Dissertations / Theses: '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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Décloître, Raphaëlle. "Les échos de la "Comédie" dans le "Chemin de Long Estude" de Christine de Pizan." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27127.

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Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2016
Alors qu’elle se trouve au Mont Parnasse, la narratrice du Chemin de Long Estude de Christine de Pizan affirme reconnaître l’endroit pour l’avoir déjà lu chez Dante. Cette mention surprend considérant la quasi absence de la Comédie dans la littérature française de la fin du Moyen Âge, et si la tradition critique a eu tendance à y voir la revendication d’un projet mimétique, où le poème de Christine de Pizan serait une tentative d’imitation de la Comédie, les nombreux échos dantesques de l’oeuvre témoignent à l’inverse d’un important travail d’appropriation, en mettant systématiquement l’accent sur l’acquisition du savoir et l’inscription dans une filiation intellectuelle. Plus qu’une recension, le présent mémoire aspire à faire le point sur les présences de la Comédie dans le Chemin de Long Estude de même qu’à inscrire ces dernières dans un réseau. Cela amène non seulement à considérer l’oeuvre de Christine de Pizan dans sa totalité, mais aussi en regard des considérations littéraires de l’époque. Dans le premier cas, les renvois à Dante permettent de réfléchir au projet général de l’oeuvre, alors que le poème italien, plus que de représenter un idéal à reproduire, participe à une conquête de l’ordre par le savoir, aux côtés de la Consolation de Philosophie de Boèce et du Chemin de Long Estude lui-même. Dans le second cas, le fait de fonder le travail d’écriture sur la lecture préalable d’un auteur italien témoigne de la bibliophilie du siècle et de l’importance de la lecture, mais aussi de l’émergence timide de nouvelles autorités vernaculaires.
While she is standing in front of Mount Parnassus, the narrator of the Chemin the Long Estude by Christine de Pizan says she recognizes the place for having already read about it in Dante’s book. This statement is surprising considering the near absence of the Comedy in the French literature of the late Middle Ages. The critical tradition has tended to see it as the claim of a mimetic project, where Christine de Pizan’s poem would be an attempt to imitate the Comedy. But the multiple references to Dante’s work in the French poem bear on the contrary witness to an important work of appropriation, systematically putting the emphasis on the acquisition of knowledge and on being part of an intellectual tradition. More than proposing a census, this thesis wishes to study the various presences of Dante’s Comedy in the Chemin de Long Estude as well as to include them in a network. This leads to considering not only the work of Christine de Pizan in its entirety, but also the literary context of the late Middle Ages. In the first case, the references to Dante inform about the general project of the work, while the Italian poem, more than representing an ideal to imitate, shows how knowledge can bring order, alongside Boethius’s Consolation of Philosophy and the Chemin de Long Estude itself. In the second case, Christine de Pizan’s writing process is highly influenced by the prior reading of the Italian author, which reveals the bibliophilia characteristic of the period and the importance of reading, but also the emergence of new vernacular authorities.

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Videt-Reix, Delphine. "Christine de Pizan et la poétique de la justice." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10006/document.

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L’année 1401 marque un tournant dans la carrière littéraire de Christine de Pizan. Son engagement dans la querelle sur Le Roman de la Rose n’est pas anodin. En affrontant les représentants du premier humanisme français, l’écrivaine réfute le discours misogyne véhiculé par Jean de Meun. Opposant Dante à Jean de Meun, elle critique un usage de la glose qui ne relève pas d’une intention d’auteur clairement définie et se livre à une réflexion sur la question de l’interprétation des textes littéraires. Sa défense morale des femmes, dans Le débat sur le Roman de la Rose et Le livre de la Cité des dames révèle un engagement profond dans la politique de son époque. En prenant position en faveur de la régente Isabeau de Bavière, Christine développe un discours sur les vertus, destiné aux lecteurs désireux d’illustrer les qualités qui aident à bien gouverner. L’Epistre Othea et Le livre de l’advision Cristine illustrent l’importance de la glose, à même de guider le lecteur dans la construction du sens. S’inscrivant dans le sillage de Nicole Oresme et de Thomas d’Aquin, Christine propose une réflexion claire sur les vertus intellectuelles et morales qui permet de comprendre et de retrouver le sens de la justice à une époque où les nombreuses crises de folie de Charles VI mettent l’équilibre du royaume en péril. Le livre du chemin de long estude, Le livre des fais et bonnes meurs du sage roy Charles V, Le livre de l’advision Cristine , Le livre du corps de policie, Le livre de la Mutacion de Fortune développent une poétique de la justice qui devient une solution possible à l’instabilité politique
The year 1401 marked a turning point in the literary career of Christine de Pizan. Her interventions in the debate about the Roman de la Rose were not harmless. In confronting the representatives of the first wave of French humanism, Christine sought to refute the misogynist discourse proposed by Jean de Meun. In contrasting Jean de Meun with Dante, she criticizes Jean de Meun’s recurrent and unfulfilled promise of a gloss which mystifies authorial intention, and in so doing initiates a new reflection on how literary texts should be interpreted. Her moral defense of women during the debate on the Roman de la Rose and The Book of the City of Ladies also reveals a profound involvement in the politics of her age. As part of her taking a clear position in favour of the regency of Isabeau de Bavière during her husband’s periods of mental illness, Christine developed a particular discourse on the virtues aimed at illustrating for interested readers those qualities necessary for good government. L’Epistre Othea and Le livre de l’advision Christine illustrate the importance of a genuine gloss, particularly in guiding readers toward elucidating the sense of a text. Her reflections here follow in the wake of the works of Thomas Aquinas and Nicole Oresme and propose an unambiguous meditation on the intellectual and moral virtues which is designed to aid readers to discover and to understand better the meaning of justice in an age during which the period’s of Charles VI’s mental illusion endangered the stability of the kingdom. Le livre du chemin de long estude, Le livre des fais et bonnes meurs du sage roy Charles V, Le livre de l’advision Cristine , Le livre du corps de policie, Le livre de la Mutacion de Fortune all elaborate a poetics of justice which Christine proposes as a possible solution to the political instability of her time

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Thibert, Christine. "Devenir Dame : Le livre de la cité des dames." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29757.

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En faisant une analyse du féminisme du Livre de la Cité des Dames, ce travail tente d'élaborer un processus que j'appelle le devenir Dame. La construction de la Cité et l'écriture du Livre se font à travers l'édifIcation de ce processus à trois niveaux : intellectuel, corporel et spirituel. Le but du travail est de montrer comment la lectrice du Livre de la Cité des Dames fait l'expérience de ce processus et devient Dame elle-même en lisant le livre, comme "Christine" le devient en l'écrivant. Il s'agit d'examiner la mise en scène du processus de devenir Dame par l'auteure et de voir comment cela permet à la lectrice de le vivre. Cette approche nous permet d’analyser les aspects plus ou moins problématiques du féminisme pizanien soulevés par plusieurs critiques. Parmi d'autres, il y a la problématique du christianisme. Quoique cela se présente comme un obstacle et empêche plusieurs critiques d'accepter Christine de Pizan en tant que féministe, ce travail affirme que c'est précisément cela qui manifeste le génie (féministe) du Livre de la Cite des Dames. Christine de Pizan, écrivaine d'origine italienne, a écrit Le Livre de la Cite de Dames en 1404-5. En 1405 elle a écrit, comme suite à La Cite des Dames, Le Livre des Trois Vertus ou Le Trésor de la Cité des Dames. Le Livre de la Cité des Dames est une oeuvre allégorique qui s'inspire du fameux De Claris mulieribus (Des dames de renom, 1360) de Boccace et de La Cite de Dieu (413-424) de Saint Augustin. C'est aussi une réfutation de certains auteurs misogynes, comme Matheole et Jean de Meun. Les deux seules éditions critiques faites à partir des manuscrits originaux n'ont pas encore été publiées. Ce sont des thèses de doctorat (Lange, 1974, Hamburg; Curnow, 1975, Vanderbilt). Le livre a été traduit en plusieurs langues : en flamand (1475) et en anglais (1521). Plus récemment, il a été traduit et publié en anglais moderne (Richards, 1982), en allemand (Zimmerman, 1986) et en français moderne (Hicks et Moreau, 1986). Cette dernière traduction, basée sur les manuscrits originaux de Paris, sera utilisée dans ce travail, puisqu'elle est la plus accessible au niveau de la langue et de la publication.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

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Rodriguez, Juliana Eva. "Una "arquitectónica del poder". Christine de Pizan y la construcción del reino en la Francia bajomedieval." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0090.

