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The use of machine analogies and allegories can help students liberate themselves from the tried and tested normative dogmas and doctrines propagated by architectural education. Daniel K Brown, Professor of Architecture at Victoria University of Wellington, New Zealand, and co‐guest‐editor of this AD, runs an extraordinary student design studio that has much success in conceptually intertwining machine aesthetics with history, culture and international literary narratives. Here he explains his modus operandi. [ABSTRACT FROM AUTHOR]

Copyright of Ortaçağ Araştırmaları Dergisi (OAD) is the property of Ortacag Arastirmalari Dergisi (OAD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ortaçağ Araştırmaları Dergisi (OAD) is the property of Ortacag Arastirmalari Dergisi (OAD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay provides the first evidence that Isabella Whitney read and imitated Christine de Pizan's Epistre au Dieu d'Amours through Thomas Hoccleve's 1402 translation in his Letter of Cupid, first published in Chaucer's Works in 1532. The Copy of a Letter is the first example in print of an Englishwoman writer engaging with the work of this foundational early feminist author. Although Whitney may not have known she was reading Christine, she is especially attuned to the radical implications of this work. Whitney takes from The Letter of Cupid an ethos of female authorship, in which learned women act as cultural arbiters, and a template for how a woman author could engage in a humanist debate about the purpose of vernacular literature. One of the key differences from Christine's work is that Whitney is addressing new constituencies for secular vernacular literature and a new class of readers, made up of both women and men, who were outside the court and traditional humanist centres of learning. Whitney's imitation of Christine de Pizan in The Copy of a Letter adds to our understanding of the scope of her reading and her centrality to humanist culture, in all its diversity, in the mid-Tudor period. [ABSTRACT FROM AUTHOR]

La teoría feminista cuenta con una tradición de siglos. Aunque, en general, la primera ola del feminismo se sitúa durante el movimiento sufragista, no debemos olvidar la lucha de algunas madres simbólicas precursoras por defender sus derechos literarios y ciudadanos. En 1405 la escritora francesa Christine de Pizan publica una obra pionera para la historia del feminismo: La Cité des Dames. Con ella, se inicia un memorial de agravios contra el patriarcado y unas precoces vindicaciones feministas, que no van a consolidarse hasta la Ilustración, con una de sus máximas representantes, la escritora inglesa Mary Wollstonecraft y su obra A Vindication of the Rights of Woman (1792). La Cité des Dames, de Pizan, y A Vindication of the Rights of Woman, de Wollstonecraft, constituyen dos referentes (proto)feministas que interpelaron al discurso dominante androcéntrico de la época vindicando la igualdad entre los sexos. Desde una aproximación historiográfica feminista de la traducción y en la línea metodológica de los enfoques que abogan por estudiar historias subalternas e invisibilizadas por los discursos patriarcales, este artículo se propone recuperar y contextualizar dos textos fundacionales de los feminismos de todos los tiempos, así como estudiar sus traducciones al castellano, catalán y gallego.

In conversations on missing female voices in the traditional development of international law a repetitive argument given as an explanation for the absence of women as active designers and contributors to international law is that it was simply unusual to find women in certain professions at that time due to the assignment of gender roles and corresponding conduct and activities considered as adequate. There is certainly a great deal of truth in this explanation. Nevertheless, the argument that the absence of women was a normal side effect of the traditional social circumstances at that time could also serve as an excuse to overlook, ignore and make women invisible, who have actually played a crucial role as active designers of the international legal order. One of them is Christine de Pizan.

Copyright of Journal of Italian Studies / Rivista di Studi Italiani is the property of Rivista di Studi Italiani and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente trabajo lleva a cabo una reflexión sobre el proceso de incorporación de la conciencia feminista en el imaginario occidental a partir de los casos de Christine de Pizan y sor Juana Inés de la Cruz, que permiten ejemplificar el concepto de heroicidad epistémica propuesto por José Medina. Para ello se expondrán las posiciones críticas de ambas autoras y se valorará el efecto que tuvieron en sus respectivos contextos, así como el rastro que dejaron en momentos posteriores. Este recorrido servirá para problematizar dicho concepto y apuntará la necesidad de enmarcarlo históricamente desde las expectativas del presente.

