Cebille/Sebile: Jeanne Flore, Reader of Christine de Pizan?

2000 ◽  
Vol 8 (1) ◽  
pp. 86-96
Author(s):  
Cathleen M. Bauschatz
Keyword(s):  
Christine De Pizan ◽  
Jeanne Flore

Christine de Pizan, Jacques Legrand et le Communiloquium de Jean de Galles

Romania ◽  
1983 ◽  
Vol 104 (414) ◽  
pp. 208-228
Author(s):  
Evencio Beltrán
Keyword(s):  
Christine De Pizan

De La Pugnition aux Contes Amoureux, ou la transformation de Jeanne Flore

2011 ◽  
Vol 7 (1) ◽  
pp. 159-170
Author(s):  
Régine Reynolds-Cornell
Keyword(s):  
Jeanne Flore

The Works of Gwerful Mechain, ed. and trans. Katie Gramich. Peterborough, Ont.: Broadview Press, 2018, pp. 157.

Mediaevistik ◽  
2018 ◽  
Vol 31 (1) ◽  
pp. 449-449
Author(s):  
Albrecht Classen
Keyword(s):  
Women Writers ◽  
Christine De Pizan ◽  
Medieval Studies ◽  
Late Medieval ◽  
Medieval Poetry ◽  
North East ◽  
Welsh Language ◽  
Language And Literature ◽  
The Rich ◽  
Actual Contribution

Two desiderata in Medieval Studies continue to be rather troublesome because they have not been tackled effectively by many scholars. First, most of us are not familiar with medieval Welsh language and literature; second, we are still rather uncertain about the actual contribution by women to medieval poetry, for instance. But our Welsh colleagues have already determined for quite some time that the late medieval Gwerful Mechain was a powerful voice and offered many intriguing perspectives as a woman, addressing also sexuality in a rather shockingly open manner. She was the daughter of Hywel Fychan from Mechain in Powys in north-east Wales. She lived from ca. 1460 to ca. 1502 and was a contemporary of the major Welsh poets Dafydd Llwyd and Llywelyn ap Gutyn. She might have been Dafydd’s lover and she certainly exchanged poems with Llywelyn. Not untypically for her age, which the present editor and translator Katie Gramich observes with strange surprise, Gwerful combined strongly religious with equally strongly erotic—some would say, pornographic—poetry. Gramich refers, for instance, to the Ambraser Liederbuch, where we can encounter a similar situation, but it seems unlikely that she has any idea what this songbook was, in reality (there are no further explanations, comments, or references to the relevant scholarship). She also mentions Christine de Pizan, who was allegedly “forced to take up the pen” (10), which appears to be a wrong assessment altogether. There is no indication whatsoever that Gramich might be familiar with the rich research on late medieval continental and English women writers, but this does not diminish the value of her translation.

Christine de Pizan and the Fight for France by Tracy Adams

2016 ◽  
Vol 89 (3) ◽  
pp. 204-205
Author(s):  
Marion Geiger ◽  
Kathleen M. Llewellyn
Keyword(s):  
Christine De Pizan
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