiny of the Veneti
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,“The Monster, Death, Becomes Pregnant:” Representations of Motherhood in Female Transi Tombs from R an apparent pregnancy. It also joins the non-human to the human, as worms infest her flesh, and the inside to the outside, as the worms and intestines move in and out of her form. Rather than constituting an “other,” however, this sculpture recognizes the everyday monstrosity of pregnancy for early
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Mechanisms of Cardiac Cell Deathrgin saves a young Jewish boy after his father throws him into a fiery oven upon learning he attended a Christian mass. Few images of this miracle include the boy’s mother, and in each the violence of the tale is illustrated through her anxious reaction to it. Investigating the visual power of the b
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E. M. Gilbert,A. Di Lenarda,J. B. O’Connelltatus. To understand late medieval visualizations of poor women, this essay will examine images of poor women that range from voluntarily poor religious women to involuntarily poor women shown as recipients in scenes of charitable giving. In my comparison of representations depicting poor women to t
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Anomalia di Ebstein della valvola tricuspide relations could disrupt business and damage profits. This was especially true for a group of merchants required to live together despite particular regional differences and tensions. Members of the . were classified as others whose public and business behaviors were under the scrutiny of the Veneti
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