Because limited family resources favored some daughters' marriage prospects at the expense of their sisters', the family and marriage practices of the Venetian nobles led to a range of vocations for women, as well as for men.

An invaluable collection of primary sources on women and femininity in early modern England, including medical documents, political pamphlets, sermons and literary sources. Sources are accompanied by a clear introduction and notes.

This book deals with women in political power during the sixteenth and seventeenth centuries (Anne Boleyn, Elizabeth I, Catherine de Medici, Mary II) and about the gender-based stereotypes that were produced rhetorically about them.

This is a one volume, up-to-date collection of more than fifty wide-ranging essays which will inspire and guide students of the Renaissance and provide course leaders with a substantial and helpful frame of reference. Provides new perspectives on established texts. Orientates the new student, while providing advanced students with current and new directions. Pioneered by leading scholars. Occupies a unique niche in Renaissance studies. Illustrated with 12 single-page black and white prints.

Juxtaposing the insights of feminism with those of marxism, psychoanalysis, and deconstruction, this unique collection creates new common ground for women's studies and Renaissance studies. An outstanding array of scholars—literary critics, art critics, and historians—reexamines the role of women and their relations with men during the Renaissance. In the process, the contributors enrich the emerging languages of and about women, gender, and sexual difference. Throughout, the essays focus on the structures of Renaissance patriarchy that organized power relations both in the state and in the family. They explore the major conequences of patriarchy for women—their marginalization and lack of identity and power—and the ways in which individual women or groups of women broke, or in some cases deliberately circumvented, the rules that defined them as a secondary sex. Topics covered include representations of women in literature and art, the actual work done by women both inside and outside of the home, and the writings of women themselves. In analyzing the rhetorical strategies that "marginalized" historical and fictional women, these essays counter scholarly and critical traditions that continue to exhibit patriarchal biases.

During the Renaissance the nature of womankind was a major topic of debate. Numerous dialogues, defenses, paradoxes, and tributes devoted to sustaining woman's excellence were published, and in them history was rewritten to include the achievements of womankind. Often these texts demonstrate that women are capable of acting with prudence, temperance, fortitude, and justice, and thus are capable of being independent of male political and moral authority. Pamela Benson argues that the writers use literary means (genre, characterization, narrator, paradox, plot) to defeat the political challenge posed by female independence and to restrain women within a traditional role. The Invention of the Renaissance Woman is a study of the literary strategies used both to create the notion of the independent woman and to restrain her. Traditionally, the profeminism of most of these texts has not been taken seriously because their playful or extreme styles have been read as a sign that they were nothing but a game. Benson demonstrates that the flamboyant and frequently paradoxical style of these texts is the key to their successful profeminism. She defines the literary and conceptual differences between the Italian and English traditions and argues that two of the greatest literary works of the Renaissance, the Orlando furioso and The Faerie Queene, are major texts in the tradition of defense and praise of women. The Inventions of the Renaissance Women is the first substantial contextual discussion of the majority of the Italian texts and many of the English ones. Benson uses the insights of feminist theory and of cultural studies without subordinating the Renaissance texts to a modern political agenda. Among the authors discussed are Spenser, Boccaccio, Ariosto, Castiglione, Vespasiano da Bisticci, Thomas More, Thomas Elyot, Juan Luis Vives, Richard Hyrde, Jane Anger, and Henry Howard.

"An impressive collection of 29 essays by British, American and Italian scholars on important historical, artistic, cultural, social, legal, literary and theatrical aspects of women's contributions to the Italian Renaissance, in its broadest sense. Many contributions are the result of first-hand archival research and are illustrated with numerous unpublished or little-known reproductions or original material. The subjects include: women and the court ( Dilwyn Knox, Evelyn S Welch, Francine Daenens and Diego Zancani ); women and the church ( Gabriella Zarri, Victoria Primhak, Kate Lowe, Francesca Medioli and Ruth Chavasse ); legal constraints and ethical precepts ( Marina Graziosi, Christine Meek, Brian Richardson, Jane Bridgeman and Daniela De Bellis ); female models of comportment ( Marta Ajmarm Paola Tinagli and Sara F Matthews Grieco ); women and the stage ( Richard Andrews, Maggie Guensbergberg, Rosemary E Bancroft-Marcus ); women and letters ( Diana Robin, Virginia Cox, Pamela J Benson, Judy Rawson, Conor Fahy, Giovanni Aquilecchia, Adriana Chemello, Giovanna Rabitti and Nadia Cannata Salamone )."

