Feminae: Medieval Women and Gender Index


19 Record(s) Found in our database

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1. Record Number: 10447
Author(s): Klinck, Anne L.
Contributor(s):
Title : Poetic Markers of Gender in Medieval "Woman's Song": Was Anonymous a Woman? [The author examines five pairs of love-complaints, written wholly or in part in a woman's voice. The poems are drawn from Old English, Occitan, German, Italian, Galician-Portuguese, and Middle English. Title note supplied by Feminae.].
Source: Neophilologus , 87., 3 (July 2003):  Pages 339 - 359.
Year of Publication: 2003.
2. Record Number: 6067
Author(s): Mortimer, Julia.
Contributor(s):
Title : Reflections in "The Myroure of Oure Ladye": The Translation of a Desiring Body [the author analyzes a number of Brigittine texts, in particular the "Myroure of Oure Ladye" written for the nuns at Syon; the author notes the efforts made to minimize Bridget's individual voice and the instances where Bridget identifies herself with the Virgin Mary's experiences through dissolving body boundaries].
Source: Mystics Quarterly , 27., 2 (June 2001):  Pages 58 - 76.
Year of Publication: 2001.
3. Record Number: 7201
Author(s): Léglu, Catherine.
Contributor(s):
Title : Did Women Perform Satirical Poetry? "Trobairitz" and "Soldadeiras" in Medieval Occitan Poetry [The author argues that women performed some satirical and political poems before audiences. Modern scholars have been slow to recognize women's roles as performers, particularly in the case of these poems that do not concern love, the topic deemed by scholars to be most suitable for women. Title note supplied by Feminae.].
Source: Forum for Modern Language Studies , 37., 1 (January 2001):  Pages 15 - 25.
Year of Publication: 2001.
4. Record Number: 6437
Author(s): Dell, Helen.
Contributor(s):
Title : Voices, "Realities," and Narrative Style in the Anonymous "chansons de toile" [The author examines 16 anonymous "chansons de toile" (particularly the nine in the "Chansonnier Français de Saint-Germain-des-Prés") and argues that the male narrating voice allows the female character and her song to be fully realized].
Source: Parergon: Journal of the Australian and New Zealand Association for Medieval and Early Modern Studies, New Series , 18., 2 (January 2001):  Pages 17 - 33.
Year of Publication: 2001.
5. Record Number: 6852
Author(s): Leach, Elizabeth Eva.
Contributor(s):
Title : Fortune's Demesne: The Interrelation of Text and Music in Machaut's "Il mest avis" (B22), "De Fortune" (B23), and Two Related Anonymous Balades [The author deals in part with the female character who speaks in "De Fortune." She is losing her "doulz ami" because Fortune (also female) is unreliable. Title note supplied by Feminae.].
Source: Early Music History , 19., ( 2000):  Pages 47 - 79.
Year of Publication: 2000.
6. Record Number: 4385
Author(s):
Contributor(s):
Title : Speaking "In Propria Persona": Authorizing the Subject as a Political Act in Late Medieval Feminine Spirituality [The author examines the writings of Marguerite Porete, Christine de Pizan, and Margery Kempe to see how they speak in their own voice; when they encounter resistance, they reappropriate it and feminize it].
Source: New Trends in Feminine Spirituality: The Holy Women of Liège and Their Impact.   Edited by Juliette Dor, Lesley Johnson, and Jocelyn Wogan-Browne Medieval Women: Texts and Contexts, 2.   Brepols, 1999. Early Music History , 19., ( 2000):  Pages 269 - 294.
Year of Publication: 1999.
7. Record Number: 13634
Author(s):
Contributor(s):
Title : The "Chanson de geste," Woman to Woman [The author explores the dialogues between women in Old French epics. Although women do not speak much, Campbell finds three patterns into which the dialogues fall: mother/daughter, lady/servant, and woman/woman (conversations between social equals). In general women's words do not give them agency but indicate that they must accomodate themselves to the male universe. Title note supplied by Feminae.].
Source: Echoes of the Epic: Studies in Honor of Gerard J. Brault.   Edited by David P. Schenck and Mary Jane Schenck .   Summa Publications, 1998. Early Music History , 19., ( 2000):  Pages 49 - 62.
Year of Publication: 1998.
8. Record Number: 9517
Author(s): Cox, Catherine S.
Contributor(s):
Title : The Jangler's "Bourde": Gender, Renunciation, and Chaucer's Manciple [The author argues that the Manciple speaks in his mother's voice to emphasize anti-feminist themes. The kinds of indirect language used by the Manciple fit in with the "Parson's Tale" and the "Retractions," suggesting a resistant reading of Chaucer's reaction to orthodox theology. Title note supplied by Feminae.].
Source: South Atlantic Review (Full Text via JSTOR) 61, 4 (Fall 1996): 1-21. Link Info
Year of Publication: 1996.
9. 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.
10. Record Number: 10791
Author(s): Speigel, Harriet.
