Journal articles: 'Judith and Holofernes'

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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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Astell, Ann W. "Holofernes's head:tacenand teaching in the Old EnglishJudith." Anglo-Saxon England 18 (December 1989): 117–33. http://dx.doi.org/10.1017/s0263675100001460.

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Ælfric'sOn the Old and New Testamentincludes a brief synopsis of the story of Judith, the Hebrew widow who decapitated the Assyrian general, Holofernes. In it, Ælfric refers his friend Sigeweard to an English version of theLiber Judithwhich has been written ‘eow mannum to bysne, þæt ge eowerne eard mid wæmnum bewerian wiþ onwinnendne here’. Ælfric thus defines the tropology or moral lesson of the Judith story as a timely call to men such as Sigeweard to resist the invading army of Danes. Most scholars agree that Ælfric is alluding to his own homily about Judith (‘on ure wisan gesett’), not the Old English poem celebrating the same heroine. Nevertheless many have held that Anglo-Saxon auditors of the poem derived the militaristic moral from it that Ælfric draws from the poem's biblical source.

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Yeutukhou, Ihar A. "Old English poem «Judith» as a reflection of Anglo-Saxon early medieval mentality." Journal of the Belarusian State University. History, no. 1 (January 31, 2020): 62–68. http://dx.doi.org/10.33581/2520-6338-2020-1-62-68.

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The article analyzes the reflection of the Western European early medieval mentality in the Оld English poem «Judith». The following research methods were used: clustering (formation of a cluster of verbal reflections of mental attitudes) and historical-semantic analysis of objects included in the cluster. Poem «Judith» information, connected with the mentality, concerns two lines: the motivation to participate in the battle, and the posthumous punishment of the main antagonist of Holofernes. The analysis allowed the author to draw the following conclusions. Firstly, the poem «Judith» is not a direct poetic paraphrase of the eponymous book of the Оld Testament. The text contains a number of additions that carry completely new information, revealing in particular problems associated with the mentality (Judith speech, the posthumous fate of Holofernes). Secondly, the poem «Judith» allows us to distinguish two levels in the mentality of Anglo-Saxon society – basic one and emerging. The first of them is represented by the concept of «glory» (wuldor and tir). The use of the word wuldor indicates a significant stability of structures associated with the foundations of the mentality of society. For Anglo-Saxon society such a basis was war and glory. The glory had been denoted by the word, rooted in the days of the Old German community (linked to the Gothic language), and unknown to the Vikings. The same stability shows respect for the leader of the enemy troops. The second level is represented by the image of «snake hall» (wyrm-sele), which was formed during the wars with the Vikings in the 10th century for the liberation of the occupied territories. Thirdly, the presence of two levels in the mentality allows author to consider the period of its formation as open. Thus the innovation, arised under Scandinavian influence, was not entrenched in mentality.

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Cabrini, Michele. "The Composer's Eye: Focalizing Judith in the Cantatas by Jacquet de La Guerre and Brossard." Eighteenth Century Music 9, no. 1 (January 27, 2012): 9–45. http://dx.doi.org/10.1017/s1478570611000315.

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ABSTRACTWith its intense drama and marked eroticism, the story of Judith's slaying of Holofernes was often represented in baroque visual art and music. The overwhelming majority of musical representations are found in oratorios, with only three cantatas known to have been devoted to the subject. The oratorio's dramatic framework was suited for emphasizing Judith's multifaceted figure through character depiction, contrast and conflict, while the cantata's epic nature and lack of direct character intervention made staging conflict in that genre more difficult. Yet precisely because of these limitations, the cantata constitutes a revealing case study for exploring the strategies composers employed to give agency to Judith.This article focuses on the baroque cantata settings of the Judith story by Sébastien de Brossard and Élisabeth Jacquet de La Guerre (both from about 1708, both based on a text by La Motte). To illustrate their differing perspectives on Judith, I employ the concept of focalization – used in literary theory to mean point of view or filtered perspective – as a theoretical framework. The well-known Judith paintings by Caravaggio and Artemisia Gentileschi (the so-called Uffizi Judith) provide a lucid example of focalization through the differing perspectives of the two maidservants and offer a valuable methodological tool for understanding the two differing compositional approaches. Whereas Brossard follows La Motte's narrative dutifully by emphasizing swiftness of action at the expense of character depiction, Jacquet de La Guerre bypasses it through instrumental accompaniments and independent symphonies that give voice to Judith, despite a text that downplays her character.

