Feminae: Medieval Women and Gender Index


4 Record(s) Found in our database

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1. Record Number: 12612
Author(s): Kay, Sarah.
Contributor(s):
Title : Flayed Skin as "objet a": Representation and Materiality in Guillaume de Deguileville’s "Pelerinage de vie humaine" [Allusions to flaying and stripping human flesh abound in Guillaume’s didactic allegory, which features female personifications embodying various abstractions. In the case of the Deadly Sins, flaying skin is linked to bodily punishment; in the case of Virtues, flayed skin alludes to Scripture and written documents (manuscripts being written on parchment, or flayed animal skin). Although Guillaume’s flaying theme presents skin as in some ways pointing towards a sublime immortality, the materiality of skin also represents the mortality of the body. Title note supplied by Feminae.].
Source: Medieval Fabrications: Dress, Textiles, Clothwork, and Other Cultural Imaginings.   Edited by E. Jane Burns .   Palgrave, 2004.  Pages 193 - 205.
Year of Publication: 2004.

2. Record Number: 8958
Author(s): Cerquiglini-Toulet, Jacqueline.
Contributor(s):
Title : Christine de Pizan and the Book: Programs and Modes of Reading, Strategies for Publication [The author explores the associations Christine makes with books, reading, and writing in her texts. For Christine writing ensures her immortality and makes a connection with her father. She is concerned that her entire body of work be read in the future and knows that multiple copies must be made to help ensure survival. Title note supplied by Feminae.].
Source: Journal of the Early Book Society for the Study of Manuscripts and Printing History , 4., ( 2001):  Pages 112 - 126. Issue Title: Women and Book Culture in Late Medieval and Early Modern France
Year of Publication: 2001.

3. Record Number: 11067
Author(s): Hicks, Eric.
Contributor(s):
Title : “Le Livre des Trois Vertus” of Christine de Pizan: Beinecke MS. 427 [Christine exerted a large degree of control over the production and transmission of her writings. Although it is unknown whether any existing manuscript of Christine’s work is written in her own handwriting, Christine did act as both author and editor of manuscripts containing her own poetry. The paintings in Beinecke MS. 427 suggest that Christine also oversaw the illumination of her manuscripts, as the representation of allegorical figures in this volume follow the text of the poem more closely than the illustrations in other manuscripts. Title note supplied by Feminae.].
Source: Yale French Studies (Full Text via JSTOR) (1991): 57-71. Special Editions: Style and Values in Medieval Art and Literature.Link Info
Year of Publication: 1991.

4. Record Number: 12752
Author(s): Heslop, T. A.
Contributor(s):
Title : The Production of De Luxe Manuscripts and the Patronage of King Cnut and Queen Emma [Many lavishly illustrated English Gospel books and devotional manuscripts were produced during the reign of King Cnut and Queen Emma. These luxury items were produced with royal money with the intent that they would be given as presents to powerful individuals in order to help secure allegiance to the crown or they were given (alongside valuable relics or artwork) to institutions like monasteries and churches in order to convey the donors’ piety. Evidence from the handwriting and illumination of Gospel books during the period suggests a large scale production by monastic scribes and artists who worked in close collaboration. Three Appendices. Appendix One lists lavishly illuminated Anglo-Saxon Gospels, 990-1030, with the name of the manuscript, its scribe(s), probable origin, and earliest known medieval ownership. Appendix Two provides excerpts from Latin accounts that give evidence of patronage of art and donation of relics by Cnut and Emma. Appendix Three gives bibliographical information on the Besancon and Copenhagen Gospel books, including information on foliation, ruling, scribes, artists, production sequence, date and origin. Title note supplied by Feminae.].
Source: Anglo-Saxon England , 19., ( 1990):  Pages 151 - 195.
Year of Publication: 1990.