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Architecture [Medieval ] --- Architecture médiévale --- Architectuur [Middeleeuwse ] --- Art [Medieval ] --- Art médiéval --- Bouwkunst [Middeleeuwse ] --- Kunst [Middeleeuwse ] --- Medieval architecture --- Medieval art --- Middeleeuwse architectuur --- Middeleeuwse bouwkunst --- Middeleeuwse kunst --- Art, Medieval --- Architecture, Medieval --- Art medieval --- Art gothique --- Art médiéval --- Architecture médiévale --- Mediaeval art --- History --- Art medieval - France --- Art gothique - France --- Art gothique - Europe

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The first in-depth exploration of rape as it has been portrayed in Western art from the twelfth through seventeenth centuries. Examining the full range of representations, from those that glorify rape to those that condemn it, Diane Wolfthal illuminates the complex web of attitudes towards sexual violence that existed in the medieval and early modern society. Wolfthal first explores Italian Renaissance and Baroque images of 'heroic' rape, in which the victim seldom suffers and the crime is sanitized, aestheticized, or eroticized. These are contrasted with a range of images, mostly created in Northern Europe, that have been ignored. Often critical of the assailant and sympathetic to his victim, these works reveal that society did, in certain circumstances, severely condemn the act of rape. Wolfthal demonstrates how this range of images still influences contemporary debate about sexual violence. Winner of the Sierra Prize, Western Association of Women Historians in the year 2000

Iconography --- anno 500-1499 --- anno 1600-1699 --- anno 1500-1599 --- Art [Baroque ] --- Art [Medieval ] --- Art [Renaissance ] --- Art baroque --- Art de la Renaissance --- Art médiéval --- Barok in de kunst --- Barokkunst --- Baroque art --- Baroque dans l'art --- Kunst [Barok] --- Kunst [Middeleeuwse ] --- Kunst [Renaissance] --- Medieval art --- Middeleeuwse kunst --- Rape in art --- Renaissance art --- Renaissancekunst --- Verkrachting in de kunst --- Viol dans l'art --- Rape in art. --- Art, Medieval. --- Art, Renaissance. --- Art, Baroque. --- Art médiéval

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During the high Middle Ages in Europe, the act of looking was surrounded by superstition. It was believed to have magic power, it was able to arouse anxiety, and it was the subject of lengthy texts by both men and women. In Visualizing Women in the Middle Ages, Madeline H. Caviness interrogates twentieth-century theories of the gaze and concedes that the "male gaze"—first articulated by Laura Mulvey and a cornerstone of much feminist criticism—is useful for understanding a cultural code of patriarchy in the high Middle Ages. However, she argues, one should take into account the many varying visual modes that proliferated in the medieval era. For Caviness, an awareness of historical context places pressure upon contemporary theories like that of the "male gaze," changing their shapes and creating even richer dialogues with the past. In a series of readings, Caviness demonstrates how looking functions within the much broader contexts of language and desire. The Old Testament story of Lot yields the material with which Caviness addresses the Mulveian gaze. In the narrative and in medieval visual representations of the story, she explores the biblical proscription of and anxieties about women looking. She then turns to medieval depictions of the torture of female saints and investigates how such images were not erotic in the Romanesque abstract modes but became disturbingly sexualized and sadistic in the more graphic renditions of the Gothic. Finally, Caviness looks at the distribution of relics of female saints in relation to Lacan's notions of the abject. Here she shows how the female body is de-eroticized and re-encoded as parts become metonymies for the whole and are revered as holy objects.

Art [Medieval ] --- Art médiéval --- Femmes dans l'art --- Kunst [Middeleeuwse ] --- Medieval art --- Middeleeuwse kunst --- Vrouwen in de kunst --- Women in art --- Christian women saints in art --- Art, Medieval --- Saintes chrétiennes dans l'art --- History --- Histoire --- 7.04 --- Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Art, Medieval. --- Women in art. --- 7.04 Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Saintes chrétiennes dans l'art --- Art médiéval --- History. --- Femmes --- Dans l'art --- Moyen-Age --- Thèmes, motifs

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Instruments de musique médiévaux -- Dans l'art --- Instruments de musique médiévaux --- Dans l'art --- Architecture and music --- Art [Medieval ] --- Art et l'architecture --- Kunst [Middeleeuwse ] --- Kunst en architectuur --- Kunst en muziek --- Middeleeuwse kunst --- Music and architecture --- Music and art --- Musique et architecture --- Musique et art --- Muziek en architectuur --- Muziek en kunst --- Peinture et l'architecture --- Schilderkunst en architectuur --- Space and time in Music --- Music in art --- Espace et temps dans la musique --- Musique dans l'art --- Vibrations --- Iconography --- Music --- History of civilization --- Art --- anno 500-1499 --- Sound --- Art, Medieval --- Christian art and symbolism --- Art, Byzantine --- Son --- Art médiéval --- Musique --- Art et symbolisme chrétiens --- Art byzantin --- Religious aspects --- Aspect religieux --- Art and architecture --- Middle Ages, 500-1500 --- Christian art and symbolism. --- Dans l'art.