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Roitman, Dr Adolfo D. "El libro de Judit: historia, literatura y teología." Cuadernos Judaicos, no. 32 (December 29, 2015): 237. http://dx.doi.org/10.5354/0718-8749.2015.38098.

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El libro de Judit es un libro apócrifo judío, escrito probablemente para finales del siglo II a.e.c. en la tierra de Israel, y existente solamente en versión griega o en versiones hechas a partir de ésta. La obra de carácter novelesco cuenta sobre la proeza de Judith, una mujer piadosa, bella, viuda y rica, que con arrojo y picardía decapitó al general Holofernes, salvando así a los judíos de Betulia de caer en manos de los asirios. La obra presenta un plan estructural muy complejo (una pirámide quiástica piramidal), el cual sirve como soporte literario para comunicar una doctrina religiosa original, a saber: una revisión de la tradicional doctrina de la retribución. El objetivo de esta composición habría sido presentar de una manera novelada una reflexión en retrospectiva acerca del significado religioso de la revuelta macabea.

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Klußmann, R. "Das biblische Paar Judith und Holofernes im Spannungsfeld von Eros und Thanatos." Balint Journal 5, no. 3 (September 2004): 65–72. http://dx.doi.org/10.1055/s-2004-832603.

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Turner, Hilary L. "Some Small Tapestries of Judith with the Head of Holofernes: Should They Be Called Sheldon?" Textile History 41, no. 2 (November 2010): 161–81. http://dx.doi.org/10.1179/174329510x12798919710590.

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Hwang, Kun. "The cut surface of the neck as depicted in two paintings of Judith and Holofernes." Surgical and Radiologic Anatomy 39, no. 4 (September 30, 2016): 467–69. http://dx.doi.org/10.1007/s00276-016-1754-2.

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Malfliet, Rudi. "Van den vos Reynaerde." Reinardus / Yearbook of the International Reynard Society 30 (December 31, 2018): 156–89. http://dx.doi.org/10.1075/rein.00019.mal.

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Abstract Van den vos Reynaerde is interpreted as the satiric textualization of a particular social discourse. In the first part, the objectives are the three estates: clergy, nobility and peasants. The second part is focussed on the dysfunction of authority, its lack of moral and social legitimation and the relation individual-authority. The medieval society is criticized in a goliardic-inspired manner, where the satiric subject reflects through inversion the satiric objective. It is pointed out that the text contains a parody on the biblical story of Judith and Holofernes, to discern whether opposing a repressive authority allows for ‘just war’. The results of this study challenge the conventional interpretations of Van den vos Reynaerde based on an Arthurian courtly context. The author’s profile and intended public are reviewed with respect to these conclusions.

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Miedema, Hessel. "Nog een schilderij van Gillis Coignet: Judith toont het hoofd van Holofernes aan de inwoners van Bethulië." Oud Holland - Quarterly for Dutch Art History 109, no. 3 (January 1, 1995): 143–51. http://dx.doi.org/10.1163/187501795x00223.

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Jung, Wonsug. "Comment on: The cut surface of the neck as depicted in two paintings of Judith and Holofernes." Surgical and Radiologic Anatomy 39, no. 11 (June 17, 2017): 1297–98. http://dx.doi.org/10.1007/s00276-017-1891-2.

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Crum, Roger J. "Severing the Neck of Pride: Donatello's "Judith and Holofernes" and the Recollection of Albizzi Shame in Medicean Florence." Artibus et Historiae 22, no. 44 (2001): 23. http://dx.doi.org/10.2307/1483711.

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22

Gil, Roger, and Eberhard Bons. "Judith 5:5-21 ou le récit d’Akhior: les mémoires dans la construction de l’identité narrative du peuple d’Israël." Vetus Testamentum 64, no. 4 (September 22, 2014): 573–87. http://dx.doi.org/10.1163/15685330-12341176.

