cremaster


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Related to cremaster: Cremaster reflex

crem·as·ter·ic fas·ci·a

[TA]
intermediate coverings of the spermatic cord, formed of delicate connective tissue and of muscular fibers derived from the internal oblique muscle (cremaster muscle).
See also: aponeurosis of internal oblique muscle.

cremaster

[krimas′tər]
Etymology: Gk, kremastos, hanging
a thin muscular layer that spreads out over the spermatic cord in a series of loops. It is a continuation of the obliquus internus. The muscle arises from the inguinal ligament and inserts into the crest of the pubis and into the sheath of the rectus abdominis. It is innervated by the genital branch of the genitofemoral nerve and functions to draw the testis up toward the superficial inguinal ring in response to cold or to stimulation of the nerve.

cre·mas·ter mus·cle

(krē-mas'tĕr mŭs'ĕl) [TA]
Origin, from internal oblique muscle and inguinal ligament; insertion, cremasteric fascia (spermatic cord); action, raises testicle; nerve supply, genital branch of genitofemoral; in the male the muscle envelops the spermatic cord and testis; in the female, the round ligament of the uterus.
Synonym(s): musculus cremaster [TA] .
[G. kremastēr, a suspender, in pl. the muscles by which the testicles are retracted, fr. kremannymi, to hang]

cremaster

A thin layer of muscle looping over the SPERMATIC CORD and continuous with the internal oblique muscle of the abdominal wall. Its action is to draw up the testicle.
References in periodicals archive ?
How did you end up in Matthew Barney's Cremaster Cycle?
Consolidated A9 and A10 segments constitute ventrally flat cremaster, which has short crochets in ventral position, and long white plumose setae in margin.
Topics include what imagining has to do with images, bio-ethics and luminous ores, what kind of relationship exists between visibility and overlooking, synchronies of vision and touch, the schematism of the modalities, Carsten Holler's SOMA and Matthew Barney's Cremaster, embodying the cave in phenomenal art, experimentally induced psychosis in nineteen century France, the strange friendship of Wolgang Pauli and Carl Jung, Naoko Tanaka's "Die Scheinwerferin," patterns which connect, the Modern Projection Planetarium, planetary design, staging nature, fantasy in a non-given world, seeing red, dance as an embodied fantasy of writing, self-portraits in Facebook, spiegelei, Matthew Barney, Hiroshi Sugimoto, and Adolph Menze.
This reader, at least, was less inspired to do likewise with Matthew Barney's Cremaster cycle, to describe which Taylor turns back to the flashy puns of 1980s postmodern rhetorics.
Some are diagrammatic with gaps of empty space, more geometric than narrative ("Chrysler Suite," [2002] from CREMASTER 3); others expose gently pointillist graphite creatures whose bodies blend with landscapes and objects placed on ships or the bodies of whales ("The Cabinet of General Douglas MacArthur," 2006 and "Shikenen Sengu" 2006, "Predator," 2006 from DRAWING RESTRAINT 9), or mutations of Egyptian gods and goddesses against the backdrop of industrial landscapes ("SEKHEM," "Set and Horus," 2009), and even the head and body of Norman Mailer transposed into a mythic tree trunk ("RIVER ROUGE: An American in Byblos," 2011).
Postmodern painters like Julian Schnabel (Before Night Falls, Basquiat), Matthew Barney (the Cremaster series), David Salle (Search and Destroy), Robert Longo (Johnny Mnemonic), and Cindy Sherman (Office Killer) increasingly use film and video to express their ideas.
Matthew Barney's Cremaster Cycle (19942002) of five films varying in length from 40 minutes to 3 hours seems another prime candidate for viewing within a gallery space rather than the theatrical settings in which the cycle toured in 2010--but for the opposite reason from Fifth Night.
Perl views the Cremaster cycle, by former model Matthew Barney, with special horror.
In 2004, shortly after Madrid-based architects Maria Langarita and Victor Navarro met, they attended a viewing of Matthew Barney's "The Cremaster Cycle" at the city's La Casa Encendida.
En este punto, al menos asi lo creemos, con la preeminencia del musculo cremaster (aquel que permite elevar los testiculos a una posicion segura en momentos de peligro o miedo), Barney hace una lectura "masculinista" de Gustave Courbet, cuando identifica y ennoblece a la vagina en tanto que nucleo del proceso creativo en El origen del mundo (1866); asi pues, los genitales se convierten en el principio legitimador de cualquier actividad artistica.
Cremaster mas ancho que largo, rugoso; ventralmente, con un par central de espinas dobles unidas por su base, gruesas, 2 veces la longitud de las espinas adyacentes; dorsalmente con tres pares de espinas simples, pequenas, delgadas (un par central y dos pares laterales), esclerosadas, de color castano oscuro, con el extremo curvado a modo de gancho (Fig.