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Dans le cadre d’une étude sur la contribution des idées politiques du Moyen Âge, toute la question est de savoir comment la pensée de Christine de Pizan se détache des écrivain(e)s de son temps en édifiant une architecture du royaume assez novatrice pour l'époque. Pour ce faire, nous procédons à l’étude du régime monarchique dans les écrits politiques de Christine de Pizan au XVe siècle. Au cœur de sa pensée politique, le roi sage, figure émergente de la tradition cléricale du XIIIe siècle, semble devenir un roi architecte et son royaume une belle architecture, à l’instar d’une société politique parfaite. La sagesse, s’avère être cette puissance transformatrice de la société, qui agissant à diverses échelles du royaume transforme les structures du passé, profondément marquées par la tradition chrétienne. Cette forme d’intelligence, théorique et pratique, est d'une telle importance pour Christine, qu’on semble assister à toute une reconfiguration des rapports sociaux et des cadres de gouvernement. Si nous pensons la société à la manière d’une architecture vivante contenue en sa totalité dans l’Église du Moyen Âge, nous pouvons nous attendre à la fin de cette époque à la naissance des nouvelles configurations du social, tels que la ville, la principauté et le royaume. Or, c’est en s'appropriant la sacralité ecclésiastique que ces nouveaux pouvoirs se configurent. Grâce à ce processus, nous pouvons parler d’une souveraineté architectonique et, ainsi, d’une science gouvernementale, dont les origines remonteraient à l’époque médiévale et non pas à la modernité. Au bas Moyen Âge, la science politique naît avec Aristote et avec le développement des monarchies. Ce n’est pas aux modernes mais aux écrivains médiévaux que l’on doit l’introduction, l’interprétation, et la relance de la riche notion aristotélicienne de «science architectonique», voire de «l’architectonique», dont la trajectoire médiévale reste pourtant inexplorée. Le génie de Christine consiste à mettre en évidence le caractère concret de la science principale, la politique, en croisant les registres théorique et pratique, à travers les faits et les mœurs de Charles V particulièrement dans son livre Les fais et bonnes meurs du sage roy Charles V. L’auteure considère son roi comme un véritable «suppost», une sorte de matrice expérimentale à partir de laquelle réfléchir et forger la meilleure science de gouvernement. Cette conception scientifique ouvre la voie à une analyse entièrement expérimentale de la figure royale, qui nous permet de parler d’une rationalité gouvernementale liée à une conception instrumentale des sciences, déployée sur un plan contingent. C’est le cadre aristotélicien qui permet à l’écrivaine d’ouvrir, avec la politique, le plan des positivités terrestres et de penser la cité des hommes, sans recours au pouvoir ecclésiastique. En développant au maximum les prémisses de l’architectonique, avec la science principale ‒ la politique ‒ et les sciences subordonnées, l’écrivaine permet de faire un saut fondamental : l’évolution du traditionnel roi lettré des miroirs de prince au roi sage de nature aristotélicienne. Ainsi, il est possible d’envisager dans le roi sage de Christine un nouveau type d’architecte, dont le pouvoir ne dépend pas de son rôle à la tête de l'Église, ni du rituel du sacre aux mains de cette dernière. En d'autres termes, le roi sage de Christine est, en tant que connaisseur des causes premières, à la fois philosophe et théologien. Détenteur de la philosophie théorique et pratique, la sagesse du roi apparaît comme la substance de la royauté française en donnant forme au royaume de France. On peut ainsi établir que le roi architecte ‒ en tant que concepteur du royaume ‒ finit par neutraliser le pouvoir directif de l'Église, dans la remise en cause de sa capacité à être la seule institution apte à incarner la substance de la société chrétienne
In a time in which plenty academic works in the field of Literary and Gender Studies recognize certain involvement of Christine de Pizan in the political literature of the late Middle Ages, the study of her political thought in its whole complexity remains underdeveloped. For that reason, this study portraits the core of the multidimensional contribution of Christine de Pizan to the medieval politics, which is the critical understanding of an innovative and complex schema of power structuring. Her ideas went far away from the writers of her time by devising the royalty itself as a solid architectural system. To embrace her ideas is necessary to understand the reflections about the monarchy in her political writings of the early fifteenth century. At the heart of his political thought, the wise king, an emerging figure of the clerical tradition of the thirteenth century, seems to become a king architect and his kingdom a beautiful architecture, as a perfect political society. Wisdom itself seems to be a force of transformation in society by acting on the political and social structure of the past, deeply marked by the christian tradition. This form of intelligence, both theoretical and practical, produces a whole reconfiguration of social relations and government frameworks. If we think of society as a living architecture, totally contained in the church of the Middle Ages, we can expect at the end of this time the birth of the new social configurations, such as the city, the principality and the kingdom. Now, it is by appropriating the ecclesiastical sacrality that these new powers are configured. Due to this process, we can speak of an architectural sovereignty, as well as a governmental science, whose origins go back to the medieval era and not to modernity. It is not to the modern but to the medieval writers that we owes the introduction, the interpretation, and the revival of the rich Aristotelian notion of «architectonic science», even «architectonic», whose medieval trajectory remains unexplored. Christine’s genius consists in highlighting the concrete aspect of the principal science, by crossing theoretical and practical registers, through the facts and mores of Charles V especially in her book Les fais et bonnes meurs du sage roy Charles V. The author considers the figure of the “King” as a real «suppost», a kind of experimental matrix from which to create the best science of government. This scientific conception opens the way to an entirely experimental analysis of the royal figure, which introduced the idea of governmental rationality linked to an instrumental conception of science. The Aristotelian approach allows the writer to open the game of earthly positives and to think about the city of men, in other words, politics, without recourse to ecclesiastical power. By following the path marked by Aristotelians, Christine de Pizan went further than them in the application of aristotelian wisdom to her model of wise king. By developing as much as possible the premises of architectonics, with the main science ‒politics‒ and subordinate sciences, the writer enable to take a fundamental leap forward: a change from the traditional literate king of mirrors for princes to the wise king of aristotelian nature. As we can see the wise king of Christine de Pizan appears as a new type of architect, whose power does not depend on his role as the head of the Church, nor on the ritual of the consecration conducted by the ecclesiastics. In other words, the wise king of Christine de Pizan aware of the first causes, is at the same time philosopher and theologian. Owner of theoretical and practical philosophy, the wisdom of the king appears as the substance of the French royalty and gives form to the kingdom of France. The king as the architect of the kingdom breaks the power of the Church, by questioning his role of being the only institution capable of embodying the substance of Christian society

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Dugaz, Lucien. "Le Livre des fais d'armes et de chevalerie de Christine de Pizan. Édition critique." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA050.

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Cette thèse de doctorat a pour principal objet l'édition critique complète du dernier texte inédit de Christine de Pizan, son Livre des fais d'armes et de chevalerie, écrit en 1410 lors des prémices de la guerre civile entre Armagnacs et Bourguignons, trois ans après l'assassinat de Louis d'Orléans par Jean sans Peur et cinq ans avant la bataille d'Azincourt.Chef-d’œuvre oublié de Pizan, ce texte fut destiné à l'éducation des hommes d'armes en général et du dauphin Louis de Guyenne en particulier. Réécriture autant que compilation, les Fais d'armes ont été dès leur publication une référence sur « la chose de chevalerie », sollicitant Végèce, Valère Maxime, Frontin, L'Arbre des batailles d'Honorat Bovet ainsi que des sources orales demeurées anonymes. Leur édition permet de combler une lacune importante dans notre connaissance de la production christinienne de miroirs aux princes, et devrait être utile aux médiévistes comme aux juristes et polémologues.Cette édition, qui se veut génétique, s'appuie sur la première étude exhaustive de la tradition textuelle entière (25 témoins, manuscrits et imprimés) qui a mis au jour plusieurs versions d'auteure, découverte qui vient s'ajouter à l'exploration des versions remaniées d'un point de vue politique, ce qui avait déjà été remarqué par la critique. En outre, l'établissement d'un stemma codicum permet de préciser les liens entre deux familles de manuscrits, ceux qui respectent l'auctorialité de Christine de Pizan (famille A) et ceux qui oblitèrent son nom et sa féminité (famille B).En plus de donner à lire le texte en moyen français, assorti d'un appareil de notesphilologiques, linguistiques et historiques, l'édition permet, grâce à un apparat critique génétique, d'ouvrir la voie à des études stylistiques et linguistiques sur l'auteure à sa table de travail, modifiant son texte à deux reprises. La recherche des sources du traité permettra également de mieux connaître les techniques de Christine de Pizan en compilatrice. Nous proposons une édition des extraits de Valère Maxime et Frontin traduits par Simon de Hesdin pour y inciter nos lecteur·rice·s.Le texte s'accompagne d'une description codicologique des 25 témoins, d'unglossaire, d'éléments de contexte historique et littéraire, et enfin d'une étude linguistique qui verse une nouvelle pièce au dossier débattu de la possible autographie d'un manuscrit des Fais d'armes
The principle study of this doctoral thesis is the critical edition of the last unedited text of Christine de Pizan, the Livre des fais d’armes et de chevalerie. It was composed in 1410, at the outbreak of the first civil war posing Bourguignons against Armagnacs, three years after the assassination of Louis d’Orléans on the orders of Jean the Fearless and five years preceding the Battle of Azincourt. This forgotten masterpiece of Pizan was destined generally to educate young men of arms, and particularly for the instruction of the Dauphin, Louis de Guyenne. The Fais d’armes, a re-writing as much as it is a compilation, was upon its publication a reference work on chivalry, soliciting the authority of Vegetius, Valerius Maximus, Frontinus, L’Arbre des batailles by Honorat Bovet, as well as other oral sources that remain anonymous. This critical edition will allow us to fill significant gaps in the christinienne production of the specula principum and will be equally useful to medievalists as much to jurists and to specialists of military history.This edition, which goes back to the origins of the text, leans on the first exhaustive study of the entire textual tradition (25 text sources, in printed and manuscript forms) that identifies several different versions by the author. This discovery adds a new dimension to the study of this text when considered alongside versions that were re-worked for political purposes. What’s more, the establishment of a stemma codicum allows us to define the relationship between two manuscript families : Family A, which respects Christine de Pizan’s auctorialité ; and Family B, which obliterates her name and femininity.Furthermore, the edition of the text in Middle French, accompanied by philological,linguistic and historical notes and commentaries, allows for future stylistique andlinguistic studies on the author-at-work, changing her text on two occasions. Research on her sources also reveal Christine de Pizan’s techniques as “compilator”. This study also proposes an edition of quotes from Valerius Maximus and Frontinus as translated by Simon de Hesdin to inspire further reading.The edition includes a codicological description of the 25 manuscripts and printed copies, elements describing historical and literary context, and, finally, a linguistic study that adds another voice to the debate surrounding a manuscript containing the Fais d'armes and the question of its potentially “autographic” nature

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Barbier, Anne-Marie. "Les cycles iconographiques de l’Epistre Othea de Christine de Pizan, en France et dans les anciens Pays-Bas, au XVe siècle." Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30008.

