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Authors:Angela Weisl PubDate: Fri, 06 May 2022 10:06:51 PDT
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Authors:Gabrielle F. Storey PubDate: Fri, 06 May 2022 10:06:50 PDT
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Authors:Lucy Barnhouse PubDate: Fri, 06 May 2022 10:06:49 PDT
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Authors:Jessica Barr PubDate: Fri, 06 May 2022 10:06:48 PDT
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Authors:Alexandra Verini PubDate: Fri, 06 May 2022 10:06:47 PDT
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Authors:Holle Canatella PubDate: Fri, 06 May 2022 10:06:47 PDT
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Authors:Mary Anne Gonzales PubDate: Fri, 06 May 2022 10:06:46 PDT
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Authors:Ana C. Núñez PubDate: Fri, 06 May 2022 10:06:45 PDT
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Authors:Monica H. Green Abstract: An invited “retrospective” on Monica H. Green's career in medieval studies. PubDate: Fri, 06 May 2022 10:06:44 PDT
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Authors:Caroline W. Bynum Abstract: : A retired medievalist uses an incident from her early career to urge younger scholars to both self-confidence and realism about their own scholarship. Pointing out that suspicion of bright, high-achieving women has not disappeared, she argues that the greatest weapon for triumphing over it is women’s self-confidence that they set their own standards for excellence. PubDate: Fri, 06 May 2022 10:06:43 PDT
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Authors:Rehan Shah Abstract: This paper explores the role of trust and trustworthiness in the masculine gender identity of the fifteenth-century bailiff and medical practitioner John Crophill (d. c. 1485) who resided in Wix, Essex. Drawing on evidence from his personal notebook, the work argues that Crophill was aware of the need to construct his trustworthy reputation, a requirement enacted via his own interaction with other individuals. A consideration of three separate elements of his persona (party host, craft master, and probable involvement with childbirth) provide a structure for the paper, as Crophill seemingly negotiates his own relationships with both male and female individuals, negotiations that ultimately allow the middling layman to position himself as the most trustworthy individual in all three social environments. PubDate: Fri, 06 May 2022 10:06:42 PDT
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Authors:Kersti Francis Abstract: Medieval alchemy was an overwhelmingly masculine practice, and its instruction books reflect the exclusivity of its practitioners. This article examines the use of secrecy and masculine discourse in a sixteenth-century Latin alchemical handbook, the Liber aureus, to demonstrate that there exists an erotically charged tension between authors and their readers. Alchemical instruction books like the Liber aureus draw upon this tension in the service of a particular kind of gatekeeping that creates hierarchies of both knowledge and alchemical practitioners. By investigating secrecy and its provocative effects both within and beyond this manuscript, I argue that alchemical instruction books’ secretive encoding of scientific practice simultaneously works to maintain an inherently masculine erotics of knowledge and serves as an intentionally double-edged rhetorical strategy. These methods of occlusion, which frustrate attempts at hermeneutical closure, are meant to educate the initiated and exclude the uninformed, but they also strive to consolidate an idea of “alchemists” as an identifiable masculinist category centered around access to knowledge within a larger spectrum of scientific power and authority. PubDate: Fri, 06 May 2022 10:06:41 PDT
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Authors:Elan J. Pavlinich Abstract: In the Old French fabliaux tradition, sex acts and generic conventions intersect, revealing strategies of power. For example, Chaucer’s The Miller’s Tale, a Middle English text that is informed by fabliaux conventions, follows the sexual desires and exchanges of power between men, in the context of a frame narrative that privileges competition between the men of The Canterbury Tales, which is located within English literary canons dominated by men. In “The Kiss,” Patience Agbabi’s modern retelling of The Miller’s Tale, the central woman of the narrative assumes authorial control, and she privileges sex acts that empower women’s voices while both rendering the sexual figurations of Chaucer’s text more literal, and adhering more closely to Old French fabliaux conventions. Agbabi encodes cunnilingus through different languages, including French, Latin, Braille, and English slang, representing the diverse cultural influences that inform English literary traditions, including texts such as The Canterbury Tales. Situating her medievalism, Telling Tales, within a literary genealogy emerging from Chaucer, Caxton, and Shakespeare, Agbabi cites the subversive nature of her source texts to disrupt modern social hierarchies, such as male-dominated literary traditions. The intersections of sexual satisfaction and literary production in “The Kiss,” privilege women’s standpoints. PubDate: Fri, 06 May 2022 10:06:40 PDT
