Feminae: Medieval Women and Gender Index


8 Record(s) Found in our database

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1. Record Number: 44624
Author(s): Caro Mallen de Torres, Ana, , Catalina de Erauso, , Constanza de Castilla, , Feliciana Enriquez de Guzman, , Florencia Pinar, Leonor Lopez de Cordoba, , Maria de Zayas y Sotomayor, and Teresa de Cartagena,
Contributor(s):
Title : Antología de escritoras españolas de la Edad Media y el Siglo de Oro
Source: Antología de escritoras españolas de la Edad Media y el Siglo de Oro. Luzmila Camacho Platero, translator   Edited by Luzmila Camacho Platero .   Routledge, 2020.  Pages 15 - 97. Available with a subscription from Routledge: https://doi.org/10.4324/9781351109031
Year of Publication: 2020.
2. Record Number: 11086
Author(s): Savage, Anne.
Contributor(s):
Title : The Communal Authorship of "Ancrene Wisse" [Savage argues that the male cleric traditionally identified as the author of the "Ancrene Wisse" wrote out of his long experience with the three anchoress sisters and reacted to their comments and suggestions. The text should properly be considered to have been jointly authored. Title note supplied by Feminae.].
Source: A Companion to "Ancrene Wisse."   Edited by Yoko Wada .   D. S. Brewer, 2003.  Pages 45 - 55.
Year of Publication: 2003.
3. Record Number: 11066
Author(s): Brownlee, Kevin.
Contributor(s):
Title : The Image of History in Christine de Pizan’s "Livre de la Mutacion de Fortune" [Christine creates a double representation of history in this poem. In addition to relating all the great events in human history, she also presents a personal history in the form of an allegorical autobiography. This narrative fictionalizes her own development into the author of the book, as Christine presents her past self reading a sequence of wall paintings. As she narrates these images, Christine establishes her unique authority as a female poet of history, differentiating herself from the male wall-reading protagonists of the Aeneid, Roman de le Rose, the Prose Lancelot, and Dante’s Divine Comedy. Title note supplied by Feminae.].
Source: Yale French Studies (Full Text via JSTOR) (1991): 44-56. Special Editions: Style and Values in Medieval Art and Literature.Link Info
Year of Publication: 1991.
4. Record Number: 11209
Author(s): McNamer, Sarah
Contributor(s):
Title : Female Authors, Provincial Setting: The Re-versing of Courtly Love in the Findern Manuscript [The article includes an appendix with transcriptions of Middle English poems believed to be written by women. Title note supplied by Feminae.].
Source: Viator , 22., ( 1991):  Pages 279 - 310.
Year of Publication: 1991.
5. Record Number: 10885
Author(s): Steinle, Eric M.
Contributor(s):
Title : The Knot, the Belt, and the Making of "Guigemar" [Marie de France uses imagery in her lais in order to summarize the structural and thematic concerns of her poems. In “Guigemar,” the knot and the belt (which the lovers exchange as love tokens) and thematic references to forms of enclosure symbolize the thematic unity and circular narrative of the poem; the knot and the belt are also metaphors that refer to Marie’s own role as “maker” or author of intricate narratives. Title note supplied by Feminae.].
Source: Assays: Critical Approaches to Medieval and Renaissance Texts , 6., ( 1991):  Pages 29 - 53.
Year of Publication: 1991.
6. Record Number: 11193
Author(s): Blumenfeld-Kosinski, Renate
Contributor(s):
Title : Christine de Pizan and the Misogynistic Tradition [In her poetry, Christine de Pizan refutes the misogynist literary tradition exemplified by such texts as the Roman de la Rose. She confronts misogyny on three fronts: reason, experience, and writing. In her allegorical poems, Lady Reason encourages the author to reconsider common notions about women. The poet’s own experience allows her to give many counter examples to misogynist texts. Most importantly, Christine’s scholarly acts of reading and writing generate numerous examples of feminine virtue from books that previous writers have ignored. Reprinted in The Selected Writings of Christine de Pizan: New Translations, Criticism. Edited by Renate Blumenfeld-Kosinski. Pages 297-311. Title note supplied by Feminae.].
Source: Romanic Review , 81., 3 ( 1990):  Pages 279 - 292. Reprinted in The Selected Writings of Christine de Pizan: New Translations, Criticism. Edited by Renate Blumenfeld-Kosinski. Translated by Renate Blumenfeld-Kosinski and Kevin Brownlee. W. W. Norton & Company, 1997. Pages 297-311.
Year of Publication: 1990.
7. Record Number: 11194
Author(s): Rollo, David.
Contributor(s):
Title : Sexual Escapades and Poetic Process: Three Poems by William IX of Aquitaine [The writings of the nobleman and poet William of Aquitaine subverts many of the conventions of courtly love poetry, as the elevated. chaste “domna” (lady) of troubadour poetry is sometimes characterized as promiscuous or bestial, and the poetry continually shifts between bawdy and meditative registers. Although the poems can be read as the narrator’s boasting over sexual exploits, some of the language in the poems suggests an underlying theme of male impotence. Title note supplied by Feminae.].
Source: Romanic Review , 81., 3 ( 1990):  Pages 293 - 311.
Year of Publication: 1990.
8. Record Number: 12730
Author(s): Breeze, Andrew.
Contributor(s):
Title : The Blessed Virgin's Joys and Sorrows [Based upon a comparison with analogous material in English, Latin, and Anglo-Norman texts, the author establishes the dating and attribution of three religious poems (two in Welsh and one in Irish) that concern the Virgin's joys and sorrows. Although the manuscripts attribute the three poems to three thirteenth century poets, the textual evidence indicates that they were actually written by three entirely different poets in the fourteenth century. Title note supplied by Feminae.].
Source: Cambridge Medieval Celtic Studies , 19., (Summer 1990):  Pages 41 - 54.
Year of Publication: 1990.