This article analyses the literary sources and accounts of Novella d’Andrea, the daughter of Giovanni d’Andrea, an eminent professor at the Bolognese Studium. The study examines the unprecedented case of a woman teaching law at the university in the first half of the fourteenth century, casting light on the cultural and family environment in which she grew up. The sources that conserve her memory are analysed, in particular the account provided by Christine de Pizan, with a new interpretation of her passage, but also those sources that have disseminated misleading information, generating confusion about the historical figure of Novella d’Andrea. The visual works of art that, like the literary accounts, have fuelled her myth include a work that has hitherto been ignored by historiography on Novella d’Andrea, the fourteenth-century woman who broke the glass ceiling.

Copyright of Zeitschrift für Romanische Philologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Rivista Italiana di Educazione Familiare is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines issues that surround portraits of ancient heroines in a manuscript commissioned by the French noblewoman Louise of Savoy at the end of the fifteenth century. With a focus on the images of Phaedra and Laodamia, this article explores how clothes worn by the sitter amplify, confirm, and transform the subject's identity in relation to the many roles women played at the French court, such as wives and regents, and through which they exercised their influence. Through meaningful representations of dress, the manuscript emerges as a subtle commentary on contemporary court politics in light of the ancient examples and moral principles they illustrate, and in particular as an implicit and subtle argument in support of the significant role and efficacy of women in politics. The multiplicity of identity that clothing constructs for the sitter ushers in new understandings of royal- and noblewomen's political, social, and intellectual aspirations. [ABSTRACT FROM AUTHOR]

Copyright of Investigaciones Feministas is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drawing on the work of Sianne Ngai in Ugly Feelings (2005), in this essay we focus on two examples from early fifteenth-century medieval literature that represent medieval books as 'ugly' either because they arouse negative feelings of aversion or disgust or because they are considered in some way aesthetically lacking or inadequate. Christine de Pizan's Livre de la cité des dames and Margery Kempe's Book of Margery Kempe present women's involvement with troubling or difficult books. The 'ugly book feelings' which both narrators encounter challenge not only their authority as writers, but their very sense of self. Such feelings, however, are transitory when placed in narrative context: in the two examples we discuss, a single material text serves as the catalyst for a moment of emotional transformation which may be spiritual and/or intellectual. Attending to literary representations of ugly book feelings, we argue, complements existing scholarship on late medieval women's relationship to material textual culture by placing such feelings at the centre of a broad emotional spectrum. [ABSTRACT FROM AUTHOR]

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Romanische Philologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Romanische Philologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is a theoretical and exploratory research on the concepts of bibliography and bibliographic gesture, in relation to the book The Book of the City of Ladies, by Christine de Pizan (1363-1431 AD). In this work, the Italian author based in France, disputes the widely revered and referencedpatriarchal bibliography, by selecting 150 female personalities who stood out in various fields of knowledge, by means of a logical argument as well as a memorial to female reputation. The discussion hereby presented is supported by the literature review performed by Eduardo Alentejo (2015) - to whom bibliography is understood both as a material and intellectual product, under the notion of repertoire, lists or subject descriptions, always guided by general policies and individual choices of bibliographers, thus related to selection, and clipping – and by the notion of bibliographic gesture, as defined by Giulia Crippa (2015, 2016). Other authors like André Araújo (2015), Viviane Couzinet and Patrick Fraysse (2019) are useful to better understand the concept of bibliography; and, to contextualize Christine de Pizan in her time, Rosalind Brown-Grant (1999), Patrizia Caraffi (2003, 2004), Diana Arauz Mercado (2005), Tracy Adams Rechtschaffen (2010), Ana Rieger Schmidt (2020a, 2020b) and Jacques Le Goff (2006). The Book of the City of Ladies was read in two versions: one translated to English (1999) and other to Portuguese (2012), both developed from the original text in Old French. The results show that, given the different existing notions of bibliography and the historical limitations imposed on women, the efforts undertaken by Pizan in this book, although apparently lacking the theoretical-conceptual delimitation of what is understood as bibliography nowadays, result in a remarkable repertoire of references, that deserve to be observed through the lens of bibliography and Knowledge Organization and considered by the field as a bibliographic gesture.

