Women, Production, and Patriarchy in Late Medieval Cities

Howell, Martha

doi:10.7208/chicago/9780226355061.001.0001

Cited by 159 publications

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“…51 Patterns of female work in Leiden changed over the fifteenth and sixteenth centuries in ways that would ultimately see women of all but the lowest classes retreating from labour outside the home, either towards domestic management befitting their social status or towards low-status, supervised work because of economic necessity. 52 Nonetheless, there was a long tradition of female participation in the textile trades when van Swanenburg was completing his Old and New Trades series, and more fluid participation in the workforce across various class structures, even if it is likely that only widows were ever permitted formal membership of the guild-like ambachts, as was the case elsewhere in the Netherlands. 53 Studies by N.W.…”

Section: Leiden Women Textiles and Workmentioning

confidence: 96%

“…19 Before the 1630s, these lighter woollen cloths formed a significant part of the textile industry's revival. 20 Ponting notes that in 1584, for example, Leiden produced a recorded 26,620 cloths, of which 23,047 were sayes. 21 When van Swanenburg painted his series of the Old and New Trades, it was in the context of a revitalized textile industry that would ultimately lead to a great upturn in Leiden's fortunes during the seventeenth century.…”

Section: Van Swanenburg In Leidenmentioning

confidence: 99%

“…While none of the elected leaders were women and women's access to structured organizations was clearly limited, thirty-three of the group -just over one third -were female drapers. 60 Van Swanenburg represents women in all the areas of industry that we know they participated in, with the exception of wool combing, which was women's work in the sixteenth century but shifted into the male work sphere in the seventeenth century. 61 It may reflect pressure from male combers and their representatives that this aspect of the industry was depicted as male in van Swanenburg's images.…”

Section: Leiden Women Textiles and Workmentioning

confidence: 99%

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Representing Female Labour at the Dawn of the Dutch Golden Age

Spinks

Broomhall

2010

Cultural and Social History

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This article examines the representation of women's labour in the series of paintings by Isaac Claesz. van Swanenburg known as the Old and New Trades (c.1594Trades (c. c.1612. Earlier studies have focused upon van Swanenburg's realistic depiction of the Leiden textiles trade but had little to say about his innovative representation of women at work. This article contends that van Swanenburg presents women alongside men as economic and moral contributors to the new sayes industry -both as low-status labourers as well as participants in trade -and as such contributes to ongoing reassessments of the representation of gender in Dutch Golden Age art.

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Section: Leiden Women Textiles and Workmentioning

confidence: 96%

Section: Van Swanenburg In Leidenmentioning

confidence: 99%

Section: Leiden Women Textiles and Workmentioning

confidence: 99%

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Representing Female Labour at the Dawn of the Dutch Golden Age

Spinks

Broomhall

2010

Cultural and Social History

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“…100 Over time it became more difficult for women to maintain the legal privileges that granted them property rights or the ability to conduct business. 101 Even the image of female sanctity evolved during this period.…”

Section: Female Visibility As An Explanation?mentioning

confidence: 99%

Visible Women: Female Sodomy in the Late Medieval and Early Modern Southern Netherlands (1400-1550)

