Image - Name Christine de Pisan Christine de Pisan Image - Name Christine de Pisan Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="https://cwrc.ca/schemas/orlando_entry.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><ENTRY xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" ID="chripi" SEX="FEMALE" PERSON="WRITER"> <ORLANDOHEADER> <FILEDESC> <TITLESTMT> <DOCTITLE>Christine de Pisan</DOCTITLE> </TITLESTMT> <PUBLICATIONSTMT> <AUTHORITY>Orlando Project</AUTHORITY> </PUBLICATIONSTMT> <SOURCEDESC>Created from original research by members of the Orlando Project</SOURCEDESC> </FILEDESC> <XENODATA><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"/></XENODATA><REVISIONDESC TYPE="LEGACY"> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="I"> <DATE VALUE="1998-01-06" CALENDAR="NEWSTYLE" CERTAINTY="CERT">6 January 1998</DATE> <ITEM>Initial document given to tagger.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="I"> <DATE VALUE="1998-01-06" CALENDAR="NEWSTYLE" CERTAINTY="CERT">6 January 1998</DATE> <ITEM>Initial document given to tagger.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="I"> <DATE VALUE="1998-01-13" CALENDAR="NEWSTYLE" CERTAINTY="CERT">13 January 1998</DATE> <ITEM>jah: tagging in process.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="C"> <DATE VALUE="1998-01-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 January 1998</DATE> <ITEM>jah: document tagged.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="C"> <DATE VALUE="1998-01-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 January 1998</DATE> <ITEM>jah: document tagged.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JKW" WORKSTATUS="CFT" WORKVALUE="P"> <DATE VALUE="1998-01-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 January 1998</DATE> <ITEM>jah: document tagged. jkw: preliminary checking for tagging and content pending VA decisions</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="C"> <DATE VALUE="1998-01-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 January 1998</DATE> <ITEM>jah: document tagged.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JKW" WORKSTATUS="CFT" WORKVALUE="P"> <DATE VALUE="1998-01-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 January 1998</DATE> <ITEM>jah: document tagged.jkw: prelimary check for tagging and content pending VA decisions</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JAH" WORKSTATUS="REV" WORKVALUE="P"> <DATE VALUE="1998-01-19" CALENDAR="NEWSTYLE" CERTAINTY="CERT">19 January 1998</DATE> <ITEM>jkw: preliminary checking for tagging and content pending VA decisions. jah: revised.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="REV" WORKVALUE="P"> <DATE VALUE="1998-01-19" CALENDAR="NEWSTYLE" CERTAINTY="CERT">19 January 1998</DATE> <ITEM>jkw: prelimary check for tagging and content pending VA decisions. jah: revised.</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="RWT" WORKVALUE="C"> <DATE VALUE="1998-10-06" CALENDAR="NEWSTYLE" CERTAINTY="CERT">6 October 1998</DATE> <ITEM>Updated for Sept 1998 Audit</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="1998-10-06" CALENDAR="NEWSTYLE" CERTAINTY="CERT">6 October 1998</DATE> <ITEM>Updated for Sept 1998 Audit</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JSC" WORKSTATUS="REV" WORKVALUE="C"> <DATE VALUE="1999-03-03" CALENDAR="NEWSTYLE" CERTAINTY="CERT">3 March 1999</DATE> <ITEM>fixed standard name</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JSC" WORKSTATUS="REV" WORKVALUE="C"> <DATE VALUE="1999-03-03" CALENDAR="NEWSTYLE" CERTAINTY="CERT">3 March 1999</DATE> <ITEM>fixed standard name</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="KNT" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="1999-07-22" CALENDAR="NEWSTYLE" CERTAINTY="CERT">22 July 1999</DATE> <ITEM>knt: fixed date</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="1999-08-01" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1 August 1999</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="1999-09-12" CALENDAR="NEWSTYLE" CERTAINTY="CERT">12 September 1999</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="1999-11-12" CALENDAR="NEWSTYLE" CERTAINTY="CERT">12 November 1999</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="1999-12-21" CALENDAR="NEWSTYLE" CERTAINTY="CERT">21 December 1999</DATE> <ITEM>BATCH CHANGE: primarily orgName and bibCit cleanup</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="1999-12-21" CALENDAR="NEWSTYLE" CERTAINTY="CERT">21 December 1999</DATE> <ITEM>BATCH CHANGE: primarily orgName and bibCit cleanup</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2000-05-02" CALENDAR="NEWSTYLE" CERTAINTY="CERT">2 May 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2000-05-02" CALENDAR="NEWSTYLE" CERTAINTY="CERT">2 May 2000</DATE> <ITEM>you'll have had the message about one of these docs twice, because I messed up on checkin. All sorted now. Isobel</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KDC" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="2000-05-12" CALENDAR="NEWSTYLE" CERTAINTY="CERT">12 May 2000</DATE> <ITEM>checked for tagging</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="2000-05-12" CALENDAR="NEWSTYLE" CERTAINTY="CERT">12 May 2000</DATE> <ITEM>checked for tagging</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2000-05-13" CALENDAR="NEWSTYLE" CERTAINTY="CERT">13 May 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2000-05-13" CALENDAR="NEWSTYLE" CERTAINTY="CERT">13 May 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="2000-05-15" CALENDAR="NEWSTYLE" CERTAINTY="CERT">15 May 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="ECG" WORKSTATUS="CAS" WORKVALUE="I"> <DATE VALUE="2000-06-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 June 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="ECG" WORKSTATUS="CAS" WORKVALUE="I"> <DATE VALUE="2000-06-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 June 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="ECG" WORKSTATUS="CAS" WORKVALUE="C"> <DATE VALUE="2000-06-26" CALENDAR="NEWSTYLE" CERTAINTY="CERT">26 June 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="ECG" WORKSTATUS="CAS" WORKVALUE="C"> <DATE VALUE="2000-06-26" CALENDAR="NEWSTYLE" CERTAINTY="CERT">26 June 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="RSC" WORKSTATUS="PUB" WORKVALUE="I"> <DATE VALUE="2000-10-31" CALENDAR="NEWSTYLE" CERTAINTY="CERT">31 October 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="RSC" WORKSTATUS="PUB" WORKVALUE="I"> <DATE VALUE="2000-10-31" CALENDAR="NEWSTYLE" CERTAINTY="CERT">31 October 2000</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="PUB" WORKVALUE="I"> <DATE VALUE="2000-11-03" CALENDAR="NEWSTYLE" CERTAINTY="CERT">3 November 2000</DATE> <ITEM>removed title tags from sources</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="PUB" WORKVALUE="I"> <DATE VALUE="2000-11-03" CALENDAR="NEWSTYLE" CERTAINTY="CERT">3 November 2000</DATE> <ITEM>removed title tags from sources</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="2000-11-28" CALENDAR="NEWSTYLE" CERTAINTY="CERT">28 November 2000</DATE> <ITEM>fixed names</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"> <DATE VALUE="2000-12-07" CALENDAR="NEWSTYLE" CERTAINTY="CERT">7 December 2000</DATE> <ITEM>fixed place</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="DRG" WORKSTATUS="REV" WORKVALUE="C"> <DATE VALUE="2001-02-01" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1 February 2001</DATE> <ITEM>converted textual apostrophes and quotation marks to entity references</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="DRG" WORKSTATUS="REV" WORKVALUE="C"> <DATE VALUE="2001-02-01" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1 February 2001</DATE> <ITEM>converted textual apostrophes and quotation marks to entity references</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="C"> <DATE VALUE="2001-02-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 February 2001</DATE> <ITEM>biblio work done</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="C"> <DATE VALUE="2001-02-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 February 2001</DATE> <ITEM>biblio work done</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="RSC" WORKSTATUS="PUB" WORKVALUE="C"> <DATE VALUE="2001-05-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 May 