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Sister Nilah narrates Sister Charlotte's life story as told to her 41 years prior to 1999. Sister Charlotte hadn't wanted it printed until her life was over. The story is written just like it was told neither adding to nor deleting from, except in instances of some names and places. Sister Nilah adds that the story needs to be heard.

Convents and Novices in Early Modern English Dramatic Works attends to the religious, social, and material changes in England during the century following the Reformation, specifically examining how the English came to terms with the meanings of convents and novices even after they disappeared from the physical and social landscape. In five chapters, it traces convents and novices across a range of dramatic texts that refuse easy generic classification: problem plays such as Shakespeare's Measure for Measure; Marlowe's comic tragedy The Jew of Malta; Margaret Cavendish's closet dramas The Convent of Pleasure and The Religious; Aphra Behn's Restoration comedy The Rover; and seventeenth-century dialogues that include both a Catholic treatise promoting women's entrance into European convents and a proto-pornographic exposé of such convents. Convents, novices, and problem plays emerge as parallel sites of ambiguity that reflect the social, political, and religious uncertainties England faced after the Reformation.

Acceptable/Fair condition. Book is worn, but the pages are complete, and the text is legible. Has wear to binding and pages, may be ex-library. 0.86

Described as 'Heavy Metal Warriors' yet with a sound at times as punkish as it is metal, Australian band CONVENT GUILT unleash their debut album on Shadow Kingdom Records this month. Consisting of eight tracks of highly agreeable persuasion, Guns For Hire is a potent introduction to the Sydney quartet; not an encounter to cause major ripples but a promise ridden proposition providing an enjoyable stomp to get the teeth into.

Power often operates in strange and surprising ways. With A Convent Tale, Renee Baernstein uncovers some of the nuanced methods cloistered women devised to exert their agency. In the tradition of Simon Schama and Steven Ozment, Baernstein uses the compelling story of a single clan, the Sfondrati, to refashion our understanding of the early modern period. Showing the nuns as neither helpless victims nor valiant rebels, but reasonable beings maneuvering as best they could within limits set by class, gender and culture. Baernstein writes against the tendency to depict women as inactive pawns, and shows that even within the convent walls, nuns were empowered by ties with their (often earthly) families and actively involved in the politics of the period. Both a major contribution to scholarship on gender, family and religion in early modern Europe, and a colorful well-told tale of Renaissance intrigue, A Convent Tale is sure to attract a wide range of academic and general readers.

In the world of musical composition, men have long overshadowed women. But as the prominence of women composers increases, so does interest in their lives and works. This is the first substantive biographical reference book geared toward the student or non-specialist, featuring information on nearly 200 women composers of the Western music tradition from the 9th century to the 2st. Composers were chosen based on the excellence of their music, their importance in the period's daily musical life, and the availability of information on their lives, music, and recordings. Taken together, they represent a broad range of styles, countries, and eras. This book is a valuable resource for students from high school through university, and for anyone interested in musical history and composers.The book is arranged by style of music and chronology. Each profiled composer placed is related to the famous male composers, arts, sciences, and politics of her period. Profiles include biographical information and focus on the composer's work and association with other musicians. Also included for each composer are a discography of her recorded works (including a list of those available in modern editions) and a bibliography of additional print and electronic resources. Timelines place the women in historical context and appendixes organize them by country, century, and type of music. A syllabus of study is provided.

This study shows how theater was an important feature of convent life from the early fifteenth century, probably in all of Catholic Europe and its colonies. For this study, mainly devoted to Tuscany, the author has found an extensive corpus of theatrical works of convent provenance, which argues for the widespread practice of theater in the convents. She traces its chief characteristics--what the nuns' own writings tell us about their literacy and that of their audiences, and how their lives and work intersect with secular society and literary culture.

Convents and Novices in Early Modern English Dramatic Works attends to the religious, social, and material changes in England during the century following the Reformation, specifically examining how the English came to terms with the meanings of convents and novices even after they disappeared from the physical and social landscape. In five chapters, it traces convents and novices across a range of dramatic texts that refuse easy generic classification: problem plays such as Shakespeare's Measure for Measure; Marlowe's comic tragedy The Jew of Malta; Margaret Cavendish's closet dramas The Convent of Pleasure and The Religious; Aphra Behn's Restoration comedy The Rover; and seventeenth-century dialogues that include both a Catholic treatise promoting women's entrance into European convents and a proto-pornographic exposé of such convents. Convents, novices, and problem plays emerge as parallel sites of ambiguity that reflect the social, political, and religious uncertainties England faced after the Reformation.

In late sixteenth-century Venice, nearly 60 percent of all patrician women joined convents, and only a minority of these women did so voluntarily. In trying to explain why unprecedented numbers of patrician women did not marry, historians have claimed that dowries became too expensive. However, Jutta Gisela Sperling debunks this myth and argues that the rise of forced vocations happened within the context of aristocratic culture and society.Sperling explains how women were not allowed to marry beneath their social status while men could, especially if their brides were wealthy. Faced with a shortage of suitable partners, patrician women were forced to offer themselves as "a gift not only to God, but to their fatherland," as Patriarch Giovanni Tiepolo told the Senate of Venice in 1619. Noting the declining birth rate among patrician women, Sperling explores the paradox of a marriage system that preserved the nobility at the price of its physical extinction. And on a more individual level, she tells the fascinating stories of these women. Some became scholars or advocates of women's rights, some took lovers, and others escaped only to survive as servants, prostitutes, or thieves.

This study shows how theater was an important feature of convent life from the early fifteenth century, probably in all of Catholic Europe and its colonies. For this study, mainly devoted to Tuscany, the author has found an extensive corpus of theatrical works of convent provenance, which argues for the widespread practice of theater in the convents. She traces its chief characteristics--what the nuns' own writings tell us about their literacy and that of their audiences, and how their lives and work intersect with secular society and literary culture.