Discussões sobre a figura da mulher, ou das mulheres, cresceram no campo da história nas últimas décadas, reforçando produções que repensaram o modo de contar sobre estas agentes históricas. Contudo, a relação de produção histórica em que se fabricavam significados por vezes indiferentes a tais atrizes modificou-se, passando estas últimas a fazerem parte do círculo dos temas atuais da academia. Propomo-nos, então, a trazer a reflexão sobre a educação feminina e as múltiplas significações que esta constrói a partir dos condicionantes associados à existência social da mulher. Neste sentido, será analisada a perspectiva sobre educação de mulheres de uma figura que debateu e compartilhou a cena com os estudiosos do início do século XV, Christine de Pizan (1364-1430), criada na corte francesa de Carlos V. Em A Cidade das Damas, a autora fez reivindicações em nome das mulheres, afirmando que a diferença e desigualdade entre homens e mulheres era relativa ao espaço que cada um recebia.

In the political thought of Christine de Pizan there is a notorious absence: the Ecc/esia as an institution of power. This is surprising, when we observe the political treaties of the time, where the question of the relationship between spiritual power and temporal power is a common place; conflict of first order in the context of the Gregorian Reform or in the quarrel between Boniface VIll and Philippe Le Bel. Beyond these historical moments, this tension between the monarchy and the Church remains a latent problem throughout the Middle Ages. And we must not forget, that if the times of Christine are those of the Hundred Years War and the civil war, they are also those of the Great Schism, where we see resurface the old dreams of universal monarchy, including a redefinition of all the powers. Those of the pope, emperor, king, bishops, cardinals and council are all reformulated in the light of the old as new theories. Yet, this tension between Church and monarchy does not seem to be part of Christine's reflection on royal power. This article proposes to show some traces of this "absence" of the Church in the political writings of the author and to put forward some hypotheses on the subject. [ABSTRACT FROM AUTHOR]

A fin de legitimar su voz autoral en las distintas áreas del saber, los elementos autobiográficos cumplieron un rol fundamental, y si se considera que Christine de Pizan fue su principal biógrafa, se hace difícil abordar una biografía de la autora que se encuentre separada de la búsqueda de reconocimiento como escritora. De acuerdo a esta perspectiva, lo que se propone este trabajo es presentar una biografía de la autora, que aunque poco convencional, posee la ventaja de traducir dos cuestiones que en los textos aparecen indisociables: la Christine persona y la Christine escritora. De ahí, que el relato autobiográfico se encuentre estrechamente vinculado al recorrido literario. A partir de las distintas etapas de su vida, la autora construye sus diversas identidades literarias de cuya unidad nace la figura de clergesse: modelo original de mujer sabia, que ubicándose por fuera del patrón de la mujer letrada del ámbito monacal, se erige contra el tradicional monopolio masculino del saber clerical.

Dale Kedwards introduces Cluster 1 of Interfaces 8, on the topic of The Astronomical Imagination in Literature through the Ages.

