Relevant bibliographies by topics / Christine de Pisan

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Academic literature on the topic 'Christine de Pisan'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Christine de Pisan"

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Green, Karen. "Christine De Pisan and Thomas Hobbes." Philosophical Quarterly 44, no. 177 (October 1994): 456. http://dx.doi.org/10.2307/2220245.

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MEDICI, MARIA TERESA GUERRA. "The mother of international law: Christine de Pisan." Parliaments, Estates and Representation 19, no. 1 (January 1999): 15–22. http://dx.doi.org/10.1080/02606755.1999.9522069.

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Bashpinar, Harika. "Christine De Pisan and Murasaki Shikibu as Medieval Feminists." Khazar Journal of Humanities and Social Sciences 18, no. 2 (July 2015): 23–33. http://dx.doi.org/10.5782/2223-2621.2014.18.2.23.

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This study presents a comparative reading of Christine de Pizan’sThe Book of the City of Ladies and MurasakiShikibu’s The Tale of Genji. Having lived and written in the Middle Ages, both Christine de Pizan and MurasakiShikibu share the privilege of being among the first women writers as well as the first feminists. As their life stories picture them as strong, independent women unusual at that time, their works elaborate on the plight of their sex in a patriarchal and oppressive society, and propose ways to transcend these borders. What is striking in such a reading is that it makes the modern reader see that oppression on women has been existent since at least the Medieval Era, and it has been a case throughout the world. Since neither Pizan nor Shikibuknew the culture and works of the other, their attracting attention to the same issues suggests an interesting reading.
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Martin, Charles, and Johanna Keller. "Five Poems from the French of Christine de Pisan." Hudson Review 52, no. 2 (1999): 229. http://dx.doi.org/10.2307/3853405.

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Duran, Jane. "Christine de Pisan and the Development of a Philosophical View." Philosophy and Theology 27, no. 2 (2015): 337–49. http://dx.doi.org/10.5840/philtheol2015102833.

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Fuchs Godec, Kim. "Le tourbillon des sentiments amoureux dans la poésie de Marceline Desbordes-Valmore ou la poétisation d’une histoire amoureuse." Journal for Foreign Languages 12, no. 1 (December 28, 2020): 261–76. http://dx.doi.org/10.4312/vestnik.12.261-276.

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Oubliées à tort pendant plusieurs siècles, les femmes de lettres, dont Christine de Pisan, Louise Labé, Madelaine et Catherine des Roches, Marceline Desbordes-Valmore et beaucoup d’autres, prêtaient à maintes reprises leur plume prolixe au service des épanchements du cœur. La voix féminine de la poésie courtoise, Christine de Pisan, s’est inscrite dans l’histoire comme la première Française à avoir jamais vécu de ses écrits. D’origine vénitienne, elle s’est permis, à la fin du XIVe, début du XVe siècle, de célébrer le mariage et chanter, en son propre nom, l’amour pour son mari et le délice de la nuit de noces afin de montrer du doigt le concept erroné de l’amour courtois, vanté par les troubadours. Néanmoins, ce n’est qu’à la Renaissance que la scène littéraire assiste à « l’avènement » de la figure de la femme écrivaine/poétesse, incarnée par-dessus tout dans le personnage de Louise Labé, femme dotée de la liberté d’esprit, qui assumait pleinement sa féminité dans ses vers. À l’aube du XIXe siècle, le cercle s’agrandit avec Marceline Desbordes-Valmore, connue de nos jours comme prédécesseure de la poésie romantique.
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Minois, Georges. "Christine de Pisan. Le Trésor de la Cité des Dames." Les Grands Dossiers des Sciences Humaines N° 49, no. 12 (December 1, 2017): 11. http://dx.doi.org/10.3917/gdsh.049.0011.

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Iñarrea Las Heras, Ignacio. "Mujer, independencia y soledad. Le dit de la pastoure de Christine de Pisan." Epos : Revista de filología, no. 18 (September 4, 2013): 257. http://dx.doi.org/10.5944/epos.18.2002.10217.

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Spagnolo, Tabitha. "Autorité féminine, voix masculine : l’égalité des sexes au dix-septième siècle." Convergences francophones 6, no. 2 (May 23, 2020): 29–36. http://dx.doi.org/10.29173/cf570.

