Julia Dabbs, "Sex, Lies, and Anecdotes: Gender Relations in the Life Sories of Italian Women Artists, 1550-1800," Aurora, the Journal of the History of Art, Volume VI, pp 17-37, 2005
Abstract: "The interpretation of anecdotes and topoi in artistic biography has predominantly concerned their presence in the life stories of male artists of the early modern period. This article will shift this focus to the vite of female artists such as Properzia de' Rossi, Artemisia Gentileschi, and Annella de' Rosa, and consider the recurring theme of the woman artist's sexuality, as revealed in anecdotal accounts of her relations with male artists or patrons. Although the ambivalent nature of such anecdotes has led some modern historians to reject their validity, I intend to demonstrate that a persistent pattern of portrayal in artistic biography indicates how the female artist was uniquely differentiated from her male colleagues, and indeed reflects some of the inherent difficulties and dangers that could result from her professional interactions with the opposite sex. Visual portrayals of the female artist from this period, such as Steen's The Drawing Lesson, also bear out the prevalence of this perception in early modern Europe."
Julia Dabbs, "Anecdotal Insights: Changing Perceptions of Italian Women Artists in 18 th -century Life Stories," Eighteenth-Century Women, Volume 5, 2007, pp (manuscript accepted, forthcoming 2006).
Abstract: "Through an examination of life stories concerning the artists Rosalba Carriera, Maria Barbò, and Giovanna Fratellini, this essay will show that the biographical portrayal of the female artist shifts significantly in the eighteenth century from a Renaissance standard that emphasized feminine appearance and conduct to one that adopted aspects of the male prototype for artistic greatness. The rhetorical reformulation is particularly evidenced in anecdotes found within their life stories, which reveal a broader cultural perception of essential traits of "the artist" and that have not been previously considered in relation to women. Nevertheless, absolute biographical parity was still not possible, as a latent misogynism continued to undermine the representation of the female artist's achievements, appearance, and character."
James Schryver, "Is There ONE Crusader Archaeology?" In SOMA 2004: Symposium on Mediterranean Archaeology, ed. Jo Day et al., pp. 155-160 BAR International Series 1514: Oxford, Archaeopress, 2006
James Schryver, "Monuments of Identity: Latin, Greek, Frank and Cypriot?" In Identities croisees en um milieu mediterraneen: Le cas de Chypre (Antiquite-Moyen Age)
S. Fourrier andG. Grivaud (eds.), pp: 384-405: Publications des Universites de Rouen et du Harve, 2006
Bedal, L.-A.; Schryver, J. G. “Nabataean Landscape & power: Evidence from the Petra Garden & Pool Complex.” In Crossing Jordan – North American Contributions to the Archaeology of Jordan . Eds. Thomas E. Levy, P. M. Michèle Daviau, Randall W. Younker and May Shaer, 375-383. London : Equinox Publishing, Ltd. 2007.
Gleason, K.; Passalacqua, L.; Schryver, J. G. “The Garden.” In The “Villa of Horace” at Licenza,Final Report of the Excavations 1996-1999. Eds. Bernard Frischer, Jane Crawford, Monica De Simone, 71-96. Oxford : Archaeopress, 2006.