Marguerite of Navarre was a very influential humanist Catholic reformist. She married King Henry II of France, making her Queen of Navarre in 1527. Marguerite’s most famous work is her book The Heptameron, a series of short stories told to pass the time while stranded in a monastery. Her book was published 9 years after her death, in 1558 (Elmer, 2000, p. 56). One of the stories she wrote was “Novel XXX,” a cautionary tale about what can happen if one doesn’t stay pure. With Marguerite of Navarre’s influence, the inclusion of “Novel XXX” in The Heptameron say a lot about how sex and celibacy was perceived in the Renaissance.
The story of “Novel XXX” begins with a widow so devastated by the loss of her husband, she vowed to remain unmarried and celibate for the rest of her life. In order to avoid temptation, she moves her son and herself to a devoted society. One day, a young woman approached the mother, explaining that she was the son’s mistress. The mother, not believing the girl, told her to set up a late night meeting with the boy. Come evening, the young man went to the bedroom and climbed into bed with the woman he found in his mistress’ bed. Unbeknownst to him, his mother was waiting for him there. The mother got so caught up in the moment, she slept with her own son and got pregnant that night. So
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In fact, Marguerite wanted to name her book The Decameron after Boccaccio’s work out of admiration. However, her book was given its official name in 1559 by Claude Gruget when he restored Marguerite’s book. (Flameng, 2007). However, It has also been said that Marguerite only wrote her book “to rival Boccaccio and to produce what has been called an anti-Boccace, a work based deliberately on different moral and literary principles” (Diffley, 1995). Regardless if out of respect or competition, it is obvious that Marguerite’s book is conceptually very similar to
Each chapter contains numerous sources which complement the aforementioned themes, to create a new study on cultural history in general but women specifically. Her approach is reminiscent of Foucault, with a poststructural outlook on social definitions and similar ideas on sexuality and agency. Power cannot be absolute and is difficult to control, however Victorian men and women were able to grasp command of the sexual narrative. She includes the inequalities of class and gender, incorporating socioeconomic rhetic into the
At the beginning of the 1900s, there was a “sexual revolution” in New York City. During this time, sexual acts and desires were not hidden, but instead they were openl...
In Malory’s famous account of the King Arthur legend, the most notable example of woman as destructive sexual temptation is, of course, Queen Guinevere. Sir Lancelot’s affair wi...
Baron Richard Von Krafft-Ebing, a 19th century German psychiatrist, was quoted as having said, "We find that the sexual instinct, when disappointed and unappeased, frequently seeks and finds a substitute in religion." This may have been the condition of Margery Kempe when she desired to cease all sexual activity with her spouse because of her devotion to God. Instead of performing her duties as a wife, she chose instead to spread her knowledge of God to her community and did so not only in speech, but also in literature. Whatever her motivation for creating such descriptive language, it is evident that her faith in God conquered both her fear of public opinion and the constraints placed upon all women during the period. Living in the 1400s, she steps out of a woman's role and into the territory of a man by living her life publicly, abandoning her position of mother and wife, and recording her life in writing. Fortunately, because she was writing for religious reasons, her work was both permitted and accepted. In The Book of Margery Kempe, she describes her experiences with brilliant imagery, some of which is sexual, all of which is sensual. By using her own senses to portray her spiritual...
The seventeenth century marked the beginning of modernity in social hierarchy. King Charles II had come back from the continent after ten years in exile with a new thought on how to treat women. “These women were intimately connected with the king. They would experience the most immediate and profound effects of the restoration. In order to see these effects, be a major member of the royal court, and gain a higher social standing, women became royal mistresses. The women of Charles’ court had gained celebrity, independent wealth, and influence, and this was unrecognizably modern for this age and time.” Charles had learned about how to have a successful marriage and many relationships with his mistresses from the aristocratic women of France. Women in France were not only playing a prominent role in French court but they were gaining respect for it. French aristocratic women were debating and writing about what they wanted from their relationships. These novels of allegorical love were guidebooks to help men get well on the...