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For her commissioning and performance of a French vernacular version of the Arabic tale of the Thousand and One Nights – recorded in one of the most vivid and sumptuous extant late thirteenth-century manuscripts – as well as for her numerous other commissions, Queen Marie of Brabant (1260-1321) was heralded as an intellectual and literary patron comparable to Alexander the Great and Charlemagne. Nevertheless, classic studies of the late medieval period understate Marie’s connection to the contemporary rise of secular interests at the French court. Pleasure and Politics seeks to reshape that conversation by illustrating how the historical and material record reveals the queen’s essential contributions to the burgeoning court. This emerging importance of the secular and redefinition of the sacred during the last decades of Capetian rule becomes all the more striking when juxtaposed to the pious tone of the lengthy reign of Louis IX (1214-1270), which had ended just four years before Marie’s marriage to his son. That Marie often chose innovative materials and iconographies for these objects — ones that would later in the fourteenth century become the norm — signals her impact on late medieval patronage. Pleasure and Politics examines Marie’s life beginning with her youth in Brabant, to her entry into Paris in 1274 accompanied by her retinue of courtiers, artists, objects, and ideas from the northern courts of Brabant, Flanders, and Artois. It continues with her elaborate coronation held for the first time in the Sainte-Chapelle the following year, her years as queen of France — often full of intrigue — and her long, productive widowhood, until her death and burial in 1321. With a focus on her Brabantine and Carolingian heritage joined to her status as French queen — often expressed through pioneering styles of heraldry — her commissions included ceremonies, marriage treaties, and intercessions, as well as a stunning collection of jewels, seals, manuscripts, reliquaries, sculpture, stained glass, and architecture that she gathered and built around her. This study also reveals Marie’s regular collaboration with family, friends, and artists, in particular that with the poet Adenet le Roi, women of the French court like Blanche of France (1252-1320), and relatives from the north like Robert of Artois (1250-1302). With this broader view, it also analyzes the dynamics of Marie’s patronage and its impact on contemporary and future women and men of the royal house. Court, culture, politics, and gender — these are the themes that flow throughout Marie of Brabant’s life and tie together the material effects of a long, pleasure-filled existence enlivened by the politics of Europe on the cusp of a new age.

091.31 "12/13" --- 929.7 --- 028-055.2 --- 028-055.2 Vrouwelijke lezers --- Vrouwelijke lezers --- 929.7 Adel. Eretitels --- Adel. Eretitels --- 091.31 "12/13" Verluchte handschriften--?"12/13" --- Verluchte handschriften--?"12/13" --- Marie de Brabant, --- Marie of Brabant --- 7.078 --- 944.02 --- 944.02 Geschiedenis van Frankrijk--(987-1589) --- Geschiedenis van Frankrijk--(987-1589) --- 7.078 Kunstbescherming. Kunstbevordering --- Kunstbescherming. Kunstbevordering --- Art patronage --- Queens --- Social networks --- France --- Kings and rulers --- Biography --- Courts and courtiers --- Intellectual life --- Biography. --- Courts and courtiers. --- Art --- patronage --- art collections --- Medieval [European] --- Illumination of books and manuscripts, Medieval --- Women art patrons --- Art, Medieval --- Collectors and collecting --- History --- Marie de Brabant --- Verlichting van boeken en handschriften [Middeleeuwse ] --- Beschermheren vrouwelijke kunst --- Kunst [Middeleeuwse ] --- Kunst --- Marie van Brabant, Koningin, echtgenote van Philip III, Koning van Frankrijk, 1254-1321 --- Verzamelaars en verzamelen --- Kunstpatronaat --- Frankrijk --- Illumination of books and manuscripts, Medieval - France --- Women art patrons - France --- Art, Medieval - France --- Art - Collectors and collecting - France - History - To 1500 --- Marie de Brabant, - Queen, consort of Philip III, King of France, - 1254-1321 - Art patronage --- Marie de Brabant, - Queen, consort of Philip III, King of France, - 1254-1321