2001</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="RSC" WORKSTATUS="PUB" WORKVALUE="C"> <DATE VALUE="2001-05-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 May 2001</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="PUB" WORKVALUE="C"> <DATE VALUE="2001-06-08" CALENDAR="NEWSTYLE" CERTAINTY="CERT">8 June 2001</DATE> <ITEM>added bibcit; added publication to biblio database</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="RSC" WORKSTATUS="PUB" WORKVALUE="C"> <DATE VALUE="2001-08-22" CALENDAR="NEWSTYLE" CERTAINTY="CERT">22 August 2001</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="PUB" WORKVALUE="C"> <DATE VALUE="2001-10-29" CALENDAR="NEWSTYLE" CERTAINTY="CERT">29 October 2001</DATE> <ITEM>fixed entity ref</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="PUB" WORKVALUE="C"> <DATE VALUE="2001-10-29" CALENDAR="NEWSTYLE" CERTAINTY="CERT">29 October 2001</DATE> <ITEM>fixed entity ref</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="RSC" WORKSTATUS="REV" WORKVALUE="C"> <DATE VALUE="2001-11-28" CALENDAR="NEWSTYLE" CERTAINTY="CERT">28 November 2001</DATE> <ITEM>removed topic tag; place and name will work</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"> <DATE VALUE="2002-03-22" CALENDAR="NEWSTYLE" CERTAINTY="CERT">22 March 2002</DATE> <ITEM>fixed entity reference in attribute</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="C"> <DATE VALUE="2002-05-09" CALENDAR="NEWSTYLE" CERTAINTY="CERT">9 May 2002</DATE> <ITEM>fixed title</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="TRN" WORKSTATUS="CAS" WORKVALUE="C"> <DATE VALUE="2003-02-27" CALENDAR="NEWSTYLE" CERTAINTY="CERT">27 February 2003</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"> <DATE VALUE="2003-04-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 April 2003</DATE> <ITEM>BATCH CHANGE: primarily PLACE cleanup</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"> <DATE VALUE="2003-04-14" CALENDAR="NEWSTYLE" CERTAINTY="CERT">14 April 2003</DATE> <ITEM>BATCH CHANGE: primarily PLACE cleanup</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"> <DATE VALUE="2003-06-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 June 2003</DATE> <ITEM>BATCH CHANGE: primarily TGENRENAME cleanup, BIBCIT following P moved before P, BIBCITS TAG added</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"> <DATE VALUE="2003-06-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 June 2003</DATE> <ITEM>BATCH CHANGE: primarily TGENRENAME cleanup, BIBCIT following P moved before P, BIBCITS TAG added</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2004-11-12" CALENDAR="NEWSTYLE" CERTAINTY="CERT">12 November 2004</DATE> <ITEM>fixed a few wrong chroncolumns</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2004-11-12" CALENDAR="NEWSTYLE" CERTAINTY="CERT">12 November 2004</DATE> <ITEM>fixed a few wrong chroncolumns</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"> <DATE VALUE="2005-04-08" CALENDAR="NEWSTYLE" CERTAINTY="CERT">08 April 2005</DATE> <ITEM>BATCH CHANGE: March 2005 Specifications. Mainly tag/attribute name changes</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"> <DATE VALUE="2005-04-08" CALENDAR="NEWSTYLE" CERTAINTY="CERT">08 April 2005</DATE> <ITEM>BATCH CHANGE: March 2005 Specifications. Mainly tag/attribute name changes</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="C"> <DATE VALUE="2005-06-28" CALENDAR="NEWSTYLE" CERTAINTY="CERT">28 June 2005</DATE> <ITEM>fixed titles</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2006-02-10" CALENDAR="NEWSTYLE" CERTAINTY="CERT">10 February 2006</DATE> <ITEM>final readthrough</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RBV" WORKVALUE="C"> <DATE VALUE="2006-02-10" CALENDAR="NEWSTYLE" CERTAINTY="CERT">10 February 2006</DATE> <ITEM>final readthrough</ITEM> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"> <DATE VALUE="2007-01-03" CALENDAR="NEWSTYLE" CERTAINTY="CERT">3 January 2007</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="BIOGRAPHY" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"> <DATE VALUE="2016-04-03" CALENDAR="NEWSTYLE" CERTAINTY="CERT">3 April 2016</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"> <DATE VALUE="2016-04-03" CALENDAR="NEWSTYLE" CERTAINTY="CERT">3 April 2016</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"> <DATE VALUE="2019-03-08" CALENDAR="NEWSTYLE" CERTAINTY="CERT">8 March 2019</DATE> <ITEM/> </RESPONSIBILITY> <RESPONSIBILITY TARGET="WRITING" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"> <DATE VALUE="2019-04-16" CALENDAR="NEWSTYLE" CERTAINTY="CERT">16 April 2019</DATE> <ITEM/> </RESPONSIBILITY> </REVISIONDESC> </ORLANDOHEADER> <DIV0> <STANDARD WROTEORPUBLISHEDAS="WROTEPUBLISHEDASYES">Christine de Pisan - boo</STANDARD><AUTHORSUMMARY><P> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> wrote for a living (years before any woman did this in Britain). <GENERICRANGE>She is remarkable both as a sophisticated, polished, and versatile writer of <TGENRE GENRENAME="POETRY">poetry</TGENRE> in French, and as a <TGENRE GENRENAME="FEMINIST">proto-feminist</TGENRE>.</GENERICRANGE> <GENERICRANGE>Her works (more than a dozen of them)</GENERICRANGE> quickly reached print (still a rarity when she was writing), both in their original French and in English translations: their titles take varying forms.</P> </AUTHORSUMMARY> <BIOGRAPHY> <HEADING>Biography</HEADING> <DIV1> <PERSONNAME> <DIV2> <DATASTRUCT> <DATAITEM> <BIRTHNAME WROTEORPUBLISHEDAS="WROTEPUBLISHEDASYES"> <GIVEN>Christine</GIVEN> <SURNAME>de Pisan</SURNAME> <SCHOLARNOTE> <P>Her name <SOCALLED>de Pisan</SOCALLED> comes from the original locale of her father's family, the small northern Italian town of <PLACE> <SETTLEMENT>Pizzano</SETTLEMENT> <GEOG REG="Italy"/> </PLACE> near <PLACE> <SETTLEMENT>Bologna</SETTLEMENT> <GEOG REG="Italy"/> </PLACE>. Her father's name, Tommaso di Benvenuto da Pizzano, was gallicised by the French to Thomas de Pisan.<BIBCITS> <BIBCIT PLACEHOLDER="McLeod xi-xii" DBREF="108375">xi-xii</BIBCIT> <BIBCIT PLACEHOLDER="Willard 17" DBREF="108682">17</BIBCIT> <BIBCIT PLACEHOLDER="Yenal 5" DBREF="108716">5</BIBCIT> </BIBCITS> </P> </SCHOLARNOTE> </BIRTHNAME> </DATAITEM> <DATAITEM> <INDEXED INDEXSOURCE="LC" WROTEORPUBLISHEDAS="WROTEPUBLISHEDASYES">de Pizan</INDEXED> </DATAITEM> </DATASTRUCT> </DIV2> </PERSONNAME> </DIV1> <DIV1> <HEADING>Birth and Background</HEADING> <BIRTH> <DIV2> <CHRONSTRUCT RELEVANCE="SELECTIVE" CHRONCOLUMN="WRITINGCLIMATE" RESP="JAH"> <DATE VALUE="1364" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1364</DATE> <CHRONPROSE> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> was born in <PLACE> <SETTLEMENT>Venice</SETTLEMENT> <GEOG REG="Italy"/> </PLACE>.<BIBCITS> <BIBCIT PLACEHOLDER="Willard 16" DBREF="108682">16</BIBCIT> </BIBCITS> </CHRONPROSE> </CHRONSTRUCT> </DIV2> </BIRTH> </DIV1> <DIV1> <HEADING>From Italy to France</HEADING> <LOCATION RELATIONTO="MIGRATED"> <DIV2> <CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="WRITINGCLIMATE" RESP="JAH"> <DATE VALUE="1368" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1368</DATE> <CHRONPROSE>The child <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> and her mother joined her astrologer father in <PLACE> <SETTLEMENT>Paris</SETTLEMENT> <GEOG REG="France"/> </PLACE>, at the court of <NAME STANDARD="Charles V,, King of France">Charles V</NAME>.</CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="McLeod xii" DBREF="108375">xii</BIBCIT> <BIBCIT PLACEHOLDER="Yenal 5" DBREF="108716">5</BIBCIT> </BIBCITS> </CHRONSTRUCT> </DIV2> </LOCATION> </DIV1> <DIV1> <FAMILY> <MEMBER RELATION="HUSBAND"> <MARRIAGE> <DIV2> <HEADING>Marriage and Children</HEADING> <CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="WRITINGCLIMATE" RESP="JAH"> <DATE VALUE="1380" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1380</DATE> <CHRONPROSE> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> married <JOB>scholar</JOB> Etienne de Castel, <CHILDREN NUMBER="3">with whom she had three children: Marie, Jean, and another son who died in childhood.</CHILDREN> <BIBCITS> <BIBCIT PLACEHOLDER="McLeod xii" DBREF="108375">xii</BIBCIT> </BIBCITS> </CHRONPROSE> </CHRONSTRUCT> </DIV2> </MARRIAGE> </MEMBER> </FAMILY> </DIV1> <DIV1> <WEALTH> <CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="WRITINGCLIMATE" RESP="JAH"> <DATE VALUE="1390" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1390</DATE> <CHRONPROSE> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>'s husband Etienne died, leaving her solely responsible for supporting her three children, her mother, and an impoverished niece.</CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="McLeod xii" DBREF="108375">xii</BIBCIT> <BIBCIT PLACEHOLDER="Yenal 6-7" DBREF="108716">6-7</BIBCIT> <BIBCIT PLACEHOLDER="Willard 39" DBREF="108682">39</BIBCIT> </BIBCITS> </CHRONSTRUCT> </WEALTH> </DIV1> <DIV1> <HEADING>When Did She Die?</HEADING> <DEATH> <DIV2> <CHRONSTRUCT RELEVANCE="SELECTIVE" CHRONCOLUMN="WRITINGCLIMATE" RESP="JAH"> <DATE VALUE="1429-08" CERTAINTY="AFTER" CALENDAR="NEWSTYLE">August 1429</DATE> <CHRONPROSE> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> was alive in this month (she wrote her last poem on <DATE VALUE="1429-07-31" CALENDAR="NEWSTYLE" CERTAINTY="CERT">31 July</DATE>); but she was not heard from again and the exact date of her death is unknown.</CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="Yenal 18" DBREF="108716">18</BIBCIT> <BIBCIT PLACEHOLDER="McLeod xxi" DBREF="108375">xxi</BIBCIT> <BIBCIT PLACEHOLDER="Willard 207" DBREF="108682">207</BIBCIT> </BIBCITS> </CHRONSTRUCT> </DIV2> </DEATH> </DIV1> </BIOGRAPHY> <WRITING> <HEADING>Writing</HEADING> <DIV1> <HEADING>Beginnings</HEADING> <DIV2> <PRODUCTION> <CHRONSTRUCT RESP="JAH" CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="SELECTIVE"> <DATE VALUE="1394" CERTAINTY="BY" CALENDAR="NEWSTYLE">By 1394</DATE> <CHRONPROSE> <PFIRSTLITERARYACTIVITY>After a course of self-education, <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> began writing <TGENRE GENRENAME="POETRY">verse</TGENRE>.</PFIRSTLITERARYACTIVITY> <BIBCITS> <BIBCIT PLACEHOLDER="Willard 43-4" DBREF="108682">43-4</BIBCIT> <BIBCIT PLACEHOLDER="McLeod xiii" DBREF="108375">xiii</BIBCIT> </BIBCITS> </CHRONPROSE> </CHRONSTRUCT> <SHORTPROSE> <P> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> herself dated from this year the beginning of her writing career. <PMOTIVES MOTIVETYPE="SELF-IDENTIFIED">She was already a widow, with heavy financial responsibilities.</PMOTIVES> </P> </SHORTPROSE> </PRODUCTION> <RECEPTION> <SHORTPROSE> <P> <PEARNINGS>For many years after this she was able to support her family on her literary earnings, a most remarkable achievement for her time.</PEARNINGS> </P> </SHORTPROSE> </RECEPTION> </DIV2> <DIV2> <TEXTSCOPE DBREF="8339" PLACEHOLDER="CP, L'épistre au dieu d'amours, 1399, 1886-1896"/> <PRODUCTION> <CHRONSTRUCT RESP="JAH" CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="SELECTIVE"> <DATE VALUE="1399-05" CALENDAR="NEWSTYLE" CERTAINTY="CERT">May 1399</DATE> <CHRONPROSE> <TINTERTEXTUALITY INTERTEXTTYPE="ANSWER" GENDEROFAUTHOR="MALE"> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> finished <TITLE TITLETYPE="MONOGRAPHIC">L'épistre au dieu d'amours</TITLE>, a <TGENRE GENRENAME="POETRY">poem</TGENRE> in reply to <NAME STANDARD="Meun, Jean de">Jean de Meun</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">Roman de la Rose</TITLE>.</TINTERTEXTUALITY> </CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="Pisan, Oeuvres poétiques II: 1" DBREF="8339">II: 1</BIBCIT> <BIBCIT PLACEHOLDER="Yenal 31" DBREF="108716">31</BIBCIT> </BIBCITS> </CHRONSTRUCT> <SHORTPROSE> <P> <PEDITIONS>In 2010 <NAME STANDARD="Hult, David F.">David F. Hult</NAME> translated and edited this, along with other related texts, many of them by Christine, under the title <TITLE TITLETYPE="MONOGRAPHIC">Debate of the Romance of the Rose</TITLE>.</PEDITIONS> </P> </SHORTPROSE> </PRODUCTION> <TEXTUALFEATURES> <SHORTPROSE> <P> <NAME STANDARD="Meun, Jean de">Jean de Meun</NAME>'s allegory of courtly love is in modern terms antifeminist or misogynist. <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> responds with an <SOCALLED>anti-anti-feminist </SOCALLED> view, and with the argument that <TTHEMETOPIC>women have serious historical importance</TTHEMETOPIC>. She shows, this early in her career, a sophisticated grasp of the literary tradition she works in, a self-consciousness about her status as a woman writing, and an understanding of the need to revision <TTHEMETOPIC>gendered conventions</TTHEMETOPIC>.<BIBCITS> <BIBCIT PLACEHOLDER="Reimer email" DBREF="19092"/> </BIBCITS> </P> </SHORTPROSE> </TEXTUALFEATURES> <RECEPTION> <SHORTPROSE> <P> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL"> <RSHEINFLUENCED> <TITLE TITLETYPE="MONOGRAPHIC">L'épistre au dieu d'amours</TITLE> led to a lengthy intellectual debate about women, and to correspondence of <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> with leading male French writers and intellectuals. <NAME STANDARD="Hoccleve, Thomas">Thomas Hoccleve</NAME> loosely translated her poem into English as <TITLE TITLETYPE="MONOGRAPHIC" REG="L'épistre au dieu d'amours">The Letter of Cupid</TITLE> in 1402.</RSHEINFLUENCED> </RRESPONSES> <BIBCITS> <BIBCIT PLACEHOLDER="Yenal 78" DBREF="108716">78</BIBCIT> </BIBCITS> </P> </SHORTPROSE> </RECEPTION> </DIV2> </DIV1> <DIV1> <HEADING>The 1400s</HEADING> <DIV2> <TEXTSCOPE DBREF="8340" PLACEHOLDER="CP, Epître d'Othéa, 1400, 1913"/> <PRODUCTION> <CHRONSTRUCT RESP="JAH" CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="PERIOD"> <DATE VALUE="1400" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1400</DATE> <CHRONPROSE> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> finished her second major <TGENRE GENRENAME="EPISTOLARY">epistolary <TGENRE GENRENAME="POETRY">poem</TGENRE> </TGENRE>, <TITLE TITLETYPE="MONOGRAPHIC" REG="Epitre d'Othéa">L'épîstre d' <TCHARACTERNAME REG="Othea">Otéa</TCHARACTERNAME> </TITLE>.</CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="McLeod xiv" DBREF="108375">xiv</BIBCIT> </BIBCITS> <SCHOLARNOTE> <P> <TCHARACTERNAME>Othea</TCHARACTERNAME> (the English form of the name) is an <TCHARACTERTYPEROLE PROTAGONIST="FEMALE">ancient Greek goddess</TCHARACTERTYPEROLE>.</P> </SCHOLARNOTE> </CHRONSTRUCT> </PRODUCTION> <TEXTUALFEATURES> <SHORTPROSE> <P>The poem takes the form of a letter she addresses to the <TCHARACTERTYPEROLE>Trojan hero</TCHARACTERTYPEROLE> <TCHARACTERNAME>Hector</TCHARACTERNAME> while he is a boy of fifteen, about the age of <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>'s son when she wrote it.</P> </SHORTPROSE> </TEXTUALFEATURES> </DIV2> <DIV2> <PRODUCTION> <SHORTPROSE> <P> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> chose a favourite mediaeval topic in 1403 for her <TITLE TITLETYPE="MONOGRAPHIC">Livre de la mutation de fortune</TITLE>. <PEDITIONS>In 2016 an English version was forthcoming as <TITLE TITLETYPE="MONOGRAPHIC">The Book of the <TTHEMETOPIC>Mutability of Fortune</TTHEMETOPIC> </TITLE>, translated and edited by <NAME STANDARD="Smith, Geri L.">Geri L. Smith</NAME>.</PEDITIONS> </P> </SHORTPROSE> </PRODUCTION> </DIV2> <DIV2> <TEXTSCOPE DBREF="8339" PLACEHOLDER="CP, Le livre du duc des vrais amans, c1404, 1886-1896"/> <TEXTUALFEATURES> <SHORTPROSE> <P> <TINTERTEXTUALITY GENDEROFAUTHOR="MALE" INTERTEXTTYPE="ANSWER"> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> covered new ground in <DATE CERTAINTY="C" VALUE="1404" CALENDAR="NEWSTYLE">about 1404</DATE> in her <TGENRE GENRENAME="POETRY">narrative poem</TGENRE> <TITLE TITLETYPE="MONOGRAPHIC">Le livre du duc des vrais amans</TITLE>, which goes further than she had before in <TTHEMETOPIC>challenging the adulterous paradigm of courtly love</TTHEMETOPIC>.<BIBCITS> <BIBCIT PLACEHOLDER="Pisan, Oeuvres poétiques III: 59" DBREF="8339">III: 59</BIBCIT> </BIBCITS> </TINTERTEXTUALITY> </P> </SHORTPROSE> </TEXTUALFEATURES> </DIV2> <DIV2> <HEADING>For the Dauphin</HEADING> <PRODUCTION> <SHORTPROSE> <P> <PMATERIALCONDITIONS>In the context of confused political power struggles in France, where the king, <NAME STANDARD="Charles VI,, King of France">Charles VI</NAME>, suffered from intermittent episodes of insanity,</PMATERIALCONDITIONS> CP wrote for the Dauphin, <NAME STANDARD="Guyenne, Louis de">Louis de Guyenne</NAME> (who never succeeded to the throne since he died before his father) two successive books on <TTHEMETOPIC>public life</TTHEMETOPIC>: <TGENRE GENRENAME="CONDUCTLITERATURE">moral and <TGENRE GENRENAME="POLITICALWRITING">political advice</TGENRE> </TGENRE> on the <TTHEMETOPIC>qualities which become a ruler</TTHEMETOPIC>. The first of these, <TITLE TITLETYPE="MONOGRAPHIC">Le Livre du corps de policie</TITLE>, was written in 1406-07. An English translation was printed in 1994, edited as <TITLE TITLETYPE="MONOGRAPHIC">The Book of the Body Politic</TITLE> by <NAME STANDARD="Forhan, Kate Langdon">Kate Langdon Forhan</NAME>, and the French text was edited for publication in 1998 by <NAME STANDARD="Kennedy, Angus J.">Angus J. Kennedy</NAME>.