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In the article we study two visions of the city. A “classical” and allegorical one is included in Christine de Pizan’s well-known oeuvre, Le Livre de la Cité des Dames (1404/1405). We compare it to a biographically conditioned construction from the essays "Digues que m’estimes encara que sigui mentida" (1991) by the Catalan writer Montserrat Roig. The key factor in our analysis is the chronotope structure and the relationship between the image of the city and the writing act. We note a number of similarities between the two visions, some of them stemming from the identity and the social and cultural situation of the feminine subject, but also point out some differences, as those determined by the historical context of both texts and their literary genres., In the article we study two visions of the city. A “classical” and allegorical one is included in Christine de Pizan’s well-known oeuvre, Le Livre de la Cité des Dames (1404/1405). We compare it to a biographically conditioned construction from the essays "Digues que m’estimes encara que sigui mentida" (1991) by the Catalan writer Montserrat Roig. The key factor in our analysis is the chronotope structure and the relationship between the image of the city and the writing act. We note a number of similarities between the two visions, some of them stemming from the identity and the social and cultural situation of the feminine subject, but also point out some differences, as those determined by the historical context of both texts and their literary genres.

Mise au jour d’un nouveau « visage » du sermon Vivat rex de Jean Gerson à partir d’une confrontation entre le manuscrit Paris, BnF, fr. 926 et l’édition Glorieux. Si cette collation permet de révéler plusieurs erreurs de l’éditeur, elle permet surtout de montrer qu’il a existé plusieurs états du texte de Gerson et que celui offert par le fr. 926 est plus proche de l’auteur et du moment de la prédication. En somme, une nouvelle édition critique du texte semble nécessaire pour rendre un accès plus sûr à ce texte majeur de la littérature politique au XVe siècle.

Un testo in prosa dello scrittore toscano Giovanni da Prato (XIV-XV secolo) preenta analogie tematiche evidenti con un poema di Christine de Pizan, il 'Livre du chemin de long estude', analogie che fanno ipotizzare un legame di intertestualità fra queste due opere.

Although John Gower (ca. 1330-1408) and Christine de Pizan (l364/5-ca. 1429) may not have known each other's work, comparative study helps to elucidate the literary court culture to which they both belonged. One important commonality is their self-definition as the "voice of one crying in the wilderness," or one who speaks moral truth to power, a phrase derived from the biblical prophets John the Baptist and Elijah. Gower wrote from this tradition in his Latin Vox Clamantis, including the Cronica Tripartita. He echoed the social justice themes of these prophets, especially their defense of the poor, but also their religious fanaticism, bellicosity, and support of violent regime change. Knowing that the role of prophet was biblically permitted to women, Christine created a feminized variation on the topos for her Lamentacion sur les maux de la France, a missive addressed to several royal figures in the hope of preventing civil war.

This paper considers how Gower's Confessio Amantis and Christine de Pizan's Épître Othéa function as vemacular accessus ad auctores, as critical introductions to the classical narratives that they repurpose as models of moral behavior. By examining these works, I investigate how the type of learning associated with the study of Latin texts becomes an exemplum that inspires the development of the vernacular's literary capacities. A comparison of the two suggests that the former theorizes the vernacular's potential as a literary language to identify the interpretive skills that it still needs to acquire, while the latter demonstrates such an acquisition. Together, Gower and Christine demonstrate the rise of a more "learned" vernacular in the late Middle Ages, primed by skills taken from Latinate practices and ready to stake its claim on literary excellence.

UTOPIAN STRATEGIES IN CHRISTINE DE PIZAN’S CITY OF LADIES | Christine de Pizan’s appropriation of the dominant literary discourse in the later Middle Ages is an innovative reworking of established models, especially that of the configuration of women in the two directions of idealization and debasement. In the article I assess the strategies Christine develops to counteract this dialectic in order to open a newM– utopianM– discursive space for female subjectivity. My examples are mainly taken from Le Livre de la Cité des Dames (1404-1405). Late medieval representations of women incorporate a radical change from the idealization of the Lady and love in courtly literature into a more explicit misogynistic configuration, which can be seen for example in Le Roman de la Rose (c. 1230). I argue that Christine responds to this change by a disclosure of this ambiguous discourse towards what it represses, i.e. a cultural unconscious of violent and incestuous dramas., ISBN 978 87 7934 548 5

