490:, deals with rape, a common issue and form of oppression that women experience. It is even argued that Hrotsvitha's work of "Dulcitius" acted as a reflection to lives of women in her hometown of Gandersheim, living in a hostile environment targeted by an extrinsic threat that is male in nature, showing the possible focus she gives towards women and feminism as a whole. In "Callimach", a woman, who has been the subject of an attempted rape, prays for death. God grants her prayer and she dies before the man can resume his attack. Taken by her beauty the man goes to her grave and attempts intercourse with her corpse, but is killed by a venomous serpent. Both of these plays show a key to Hrothsvitha's work: that religion can provide women with freedom and independence, allowing them to empower themselves.
483:
often reflected the lives of women of her time. While she writes of women as virtuous, courageous, witty, and close to God she only speaks about one man without contempt, finding that they are disproportionately susceptible to temptation. Hrotsvitha sees women being the weaker sex as allowing God to more easily work through them to find grace for their salvation and the salvation of those with whom they come in contact. This, therefore, suggests that women are not less than men in the eyes of God. Hrotsvitha believes that a virginal life dedicated to Jesus is best, but she can be empathetic towards mothers, and even prostitutes, thus demonstrating a keen understanding of women's lives and options at the time.
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have done this re-contextualization to learn about women's history, while not claiming that these women were feminists, to emphasize the importance of women throughout history even if they are forgotten. Because of this, Hrotsvitha has continued to garner much attention in the field of feminism studies, helping to provide a better sense of historical acknowledgement, accomplishment, and significance to women through the
Canoness' work.
536:
that
Colleen Butler is the person who best represented Hrotsvitha's work, as she discerned the true comedic nature of her work, by being able to deduce the unwritten context in the writing. However, while there may be some small misrepresentations of Hrothvitha's work, her message, and the known facts about her life remain relatively consistent.
242:, which offered a Christian alternative to the work of the Roman playwright Terence. In contrast to Terence, who told stories about women who were weak and morally corrupt, Hrothsvitha stories were about virtuous virgins with a strong connection to God and who persevered through adversity. Hrotsvitha's third book contains the
411:
strong voice of
Gandersheim, have not hesitated to imitate a poet (Terence) whose works are so widely read, my object being to glorify, within the limits of my poor talent, the laudable chastity of Christian virgins in that self-same form of composition which has been used to describe the shameless acts of licentious women."
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appears to impose her own understandings of what a 10th-century canoness would be like or would have thought by making her seem timid in her translations. Katharina Wilson does a similar thing in
Hrothvitha's work by translating her to seem more humble than she actually is. This has led some to posit
752:
issued the "First Annual
Hrosvitha Challenge" on their website, announcing that they would bestow the First Annual Hrosvitha Award on whichever professional theater decides "to scrap their plans of producing yet another production of a Greek tragedy and instead produce a play by Hrosvitha, the first
530:
in the early 16th century. Since then many authors have taken up the work of translating and editing them. Often these works are filtered through the perceptions and unconscious bias of the translator., It is believed that the naming of
Hrotsvitha plays after men and not women may have been done by
418:
She writes in her preface that her writing will appeal to many who are attracted by the charm of style. There are comedic elements, as in "Dulcitius", when the wicked blind governor stumbles among pots and pans, having attempted to molest three virgins. The women watch and laugh. Although they go on
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Gandersheim Abbey was a house of secular canonesses. There is some debate over when she entered. Hrotsvitha took vows of chastity and obedience but not poverty. She could live a relatively comfortable life and leave the monastery at any time, all while being protected, studying from a large library,
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Her plays contrast the chastity and perseverance of
Christian women with Roman women, who were portrayed as weak and emotional. Hrotsvitha wrote her plays in response to those of Terence, a popular Roman playwright who she thought unfairly represented women as immoral. She writes, "Wherefore I, the
337:
A common theme throughout is the constant battle between good and evil. The Devil is a frequent presence in many of
Hrosvitha's works, and she characterizes him according to the conventions of her time. In "Dionysius" and "St. Agnes" she recounts the martyrdoms of early Christians. The Liber Primus
