Vernacular song in the long 13th century

'poetic fictions play with cultural, literary, and social definitions of man and woman, masculine and feminine'

Bruckner, 1992

'domna, the superior (and usually silent) lady'

Bruckner, 1992

'women's prise-de-parole signifies an act of power, a self-empowerment that announces their entry into language and the public spheres of social interaction, whether in oral or written exchanges'

Bruckner, 1992

troubadour lyric 'proclaims as manifestations of an elaborate social game'

Bruckner, 1992

'The trobairitz is at once femna, domna, and poet through the kaleidoscope of her songs'

Bruckner, 1992

Contessa da Dia's 'Ab ioi et ab ioven m'apais'

- Themes of fidelity in love (both parties)

- Relationship between lovers based on equality

- Reserves some control for herself

'a network of crisscrossed ties linking men and women, loved and loving'

Bruckner, 1995

'female voices operating in the burlesque mode speak no less aggressively than male ones'

Bruckner, 1995

Sarah Kay's 3 gender theory (1990)

1) the masculine = the troubadours

2) the feminine = most women

3) the domna = partaking in both the masculine and the feminine

What should we not assume about women from the trobairitz? (Bruckner, 1992)

1) should not assume trobairitz were slaves to tradition

2) should not assume all women are saying the same thing (unique voice)

Differences between troubadour and trobairitz lover (Paden, 1989)

troubadour lover = bases claims for love on his service

trobairitz lover = deserves love for her virtues of beauty, intelligence, etc.

Uc de Saint Circ on women (Kay, 1990)

incapable of rational choice or fixity of purpose