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Authors:Anne L. Klinck Abstract: The pastourelle achieved what might be called its classic form in Middle French poetry of the twelfth and thirteenth centuries: a mini-narrative in which the narrator, a knight or clerk, tells how he tried to have his will with a lower-class girl he happened upon while riding in the country. He greets her, sweet-talks her, and propositions her; she protests vigorously. Sometimes the debate ends here. Otherwise, her accoster overcomes her resistance by guile or force, and sexually assails her. The tone is light-hearted and cynical, the action crude. To modern readers, this narrative may be mildly amusing, rather tedious, or downright offensive. In Britain, however, where pastourelles are later and far fewer in number, the genre is handled more variously. This study examines thirteen poems that can be regarded as pastourelles, five in Middle English and eight in in Middle Scots. In contrast to the French model, where interiority, such as there is, involves the male perspective, the pastourelles composed in English or Scots give substance to the woman’s side of the debate. Whether or not she emerges as the victor in the encounter, her perspective is presented in thought-provoking and challenging ways, and becomes the most important contribution of the insular pastourelle corpus to medieval and early modern poetry. PubDate: Fri, 06 May 2022 10:06:40 PDT
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Authors:Kirsty Bolton Abstract: The late fourteenth-century Middle English romance Athelston explores the extent and propriety of monarchic power. Integral to this exploration are the characters of two women in the text whose enactments of motherhood reveal the very human failings of the divinely elected king and contribute to the romance’s advocation of law and the church to temper monarchic power. This article focuses on the use of space in relation to power, authority, gender, and motherhood, arguing that the writer of Athelston uses the disruption of gendered spaces, particularly in relation to pregnant women, to comment on systems of power and authority in the late fourteenth-century. It argues that the author of Athelston uses public enactments of motherhood to challenge the concept of infallible royal power. PubDate: Fri, 06 May 2022 10:06:39 PDT
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Authors:Elizabeth Elliott Abstract: The penultimate verse of Henryson’s Testament of Cresseid suggests the possibility that Troilus raised a monument in memory of his former love, Cresseid: “Sum said he maid ane tomb of merbell gray” (l. 603). Examining the political implications of this uncertain act of memorialisation, this article considers how Henryson's poem mobilises the reader's emotional response to constitute Cresseid as a mourned subject, whose subjectivity is recognised only insofar as it is limited to suffering and death. In doing so, the Testament also establishes a subjectivity for women that offers conditional tolerance predicated on respectable behaviour, contributing to the historical production of sexual respectability in exclusionary terms as the province of elite white femininity. PubDate: Fri, 06 May 2022 10:06:38 PDT
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Authors:Jennifer Alberghini Abstract: The heroine of Geoffrey Chaucer’s Troilus and Criseyde has been of considerable interest to medieval feminist scholars as a woman who is depicted as both virtuous and an adulteress. Yet critical discussions do not often view Criseyde’s virtue in light of her role as daughter. This article explores that role, focusing on how her father Calkas is described by the characters as having authority over his daughter’s body in the marriage market. This will later enable them to use him as an excuse for Criseyde’s failure to return to Troy and thus preserve her status as virtuous. However, the characters may be exaggerating his power, and Criseyde is actually acting autonomously in both her avoidance of marriage and her betrayal of Troilus. I argue that, in light of medieval ideas about marriage, we can consider how Calkas’s representation as controlling his daughter’s virtue reveals the complex interactions between societal expectations for medieval women and their own desires. My conclusion is that feminine virtue might not always already be a failure if it is dependent on a man, but, rather, that the appearance of such dependency was a way in which a medieval woman like Criseyde could navigate the world on her own terms while keeping her reputation intact. PubDate: Fri, 06 May 2022 10:06:37 PDT
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