Search results

You are looking at 1 - 4 of 4 items for :

  • "Female sovereignty" x
  • Manchester Literature Studies x
  • Refine by access: All content x
Clear All
Abstract only
The first wife’s response
Caitlin Flynn

In this chapter the first response, delivered by the ‘first wife’, is examined in detail. Her response is shown initially to inhere with the conventional demande d’amour, despite veering towards sexual innuendo and humour. Her fantasy of free love and female sovereignty is compared to medieval conduct literature, especially the Scottish poem The Thewis off Gud Women. Her response, however, abruptly shifts tone, subject matter, and form in order to deliver an excoriating flyting against her husband. The Scottish poetic invective form depends on a vivid and horrifying vocabulary of abuse in order to deride opponents. The wife ably employs this in her attack on her husband, which reveals explicitly the sexual and emotional abuse to which she is subject. Her fluid discourse once again shifts as she casts herself as manipulating her husband with sexual favours in exchange for luxury material items. The complex and uncomfortable tone and subject matter created by the trio of themes is explicated by the narrative grotesque: William Dunbar destroys conventional ‘languages of love’ and perceptions about eloquent emotional expression and replaces them with discourses that meld horror and humour. This displacement of one pole of expression for another, however, is shown to be equally problematic in terms of subjectivity, authenticity, and veracity.

in The narrative grotesque in medieval Scottish poetry
S. H. Rigby

all to speak, in line with the demands of her inner nature. Should we see the Wife’s arguments in favour of female sovereignty as really being an argument for the renunciation by men of their supremacy within marriage which is the precondition of a new and more equal relationship between the sexes? Certainly, the Wife tells us that once her fifth husband surrendered ‘the governance of hous

in Chaucer in context
Susan Frye

. 122; Susan Frye, ‘Specters of female sovereignty in Shakespeare’s plays’, in The Oxford Handbooks of Shakespeare and Embodiment: Gender, Sexuality, and Race, edited by Valerie Traub (Oxford: Oxford University Press, 2016), pp. 112–30. 178 Bess of Hardwick: new perspectives 15 Jerry Brotton, The Sultan and the Queen: The Untold Story of Elizabeth and Islam (New York: Viking, 2016), pp. 1–11. 16 For example, Lisa Jardine and Jerry Brotton, Global Interests: Renaissance Art Between East and West (Ithaca: Cornell University Press, 2000); Debra Johanyak and Walter

in Bess of Hardwick
Queen Elizabeth I as Lady Alchymia
Jayne Elisabeth Archer

association is reflected in and reinforced by the importance accorded to queenship and female sovereignty in alchemical imagery. Personified as the queen and/or empress, the feminine principle features strongly in representations of the final stages of the alchemical opus, the multiplicatio and/or projectio . She appears, for example, in emblem 28, ‘ reginae mysteria ’ (the

in Goddesses and Queens