By Antonia Pulci
A skilled poet and a proficient dramatist, Antonia Pulci (1452-1501) pursued vocations, first as a spouse and later as founding father of an Augustinian order. in the course of and after her marriage, Pulci authored a number of sacre rappresentazioni—one-act performs on Christian topics. usually written to be played via nuns for girl audiences, Pulci's performs concentration heavily at the matters of ladies. Exploring the alternative that Renaissance girls had among marriage, the convent, or uncloistered spiritual existence, Pulci's lady characters don't simply glorify the non secular lifestyles on the cost of the secular. quite, those ladies examine and take care of the undesirable advances of guys, negligent and abusive husbands and suitors, the hazards of childbearing, and the disappointments of kid rearing. They deal with families and kingdoms effectively. Pulci's heroines are considerate; their potential for research and motion on a regular basis unravel the ethical, filial, and non secular crises in their husbands and admirers.Available in English for the 1st time, this quantity recovers the lengthy muted voice of an early and demanding woman Italian poet and playwright.
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Additional info for Florentine Drama for Convent and Festival: Seven Sacred Plays (The Other Voice in Early Modern Europe)
On Of these, rected by societies of players under the auspices of the Records project York, and Chester cycles- to the sixteenth centuries from the thirteenth at the University Corpus some Christi have day recently in universrties-s-most ninth resur- notably perhaps Drama (REED) of Early English of Toronto. (the been Less well known, perhaps, is an Easter play written between 1363 and 1376 by Katherine of Sutton, prioress of the convent of Barking (Middlesex). I? appears A northern Gandersheim by nuns and friars.
It seems clear that she shared quarters with some of the women who lived as Augustinian tertiaries-sisters of the third order. According to Neel tertiaries comprised a kind of "shadow order" of the Augustinian establishment, but they were not typically enclosed them: "Augustinian (Neel 321). " 28 During the period following Bernardo's death, like her heroine St. Guglielma, Antonia Pulci chose to live the life of an Augustinian tertiary without subscribing to the vows that would have cut her off from the world.
Beatrice del Sera, a nun writing in the sixteenth century, expresses the regret that nuns feel at their involuntary withdrawal from the world-a regret that her editor, Elissa Weaver, convincingly finds autobiographical. 7 Unlike del Sera, of course, Pulci voluntarily chose the convent, and in drama as in life, she displayed her interest in communities of women. Three sorts of female communities appear in her plays: the conthe brothel, and the seraglio. Convents figure prominently in St. Guglielmaand in St.
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