Anderson, Jaynie. Gardens of love in Venetian painting of the Quattrocento. Vol. 2005, in Rituals, Images, and Words: Varieties of Cultural Expression in Late Medieval and Early Modern Europe. , edited by F.W. Kent and Charles Zika, 201-234.
- Focuses on a painting attributed to the studio of Antonio Vivarini, now in the National Gallery of Victoria, Melbourne
Barthes, Roland. The Fashion System. Translated by Mathew Ward and Richard Howard. New York: Hill and Wang, 1983.
Bergman, Madeleine. “The Garden of Love A neoplatonic interpretation of Bosch’s “Garden of Earthly Delights” triptych.” Gazette des beaux-arts 115 (1990): 191-212.
Bishop, Louise M. Words, Stones, & Herbs: the healing word in medieval and early modern England. Syracuse University Press, 2007.
Bornsteing, George, and Theresa Tinkle, . The Iconic Page in Manuscript, Print, & Digital Culture. Ann Arbor: The University of Michigan Press, 1998.
Burns, E. Jane. ” A Cultural Performance in Silk: Sebelinne’s aumousniere in the Dit de ‘l Empereur Constant.” In Cultural performances in medieval France : essays in honor of Nancy Freeman Regalado, edited by Eglal Doss-Quinby, Roberta L Krueger and E Jane Burns. Rochester: D.S. Brewer, 2007.
- Specifically about aumousniere, or alm’s purse, and its symbolism
Camille, Michael. Gothic Art: Glorious Vision. New York: Harry N. Abrams, 1996.
- Symbolism of garden ( domesticated nature), and romance mirror & self, symbolism of falcon
—. Image on the Edge: the margins of medieval art. Cambridge: Harvard University Press, 1992.
—. The Medieval Art of Love: objects and subjects of desire. New York: Abrams, 1998.
Denomy, Alexander J. “Courtly Love and Courtliness.” Speculum (Medieval Academy of America) 28 (1953): 44-63.
- A good introduction to courtly love vs. courtliness gift giving, what made chivalry man/not-manly
- Cortezia as an ethical virtue, love is not necessary. The end object is the courting.
Favis, Roberta Smith. “The Garden of Love in fifteenth-century Netherlandish and German engravings: some studies in secular iconography in the late Middle Ages and early Renaissance.” Dissertation Abstracts International – A: The Humanities and Social Sciences 35, no. 4 (1974): 2142.
- Compares the Neoplatonism-Hermetism then prevalent
Guynn, Noah D. “Le Roman de la Rose.” In The Cambridge Companion to Medieval French Literature, edited by Simon Gaunt and Sarah Kay, 48-76. Cambridge: Cambridge University Press, 2008.
- Offers an interpretation of fluctuating meanings within the work as a mirror of the fluctuating nature of ideology
Heller, Sarah-Grace. “Anxiety, hierarchy, and appearance in thirteenth-century sumptuary laws and the Roman de la rose.” French Historical Studies 27, no. 2 (2004): 311-348.
Heller, Sarah-Grace. “Fictions of consumption: the nascent fashion system in Partonopeus de Blois.” Australian Journal of French Studies 46, no. 3 (2009): 191-205.
Jewers, Caroline. “Fabric and fabrication: lyric and narrative in Jean Renart’s Roman de la Rose.” Speculum: A Journal of Medieval Studies 71, no. 4 (1996): 907-924.
- Discusses the prologue to the Roman de la Rose arguing that the exchange of clothing in the romance echoes the circulation of songs: robes, mantles and tunics are the material correlatives of the various kinds of song that adorn the text aurally as the clothes do visually.
McAvoy, Liz Herbert. ““… a purse fulle feyer”: feminising the body in Julian of Norwich’s A Revelation of Love.” Leeds Studies in English 33 (2002): 99-113.
- Argues that Julian’s image of a delicate purse continually opening and shutting should be read as an integral part of the female hermeneutic through which the writer expresses her vision of a masculine-feminine God for an androgynous humankind.
Meir-Oeser, Stephan. “Medieval Semiotics.” The Stanford Encyclopedia of Philosophy (Summer 2011 Edition). Edited by Edward N. Zalta. 2011.
- A short article going over what the state of semiotics was in Medieval Times, may be relevant when considering what the “sign” of a purse was
Patterson, Lee. “On the Margin: Postmodernism, Ironic History, and Medieval Studies.” Speculum (Medieval Academy of America) 65, no. 1 (1990): 87-108.
- “In the so-called postmodern condition what was previously displaced to the margins returns to haunt the very center.” Terry Eagleton, medieval studies has been a marginalized academic study and now has an opportunity to redefine itself against the concept of Modernity and progress (erasure and experimentation with history) that has regulated it to antiquarianism.
Raskolnikov, Masha. Body Against Soul: Gender and Sowlehele in Middle English Allegory. The Ohio State University Press, 2009.
Rosenfeld, Jessica. “Narcissus after Aristotle: love and ethics in Le Roman de la Rose.” In New Medieval Literatures, edited by Rita Copeland, David Lawton and Wendy Scase, 1-37. Turnhout Brephols, 2007.
Sheridan Libraries of John Hopkins; Bibliotheque Nationale de France. 2011. http://romandelarose.org.
Starkey, Kathryn. “Tristan Slippers: An Image of Adultery on a Symbol of Marriage.” In Medieval Fabrications: Cress, Cextiles,Clothwork, and Other Cultural Imaginings, edited by E. Jane Burns, 35-54. Palgrave Macmillan, 2004.
Stuard, Susan Mosher, ed. Women in Medieval Society. Philadelphia: University of Pennsylvania Press, 1976.
Szkilnik, Michelle. “From sword to dress: the ideal knight in medieval French romancev.” In Knight and Samurai: Actions and Images of Elite Warriors in Europe and East Asia, edited by Rosemarie Deist, 87-102. Göppinger Arbeiten zur Germanistikle, 2003.
- Examines the depiction of tournaments and battles in Antoine de la Sale’s Jehan le Saintré, arguing that in comparison to earlier romances the focus has switched from weapons to clothes
- France, 15 th century
Tinkle, Theresa. Medieval Venuses and Cupids: Sexuality, Hermeneutics and English Poetry. Stanford University Press, 1996.
Wright, Monica L. Weaving Narrative: clothing in twelfth-century French Romance. University, Pa.: Pennsyvania State University Press, 2009.
Yeager, Robert F. “Chaucer’s “To his Purse begging, or begging off?” Viator: Medieval and Renaissance Studies 36 (2005): 373-414.
- Argues from the lack of exchequer evidence for payments to Chaucer for poetry that this work is not a begging poem but an ironic literary choice directed at King Henry IV