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rediscovered and edited her work in the 1500s. In the 1970s, feminists began their own rediscovery of her work under a gendered lens to re-contextualize it to demonstrate that women of the past did have important roles in their societies, but their work was lost or not seen as important. Feminists
482:
Hrotsvitha depicted women as having the power of self-determination and agency through taking the veil and abstaining from sexual relationships. This presents a very progressive view of women and their power in older societies, highlighted by various researchers that studied how
Hrotsvitha's work
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All these dramas serve a discreet purpose. "Gallicanus" and "Calimachus" focus on conversion, "Abraham" and "Pafnutius" tell stories of redemption and repentance, and "Dulcitius" and "Sapientia" tell stories of virgin martyrdom. Cumulatively they speak to the power of Christ and
Christian values,
266:
Hrothsvitha's works fall under the categories of legends, comedies, and plays. Cardinal Gasquet said her works have "a claim to an eminent place in medieval literature, and do honor to her sex, to the age in which she lived, and to the vocation which she followed." The works are organized
498:
Hrothsvitha contributes to the work of women in theatre by supporting the concept that "as long as there is theatre, as long as there are women, as long as there is an imperfect society, there will be women's theatre". Hrothsvitha's plays served the purpose of speaking truth to power and
210:. Abbess Gerberga became a friend and adviser of Hrotsvit. She was a good student who read many works popular at the time with a particular focus on legends about saints and would have spent much of her time learning how to write verse. Hrotsvitha herself became a teacher in her 20s.
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and the Islamic empire. She was both educated and well informed. Her use of myths indicates a specific perspective as she writes about the importance of Christianity—with a focus on virginity, martyrdom, and the strength of Christian values—in the face of the threat Islam posed.
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Celtis and not Hrotsvitha as her works largely center women and their experiences, making these titles appear inconsistent with what is presented in her work. It has been suggested that Celtis may have misrepresented her work due to his own implicit biases. While the translator
479:. According to A. Daniel Frankforter, Hrotsvitha seems to confirm the assumption that woman's work was inferior, by saying that any excellence in her work is the excellence of God, not her own, although this may also merely be a standard literary convention of the time.
197:
All the information about Hrotsvitha comes from the prefaces of her work, and later interpretations of her writings. It is generally accepted that Hrotsvitha was born in approximately 935 and died in 973. Little is known of her lineage, or why she took the veil.
380:, recent scholarship has shown that Hrotsvitha was associated with the theatrical exploits of the Ottonian court and, furthermore, within the context of the Gandersheim cloister, it is possible that her plays may have been staged or, at least, read aloud.
164:. It means "a mighty shout", and speaks to the way she wanted to glorify Christian heroes and legends, as well as the values they represent. Some have commented on how this either represents or conflicts with the personality presented in her writing.
167:
While many have questioned the authenticity of Hrotsvitha's work, examinations and collections of her works, coupled with multiple historical and contemporary works that speak of her, demonstrate that Hrotsvitha's work is authentic.
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At first, Hrotsvitha wrote in secret until she was encouraged to read her works out loud and edit them. The Abbess encouraged her to continue writing. Hrotsvitha primarily wrote legends, comedies, and plays. Her Books of Legends or
270:
Despite Hrothsvitha's importance as the first known female playwright, her work was not seen as important and translated into English until the 1600s. She is often omitted in texts about the history of plays and literature.
110:, making her one of the only people to record a history of women in that era from a woman's perspective. She has been called "the most remarkable woman of her time", and an important figure in the history of women.
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narrative rather than revealing a flaw in her work or that she did not exist, as individuals have been engaging with her work for hundreds of years, and with increased intensity since her rediscovery during the
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As the earliest known woman writer in the German lands, Hrotsvitha was keenly aware that her gender made her writings less likely to be taken seriously than that of her male contemporaries. In the prologue to
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and learning from many teachers. This speaks to her economic position as being from a noble family. Hrotsvitha began her studies under the nun Rikkardis, who was younger than she. She also studied under the
388:
Hrotsvitha says: "Scorn he should not render at the writer's weaker gender/ Who these small lines had sung with a woman's untutored tongue/ But rather should he praise the Lord's celestial grace."