Dans cet article, nous présentons quelques considérations à propos de l'écriture christinienne ayant des traits de biographie chevaleresque à la louange de la monarchie française. Nous étudions notamment un extrait de la biographie royale de Charles V, Livre des faits et bonnes moeurs du sage roi Charles V (1404), où Christine de Pizan introduit le portrait de Bertrand Du Guesclin, connétable du roi les dernières dix années de son règne; et le poème épique sur Jeanne d'Arc, Ditié de Jehanne d'Arc (1429), composé lors des réussites de la Pucelle qui ont assuré le sacre de Charles VII. Cette étude est enrichi par les lectures de Paul Ricoeur et Élisabeth Gaucher-Rémond qui ont permis d'établir des éléments de comparaison entre ces deux textes de Christine de Pizan pour y distinguer les caractéristiques d'une identité narrative, bien élaborée et raisonnée, développée dans l'espace du texte, selon ce que l'auteure du Moyen Âge semble comprendre de l'expression « être digne de mémoire et écrit ». [ABSTRACT FROM AUTHOR]

Christine de Pizan's Epistre Othea aims to show a variety of models about what does it mean to be a perfect knight. In her book she bases on several sources, among which the Ovide moralisé is one of the most important. Thus, it's surprising that one of the used exempla conspicuously departs from the content of this work (and others that she knew) by introducing an episode in which Apollo kills Ganymede, not only in the text itself but also in the iconographic program that accompanies it in the manuscripts. This article tries to draw attention to this unique feature in order to seek some possible explanation. [ABSTRACT FROM AUTHOR]

This essay discusses the historiography of Western medieval political thought, as reflected in Il pensiero politico medievale by Gianluca Briguglia and Il potere al plurale: Un profilo di storia del pensiero politico medievale by Roberto Lambertini and Mario Conetti. These two volumes propose vastly different approaches to the topic both in terms of chronology and focus, the first focusing mainly on texts, the other primarily on practices and institutions. Read in conjunction with one another, these books testify to the complexities involved in conceptualizing the emergence and development of political ideas in Europe between the fall of the Roman Empire in the West and the era of the Renaissance and the Reformation.

This article proposes to explore crises from seemingly different backgrounds and periods (the madness of Charles VI of France and the French Wars of Religion) to demonstrate how these elements were used by authors in order to create emotional narratives in support of the failing monarchy. In the two situations, the French community was constructed as an entity which duty was to support the king. However, the authors use different methods to transmit their messages. While Christine de Pizan and the chroniclers advocate for the building of an integrating, all encompassing community around the love of and for the king, Ronsard’s France is tasked at differentiating the Catholics and the Protestants, in an effort to construct France also as a monarchy loving community, of which the protestants are presented as the enemies.

The article analyzes two mythological ballads from Christine de Pizan’s early collection Cent Balades (1399–1411). I propose to interpret them against allegorical commentary on Ovid’s Metamorphoses, a poem Ovide moralise and two treatises — Pierre Bersuire’s Ovididius moralizatus and Boccaccio’s De genealogia deorum gentilium. These works help us understand the ballad XC that critics have traditionally considered mysterious. The ballad tells the story of Adonis and his early death. Christine was familiar with the commentary on Metamorphoses that rendered the poem allegorically. The ballad can be therefore read as a story of the struggle for the human soul where Adonis emblematizes youth, Vulcan — desire, Pallas — wisdom, Juno — will, Jupiter — Supreme Reason, and Mercury — eloquence. Adonis must overcome corporeal passion voluntarily — this is the moral lesson that Christine gives in the allegorical form to her reader. Her relation of human will to reason is similar to that of Thomas Aquinas. The poem Ovide moralisé and Bersuire’s Ovididius moralizatus shed light on the allegorical subtext of the ballad LXI that narrates the love story of Io and Jupiter. Io epitomizes a sinful human soul temporarily deprived of humanity that, however, returns to the beloved — Jupiter, or God. The analysed poems demonstrate Christine’s taste for allegorical and obscure poetry that Boccaccio defended in his De genealogia deorum gentilium.