Roelens¹

2015

BMGN-LCHR

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Compared to the number of prosecutions for male sodomy, few cases of same-sex acts between women are known in early modern Europe. In the Southern Netherlands however, no less than 25 women were charged with this crime between c. 1400 and 1550, which means that nearly one out of ten accused sodomites in the region was a woman. Moreover, female sodomites were punished in the same way as their male counterparts. This article argues that the exceptional repression of female same-sex acts was the result of the relatively high level of liberty and visibility women enjoyed in the Southern Netherlands, compared to other regions. The more visible women were in society, the more women attracted to people of their own sex were at risk of being discovered and penalised. Zichtbare vrouwen. Vrouwelijke sodomie in de laatmiddeleeuwse en vroegmoderne Zuidelijke Nederlanden (1400-1550)In vergelijking met het aantal mannelijke sodomieprocessen dat in vroegmodern Europa gevoerd werd, zijn er amper zaken bekend waarin vrouwen betrokken waren. In de Zuidelijke Nederlanden daarentegen werden niet minder dan 25 vrouwelijke sodomieten vervolgd tussen ca. 1400 en 1550. Dit betekent dat bijna één op de tien beschuldigde sodomieten in de Zuidelijke Nederlanden vrouwen waren. Bovendienwerden vrouwelijke sodomieten op dezelfde manier bestraft als hun mannelijke tegenhangers. Dit artikel stelt dat de grote mate van vrijheid en zichtbaarheid die vrouwen in de Zuidelijke Nederlanden genoten de oorzaak is van de uitzonderlijk hoge vervolgingsgraad van vrouwelijke sodomie in de regio. Hoe zichtbaarder vrouwen waren in de maatschappij, hoe groter het risico voor vrouwen die zich aangetrokken voelden tot andere vrouwen om ontdekt en bestraft te worden.

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“…Martha C. Howell points to various ways in which male dominance within household space was compromised as women took on larger roles in market production. 37 Pressures on the male-dominated household included the separation of women's finances from those of their husbands, an increase in freedoms granted to women by civil law, and fracture in the unity of the household -caused, for example, by a wife's frequent absence at work or for training. All of these things 'would have made their positions as mothers, as managers of household subsistence, and as subordinate partners in the family economy difficult to fill'.…”

Section: Money Mattersmentioning

confidence: 99%

Mrs. Noah and Didactic Abuses

Tolmie

2002

Early Theatre

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Plays of the Fall are largely uninterested in Eve's subjective responses to her change of state after the Fall, but several English plays of the Flood appear actively invested in the exploration of Mrs Noah's responses to the drowning of the world as she knows it. This article returns to the issue of female recalcitrance in the Noah plays from York, Chester, and (in particular) Towneley. Given that Mrs Noah is beaten or forced onto the Ark in all three plays, this article also addresses the question of whether and how violence against women in farce plays can ever be real or serious, and also of whether and how female resistance to this violence, or female violence, can be real or serious in its turn. In York and Chester, Mrs Noah raises her voice in mourning for friends and relatives, and in the Towneley play insists on remaining behind to work. The story of the Ark has its obvious cruelties; the inclusion of Mrs Noah's resisting voice is one way of making these cruelties present and real for the audience. The Noah plays from York, Chester, and Towneley have investments of various sorts in those who are left behind, and these investments are often filtered through the voice of Mrs Noah. This is not to say that Mrs Noah's recalcitrance is approved in any given play, but it is present and persistent even when it is disapproved and defeated. Significantly, given that her recalcitrance is an extra-biblical feature, this feature offers a voice not only for the dead but also for the living: all those women at the bottom of the hierarchy of discourse. All three plays place an emphasis on Mrs Noah's exclusion from God's and Noah's counsels alike; her anger and denial are shown to spring not merely from her flaws of faith and character, but also from her resentment at her late and mediated exposure to the realities of the situation. Madeleine L'Engle has a displaced twentieth-century observer of the Flood point out in her novel Many Waters that 'Only the males have names…They're just women, so they don't matter. They don't care if Yalith gets drowned'. 1 Early Theatre 5.1(2002) 'Hastow nat herd hou saved was Noe, Whan that oure Lord hadde warned hym biforn That all the world with water sholde be lorn?' 'Yis,' quod this Carpenter, 'ful yoore ago'. 'Hastou nat herd,' quod Nicholas, 'also The sorwe of Noe with his felaweshipe, Er that he myghte gete hys wyf to shipe? Hym hadde be levere, I dar wel undertake, At thilke tyme, than all his wetheres blake That she hadde had a ship hirself allone'.

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Women, Production, and Patriarchy in Late Medieval Cities

Cited by 159 publications

References 0 publications

Representing Female Labour at the Dawn of the Dutch Golden Age

Representing Female Labour at the Dawn of the Dutch Golden Age

Visible Women: Female Sodomy in the Late Medieval and Early Modern Southern Netherlands (1400-1550)

Mrs. Noah and Didactic Abuses

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