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Cette contribution s’intéresse à quelques stratégies textuelles et théoriques employées au dix-septième siècle par Marie Le Jars de Gournay (1565-1645) et François Poullain de la Barre (1647-1725). Ces derniers se sont impliqués dans la très longue « querelle des femmes ». Gournay et Poullain étaient d’ardents défenseurs de l'égalité des sexes et s’appuyaient tous deux sur le même héritage polémique établi par Christine de Pisan (1364-~1430) et Henri Corneille Agrippa (1486-1535) entre autres. Or, chacun s’exprimait depuis une positionnalité propre à son sexe, son origine et ses préjugés socioculturels tout en exploitant différentes approches rhétoriques pour exprimer sa perspective avec plus ou moins de succès. Nous traiterons de l’importance des contributions et de l’influence de ces deux auteurs en fonction des antécédents sociaux, éducatifs, sexuels, etc. Ils participaient au même débat avec des attentes manifestement différentes du public / lectorat et de réception. Les auteurs, leurs textes et le contexte méritent d’être étudiés de nouveau.
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Hook, David. "«Fons curarum; fluvius lachrymarum»: Three Variations Upon A Petrachan Theme (Christine de Pisan, Fernando de Rojas and Fray Luis de Granada)." Celestinesca 6, no. 1 (January 8, 2021): 1. http://dx.doi.org/10.7203/celestinesca.6.19544.

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Dissertations / Theses on the topic "Christine de Pisan"

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Rodrigues, de Sousa Sara. "A construção da autoridade na obra de Christine de Pizan /." Lisboa : Universidade de Lisboa, Faculdade de Letras, 2006. http://catalogue.bnf.fr/ark:/12148/cb412392291.

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Rautert, Fee-Isabelle. "Christine de Pizan zwischen Krieg und Frieden : die politischen Schriften 1402-1429." Hamburg Kovac, 2005. http://www.verlagdrkovac.de/3-8300-2184-4.htm.

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Leite, Lucimara. "Christine de Pizan : une résistance dans l'apprentissage de la morale de résignation." Paris 4, 2008. http://www.theses.fr/2008PA040247.