<BIBCITS> <BIBCIT DBREF="1709" PLACEHOLDER="OCLC"/> </BIBCITS> </P> </SHORTPROSE> </PRODUCTION> </DIV2> <DIV2> <PRODUCTION> <CHRONSTRUCT CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="PERIOD" RESP="IMG"> <DATERANGE CERTAINTY="ROUGHLYDATED" EXACT="BOTH" FROM="1412" TO="1414" CALENDAR="NEWSTYLE">Between 1412 and 14</DATERANGE> <CHRONPROSE>CP addressed to the Dauphin of France, <NAME STANDARD="Guyenne, Louis de">Louis de Guyenne</NAME>, another book of <TGENRE GENRENAME="CONDUCTLITERATURE"> <TGENRE GENRENAME="POLITICALWRITING">political advice</TGENRE> </TGENRE> on <TTHEMETOPIC>how he ought to govern if he came to the throne</TTHEMETOPIC>: <TITLE TITLETYPE="MONOGRAPHIC">Le Livre de paix</TITLE>, or <TITLE TITLETYPE="MONOGRAPHIC">The Book of Peace</TITLE>.</CHRONPROSE> <BIBCITS> <BIBCIT DBREF="151964" PLACEHOLDER="Venderville"/> </BIBCITS> </CHRONSTRUCT> <SHORTPROSE> <P> <PEDITIONS>An English translation was published in 2008, edited by <NAME STANDARD="Green, Karen">Karen Green</NAME>, <NAME STANDARD="Mews, C. J.">Constant J. Mews</NAME>, and <NAME STANDARD="Pinder, Janice">Janice Pinder</NAME>.</PEDITIONS> <PARCHIVALLOCATION>In early 2019 the <ORGNAME STANDARD="University of Toronto">University of Toronto</ORGNAME> announced its acquisition of a beautiful copy of this book, made about 1470 and illuminated using gold leaf. The other known copies survive in the national libraries of <PLACE> <GEOG>France</GEOG> </PLACE> and of <PLACE> <GEOG>Belgium</GEOG> </PLACE>.</PARCHIVALLOCATION> <BIBCITS> <BIBCIT DBREF="1709" PLACEHOLDER="OCLC"/> <BIBCIT DBREF="151964" PLACEHOLDER="Venderville"/> </BIBCITS> </P> </SHORTPROSE> </PRODUCTION> <TEXTUALFEATURES> <SHORTPROSE> <P>One of the topics discussed is the <TTHEMETOPIC>writer's relation to the body politic</TTHEMETOPIC>, including what we would call the <TTHEMETOPIC>freedom of the press</TTHEMETOPIC>.</P> </SHORTPROSE> </TEXTUALFEATURES> </DIV2> <DIV2> <HEADING> <TITLE TITLETYPE="MONOGRAPHIC" REG="Le livre de la cité des dames">The City of Ladies</TITLE> </HEADING> <TEXTSCOPE DBREF="8330" PLACEHOLDER="CP, Le livre des trois vertus, 1405, 1912"/> <TEXTSCOPE DBREF="8331" PLACEHOLDER="CP, Le livre de la cité des dames, 1405, 1986"/> <PRODUCTION> <CHRONSTRUCT RESP="JAH" CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="SELECTIVE"> <DATE VALUE="1405" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1405</DATE> <CHRONPROSE> <RBESTKNOWNWORK> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> wrote <TITLE TITLETYPE="MONOGRAPHIC">Le livre des trois vertus</TITLE> and finished writing <TITLE TITLETYPE="MONOGRAPHIC">Le livre de la cité des dames</TITLE>.</RBESTKNOWNWORK> </CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="Yenal 44-6" DBREF="108716">44-6</BIBCIT> <BIBCIT PLACEHOLDER="McLeod xvi" DBREF="108375">xvi</BIBCIT> </BIBCITS> </CHRONSTRUCT> <SHORTPROSE> <P> <PEDITIONS>The latter, now called in English <TITLE TITLETYPE="MONOGRAPHIC" REG="Le livre de la cité des dames">The Book of the City of Ladies</TITLE> or <TITLE TITLETYPE="MONOGRAPHIC" REG="Le livre de la cité des dames">The City of Ladies</TITLE>, was translated by London printer <NAME STANDARD="Pepwell, Henry">Henry Pepwell</NAME> in <DATE VALUE="1521" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1521</DATE> as <TITLE TITLETYPE="MONOGRAPHIC" REG="Le livre de la cité des dames">The Boke of the Cyte of Ladyes</TITLE>; <PAUTHORSHIP>this unusually accurate translation is explicit about <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>'s gender.</PAUTHORSHIP> <BIBCITS> <BIBCIT PLACEHOLDER="Summit 93" DBREF="13663">93</BIBCIT> </BIBCITS> </PEDITIONS> </P> </SHORTPROSE> </PRODUCTION> <TEXTUALFEATURES> <SHORTPROSE> <P>This is another important work on the <TTHEMETOPIC>social position of women</TTHEMETOPIC>, <TTECHNIQUES>which musters all the strategies of late-medieval rhetorical debate in discussing such topics as <TTHEMETOPIC>female education</TTHEMETOPIC> and the <TTHEMETOPIC>institution of marriage</TTHEMETOPIC>.</TTECHNIQUES> It praises <TTHEMETOPIC>distinguished women of history such as <NAME STANDARD="Sappho">Sappho</NAME> </TTHEMETOPIC> (whose achievements disprove the <TTHEMETOPIC>scholastic conviction of women's intellectual inferiority</TTHEMETOPIC>).</P> </SHORTPROSE> </TEXTUALFEATURES> <RECEPTION> <SHORTPROSE> <P> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">It was much discussed in its own day,</RRESPONSES> <RRESPONSES RESPONSETYPE="RE-EVALUATION" FORMALITY="FORMAL">but, like other works by women, later dropped out of the literary and intellectual record.</RRESPONSES> <RRESPONSES>Recently it has received much critical attention, notably a monograph by <NAME STANDARD="Quilligan, Maureen">Maureen Quilligan</NAME>, <TITLE TITLETYPE="MONOGRAPHIC">The Allegory of Female Authority, Christine de Pizan's Cité des dames</TITLE>, Cornell, 1992.</RRESPONSES> <BIBCITS> <BIBCIT PLACEHOLDER="OCLC" DBREF="1709"/> </BIBCITS> </P> </SHORTPROSE> </RECEPTION> </DIV2> <DIV2> <HEADING>Joan of Arc</HEADING> <TEXTSCOPE DBREF="8332" PLACEHOLDER="CP, Ditié de Jehanne d'Arc, 1429, 1977"/> <PRODUCTION> <CHRONSTRUCT RESP="JAH" CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="SELECTIVE"> <DATE VALUE="1429-07-31" CALENDAR="NEWSTYLE" CERTAINTY="CERT">31 July 1429</DATE> <CHRONPROSE> <PLASTLITERARYACTIVITY> <PMOTIVES MOTIVETYPE="SELF-IDENTIFIED"> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> finished her <TITLE TITLETYPE="MONOGRAPHIC">Ditié de Jehanne d'Arc</TITLE>, a <TGENRE GENRENAME="POETRY">poem</TGENRE> commemorating <TTHEMETOPIC> <NAME STANDARD="Joan of Arc">Joan of Arc</NAME>'s victory at <PLACE> <SETTLEMENT>Orléans</SETTLEMENT> <GEOG REG="France"/> </PLACE> </TTHEMETOPIC> that year, and the subsequent <TTHEMETOPIC>coronation of <NAME STANDARD="Charles VII,, King of France">Charles VII</NAME> </TTHEMETOPIC>.</PMOTIVES> </PLASTLITERARYACTIVITY> </CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="McLeod xx" DBREF="108375">xxi</BIBCIT> </BIBCITS> </CHRONSTRUCT> </PRODUCTION> <TEXTUALFEATURES> <SHORTPROSE> <P> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>'s was the only poem to celebrate Joan during the latter's lifetime.<BIBCITS> <BIBCIT PLACEHOLDER="McLeod xxi" DBREF="108375">xxi</BIBCIT> </BIBCITS> </P> </SHORTPROSE> </TEXTUALFEATURES> </DIV2> </DIV1> <DIV1> <HEADING>Legacy</HEADING> <DIV2> <HEADING>Printing with Chaucer</HEADING> <PRODUCTION> <CHRONSTRUCT RESP="IMG" CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="DECADE"> <DATE VALUE="1526" CALENDAR="NEWSTYLE" CERTAINTY="CERT">1526</DATE> <CHRONPROSE> <PMOTIVES> <PEDITIONS> <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>'s <TITLE TITLETYPE="ANALYTIC"> <TGENRE GENRENAME="APHORISM">Proverbes</TGENRE> moraulx</TITLE>, written in <DATE VALUE="1400" CERTAINTY="C" CALENDAR="NEWSTYLE">about 1400</DATE> for the education of her son, were reprinted in <NAME STANDARD="Pynson, Richard">Richard Pynson</NAME>'s edition of <NAME STANDARD="Chaucer, Geoffrey">Chaucer</NAME> as <TITLE TITLETYPE="ANALYTIC" REG="Proverbes moraulx">The Morall proverbes of Christyne</TITLE>.</PEDITIONS> </PMOTIVES> </CHRONPROSE> <BIBCITS> <BIBCIT PLACEHOLDER="Summit 87, 92" DBREF="13663">87, 92</BIBCIT> </BIBCITS> </CHRONSTRUCT> <SHORTPROSE> <P> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES">Critic <NAME STANDARD="Summit, Jennifer">Jennifer Summit</NAME> calls this a ghostly reminder that <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME> was the inventor of courtly polite literature.</RRESPONSES> </P> </SHORTPROSE> </PRODUCTION> </DIV2> <DIV2> <HEADING>Rape Scenes</HEADING> <RECEPTION> <SHORTPROSE> <P> <PRARITIESFEATURESDECORATIONS>Art historian <NAME STANDARD="Wolfthal, Diane">Diane Wolfthal</NAME> gives a whole chapter to the way that illustrators of <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>'s work studiously avoided <TMOTIF MOTIFNAME="rape">rape</TMOTIF> scenes.