The problematic of this doctoral dissertation is the study of stakes and values of autograph processes and productions of literary texts in Middle French, from both the perspective of medieval readers and modern scholars. I have studied production’s operations (process), from the writing to the proof-reading, and the results of these processes (production), from the manuscript of the first draft to the corrections of the manuscript of publication. Of these autograph practices and documents, I identified the stakes, that is to say, what contributes to the autography of a document and what comes into play in the autograph process, but also values, that is to say, the qualities, functions and status of autograph processes and productions. These stakes and these values have both been considered from the point of view of the practices and imaginary, that is to say both in terms of modern knowledge of theses processes and medieval representations of them. The corpus studied in this thesis was limited to Parisian authors of the reign of Charles VI (1368-1422) and, in particular as regards the case study of the manuscripts themselves, the manuscripts of Christine de Pizan (50 original manuscripts, including 24 autographs). The doctoral dissertation was divided into three parts. In the Cadres (50 p.), I give methodological, terminological and typological tags for future linguistic and literary studies on the medieval autograph manuscripts. The terminology I developed structures Chapters I and II. In Chapter I (p. 186), I put in perspective the explicit testimony (textual and material) of medievals themselves on their practices and their autographs. For the first time, has been offered a coherent overview of the documents and autographs practices in Middle French. I was able to link the construction of an author’s figure during the late Middle Ages with the involvement of the author in the manuscripts of his writings. In Chapter II (424 p.), I highlighted the implicit testimo, Cette dissertation doctorale a eu pour problématique l’étude des enjeux et des valeurs des processus et des productions autographes des textes littéraires en moyen français, aussi bien du point de vue des médiévaux que de celui des chercheurs modernes. Ont donc été à la fois envisagés les opérations de production (processus), de la rédaction à la relecture, et les résultats de ces processus (productions), du manuscrit de premier jet aux corrections du manuscrit de diffusion. De ces pratiques et de ces documents autographes, j’ai dégagé les enjeux, c’est-à-dire ce qu’apporte l’autographie et ce qui entre en jeu dans le processus autographe, mais également les valeurs, c’est-à-dire les qualités, les fonctions et le statut des processus et des productions autographes. Ces enjeux et ces valeurs ont à la fois été considérés au niveau des pratiques et des imaginaires, c’est-à-dire aussi bien au niveau de la connaissance que les modernes peuvent se faire des processus réels que des représentations que les médiévaux en avaient. Le corpus étudié dans cette thèse a été limité aux auteurs parisiens du règne de Charles VI (1368-1422) et, en particulier, pour ce qui est de l’étude de cas sur les manuscrits eux-mêmes, aux manuscrits de Christine de Pizan (50 manuscrits originaux, dont 24 autographes). La dissertation doctorale a été divisée en trois parties. Dans les Cadres (50 p.), j’ai posé des balises méthodologiques, terminologiques et typologiques pour de futures études linguistiques et littéraires sur les manuscrits autographes médiévaux. La terminologie que j’ai mise au point structure les Chapitres I et II. Dans le Chapitre I (186 p.), j’ai mis en perspective les témoignages explicites (textuels et matériels) des médiévaux eux-mêmes sur leurs pratiques et leurs manuscrits autographes. Pour la première fois, a pu être offerte une vue globale et cohérente des documents et des pratiques autographes en moyen français. J’ai pu relier la construction d’une figure d’auteur à la, (ROM 3) -- UCL, 2011

Enquête textuelle et matérielle sur les manuscrits copiés par un copiste de textes français et latins du début du XVe siècle. Jusqu'ici, les seuls manuscrits qu'on lui attribuait contenait des textes de Christine de Pizan ; d'où son identification comme un collaborateur travaillant sous le toit de cet auteur. Par le biais d'une étude les méthodes de travail et de copie de ce scribe (fautes de copie, graphies, ponctuation, mise en page, mise en livre) et d'une analyse de son rôle dans la production des manuscrits de l'auteur de la "Cité des dames", l'article nuance la vision d'un atelier de copistes féminins au service de cet auteur.

This dissertation examines the moment in the late Middle Ages when, for the first time in history, women began to gain access to literacy in comparatively large numbers. Because these women had little or no access to the long scholarly tradition in Latin upon which male authors were trained and relied for their authority, these female authors needed another way to authorize their writing, their experience. This dissertation is an exploration of the genesis of experience as an authoritative epistemology: how it came about and was articulated in writing as well as the legacy of this epistemology. This study explores several examples of experience in writing from antiquity and the classical period before turning to the twelfth century where I argue we see the first signs of a formalized rhetoric of experience developing to suit the needs of twelfth century female writers who relied upon their experiences to justify and authorize their writing. Whereas a man like Hugh of St. Victor considers his life as worthy of autobiographical narration, he justifies this agenda by an appeal to authority. Hildegard and other female contemporaries such as Elisabeth of Schönau meditate on their experience and in that meditation find an independent authorization. This reliance on experience and the rhetorical conventions surrounding mystical experience became so entrenched that by the fourteenth century, writers like Margery Kempe were able to resist certain genre conventions to suit their own purposes. Experience as an authorizing epistemology, though it may have developed in large part out of women's mystical writing, was not confined to it. We can see the influence of experience in the writing of Marie de France; by the late thirteenth and fourteenth centuries, men such as Dom Dinis of Portugual, and more famously, Geoffrey Chaucer, invoked the authority of experience in their own writing. In the span of a few short centuries, experience and observation had come to be privileged abov

Udgivelsesdato: 2010

Durante el Renacimiento se levantaron muchas mujeres que abrieron paso a lo que conocemos como feminismo. Autoras como Christine de Pizán, cuyas obras reivindicaban el papel femenino en su contexto sociocultural, mujeres que formaron parte de la Corte de Isabel I y que actuaban al margen de la sociedad de su época. Su legado aún permanece en nuestra cultura., In the Renaissance many women rose and made their own way towards what we know as feminism. Female writers as Christine de Pizan, whose works demanded the female role in their socio-cultural context, women who were part of the Court of Isabella I and who acted regardlessly to the society of that time. Her legacy still remains in our culture.

