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Early British Survey

  • Early British Literature
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    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
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      • Femininity In Doctor Faustus
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      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
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    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
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      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
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      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Julian of Norwich

By: Siena Di Sera

In 1373, Julian of Norwich wrote the first known book in English by a woman. This book was called Revelations of Divine Love and outlines her experiences as a religious anchoress in the medieval Christian church. In her work, she manipulates the dichotomy of gender through her lens of asceticism and divine visions. Her theology of Christ gained through her visions and explored in her text empowers and validates women’s presence as religious leaders. Christianity opened a door to Julian as an anchoress for her to assert authority in matters of theology, and gender. 

  • https://qspirit.net/julian-norwich-mother-jesus/
  • http://courseweb.stthomas.edu/medieval/julian/anchoress.htm

Cherry, Kittredge. “Julian of Norwich: Celebrating Mother Jesus.” Qspirit, 8 May 2019, qspirit.net/julian-norwich-mother-jesus/.

“University of Saint Thomas-Saint Paul.” University of Saint Thomas-Saint Paul, 2003, courseweb.stthomas.edu/medieval/julian/anchoress.htm.


Blurring the gender dichotomy

A Book of Showings to the Anchoress Julian of Norwich is written completely in the first person. It begins with Julian explaining that when she was thirty years old she became sick for three days, embracing her presumed death on the fourth day. Here Julian uses the physical body as a vehicle into the divine by writing her experiences on the brink of death. This propelled Julian of Norwich, as a woman, into the realm of spiritual knowledge and teachings reserved almost completely for men at the time. 

Her visions of Jesus as a sorrowful and physically suffering caregiver contain interesting connotations about gender. In the article “In No Sense a Vision”, Jennifer Thompson writes that Julian of Norwich “redeems the body by writing extensively of the dichotomy between the body and the soul, but insisting upon their ultimate fusion in Christ”. This dichotomy between body and soul has very profound implications on gender. Characteristics about women in medieval times were centered around aspects of the female body, mostly negative. For example, women were seen as “leaky vessels” due to menstruation and lactation. Julian plays with these characteristics of women even as she denies the gendered soul or God. Though neither Jesus nor God are specifically called female and primarily maintain male pronouns, their roles as caregiver and creator, respectively, throw them into female sphere.

The direct address to the readers of A Book of Showings informs leaders that this is an account of a first person experience with God. The fact that no man can affirm nor deny her visions lends them to spiritual authority on matters of the soul. Julian of Norwich in her work is a woman of reason, speaking clearly and primarily unemotionally about matters of death, creation, and the Trinity. Julian’s work is a protofeminist embodiment of the social construction of gender, equating God to a mother and Jesus as a human sufferer, leaking blood from his wounds. 

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