flagellant

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flag·el·lant

 (flăj′ə-lənt, flə-jĕl′ənt)
n.
1. One who whips, especially one who scourges oneself for religious discipline or public penance.
2. One who seeks sexual gratification in beating or being beaten by another person.

[Latin flagellāns, flagellant-, from present participle of flagellāre, to whip; see flagellate.]

flag′el·lant adj.
flag′el·lant·ism n.

flagellant

(ˈflædʒɪlənt; fləˈdʒɛlənt) or

flagellator

n
1. a person who whips himself or others either as part of a religious penance or for sexual gratification
2. (Historical Terms) (often capital) (in medieval Europe) a member of a religious sect who whipped themselves in public
[C16: from Latin flagellāre to whip, from flagellum]
ˈflagellantˌism n

flag•el•lant

(ˈflædʒ ə lənt, fləˈdʒɛl ənt)

n.
1. a person who flagellates himself or herself for religious discipline.
2. a person who derives sexual pleasure from whipping or being whipped by another person.
adj.
3. pertaining to flagellation.
4. severely criticizing.
[1555–65; < Latin]
flag′el•lant•ism, n.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.flagellant - a person who is whipped or whips himself for sexual gratification
2.flagellant - a person who whips himself as a religious penance
penitent - (Roman Catholic Church) a person who repents for wrongdoing (a Roman Catholic may be admitted to penance under the direction of a confessor)
Translations

flagellant

n
(Rel) → Flagellant m
(form, for sexual gratification) → Flagellant m
References in periodicals archive ?
"Marian Images and Laudesi Devotion in the Late Medieval Italy, 1260-1350." Tesi di dottorato.
After 1292, a confraternity developed, the laudesi, which had two principal activities, the perpetuation of the cult and the distribution of alms, in particular, grain for the poor (Henderson 196-200).
It was believed that laudesi (sung devotions) were 'an especially sanctified form of persuasion, for they participate in the celestial singing of the angelic choir' (p.
The religious do not make a strong showing in the compromise settlements either as arbiters--only one case called for a friar, either a Franciscan or Dominican, to settle their dispute over property outside the city--or as parties to a dispute, with the exception of the nuns of Santa Caterina and a laudesi confraternity who were represented by notaries.
Yet the "Rucellai Madonna" was indeed from Duccio's hand, commissioned in 1285 by the Confraternity of the Laudesi at Santa Maria Novella in Florence.
There still is no consensus on the precise chronology and attribution of Duccio's paintings, which is hardly surprising, given that his only two securely dated works are The Rucellai Madonna, commissioned in 1285 by the Compagnia dei Laudesi for the Dominican church of Sta Maria Novella in Florence, and the Maesta for the cathedral of Siena.
In the same period in many parts of Italy also laudesi (praising) confraternities, which focused their religious life on praying and singing, appeared.
he first discusses the social context that witnessed the early growth of the lauda and the groups devoted to its performance, the laudesi companies.