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In the book of Judith, the Ammonite official Achior tries to dissuade Holofernes from engaging in war against the people of Israel. In fact, he is convinced that the God of Israel will protect his people. Achior’s description of these “mountain folk” is an example of how the identity of an entire people can be conceived. Like a single person’s identity, collective identity finds its roots in memory and, by consequence, within the various human memory systems. In particular, one can distinguish an episodic (“remembering” events or situations already experienced) and and a semantic (“knowing” about events, concepts, objects, ideas or facts) memory. The present study attempts to describe how episodic and semantic memories contribute in constructing and narrating the identity of the people of Israel. Achior’s speech also allows for a distinction between two other facets of identity, as described by Paul Ricoeur: that of “sameness” (“idem” identity, based on uninterrupted continuity or permanence in time) and that of “selfhood” (“ipse” identity, based on self-constancy or self-maintenance). Thus, the narration of such a collective identity enables Achior to project himself into the future and to affirm that the God of Israel would protect his people against the Assyrian army.

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Sponsler, Claire. "Death by Drama and Other Medieval Urban Legends. By Jody Enders. Chicago: University of Chicago Press, 2002; pp. xxx + 324; 9 illus. $35 cloth." Theatre Survey 46, no. 1 (May 2005): 159–61. http://dx.doi.org/10.1017/s0040557405360091.

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Death by Drama is revisionist theatre history at its invigorating best. Taking her cue from modern studies of urban legends, Jody Enders treats theatrical apocrypha—such as the well-known account of a convicted heretic who was supposedly executed on stage during a performance of the drama of Judith and Holofernes in 1549 in Tournai—not as fact, as such stories have often unquestioningly been taken, but as medieval urban legends that reveal spectators' attitudes toward the theatre as a place of potential threat where the true and the false dangerously mix. Looking at such legends as expressions of a culture's specific hopes, fears, and anxieties, Enders examines the “ways in which early France told, retold, invented, and reinvented stories of the tenuous boundaries between theatre and real life, thereby helping audiences to confront the nature of artistic representation” (xxiv). Although Enders's focus is medieval French theatre, her reach extends to modern theatre, film, and media, and her impeccable historical scholarship is enriched by savvy recourse to contemporary critical theory and performance studies. The resulting book shakes up settled assumptions about “what really happened” on the medieval stage, while raising profound questions about theatre's social functions then and now.

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Albertson, Gerrit, Anna Krekeler, Annelies van Loon, Art Proaño Gaibor, and Petria Noble. "The blues of Jan de Bray’s Judith and Holofernes: A technical study of two blue pigments and its impact on treatment." Journal of the American Institute for Conservation 58, no. 4 (September 9, 2019): 217–32. http://dx.doi.org/10.1080/01971360.2019.1643628.

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Kaplun, Marianna V. "Between action and comedy: On the Features of Titles of the First Russian Plays of the 1670s (Western European Aspect and Formation of Old Russian Drama)." Slavic World in the Third Millennium 15, no. 1-2 (2020): 7–20. http://dx.doi.org/10.31168/2412-6446.2020.15.1-2.01.

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This article examines the features of the titles of the Russian plays staged at the court of Tsar Alexei Mikhailovich (1645–1676). The very ﬁ rst plays written for the court theatre in the last third of the seventeenth century were: Artaxerxes Action (1672), Judith, or Holofernes Action (1673), A Little Cool Comedy About Joseph (1675), and A Pitiful Comedy About Adam and Eve (1675) authored by Johann Gottfried Gregory and Temir-Aksakovo Action (1675) authored by George Hüfner. The titles of the early Russian productions contained the terms “action” or “comedy”, which can be viewed in the context of the Western European theatre tradition, from which the authors of the ﬁ rst plays, Gregory and Hüfner, who were German, originated. The features of the title designation require additional distinction, as certain patterns are found in the content of the plays, allowing a deeper analysis of the titles. “Action” in the title can be understood as a comedy due to the presence of German buffoonery in the text. “Comedy” means any theatrical action in Russia, but, when included in the title, “comedy” differs from “action” by the presence of clarifying deﬁ nitions, the absence of interludes, and an additional explanation in the prologues. The titles of the ﬁ rst Russian plays were not just meant to name the alleged performance at the court of Alexei Mikhailovich, but also to indicate its character to the viewer. All Russian plays were called comedies, but at the heart of them was a conditional division associated with the peculiarities of the perception of theatrical action in Russia, which only began to develop in the last third of the seventeenth century.