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The approach of this work is the medieval female figure, mostly from Christine the Pizans look. In the first chapter, The tradition in which Christine the Pizans work is inserted, its done a recovery of exempla and specula, education treats, because we believe that this literary genre was a model for the authors texts. During centuries XII and XIII the erudites started to demonstrate their concern with the education and behaviour of men and women. For that the sermons and treats on this issue multiplied. This concern might be measured by the quantity of texts in form of exemplum and speculum that came up at that time. The books Cité des Dames and Trois Vertus in which Christine approaches womans education, are examples of this genre of text. The chapter does an analysis of the main characteristics of exemplum and speculum: their origins, their authors, their main titles and dates. The difference between speculum and exemplum becomes clearer if we compare the two works by Christine. In Cité des Dames, she makes use of exemplum presenting a series of more than one hundred examples of womens short stories worthy of imitation. Whereas in Trois Vertus, Christine describes womens daily life and their behaviours according to their social classes. In the second chapter, Critical Fortune and Description, we expose the chronology with dates and authors names that read Christine, whose works were republished, translated and commented. Christine was known and read by her contemporaries in France, Italy and England. In XV century, after her death, she was praised by many authors, her works were translated into English and Portuguese and republished. Cité des Dames and Trois Vertus; the main issues approached and their order of appearance. In the third chapter, A resistance in learning the resignative moral, we present a short story of womans education between XI and XIV centuries. After this part, a comparison between the intersection points of Cité des Dames, Trois Vertus and Mesnagier de Paris. One might note the importance of observing the difference between the texts produced by male authors such as the Mesnagier, not only regarding the treatment given to women, but also to the theme, Christine approaches womens daily life, from the richest to the poorest ones showing their obligations from getting up, until the time they are going to bed, she treats the matter about knowing how to behave according to social prerogatives, etc. Notwithstanding she is not prolix giving explanations in every little detail. She speaks to witty cultured beings. Eventually, a hierarchical relationship between vices and virtues present in the three works is show. As a conclusion one may see that by the transformations presented in Christines text, that the author did an adaptation of male texts. Adaptation which gave shape to many womens voice that until that time had not a representative in the literary domain.
O trabalho aborda a figura da mulher medieval, principalmente a partir do olhar da autora Christine de Pizan. No primeiro capítulo, A tradição na qual insere-se a obra de Christine de Pizan, é feita uma recuperação dos textos exempla e specula, tratados de educação, porque acreditamos que esse gênero literário serviu de modelo para os textos da autora. Durante os séculos XII e XIII os eruditos começaram a demonstrar sua preocupação com a educação e o comportamento de homens e mulheres. Por isso, os sermões e os textos com essa temática se multiplicaram. Essa preocupação pode ser mensurada pela quantidade de textos em forma de exemplum e speculum que surgem nessa época. Os livros Cité des dames e Trois vertus nos quais Christine aborda a educação da mulher, são exemplos desse gênero de texto. O capítulo faz uma análise das principais características de exemplum e speculum: suas origens, seus autores, seus principais títulos e datas. A diferença entre speculum e exemplum fica mais clara se cotejarmos as duas obras de Christine. Em Cité des dames, ela faz uso do exemplum, ela apresenta uma série com mais de cem exemplos de pequenas histórias de mulheres dignas de imitação. Já, em Trois vertus, Christine descreve o cotidiano das mulheres e seus comportamentos de acordo com a classe social. Segundo capítulo, Fortuna crítica e a descrição. Expomos uma cronologia com datas e nomes de autores que leram Christine, quais obras foram reeditadas, traduzidas e comentadas. Christine foi conhecida e lida por seus contemporâneos na França, Itália e Inglaterra. No século XV, após sua morte, elogios lhe foram feitos por diversos autores, suas obras traduzidas para o inglês e o português e reimpressas. Em seguida é apresentada uma descrição detalhada da estrutura das obras Cité des dames e Trois vertus; os principais assuntos tratados e a ordem de exposição. No terceiro capítulo, Uma resistência na aprendizagem da moral resignativa, apresentamos uma breve história da educação feminina entre os XII e XIV séculos. Após essa primeira parte, segue uma comparação entre os pontos de intersecção de Cité des dames, Trois vertus e Mesnagier de Paris. Faz-se notar a importância de observar a diferença entre os textos produzidos por autores masculinos, como o Mesnagier, tanto no que diz respeito ao tratamento dado às mulheres como à temática. Christine aborda o cotidiano das mulheres, desde as mais ricas até as mais simples, indicando-lhes suas obrigações desde o levantar-se até o deitar, ela trata da questão de saber se portar segundo as prerrogativas sociais, etc. No entanto, ela não é prolixa dando explicações nos mínimos detalhes. Ela fala a seres que têm conhecimento e possuem inteligência. Por fim, é apresentada uma relação hierárquica das virtudes e dos defeitos presentes nas três obras. Como conclusão podemos verificar, pelas transformações apresentadas nos textos de Christine, que a autora fez uma adaptação dos textos masculinos. Adaptação esta que deu forma à voz de muitas mulheres que até então não tinham um representante de seus anseios na esfera literária.
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Pisan, Christine de, and Gabriella Parussa. "Édition critique de l'"Épistre Othea" de Christine de Pizan." Paris 7, 1995. http://www.theses.fr/1995PA070079.