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theorize as to the male values of good playwriting, which excluded Hrotsvitha, rather placing focus upon alternative fields, such as religion, early life, and sexuality, to name a few.
38:
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Hrotsvitha's writing mimics Biblical texts. As a 10th-century Christian, she accepted the idea that women are inferior to men both physically and intellectually due to the fall of
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of Greek saints, and are versions of the Faustian tradition, in which a sinner sells his soul to the Devil. Hrotsvitha supplements the story with her description of Theophilus in
568:
213:
As her writings demonstrate a rather mature perspective, they may have been written when she was older. She had a good grasp of the legal system, the history of the
626:; aus dem Mittellateinischen übertragen von Otto Baumhauer, Jacob Bendixen und Theodor Gottfried Pfund; mit einer Einführung von Berg Nagel. München: Winkler, 1966.
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reflects Hrotsvitha's interest in combining classical forms with Christian themes, and her desire to create literature that promotes Christian morality and virtue.
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to become martyrs for their faith, they do so on their own terms. "Dulcitius" is the only one of Hrotsvitha's comedies which aligns with the modern comedic genre.
286:) Clm 14485, a manuscript written by several different hands in Gandersheim toward the end of the 10th or start of the 11th centuries. It was discovered by the
234:
was written in the 950s or 960s and was written in honor of Abbess Gerberga. It contains eight legends written in dactylic hexameter. Her most popular work was
866:
Bayerschmidt, Carl F. (1 November 1966). "Hroswitha of Gandersheim. Her Life, Times and Works, and a Comprehensive Bibliography. Edited by Anne Lyon Haight".
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The Plays of Hrotswitha of Gandersheim: bilingual edition / translated by Larissa Bonfante; edited by Robert Chipok. Mundelein, IL: Bolchazy-Carducci, 2013.
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which was Hrothsvitha's objective. They are known to have been performed many times since her death, the earliest confirmation of which was in Paris in 1888.
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Hrotsvitha's six short dramas are considered to be her most important works. She is one of the few women who wrote about her life during the early
1890:
372:, and "Sapientia". They are essentially love stories, written in prose, and are not so much dramas as "dialogues." Though initially considered
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hexameter except "Gongolph", which is written in rhymed distichs. "Theophilus" and "Basilius", are based on Latin translations of the
2019:
1846:
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1650:
Rudolph, Anna. "Ego Clamor Validus Gandeshemensis Hrotsvitha of Gandersheim: Her Sources, Motives, and Historical Context": 58–90.
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Rudolph, Anna. "Ego Clamor Validus Gandeshemensis Hrotsvitha of Gandersheim: Her Sources, Motives, and Historical Context": 58–90.
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Rudolph, Anna. "Ego Clamor Validus Gandeshemensis Hrotsvitha of Gandersheim: Her Sources, Motives, and Historical Context": 58–90.
728:, named for Hrosvitha, to female writers; since 1974 the Roswitha Ring has been awarded at the close of each summer season of the
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1847:"Hroswitha of Gandersheim : her life, times, and works, and a comprehensive bibliography / edited by Anne Lyon Haight"
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Hrotsvitha plays focus on the issues that affect women of her time such as marriage, rape, and being seen as an object.
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Butler, Colleen (2016). "Queering The Classics: Gender, Genre, and Reception In The Works of Hrotsvit of Gandersheim".
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Sonkowsky, Robert P.; Bonfante, Larissa; Bonfante-Warren, Alexandra (1989). "The Plays of Hrotswitha of Gandersheim".
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ZeydUOPOULUOel, Edwin (July 1947). "A Chronological Hrotsvitha Bibliography through 1700 with Annotations".
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1793:"Review - Bisclaveret / Dulcitius - Pneuma Ensemble / Poculi Ludique Societas, Toronto - Christopher Hoile"
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407:. All six speak to a consistent theme in Hrothsvitha's work, the virtue of virginity over temptation.