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Clayton, Mary. "Ælfric's Judith: manipulative or manipulated?" Anglo-Saxon England 23 (December 1994): 215–27. http://dx.doi.org/10.1017/s0263675100004543.

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Ælfric's Judith is one of the few Anglo-Saxon works for which we have explicit authorial guidance on how it is to be interpreted. In the often-quoted Letter to Sigetveard, Ælfric says:Iudith seo wuduwe, be oferwann Holofernem pone Siriscan ealdormann, hæfð hire agene boc betwux pisum bocum be hire agenum sige; seo ys eac on Englisc on ure wisan gesett eow mannum to bysne, pæ ge eowerne eard mid wæmnum bewerian wið onwinnendne here.

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Laskaris, Paola. "Los romances de Judit: un curioso caso de autoedición." Revista de Cancioneros Impresos y Manuscritos, no. 10 (January 1, 2021): 327. http://dx.doi.org/10.14198/rcim.2021.10.06.

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En el presente trabajo se propone un estudio de un pliego suelto conservado en la Biblioteca Nacional de España que contiene siete romances, los primeros seis relacionados con la historia bíblica de Judit y Holofernes. El pliego, compuesto y recopilado por el impresor Juan Bautista (el único dato tipográfico explicitado en la portada) atrajo la atención de eruditos y estudiosos por su aspecto y su contenido. Tras aclarar definitivamente la procedencia y autoría del pliego, se analizan algunos pasajes en relación con la circulación (textual e iconográfica) del motivo bíblico en el Siglo de Oro.

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HELYARD, ERIN. "ANTONIO VIVALDI, JUDITHA TRIUMPHANS DEVICTA HOLOFERNIS BARBARIE, rv644 ED. MICHAEL TALBOT Milan: Ricordi, 2008 pp. liii + 314, isbn978 88 7592 855 1." Eighteenth Century Music 7, no. 1 (January 21, 2010): 138–40. http://dx.doi.org/10.1017/s1478570609990613.

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Veldman, Ilja M. "Philips Galle: een inventieve prentontwerper." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 262–90. http://dx.doi.org/10.1163/187501791x00155.

