Feminae: Medieval Women and Gender Index


35 Record(s) Found in our database

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1. Record Number: 20780
Author(s): Eckhard, Simon
Contributor(s):
Title : The First German Mary Assumption Play (c.1300) and the Mary Portal of Strasbourg Cathedral [Investigates the relationship between thirteenth and fourteenth century German Assumption plays, the Song of Solomon/Song of Songs, and the carvings of Strasbourg Cathedral. Focuses on the plays' and carvings' use of the figures of "Ecclesia" as bride and God as Solomon, with God/Solomon's embrace of "Synagoga" acting as a device to encourage the conversion of Jews. The relationship between Mary and the figure of "Ecclesia" is also discussed. Title note supplied by Feminae].
Source: European Medieval Drama , 9., ( 2005):  Pages 1 - 23.
Year of Publication: 2005.
2. Record Number: 19231
Author(s): Keller, Hildegard Elisabeth
Contributor(s):
Title : Segreti. Uno studio semantico sulla mistica femminile medievale [Medieval mystics frequently wrote about hidden or secret realities. Didactic texts tried to teach an approach to these secrets, while autobiographies presented mysteries that the mystic had experienced. Female mystics, as well as some men, frequently presented their experience in erotic terms derived from the Bible and including terms for pregnancy and birth. Many of them said they were compelled to reveal secrets they had learned. Title note supplied by Feminae.]
Source: Storia delle donne 1 (2005): 201-220.
Year of Publication: 2005.
3. Record Number: 10540
Author(s): Fassler, Margot.
Contributor(s):
Title : Music For the Love Feast: Hildegard of Bingen and the "Song of Songs" [The author focuses on two scriptural themes: the love feast of the "Song of Songs" and the song of the Lamb's high court from the "Book of Revelations." Fassler traces these themes in Hildegard's songs for St. Ursula and in her musical play, the "Ordo virtutum." Title note supplied by Feminae.].
Source: Women's Voices across Musical Worlds.   Edited by Jane A. Bernstein .   Northeastern University Press, 2004.  Pages 92 - 117.
Year of Publication: 2004.
4. Record Number: 10822
Author(s): Góngora, María Eugenia.
Contributor(s):
Title : Feminea Forma and "Virga": Two Images of Incarnation in Hildegard of Bingen's "Symophonia"
Source: The Voice of Silence: Women's Literacy in a Men's Church.   Edited by Thérèse de Hemptinne and María Eugenia Góngora Medieval Church Studies .   Brepols, 2004.  Pages 23 - 36.
Year of Publication: 2004.
5. Record Number: 10823
Author(s): Flisfisch, María Isabel.
Contributor(s):
Title : The Eve-Mary Dichotomy in the "Symphonia" of Hildegard of Bingen
Source: The Voice of Silence: Women's Literacy in a Men's Church.   Edited by Thérèse de Hemptinne and María Eugenia Góngora Medieval Church Studies .   Brepols, 2004.  Pages 37 - 46.
Year of Publication: 2004.
6. Record Number: 10824
Author(s): Meli, Beatriz.
Contributor(s):
Title : Virginitas and "Auctoritas": Two Threads in the Fabric of Hildegard of Bingen's "Symphonia armonie celestium revelationum"
Source: The Voice of Silence: Women's Literacy in a Men's Church.   Edited by Thérèse de Hemptinne and María Eugenia Góngora Medieval Church Studies .   Brepols, 2004.  Pages 47 - 55.
Year of Publication: 2004.
7. Record Number: 6719
Author(s): Jeffreys, Catherine.
Contributor(s):
Title : Listen, Daughters of Light: The Epithalamium and Musical Innovation in Twelfth-Century Germany
Source: Listen, Daughter: The "Speculum virginum" and the Formation of Religious Women in the Middle Ages.   Edited by Constant J. Mews .   The New Middle Ages Series. Palgrave, 2001.  Pages 137 - 157.
Year of Publication: 2001.
8. Record Number: 6929
Author(s): Rondeau, Jennifer Fisk.
Contributor(s):
Title : Conducting Gender: Theories and Practices in Italian Confraternity Literature [The author explores both confraternity statutes and "laude," vernacular hymns, for their uses of gender. Title note supplied by Feminae.].
Source: Medieval Conduct.   Edited by Kathleen Ashley and Robert L. A. Clark .   Medieval Cultures, Volume 29. University of Minnesota Press, 2001.  Pages 183 - 206.