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31:
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Zeydel, Edwin (July 1947). "A Chronological Hrotsvitha Bibliography through 1700 with Annotations".
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2004:
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Kobialka, M (2005). "Hrotsvit of gandersheim: Contexts, identities, affinities, and performances".
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1989:
Hrotsvit und die Männer. Konstruktionen von Männlichkeit und Weiblichkeit im Umfeld der Ottonen
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scholars have argued that this questioning of the authenticity of Hrotsvitha's work reflects a
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Hrotsvitha's 'Gesta Ottonis' and the Historical and Literary Cultures of Tenth-Century Germany
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The significance of her plays is often overlooked because their dramaturgy diverges from what
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Frankforter, A. Daniel (February 1979). "Hroswitha of Gandersheim and the Destiny of Women".
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Licht, Tino. "Hrotsvitspuren in ottonischer Dichtung (nebst einem neuen Hrotsvitgedicht)."
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friedman, Sharon (1984). "feminism as theme in twentieth-century american women's drama".
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Hroswitha of Gandersheim; her life, times, and works, and a comprehensive bibliography
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Spirituality and politics in the works of Hrotsvit of Gandersheim / Stephen L. Wailes
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McDonald-Miranda, Kathryn. "Hrosvit of Gandersheim: Her Works and Their Messages".
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chronologically and speak to how Hrotsvitha valued the Christian approach to life.
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639:. A cura di Maria Pasqualina Pillolla, Firenze, SISMEL Edizioni del Galluzzo, 2003
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1974:
Gandersheim und Essen – Vergleichende Untersuchungen zu sächsischen Frauenstiften
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Homans, Margaret (1994). "Feminist Fictions and Feminist Theories of Narrative".
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is a collection of eight legends: "Maria", "Ascensio", "Gongolfus", "Pelagius", "
218:
84:
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Coulter, Cornelia C. (1929). "The "Terentian" Comedies of a Tenth-Century Nun".
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1349:, The Journal of English and Germanic Philology, Volume 89 (1990), pp. 149-162.
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Gesta Ottonis Imperatoris. Lotte, drammi e trionfi nel destino di un imperatore
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Butler, Mary Marguerite (2011). "Hrotsvitha: The Theatricality of Her Plays".
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Wilson, Katharina M (1984), "The Saxon Canoness: Hrotsvit of Gandersheim",
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Little is known about Hrotsvitha's personal life. All of her writing is in
41:
Hrotsvitha of Gandersheim presents an aged emperor Otto the Great with her
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Hrotsvit and the Moderns: Her Impact on John Kennedy Toole and Peter Hacks
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and Otto II, and consists of two historical writings in Latin hexameters.
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1976:, ed. Martin Hoernes and Hedwig Röckelein. Essen: Klartext Verlag, 2006.
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Hrotsvitha's work was largely ignored until re-discovered and edited by
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246:, which details the history of the Ottonians from 919 to 965; and the
2211:(text, translation, and commentary), Chatto & Windus, London 1923
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to write dramas in the Latin West, and the first German female poet.
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tells the story of the Ottonian dynasty, and its rise to power; and
801:"Hrotsvitha of Gandersheim – The Most Remarkable Women of her Time"
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as a canoness. She is considered the first female writer from the
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2137:. Very good site about "Other Women's Voices" with links (Engl.)
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Bodarwé, Katrinette. "Hrotswit zwischen Vorbild und Phantom." In
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A history of women's writing in Germany, Austria, and Switzerland
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319:", "Basilius", "Dionysius", and "Agnes". All are written in
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Hudson, William Henry (1888). "Hrotsvitha of Gandersheim".
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Hudson, William Henry (1888). "Hrotsvitha of Gandersheim".
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Die deutsche Literatur des Mittelalters. Verfasserlexikon
1165:, The Historical Journal, vol. 43, no. 3 (September 2000)
569:
Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana
549:. (Monumenta Germaniae Historica; SS. rer. Germanicarum)
476:
99:, the first female historian, the first person since the
2147:(article) (in Italian), Storia medievale, archived from
1534:, Journal of Medieval Latin, Volume 26 (2016), pp. 1-37.
