Feminae: Medieval Women and Gender Index


22 Record(s) Found in our database

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1. Record Number: 10883
Author(s): Ziegler, Joanna E.
Contributor(s):
Title : On the Artistic Nature of Elisabeth of Spalbeek's Ecstasy: The Southern Low Countries Do Matter [The author argues that Elisabeth von Spalbeek should be considered an artist and that her reenactments of the passion can best be understood in visual terms as akin to theatrical performances. Title note supplied by Feminae.].
Source: The Texture of Society: Medieval Women in the Southern Low Countries.   Edited by Ellen E. Kittell and Mary A. Suydam .   Palgrave Macmillan, 2004.  Pages 181 - 202.
Year of Publication: 2004.
2. Record Number: 10881
Author(s): Suydam, Mary A.
Contributor(s):
Title : Visionaries in the Public Eye: Beguine Literature as Performance [The author analyzes both the "Vitae" of holy women and accounts of their visions. Suydam, using performance theory and modern understandings of ritual, emphasizes the collective nature, not only of the beguine public performances, but of the author and copyists as well as the audience of readers. Title note supplied by Feminae.].
Source: The Texture of Society: Medieval Women in the Southern Low Countries.   Edited by Ellen E. Kittell and Mary A. Suydam .   Palgrave Macmillan, 2004.  Pages 131 - 152.
Year of Publication: 2004.
3. Record Number: 10564
Author(s):
Contributor(s):
Title : Textual Spaces/ Playing Places: An Exploration of Convent Drama in the Abbey of Origny-Sainte-Benoîte [The author explores two plays, "Ludus paschalis" and "Visitatio sepulchri," (both partially in French) that were performed at Easter time in the Benedictine women's monastary at Origny-Sainte-Benoîte. Matthews considers issues involving performance, women's spirituality, public versus private venues, and the connections these two plays had with other plays from women's monasteries. Title note supplied by Feminae.].
Source: European Medieval Drama , 7., ( 2003):  Pages 69 - 85.
Year of Publication: 2003.
4. Record Number: 5774
Author(s): Bryce, Judith.
Contributor(s):
Title : Performing for Strangers: Women, Dance, and Music in Quattrocento Florence
Source: Renaissance Quarterly (Full Text via JSTOR) 54, 4.1 (Winter 2001): 1074-1107. Link Info
Year of Publication: 2001.
5. 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.
6. Record Number: 10183
Author(s): Psaki, F. Regina.
Contributor(s):
Title : Women's Voices and Medieval Song: An Interview with Anne Azéma and Shira Kammen [Azéma and Kammen performed medieval music for the "Medieval and Renaissance Lyric" course at the University of Oregon. Afterwards the students and teacher (F. Regina Psaki) asked the two musicians about their performance practice, troubadour verse and music, and the various kinds of evidence that informed their repertoire. Title note supplied by Feminae.].
Source: Medieval Feminist Forum , 32., (Fall 2001):  Pages 14 - 23.
Year of Publication: 2001.
7. Record Number: 4804
Author(s): Meale, Carol M.
Contributor(s):
Title : This is a Deed Bok, the Tother a Quick: Theatre and the Drama of Salvation in the "Book" of Margery Kempe [The author argues that Kempe adopted the tecnhniques of drama in her "Book" in order to add to both her spiritual and her authorial agency].
Source: Medieval Women: Texts and Contexts in Late Medieval Britain. Essays for Felicity Riddy.   Edited by Jocelyn Wogan-Browne, Rosalynn Voaden, Arlyn Diamond, Ann Hutchison, Carol M. Meale, and Lesley Johnson Medieval Women: Texts and Contexts .   Brepols, 2000. Medieval Feminist Forum , 32., (Fall 2001):  Pages 49 - 67.
Year of Publication: 2000.
8. Record Number: 5465
Author(s): Renevey, Denis.
Contributor(s):
Title : Margery's Performing Body: The Translation of Late Medieval Discursive Religious Practices
Source: Writing Religious Women: Female Spiritual and Textual Practices in Late Medieval England.   Edited by Denis Renevey and Christiania Whitehead .   University of Toronto Press, 2000. Medieval Feminist Forum , 32., (Fall 2001):  Pages 197 - 216.
