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Relevant bibliographies by topics / Judith and Holofernes

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Academic literature on the topic 'Judith and Holofernes'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Judith and Holofernes"

1

Winn, Colette, Jean Molinet, and Graham A. Runnalls. "Le Mystere de Judith et Holofernes." Sixteenth Century Journal 28, no. 3 (1997): 929. http://dx.doi.org/10.2307/2543047.

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Adamovich, Marina. "Judith with the Head of Holofernes." Russian Studies in Literature 38, no. 1 (December 2001): 85–99. http://dx.doi.org/10.2753/rsl1061-1975380185.

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Martino, E., and G. Lombardi. "Judith and Holofernes Anonymous (XVII Century)." Journal of Endocrinological Investigation 35, no. 6 (June 2012): 619. http://dx.doi.org/10.1007/bf03345799.

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Impallaria, Anna, Ferruccio Petrucci, and Simone Bruno. "Judith and Holofernes: Reconstructing the History of a Painting Attributed to Artemisia Gentileschi." Heritage 2, no. 3 (July 25, 2019): 2183–92. http://dx.doi.org/10.3390/heritage2030132.

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Recently, a new painting attributed to Artemisia Gentileschi was found in Ferrara, representing Judith exposing the head of Holofernes. Some analyses have been required to verify the history of this canvas, because another known painting is very similar to this one with the exception of the heads of Judith and Holofernes. This last has been attributed to the father of Artemisia, Orazio Gentileschi. Many diagnostics were performed, starting from imaging techniques: from raking light, to UV fluorescence and X-ray radiography. All of them highlighted peculiarities concerning above all the head of the main female protagonist. The results suggest that the face of Judith was subjected to various reworks in the same artistic period because of the original materials still present. This is the reason for the peculiar fragility and, due to this, the restoration of the 20th Century focused on Judith’s face. However, in this contribution, we want to highlight the results obtained with XRF spot analysis. Indeed, the artistic palette and the restoration materials have been characterized. For example, reds are in cinnabar, while Judith’s lips have been restored with cadmium red. The more interesting results regard the use of umber earths. In the painting, this iron-based pigment, rich in manganese, was revealed several times, and the correlation between Fe and Mn was easily verified. More than one correlation has been found due to the use of this pigment to darken the hues.

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Peters, Janelle. "Judith and the Elders of 1 Clement." Open Theology 7, no. 1 (January 1, 2021): 60–68. http://dx.doi.org/10.1515/opth-2020-0145.

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Abstract While Judith was used with Esther and other books with female protagonists to promote the reign of Queen Shelamzion Alexandra and the activities of female Pharisees, as Tal Ilan has argued, the role of Judith in the historical examples of 1 Clement presents Judith as needing to seek the permission of the elders of her besieged city in order to go to the enemy camp and behead Holofernes. This article argues that such an interpretive move preserves the authority of Judith in Hasmonean and Pharisaic interpretations.

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Pritchard, Shannon N. "A PRINT SOURCE FOR CARAVAGGIO'S "JUDITH BEHEADING HOLOFERNES"." Source: Notes in the History of Art 34, no. 4 (July 2015): 23–30. http://dx.doi.org/10.1086/686283.

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Álvarez Seijo, Begoña. "Judith y Holofernes de Antonio de Pereda: una excepcional representación de poder femenino en la pintura española del siglo XVII." Boletín de Arte, no. 41 (November 5, 2020): 253–57. http://dx.doi.org/10.24310/bolarte.2020.v41i.8288.

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El presente artículo pretende realizar una revisión de una obra del pintor vallisoletano Antonio de Pereda, Judith y Holofernes, prestando especial atención a las particularidades del lienzo y al escaso tratamiento de la temática representada por parte de los pintores españoles del Siglo de Oro.

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Massi, Norberto. "LOTTO NON LOTTO: JUDITH WITH THE HEAD OF HOLOFERNES." Source: Notes in the History of Art 28, no. 1 (October 2008): 39–48. http://dx.doi.org/10.1086/sou.28.1.23207973.

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Estes, Heide. "Feasting with Holofernes: Digesting Judith in Anglo-Saxon England." Exemplaria 15, no. 2 (January 2003): 325–50. http://dx.doi.org/10.1179/exm.2003.15.2.325.

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Delis, Tina M. "“The Lord Struck Him Down by the Hand of a Female!” Baroque Artists Depicting Judith in the Renaissance." Journal of Mason Graduate Research 3, no. 3 (June 1, 2016): 143. http://dx.doi.org/10.13021/g8bs3s.