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Hrotsvitha's 'Liber Tertius': A New Text and Translation
1214:
Case, Sue-Ellen (December 1983). "Re-Viewing Hrotsvit".
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and their line of succession. Hrotsvitha was the first
1046:. Toronto: University of Toronto Press. pp. 3–10.
834:. Catling, Jo. Cambridge: Cambridge University Press.
117:. Her works were rediscovered in 1501 by the humanist
1347:
Hrotsvitha's 'Liber Primus' and the Cult of St. Agnes
956:
658:. Trans. Christopher St. John. London: Chatto, 1923.
2245:
1947:, Manchester: Manchester University Press, pp.
715:
Hroswitha of Gandersheim: Her life, times, and works
632:. Munich, 1973 (German translations by H. Hohmeyer).
702:founded in New York City in 1944. Members included
2199:(text, translation, and commentary), Archive, 1943
1781:. Selinsgrove : Susquehanna University Press.
278:of her works, containing all the texts other than
2085:. Vol. 7. New York: Robert Appleton Company.
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868:The Germanic Review: Literature, Culture, Theory
30:"Roswitha" redirects here. For other uses, see
1749:
976:
624:Hrotsvit von Gandersheim, Sämtliche Dichtungen
499:counterbalancing male dominance of the field.
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2049:Rädle, Fidel. "Hrotsvit von Gandersheim." In
1752:The Journal of English and Germanic Philology
1137:The Journal of English and Germanic Philology
454:Hrothsvitha's work was largely ignored until
297:and formed the first edition (illustrated by
293:in 1493/94 in the Cloister of St. Emmeram in
1386:
1330:
865:
391:In general, Hrosvitha's plays were works of
282:, is the Codex Bayerische Staatsbibliothek (
27:German secular canoness, dramatist, and poet
2064:An omnibus collection of Hrotsvitha's plays
2020:A Tenth-Century Dramatist, Roswitha the Nun
984:"Hrotsvitha - Name's Meaning of Hrotsvitha"
921:
2238:
2224:
1889:: CS1 maint: location missing publisher (
1390:A Handbook to the Reception of Greek Drama
670:
609:in Petroff, Elizabeth Alvilda, ed. (1986)
592:in Petroff, Elizabeth Alvilda, ed. (1986)
462:
360:. These are the six plays: "Gallicanus", "
121:and translated into English in the 1600s.
2035:. Mentor Books, May 1958. pp. 117–8.
691:discovered in 1906 is named in her honor.
1879:. Ann Arbor, Michigan. pp. 275–285.
1719:
1684:
828:Ives, Margaret; Suerbaum, Almut (2000).
735:Hrotsvitha is frequently referred to in
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517:
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441:tells the history of Gandersheim Abbey.
429:The third book is dedicated to Emperors
333:De sophiae rivis septeno fonte manantis.
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188:
36:
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957:Emily McFarlan Miller (20 March 2019).
748:In 2006, American feminist drama group
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399:was derived from an eyewitness to the
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132:) appears in various forms including:
2219:
1818:"Records, 1944–1999 / Hroswitha Club"
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611:Medieval Women's Visionary Literature
594:Medieval Women's Visionary Literature
1906:"My favourite plays I've never seen"
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250:, the history of Gandersheim Abbey.
2517:Medieval dramatists and playwrights
2205:Hrotsvitha; St. John, Christopher,
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1617:
1483:
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745:, in which she is called Hroswitha.
24:
2096:(biography), Valpo, archived from
2028:. London: Macmillan and Co., 1913.
1966:
1675:
1417:Medieval Hagiography: An Anthology
1363:"CATHOLIC ENCYCLOPEDIA: Hroswitha"
1352:
1125:
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936:10.1111/j.1540-6563.1979.tb00548.x
894:
856:
775:
545:Winterfeld, Paul von (ed.) (1902)
471:Hrotsvitha memorial in Gandersheim
25:
2538:
2497:German dramatists and playwrights
2477:10th-century German women writers
2124:
2057:
2015:. New York: Hroswitha Club, 1965.
