Patrician Women in Early Renaissance Venice

1974 ◽  
Vol 21 ◽  
pp. 176-203 ◽  
Author(s):  
Stanley Chojnacki
Keyword(s):  
Middle Ages ◽  
General Concept ◽  
Her Family ◽  
The Feminine ◽  
The Middle Ages

Almost a century ago, the Venetian archivist and historian Bartolomeo Cecchetti undertook to discover what he called ‘the general concept that Venetians had of women’. Though he called his study ‘Woman in the Middle Ages in Venice’, nearly all his documentation came from the fourteenth and fifteenth centuries, the early Renaissance. His conclusions after a long and wideranging survey of various aspects of the feminine experience during the period were pretty forthright. ‘Neither works of imagination’, he declared, ‘nor high intellectual attainments, nor flights of poetry adorn the figure of woman in Venice's earliest epoch. Modest, domestic [casalinga], she is swept up in the great whirlwind of life; and she appears to us only in her weaknesses, or in the splendor of her beauty, or in the context of one of the high offices of her mission—her children, her family.’

scholarly journals CIRCE PAINTINGS BY JOHN WILLIAM WATERHOUSE IN THE CONTEXT OF FEMINISM

2020 ◽  
Vol 9 (73) ◽  
Keyword(s):  
Middle Ages ◽  
Social Life ◽  
Femme Fatale ◽  
Common Features ◽  
Patriarchal System ◽  
The Feminine ◽  
Long Time ◽  
The Face ◽  
The Witch ◽  
The Middle Ages

Feminism is a way of thinking that deals with the pressures, obstacles and difficulties women experience due to their being women, and includes the elimination of these separating attitudes and the struggle of women to be equal with men in all areas of life. The fact that women are not equated with men in social life goes back a long time. The Middle Ages can be defined as a dark age in terms of equality between women and men, as in many other aspects. In this context, it was found important that the majority of those killed during the witch age period in the Middle Ages were women and most of these women were healers who benefited from nature. Witches are defined as a concept in which nature and women are together as the enemy of the patriarchal system. In this article, depictions of women witches increasing in the art of painting following witch courts will be mentioned, the concept of femme fatale into which the image of a witch has transformed, and the paintings of Circe, the femme fatale (the woman who caused disaster), one of the important painters of her time, will be examined in the context of feminism. Waterhouse, one of the painters of the Pre-Raphaelite movement, depicted scenes from different stories, influenced by one of the most common features of the movement, mythological stories and poems. Choosing the most critical scenes of these stories, Waterhouse reinforces the image of a strong, wild woman. Can Circe be a symbol of the Feminine Power in the face of the perceptions and social pressures that are being tried to be destroyed, oppressed, not allowed to be herself, and still continue today? Keywords: Circe, Feminism, Waterhouse, femme fatale

scholarly journals Reigning as partners? Alfonso VIII of Castile and Leonor Plantagenet

De Medio Aevo ◽  
2020 ◽  
Vol 14 ◽  
pp. 5-16
Author(s):  
José Manuel Cerda Costabal
Keyword(s):  
Middle Ages ◽  
Twelfth Century ◽  
Interesting Case ◽  
Medieval Period ◽  
Late Medieval ◽  
Her Family ◽  
Late Medieval Period ◽  
The Middle Ages ◽  
Power And Authority

The marriage of Alfonso VIII of Castile and Leonor Plantagenet was not only the first political alliance between a Spanish kingdom and England in the Middle Ages, but it is also a very interesting case of study for the collaborative and corporate nature of twelfth-century royal rulership in Europe. Queen Leonor was described in the sources as a very capable and virtuous ruler and the study of her reign as consort reveals that she exercised queenship as an active political companion and partner in rule to her husband, thus contributing significantly to one of medieval Spain’s most successful reigns and perhaps setting a model for queens in the late medieval period.  Una cum uxore sua, the king did not simply exercise his power and authority in the passive company of Leonor, but with her consort reigned over the kingdom as one body, thus making the most of her family prestige and networks, and fully availing her capacity and virtues for Castile’s political, dynastic and cultural prospects. 

scholarly journals Carl Theodor Dreyer. La pasión de Juana de Arco. Francia, 1928

2019 ◽  
pp. 751
Author(s):  
Diana Arauz Mercado
Keyword(s):  
Middle Ages ◽  
Antonin Artaud ◽  
Gender Perspective ◽  
Joan Of Arc ◽  
The Feminine ◽  
Female Figures ◽  
Jeanne D'arc ◽  
Made In ◽  
The Middle Ages

<p><strong>La pasión de Juana del Arco</strong></p><p>Título original: La Passion de Jeanne d'Arc</p><p>Director: Carl Theodor Dreyer</p><p>Productora: Societé generale de films </p><p>Reparto: Maria Falconetti (Juana de Arco), Eugene Silvain (Obispo Pierre Cauchon), André Berley (el fiscal), Maurice Schutz (el canónigo), Michel Simon (juez), Antonin Artaud (el deán de Ruán), Gilbert Dalleu (el vice-inquisidor).</p><p>Género: Drama histórico, cine mudo, siglo XV, religión, película de culto</p><p>Guionistas: Carl Theodor Dreyer, Joseph Delteil</p><p>País de origen: Francia</p><p>Duración: 110 minutos</p><p>Año de lanzamiento: 1928</p><p align="center"><strong>“La pasión de juana de Arco”: del archivo histórico al arte cinematofráfico. </strong><strong>Un estudio desde la perspectiva de género</strong></p><p><strong>Resumen</strong></p><p>Juana de Arco (Domrémy 1412 - Ruán 1431), ha sido una de las figuras femeninas más controvertidas y a la vez fascinantes del Medievo, llevada al cine a través de distintas versiones cinematográficas. El presente estudio, analizará brevemente la aportación que sobre el proceso inquisitorial seguido a la doncella de Orleans realizó el director de cine y guionista danés C. Th. Dreyer en 1928, centrándonos desde una perspectiva de género en la importancia del significado de la imagen femenina y su representación, a través del séptimo arte.</p><p><strong>Abstract</strong></p><p>Joan of Arc (Domrémy 1412 - Rouen 1431), has been one of the most controversial and at the same time fascinating female figures of the Middle Ages, taken to the cinema through different cinematographic versions. The present study, will briefly analyze the contribution that the film director and Danish screenwriter C. Th. Dreyer made in 1928 about the inquisitorial process followed the maiden of Orleans, focusing from a gender perspective on the importance of the meaning of the feminine image and its representation, through the seventh art.</p>

Gendered Sin and Misogyny in John of Bromyard's ‘Summa Predicantium’

Traditio ◽  
1992 ◽  
Vol 47 ◽  
pp. 233-257 ◽  
Author(s):  
Ruth Mazo Karras
Keyword(s):  
Middle Ages ◽  
Time And Space ◽  
The Feminine ◽  
Over Time ◽  
The Middle Ages

That medieval culture included misogynous aspects has long been recognized. Only through the study of its specific lineaments in particular works, however, can the nature of that misogyny at particular junctures be understood. The content of antifeminist or misogynistic rhetoric varied greatly over time and space during the Middle Ages, although most medieval writing that directly attacked women drew on the classical and patristic traditions exemplified by Juvenal and Jerome. Misogyny, of course, was never the whole story, only a part of a complex cultural valuation of the feminine. Nevertheless, it clearly was an important theme in much medieval writing. Medieval writers used misogynistic topoi for purposes other than attacking women, but in doing so they perpetuated conventions that had an impact on women in medieval society. This article looks at the misogynistic aspects of one work, John of Bromyard's Summa predicantium.

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