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Arlyn Diamond

Hibbard, Mediaeval Romance in England (1924, rept. New York 1963), pp. 306–11, for a discussion of sources and analogues. A. S. G. Edwards, ‘Gender, order and reconciliation in Sir Degrevant’, in Carol M. Meale (ed.), Readings in Medieval English Romance (Cambridge, 1994), pp. 53–64. Edwards, ‘Gender, order and reconciliation’, p. 56. Jennifer Ward, English Noblewomen in the Later Middle Ages (London, 1992) and (ed.), Women of the English Nobility and Gentry (Manchester, 1995), a collection of documents. These contain the most extensive study of English women of the

in Pulp fictions of medieval England
Thinking, feeling, making
James Paz

-given might (2181). At other times, it is used to express a sense of cunning or secret plotting, as when the poet admonishes those who would conspire against kinsmen (2168). Cræft could carry gendered connotations in Anglo-Saxon culture, too, including the familiar association between women and textile production. 15 In Beowulf , weaving imagery contributes to the characterization of noblewomen such as Wealhtheow, who metaphorically ‘weaves peace’ among the warriors through her actions (passing mead and distributing

in Dating Beowulf