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L'epistre othea est un texte en prose et en vers, compose vers 1400, qui demeurait jusqu'a aujourd'hui inedit. Le present travail donne une edition critique de l'epistre, fondee sur le manuscrit londres, british library, harley 4431,, avec les variantes offertes par trois manuscrits de controle : paris, bn fr. 848 et fr. 606, et chantilly, musee conde 492. L'introduction (pp. 1-122) rappelle d'abord les informations essentielles concernant l'auteur. Christine de pizan (pp. 1-8). La technique de composition particuliere de l'epistre, proche de la compilation, necessite ensuite une discussion assez detaillee des sources mises a profit (pp. 9-31) : une breve notice est consacree a l'ovide moralise, a l'histoire ancienne, au chapelet de vertus, etc. Dans un chapitre a part (analyse litteraire, (pp. 32-39), nous nous efforcons de montrer que l'epistre othea, malgre le caractere heterogene des sources, est une oeuvre unie, dont la veritable nouveaute reside dans les moyens employes par son auteur. Pour l'instruction du destinataire, elle recourt a la tradition mythologique, aux sentences des philosophes antiques et des peres de l'eglise. Les pp. 68-112 contiennent une etude detaillee de la langue du texte - concernant la phonologie, la morphologie et la syntaxe- qui essaye de mettre en evidence les aspects les plus interessants et les particularites du langage de christine de pizan par rapport a ses contemporains. L'edition proprement dite presente le texte avec un double apparat critique enregistrant d'une part les lecons rejetees du manuscrit de base et de l'autre un choix de variantes. Elle est precedee par une etude codicologique (introduction, pp. 48-67). Le cas echeant, les notes (pp. 231-273) discutent la valeur des lecons ou apportent des precisions sur des points de details. Pour chaque texte, nous avons notamment indique les sources utilisees par christine de pizan. Le glossaire (pp. 284-300) enregistre surtout les neologisme et les lexemes rares ou difficiles. Suivent un index des noms propres (pp. 301-310), cherchant a identifier tous les personnages et lieux cites, et une bibliographie (pp. 313-324)
The epistre othea, a text written in prose and verse, composed around 1400 by christine de pizan, has never been edited according to modern standards. Our work gives a critical edition of the epistre, based on the ms london, british library, harley 4431, with the variants of three other manuscripts : paris, bn fr. 848 and fr. 606, and chantilly, musee conde 492. The introduction (pp. 1-122) first gives the essential information regarding christine de pizan (pp. 1-8). It then contains a fairly detailed discussion of the sources used in the epistre (pp. 9-31) : a short notice is dedicated to the ovide moralise, another to the histoire ancienne, the chapelet de vertus, etc. In a separate chapter (analyse litteraire, (pp. 32-39), i attempt to show that the epistre othea aims to teach and instruct the reader by drawing back on mythological tradition, on the sentences of classical philosophers etc. Pages 68-112 contain a detailed study of the language of the text -phonology, morphology and syntax- which aims to show the most important features of the language of christine de pizan, especially in regard to other writers who were active in the same period. An other section contains a codicological description of the most important manuscripts (introduction, pp. 48-67). The edition itself gives the text with a double critical apparatus showing the rejected lessons of the basic manuscript and a choice of variants from the other manuscripts. When necessary, the notes (pp. 231-273) discuss the variants and lessons and give further information, regarding, for instance, the sources used by christine de pizan for each one of her hundred texts. The glossary (pp. 284-300) contains mainaly the neologisms and rare or difficult lexems. An index of proper names (pp. 301-310), and a bibliography close the volume (pp. 313324)
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Le, Ninan Claire. "Le sage et la "clergesse" : l'écriture du politique dans l'oeuvre de Christine de Pizan." Paris 3, 2004. http://www.theses.fr/2004PA030075.

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Dans ses ouvrages traitant du gouvernement du royaume, Christine de Pizan cherche à obtenir le statut d'écrivain politique. Alors que, dans le Livre de l'Advision Cristine, elle se représente sous l'aspect d'une veuve, dans le Livre des fais et des bonnes meurs du sage roy Charles V, le Livre de paix et le Ditié de Jehanne d'Arc, elle s'attribue différentes fonctions cléricales : l'historienne, la préceptrice, la philosophe et la prophétesse. Son autorité s'acquiert également grâce à l'emploi de procédés rhétoriques plutôt qu'esthétiques. La compilation rassemble les éléments du texte en vue d'un objectif unique. Les exempla permettent l'élaboration d'un discours prophétique ou d'un idéal politique à partir de cas concrets. L'allégorie de la France autorise un discours critique
In her works dealing with the ruling of the kingdom, Christine de Pizan seeks to gain a status as a politicist. Whereas, in the Livre de l'Advision Cristine, she depicts herself as a widow, in the Livre des fais et bonnes meurs du sage roy Charles V, the Livre de paix and the Ditié de Jehanne d'Arc, she assumes scholarly functions : historian, philosopher and prophetess. Her authority is also aquired through the use of rhetorical rather than aesthetic techniques. The compilation gathers elements of the text that aim at a single purpose. The exempla allow the development of a prophetic discourse and of a political ideal based on concrete instances. The allegory of France provides for a critical discourse
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Dufresne, Laura Jean. "An assembly of ladies : the fifteenth-century pictorial tradition of Christine de Pizan's La cité des dames and Le trésor de la cité des dames /." Thesis, Connect to this title online; UW restricted, 1989. http://hdl.handle.net/1773/6238.