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AbstractPhilips Galle (1537-1612) is best known as a productive engraver and publisher of prints. I Iowever, scant attention has been paid to the fact that he himself often designed prints which he or others engraved. This disregard of Galle's role as inventor is unfair, for many of his representions are particularly interesting for their iconography: several of the themes are original, conceived either by Galle himself or inspired by literary sources and introduced to Netherlandish art for the first time. Only a couple of his designs have been preserved: the drawings Perseus and Andromeda (fig. 1) and Vulcan Vanquished by Pallas (fig. 2), neither of which is signed. There is no doubting Galle's authorship however, because his prints always bear his name as the inventor. In alba amicorum he also drew a Head of Christ (in 1577 and 1579) and a I lead of Hercules (1582), (fig. 3). Galle's first print after a design of his own, Hiernnymus in the Desert (1561), was published by Hieronymus Cock. Despite the absence of the name of a publisher, Galle himself probably published the other prints which he made later, during his Haarlem period (from 1563 to ca. 1570). The verses on the prints are by Hadrianus Junius, the Haarlem humanist who was his friend. Galle's designs of this period are very similar in style to Maarren van Heemskerck's : from the late 1550s on, Galle made engravings of some hundred or so of van Heemskerck's drawings. Another evident influence is that of Frans Floris, whose work Galle also engraved during this period. Many designs from Galle's Haarlem period are highly original, in particular The Wretchedness of Human Existence (1563; figs.4-9) is exceptional for the total absence in the series of any religious allusion or eschatological prospect. The six prints depict man's life starting with his birth and going on to show how he has to learn everything, succumbs to his own failings and falls victim to sickness, poverty, imprisonment and death. The series ends with the lesson that man, unlike animals, is always out for his fellow-man's blood. Galle's Four Elemetns (15 64; figs. 10-13) marked the first appearance of the theme as a series in Netherlandish prints. Earth, Water, Air and Fire are not, as later became customary, represcnted as personifications with attributes, but as gods of Antiquity : Cybele, Neptune, Juno and Jupiter respectively. Galle based his depictions of them on 16th-century Italian mythographers : Cartari's Le Imagini de i Dei degli Anitichi (1556) and Giraldi's De Deis Gentium (1548). The Sluggard's Punishment (figs. 14 and 15) and The power of Women (fig. 16) act as moral examples from the bible. In the former series Galle resorts to passages from Proverbs for his inventive object lesson that the sluggard who refuses to work must suffer poverty and want. His prints of the guiles of women in the Old Testament (Adam and Eve, Lot and his daughters, Jael and Siscra, Samson and Delilah, Solomon and his concubines and Judith and Holofernes) illustrate how women gain ascendance over men by dint of cunning deception, flattery or passion. The Adoration of the Name of Jesus (fig. 17) is one of the first Netherlandish representations of the IHS monogram. We see it being worshipped by hierarchically arranged representatives of the spiritual and secular powers, by angels in heaven and souls in purgatory. Galle continued to design prints after he moved to Antwerp (1570/71). Other engravers usually incised them in copper now: Crispijn de Passe 1, Hieronymus Wierix, Johannes Collaert. Gallc's son-in-law Adriaan Collaert and his son Theodoor Galle. Henceforth the prints bore Galle's official address as publisher. During this period his style underwent a considerable change. The influence of Heemskerck and Floris was superseded by that of Anthonie Blocklandt and Johannes Stradanus, the most important artists of whose work Galle had been making prints since 1571. The South-Netherlandish humanists Cornelis Kilianus and Hugo Favolius replaced Junius as text-writers. Galle's iconography displayed a radical change too. Virtually all the figures in his prints were now elegant nudes. He pictured gods, goddesses, demigods (some of them published in books of prints (fig. 18), stories from classical mythology (Perseus and Andromeda, fig. 1; The Adultery of Venus and Mars, figs. 19-20; Psyche and Cupid, fig. 22), from classical history (Sophonisha's Suicide and Cleopatra's Suicide) and a Fortuna based on a composition by Melchior Lorck (fig. 21). Vulcan Vanquished by Pallas (figs. 2 and 23) is a most unusual print. The representation derives from the story in Hyginus' Fabulae of how Pallas Athena successfully defended her virginity against Vulcan's attempts to take her by force. The Latin verse and pictorial details (the burning torch, Cupid's broken bow and Pallas' owl, which has put one of his arrows out of action) leave the beholder in no doubt as to Galle's intention to convey the moral that chastity vanquishes voluptuous lust. The Four Winds (figs. 24-27), like the Four Elements, were the first independent representation in Netherlandish art. Galle again turned to Cartari's Le Inzagini de i Dei degli Antichi for his depictions of Eurus, Zephyr, Boreas and Auster as winged figures. His revived interest in the allegory is also reflected in the forty-three personifications (figs. 28-20;) in Prosopogruphia, a book of models intended for painters, engravers, poets and orators. Galle's merits as an inventor, then, are chiefly in the area of iconography: his originality is largely due to his depictions of themes without a pictorial tradition in his day. His activities as both a publisher and a draughtsman of edifying allegories and classical themes demonstrate his erudite and humanistically inclined personality.

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Scales, Joseph. "Preparing for Military Action: Judith’s Purificatory Washing in Judith 12:7." Vetus Testamentum, April 26, 2021, 1–17. http://dx.doi.org/10.1163/15685330-00001143.

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Abstract In the twelfth chapter of the Book of Judith, the eponymous heroine departs from the Assyrian camp in order to bathe and pray over three successive nights. Judith’s bath has been interpreted as a ritual bath which achieves purification. Scholars have offered various reasons for Judith’s purificatory wash, but none fully account for all the details of this episode. This paper discusses the proposed solutions and offers a new suggestion to account for Judith’s bath; Judith bathes to prepare herself for the assassination of Holofernes.

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Troiano, Gianmarco, Isabella Mercurio, Nicola Nante, and Mauro Bacci. "Caravaggio’s Judith and Holofernes: a forensic approach." Egyptian Journal of Forensic Sciences 7, no. 1 (December 2017). http://dx.doi.org/10.1186/s41935-017-0020-z.

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D. Roitman, Adolfo. "El libro de Judith: Historia, literatura y teología." Cuadernos Judaicos, January 28, 2019, 340. http://dx.doi.org/10.5354/0718-8749.0.52323.

