Project (D. Min.)--New Orleans Baptist Theological Seminary, 2008. / Includes abstract. "April 2008" Description based on Print version record. Includes bibliographical references (leaves 158-161).

Thesis (M.A.)--Georgia State University, 2005. / Title from title screen. John Kantner, committee chair; Kathryn A. Kozaitis, Emanuela Guano, committee members. Electronic text (112 p. : col. ill.) : digital, PDF file. Description based on contents viewed June 11, 2007. Includes bibliographical references (p. 106-112).

Sixteenth- and seventeenth-century portraits from the Italian peninsula that depict women with keyboard instruments have been discussed as an apparent trend by feminist art historians and musicologists. While the connection between these portraits and the well-known iconography of the musical St. Cecilia has been noted, the association between keyboard instruments and the female body has been less frequently explored. In this study, I use methodologies from feminist theory and gender studies, most notably gender performativity, in order to explore how an artist's dialogue between the portrait subject and her instrument creates and is created by complex relationships ingrained by the dominant patriarchal structures that circumscribed women's lives at the time. To realize these interpretive goals, I have chosen two paintings that are less often discussed in art historical and musicological literature: the self-portrait attributed to Marietta Robusti, and St. Cecilia Playing the Keyboard in the style of Artemisia Gentileschi.

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