Examining significant moments of women's letter-writing from throughout the late medieval and early modern periods, I argue that the epistolary genre enabled fifteenth- and sixteenth-century women to craft representations of themselves on paper that preserved their modesty yet allowed them to intervene in the public sphere. I also contend that women's letters drew legitimacy from the literary traditions that first established the epistolary genre as appropriate for women's use. My dissertation is one of the few works of medieval and early modern literary scholarship to examine the developing intertextual dialogue between fictive and historical letters. The introduction provides a brief survey of literary depictions of letters, noting that works by Ovid, Chaucer, and Gower suggest that letters are the often the best means for women to communicate. In the first chapter I assert that Christine de Pizan specifically chose the epistolary genre for her political and social commentary because of the authority of its classical, literary, and humanist traditions and because of the flexibility of its conventions. Christine is unique among medieval female letter writers in that she not only writes letters, but also writes about them, signaling her command over the epistolary genre itself. The second chapter studies Mary Tudor Brandon's letters to her brother Henry VIII; they reveal affinities with literary letters from works by Chaucer, Ovid, and Malory. Given her careful attention to audience and the extent to which her letters reflect fictional concerns, Mary's letters are an excellent case study of women's political and literary activity during the period. In chapter three, I study the rhetorical strategies of women's petitionary letters to Elizabeth I and her Privy Council, in which they ask for monetary relief, patronage, or legal assistance, and I contend that the letter was the foundation of one of women's earliest political rights, the right of petition. Ultimately, I

RésuméÉdition et commentaire d’un poème allégorique inédit de 626 vers, en moyen français, composé dans les années 1420 par le secrétaire royal Jean Castel, fils de Christine de Pizan. Cette fiction amoureuse est un texte de propagande politique déplorant l’exil du futur Charles VII hors de Paris, aux mains des Bourguignons puis des Anglais. Ce texte offre un éclairage neuf sur la littérature élaborée dans les milieux de chancellerie à la suite des événements politiques des années 1418-1429., Edition and commentary of an inedited allegoric poem written in 626 Middle-French verses and composed in the 1420’s by the royal secretary Jean Castel, Christine de Pizan’s son. Actually this love fiction is a politic text against the exile of the future Charles VII from Paris occupied by Burgundy then England. It offers a new perspective on the literary production about political events in the years 1418-1429 written in chancellery backgrounds., RiassuntoEdizione e commento di un poema allegorico inedito di 626 versi, in medio-francese, composto negli anni 1420 da Jean Castel, segretario del re e figlio di Christine de Pizan. In realtà, questa finzione amorosa è un testo di propaganda politica sull’esilio del futuro re Carlo VII da Parigi, caduta nelle mani dei Borgognoni e poi degli Inglesi. Questo testo apre nuove prospettive sulla produzione letteraria ispirata dagli avvenimenti politici degli anni 1418-1429 e elaborata negli ambienti cancellereschi.

RésuméÉdition et commentaire d’un poème allégorique inédit de 626 vers, en moyen français, composé dans les années 1420 par le secrétaire royal Jean Castel, fils de Christine de Pizan. Cette fiction amoureuse est un texte de propagande politique déplorant l’exil du futur Charles VII hors de Paris, aux mains des Bourguignons puis des Anglais. Ce texte offre un éclairage neuf sur la littérature élaborée dans les milieux de chancellerie à la suite des événements politiques des années 1418-1429., Edition and commentary of an inedited allegoric poem written in 626 Middle-French verses and composed in the 1420’s by the royal secretary Jean Castel, Christine de Pizan’s son. Actually this love fiction is a politic text against the exile of the future Charles VII from Paris occupied by Burgundy then England. It offers a new perspective on the literary production about political events in the years 1418-1429 written in chancellery backgrounds., RiassuntoEdizione e commento di un poema allegorico inedito di 626 versi, in medio-francese, composto negli anni 1420 da Jean Castel, segretario del re e figlio di Christine de Pizan. In realtà, questa finzione amorosa è un testo di propaganda politica sull’esilio del futuro re Carlo VII da Parigi, caduta nelle mani dei Borgognoni e poi degli Inglesi. Questo testo apre nuove prospettive sulla produzione letteraria ispirata dagli avvenimenti politici degli anni 1418-1429 e elaborata negli ambienti cancellereschi.