818:
551:Available from Digital MGH online
439:Primordia Coenobii Gandeshemensis
341:
248:Primordia coenobii Gandeshemensis
2436:
2435:
2079:. In Herbermann, Charles (ed.).
1904:Soloski, Alexis (2 April 2009).
1184:. The Hroswitha Club. p. 3.
799:Sack, Harald (6 February 2019).
679:Hrotsvitha fountain, Gandersheim
422:
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304:
2482:10th-century German historians
2158:"First Annual Hrosvitha Award"
1722:Theatre Research International
1001:
950:
880:10.1080/19306962.1966.11754646
13:
1:
2487:10th-century writers in Latin
2131:, Infi online, archived from
2093:The Prodigal Daughter Project
2053:; 4 (1983). pp. 196–210.
1387:van Zyl Smit, Betine (2016).
1277:The English Historical Review
1099:The English Historical Review
769:
65:
635:Hrotsvitha Gandeshemensis,
556:Strecker, Karl (ed.) (1902)
7:
2527:People from Bad Gandersheim
2040:Mittellateinisches Jahrbuch
757:
732:to the outstanding actress.
730:Gandersheimer Domfestspiele
698:is an association of women
449:
45:, under the eyes of Abbess
10:
2543:
2250:writers of the Middle Ages
1333:Cleveland State University
1180:Haight, Anne Lynn (1965).
1042:Wilson, Katharina (2004).
630:Hrotsvitha von Gandersheim
29:
2507:10th-century German poets
2433:
2395:
2367:
2329:
2311:
2293:
2277:
2256:
2073:Scheid, Nikolaus (1910).
1313:Silber, Patricia (2004).
1009:"Hrosvitha | German poet"
724:has annually awarded the
652:Roswitha of Gandersheim.
444:
130:Hrotsvitha Gandeshemensis
32:Roswitha (disambiguation)
2190:with analytical indexes.
2005:Lexikon des Mittelalters
1875:Zaenker, Karl A (1987).
1777:Wailes, Stephen (2006).
1414:Head, Thomas F. (2001).
1182:Hroswitha of Gandersheim
959:"Hrotsvitha vs. Gobnait"
563:Berschin, Walter (ed.).
253:
206:, granddaughter of King
193:Gandersheim abbey church
101:Fall of the Roman Empire
2492:Christian hagiographers
2472:German women historians
2186:Migne Patrologia Latina
2163:Guerrilla Girls On Tour
1393:. John Wiley and Sons.
1044:Hrotsvit Of Gandersheim
1013:Encyclopedia Britannica
750:Guerrilla Girls On Tour
742:A Confederacy of Dunces
707:Sarah Gildersleeve Fife
671:Contemporary references
463:Representation of women
262:Roswitha of Gandersheim
2387:Mechthild of Magdeburg
1944:Medieval Women Writers
1663:Cite journal requires
1631:Cite journal requires
1599:Cite journal requires
1497:Cite journal requires
1315:Hrotsvit and the Devil
1289:10.1093/ehr/III.XI.431
680:
540:Texts and translations
523:
472:
284:Bavarian State Library
263:
194:
58:
2208:The Plays of Roswitha
2112:Bibliotheca Augustana
2082:Catholic Encyclopedia
2025:Of Six Mediæval Women
1064:The Classical Journal
713:. The club published
678:
655:The Plays of Roswitha
565:Hrotsvit: Opera Omnia
521:
470:
397:Passio Sancti Pelagii
261:
192:
40:
2522:Medieval women poets
2031:Ker, William Paton.
2022:", pp. 1–28 in
2018:Kemp-Welch, Alice, "
1851:Grolier Club Library
1822:Grolier Club Library
1420:. Psychology Press.
