Parution : Elizabeth L’Estrange, “Anne de Graville and Women’s Literary Networks in Early Modern France”, Martlesham, Boydell & Brewer, 2023

First detailed reconstruction of Anne de Graville’s library, establishing her as one of the most well-read and erudite poets of the period.

In the 1520s, the French noblewoman Anne de Graville composed two poetic works, based on older, canonical, male-authored texts: Giovanni Boccaccio’s Teseida and Alain Chartier’s Belle dame sans mercy. The first, the Beau roman, she offered to Claude, queen of France and wife of Francis I, and the second, the Rondeaux, to the king’s mother, Louise of Savoy. With the pro-feminine spin of her rewritings, Anne developed the legacy of another woman writer from 100 years earlier, Christine de Pizan, by entering the on-going debate known as the querelle des femmes. Like Christine, Anne sought to redress the negative view of women found in much contemporary popular literature and to offer role models for both men and women at the court of Francis I.

This book is the first detailed reconstruction and interpretation of Anne’s library and her collecting practice, showing how they relate to her own writings and her literary milieu. It also teases out her links to other women writers of the time interested in the querelle, such as Catherine d’Amboise and Margaret of Navarre. Paying close attention to literary, manuscript, and artistic sources, it establishes Anne’s reputation as one of the most erudite poets of the period, and one keenly attuned to the position of women in society as well as to the political sensitivities of the French court.

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OpenEdition vous propose de citer ce billet de la manière suivante :
Fiammetta Campagnoli (15 juin 2024). Parution : Elizabeth L’Estrange, “Anne de Graville and Women’s Literary Networks in Early Modern France”, Martlesham, Boydell & Brewer, 2023. Collectif d'Historiens de l'Art de la Renaissance. Consulté le 19 juillet 2024 à l’adresse https://doi.org/10.58079/11tz6


Fiammetta Campagnoli

Fiammetta Campagnoli est doctorante en histoire de l'art moderne à l'Université Paris 1 Panthéon-Sorbonne. Ses recherches se concentrent sur la perception et sur la réception de la spatialité de l’image mariale au XVe et au XVIe siècle.

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