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Gender themed Research Project, using the biblical story of Judith and Holofernes to examine how Baroque artists tackled representing Judith as a female figure who openly subverts the Renaissance gender norms by defeating a male. Focusing on the artists, Michelangelo Merisi da Caravaggio, Orazio Gentileschi and Artemisia Gentileschi, the paper explores through visual analysis how each artist approached representing the gender issue within the biblical narrative in their artwork. The biblical narrative is discussed and two well-disseminated published articles about gender roles are reviewed. Additionally, how the Counter-Reformation and the Catholic Church’s assertive stance for the purpose of art effects how images of Judith are painted.

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Dissertations / Theses on the topic "Judith and Holofernes"

1

McKenzie, John Richard Philip. "A historical and critical edition of Freiheit in Kraehwinkel and Judith und Holofernes by Johann Nestroy." Thesis, University of Exeter, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394225.

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Nelson, Caroline. ""By the Hand of a Woman": Gender, Luxury, and International Relations in Andrea Mantegna's Judith and Holofernes." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/863.

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Biagini, Julia. "Sandro Botticelli’s The Return of Judith to Bethulia and The Discovery of the Body of Holofernes and the Experiences of Quattrocento Florence." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1314878788.

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BURZLAFF, MARY CAROLINE. "CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.

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Seaman, Leah M. "The depiction of female emotion as seen through the work of Italian Renaissance artists Artemisia Gentileschi and Michelangelo Caravaggios Judith Beheading Holofernes and Artemisia Gentileschi and Cavaliere dArpinos Susanna and the Elders." Marietta College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors161944857779248.

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Deibel, Danielle Marie. "The Piazza della Signoria: The Visualization of Political Discourse through Sculpture." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent149298059548259.

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Rubinski, Jessica Cole. "Elisabetta Sirani's Judith with the Head of Holofernes." 2008. http://purl.galileo.usg.edu/uga%5Fetd/rubinski%5Fjessica%5Fc%5F200805%5Fma.

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Grimmett, Kendra Jo. "Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes." Thesis, 2014. http://hdl.handle.net/2152/25827.

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At no point in the apocryphal text does Judith, a wise and beautiful Jewish widow, sit on Holofernes, the Assyrian general laying siege to her city. Yet, in 1525, Barthel Beham, a young artist from Nuremberg, created Judith Seated on the Body of Holofernes, an engraving in which a voluptuous nude Judith sits atop Holofernes’s nude torso. Neither the textual nor the visual traditions explain Beham’s choice to perch the chaste woman on top of her slain enemy, so what sources inspired the printmaker? What is the meaning of Judith’s provocative position? The tiny printed image depicts the relationship between a male figure and a female figure. Thus, in order to appreciate the complexity of that relationship, I begin this thesis by reviewing what it meant to be a man and what it meant to be a woman in early sixteenth-century Germany. Because gender roles and the dynamics between the sexes were so complex, I encourage scholars to reevaluate Weibermacht (Power of Women) imagery. The nudity of Beham’s Judith and her intimate proximity to Holofernes suggest that Judith Seated on the Body of Holofernes is a Weibermacht print. In fact, Judith’s pose specifically echoes that of Phyllis riding Aristotle, a popular Weibermacht narrative. The combined eroticism of Judith’s exposed body and her compromising position would have appealed broadly to male viewers, but Beham likely targeted an erudite audience of well-educated, affluent men when he designed the multivalent print. Through close visual analysis and careful consideration of which prints circulated in early sixteenth-century Nuremberg, I argue that Beham’s Judith resembles witches riding backwards on goats, crouching Venuses, and a woman in the “reverse-cowgirl” sex position. Admittedly, it is impossible to know which sources Beham studied in preparation for Judith Seated on the Body of Holofernes, but I am inclined to believe that he wanted each of those jocular references to enrich the meaning of his work, providing a witty commentary on the power of women. But regardless of the artist’s intentionality, I think visually literate viewers would have recognized and enjoyed decoding the layers of meaning in Beham’s odd engraving.
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Books on the topic "Judith and Holofernes"

1

Villamía, Fernando. Judith y Holofernes. Sevilla: Algaida, 2008.

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Judith y Holofernes. Sevilla: Algaida, 2008.

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3

Zanuso, Susanna. Judith and Holofernes: Giovan Battista Maestri, called Volpino. Milan: Carlo Orsi, 2015.

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Uppenkamp, Bettina. Judith und Holofernes in der italienischen Malerei des Barock. Berlin: Reimer, 2004.

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5

Wit, Adriaan. Judith und Holofernes: Opera in zwei Akten von Waltrauf Rainer-Thiel : Libretto, opus 11. Salzburg: [s.n.], 1992.