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L'Epistre Othea est une oeuvre allégorique et didactique composée par Christine de Pizan, vers 1400. Empruntant des exemples à la mythologie classique et à la légende de Troie, l'auteur dispense des enseignements moraux aux princes et aux chevaliers, par le texte et les images conçues sous sa direction. Initialement centrée sur l'élaboration des enluminures dont elle met en lumière les aspects matériels, cette étude présente l'iconographie des vertus cardinales et de la fable de Persée et d'Andromède, en analysant les procédés visuels mis en oeuvre afin d'offrir une interprétation chrétienne des motifs inspirés par l'Antiquité. La restitution partielle d'un cycle disparu complète l'analyse de la genèse des cycles iconographiques conservés. Les cycles longs font ensuite l'objet d'une analyse qui caractérise la spécificité de chacun. Rendant compte de l'interdépendance, si souvent affirmée, entre les images et le texte, elle étudie les fonctions des enluminures dans les manuscrits BnF, fr. 606 et British Library, Harley 4431. Un troisième axe de réflexion porte sur les liens de filiation existant entre les cycles iconographiques des manuscrits tardifs et ceux qui, élaborés par Christine, leur ont servi de modèles. Une analyse iconographique comparée permet d'étudier la réception de ces modèles, mais également de déceler les innovations iconographiques issues de leur réécriture. Fondée sur un programme iconographique reflétant les valeurs chevaleresques et les idéaux politiques qui prévalent à la cour de Bourgogne, la réécriture de deux d'entre eux légitime l'action politique des ducs
The Epistre Othea is an allegorical and didactic work written about 1400 by Christine de Pizan. Taking examples from classical mythology and from the legend of Troy, the author imparts teachings to princes and knights, through text, and images created under her supervision. In the beginning, our study is focused on the material aspects of the process of elaboration of the illuminations. Then it presents the iconography of cardinal virtues and of the myth of Perseus and Andromeda, by analysing the visual processes used so as to suggest a Christian interpretation of motifs inspired by Antiquity. The partial reconstruction of a lost cycle supplements our analysis of the genesis of the extant cycles. A second study aims to characterize the specificity of each long iconographic cycle. We explain the interdependence between images and text ; we also analyse the functions of images in manuscripts BnF, fr. 606 and BL, Harley 4431. The third thrust of our research bears upon the relationship between the iconographic cycles of the late manuscripts and those that were created under Christibe de Pizan's supervision. We conduct a comparative analysis of the reception of these models and in si doing, also reveal the iconographic innovations in them. Based on an iconographic program reflecting the chivalric values and political ideals which prevailed at the Court of Burgundy, the rewriting of two cycles legitimates the exercice of power by the burgundian dukes

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Delale, Sarah. "Diamant obscur. Composition et mise en livre de la narration chez Christine de Pizan." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040164.

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Pour Christine de Pizan, l’écriture et l’interprétation échappent irrémédiablement au vrai ; elles dépendent du vraisemblable et de l’opinion. Comment mener alors le lecteur vers le sens que l’auteur conçoit comme véritable ? Cette étude explore le lien unissant dans les œuvres narratives de Christine l’interprétation, le genre et la forme, comprise comme disposition, comme agencement intellectuel et matériel de la narration. Les manuscrits supervisés par Christine fondent les interprétations, enrichies par l’analyse des manuscrits non originaux et des éditions antérieures au XIXe siècle. De 1400 à 1408, les sept dits, les livres en prose et la Mutacion de fortune illustrent chez Christine deux modèles distincts d’enseignement narratif. Les dits transmettent une leçon implicite : les persona subjectives de l’auteur et du narrateur ne pouvant y servir de garant moral, c’est la disposition qui porte la signification. Le sens naît des concordances, des discordances et des ambiguïtés internes à la forme. Dans les livres en prose, l’auteur caractérise son propos en bien ou en mal, voix narrative et disposition explicitant des sens convergents. Dans ces deux modèles pourtant, l’écriture est toujours un mouvement de résolution : rêvant à dépasser la permanence du doute, elle élabore des procédés narratifs qui orientent a maxima l’interprétation. Le personnage d’auteur, propre à l’identification, devient lui-même une place interprétative proposée au lecteur depuis laquelle reconstruire par empathie une signification perpétuellement réactualisable
For Christine de Pizan, writing and interpretation do not depend on truth but on plausibility and opinion. Considering this, how can the author lead the reader to the meaning he considers as truth? This study explores the connection between interpretation, genre and form in the narrative works of Christine de Pizan – form being understood as a disposition, as the intellectual and material layout of the narration. Manuscripts supervised by Christine form the basis of our study, enriched by later manuscripts and early editions printed before the 19th century. From 1400 to 1408, the seven dits, the prose livres and the Mutacion de fortune reflect two different models of narrative meaning. The dits give an implicit lesson. The author and the narrator’s persona are too subjective to be answerable for the moral sense; the meaning is transmitted by the book’s disposition. Interpretations arise from coherency, incoherencies and ambiguities lying in the text. In the prose livres, the subject is presented as good or evil by the author; narrator and disposition explicitly convey the same meaning. Both models can be characterized as a resolving dynamics: aspiring to go past doubt, the writing contains narrative procedures that frame the interpretation as much as possible. The author’s character itself is constructed to prompt the reader’s empathy and identification; it constitutes a place from which to update a universal meaning

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Assis, Ricardo Fontes dos Santos de [UNESP]. "A cristandade e o reino francês: duas facetas do poder Régio (1372-1404)." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/93237.

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Made available in DSpace on 2014-06-11T19:26:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-03-03Bitstream added on 2014-06-13T20:07:38Z : No. of bitstreams: 1 assis_rfs_me_fran.pdf: 723653 bytes, checksum: 358c5a7dff4655ae2e11c2484cb75d39 (MD5)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
À la fin du Moyen Âge, ont été formules des écris pédagogiques qui ont établi des normalisations de comportements pour une bonne gouvernance en plusieurs royaumes de l’Europe. Ces écris sont les connus Miroirs du Prince, traités normatifs dirigés spécifiquement aux gouvernants. La France, en spécial entre le XIVème et XVème siècles, a été un des plus importants scénario de cette modalité d’écriture, justement parce que Charles V, pendant son règne (1364-1380), a favorisé la présence d’innobrable gens de lettres dans sa cour et a stimulé cette production normative. Ainsi, la proposition de ce travail cherche à percevoir comment les hommes de cette période-là ont pensé le pouvoir et ont contribué pour le construire dans les modèles qu’ils croyaient idéaux. Donnés ses objectifs de reformuler toute la Chrétienté et de formuler l’image du prince à partir des mémoires du royaume de la France, les ouvrages de Philippe de Mézières (1327-1405), Le Songe du Vieil Pelerin, et de Christine de Pisan (1363-1430), Le livre des fais et bonnes meurs du sage roy Charles V, ont été prises comme base dans cette étude. Les deux auteurs pour avoir eu vécu et servi dans la cour du référé monarque, ils ont fait l’usage de leurs expériences et de l’héritage ancien et chrétien pour mettre en relief le rôle des rois dans la conduite du royaume et pour tracer les voies pour les pratiques politiques
No final da Idade Média, foram formulados escritos pedagógicos que estabeleceram normas de conduta para uma boa governação em muitos dos reinos da Europa. Estes escritos são os conhecidos Espelhos de Príncipe, tratados normativos dirigidos especificamente aos governantes. A França, em especial entre os séculos XIV e XV, foi um dos mais importantes palcos dessa modalidade de escrita, justamente por Carlos V, durante seu reinado (1364- 1380), ter favorecido a presença de inúmeros letrados na sua corte e ter estimulado esta produção normativa. Assim, a proposta deste trabalho gira em torno de perceber como os homens desse período pensaram o poder e contribuíram para construí-lo dentro dos moldes que julgavam ideais. Dados seus objetivos de reformar toda a Cristandade e de formular a imagem do príncipe a partir das memórias do reino da França, as obras de Philippe de Mézières (1327-1405), Le Songe du Vieil Pelerin, e de Christine de Pisan (1363-1430), Le livre des fais et bonnes meurs du sage roy Charles V, foram tomadas como base no presente estudo. Ambos os autores, por terem vivido e servido na corte do referido monarca, fizeram uso de suas experiências e dedicaram-se a destacar o papel dos reis na condução do reino e a traçar novos rumos para as práticas políticas

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Gower, Margaret Marion. "The Heart of Peace: Christine de Pizan and Christian Theology." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845469.

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This dissertation argues that, across her corpus, Christine de Pizan (c.1364-c.1431) advanced a notion of the common good that is both, and inseparably, political and theological. The project critically analyzes Christine’s theological notions of human personhood, moral formation, prudential self-interest, and destructive preoccupation with personal good. It demonstrates that Christine responded to, retooled, and restructured authoritative texts and traditions in order to compose a constructive notion of the common good. It argues that Christine wrote in the interest of peace in the bodies politic within which she counted herself: France, the Church, and Christendom. It concludes that Christine wrote to form persons for peace.
Religion, Committee on the Study of

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Aussems, Johannes Franciscus. "Christine de Pizan : the scribal fingerprint." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7789.