Suzanne G. Cusick, who considers herself a speicialist in the life and works of Francesca Caccini, argues that Francesca was a proto-feminist and the music she composed for the Medici court contributed to the career of the Grand Duchess Christine de Lorraine of Tuscany. She therefore claims that through her works, Caccini encourages the sexuality and political aims of women in the early seventeenth century.1
...ked “the court, the church, the aristocracy, the academies, the salons, and the monarchy itself” through the lens of sexual sensationalism (Hunt, pg. 91). Sex in society was recognized as a political satire; however views that sex was to be shared privately between man and woman still lingered, for the actions of Marie Antoinette were scandalous for she was breaking the common view of proper sexual conduct.
The Decameron was a collection tales written by Boccaccio. It was one of the best records of the
In Zora Neale Hurston’s novel, Their Eyes Were Watching God, the reader is treated to an enthralling story of a woman’s lifelong quest for happiness and love. Although this novel may be analyzed according to several critical lenses, I believe the perspectives afforded by French feminists Helene Cixous and Luce Irigaray have been most useful in informing my interpretation of Hurston’s book. In “The Laugh of the Medusa,” Cixous discusses a phenomenon she calls antilove that I have found helpful in defining the social hierarchy of women and relationships between them in the novel. In addition, Cixous addresses the idea of woman as caregiver, which can be illustrated through the character of Janie in Their Eyes Were Watching God. On the other hand, Luce Irigaray discusses the different modes of sexual desire of men and women in her essay, “The Sex Which is Not One.” Many examples supporting and refuting her claims can be found in the novel. According to Cixous, the most heinous crime committed by men against women is the promotion of antilove. “Insidiously, violently, they have led [women] to hate women, to be their own enemies, to mobilize their immense strength against themselves, to be the executants of their virile needs” (1455). Their Eyes Were Watching God offers many examples of women in vicious contention with one another, usually involving or benefiting a man. Janie is confronted by the malice of her female neighbors in the very first chapter of the novel, as she arrives back in Eatonville after her adventure with Tea Cake. “The women took the faded shirt and muddy overalls and laid them away for remembrance. It was a weapon against her strength and if i...
During the short space of time (which is 28 days) Sethe embraces the dominant values of idealised maternity. Sethe’s fantasy is intended to end upon recover, however, it doesn’t, on that ground she declines to give her family a chance to be taken from her. Rather she endeavours to murder each of her four kids, prevailing the young girl whom she named Beloved. Sethe’s passion opposes the slave proprietor’s- and the western plot line's endeavours at allocations, for better or in negative ways.
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
During the Middle Ages, Courtly love was a code which prescribed the conduct between a lady and her lover (Britannica). The relationship of courtly love was very much like the feudal relationship between a knight and his liege. The lover serves his beloved, in the manner a servant would. He owes his devotion and allegiance to her, and she inspires him to perform noble acts of valor (Schwartz). Capellanus writes, in The Art of Courtly Love, “A true lover considers nothing good except what he thinks will please his beloved”. The stories of Marie de France and Chrétien de Troyes illustrate the conventions of courtly love.
Bloch, R. Howard. Medieval Misogyny and the Invention of Western Romantic Love. Chicago: U of Chicago P, 1991.
... were African. Although the Husband loves his wife, he realizes that he does not "know" his wife as," the sound of someone moving through the house, a stranger." Wolff creates a situation between the two where the husband is looking to settle the argument, whereas the wife just wants to hear yes to the proposal. Ann doesn't think that her husband will say yes and when he does she realized that they still don't know each other. It takes the Husband until the end of the story to figure this out, when his wife, the stranger, now comes to bed. . The story does end with him going to bed with this new strange wife, but also leads to a conclusion of rediscovery and renewal for the marriage.
This essay will analyze and critique Michel Foucault’s (1984) essay The Use of Pleasure in order to reveal certain internal weaknesses it contains and propose modifications that would strengthen his reading of sexuality as a domain of moral self-formation. In order to do so, it will present a threefold critique of his work. Firstly, it will argue that that his focus on solely the metric of pleasure divorced from its political manifestations underemphasizes state power as a structuring principle of sexuality. Secondly, it will posit that his attention to classical morality privileges written works by male elites and fails to account for the subtexts that would demonstrate other forms of morality. Finally, it will argue that the nature of actors’ resistance to moral codes, explicated through Butler’s concept of iterability and signification, is an important factor that should also be considered. As a result of this critique, this essay