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6

Molinet, Jean. Le Mystère de Judith et Holofernés: Une édition critique de l'une des parties du "Mistere du Viel Testament". Genève: Droz, 1995.

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Molinet, Jean. Le Mystère de Judith et Holofernés: Une édition critique de l'une des parties du "Mistere du Viel Testament". Genève: Droz, 1995.

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Gabrijela, Mecky Zaragoza, ed. Judith und Holofernes: Ein Drama in fünf Akten (1818). München: Iudicium, 2005.

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9

Violence and Virtue: Artemisia Gentileschi's Judith Slaying Holofernes. Yale University Press, 2014.

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10

Series, Michigan Historical Reprint. Judith and Holofernes; a poem, by Thomas Bailey Aldrich. Scholarly Publishing Office, University of Michigan Library, 2006.

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Book chapters on the topic "Judith and Holofernes"

1

Dittmar, Wilfried. "Nestroy, Johann Nepomuk: Judith und Holofernes." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12626-1.

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2

Philpot, Elizabeth. "Judith and Holofernes: Changing Images in the History of Art." In Translating Religious Texts, 80–97. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22841-6_6.

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3

Körner, Hans. "Biblische Erzählung und Bildzeiten in Sandro Botticellis Judith- und Holofernes-Darstellungen." In Bilderzählungen - Zeitlichkeit im Bild, 45–64. Köln: Böhlau Verlag, 2003. http://dx.doi.org/10.7788/9783412323233-003.

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"2. Judith, Holofernes , and the Phallic Woman." In Reading Woman, 110–36. Columbia University Press, 1986. http://dx.doi.org/10.7312/jaco92530-009.

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Seidman, Naomi. "The Jewish Year." In Sarah Schenirer and the Bais Yaakov Movement, 287–327. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764692.003.0013.

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This chapter reflects on the Jewish year. It begins by discussing the importance of proper sabbath observance for Jewish women. Sabbath contains within itself the great blessing that gives one spiritual and physical energies for the rest of the week. The chapter then considers the preparations for the Day of Judgement. It also looks at significant Jewish holidays, including the festival of Hanukah; Shabat Shekalim; the sabbath of Zakhor, which always falls on the last sabbath before Purim; Passover, which is the festival of freedom; and Shabat Nahamu, the sabbath of consolation. In addition, the chapter highlights two women who were especially noteworthy for having rescued the Jewish people: Judith and Esther. Judith, the great heroine of Hanukah, beheaded the terrible antisemite Holofernes with her sword, and Esther saved her people from the Jew-hater Haman.

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Clare, Janet. "‘She’s Turned Fury’: Women Transmogrified in Revenge Plays." In Revenge and Gender in Classical, Medieval and Renaissance Literature, 220–36. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0012.

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This chapter explores early modern responses to Hecuba, arguing that whereas Euripides’ Hecuba is a sympathetic tragic heroine and successful avenger, this model was not replicated in early modern plays. Instead the two aspects of Hecuba’s role, that of lamenting mother and ruthless avenger, bifurcate in English revenge tragedy. Pitiful, mourning mothers such as Isabella from Thomas Kyd’s The Spanish Tragedy are unsuccessful, while savage ones, such as Tamora from Shakespeare’s Titus Andronicus and Queen Margaret in Shakespeare’s Henry VI trilogy, are abhorrent and aberrant, inflicting violence from a position of power. In contrast to Germany and France – where artistic treatments of the Biblical Judith decapitating General Holofernes offer a heroic, political image of female vengeance – the chapter argues that in early modern England revenge was definitively not a woman’s business.

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"Judith and Holofernes: Some Observations on the Development of the Scene in Art." In Studies in Armenian Art, 49–69. BRILL, 2019. http://dx.doi.org/10.1163/9789004400504_006.

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Becker-Cantarino, Barbara. "The Dramatic Hero in the Gendered Imaginary of Early Modern Germany. Judith and Holofernes." In Tracing the Heroic Through Gender, 59–74. Ergon Verlag, 2018. http://dx.doi.org/10.5771/9783956504037-59.

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"Judith and Holofernes: An Analysis of the Emotions in the Killing Scene (Jdt 12:10–13:9)." In Ancient Jewish Prayers and Emotions, 177–92. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110369083-011.

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"Judith y Holofernes: relaciones artísticas entre los Estados Unidos y el País Vasco en el siglo xx." In Bridge/Zubia, 245–72. Vervuert Verlagsgesellschaft, 2019. http://dx.doi.org/10.31819/9783964568564-012.

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