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This thesis is concerned with the supervised manuscripts of the works of Christine de Pizan (ca 1364-ca 1430), the first female author who could make a living from the products of her pen. During her long and prolific career as an author, she composed numerous works for noble and royal patrons of France, which were made into manuscripts by Parisian scribes and illuminators. Scholars have argued that Christine supervised the production of these manuscripts. Moreover, on several occasions the hypothesis has been raised that Christine also copied several of them herself, thus acting as scribe X alongside two other scribes, called P and R. The aim of this thesis is twofold: firstly, to gain a better understanding of the production process of the supervised manuscripts of Christine de Pizan's works and of the role played by the author; secondly, to develop and test a new methodology for distinguishing between scribal hands in medieval manuscripts. An account of Christine de Pizan's life and a survey of all surviving supervised manuscripts of her works clearly show that she had extensive knowledge of how they were made. Monotextual manuscripts of her works were often produced in series, in an attempt to economise and speed up the production process. The manuscripts of Christine's collected works show a production and editing process that resembles modern-day printing-on-demand. This thesis further demonstrates the use and success of the Scribal Fingerprint, a new and objective method of distinguishing between scribal hands that consists of three palaeographical core differentiators and two additional differentiators. A Scribal Fingerprint examination of the handwriting in MS Harley 4431, the most recent of the four surviving manuscripts containing Christine's collected works, generates highly heterogeneous differentiator values for the thirteen folios that were analysed. This analysis is combined with an examination executed by GIWIS, an innovative computer application for handwriting analysis. Both strngly suggest that MS Harley 4431, thought by some scholars to have been transcribed entirely by scribe X, was in fact copied by more than one scribe.

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Post, C. "Christine de Pizan : Transmission and debate in sixteenth-century England." Thesis, University of Dundee, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521734.

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Leite, Lucimara. "Christine de Pizan: uma resistência na aprendizagem da moral da resignação." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-14042009-152149/.

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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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Cozette, Sandrine. "Hector au Moyen Age : définition et évolution d'un personnage épique et romanesque." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30002.

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L’engouement du Moyen-Âge pour le mythe troyen se traduit tout particulièrement à travers sa figure centrale, Hector. Benoît de Sainte-Maure, qui s’appuie sur la tradition homérique telle que l’a transmise la littérature latine tardive (Ilias latina, Éphéméride de la guerre de Troie de Dictys de Crète, Histoire de la destruction de Troie de Darès le Phrygien), fait du fils de Priam le héros incontesté de son œuvre, le Roman de Troie, et glorifie les exploits de ce guerrier à la prouesse exemplaire. Ce texte constitue le jalon majeur de la construction du mythe d’Hector à l’époque médiévale, dont témoignent les réécritures en prose ou en vers, même si, parallèlement, l’histoire de Troie continue d’être transmise par le texte latin de Darès ou sa traduction. À ces deux traditions s’ajoute celle qui naît de l’œuvre de l’Italien Guido delle Colonne, l’Historia destructionis Troiae, réécriture latine du roman de Benoît au XIIIe siècle. Cependant la notoriété de la figure d’Hector s’exprime aussi dans des œuvres où le personnage tend à se dissocier du destin de sa cité et apparaît seul ou associé à d’autres héros, troyens ou non, pour servir de référence en terme de bravoure, ce qui lui vaut de figurer parmi les Neuf Preux. C’est pourquoi le personnage va continuer d’évoluer indépendamment du roman de Benoît et de ses réécritures directes, ce qui se perçoit aussi bien dans la chanson de geste que dans les récits arthuriens. Les valeurs qu’il incarne intéressent aussi bien l’auteur de l’Ovide moralisé que Christine de Pizan. Figure exemplaire, presque archétypale, Hector est aussi un personnage protéiforme dont l’histoire ne cesse d’être réécrite par la tradition médiévale
In the Middle Ages, the interest in the Trojan myth focuses particularly on its main character, Hector.Using the Homeric tradition inherited from the late Latin literature ( Ilias latina, Ephemeridos belli troiani by Dictys of Crete, De Excidio Troiae historia by Dares the Phrygian) as a basis to his work, Benoît de Sainte Maure makes Priam’s son the uncontested hero of his novel, The Roman de Troie, in which he praises the feats of this exceptional warrior.This text greatly contributes to the construction of Hector’s myth during the Middle Ages, as shown by its rewritings in prose or verse, although the story of Troy was also transmitted via Dares’ Latin text or its translation.In addition to these two traditions, another one appeared in the 13th century with the Italian Guido delle Colonne whose Historia Destructionis Troiae is a Latin rewriting of Benoît’s novel.However, Hector’s fame also asserts itself in other works in which the character tends to dissociate himself from his city’s destiny and appears alone or associated to other heroes, Trojan or not, to serve as a reference in terms of bravery, which earned him his place among the Nine Worthies.That is why this character continues to evolve independently from Benoit’s novel and its rewritings, as can be seen through epic poetry and Arthurian tales.Both Christine de Pizan and the author of Ovide moralisé take an interest in the values he embodies.Hector is a model, almost an archetypal figure as well as a character whose story never ceased being rewritten by Medieval tradition

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Eleonora, de Freitas Calado Luciana. "A cidade das damas: a construção da memória feminina no imaginário utópico de Christine de Pizan." Universidade Federal de Pernambuco, 2006. https://repositorio.ufpe.br/handle/123456789/7590.

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Esta tese tem como objeto de pesquisa o estudo da obra La Cité des Dames, escrita em 1405, pela escritora Christine de Pizan, e sua tradução em língua portuguesa. A contribuição central dessa obra medieval consiste em apreender/compreender as relações sociais de gênero ao longo do tempo, através do resgate da memória feminina, esquecida pela História oficial; assim como a reivindicação do justo lugar para a mulher na sociedade e na literatura profundamente marcadas por traços misóginos. A escritora Christine elabora então uma cidade utópica, uma fortaleza, na qual, com a ajuda de três damas alegóricas: Dama Razão, Dama Retidão e Dama Justiça, as mulheres serão protegidas das injustiças e hostilidade masculinas. Concebida como uma reação à produção literária da época, a obra será analisada como a utopia feminina do século XV. A tese está divida em três partes: a primeira diz respeito ao estudo da biografia de Christine de Pizan e a análise da construção de sua identidade feminina através de seus escritos. Em seguida, buscou-se identificar as fontes literárias e históricas que serviram de fundamento para a construção de suas obras. A segunda parte trata do estudo dos elementos utópicos na obra de Christine de Pizan. E, por último, na terceira parte, encontra-se a tradução portuguesa da Cité des Dames, a partir do Manuscrito do Duque

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Ribeiro, Nathalya Bezerra. "Traduzindo le ditié de Jeanne D’arc de Christine de Pizan: uma ponte para o resgate de obras de autoria feminina na baixa idade média." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9306.

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L'objectif principal de ce travail est la réalisation d’une traduction en portugais du poème Le Ditié de Jehanne d'Arc de Christine Pizan. Il s’agit d’un poème écrit en 1429 sur les actes héroïques de Jeanne d'Arc pendant la guerre de Cent Ans, à partir du moment où elle rencontre le roi Charles VII dans la ville de Chinon jusqu’à la libération de la ville de Orléans du pouvoir anglais. Le travail est divisé en trois parties. Tout d’abord il y a un chapitre panoramique, afin de contextualiser le Moyen Âge dans lequel Christine de Pizan et Jeanne d'Arc ont vécu. Nous discutons les motivations et les conséquences de la guerre de Cent Ans, le moment historique où se passe le poème de Pizan. Nous finissons le chapitre abordant la vie et le travail de l’auteur Christine de Pizan, ainsi que la vie et les actes de la Pucelle. Ensuite, au troisième chapitre, nous voyons comment l'histoire littéraire traditionnelle a réduit au silence le discours féminin, et comment les Études de Genre et les Études Féministes ont contribué aux travaux sur les ouvrages écrits par des femmes à travers l'histoire. Dans ce chapitre, nous analysons la façon dont la Traductologie contribue à la récupération des oeuvres écrites par des femmes, en particulier les oeuvres médiévales, contribuant ainsi à la critique littéraire. Au dernier chapitre, nous analysons la structure du poème Le Ditié de Jehanne d'Arc en tant que poème épique. Pour terminer, nous présentons notre traduction en langue portugaise du poème et nos justificatifs de traduction. Pour cela faire, nous nous appuyons nos aux Eléments Spécifiques à une Culture (ESC) apportés par Javier Franco Aixela et les oeuvres d’Antoine Berman, Rosvitha Blume et Patrícia Peterle.
O objetivo principal desse trabalho é a realização de uma tradução para a língua portuguesa do poema Le Ditié de Jehanne d’Arc de Christine de Pizan. O poema escrito em 1429 traz os feitos heroicos de Joana d’Arc na Guerra dos Cem Anos, desde o momento em que ela se encontra com o rei Charles VII na cidade de Chinon até a libertação da cidade de Orleães do poder inglês. O trabalho está dividido em três partes. Primeiramente, fizemos um capítulo panorâmico, com o intuito de contextualizar a Idade Média em que Christine de Pizan e Joana d’Arc viveram. Também abordamos as motivações e consequências da Guerra dos Cem Anos, momento histórico em que se passa o poema de Pizan. Fechamos o capítulo abordando a vida e obra da autora Christine de Pizan, bem como a vida e os feitos de Joana d’Arc. No capítulo seguinte vemos como a história literária tradicional silenciou o discurso feminino, e como os Estudos de Gênero e os Estudos Feministas contribuíram para os trabalhos a cerca de obras escritas por mulheres ao longo da história. Neste capítulo, também vemos como os Estudos da Tradução contribuem para o resgate de obras escritas por mulheres, sobretudo as obras medievais, contribuindo para a crítica literária. No último capítulo, analisamos a estrutura do poema Le Ditié de Jehanne d’Arc defendendo a sua epicidade. Em seguida apresentamos a nossa tradução para a língua portuguesa do poema e depois as nossas justificativas tradutórias. Para as nossas justificativas tradutórias, nos apoiamos no conceito de Itens Culturais-Específicos (ICEs) trazidos por Javier Franco Aixelá, e nos trabalhos de Antoine Berman, Rosvitha Blume e Patrícia Peterle.