Year of Publication: 2000.
9. Record Number: 3543
Author(s): Rodgers, Susan and Joanna E. Ziegler
Contributor(s):
Title : Elisabeth of Spalbeek's Trance Dance of Faith: A Performance Theory Interpretation from Anthropological and Art Historical Perspectives
Source: Performance and Transformation: New Approaches to Late Medieval Spirituality.   Edited by Mary A. Suydam and Joanna E. Ziegler .   St. Martin's Press, 1999. Medieval Feminist Forum , 32., (Fall 2001):  Pages 299 - 355.
Year of Publication: 1999.
10. Record Number: 3542
Author(s): Hale, Rosemary Drage.
Contributor(s):
Title : Rocking the Cradle: Margaretha Ebner (Be)Holds the Divine [The author explores fourteenth century Dominican convent literature in which the nuns assumed the role of Mary and engaged in a tactile relationship with a figure or image of Christ].
Source: Performance and Transformation: New Approaches to Late Medieval Spirituality.   Edited by Mary A. Suydam and Joanna E. Ziegler .   St. Martin's Press, 1999. Medieval Feminist Forum , 32., (Fall 2001):  Pages 211 - 239.
Year of Publication: 1999.
11. Record Number: 3538
Author(s): Finke, Laurie A.
Contributor(s):
Title : More Than I Fynde Written: Dialogue and Power in the English Translation of "The Mirror of Simple Souls" [The author analyzes the fifteenth-century Middle English translation of Marguerite Porete's text; the translator struggled to give passages an orthodox interpretation].
Source: Performance and Transformation: New Approaches to Late Medieval Spirituality.   Edited by Mary A. Suydam and Joanna E. Ziegler .   St. Martin's Press, 1999. Medieval Feminist Forum , 32., (Fall 2001):  Pages 47 - 67.
Year of Publication: 1999.
12. Record Number: 3541
Author(s):
Contributor(s):
Title : Beguine Textuality: Sacred Performances [The author argues that the Beguine texts should be read as theatrical works].
Source: Performance and Transformation: New Approaches to Late Medieval Spirituality.   Edited by Mary A. Suydam and Joanna E. Ziegler .   St. Martin's Press, 1999. Medieval Feminist Forum , 32., (Fall 2001):  Pages 169 - 210.
Year of Publication: 1999.
13. Record Number: 3540
Author(s): Hopenwasser, Nanda.
Contributor(s):
Title : A Performance Artist and Her Performance Text: Margery Kempe on Tour
Source: Performance and Transformation: New Approaches to Late Medieval Spirituality.   Edited by Mary A. Suydam and Joanna E. Ziegler .   St. Martin's Press, 1999. Medieval Feminist Forum , 32., (Fall 2001):  Pages 97 - 131.
Year of Publication: 1999.
14. Record Number: 3752
Author(s): Chinca, M.
Contributor(s):
Title : Women and Hunting-Birds are Easy to Tame: Aristocratic Masculinity and the Early German Love-Lyric [the author suggests two different interpretations of Der Von Kürenberg's lyrics; the first assumes an exclusively male audience and gives the songs the role of reproducing and reinforcing patriarchal masculinity while the second model posits a mixed audience interested in debating masculinity.]
Source: Masculinity in Medieval Europe.   Edited by D.M. Hadley .   Women and Men in History Series. Addison Wesley Longman, 1999. Medieval Feminist Forum , 32., (Fall 2001):  Pages 199 - 213.
Year of Publication: 1999.
15. Record Number: 3537
Author(s): Müller, Catherine.
Contributor(s):
Title : How To Do Things with Mystical Language: Marguerite d'Oingt's Performative Writing
Source: Performance and Transformation: New Approaches to Late Medieval Spirituality.   Edited by Mary A. Suydam and Joanna E. Ziegler .   St. Martin's Press, 1999. Medieval Feminist Forum , 32., (Fall 2001):  Pages 27 - 45.
Year of Publication: 1999.
16. Record Number: 11748
Author(s): Young, Abigail A.