This paper seeks to provide sufficient elements to locate the philosopher and poet Christine de Pizan in the intellectual context of early 15th-century French humanism. This objective responds to a difficulty that accompanies studies of the philosophical activity of the medieval period in a secular environment. As a woman, Pizan is necessarily secular and her literary production took place outside the limits normally outlined as an object of study by historians of medieval philosophy, that is, a typical scholastic production. [ABSTRACT FROM AUTHOR]

This article explores the way in which Chaucer is invoked and utilized in the 1568 Bannatyne Manuscript. It examines the Bannatyne as a locus for the querelle des femmes, and interrogates the idea that Chaucer becomes a "straw man" for the writers included in the anthology. The idea of a "straw man" requires a context that involves the number of "Chaucerian" texts in the manuscript. Three selections from the manuscript are examined: the "song of troyelus," read as an example of an implicit antipathy towards women; the erroneously attributed "lettre of cupeid," considered as an example of profeminine verse, with caveats; and Gavin Douglas's Eneados. An argument is made for a "Chaucer" who is at once a source of multifaceted approaches to women, a useful narrative tool for the compiler, and a key locus for intersecting themes in the Bannatyne Manuscript. [ABSTRACT FROM AUTHOR]

This article creates a thought experiment considering how Geoffrey Chaucer and Christine de Pizan use the larger cultural milieu of the Debate about Women as something "good to think with." Whereas critics have often approached the Legend of Good Women (ca. 1386) and Le Livre de la Cité des Dames (1405) as examples of how authors in the Debate tradition rewrote women's stories to make bad women good, this article applies recent work in cognitive science, which studies how humans create categories, to argue that both Chaucer and Christine are thinking beyond taxonomic categories to depict their "good women" as active participants in an ethical inquiry. Using ad hoc categories to enact the extreme ideals of the Debate, both authors demonstrate that such an overly active constancy is the opposite of reason. Ultimately, they reveal that a too-constant female good proves, paradoxically, to be both destructive and disloyal. [ABSTRACT FROM AUTHOR]

From the perspective of an intertextual reading, this article aims to question and reflect about the idea of city in The City of Ladies, by Christine de Pizan, idealized in 1405. The purpose is to discuss the construction of this female city through a critical reading that gives a new meaning to the realities of women exposed by the ideology of the medieval misogyny. To this end, some themes and issues pertinent to views of representatives male figures of this medieval misogynist literary genre will be identified and discussed whose antifeminine pronouncements are present in the book. The article discusses as Christine de Pizan's main contribution her originality in arguing and proposing the construction of a city favorable to the idea of inclusion and dialogue by and for women. It is a city designed to promote, through its example, the emancipation of women from the misogynistic yoke of the traditional male views. In this sense, pioneering and adventitious for its time, the metaphorical construction of Christine de Pizan's City of Ladies resignifies the arcane symbolism of the female weaving of misogynistic shape to propose a possible female consciousness of the historical and cultural conditions of the women in those times of robust vernacular adaptations of the legacy of misogyny in the late literary Middle Ages. Mutatis mutandis, had it not been for the question of epistemological property, Christine de Pizan would have been, at the end of the Middle Ages, a voice of decoloniality of the hegemonic misogynistic discourse, if, as it will be seen, she had not reproduced in her discourse traditional ways and forms of being of the traditional discourse of the coloniality of women. [ABSTRACT FROM AUTHOR]

The popular narrative that the French relationship between the sexes is more emotionally rewarding than its American counterpart has entered into scholarly discourse over the past decades. Promoted by several well-known French feminist scholars, the narrative locates the particularity of the French relationship in its paradoxical structure: women are both equal and not equal to men. Sexual difference lies in the particular, which is subordinate to the universal value of equality. The narrative was most recently revived in the anti-#MeToo manifesto published in Le Monde in January 2018. This article surveys the narrative's history, beginning with French feudal law and tracing it through some of its later iterations to highlight how it has long offered French women a way of performing femininity while exercising power. The emotional investment in this narrative explains why it continues to be accepted among at least some French intellectuals, whereas it is generally rejected by American feminists. [ABSTRACT FROM AUTHOR]