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Williams, Shelley. "Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2929.pdf.

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Silva, Daniel Eduardo da. "O alegórico e as vozes antimisóginas como estratégia narrativa em Christine de Pizan: a cidade das damas." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9177.

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Cette recherche vise à analyser La Cité des Dames (1405) de Christine Pizan (1364- 1430) comme une oeuvre allégorique par excellence au Moyen Age. Nous avons l'intention de montrer que les allégories largement utilisées par les auteurs masculins à l’époque de Pizan sont redimensionnées par cette auteur dans le récit pour la construction des voix antimisogynes, elles deviennent alors les personnages centrales du récit, ce sont le trois Dames vertueuses: la Raison, la Droiture et la Justice. Ces Dames représentent les femmes dans le texte narratif désignant la valorisation des femmes et le dépassement du sexe féminin contre le patriarcat. Ce qui nous amène à étudier l’oeuvre dans cette recherche ce seraient les premières questions sur les femmes posées par l’auteur tout en dénonçant la misogynie dans la littérature. La personnification des Dames allégoriques brise le silence des femmes dans l'histoire de la littérature et nous conduit ainsi à chercher dans le Moyen Age, les oeuvres écrites par des femmes qui sont tombées dans l'oubli ou ont été violemment cachées. La Cité des Dames est, symboliquement, un champ de bataille où les femmes sont protégées contre les attaques misogynes. On voit l`oeuvre, par conséquent, comme un symbole de la force des femmes, de leur dépassement et de leur émancipation dans la société française. La dénonciation réalisée, au Moyen-Âge, par la narratrice est toujours pertinente et actuelle, car elle concerne la violence contre les femmes qui souffrent encore de l’opression masculine, héritage des societés antiques et rétrogrades.
Esta pesquisa objetiva analisar A Cidade das Damas (1405) de Christine de Pizan (1364- 1430) como uma obra alegórica por excelência no Medievo. Pretendemos mostrar que as alegorias utilizadas por autores masculinos à época da autora, são redimensionadas por Pizan na narrativa para a construção das vozes antimisóginas nas personagens centrais em três Damas virtuosas: a Razão, a Retidão e a Justiça. Estas Damas representam as mulheres no texto narrativo designando a valorização do sexo feminino e a superação das mulheres contra o patriarcado. O que nos leva a estudarmos a referida obra seriam as primeiras questões acerca da mulher levantadas pela autora denunciando a misoginia na literatura. A personificação das Damas alegóricas rompe com o silenciamento das mulheres na história da literatura e nos leva a buscarmos na Idade Média as obras de autoria feminina que caíram no esquecimento ou foram violentamente ocultadas. A narrativa é, simbolicamente, um campo de batalhas que vai defender as mulheres dos ataques misóginos. Designa-se, portanto, como um símbolo da resistência feminina, da superação e da emancipação das mulheres na sociedade francesa. A denúncia realizada, no Medievo, pela narradora é sempre pertinente e atual, pois diz respeito à violência contra as mulheres, que sofrem ainda com a opressão masculina, herança das sociedades antigas e retrógradas.

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Lechat, Didier. "Fictions du je et traditions littéraires chez Guillaume de Machaut, Jean Froissart et Christine de Pizan." Paris 3, 1997. http://www.theses.fr/1998PA030008.

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Ce travail porte sur des oeuvres ecrites a la premiere personne et contenant des micro-recits enchasses d'origine biblique, mythologique ou historique. Les ouvrages de guillaume de machaut, jean froissart et christine de pizan retenus ont ete composes entre 1349 et 1405; ils appartiennent pour la plupart a la categorie du "dit", a l'exception de certains textes de christine. Le terme de "fiction" par lequel nous designons les micro-recits inseres dans les oeuvres du corpus apparait en langue francaise au xiiie s. Et commence a etre utilise par les auteurs du xive s. Pour designer les divers recits legues par la tradition et reemployes dans de nouveaux contextes. Les auteurs qui utilisent ce mot mettent l'accent sur une conception nouvelle de leur art: poesie de l'artifice, consciente des reemplois subtils que lui permet en particulier la mythologie. La vogue des "fables" ou des recits historiques, et leur utilisation dans des oeuvres ou l'auteur se represente lui-meme, est a rattacher a une double influence: celle du roman de la rose et celle d'une immense adaptation-allegorisation des metamorphoses, l'ovide moralise (ca. 1328). C'est en nous attachant toujours aux modalites de reecriture et aux liens que les auteurs entretiennent avec leur "horizon d'attente" que nous nous sommes interroge sur les articulations entre reemplois de materiaux preexistants et ecriture a la premiere personne. Les "fictions" sont les espaces privilegies dans lesquels vient s'inscrire "le point de vue d'une conscience": elles permettent aux auteurs qui s'en servent d'exprimer leur conception de leur art, leur point de vue sur les rapports qu'ils entretiennent avec leur public et leurs commanditaires. Les reecritures de recits inseres dans les "dits" et les traites de ces trois auteurs sont aussi un revelateur des pratiques de lecture a la fin du moyen age: lectures critiques de leurs predecesseurs par les ecrivains; lecture active qu'ils esperent eveiller chez leur public
This research focuses on works written in the first person and containing microstories of biblical, historical or mythological origin. The works of guillaume de machaut, jean froissart and christine de pizan which are studied have been composed between 1349 and 1405; most of them belong to the category of "dits", except a few texts of christine. The word "fiction", which we use to name the microstories inserted in the texts of the corpus, appears in the french langugae in the xiiith c. ; authors of the xivth c. Begin to use it to designate the various stories handed down by tradition and reemployed in new contexts. They emphasize a new conception of poetry, more sophisticated, they especially realise they can reemploy mythology with subtlety. The fact that "fables" or historical stories are very popular, and that authors make use of them when they write about themselves, must be related to the influence of two works: the roman de la rose and an extensive allegorisation/adaptation of the metamorphoses, the ovide moralise (ca. 1328). We focused on the modes of rewriting and on the bonds which unites the authors and their readers. The "fictions" are the favourite spaces where one can detect the "point of view of a conscience": they allow the authors who use them to express their poetics, their conception of the relationship between themselves and their readers or their patrons. The rewritings of the stories inserted in the works of these three authors are also revealing of the ways of reading at the end of the middle ages: critical reading of their predecessors by the writers; active reading they hope to awaken among the public

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Bourassa, Kristin Leigh Erika. "Counselling Charles VI of France : Christine de Pizan, Honorat Bovet, Philippe de Mézières, and Pierre Salmon." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/7601/.

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Four vernacular advice books were dedicated to King Charles VI (r. 1380- 1422) during his reign. Charles became king at the age of eleven, and both Philippe de Mézières’ Songe du vieil pelerin and Honorat Bovet’s Arbre des batailles were dedicated to him in 1389, a year after his declaration of personal rule at the age of twenty. Charles VI began suffering from intermittent periods of mental illness from 1392 until his death. Both Christine de Pizan’s Chemin de long estude (1402-3) and Pierre Salmon’s Dialogues (1409, with a second version in 1412-15) were dedicated to him during this period. The four books suggested solutions to problems posed by the king’s minority and later mental illness, as well as other political concerns including the papal schism, the Anglo-French wars, and the conflicts between the king’s relatives that eventually descended into civil war. Although they have been described as belonging to the modern category of “mirrors for princes,” these books are united more by their common dedication to Charles than by their conformity to a modern understanding of genre. The books’ textual contents and their manuscript images, layout, and circulation demonstrate the importance of the dedication to the construction of their messages. The books’ intended audiences included the king as well as other members of his government and in particular his relatives. The writers authorized their advice by stressing the importance of books and their own credentials, especially their goodwill towards and relationship with the king. They adapted familiar discussions of kingship to suggest concrete solutions to the crises in France, and to urge the king’s relatives to work together to support Charles instead of fighting amongst themselves. The later manuscript circulation of these books demonstrates how such a dedication could be adapted for new audiences in different political circumstances.

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Laennec, Christine Moneera Christine. "Christine antygrafe authorship and self in the prose works of Christine de Pizan : with an edition of B.N. Ms. 603 Le Livre des Fais d'Armes et de Chevallerie /." Full text available, 1988. http://images.lib.monash.edu.au/ts/theses/laennec.pdf.

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Maupeu, Philippe. "Pèlerins de vie humaine : autobiographie et allégorie, de Guillaume de Digulleville à Octovien de Saint-Gelais." Toulouse 2, 2005. http://www.theses.fr/2005TOU20028.