Contributor(s):
Title : Theater-going Nuns in Rural Devon? [In 1329 the new bishop of Exeter ordered the canonesses at Canonsleigh Abbey to observe strict enclosure. In part he warned that they must avoid worldly shows ("spectacula"). Young suggests that he may have had in mind lay-sponsored events in Exeter like the satiric "ludus" against the city's shoemakers which later offended the bishop in 1352. Title note supplied by Feminae.].
Source: Records of Early English Drama , 22., 2 ( 1997):  Pages 25 - 29.
Year of Publication: 1997.
17. Record Number: 4597
Author(s): Visconsi, Elliott.
Contributor(s):
Title : She Represents the Person of Our Lord: The Performance of Mysticism in the "Vita" of Elisabeth of Spalbeek and "The Book of Margery Kempe" [this essay describes "how medieval women produced a mysticism beyond extant gender representations, a performative mysticism firmly grounded in the disorderliness of the female flesh as it enacts the 'imitatio Christi,' predicated on an educable audience, and finally to result in a subjectivity of self-annihilation" (Page 79)].
Source: Comitatus , 28., ( 1997):  Pages 76 - 89.
Year of Publication: 1997.
18. Record Number: 7185
Author(s):
Contributor(s):
Title : Symbols, Performers, and Sponsors: Female Musical Creators in the Late Middle Ages [The author examines representations of "Musica," one of the seven liberal arts, as a woman along with reports of women performing music and commissioning music. The author argues that women had a much greater role in creating music than modern scholars have realized. Title note supplied by Feminae.].
Source: Rediscovering the Muses: Women's Musical Traditions.   Edited by Kimberly Marshall .   Northeastern University Press, 1993. Records of Early English Drama , 22., 2 ( 1997):  Pages 140 - 168.
Year of Publication: 1993.
19. Record Number: 10805
Author(s): Davidson, Audrey Ekdahl.
Contributor(s):
Title : Music and Performance: Hildegard of Bingen's "Ordo Virtutum" [The article analyzes Hildegard's music, and suggests that the “Ordo Virtutum” deserves to be performed before modern audiences. The article includes an appendix discussing British Library Add. MS. 15, 102. Title note supplied by Feminae.].
Source: The Ordo Virtutum of Hildegard of Bingen: Critical Studies.   Edited by Audrey Ekdahl Davidson .   Medieval Institute Publications, 1992. Chaucer Yearbook , 1., ( 1992):  Pages 1 - 29.
Year of Publication: 1992.
20. Record Number: 10810
Author(s): Davidson, Clifford.
Contributor(s):
Title : The "Ordo Virtutum": a Note on Production [The article surveys some of the problems with designing and staging a modern production of Hildegard's "Ordo Virtutum", using the example of the Society for Old Music's production in 1984. Title note supplied by Feminae.].
Source: The Ordo Virtutum of Hildegard of Bingen: Critical Studies.   Edited by Audrey Ekdahl Davidson .   Medieval Institute Publications, 1992. Chaucer Yearbook , 1., ( 1992):  Pages 111 - 122.
Year of Publication: 1992.
21. Record Number: 7413
Author(s): Hahn, Thomas.
Contributor(s):
Title : The Performance of Gender in the Prioress [The author argues that Chaucer's Prioress both wears a kind of "mask of womanliness," and also identifies herself with a predominantly masculine Christian community by performing femininity. Title note supplied by Feminae].
Source: Chaucer Yearbook , 1., ( 1992):  Pages 111 - 134.
Year of Publication: 1992.
22. Record Number: 10889
Author(s): Massip, J. Francesc
Contributor(s):
Title : The Staging of the Assumption in Europe [The death and Assumption of the Virgin Mary was one of the most widely enacted sequences in late medieval religious dramas. Various staging solutions were used across Europe: horizontal staging in churches; urban staging on fixed, horizontal stages; church staging with a vertical arrangement; urban staging on a moveable stage; and urban staging on a fixed vertical stage. While performances in the North often featured demons and devils, displays in the South featured sets that depicted the heavens and made use of aerial machines. Title note supplied by Feminae.].
Source: Comparative Drama , 25., 1 ( 1991):  Pages 17 - 28.
Year of Publication: 1991.