In the essay that follows, McKinley elaborates the connection between the institutional requirement of women's speech in confession and the increasing authority of that speech on the part of individual women in the Renaissance.

In the following essay, Auld claims that the significance of Marguerite de Navarre's plays lies in part with her innovative dramatization of personal beliefs, and her use of music to lend emotional force to the abstract religious ideas she wishes to convey.

In the essay that follows, Cholakian examines the complexity of establishing female desire in three of Marguerite's stories that turn on a rape or a seduction.

In the essay that follows, Cholakian traces the tensions within Marguerite de Navarre's authorial voice and identifies a “feminine difference” in her retelling of traditional narratives.

In the essay that follows, Ahmed argues that Marguerite de Navarre rewrote a secular French song as a spiritual quest for unity with God, a quest which is specifically feminine.

In the following essay, Sommers characterizes Marguerite's poetry as a delicate combination of mysticism and the instructional motif of the celestial ladder.