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L'allégorie vernaculaire médiévale noue entre 1300 et 1500 des rapports ambigus avec l'écriture de soi. Dans le second Pèlerinage de Vie Humaine de Guillaume de Digulleville, la caractérisation autobiographique force un système jusqu'alors consacré à la représentation d'un sujet typique : la voix du prédicateur s'incarne dans un je-énoncé convergeant avec la personne de l'auteur désignée par son nom propre, son histoire, sa propriété littéraire. Mais les conditions éditoriales des 14ème et 15ème siècles ne favorisent pas la reconnaissance de cette singularité : dans les manuscrits et les éditions imprimées, le sujet est voué à être objectivé sur le plan du paratexte et de l'image. Ce n'est qu'au début du 16ème siècle que Digulleville est reconnu dans ses prérogatives d'auteur. Avec Christine de Pizan, l'autobiographie allégorique trouve son équilibre : dans un dispositif dialogique hérité de Boèce, le sujet de l'énonciation s'assume comme foyer de la rétrospection narrative. Le Séjour d'Honneur d'Octovien de Saint-Gelais, où les manipulations topiques font vaciller les limites entre expérience et illusion, permet finalement au je – auteur de se frayer sa voie dans l'espace de la fiction
Between 1300 and 1500, the mediaeval vernacular allegory had paradoxical and ambiguous links with self-writing. In the second "Pélerinage de Vie Humaine" by Guillaume de Digulleville, the autobiographical feature appears in a system that was then characterized by the representation of a general subject : the preacher's voice is embodied in the "I", uttered, which focuses on the author designated by his name, his story and his literary propriety. Yet the editorial conditions in the 14th and 15th centuries do not favour the admission of this autobiographical singularity. In the manuscripts as well as in the printed editions, the subject is object in the paratext and picture. It is only in the early 16th century that his attributes of author are acknowledged. With Christine de Pizan, the allegorical autobiography finds its place with the dialogue device inherited from Boèce: the subject of enunciation is the centre of the narrative retrospection. The Séjour d'Honneur by Octovien de Saint-Gelais -in which the use of topics makes the boundaries between experience and illusion sway-, allowed finally the I-author to make way, under the name of its character, in the world of fiction

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Schmidtner, Stefanie Sieglinde Verfasser], Manfred [Akademischer Betreuer] [Gutachter] Prenzel, Johannes [Gutachter] Bauer, Kristina [Gutachter] [Reiss, and Christina [Gutachter] Seidel. "Leistungsstarke Jugendliche in Naturwissenschaften : Vertiefende Analysen zu PISA 2006 und PISA 2012 / Stefanie Sieglinde Schmidtner ; Gutachter: Johannes Bauer, Kristina Reiss, Christina Seidel, Manfred Prenzel ; Betreuer: Manfred Prenzel." München : Universitätsbibliothek der TU München, 2017. http://d-nb.info/1140165976/34.

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Cooper, Charlotte. "A re-assessment of text-image relationships in Christine de Pizan's didactic works." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:af782645-9647-4d02-ae89-5a7a1d28e302.

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Although the works of Christine de Pizan have been of interest to scholars for some time, technological advances and initiatives to make digital copies of manuscripts available online have only recently enabled close comparisons between the visual programmes of her works to be made. This thesis demonstrates that detail usually considered secondary or 'paratextual' in Christine's manuscripts actually formed a carefully-constructed part of the work itself that Christine explicitly asks her audience to read. Through 'reading' the text and image simultaneously, the visual programme proves to comprise additional layers of meaning that were woven into her didactic works. These meanings can serve to supplement the educational and moral aims of the works, or, conversely, can be inconsistent with the message conveyed in the text, leading the reader-viewer to contemplate further on the matters presented and form their own opinions on them. Sometimes, meaning is created by intervisual connections with pre-existing iconography, such that viewers may be creating associations between the miniatures seen in Christine's manuscripts and other imagery, leading them to make certain associations - this is notably the case in author-portraits of Christine. As manuscripts prepared under the author's supervision came to be copied, changes were made to the iconographic programmes, testifying to and enabling different types of readings to take place. The findings of this thesis have implications for editorial practices of medieval works in general, as these tend to circulate in editions without the visual programme, providing modern readers with only a partial view of the complete work.

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Fisher, Leona C. "Fortune Personified and the Fall (and Rise) of Women in Chaucer's Monk's Tale and the Autobiographical Writings of Christine de Pizan." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd848.pdf.

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McWebb, Christine. "Le roman de la rose de Jean de Meun et Le livre des trois vertus de Christine de Pizan, un palimpseste catoptrique." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0009/NQ40277.pdf.

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Gionet, Chantal. "La représentation de la vertu féminine dans La cité des dames de Christine de Pizan et dans l'Heptaméron de Marguerite de Navarre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0033/MQ27348.pdf.

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Ramsay, Alison J. "Example and authority in the narrative representation of women, as illustrated in selected writings of Christine de Pizan and Marguerite de Navarre." Thesis, University of St Andrews, 1999. http://hdl.handle.net/10023/13365.

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This thesis examines the use of authority and example in the narrative representation of women in selected writings of Christine de Pizan and Marguerite de Navarre. In this thesis, it is shown that these two women writers reject the universalised notion of Woman and strive to create an alternative, not oppositional, view of the female sex. By working within established literary parameters, adopting authority from earlier works and adapting this rhetorical tool, firstly by editing or altering their sources and, secondly by incorporating the authority of personal experience into their narratives, Christine de Pizan and Marguerite de Navarre establish their own auctoritas. Similarly, the rhetorical device of example is appropriated and modified, again through a subtle process of editing and revision and by the self-inscription of the authors into their exempla. Through their use of authority and example, these women writers expose the notion of Woman as flawed and, in so doing, undermine the validity of the codes of conduct propounded for women by the canon. This thesis contends that Christine de Pizan and Marguerite de Navarre defy the patristic unipolar model of human sexuality by adopting a bi-polar model, deliberately placing the prevailing notion of Woman at the opposite, and therefore negative, pole to Man. Thereafter, through their constant rejection of universalising generalisation, they create a neutral space between the poles of Man and Woman wherein women are shown capable of active participation in a society. This thesis is undertaken from the perspective of a woman('s) historian and literary analyst, making use of a new historicist and gender-based theoretical analysis of the Livre de la Cite des Dames, the Livre des Trois Vertus and the Heptaméron situated within an appropriate historical context. This thesis is the first comprehensive comparative study of the rhetorical devices used by these two women authors in their narrative representation of women.

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Hartman, Kristen A. "By measure of." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3092.

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A limited variable editioned artist book, by measure of depicts an allegorical conversation between medieval author Christine de Pizan and a contemporary woman. It is, in essence, an exploration of edges in which the characters examine the parameters of identity, both personally and societally designated–how to define/re-define/emphasize/blur them, and what happens in the space where they meet.

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Sieffert, Mathias. "L'écriture de la voix. Poétique du rondeau sans musique à la fin du Moyen Âge (1350-1465)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA066.

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Forme héritée du rondet de carole devenue un genre polyphonique à l’époque de l’ars nova, le rondeau s’est paradoxalement développé, à la fin du Moyen Âge, en tant que genre poétique sans musique. Cette thèse se propose ainsi d’étudier comment, de Guillaume de Machaut à Charles d’Orléans, une forme à la fois brève et répétitive a su paradoxalement s’imposer comme un genre textuel autonome. La première partie de ce travail, « Le fantôme de la voix », envisage la dette que le rondeau textuel doit à la tradition musicale. Après un essai de définition diachronique, nous interrogerons l’effet de l’absence de musique sur l’évolution de la mise en page du rondeau, puis la manière dont les récits à interpolations lyriques jouent de l’imaginaire musical, vocal et épistolaire d'une forme "hantée". La deuxième partie, « L’espace du manuscrit » interroge les « mises en livres » du rondeau. Une typologie distinguant la "collection hybride", la "section" et le "canzoniere", initie un parcours dans les manuscrits de Machaut, Froissart, Christine de Pizan, Eustache Deschamps, Oton de Granson et Jean de Garencières. Nous proposons une analyse détaillée d’un cas particulier : les chançons de Charles d’Orléans, copiées vers 1440 dans le fonds primitif du BnF fr. 25458. Dans la troisième partie, il s’agit de concevoir la naissance d’un « genre », qui se cristallise dans le goût de l'énigme et le choix de l’ornatus difficilis, alors même que la forme se prêtait davantage, au XIVe siècle, à l’ornatus facilis. Les deux derniers chapitres étudient la circulation, la réécriture et le recyclage de refrains intertextuels au sein de plusieurs recueils collectifs transformés, par le mélange de l'ancien et du nouveau, en véritables « anthologies créatives »
Nherited from the 13th-Century rondet de carole, the rondeau became a polyphonic musical genre at the age of the ars nova, and tends to be used, in 14th and 15th Centuries manuscripts, as a textual lyric. This thesis uncovers how, from Guillaume de Machaut to Charles d’Orléans, a short and redundant poetical text, which was supposed to be sung became non musical poetry. In the first part of this study we consider the textual rondeau as a rhetorical « ghost of a voice » : we study the history and genealogy of the form from a musical and rhetorical perspective, show how the absence of music impacts the layout and how fiction and narrative relocate the interpolated textual rondeaux in a vocal, musical or epistolary horizon. The next part investigates the way scribes and poets gather collections of rondeaux from a codicological perspective. We offer a typology that distinguishes « hybrid collections », « sections » and « canzonieri ». Through these three kinds of « mises en recueil », we analyze the use of the rondeau in manuscripts from Machaut, Froissart, Christine de Pizan, Eustache Deschamps, Oton de Granson and Jean de Garencières, which finally leads to a detailed analysis of the chançons by Charles d’Orléans, written c. 1440 in the BnF fr. 25458. The last part examines the rise of a scriptural genre : the poetical evolution of the rondeau reveals a rhetorical shift from the ornatus facilis to the ornatus difficilis, especially with Charles d’Orléans who initiates a fully bloomed literary genre. We then analyze, in the last two chapters, collective practices of quoting and rewriting to show how the rondeau becomes a scriptural game, consisting in expanding and recycling ambiguous formulas, especially in a new kind of collections we call « creative anthologies »

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Lindholm, Stiernquist Melinda. "Ett eget rum, en egen stad : Kritiska läs- och skrivstrategier i Christine de Pizans Kvinnostaden och Virginia Woolfs Ett eget rum." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354434.

