Introduction

Carolyn Dinshaw, David Wallace

    Research output: Chapter in Book/Report/Conference proceedingForeword/postscript

    Abstract

    This volume explores medieval women’s involvement with textual culture. The women of our study are chiefly those living in England, viewed as part of a greater medieval Europe. To do full justice to such involvement, our title would need to be very long indeed; the whole volume might in fact be seen as an attempt to qualify or tease out the meanings of ‘medieval women’s writing’. The image featured as frontispiece and paperback cover of this book speaks eloquently to many of these issues, hence provides ways of beginning. The painting, now in the Philadelphia Museum of Art (Johnson Collection 402), dates from c. 1500-20. Although not painted in England, its subject would have been recognized by English observers: For it depicts scenes from the life of Mary Magdalene deriving from The Golden Legend of Dominican friar Jacobus de Voragine (compiled 1259-66).1 Chaucer drew on this Legenda aurea for his tale of St Cecilia (and perhaps for his lost Magdalene legend); the early English printer William Caxton produced his own edition from Latin, French, and English sources (subsequently reprinted by Wynkyn de Worde, Pynson, and Notary). Our image and this spread of dates thus suggest a culture that, while alive to local and temporal particulars - as detailed in the fashionable costumes - nonetheless preserves some remarkable continuities in experience over time and space. Continuities may also be read across the essays of this volume, suggesting that ‘medieval women’s writing’ provides (with due account taken of experiences differentiated by age, class, and marital status) viable terms of analysis.

    Original languageEnglish (US)
    Title of host publicationThe Cambridge Companion to Medieval Women's Writing
    PublisherCambridge University Press
    Pages1-10
    Number of pages10
    ISBN (Electronic)9780511999123
    ISBN (Print)052179188x, 9780521791885
    DOIs
    StatePublished - Jan 1 2003

    Fingerprint

    Medieval Women
    Women's Writing
    Continuity
    England
    Geoffrey Chaucer
    Notaries
    Printer
    Dominicans
    Observer
    Philadelphia Museum of Art
    Costume
    Paperback
    Latin Language
    Marital Status
    Legend
    Medieval Europe
    Frontispiece
    Golden Legend
    Mary Magdalene
    Early English

    ASJC Scopus subject areas

    • Arts and Humanities(all)

    Cite this

    Dinshaw, C., & Wallace, D. (2003). Introduction. In The Cambridge Companion to Medieval Women's Writing (pp. 1-10). Cambridge University Press. https://doi.org/10.1017/CCOL052179188X.001

    Introduction. / Dinshaw, Carolyn; Wallace, David.

    The Cambridge Companion to Medieval Women's Writing. Cambridge University Press, 2003. p. 1-10.

    Research output: Chapter in Book/Report/Conference proceedingForeword/postscript

    Dinshaw, C & Wallace, D 2003, Introduction. in The Cambridge Companion to Medieval Women's Writing. Cambridge University Press, pp. 1-10. https://doi.org/10.1017/CCOL052179188X.001
    Dinshaw C, Wallace D. Introduction. In The Cambridge Companion to Medieval Women's Writing. Cambridge University Press. 2003. p. 1-10 https://doi.org/10.1017/CCOL052179188X.001
    Dinshaw, Carolyn ; Wallace, David. / Introduction. The Cambridge Companion to Medieval Women's Writing. Cambridge University Press, 2003. pp. 1-10
    @inbook{5d770d22f1cf4413aebeec25452a6d7f,
    title = "Introduction",
    abstract = "This volume explores medieval women’s involvement with textual culture. The women of our study are chiefly those living in England, viewed as part of a greater medieval Europe. To do full justice to such involvement, our title would need to be very long indeed; the whole volume might in fact be seen as an attempt to qualify or tease out the meanings of ‘medieval women’s writing’. The image featured as frontispiece and paperback cover of this book speaks eloquently to many of these issues, hence provides ways of beginning. The painting, now in the Philadelphia Museum of Art (Johnson Collection 402), dates from c. 1500-20. Although not painted in England, its subject would have been recognized by English observers: For it depicts scenes from the life of Mary Magdalene deriving from The Golden Legend of Dominican friar Jacobus de Voragine (compiled 1259-66).1 Chaucer drew on this Legenda aurea for his tale of St Cecilia (and perhaps for his lost Magdalene legend); the early English printer William Caxton produced his own edition from Latin, French, and English sources (subsequently reprinted by Wynkyn de Worde, Pynson, and Notary). Our image and this spread of dates thus suggest a culture that, while alive to local and temporal particulars - as detailed in the fashionable costumes - nonetheless preserves some remarkable continuities in experience over time and space. Continuities may also be read across the essays of this volume, suggesting that ‘medieval women’s writing’ provides (with due account taken of experiences differentiated by age, class, and marital status) viable terms of analysis.",
    author = "Carolyn Dinshaw and David Wallace",
    year = "2003",
    month = "1",
    day = "1",
    doi = "10.1017/CCOL052179188X.001",
    language = "English (US)",
    isbn = "052179188x",
    pages = "1--10",
    booktitle = "The Cambridge Companion to Medieval Women's Writing",
    publisher = "Cambridge University Press",
    address = "United Kingdom",