<BIBCITS> <BIBCIT PLACEHOLDER="Wolfthal" DBREF="7271">127-50</BIBCIT> </BIBCITS> </PRARITIESFEATURESDECORATIONS> A recent growth of serious interest in her work, and a harvest of high-level scholarship and critique, have replaced an earlier attitude which saw <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>, both in herself and as a foremother, as equally deplorable. <NAME STANDARD="Lanson, Gustave">Gustave Lanson</NAME> exemplified this misogynist attitude in his prestigious late-nineteenth-century history of French literature when he called her <QUOTE DIRECT="Y" LAYOUT="INLINE">first of that insufferable lineage of women authors . . . who, during the whole life God gave them, keep busy multiplying the proofs of their tireless facility matched by their universal mediocrity.</QUOTE> <BIBCITS> <BIBCIT PLACEHOLDER="Collado 154" DBREF="32825" QTDIN="QTDINYES">154</BIBCIT> </BIBCITS> <SCHOLARNOTE> <P> <NAME STANDARD="Collado, Melanie E.">Melanie E. Collado</NAME> provides the English translation of this passage from French, but cites a later edition of Lanson's work which obscures his actual date.<BIBCITS> <BIBCIT PLACEHOLDER="Collado 154, 160" DBREF="32825">154, 160</BIBCIT> </BIBCITS> </P> </SCHOLARNOTE> </P> </SHORTPROSE> </RECEPTION> </DIV2> <DIV2> <HEADING>Manuscripts</HEADING> <PRODUCTION> <SHORTPROSE> <P> <PARCHIVALLOCATION> <PRARITIESFEATURESDECORATIONS>Both the <ORGNAME STANDARD="Bibliothèque Nationale">Bibliothèque Nationale</ORGNAME> in <PLACE> <SETTLEMENT>Paris</SETTLEMENT> <GEOG REG="France"/> </PLACE> and the <ORGNAME STANDARD="British Library">British Library</ORGNAME> in <PLACE> <SETTLEMENT>London</SETTLEMENT> <REGION REG="Middlesex"/> <GEOG REG="England"/> </PLACE> have important manuscripts of works by <NAME STANDARD="Christine de Pisan">Christine de Pisan</NAME>, many of them beautifully illuminated.</PRARITIESFEATURESDECORATIONS> Those at the British Library, including the <SOCALLED>Queen's Manuscript</SOCALLED> (Harleian 4431), have been filmed by <ORGNAME STANDARD="Adam Matthew Publications">Adam Matthew Publications</ORGNAME> in <TITLE TITLETYPE="SERIES">Medieval and Early Modern Women: Part I: Manuscripts from the British Library, London</TITLE>.</PARCHIVALLOCATION> </P> </SHORTPROSE> </PRODUCTION> </DIV2> </DIV1> </WRITING> <WORKSCITED> <SOURCE>Unless otherwise noted, all information is from the FC</SOURCE> <SOURCE>Carroll, Margaret D. Images of Rape. 1999.</SOURCE> <SOURCE>Christine de Pisan. Oeuvres poetiques. 1886</SOURCE> <SOURCE>Collado, Melanie E. How Dare They Write? 2004.</SOURCE> <SOURCE>McLeod, Glenda K. (trans.) Christine de Pizan</SOURCE> <SOURCE>McLeod, Glenda K. Christine de Pizan. 1993.</SOURCE> <SOURCE>OCLC.</SOURCE> <SOURCE>Reimer, Stephen R. Email. 1 December 2002.</SOURCE> <SOURCE>Summit, Jennifer. Lost Property. 2000.</SOURCE> <SOURCE>Unless otherwise noted, all information is from the FC.</SOURCE> <SOURCE>Willard, Charity Cannon Christine de Pizan</SOURCE> <SOURCE>Willard, Charity Cannon. Christine de Pizan. 1984.</SOURCE> <SOURCE>Yenal, Edith Christine de Pisan</SOURCE> <SOURCE>Yenal, Edith Christine de Pisan. 1982.</SOURCE> </WORKSCITED> </DIV0> </ENTRY>
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<byline><orgName>Groupe de Cinq</orgName></byline></div> <div><p> Themembers: Martine Azalea, Judy Blum, Nicole Croiset, Mimi, and Nil Yalter<orgName key="Group of Five" ref="http://www.wikidata.org/entity/Q2720495">Group of Five</orgName> is a <placeName key="Paris" ref="http://www.wikidata.org/entity/Q90">Paris</placeName>-based collective consisting of Martine Aballea, Judy Blum, Nicole Croiset, <persName key="Mimi" ref="http://www.wikidata.org/entity/Q15303153">Mimi</persName>, and Nil Yalter, who include among their skills Nilvideo, painting, sculpture, drawing, and Martinepoetry; and among their nationalities French, Turkish, Canadian, American. This work on prisonLa Roquette began when Judy and Mimi met through their children at a day-care center. Judy mentioned her collaboration with Nil on the theme of living conditions in each of Paris' 20 arrondissements, for which the prison had been suggested to represent the 11th administrative districtarrondissement. Mimi, it turned out, had been detained there, and she offered an elaboration of her experiences. Martine, whose writing is based on her own memories and dreams, also joined the project, while Nil offered her use of video to universalize the narrative elements, in collaboration with Nicole, who concentrated on the esthetic/sociological aspects of the research. The result is a visual representation of the prison and of the personal experiences of many women, centered around the group's increasing consciousness of the meaning of narrative with videotape, and imagesMimi's story: "Bonds of friendship, constantly confirmed, played the most cohesive role on the level of the work itself, resulting in the combination of apparently disparate means connected to each other by mutual understanding within the group." The following narrative accompanies a videotape from which most of the images are taken.</p> <p>The other women were mostly in the prison for bad checks, prostitution, or, like me, for robbery. There were also some murderers; I knew one in my workshop. Another had been accused of stealing a painting. The first days we asked each other, but afterwards we didn’t really say "What are you doing here?" except to our best friends. </p> <p> These women came from all classes. In general, relations be tween inmates were pretty good. There were a lot of lesbians; the nuns' attitudes toward them was to turn a blind eye. They couldn't not have known about it. The girls hid it a little—and even a lot—but it was too obvious. As for me, I was not a lesbian, but I nevertheless flirted here and there to pass the time. It could have certain advan¬ tages: when you didn’t have any money, your friends could buy things at the canteen for you. Or, at one time, I went out with an English girl who was the favorite of a nun who didn’t like me, and from that day on, that nun was very nice to me, and I got certain favors I shouldn’t have had. </p> <p> But still there were lots of fights, sometimes for no reason at all, just because the girls felt like fighting. Sometimes it was a question of class. Some girls felt superior to others: it wasn’t a question of money, but of intellect. ... So sometimes one girl would insult another, or feel insulted, and there would be a fight. We were a whole gang; some had to be in charge. And if you knew how to fight, you were respected. There was nothing you could do about it.</p> <p> Sometimes fights started over cigarettes. For example, I got into a fight with a girl over that. Every Wednesday we had the right to buy four packs of cigarettes at the canteen. This girl didn’t smoke, so, with my money, I had bought her something she needed, and she, with her money, was going to buy me four more packs, which would have made eight for the week. She bought me the cigarettes, but another girl told her to give them to her. She was very weak and she didn’t dare refuse. That night I waited for her in her cell and I beat her up. The week after that she bought me cigarettes, and she didn’t even ask me for money. Afterwards—it's stupid, she was a coward—she would pick up butts in the yard for me, when I really didn’t expect that from her. When the other girls saw that, they all turned against her. When I saw that, I stood up for her, because I don’t like to take sides. l'd hit her a little, but I didn’t have a grudge against her.</p> <p> Another time there was a fight in the mess hall, in front of the nun. There was blood on the floor: one girl had had a nosebleed, and the other had been hurt elsewhere. I was drawing; with my finger picked up some drops of blood and put them on my drawing. </p> <p> But there was also a feeling of solidarity among the inmates. One time, for example, a girl had been punished and locked up in the mess hall toilets. I didn’t know what she had done, I don’t even know if she had really done anything; in any case it was totally unjust to lock her up like that. So, with my friend, I climbed onto the ledge over the mess hall door and we said that we would stay there until they let this girl out. Normally we should have done two weeks in the cooler for that, but we didn’t get anything. We would have done it anyway because it was unjust.</p> <p>Or one day a girl gave me a little piece of candle about two inches long. We were forbidden to have candles, but there were a lot of things like that that went around the prison. I don’t know how she got it; that was the sort of question you didn’t ask. She gave it to me because she knew that I liked to read.