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Correia, Licínia Maria da Trindade. "A Insinança das Damas - Formas de Poder Feminino no século XV." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/10785.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em História, especialidade de História Medieval
Le Livre des Trois Vertus ou Trésor de la Cité des Dames”, de Christine de Pizan, foi mandado traduzir para Português pela rainha D. Isabel, esposa do rei D. Afonso V. Levantámos as temáticas abordadas neste texto com vista a determinar os modelos de comportamento propostos por Pizan para as mulheres do seu tempo, como parte prática da sua utopia: como devem comportar-se as mulheres na corte, na família, na rua ou na igreja? Na segunda parte procurámos saber como o modelo de comportamento recomendado por Pizan (a “vida activa”) tinha sido interiorizado pela rainha que mandou traduzir o texto. Conseguimos perceber como esta tentou intervir no conflito entre seu pai, o infante D. Pedro, e seu marido, o rei D. Afonso V, que culminou na batalha de Alfarrobeira, com a derrota de seu pai e dos seus partidários. Desavinda a família e o reino, a jovem rainha viu o seu irmão mais velho exilar-se em Castela mas conseguiu acautelar o futuro da irmã mais nova, Filipa, e de sua mãe, Isabel de Urgel e, com o apoio de sua tia Isabel, condessa da Borgonha, patrocinou a saída para a corte desta dos seus irmãos Jaime e João e da sua irmã Beatriz. As intrigas que ameaçaram o seu lugar na corte régia e o seu casamento foram superadas pela jovem rainha, que conseguiu manter a confiança do rei e reforçar o seu papel na corte, dando ao reino os tão esperados descendentes: Joana e João. Essa situação permitir-lhe-ia ainda obter a benevolência do rei para com os seus familiares mais próximos e o perdão para muitos dos apaniguados de seu pai.

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Abed, Julien. "La parole de la sibylle : fable et prophétie à la fin du Moyen Age." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040003.

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La sibylle fut un vrai prophète. Le présent travail s’interroge sur cette idée amplement diffusée à la fin du Moyen Âge, en l’analysant sous trois rapports : un rapport à l’Antiquité, d’abord, parce que les textes présentent la prophétesse comme une voix émanant des temps les plus lointains ; à l’oracle, ensuite, car le Moyen Âge utilise la parole de la sibylle pour lui faire proférer des prophéties relatives à l’histoire du Salut ou à l’histoire des hommes ; au genre (au sens de gender), enfin, puisque l’accès de la sibylle au savoir et au sacré est configuré par les différents systèmes de représentations de la femme médiévale. En s’appuyant sur des textes manuscrits inédits et des œuvres littéraires connues, cette recherche s’attache à montrer que la sibylle, oscillant entre fable et prophétie, a été conçue de manière continue comme une prophétesse du Christ, et a pu permettre aux auteurs de mettre en jeu son autorité de manière diverse
The Sibyl was a true prophet. This study questions that commonplace idea from the Late Middle Ages, following three axes. First, it examines how the Sibyl’s speech related to Ancient times – the texts depict the prophetess’s voice as one originating in olden times. Second, it details how her words have been linked to oracles, because the Middle Ages have used her speech to deliver prophecies foretelling the history of salvation and the history of mankind. Third, it considers the relation between her voice and gender, since the Sibyl’s ability to access knowledge and reach the sacred has been determined by the various representations of the mediaeval woman. This work is based on unpublished manuscripts as well as better-known literary works. It shows that the Sibyl, oscillating between myth and prophecy, has been consistently regarded as prophetess of Christ and has enabled writers to stage her authority in different ways

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Boharski, Morgan Elizabeth. "Woven words : clothwork and the representation of feminine expression and identity in old French romance." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31450.

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This thesis focuses on the ways in which cloth and clothwork are represented in Old French romance in order to highlight how they relate to feminine voice, expression, and identity. By focusing mainly on medieval romance from the twelfth and thirteenth centuries, the field of research is narrowed to a period in which vernacular literature was redefining literacy. On the basis that literacy is not confined to the ability to read and write in Latin, clothwork is presented as a medium of literate expression, that being a form of readable knowledge or communication not codified in written word or language, and in the works of such authors as Marie de France, Chrétien de Troyes, and Jean Renart, amongst others, the presentation of clothwork fits this classification. My research focuses on gendered performance and gendered objects highlighting the divide between masculinity and femininity in materiality. Beginning with a contextualised and historical understanding of feminine clothwork, authority, and gendered biases in the Middle Ages in France, the Virgin Mary's associations with clothwork leads into an exploration of how the identities of women are tied to the cloth that they work or possess. From this basis, feminine voice in clothwork comes to the forefront of discussion as seemingly inaudible women make themselves heard through the use of needles and thread, telling their stories in cloth and tapestry. Throughout this study, an exploration of mother-daughter relationships is highly significant to the comprehension of feminine education and tradition in clothwork. The chansons de toile included in Le Roman de la Rose ou de Guillaume de Dole by Jean Renart underline the dichotomy and tension between oral and written culture, tying feminine voice to feminine clothwork and exploring the representation of this in the written text. Finally, Christine de Pizan's intimation of the importance of feminine tasks and brilliance concludes this study in order to better understand the ways in which the literature of the Late Middle Ages and Renaissance departs from the medieval presentation of clothwork as a typically feminine activity underlying and encapsulating a woman's identity and expressive power.

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Vassilieva-Codognet, Olga. "Iconographie de Fortune au Moyen Âge et à la Renaissance (XIe-XVIe siècle)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0048.

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Ce travail sur l’iconographie de Fortune au Moyen Âge et à la Renaissance se base sur un corpus de plus d’un millier d’images dont seul un tiers y est reproduit. L'enquête commence par une nécessaire étude lexicographique qui permet de mieux cerner les sens du mot latin « fortuna » ainsi que ceux du mot français « fortune » entre le xie et le xvie siècle. Une seconde partie s’intéresse au motif iconographique de la Roue de Fortune médiévale – i.e. cette roue sur le pourtour de laquelle prennent place des personnages dont le premier monte, les second trône, le troisième tombe et le dernier gît à terre –, depuis sa genèse dans un manuscrit bénéventain datant des années 1060-1070 jusqu’à sa diffusion sur toutes sortes de supports (peinture murale, sculpture monumentale, mosaïque, etc.) ainsi qu’aux différents usages de ce motif (didactiques, emblématiques, divinatoires). Une troisième partie recense les nombreuses variantes que génère au fil des siècles ce très fécond motif : Roue de la Vie, Roues animales satiriques, Roue des Vicissitudes de l’Humanité, etc. Une quatrième partie étudie la personnification de Fortune qui apparaît au xiie siècle, tant dans les images que dans les textes, avant de devenir l’une des vedettes de l’iconographie de la fin du Moyen Âge, la figure de Fortune se retrouvant dans d’innombrables manuscrits de Boèce, Jean de Meun, Boccace ou Christine de Pizan. La cinquième et dernière partie est consacrée à la mutation que connaît Fortune à la Renaissance, mutation qui la voit changer tant de forme que de fonction, l’aveugle et duplice déesse du sort abandonnant alors sa fonction didactique – et la roue d’exemples qui va avec – pour devenir une accorte jeune femme nue à la mèche de cheveux flottant au vent dont la fonction est propitiatoire et l’usage emblématique
This work on the iconography of Fortune in the Middle Ages and the Renaissance is based on more than one thousand images of which only one third is reproduced in the document. The study begins with a lexicographical study aiming at better understanding the various meanings of the Latin word « fortuna » and the French word « fortune » from the xith to the xvith centuries. The second section addresses the iconographical pattern of the mediaeval Wheel of Fortune – i.e. that wheel where four human beings occupy different positions on the rim: the first ascends, the second is enthroned, the third falls and the fourth lays on the ground – from its inception in a 1060-1070 Beneventan manuscript to its diffusion to various media (mural painting, monumental sculpture, mosaic, etc.) as well as its different uses (didactic, emblematic, divinatory). The third section identifies the numerous variations that this fertile pattern has generated over the centuries: Wheel of Life, satirical animal Wheels, Wheel of Vicissitudes of Humanity, etc. The fourth section studies the personification of Fortune which appears in the xiith century before becoming a star of late mediaeval iconography, her figure gracing innumerable manuscripts of Boethius, Jean de Meun, Giovanni Boccaccio or Christine de Pizan. The fifth and final section is devoted to Fortune’s mutation during the Renaissance: changing both form and function, the blind and treacherous goddess of fate gives up her didactic function – and the wheel of examples that comes with it – and becomes a beautiful naked woman with a forelock whose function is propitiatory and use emblematic

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Klingner, Annett. "Die Macht der Sterne." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/19206.