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Maliha, Fayad Leila. "L'expression du sentiment amoureux et l'image de la femme de Christine de Pisan à Martin Le Franc." Lyon 3, 1986. http://www.theses.fr/1986LYO31009.

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Ce travail porte sur l'expression du sentiment amoureux et l'image de la femme de christine de pisan a martin le franc. En effet, la rehabilitation de la femme a ete la grande preoccupation de christine. Dans son oeuvre, elle s'est consacree a la defense de son sexe, et elle tenta de restaurer a la femme l'image qui lui est due. A une demi siecle presque d'intervalle, martin le franc, prevot de lausanne, mobilisa toute sa verve et tout son enthousiasme a plaider la cause des femmes. Il s'est voue a une tache bien difficile puisqu'il a du faire face a tout ce que l'eglise a prone et pendant des siecles contre les femmes. Quant a charles d'orleans, il s'est plu a trouver dans la tradition courtoise un refuge ou il a donne libre cours a tout ce qui bouillonnait dans son coeur. Dans son oeuvre, la femme est de nouveau sur un piedestal recevant hommage et honneur. Loin de la courtoisie et de ses dogmes, villon raconta dans son "testament" son experience avec les femmes aupres de qui il fut l'amant renie mais ou il a pu cependant trouver refuge et abri. Blotti aupres de sa mere, villon implorait "la dame des cieux". Femme-mere, femme source de salut, deux images honorables de la femme ont surgi de l'oeuvre de villon. Ainsi, l'on peut dire que les oeuvres de ces quatre poetes ont bien marque cette premiere partie du quinzieme siecle. Les ouvrages qui lui firent suite, et dans leur plus grande partie, insisterent egalement sur l'image positive de la femme
This work deals with the expression of passion and the image of woman from christine de pisan to martin le franc. The rehabilitation of woman was christine's major preoccupation. In her works, she devoted herself to defending the woman and she tried to restore the image to which she has a right. After an interval of almost half a century, martin le franc, provost in lausanne, mobilized all his verve and his enthusiasm to plead the cause of woman. He dedicated himself to a difficult task since he had to face the churches' centuries-old animosity towards woman. As for charles d'orleans, he revelled in taking refuge in courtly tradition, and gave a free rein to everything that his heart was teeming with. In his works, woman has been put back up on a pedestal to receive homage and honour. In his "testament", far form courtesy and its dogmas, villon relates his experience as a repudiated lover of women amongst whom he could nevertheless take refuge. Snuggled up to his mother, villon implored "the lady of heavens". Woman as a mother, woman as a source of protection, these are the two honorable images that arose from villon's works. Thus we can say that the works of these four poets marked this first part of the fifteenth century. Most of the works which followed also insisted on the positive image of the woman
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Appel, Nona Faye. "The Confident Amazon: Warrior-Women in the Collected Works of Christine de Pizan." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332794/.

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The purpose of this thesis is to analyze and discuss the relationship between the images and texts concerning Amazons and warrior-women in the collected works of Christine de Pizan. It evaluates Christine's interpretation of the ancient story in light of her career as an author and publisher, and it compares her imagery to other representations of Amazons and warrior-women. This study indicates that Christine reworked the myth in a way that reflects her positive of women and her desire to influence the queen of France, Isabeau de Baviere, who was the original owner of the manuscript.
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Gigliello, Paola. "I volti di Medea : Medea non deve morire." Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0320.

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Le mythe de Médée est un des mythes les plus anciens que la tradition nous a transmis, mais, paradoxalement, c'est peut-être le plus “moderne” et scabreux entre les mythes connus. La thèse s'occupera d'abord de l'œuvre de Christine de Pizan, “La Cité des Dames” et l'image de Médée qui émerge: la terrible reine devient dans les pages de Christine un symbole du savoir et de la loyauté féminine par rapport à l'autre, qui n'est pas seulement fidélité amoureuse mais c'est l'abandon total du corps et de l'âme. On mettra en relation la “Cité” de Christine avec le “De mulieribus claris” de Boccace et on cherchera à démontrer que l'œuvre de Christine n'est pas une traduction, un plagiat de la plus célèbre œuvre de notre écrivain et poète. Dans la deuxième partie de la thèse, je vais analyser la version d'une autre femme spéciale; démontrant que les visages de Médée sont nombreux et variés: la Midea de Irina Possamai. Irina, est, en effet, une des premières librettistes italiennes et a choisi – comme Christine - de raconter dans un opéra lyrique sa Médée qui, ce n’est pas par hasard , qu’elle l’a appelé Midea
The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known.For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art.We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea.The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known.For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art.We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea
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Pilz, Theresa. ""Concealing little, giving much, finding most in their close communion one with another": An Exploration of Sex and Marriage in the Writings of Heloïse, the Beguines, and Christine de Pisan." Thesis, Boston College, 2008. http://hdl.handle.net/2345/540.