Contributor(s):
Title : The Woman's Voice in the “Fables” of Marie de France [The author argues that, far from mere translations of traditional material, Marie's “Fables” convey a unique female voice. Title note supplied by Feminae.].
Source: In Quest of Marie de France: A Twelfth-Century Poet.   Edited by Chantal A. Marechal .   Edwin Mellen Press, 1992. Speculum , 67., 4 (October 1992):  Pages 45 - 58.
Year of Publication: 1992.
11. Record Number: 10801
Author(s): Rosenn, Eva.
Contributor(s):
Title : The Sexual and Textual Politics of Marie's Poetics [The author argues that Marie's relationship with textual authority comprises a specifically feminine discourse, and allows her to create a fantasy realm in which women can confront and even change the conditions of their lives. Title note supplied by Feminae.].
Source: In Quest of Marie de France: A Twelfth-Century Poet.   Edited by Chantal A. Marechal .   Edwin Mellen Press, 1992. Speculum , 67., 4 (October 1992):  Pages 225 - 242.
Year of Publication: 1992.
12. Record Number: 10804
Author(s): Stein, Robert M.
Contributor(s):
Title : Desire, Social Reproduction, and Marie's "Guigemar" [The article suggests that, through the network of symbols in “Guigemar,” Marie reveals her own contradictory situation as a woman author in a masculine, knightly world. Title note supplied by Feminae.].
Source: In Quest of Marie de France: A Twelfth-Century Poet.   Edited by Chantal A. Marechal .   Edwin Mellen Press, 1992. Speculum , 67., 4 (October 1992):  Pages 280 - 294.
Year of Publication: 1992.
13. Record Number: 10529
Author(s): Regnier-Bohler, Danielle.
Contributor(s):
Title : Literary and Mystical Voices [The relationship between women and language in medieval texts is complicated and contradictory. Some writers ascribe great agency and power to women’s use of language, while others seek to silence female voices. Mythical figures like Philomena, Echo, and Griselda are pervasive figures of silent women, and actual medieval women do not necessarily speak in their own voices (they are mediated by male writers). In addition, women’s use of language is often deemed evil, unreliable, or obscene. Literary voices like the poet Christine de Pizan and female mystics like Margery Kempe express themselves in new styles that are at once powerful and complex. Title note supplied by Feminae.].
Source: A History of Women in the West. Volume 2: Silences of the Middle Ages.   Edited by Christiane Klapisch-Zuber .   Belknap Press of Harvard University Press, 1992.  Pages 427 - 482.
Year of Publication: 1992.
14. Record Number: 9484
Author(s): Kinney, Clare Regan.
Contributor(s):
Title : Who made this song?: The Engendering of Lyric Counterplots in "Troilus and Criseyde" [The author considers the significance of lyric moments (often attributed to women “auctores”) in “Troilus and Criseyde,” suggesting that they develop a female “poetics of presence.” Title note supplied by Feminae.].
Source: Studies in Philology , 89., 3 (Summer 1992):  Pages 272 - 292.
Year of Publication: 1992.
15. Record Number: 11808
Author(s): Sterba, Wendy.
Contributor(s):
Title : The Question of Enite’s Transgression: Female Voice and Male Gaze as Determining Factors in Hatmann’s Erec [The author argues that by re-inscribing the Echo and Narcissus myth in the story of Erec and Enite, Hartmann von Aue effectively advises women to listen to their inner voices, and advises men to turn their gazes outward from themselves. Title note supplied by Feminae.].
Source: Women as Protagonists and Poets in the German Middle Ages: An Anthology of Feminist Approaches to Middle High German Literature.   Edited by Albrecht Classen .   Kümmerle Verlag, 1991. Speculum , 67., 4 (October 1992):  Pages 57 - 68.
Year of Publication: 1991.
16. Record Number: 11809
Author(s): Rasmussen, Ann Marie.
Contributor(s):
Title : Representing Women’s Desire: Walther’s Woman’s Stanzas in “Ich hoere iu so vil tugende jehen” (L 43, 9), “Under der linden” (L 39, 11), and “Fro Welt” (L 100, 24) [The author discusses the ways in which Walter von der Vogelweide incorporates a female voice into his lyrics, and argues that this female voice reflects a male-engendered model of love. Title note supplied by Feminae.].
Source: Women as Protagonists and Poets in the German Middle Ages: An Anthology of Feminist Approaches to Middle High German Literature.   Edited by Albrecht Classen .   Kümmerle Verlag, 1991. Speculum , 67., 4 (October 1992):  Pages 69 - 85.
Year of Publication: 1991.
17. 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.
18. Record Number: 10690
Author(s): Kelley, Mary Jane.
Contributor(s):
Title : Virgins Misconceived: Poetic Voice in the Mozarabic "Kharjas" [The article attempts to determine the relationship between the female voices and the male poets of the Mozarabic kharjas. Title note supplied by Feminae.].
Source: Corónica , 19., 2 (Spring 1991):  Pages 1 - 23.
Year of Publication: 1991.
19. 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.