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Darstellungen der Planeten und ihrer Kinder gehörten zu den ersten paganen Bildern, die im Spätmittelalter produziert und rezipiert wurden. Während der rund 200 Jahre ihres hauptsächlichen Auftretens, bis zum Ende des 16. Jahrhunderts, erreichten sie eine enorme Popularität. Im Weltbild des Mittelalters und der frühen Neuzeit war jeder Mensch von dem Gestirn geprägt, unter dessen Einfluss er geboren wurde. Dieser Planet bestimmte, wie man körperlich und charakterlich beschaffen war, welchen Beruf man ausübte und welche gesellschaftliche Stellung man erwarten durfte. Der Geburtsmoment sorgte für eine lebenslange, familiäre Verbindung zum Gestirn, man wurde quasi zu dessen Kind. Die Macht der Sterne zeichnet die Entwicklung von der ersten Erwähnung der Planetenkinder in Schriftquellen, über die Herausbildung eines relativ stabilen ikonografischen Kanons in verschiedenen Medien, funktionsgebundene Variationen bis zum Aufgehen in anderen Bildgattungen nach. Die zumeist siebenteiligen Zyklen stellen sich als Teil eines weit ausgebauten Beziehungsgefüges und Verweissystems dar, in dem sich das jeweilige gesellschaftliche Bild der Zeit spiegelt. Die Darstellungen dokumentieren zudem zentrale Entwicklungen des individuellen Denkens bis zum Ende des 16. Jahrhunderts. Sie zeigen, wie das jeweils aktuelle kosmologische Verständnis und Wissen einem breiten Publikum durch Bilder vermittelt werden konnte, wie dies mit dem religiösen Leben vereinbar war oder sich im Alltag niederschlug. Planetenkinder-Darstellungen hatten im Verlauf ihrer Geschichte vielfältige Funktionen. In ihnen manifestierte sich die Vorstellung einer Einheit der Dinge in zahlreichen Analogien. Gezielt eingesetzt wurden die Bilder zur Markierung sozialer Aufstiege, politischer Interessen und der Reklamation von Machtansprüchen sowie der Repräsentation von Einfluss bzw. Verherrlichung von Auftraggebern. Die Bilder zeigen philosophische Diskurse auf, verweisen auf konkrete historische Ereignisse und bewerten diese.
Representations of the planets and their children were among the first pagan images to be produced and adopted in the late Middle Ages. During the circa 200 years in which they mainly appeared, up until the end of the sixteenth century, they became enormously popular. In the worldview of the Middle Ages and early modern era, every person was believed to be influenced by the celestial body under whose influence they were born. This planet determined one’s physical appearance and character, one’s profession, and the social standing one could expect. The moment of birth ensured the continuation of a life-long, familiar connection to this celestial body, and a person was effectively considered its “child”. Die Macht der Sterne traces these developments from the first written references to the children of the planets, through to the emergence of a relatively stable iconographical canon in various media, variations in terms of function, as well as their appearance in other pictorial genres. These cycles, usually consisting of seven parts, presented themselves as part of a highly elaborate relational structure and system of references which reflected the current social worldview. The images also document key developments in individual thought up until the end of the sixteenth century. They show how the prevailing understanding of the cosmos and knowledge could be communicated to a wide audience by means of imagery, how this was reconciled with religious life, and how it was reflected in everyday life. Over the course of their history, images of the children of the planets served a variety of functions. By means of a number of analogies they illustrated the notion of the unity of all things. These images were also consciously employed to underscore social advancement, political interests, and the reassertion of claims to power as well as representations of influence or the glorification of patrons. These depictions also highlight philosophical discourses and refer to concrete historical events while offering evaluations of these phenomena.

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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.

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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.

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Carr, Allyson Ann. "Fiction as Philosophy: Reading the Work of Christine de Pizan and Luce Irigaray to Write a Hermeneutics of Socially Transformative Fiction-mediated Philosophy." Thesis, 2011. http://hdl.handle.net/10756/294240.

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This dissertation proposes to examine the work of scholars Christine de Pizan and Luce Irigaray in order to develop the possibilities of fiction in philosophy for the purposes of social transformation. Using four of her major narrative texts (The Mutacion of Fortune, the City of Ladies, the Path of Long Study and the Vision) I show how Christine employs the complex array of hermeneutical tools available to her in fictionalized ways as a means of training her readers into re-writing their understanding of themselves and their contexts. Alongside such re-writings, I show that she understands herself to have a particular vocation for educating the powers of France towards ethical action in their governance, and that she does so in these works in the form of philosophically oriented fictionalizations. I use the work of Luce Irigaray to explore a philosopher from the twentieth and twenty-first century who uses narrative and hermeneutical tools that bear a family resemblance to Christine's. Tracing Irigaray's formulations on the necessity of sexual difference I show how she re-tells stories from myth and history in such a way as to develop the sexual difference she desires. Finally, having engaged with these two philosophers, I use the hermeneutical work of Hans-Georg Gadamer to present my own work on how well-crafted fiction can be used to build philosophical concepts and understandings that are not yet available in our world, but which become available to us through our participation in the new fictionalized contexts and fictional worlds we create. I show how it is through understanding the possibilities this kind of philosophical and fictionalized utopic thinking holds that social transformation rooted in the world-building capabilities of individual persons can occur.

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Dekker, Rachel. "Métamorphoses de la sibylle dans la tradition littéraire du XVe siècle." Thesis, 2006. http://hdl.handle.net/1828/2102.

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La Sibylle est a la fois une figure mythologique et religieuse, Dans l'Antiquité elle devient également un personnage épique qui figure, par exemple. dans l’Éneide de Virgile. De plus, au Moyen Age, la Sibylle - devenue personnage romanesque apparaît sous forme d'une fée dans la tradition arthurienne. Dans cette these, j'explore - à travers l'analyse des discours sur la Sibylle dans dans Le chemin de longue étude (1402-03) de Christine de Pizan et Le paradis de la Reine Sibylle (1437-8) d'Antoine de la Sale, le repérage des intertextualités aussi bien que les contextualisations historiques et culturelles - l'utilisation littéraire de cette figure religieuse de la Sibylle au XVe` siecle. Le genre expérimental de l'autobiographie des deux textes permet aux écrivains de créer, par l'inclusion (Christine) ou une prise de distance (Antoine) des traditions sibyllines existantes, deux Sibylles nouvelles qui marquent, dans ce contexte littéraire, l'accession au livre de la parole féminine.

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Weinstein, Jessica R. "The Sibylline voices of Christine de Pizan." Thesis, 2007. http://hdl.handle.net/1911/20668.

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The Sibyl's importance as an authorizing figure in Christine de Pizan's oeuvre is widely acknowledged but universally under-estimated. Scholars have focused almost exclusively on Christine's use of the detached and serenely wise Cumaean Sibyl, notably in the Chemin de lonc estude and the Epistre Othea, and on close allegorized equivalents. This is to overlook the protean, cross-pollinating diversity of Christine's sibylline sources, and the variety and scope of their influence upon her writings. Here Christine's use of sibylline characters, themes, and authority will be scrutinized in texts that exemplify radical departures from the tropes generally recognized by scholars. They show selective reshapings of polymorphous classical and medieval tradition to meet the shifting contingencies of Christine's career as a writer. Explicitly, Sibyls are invoked as authorizing precedents for her self-fashioning as a woman of wisdom and foresight in political, social, moral, and theological matters; but implicitly, sibylline attributes are also incorporated in other characters and authorial voices. Furthermore, Christine draws from the full panorama of source traditions, embodying not only wisdom and foresight but also recklessness and regret; not only serenity but also frenzy and tears; not only detachment but also polemical engagement in national destiny. In her attack on courtly love, the Livre du duc des vrais amans , sibylline typologies underlie not only the unimpeachable Dame Sebille but also the transgressive Lady, whose fate evokes that of entrapped, shamed, or regretful Sibyls seen in Ovidian and later traditions. In the Epistre a la reine and the Lamentation sur les maux de la France, Christine evokes classical sibylline frenzy; calls upon the example of famous prophets who were ignored but ultimately vindicated; and she links foresight and maternal tears in an appeal to the queen, Isabel of Bavaria, to intercede as France's mother. In the Queen's Manuscript Epistre Othea, Christine pursues similar goals as sibylline tutor to Isabel and the dauphin. In the Ditie de Jehanne d'Arc , Christine addresses national crisis by inscribing Charles VII, Jehanne, and herself in a millennial prophecy of the End of Days, assuming the voice of an Apocalyptic Sibyl of judgment and divine revelation.

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Salmonová, Blanka. "Dvorská láska ve vrcholném a pozdním středověku." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-299863.

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The thesis is a contribution to the social history of the Middle Ages. It investigates a phenomenon called courtly love, fully expressed at the noble court through an analysis of Thomas Malory's and Chrètien de Troyes' Arthurian romances, letters of Christine de Pisan and auxiliary sources. Its origin and expressions in a period literature, mostly of southern France, its inspirational sources and a continuation of Celtic folklore tradition is discussed in the initial chapters. The next part deals with individual forms of the courtly love and their effects on a gender relationship in a knightly class. The actual activity of a medieval woman and her opportunity to participate in public, ascribed social roles and a development of a masculine view is discussed in following chapters. The final part is engaged in a falling of a knightly ideal as well as a significance of the knight and his dame.

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Dissertations / Theses on the topic 'Christine de Pisan'

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