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Thesis advisor: Robert Stanton
An exploration of sex and marriage and its role in the writings of three medieval women writers (or groups of writers), from the twelfth, thirteenth, and fifteenth centuries, namely, Heloïse, the Beguines Mechthild of Magdeburg, Hadewijch of Brabant, and Marguerite Porete, and Christine de Pisan. The object is to find the links between sexuality and intellectuality, if any, the role marriage plays in the expression of sexuality, and how the influence of outside institutions such as the church affect the way these women choose to express themselves in writing. Also discussed is how access to a community of women, or lack thereof, influences the output of a single female writer
Thesis (BA) — Boston College, 2008
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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Books on the topic "Christine de Pisan"

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Thiollier, Marguerite-Marie. Ces dames du Marais: De Christine de Pisan à Clotilde de Vaux. Paris: Atelier Alpha bleue, 1988.

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La tradition de l'ennui splénétique en France de Christine De Pisan à Baudelaire. New York: P. Lang, 1995.

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3

Christine. Christine de Pizan's Letter of Othea to Hector. Newburyport, MA: Focus Information Group, 1990.

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4

Christine. Christine de Pizan's Letter of Othea to Hector. Newburyport, MA: Focus Information Group, 1997.

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5

Christine de Pizan: A bibliography. 2nd ed. Metuchen, N.J: Scarecrow Press, 1989.

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6

Blanchard, Joël. Lexique de Christine de Pizan. Paris: Klincksieck, 1999.

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7

1953-, McLeod Glenda, and Willard Charity Cannon, eds. The vision of Christine de Pizan. Cambridge: Brewer, 2005.

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Cannon, Willard Charity, ed. The writings of Christine de Pizan. New York: Persea Books, 1994.

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9

Stuip, R. E. V. Christine de Pizan, een bijzondere vrouw. Hilversum: Verloren, 2004.

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J, Kennedy Angus. Christine de Pizan: A bibliographical guide. London: Grant & Cutler, 1994.

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More sources

Book chapters on the topic "Christine de Pisan"

1

Waithe, Mary Ellen. "Roswitha of Gandersheim, Christine Pisan, Margaret More Roper and Teresa of Avila." In A History of Women Philosophers, 309–17. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2551-9_13.

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Wild, Gerhard. "Christine de Pizan." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3158-1.

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Zimmermann, Margarete. "Christine de Pizan." In Metzler Autorinnen Lexikon, 96–97. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_69.

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Ouy, Gilbert, and Christine Reno. "Introduction générale." In Album Christine de Pizan, 15–38. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.tcc-eb.4.00032.

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Villela-Petit, Inès. "Introduction sur les enlumineurs ornemanistes." In Album Christine de Pizan, 39–90. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.tcc-eb.4.00033.

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Villela-Petit, Inès. "Introduction sur les peintres enlumineurs." In Album Christine de Pizan, 91–170. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.tcc-eb.4.00034.

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Blumenfeld-Kosinski, Renate. "Christine de Pizan (c. 1364–1430)." In Fifty-One Key Feminist Thinkers, 180–85. Abingdon, Oxon; New York, NY : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315558806-36.

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Zühlke, Bärbel. "Christine de Pizan — Eine Frühhumanistische Intellektuelle." In Christine de Pizan in Text und Bild, 201–4. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-03532-5_4.

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O'Driscoll, Cian. "Christine de Pizan (c. 1364–c. 1430)." In Just War Thinkers, 64–76. Abingdon, Oxon ; New York, NY : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [2018] | Series: War, conflict and ethics: Routledge, 2017. http://dx.doi.org/10.4324/9781315650470-6.

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Warren, Nancy Bradley. "Christine de Pizan and Joan of Arc." In The History of British Women’s Writing, 700–1500, 189–97. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230360020_18.

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