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El libro de Judit es un libro apócrifo judío, escrito probablemente para finales del siglo II a.e.c. en la tierra de Israel, y existente solamente en versión griega o en versiones hechas a partir de ésta. La obra de carácter novelesco cuenta sobre la proeza de Judith, una mujer piadosa, bella, viuda y rica, que con arrojo y picardía decapitó al general Holofernes, salvando así a los judíos de Betulia de caer en manos de los asirios. La obra presenta un plan estructural muy complejo (una pirámide quiástica piramidal), el cual sirve como soporte literario para comunicar una doctrina religiosa original, a saber: una revisión de la tradicional doctrina de la retribución. El objetivo de esta composición habría sido presentar de una manera novelada una reflexión en retrospectiva acerca del significado religioso de la revuelta macabea.

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Branch, Robin Gallaher. "Blood on their hands: How heroines in biblical and Apocryphal literature differ from those in ancient literature regarding violence." In die Skriflig/In Luce Verbi 48, no. 2 (February 12, 2014). http://dx.doi.org/10.4102/ids.v48i2.1771.

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Deborah and Jael, Esther, and Judith are four biblical and Apocryphal heroines with blood on their hands. Their stories figure in the following passages: Judges 4–5, when Jael killed the Canaanite commander Sisera; Esther 8, when Esther pleaded with Xerxes to allow her people to defend themselves; and Judith 8–16, when Judith devised and fulfilled a plan to assassinate the Assyrian general, Holofernes. These texts exonerate them. A study of selected heroines in mythology and in classical works by Herodotus, Homer and Tacitus reveals interesting comparisons. This article includes character studies of stories about the Amazons, women warriors who mutilated their bodies to better aim a bow; Tomyris, who won a battle against Cyrus and put his head in a sack of human blood; Anchita, a Spartan mother who sanctioned sealing her son alive in the temple of Minerva; and Boadicea, who led a rebellion against Romein which 80 000 Britons perished. The article finds that, in contrast to the women of other cultures, Deborah and Jael, Esther, and Judith responded with violence to crises only when their people were threatened. Their successful actions are limited to the aggressors, within atime limit, and, arguably, tempered with mercy.Met bloed aan die hande: Hoe heldinne uit die bybelse en Apokriewe literatuur verskil van dié uit die klassieke literatuur ten opsigte van geweldpleging. Debora en Jael, Ester, en Judit verteenwoordig vier heldinne uit die Bybelse en Apokriewe literatuur met bloed aan die hande. Hulle verhale word in Rigters 4–5 weergegee, waar Jael vir Sisera, ’n Kanaänitiese kommandant, vermoor het; in Ester 8, waar Ester by Xerxes 1 gepleit het omhaar volk toe te laat om hulleself te verdedig; en in Judit 8–16, waar Judit ’n plan beraam én uitgevoer het om die Assiriese generaal, Holofernes te vermoor. Hulle word egter in hierdie teksgedeeltes onthef van skuld. ’n Studie van heldinne uit die mitologie en die klassieke werke van Herodotus, Homeros en Tacitus onthul interessante ooreenkomste. Hierdie artikel bespreek karakterstudies uit die verhaal van die Amasone – vrouekrygers wat nie geskroom het om hulle eie liggame te skend ter wille van die beter hantering van hulle wapens nie; die verhaal van Tomyris, wat ’n geveg teen Cyrus wen en sy kop in ’n sak, gevul met menslike bloed, geplaas het; Anchita, ’n Spartaanse moeder wat haar goedkeuring gee om haar seun lewend in tempel van Minerva af te seël; en Boadicea, wat ’n rebellie teen Rome aangevoer het waarin 80 000 Britte omgekom het. Die slotsom van hierdie artikelis dat Debora en Jael, Ester, en Judit, in teenstelling met vroue uit ander kulture, hulle inkrisistye tot geweldpleging gewend het slegs wanneer hulle volksgenote bedreig is. Hulle eenmalige dade is net tot die aggressors beperk en word waarskynlik deur ’n gevoel van erbarming getemper.