1345:Phyllis B. Roberts,
1250:"Hrotsvitha's Poems"
1161:Phyllis G. Jestice,
739:'s 1980 comic novel
386:The Book of Legends,
232:Carmina liber primus
75:who wrote drama and
71:–973) was a secular
2349:Hildegard of Bingen
2135:on 1 September 2005
2011:Haight, Anne Lyon,
1443:The Classical World
753:female playwright".
533:Christabel Marshall
405:Pelagius of Cordova
274:The most important
185:Life and background
124:Hrotsvitha's name (
91:nobles and entered
2512:German women poets
2415:Christine de Pizan
2410:Catherine of Siena
2382:Gertrude the Great
2170:on 8 December 2006
1797:www.stage-door.com
1518:Literary Licensing
737:John Kennedy Toole
681:
524:
473:
264:
195:
179:German Renaissance
83:. She was born in
59:
2447:
2446:
2420:Julian of Norwich
2405:Bridget of Sweden
2076:"Hroswitha"
2002:Düchting, R. In:
1958:978-0-8203-0641-4
1427:978-0-415-93753-5
1367:www.newadvent.org
648:978-0-86516-783-4
558:Hrotsvithae opera
547:Hrotsvithae opera
494:Impact on Theatre
364:", "Calimachus",
236:The Book of Drama
219:Northern European
93:Gandersheim Abbey
16:(Redirected from
2534:
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2359:Trota of Salerno
2240:
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2008:. vol. 5. 148–9.
1991:. Munich, 1998.
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1935:Bibliography
1921:. Retrieved
1910:The Guardian
1909:
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1858:. Retrieved
1855:Grolier Club
1853:. New York:
1850:
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1826:Grolier Club
1824:. New York:
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1800:. Retrieved
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1693:(1): 69–89.
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963:Lent Madness
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808:. Retrieved
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2462:930s births
2278:9th century
2257:8th century
2174:11 December
2141:"Rosvita",
1923:7 September
1802:23 November
1552:(1): 3–16.
1372:23 November
1254:www.wdl.org
968:23 November
810:23 November
720:Since 1973
488:"Dulcitius"
393:hagiography
370:"Pafnutius"
352:presents a
108:Middle Ages
2467:973 deaths
2456:Categories
2303:Hrotsvitha
2269:Sahakdukht
2144:Personaggi
2125:Disse, D,
2044:pp.347–353
1449:(5): 390.
1260:6 December
1018:3 December
993:3 December
805:SciHi Blog
770:References
704:co-founder
508:Jill Dolan
317:Theophilus
295:Regensburg
276:manuscript
150:Rhotswitha
79:under the
69: 935
62:Hrotsvitha
1918:0261-3077
1885:cite book
1734:221484211
1699:0026-3079
1558:1063-3685
1546:Narrative
1463:0009-8418
1297:0013-8266
1111:0013-8266
1076:0009-8353
944:0018-2370
888:0016-8890
401:martyrdom
366:"Abraham"
362:Dulcitius
280:Primordia
158:Roswindis
146:Hroswithe
142:Hroswitha
2441:Category
2128:Hrotsvit
1860:16 March
1831:16 March
1764:27712888
1730:ProQuest
1707:40641831
1566:20107020
1149:27712888
850:42004382
764:Canoness
758:See also
717:in 1965.
686:asteroid
590:Pelagius
579:, 2001.
450:Feminism
374:medieval
288:humanist
170:Feminist
162:Roswitha
138:Hrosvite
134:Hrotsvit
73:canoness
47:Gerberga
18:Hrotsvit
2344:Héloïse
1471:4350426
1236:3207334
1084:3289343
607:Abraham
577:Leipzig
358:Terence
321:Leonine
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431:Otto I
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1949:30–63
1760:JSTOR
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1562:JSTOR
1467:JSTOR
1232:JSTOR
1145:JSTOR
1115:JSTOR
1080:JSTOR
325:vitae
254:Works
238:, or
223:Islam
126:Latin
89:Saxon
2176:2006
1993:ISBN
1978:ISBN
1953:ISBN
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1914:ISSN
1891:link
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