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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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Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.

Iconography --- Mary Magdalene --- Christian art and symbolism --- Christian women saints in art --- Art et symbolisme chrétiens --- Saintes chrétiennes dans l'art --- Mary Magdalene, --- Art --- 225-055.2 --- 246 "04/14" --- 246 "15/17" --- Vrouwen in het Nieuwe Testament --- Christelijke kunst en symbolisme--Middeleeuwen --- Christelijke kunst en symbolisme--Nieuwe Tijd --- Maddalena, --- Madeleine, --- Magdaghinē, --- Magdalene, --- Maria Maddalena, --- Maria Magdalena, --- Mariam Magdaghenatsʻi, --- Marie Madeleine, --- Mary Magdalen, --- 225-055.2 Vrouwen in het Nieuwe Testament --- Maryam al-Majdalīyah, --- Art et symbolisme chrétiens --- Saintes chrétiennes dans l'art --- Art. --- Christian art and symbolism. --- ART / Subjects & Themes / Religious --- Saints. --- Persons --- Maria Magdalena --- Iconographie --- Mary Magdalene, - Saint - Art --- Mary Magdalene, - Saint