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Ainsworth, Maryan, and Abbie Vandivere. "Judith with the Head of Holofernes: Jan Cornelisz Vermeyen's Earliest Signed Painting." Journal of Historians of Netherlandish Art 6, no. 2 (August 28, 2014). http://dx.doi.org/10.5092/jhna.2014.6.2.2.

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Ainsworth, Maryan, and Abbie Vandivere. "Judith with the Head of Holofernes: Jan Cornelisz Vermeyen’s Earliest Signed Painting." Journal of Historians of Netherlandish Art 6, no. 2 (July 2014). http://dx.doi.org/10.5092/jhna.jhna.2014.6.2.2.

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Erkan, Aziz. "TWO DIFFERENT APPROACHES TO “JUDITH AND HOLOFERNES LEGEND” IN PAINTING (Caravaggio ve Artemisia Gentisleschi)." Idil Journal of Art and Language 7, no. 42 (February 28, 2018). http://dx.doi.org/10.7816/idil-07-42-11.

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Ilichev, Denis, Nikita Kulesh, and Mikhail Mingaztdinov. "Technical Study of Judith with the Head of Holofernes from Nizhny Tagil Museum of Fine Arts. New Materials for Attribution." KnE Social Sciences, August 25, 2020. http://dx.doi.org/10.18502/kss.v4i11.7529.

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We performed a technological investigation of Judith with the Head of Holofernes (a copy of Cristofano Allori’s work) from the Nizhny Tagil Museum of Fine Arts to clarify the painting’s attribution. According to the current attribution, the copy was created in the 17th century Italy. Pigment analysis using X-ray fluorescence spectroscopy and scanning electron microscopy with energy dispersive spectroscopy was undertaken in order to provide indicators of the approximate date of the Nizhny Tagil copy. The analysis results – supplemented with evidence from UV-imaging and micro-imaging, radiographic examination and studies of the paintings’ support, ground and paint layers – agree with the existing attribution but do not necessarily confirm it. Comparison of the technical characteristics of the Nizhny Tagil Judith with the techniques of Western and Russian painting allows us to extend the dating. In addition, certain fragments of the painting were examined to provide insight into specifics of differences between the copy and the original, which turned out to be mainly the results of previous restorations. Keywords: 17th century Italian painting, painting technique, canvas, pigments, ground, X-ray fluorescence, scanning electron microscopy, x-radiograph, cross-sections

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Keillor, Genevieve. ""Her Beauty Captivated His Mind And The Sword Severed His Neck!": The Changing Depiction of Judith Beheading Holofernes from the Pre-Renaissance Era to Contemporary Society." Virginia Tech Undergraduate Historical Review 7 (April 24, 2018). http://dx.doi.org/10.21061/vtuhr.v7i0.3.

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Santos Júnior, Cristóvão José dos. "A decapitação de Holofernes e as revoltas dos Macabeus: tradução alipogramática do Livro IX da De aetatibus mundi et hominis de Fulgêncio, o Mitógrafo." CALÍOPE: Presença Clássica 1, no. 39 (January 27, 2021). http://dx.doi.org/10.17074/cpc.v1i39.34543.

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Neste trabalho, realiza-se a primeira tradução alipogramática para a língua portuguesa do Livro IX da obra De aetatibus mundi et hominis, considerada o mais antigo lipograma que o passado nos legou. Esse escrito é atribuído ao compositor africano e tardio Fulgêncio, o Mitógrafo, que teria vivido entre os séculos V e VI d.C. A De aetatibus encerra uma constrição linguística de caráter consecutivo, de modo que, em cada uma de suas 14 seções, é evitada uma determinada letra. No nono Livro, ora traduzido, Fulgêncio apresenta personagens como Jezabel, Manassés, Nabucodonosor, Nebuzaradã e Mordecai, fazendo referência a algumas narrativas cristãs, com destaque para o episódio da decapitação de Holofernes por Judite. Ocorre que Fulgêncio, visando a empreender seu lipograma, não emprega unidades lexicais que apresentem o grafema ‘i’, que é exatamente a oitava letra de seu alfabeto. Note-se, por fim, que esse feito não foi cultivado no texto de chegada, na medida em que, neste momento, busca-se fornecer uma tradução que propicie um acesso mais fluido ao conteúdo temático do texto latino.

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Journal articles on the topic 'Judith and Holofernes'

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