Year of Publication: 2001.
9. Record Number: 4610
Author(s): Moore, Stephen D.
Contributor(s):
Title : The "Song of Songs" in the History of Sexuality [The author argues that medieval commentators read the "Song of Songs" as an allegory about the celibate male as the Bride who unites with Christ as the Bridegroom].
Source: Church History , 69., 2 (June 2000):  Pages 328 - 349.
Year of Publication: 2000.
10. Record Number: 4609
Author(s):
Contributor(s):
Title : The Virile Bride of Bernard of Clairvaux [The author analyzes the figure of the Bride in Bernard's "Sermon on the Song of Songs;" the Bride combines feminine affectivity with the rationality and strength of the masculine].
Source: Church History , 69., 2 (June 2000):  Pages 304 - 327.
Year of Publication: 2000.
11. Record Number: 3738
Author(s): Matter, E. Ann.
Contributor(s):
Title : Mystical Marriage [The author traces the idea of mystical marriage which drew on Biblical exegesis, liturgy, mysticism, and monastic life; she argues that it represented a liberating potential].
Source: Women and Faith: Catholic Religious Life in Italy from Late Antiquity to the Present.   Edited by Lucetta Scaraffia and Gabriella Zarri .   Harvard University Press, 1999. Notes and Queries , 3 (September 1999):  Pages 31 - 41.
Year of Publication: 1999.
12. Record Number: 4827
Author(s): Bestul, Thomas H.
Contributor(s):
Title : The Meditation on Mary Magdalene of Alexander Nequam [The author provides the first edition of Alexander Neckham's "Meditation on Mary Magdalene" written in Latin].
Source: Journal of Medieval Latin , 9., ( 1999):  Pages 1 - 40.
Year of Publication: 1999.
13. Record Number: 3838
Author(s): Jeep, John M.
Contributor(s):
Title : Among Friends? : Early German Evidence of Friendship among Women
Source: Women in German Yearbook , 14., ( 1999):  Pages 1 - 18.
Year of Publication: 1999.
14. Record Number: 4438
Author(s): Boenig, Robert.
Contributor(s):
Title : Alma Redemptoris Mater, "Gaude Maria," and The Prioress's Tale [The author describes the difficulty of "Gaude Maria" and suggests that Chaucer chose "Alma Redemptoris Mater" instead because it is much easier to sing and emphasizes the clergeon's young age and vulnerability].
Source: Notes and Queries , 3 (September 1999):  Pages 321 - 326.
Year of Publication: 1999.
15. Record Number: 3608
Author(s): Cartlidge, Neil.
Contributor(s):
Title : Alas, I Go with Chylde : Representations of Extra-Marital Pregnancy in the Middle English Lyric
Source: English Studies , 79., 2 ( 1998):  Pages 395 - 414.
Year of Publication: 1998.
16. Record Number: 3991
Author(s): Fassler, Margot.
Contributor(s):
Title : Composer and Dramatist: "Melodious Singing and the Freshness of Remorse"
Source: Voice of the Living Light: Hildegard of Bingen and Her World.   Edited by Barbara Newman .   University of California Press, 1998. English Studies , 79., 2 ( 1998):  Pages 149 - 175.
Year of Publication: 1998.
17. Record Number: 5529
Author(s): Cheyette, Fredric L. and Margaret Switten
Contributor(s):
Title : Women in Troubadour Song: Of the Countess and the Vilana [The authors analyze two songs, one by the Countess de Dia and the other by Marcabru, in which strong women's voices are heard demanding their rights and resisting exploitation; the authors also trace the varied political roles of Occitan noble women and the social setting in which these two songs might have been performed].
Source: Women and Music , 2., ( 1998):  Pages 26 - 45.
Year of Publication: 1998.
18. Record Number: 3992
Author(s):
Contributor(s):
Title : Poet: "Where the Living Majesty Utters Mysteries"
Source: Voice of the Living Light: Hildegard of Bingen and Her World.   Edited by Barbara Newman .   University of California Press, 1998. Women and Music , 2., ( 1998):  Pages 176 - 192.
Year of Publication: 1998.
19. Record Number: 5564
Author(s): Manion, Margaret M.