</p> <p>We also managed to pass notes from cell to cell by what we called the "yoyo" system. You tied the note to a piece of string and you put it through the window. We did that for certain girls who were in the cooler when we were in the yard. We would send them a note <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_040.jpg"/> from their best friends or something like that.</p> <p>As for the nuns, apart from some who were especially mean, they were mostly indifferent. But they had, of course, their favorites. It was a question of personality: they liked the docile inmates. In the beginning they didn’t like me because I was stubborn and rude to them. Afterwards, I sometimes behaved better. But in any case, being with the English girl, I could do things that were forbidden and not get punished. Sometimes, for example, I would go into the yard to pick up butts that the richer girls had left; we weren’t allowed to do that other than at recess. Or I tried doing all kinds of things so I could go to the cooler, because l had a friend who sang in church and in the cooler there was a lot of echo. But despite all I did I never got sent, while some girls did nothing at all and got sent right away.</p> <p>Down in the cooler you were isolated from everybody. You got no mail or visits. You never left your cell, except once a day when you had a walk, alone, in the yard. You only had one meal a day which was brought to you in your cell.</p> <p>Generally speaking, it took a certain amount of time to make friends. I didn’t have this problem because there were already two people there whom I knew when I arrived. But for the others who had no soap, no handkerchiefs (the prison gave you nothing, not even sanitary napkins; all they gave me when I came in was a rag to wash myself with), if they weren’t resourceful, if they didn’t get some friends to help them, they couldn’t make it. You had to work about ten days before having enough money to buy things at the canteen.</p> <p>The money that you made working, making key rings, was only just enough to buy cigarettes. You were paid 80 centimes (15 cents) for one hundred key rings, about a day’s work. Those who worked really fast managed to make two hundred. I started working the second day after my arrival, but I lost the tool I had been given. I got yelled at by the nun, and I saw that it was badly paid, so I stopped. Instead, I spent my days reading. I could do this because I was not sentenced yet, while those who were had to work. The catalogue from the library was passed in the workshop and we had the right to two books a week; I would ask some girls who didn’t read to order some for me. I read everything—<persName key="Pearl S. Buck" ref="http://www.wikidata.org/entity/Q80900">Pearl Buck</persName>, books on explorations. also spent a lot of time drawing, and sometimes I would go out. My seat was at the end of the workshop, near the door, so it was easy for me to go out in the yard when the nun wasn’t looking.</p> <p>The money that you had on you on entering the prison was kept; you could only use it in the canteen. Some inmates received money orders; many of them, actually, got money. As for me, my brother <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_041.jpg"/>sent me a hundred francs (20 dollars) and a little money that I had left in a book at my mother's. But for those who had no money at all, the only way to get any was to work.</p> <p>At the canteen you could buy pencils, letter paper, envelopes, toilet articles, or wool. Some knitted; it was winter and it was neces sary if you didn’t have any clothes. You could also buy french fries, puddings and prepared dishes that you could have on Sundays. We couldn’t have newspapers, but we could buy magazines like Jours de France.</p> <p>About these magazines—we bought them for the recipes that were in them. Often there were pictures with the recipe, so we would tear them from the magazine and eat them. For example, if you liked salad, you would eat pictures of salad. We also ate pictures of chicken, cakes, or things like that.</p> <p>At the meals we got mostly starchy food—potatoes, beans, or cauliflower; there was also bread. They gave us meat, but it was very tough. In fact we couldn’t cut it with the blunt children's knives that we bought at the canteen. We ate it with our hands, tearing it with our teeth. At the end of the meal—which had been served by inmates—we did our own dishes. We had brought our bowls and our cutlery to the mess hall in the cardboard boxes that we took everywhere with us, and we went in little groups to wash them with cold water. To wipe them, l used the rag they had given me when I came in...</p> <p>About twice a week we could bring back up to the cells the rice pudding we had had for dessert at supper. I loved this and often exchanged two cigarettes for a bowl. We went up two by two, and silently. If we talked, the nun made us stop until we were silent again. Between the time we went up and the time we went to bed there was about half an hour, when we had the right to stay near the stove and toast pieces of bread. We talked, or we sang; l'had a friend who sang very well, and we gathered around her. She sang some of Adamo's songs, but also some she had written herself, like one about the nuns to the tune of Morpionibus. She also sang in church; she had spent years in a religious boarding school and she knew the whole mass in Latin. ... It was forbidden to sing in the cells once the doors were closed, but we did it anyway. We all sang together. The nuns couldn’t put us all in the cooler; they contented themselves with yelling into the void.</p> <p>On our beds we had the right to three blankets—and no more— and two sheets. In summer it might be enough, but in December found another blanket when one of the girls in my cell left, but it was <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_042.jpg"/>there was one stove for forty cells. One girl in my cell had accumulated several cardboard boxes; for a while she used them as storage space. Then one night when all the doors had been locked and the lights turned out, she set fire to her boxes to get warm. A nun realized this and came to ask what was going on. We both pretended to sleep, but in the end I lifted my head and told the nun that I didn’t know anything, that I hadn’t seen anything, and that I couldn’t tell her anything else.</p> <p>It wouldn’t stick: I was all alone with the other girl and I was saying that I hadn’t seen anything. The next day the girl I was friends with said that I couldn’t have done it. She knew me and she knew that didn’t have bizarre ideas like that. The other girl did two weeks in the cooler, but I could have gone too because I hadn’t said anything....</p> <p>Every week there was a shower session. It was in cubicles that didn’t close, and there were three of us in each cubicle. The water ran sometimes too hot, sometimes too cold. When it stopped, everyone had to be through, and even if your head was full of soap, there was nothing you could do about it. You had to find a way to rinse yourself with cold water afterwards; sometimes when you finally got a chance to do it, your head was already half dry.</p> <p>As for clothes, pants were forbidden. Men were banished from our environment and the nuns would say "Stop wriggling!" when we saw workers from <placeName key="Fresnes Prison" ref="http://www.wikidata.org/entity/Q5503154">Fresnes</placeName> (men’s prison). We weren’t supposed to look at them. We had to wear dresses or skirts. When I arrived, I was wearing pants, so to replace it they gave me a burlap dress. In the beginning I didn’t have any other clothes; I wore it night and day. couldn’t wash it and until I got other clothes, my dress stayed dirty.... One girl had made herself a skirt from a blanket, so she went to the cooler. It was a beautiful skirt and it was a long time before they realized what she had done. I don’t know where she found the needle and thread; they were among the things that circu¬ lated. ... The sheets and rags which had been given to us were washed in the linen room. The linen maids, like those who served the meals, were inmates who had been there a long time and who had won the trust of the nuns. The sheets were changed about once a month; it was far from ideal when there were lice.