Aristocratic Women in the Middle Ages

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Christine de Pizan’s City of ladies: a monumental (re)ConstruCtion of, by, and for Women of all time Jill E. Wagner1 C hristine de Pizan’s Book of the City of Ladies, written over six centuries ago, is neither simple nor simplistic. As the first known history of women in Western civilization from a female point of view, it embraces all virtuous women even beyond those specifically mentioned. Fashioned as an allegorical city, it should be considered a potential textual buttress for contemporary feminist consciousness. Christine constructs her history as both an allegory and a city of ladies for several possible reasons. First, Christine can “speak” to readers by channeling her own persona into her main character. Further, the form of authorial conversation with allegorical figures was a popular didactic medieval convention, and this textual structure remains accessible today. When Judith L. Kellogg writes, “the space in which the city [of ladies] is built must be within each woman,”  she bridges the six-hundred years since the writing of The Book of the City of Ladies with a few strokes of her pen. In other words, Christine urges individual women to take the first step toward realizing a feminist hereafter. By writing (as author) and creating (as heroine) a city of ladies, Christine emphasizes women’s spaces, self-defense, and memory as keys to the creation of women’s history and future. All three keys transcend time, just like her monumental city. Christine anticipated the feminist necessity of Virginia Woolf ’s “room of one’s own,” but she builds on a grand scale and follows medieval tradition in deliberately selecting a city, not a room. While giving voice to the unvoiced, thus presenting her public with provocative new material, she adheres to an established, respected historical model, St. Augustine’s City of God. This work’s religious, eternal city was
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