Allen, Philip Schuyler. "The Mediaeval Mimus." Modern Philology VIII, No. 1 (July 1910): 17-60.

Includes discussion of some of the Roman sources of Hroswitha's dramas and poetry.

Carter, Barbara Barclay. "Roswitha of Gandersheim." The Dublin Review, No. 385 (April 1933): 284-95.

Short survey of Hroswitha's life and principal dramas.

Coffman, George R. "A New Approach to Medieval Latin Drama." Modern Philology XXII, No. 3 (February 1925): 239-71.

Contains a brief look at Hroswitha's poetry and her relationship to Gandersheim Abbey.

Dale, Darley. "Roswitha, Nun and Dramatist." The American Catholic Quarterly Review XXXIX (January-October 1914): 442-57.

Surveys Hroswitha's dramas, with emphasis on Gallicanus, Abraham, and Sapientia.

DeLuca, Kenneth. "Hrotsvit's 'Imitation' of Terence." Classical Folia XXVIII, No. 1 (1974): 89-102.

Contrasts Hroswitha's dramas with those of her primary classical influence, Terence.

Eckenstein, Lina. "The Nun Hrotsvith and Her Writings." In Woman under Monasticism: Chapters on Saint-Lore and Convent Life between A.D. 500 and A.D. 1500, pp. 160-83. Cambridge: Cambridge University Press, 1896.

Overview of Hroswitha's writings that emphasizes the uniqueness of her dramatic works.

Heard, John. "Hrotsvitha: The Nun of Gandersheim." Poet Lore XLII, No. 4 (Spring 1935): 291-98.

Brief introduction to Hroswitha's writings that laments scholars' relative disregarding of her works for centuries.

Hudson, William Henry. "Hrosvitha of Ganderseheim." The English Historical Review III (1888): 431-57.

Discusses the authenticity of Hroswitha's writings, and the evidence related to her life. Includes a detailed examination of Dulcitus and Abraham.

Kemp-Welch, Alice. "A Tenth-Century Dramatist: Roswitha the Nun." The Nineteenth-Century and after XIX-XX, No. 393 (November 1909): 814-26.

Discusses Hroswitha's dramas in relation to life during the reign of Emperor Otto the Great and in the convent at Gandersheim.

Petroff, Elizabeth Alvilda. "Eloquence and Heroic Virginity in Hrotsvit's Verse Legends." In Body and Soul: Essays on Medieval Women and Mysticism, pp. 83-96. New York: Oxford University Press, 1994.

Studies Hroswitha's virgin hero-martyrs.

Roberts, Arthur J. "Did Hrotswitha Imitate Terence?" Modern Language Notes XVI, No. 8 (December 1901): pp. 478-81.

Classifies Hroswitha's dramas as "inexplicable, but still significant" and as considerably different from those of the Roman playwright Terence.

Sticca, Sandro. "Hrotswitha's Dulcitius and Christian Symbolism." Mediaeval Studies XXXII (1970): 108-27.

Focuses on infernal symbolism in Hroswitha's Dulcitius, a work often considered somewhat farcical.

Waddell, Helen. "The Tenth Century." In The Wandering Scholars. Boston: Houghton Mifflin Company, 1927, pp. 64-82.

Mentions Hroswitha's Callimachus as part of a broader study of tenth-century European literature.

Wilson, Katharina M. "The Old Hungarian Translation of Hrotsvit's Dulcitius: History and Analysis." Tulsa Studies in Women's Literature I, No. 2 (Fall 1982): 177-87.

Examines an early-sixteenth-century Hungarian translation of Dulcitius, regarding it as a link "between classical drama and medieval morality plays."

——. "Hrotsvit and the Sounds of Harmony and Discord." Germanic Notes 14, No. 4 (1983): 54-56.

Considers Hroswitha's use of musical metaphors, particularly of "the contrast of God-inspired harmo-nious sounds and Devil-inspired cacophony," in her writings.

——. "Hrotsvit and the Tube; John Kennedy Toole and the Problem of Bad TV Programming." Germanic Notes 15, No. 1 (1984): 4-5.

Observes the thematic link between Hroswitha's plan to replace Terentian drama with her own, and the crusade of Ignatius—hero of John Kennedy Toole's novel A Confederacy of Dunces—against the medium of television.

——. "Antonomasia as a Means of Character-Definition in the Works of Hrotsvit of Gandersheim." Rhetorica II, No. 1 (Spring 1984): 45-53.

Concentrates on Hroswitha's use of antonomasia—the rhetorical reference to characters or objects by means of epithets—for laudatory, identificatory, vituperative, and didactic purposes.

——. "Hrotsvit's Abraham: The Lesson in Etymology." Germanic Notes 16, No. 1 (1985): 2-4.

Explores the thematic implications of Abraham's lesson in etymology, presented to his fallen niece Mary, the theme of which is that "the individual, being given the name of an illustrious model [in this case that of the Virgin Mary], bears the responsibility of trying to emulate that model."

——. "Figmenta vs. Veritas: Dame Alice and the Medieval Literary Depiction of Women by Women." Tulsa Studies in Women's Literature 4, No. 1 (Spring 1985): 17-32.

Mentions Hroswitha as part of an informal movement by medieval woman writers "to combat the demonstrably noxious effects of the negative literary depiction of women" by challenging certain stereotypes in their writings.

=—. Hrotsvit of Gandersheim: The Ethics of Authorial Stance. Leiden, The Netherlands: E. J. Brill, 1988, 176 p.

Endeavors "to explore [Hroswitha's] opus from her own perspective: in the light of her literary training, her utilization of poetic and rhetorical ornaments, formal, generic precepts, and in the way she herself viewed her writing."

Zeydel, Edwin H. "Knowledge of Hrotsvitha's Works Prior to 1500." Modern Language Notes LIX, No. 6 (June 1944): 382-85.

Challenges the idea that Hroswitha's works were all but unknown between the time of her death in about 1000 and their rediscovery by Conrad Celtes in 1493.

——. "Ekkehard's Influence upon Hrotsvitha: A Study in Literary Integrity." Modern Language Quarterly VI (1945): 333-39.

Designates Ekkehard's Waltharilied as an important influence for Hroswitha's Gesta Ottonis.

——. "Were Hrotsvitha's Dramas Performed during Her Lifetime?" Speculum XX, No. 1 (January 1945): 443-56.

Argues that Hroswitha's plays were likely performed and read aloud by her contemporaries.

——. "On the Two Minor Poems in the Hrotsvitha Codex." Modern Language Notes LX, No. 6 (June 1945): 373-76.

Briefly investigates two largely ignored short poems by Hroswitha.

——. "The Authenticity of Hrotsvitha's Works." Modern Language Notes LXI, No. 1 (January 1946): 50-55.

Recounts the nineteenth-century controversy over the authenticity of Hroswitha's works and calls for further study to finally settle the question.

——. 'Eg o Clamor Validus'—Hrotsvitha." Modern Language Notes XLI, No. 4 (April 1946): 281-83.

Presents a small piece of textual evidence that tends to support the authenticity of Hroswitha's works.