</p> <p>During my stay there was an epidemic of lice. The nuns told us to go to the kitchen and ask for vinegar, and we put it on our heads. When it was dry we put on some powder, and then a scarf; we stayed like that for three days. If you had lice it was considered bad and no one approached you any more. One of the nuns made fun of me; she said, "If you washed every day. " or something like that. I told her that she had surely had them before me. It was the first time in my life that I had them, so.</p> <p>The cells were searched pretty often, sometimes when we were there, but mostly during the day when we were in the workshop. The nuns looked for knives and candles we had gotten by exchange, or other things we weren’t allowed to have. They also looked for mail between inmates; we had the right to write letters to each other, but not love letters. Once one of the nuns—a young one who must have been under thirty—wrote to one of my friends. She told her that she liked her and that she would like to have a closer relationship with her. The letter was found and the nun in question was expelled. This sort of thing happened from time to time.</p> <p>Everything we received from the outside was also searched. We received our packages all cut up and opened. All our letters were read, those that we got as well as those we sent. Some had practically nothing in them, but they couldn’t go through because they were too long. People wrote to us with the smallest writing possible because one page, written very small, went through, but 2 pages, written in large letters, didn’t. As for the letters that we wrote, everything concerning prison life, the nuns, or what we ate, was censored. We could talk about the books we had read, and a minimum about what we did, but that was all. In general, what went through or not depended on the person who read the mail. Some letters that shouldn’t have gone through went anyway, and vice versa.</p> <p>We were also searched when we left the prison. You couldn’t take out anything that might be a souvenir. One of my friends, for example, had made a drawing of a little girl taking water in her hand to offer a doe; they didn’t let her take her drawing out. In these searches you couldn’t really hide anything, and what was least likely to be found was what wasn’t hidden. In the end they looked more often into the girls' vaginas to see if they had hidden letters than in the luggage. As for me, I had certain drawings and papers which normally I wouldn’t have been allowed to take out. I just left them with my things and they weren’t even seen.</p> <p>It was on the eve of my departure that they told me that I was coming out. Until then I had no idea how long they were going to keep me. I could have gone out on probation before, but only on condition that they tell my mother. I preferred that they didn’t. Once out, I didn’t have the right to write to my inmate friends who stayed. Sundays were different from other days. In the morning, some went to church and the others stayed locked up in their cells, but we could go into our friends' cells. Afterwards we did the cleaning up</p> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_043.jpg"/> <p>That day we didn’t work, and we could sit where we liked in the workshop-mess hall. The nuns put the radio on, but they turned it off as soon as the news came on. They didn’t let us know what was going on in the outside world. To pass the time we played games. For instance, we played truth games. We asked questions about incidents that had happened a few days before and about which we hadn’t managed to find out the truth. The girls were generally honest; you couldn’t lie in that game, otherwise you didn’t play. But the biggest pastime was cards—Tarot, Belote. Some of them were played with real cards that some girls had managed to smuggle in. The others had been made with empty packs of Gitanes on which we had drawn.</p> <p>Some girls tattooed themselves. They would take ink from ball point pens and mix it with cigarette ash. This way they managed to make an ink which was pretty indelible—blue-black. Then they took two needles, one projecting in front of the other, and put a drop of ink between them. Then, with the projecting needle they made the drop slip into the hole. This made a point; they made as many points as they wanted. They made snakes, hearts, names, but mostly just three points, which means "Death to the Pigs," or five points "Alone Between Four Walls." It was the emblem of prison.</p> <p>We wrote all over ourselves with pens, and there were ways of making up your face. With ashes from the stove in the hall and water we could make mascara. There were black felt pens that we could use as eyeliner, but it was hard to take off and we usually did it with shoe polish that we got at the canteen. We mostly made our eyes up, but some girls put brown pencil around their lips.</p> <p>Some girls reacted badly to prison lite, but we tried to help them, and they managed to make friends, to find people who helped them &gt;overcome their distress. I wouldn’t leave a poor girl by herself who arrived here and who looked completely lost. I went to see her, talked to her. Of course there were those who had their husbands and their children outside; for them it was harder. I was told that once a girl hanged herself. Sometimes there were also attempts at escape; was told that one inmate hid herself in a garbage can, but she didn’t have time to get out and was killed inside the garbage truck.</p> <p>At Christmas <orgName key="The Salvation Army" ref="http://www.wikidata.org/entity/Q188307">the Salvation Army</orgName> came. We got together in the mess hall and listened to them sing Christmas carols. These women were very nice. They gave each of us a towel, a handkerchief, and a pack of candy. We had a lot of fun because we weren’t used to seeing this sort of woman. Everybody was laughing, but they were well received by the inmates. In the end we thought it was really nice of them to trouble themselves for us. I think a lot of the girls were touched.</p> <p>For the meal, we put all the tables together to be the most together possible. Those who had saved a little money bought pastries, but almost everything was shared. I, for example, didn’t have any money, but I had a little of everything like everybody else. On the part of the prison, there was nothing, except that we didn’t work that day and we could go to midnight mass. A lot of people were depressed that day; all this reminded us of our families and of all the things we were trying to forget. It was nice, this party, but actually it was painful. The monotony of the other days was better. We didn’t really give each other presents. We didn’t have the possibility of giving anything, except cigarettes. The girl I was going out with gave me some cigarettes. </p></div> </body> </text> </TEI>
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"Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105122441#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.7.3" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105122441#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "The exhibition also provided a\n\t\t\t\t\tgood starting point for sorting out my own views on the more complex issues 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"https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105136665#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.7.3" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105136665#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Orbiter Vol. 15, No. 20 (1975), p. 2,\n\t\t\t\t\tfrom a letter to the editor by the Women's Week Planning Committee." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": 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"schema:softwareVersion": "2.7.3" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105146240#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[4]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Glenda Madrid (of the Aerospace Office of Equal\n\t\t\t\t\tOpportunity and Women's Planning Committee) in conversation with the\n\t\t\t\t\tauthor." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { 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with contemporary art forms did not share the\n\t\t\t\t\tprotesters' offense, it is very unlikely that a \"neutral“ exhibit of\n\t\t\t\t\tcontemporary art would have caused similar negative reactions. 