The dawn of humanism in the Renaissance presented privileged women with great opportunities for personal and intellectual growth. Sexual and social roles still determined the extent to which a woman could pursue education and intellectual accomplishment, but it was possible through the composition of poetry or prose to temporarily offset hierarchies of gender, to become equal to men in the act of creation. Edited by Katharina M. Wilson, this anthology introduces the works of twenty-five women writers of the Renaissance and Reformation, among them Marie Dentière, a Swiss evangelical reformer whose writings were so successful they were banned during her lifetime; Gaspara Stampa, a cultivated courtesan of Venetian aristocratic circles who wrote lyric poetry that has earned her comparisons to Michelangelo and Tasso; Hélisenne de Crenne, a French aristocrat who embodied the true spirit of the Renaissance feminist, writing both as novelist and as champion of her sex; Helene Kottanner, Austrian chambermaid to Queen Elizabeth of Hungary whose memoirs recall her daring theft of the Holy Crown of Saint Stephen for her esteemed mistress; and Lady Mary Sidney Wroth, the first Englishwoman known to write a full-length work of fiction and compose a significant body of secular poetry. Offering a seldom seen counterpoint to literature written by men, Women Writers of the Renaissance and Reformation presents prose and poetry that have never before appeared in English, as well as writings that have rarely been available to the nonspecialist. The women whose writings are included here are united by a keen awareness of the social limitations placed upon their creative potential, of the strained relationship between their gender and their work. This concern invests their writings with a distinctive voice--one that carries the echoes of a male aesthetic while boldly declaring battle against it.

First Published in 1991. Routledge is an imprint of Taylor & Francis, an informa company.

Information about women in this truly fascinating period from 500 to 1500 is in great demand and has been a challenge for historians to uncover. Bardsley has mined a wide range of primary sources, from noblewomen's writing, court rolls, chivalric literature, laws and legal documents, to archeology and artwork. This fresh survey provides readers with an excellent understanding of how women high and low fared in terms of religion, work, family, law, culture, and politics and public life. Even though medieval women were divided by social class, religion, age, marital status, place and period, they were all subject to an overarching patriarchal structure and sometimes could transcend their inferior status. Numerous examples of these exceptional women and their words are included. Chapter 1 examines religion, focusing on women's roles in the early Christian church, the lives of nuns and other professional religious women such as anchoresses and Beguines, the participation of Christian laywomen, and the experiences of Jewish and Islamic women in Western Europe. The second chapter examines women's work, looking in turn at the kinds of work performed by peasant women, townswomen, and noblewomen. Women's roles within the family form the subject of the third chapter. This chapter follows women throughout the typical lifecycle - from girl to widow - examining the expectations and experiences of women at each stage. Chapter 4, Women and the Law, focuses on the ways in which laws both restricted and protected women. It also considers the crimes with which women were most often charged and surveys laws regarding marriage and widowhood. Women's roles in creative arts form the basis of the fifth chapter, Women and Culture. This chapter examines women's roles as artists, authors, composers, and patrons, as well as investigating the ways in which women were represented in works produced by men. Finally, chapter 6 discusses women's experiences in politics and public life. While women as a group were typically banned from holding positions of public authority, some found ways to get around this stricture, while others were able to exercise power behind the scenes. The final chapter thus encapsulates a major theme of this book: the interplay between broader patriarchal forces that limited women's status and autonomy and the role of individuals who were able to overcome or circumvent such forces. Medieval women were, as a group, subordinate to their husbands and fathers, but certain women, under certain circumstances, evaded subordination.