Contributor(s):
Title : An Unusual Image of the Assumption in a Fourteenth-Century Dominican Choir-Book [within the initial the Virgin sits beside Christ, leaning on his shoulder and holding his hand; the author argues that the close, tender relationship depicted draws upon the "Song of Songs"; this image of the Assumption was soon displaced by the majestic
Source: The Art of the Book: Its Place in Medieval Worship.   Edited by Margaret M. Manion and Bernard J. Muir .   University of Exeter Press, 1998. Women and Music , 2., ( 1998):  Pages 153 - 161.
Year of Publication: 1998.
20. Record Number: 2271
Author(s): Kraman, Cynthia.
Contributor(s):
Title : Communities of Otherness in Chaucer's "Merchant's Tale" [suggests that the female body, the Jewish text of the "Song of Songs," and the enclosed garden are all marginal elements that take on central importance at January's expense].
Source: Medieval Women in Their Communities.   Edited by Diane Watt .   University of Toronto Press, 1997. English Studies , 79., 2 ( 1998):  Pages 138 - 154.
Year of Publication: 1997.
21. Record Number: 1864
Author(s):
Contributor(s):
Title : The Bride as Friend in Bernard of Clairvaux's "Sermones Super Cantica"
Source: American Benedictine Review , 48., 1 (March 1997):  Pages 69 - 87.
Year of Publication: 1997.
22. Record Number: 1855
Author(s): Wulstan, David.
Contributor(s):
Title : Decadal Songs in the "Cantigas de Santa Maria" [argues that the songs which appear at every tenth number are set off, not only because they are "cantigas de loor" rather than narratives, but also because they share structural elements, rhythms, and melodies that come from Galician traditions].
Source: Bulletin of the Cantigueiros de Santa Maria , 8., (Spring 1996):  Pages 35 - 58.
Year of Publication: 1996.
23. Record Number: 2397
Author(s): Hospenthal, Christina.
Contributor(s):
Title : Suster Bertken (1426/27-1514) [includes text, English translation, and modern performance score for "Die werelt hielt mi in hair gewout"].
Source: Women Composers: Music Through the Ages.   Edited by Martha Furman Schleifer and Sylvia Glickman .   Volume 1 Composers Born Before 1599. G.K. Hall ; Prentice Hall International, 1996. Bulletin of the Cantigueiros de Santa Maria , 8., (Spring 1996):  Pages 84 - 87.
Year of Publication: 1996.
24. Record Number: 1566
Author(s): Yoshikawa, Naoë Kukita.
Contributor(s):
Title : Searching for the Image of New "Ecclesia": Margery Kempe's Spiritual Pilgrimage Reconsidered
Source: Medieval Perspectives , 11., ( 1996):  Pages 125 - 138. Proceedings of the Twenty-First Annual Conference of the Southeastern Medieval Association
Year of Publication: 1996.
25. Record Number: 2393
Author(s): Michaud, Francine.
Contributor(s):
Title : The Comtessa de Dia and the Trobairitz [includes Occitan text, English translation, and modern performance scores for "A chantar m'er de so qu'ieu no volria" and "Estat ai en greu cossirier" by the countess de Dia and "Loncx temps ai avut cossiriers" by Raimon de Miraval].
Source: Women Composers: Music Through the Ages.   Edited by Martha Furman Schleifer and Sylvia Glickman .   Volume 1 Composers Born Before 1599. G.K. Hall ; Prentice Hall International, 1996. Medieval Perspectives , 11., ( 1996):  Pages 61 - 68.
Year of Publication: 1996.
26. Record Number: 780
Author(s): Fulton, Rachel.
Contributor(s):
Title : Mimetic Devotion, Marian Exegesis, and the Historical Sense of the Song of Songs
Source: Viator , 27., ( 1996):  Pages 85 - 116.
Year of Publication: 1996.
27. Record Number: 136
Author(s): Krahmer, Shawn Madison.
Contributor(s):
Title : Friend and Lover as Metaphors of Right Relation in Bernard of Clairvaux
Source: Cistercian Studies Quarterly , 30., 1 ( 1995):  Pages 15 - 26.
Year of Publication: 1995.
28. Record Number: 231
Author(s): Smith, Susan L.
Contributor(s):
Title : Bride Stripped Bare: A Rare Type of the Disrobing of Christ
Source: Gesta (Full Text via JSTOR) 34, 2 (1995): 126-146. Link Info
Year of Publication: 1995.
29. Record Number: 1121
Author(s): Sagnella, Mary Ann.