    }

    TY - CHAP

    T1 - Introduction

    AU - Dinshaw, Carolyn

    AU - Wallace, David

    PY - 2003/1/1

    Y1 - 2003/1/1

    N2 - This volume explores medieval women’s involvement with textual culture. The women of our study are chiefly those living in England, viewed as part of a greater medieval Europe. To do full justice to such involvement, our title would need to be very long indeed; the whole volume might in fact be seen as an attempt to qualify or tease out the meanings of ‘medieval women’s writing’. The image featured as frontispiece and paperback cover of this book speaks eloquently to many of these issues, hence provides ways of beginning. The painting, now in the Philadelphia Museum of Art (Johnson Collection 402), dates from c. 1500-20. Although not painted in England, its subject would have been recognized by English observers: For it depicts scenes from the life of Mary Magdalene deriving from The Golden Legend of Dominican friar Jacobus de Voragine (compiled 1259-66).1 Chaucer drew on this Legenda aurea for his tale of St Cecilia (and perhaps for his lost Magdalene legend); the early English printer William Caxton produced his own edition from Latin, French, and English sources (subsequently reprinted by Wynkyn de Worde, Pynson, and Notary). Our image and this spread of dates thus suggest a culture that, while alive to local and temporal particulars - as detailed in the fashionable costumes - nonetheless preserves some remarkable continuities in experience over time and space. Continuities may also be read across the essays of this volume, suggesting that ‘medieval women’s writing’ provides (with due account taken of experiences differentiated by age, class, and marital status) viable terms of analysis.

    AB - This volume explores medieval women’s involvement with textual culture. The women of our study are chiefly those living in England, viewed as part of a greater medieval Europe. To do full justice to such involvement, our title would need to be very long indeed; the whole volume might in fact be seen as an attempt to qualify or tease out the meanings of ‘medieval women’s writing’. The image featured as frontispiece and paperback cover of this book speaks eloquently to many of these issues, hence provides ways of beginning. The painting, now in the Philadelphia Museum of Art (Johnson Collection 402), dates from c. 1500-20. Although not painted in England, its subject would have been recognized by English observers: For it depicts scenes from the life of Mary Magdalene deriving from The Golden Legend of Dominican friar Jacobus de Voragine (compiled 1259-66).1 Chaucer drew on this Legenda aurea for his tale of St Cecilia (and perhaps for his lost Magdalene legend); the early English printer William Caxton produced his own edition from Latin, French, and English sources (subsequently reprinted by Wynkyn de Worde, Pynson, and Notary). Our image and this spread of dates thus suggest a culture that, while alive to local and temporal particulars - as detailed in the fashionable costumes - nonetheless preserves some remarkable continuities in experience over time and space. Continuities may also be read across the essays of this volume, suggesting that ‘medieval women’s writing’ provides (with due account taken of experiences differentiated by age, class, and marital status) viable terms of analysis.

    UR - http://www.scopus.com/inward/record.url?scp=84927952496&partnerID=8YFLogxK

    UR - http://www.scopus.com/inward/citedby.url?scp=84927952496&partnerID=8YFLogxK

    U2 - 10.1017/CCOL052179188X.001

    DO - 10.1017/CCOL052179188X.001

    M3 - Foreword/postscript

    SN - 052179188x

    SN - 9780521791885

    SP - 1

    EP - 10

    BT - The Cambridge Companion to Medieval Women's Writing

    PB - Cambridge University Press

    ER -