Convents were an important part of medieval monastic life, but only now, with the upsurge of interest in women's history, are they beginning to receive the attention they deserve. The prevailing view has been that female monasticism was bankrupt, spiritually and socially as well as financially, but Professor Oliva shows the reality to have been otherwise. In her study of the eleven female monasteries in the diocese of Norwich between 1350-1540, the convents emerge as integral parts of the local social and spiritual landscape, with nuns more active in the local community than their male counterparts, and markedly more popular with parish gentry and yeoman farmers (as their wills prove). The majority of nuns are shown to have been from these parish gentry families, not from the upper gentry or aristocracy as has been thought, and the records of their active lives, so rewardingly examined here, reveal mobility within the nunnery too, the existence of a `career ladder' enabling nuns to progress to more important and prestigious household offices.Professor MARILYN OLIVAteaches in the Center for Medieval Studies at Fordham University.

Sister Nilah narrates Sister Charlotte's life story as told to her 41 years prior to 1999. Sister Charlotte hadn't wanted it printed until her life was over. The story is written just like it was told neither adding to nor deleting from, except in instances of some names and places. Sister Nilah adds that the story needs to be heard.

Margaret Cavendish, Duchess of Newcastle (1623-1673), until recently remembered more as a flamboyant eccentric than as a serious writer, was in fact the most prolific, thought-provoking, and original woman writer of the Restoration. Cavendish is the author of many poems, short stories, biographies, memoirs, letters, philosophical and scientific works (including The Description of a New World, Called The Blazing World, the first work of science fiction by a woman), and nineteen plays."The Convent of Pleasure" and Other Plays collects four of Cavendish's dramatic works that are among the most revealing of her attitudes toward marriage and her desire for fame. Loves Adventures (1662) centers on a woman succeeding in war and diplomacy by passing as a man. Similarly, the heroine of Bell in Campo (1662) rescues her husband at the head of an army of women in this tale of a marriage of near equals. The Convent of Pleasure (1668) proposes a separatist community of women and has received attention for its suggestion of lesbian sexuality. The Bridals (1662), a more typical restoration comedy satirizing marriage, rounds out the collection.Edited with notes and annotation by Anne Shaver, "The Convent of Pleasure" and Other Plays also contains a timeline, biography and bibliography of the Duchess, an appreciation of Cavendish's life and work, and a bibliography of critical essays. Also included are all of Cavendish's epistles To the Reader as well as Other Preliminary Matter from Playes (1662), and Cavendish's original preface to Plays Never Before Printed (1668). A valuable collection from an extraordinary writer, "The Convent of Pleasure" and Other Plays raises important issues about women and gender.

Power often operates in strange and surprising ways. With A Convent Tale, Renee Baernstein uncovers some of the nuanced methods cloistered women devised to exert their agency. In the tradition of Simon Schama and Steven Ozment, Baernstein uses the compelling story of a single clan, the Sfondrati, to refashion our understanding of the early modern period. Showing the nuns as neither helpless victims nor valiant rebels, but reasonable beings maneuvering as best they could within limits set by class, gender and culture. Baernstein writes against the tendency to depict women as inactive pawns, and shows that even within the convent walls, nuns were empowered by ties with their (often earthly) families and actively involved in the politics of the period. Both a major contribution to scholarship on gender, family and religion in early modern Europe, and a colorful well-told tale of Renaissance intrigue, A Convent Tale is sure to attract a wide range of academic and general readers.

Book is in NEW condition. 0.86

"An impressive addition to the works of a master storyteller."―The Independent The crumbling convent of Our Lady of Mercy stands alone in an uninhabited part of the Spanish sierra, hidden on a hill among dense forest. Its inhabitants are devoted to God, to solitude and silence―six women cut off from a world they've chosen to leave behind. This all changes on the day that Mother Superior Maria Ines discovers a suitcase punctured with air holes at the entrance to the retreat: a baby, abandoned to its fate. Is it a miracle? Soon she will find that the baby's arrival has consequences beyond her imagining, and that even in her carefully protected sanctuary she is unable to keep the world, or her past, at bay. In this beautifully told novel, "we witness justice and injustice, theological controversy, the politics of a tiny enclosed society, despair, cruelty, generosity, scandal, suspicion and suicide, all told with immense verve and skill" (London Sunday Times).

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.92

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A talented poet and a gifted dramatist, Antonia Pulci (1452-1501) pursued two vocations, first as a wife and later as founder of an Augustinian order. During and after her marriage, Pulci authored several sacre rappresentazioni—one-act plays on Christian subjects. Often written to be performed by nuns for female audiences, Pulci's plays focus closely on the concerns of women. Exploring the choice that Renaissance women had between marriage, the convent, or uncloistered religious life, Pulci's female characters do not merely glorify the religious life at the expense of the secular. Rather, these women consider and deal with the unwanted advances of men, negligent and abusive husbands and suitors, the dangers of childbearing, and the disappointments of child rearing. They manage households and kingdoms successfully. Pulci's heroines are thoughtful; their capacity for analysis and action regularly resolve the moral, filial, and religious crises of their husbands and admirers. Available in English for the first time, this volume recovers the long muted voice of an early and important female Italian poet and playwright.

Analyzing convent culture in sixteenth-century Italy through the medium of three unpublished nuns' chronicles, this study examines the nuns' intellectual and imaginative achievements to determine how they preserved individual and convent identities by writing chronicles. The chronicles reveal many examples of the nuns' achievements, especially with regard to cultural creativity, and demonstrate that convent traditions ultimately determined the cultural priorities that dictated convent ceremonial life.