Feminae: Medieval Women and Gender Index


3 Record(s) Found in our database

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1. Record Number: 3516
Author(s): Roberts, Ann M.
Contributor(s):
Title : Chiara Gambacorta of Pisa as Patroness of the Arts [the author argues that Prioress Chiara Gambacorta had an important role in commissioning and in choosing the subject, style, and imagery of the paintings produced for the convent of San Domenico, many of which represented female saints including Catherine of Siena and Bridget of Sweden].
Source: Creative Women in Medieval and Early Modern Italy: A Religious and Artistic Renaissance.   Edited by E. Ann Matter and John Coakley .   University of Pennsylvania Press, 1994.  Pages 120 - 154.
Year of Publication: 1994.
2. Record Number: 9543
Author(s): Frank, Hardy Long.
Contributor(s):
Title : Seeing the Prioress Whole [While many literary critics seek to psychoanalyze Chaucer’s Prioress, a more productive way to understand her is to examine the role of prioresses in fourteenth-century England. Prioresses were well-respected; they oversaw the daily activities of convents, entertained travelers of all classes, and traveled frequently on business trips. Rather than being childlike, sentimental, or naive, the Prioress is a capable professional woman who deserves respect. The Prioress’s Marian tale is also well-suited to her vocation and may perhaps refer to Chaucer’s own associations with the cult of Notre Dame du Puy. Title note supplied by Feminae.].
Source: Chaucer Review , 25., 3 ( 1991):  Pages 229 - 237.
Year of Publication: 1991.
3. Record Number: 31217
Author(s):
Contributor(s):
Title : Dedicatory Image of the Lippoldsberg Gospels
Source: Chaucer Review , 25., 3 ( 1991):
Year of Publication: