Indeed there are.

Although we ascribe the first inklings of courtly love to male troubadours of 12th century Occitania, there existed simultaneously the female composers, the trobairitz, writing on much the same subjects and in the same styles, and sometimes in collaboration. For example, Maria de Ventadorn wrote a tenso (a debate through poetry) with Gui d'Ussel about a man 'submitting' himself to a woman, the debate being about what that 'submission' meant to his status. So we have the 'voice' of women in courtly love, and sometimes in dialogue with men.

Although with this 'answer' a further problem is raised: how do these works actually reflect the thoughts and views of their creators and their audience?

Troubadour poetry is widely regarded as deeply ironic in its relationship to love, death and politics of the time; this has resulted in immense academic debate about the apparent misogyny and gender relationships in troubadour poetry. We do know that these Occitan poems were deeply popular, copies show up in collections from Spain to Germany to England within the lifetimes of their authors; their impact on medieval courtly romance from the beginnings in Chretien de Troyes is testimony to popularity. All of this means that we don't 'know' exactly what the poems and songs are 'saying', let alone what an audience, male or female, might 'hear'.

Best on this are a few of the essays in:

• Paden, William D (ed.) The Voice of the Trobairitz: Perspectives on the Women Troubadours (University of Pennsylvania, 1989)

From a simultaneous Anglo-Norman view, we only have works by the so-called Marie de France, who it seems was involved in the Plantagenet courts of England. Her works reveals a distinct influence of the troubadour views on courtly love, through Breton poetic forms. These works too were deeply read and influential on medieval romance.