This study deals with the ways that Christine de Pizan
Spongberg begins with Christine de Pizan
(though she uses the spelling "de Pisan," which scholars of de Pizan's work since the 1980s have rejected), and then discusses the uses of history by Catholic and Protestant women in polemical writings and family histories, women's writing of local history and genealogy, and the earliest political histories written by women, such as Catherine Macaulay's multi-volume History of England.
According to Rosalind Brown-Grant, there has been a tendency among feminist critics of Christine de Pizan
(1364-14307) either to laud her as a feminist foremother--seeing in her work a challenge to the dominant misogyny of the Christian Middle Ages and even foreshadowings of central psychoanalytic and poststructuralist feminist ideas--or to castigate her as insufficiently feminist, unable adequately to address and therefore to challenge patriarchal social structures and hierarchical practices.
1) Versions of the Griselda story by Petrarch, Chaucer, and Christine de Pizan
present an opportunity to investigate these kinds of connections, for (obviously), one account has a female author and narrator, while the other two have male authors and narrators.
Attention has been focused on Christine de Pizan
in recent years because of her status as one of the few medieval women scholars, and although she does not approach the brilliance of an Aquinas or John of Salisbury, nonetheless her work represents an important chapter in our understanding of traditional medieval social thought.
Here the territory is less well-charted: some of these texts -- the Wife of Bath's Prologue and the extracts from Christine de Pizan
-- are familiar, but how many readers will know the anonymous Response (possibly written by a woman) to Richard de Fournival's Bestiary of Love, let alone the trial of Walter Brut, excavated and reconstructed from The Register of Bishop Trefnant?
Margery Kempe and Christine de Pizan
, and John Lydgate's Life of Our Lady); lyric, song, and audience; and composition and production of Arthurian literature.
I felt that I was coming to know Christine de Pizan
, that I was having an encounter with Guillaume Bude' (p.
Susan Sellers (London, UK: Harvester Wheatsheaf, 1991), 171-196; Jane Chance, "Christine de Pizan
as Literary Mother: Women's Authority and Subjectivity in The Floure and the Leafe and The Assembly of Ladies," in The City of Scholars: New Approaches to Christine de Pizan
A vital element of Desmond's argument is that Ovid's poem presents erotic relations as codified and to be performed, and she suggests that it is this scripted quality that enables Christine de Pizan
to develop her criticisms of the Rose (Chapter 6).
Chapter 2, on 'Form and Genre', ranges freely and widely, from a virelai by Christine de Pizan
to the 'haikuization' of French sonnets by Michelle Grangaud (Poemes fondus, 1997), shifting back and forth in history so that the reader gains some sense of what particular forms and genres put at stake, and of the complexity of their lives.
In her lyric poetry cycles, Christine de Pizan
creates a narrator-poet who firmly distances herself from the poetic material of love, insisting that she has nothing in common with the lovers who recount their joys and their sorrows in the poems she writes.