Contributor(s):
Title : The Absent Lover in Angela da Foligno's "Liber"
Source: Mystics Quarterly , 21., 3 (September 1995):  Pages 73 - 79.
Year of Publication: 1995.
30. Record Number: 1687
Author(s): Schaffer, Martha E.
Contributor(s):
Title : Marginal Notes in the Toledo Manuscript of Alfonso El Sabio's "Cantigas de Santa Maria": Observations on Composition, Correction, Compilation, and Performance [author argues that the manuscript was used as a performance copy].
Source: Bulletin of the Cantigueiros de Santa Maria , 7., (Spring 1995):  Pages 65 - 84.
Year of Publication: 1995.
31. Record Number: 10009
Author(s): Bruckner, Matilda Tomaryn.
Contributor(s):
Title : Fictions of the Female Voice: The Women Troubadours [Trobairitz (female troubadours) experimented with literary and cultural definitions of sex and gender in their poetry. They manipulated a very conventional form (a male speaker addressing a distant, silent lady) and invented their own distinctive literary versions of the female voice. Even though it is hard to define, the notion of voice in literary texts is a powerful concept for feminist writers. Title note supplied by Feminae.].
Source: Speculum , 67., 4 (October 1992):  Pages 865 - 891.
Year of Publication: 1992.
32. Record Number: 5872
Author(s): McGinn, Bernard.
Contributor(s):
Title : With "the Kisses of the Mouth": Recent Works on the "Song of Songs" [The authors considers two works that deal with the "Song of Songs" in the Middle Ages: E. Ann Matter, "The Voice of My Beloved" and Ann W. Astell, "The Song of Songs in the Middle Ages"].
Source: Journal of Religion (Full Text via JSTOR) 72, 2 (April 1992): 269-275. Link Info
Year of Publication: 1992.
33. Record Number: 7173
Author(s): Higgins, Paula.
Contributor(s):
Title : Parisian Nobles, a Scottish Princess, and the Woman's Voice in Late Medieval Song [The author identifies two different women named Jacqueline de Hacqueville in fifteenth century Paris who may have been the woman referred to in Antoine Busnoy's songs. The author suggests that Jacqueline herself wrote two poems in response to Busnoys and may have actively participated in the musical culture of the court. The author more generally examines late medieval poetry written in a woman's voice and suggests that many anonymous poems may well have been the work of women. The appendices present the text and English translations of the Hacqueville songs, "Ja que lui ne si actende," "A vous sans autre me viens rendre," "Je ne puis vivre ainsi tousiours," and "A que ville est abhominable." Appendix Two lists the family members of Jacques de Hacquville according to a legal document from 1482.].
Source: Early Music History (Full Text via JSTOR) 10 (1991): 145-200. Link Info
Year of Publication: 1991.
34. Record Number: 12739
Author(s): Newman, Barbara.
Contributor(s):
Title : Some Mediaeval Theologians and the Sophia Tradition [The author explores the diverse ways in which four theologians transformed the Biblical figure of Sophia, or Wisdom, into a powerful feminine image of God’s activity in creation and redemption. In the twelfth century, Bernard of Clairvaux frequently alluded to the figure of Wisdom from the Song of Songs in order to represent the maternal and nurturing qualities of the Divine; Hildegard of Bingen’s images of the feminine divine, in contrast, stressed the active forces of creation and redemption. In the fourteenth century, Henry Suso casts himself as a courtly lover who courts Wisdom as a knight serves a lady; Julian of Norwich adapts the maternal imagery of the Divine to embrace a much more inclusive and wider affective range. Title note supplied by Feminae.].
Source: Downside Review , 108., ( 1990):  Pages 111 - 130.
Year of Publication: 1990.
35. Record Number: 23295
Author(s):
Contributor(s):
Title : Early 15th-Century Polyphonic Settings of Song of Songs Antiphons [The popularity of the Song of Songs in the Middle Ages has ties both to the cult of the Virgin Mary and to courtly love. The bodily imagery of the text could be applied to a spiritual or a carnal beloved. Dialogues between loved and beloved promoted the composition of duet passages in motets on the Song of Songs. When Psalm settings began to predominate in liturgical compositions, the Song of Songs became a source for passages in the more secular chanson-motets. Title note supplied by Feminae.]
Source: Acta Musicologica , 49., 2 ( 1977):  Pages 200 - 227.
Year of Publication: 1977.