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"dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105208940", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:52:08.940Z", "dcterms:modified": "2022-10-22T14:52:08.940Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105208940#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.7.3" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105208940#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "All the quotations from artists\n\t\t\t\t\tare from recent interviews conducted for this article" }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": 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"https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105223573#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[16]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "The precedent for this feminist use of the sticker is Susana\n\t\t\t\t\tTorre's exhibition catalogue for \"Twenty-Six Contemporary Women Artists“\n\t\t\t\t\t(Aldrich Museum, Ridgefield, Conn. April, 1971), in which tearing the seal\n\t\t\t\t\timplied not only physical violation in order to \"enter\" the long-hidden works of\n\t\t\t\t\twomen artists, but also the destruction of a square cold black seal on a white\n\t\t\t\t\tcover, which represented the prevalent Minimal Art, to reach the warm inside\n\t\t\t\t\tcovers, colored red." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": 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the picture." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": 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Its literal\n\t\t\t\t\tcharacter prevented me from exhibiting it in that context, as l anticipated that\n\t\t\t\t\tit would be shocking to the audience." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": 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"https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105328407#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.7.3" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105328407#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[27]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Joanne Parent (one of the authors of\n\t\t\t\t\t\"The Fourth World Manifesto“) told me the following incident. While she was\n\t\t\t\t\tworking in a factory, experiencing first-hand the hardships involved, she\n\t\t\t\t\tunderstood how well Rivera's mural portrayed those; but when she commented on\n\t\t\t\t\tthat to her fellow workers they negated or at least minimized their own\n\t\t\t\t\texperience of oppression compared to its heightened portrayal in the mural. The\n\t\t\t\t\tsimilarity to women's situation is that workers who (consciously or\n\t\t\t\t\tunconsciously) feel powerless in their jobs deny the pain of their experiences\n\t\t\t\t\tif its expression would jeopardize the only wage-earning option available to\n\t\t\t\t\tthem. It is no accident that women all over the country first explored their\n\t\t\t\t\toppression in the private, safe, and supportive context of consciousness-raising\n\t\t\t\t\tgroups, removed from the institutions in which they experienced that\n\t\t\t\t\toppression in their daily lives." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105340474", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:53:40.474Z", "dcterms:modified": "2022-10-22T14:53:40.474Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105340474#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.7.3" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105340474#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[27]/note[2]" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "It is for this reason that feminism and feminist art have validity\n\t\t\t\t\tfor all women. For the same reason, the Marxist model of workers' oppression\n\t\t\t\t\tdoes not ultimately address itself to women's oppression, beyond that of\n\t\t\t\t\tworking-class women. For an extensive analysis of these issues see \"The Fourth\n\t\t\t\t\tWorld Manifesto,\" reprinted in: Radical Feminism, Anne Koedt. Ellen Levine,\n\t\t\t\t\tAnita Rapone, eds. (New York, 1973), pp. 322-357." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105419873", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:54:19.873Z", "dcterms:modified": "2022-10-22T14:54:19.873Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105419873#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.7.3" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/iskin.xml?note_annotation_20221022105419873#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[11]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Orbiter,\n\t\t\t\t\tVol. 15, No. 20 (1975), p. 2." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { 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Iskin</persName></persName></byline> </div> <div> <p> In early summer of 1975 1 was asked by the Women's Committee and the Office of Equal Opportunity of <orgName key="The Aerospace Corporation" ref="http://www.wikidata.org/entity/Q7712741">Aerospace Corporation</orgName> to curate an exhibition of women's art on the subject of female experience. This seemed to me to offer the potential of reaching a broad audience and avoiding the defensive reactions often attached to "feminist art“ or "female sensibility“ in the art world.<note type="scholarNote">The exhibition also provided a good starting point for sorting out my own views on the more complex issues of feminist content and female sensibility in art, though 1prefer the term "female form language“ to "female sensibility" or "female imagery" because the latter have come to be identified with one specific, biologically oriented theory.</note> This art has been at the heart of an ongoing, often heated controversy which has clouded the issues and obstructed direct perception of the work. </p> <p>Female experience has been the starting point for the new art created by feminists since 1969. Consciousness raising and other forms of women's communication, sharing and group action, initiated as a result of the women's movement, made female experience a rich source of subject matter and sparked the fresh energy with which women are making art. For the show I selected the work of 15 L.A. artists<note type="scholarNote">Funding limitations did not permit the inclusion of works by artists who reside outside of the L.A. area.</note> to represent both a broad scope of women's experiences and a diversity of media, ranging from large environ¬ mental pieces to paintings, drawings, photography, prints, collage, assemblage, and artists" books. In an attempt to build a bridge between the art and the creators' intentions, I requested written statements from the artists, which, along with biographical information, were available in a folder in the exhibition area.</p> <p>The exhibition was on view from August 18th through September 5th in the Cafeteria Conference Dining Rooms of the Aerospace Corporation. It was the first exhibition of professional art on the company's grounds, preceded only by shows of art by employees. Although sponsored and funded by the corporation, the show was initiated by feminist employees who conceived it to offer "insight into the emotional aspects of contemporary women.“<note type="scholarNote" ><title>Orbiter</title> Vol. 15, No. 20 (1975), p. 2, from a letter to the editor by the Women's Week Planning Committee.</note> They scheduled it to coincide with Women's Week, a program featuring prominent speakers and entertainers.</p> <p>The management of Aerospace Corporation ("a non-profit research and development corporation which provides technical direction of general systems of engineering, primarily for the Air Force“<note type="scholarNote">Glenda Madrid (of the Aerospace Office of Equal Opportunity and Women's Planning Committee) in conversation with the author.</note>) had been forced to develop new policies for hiring women in order to meet affirmative-action requirements for receiving government funds. Women are in the minority, constituting only 25% of the roughly 3,200 Aerospace employees. Most of them (80%- 85%) are in lower-echelon clerical and secretarial positions; only a few rank among the engineers, scientists, or chief administrators. The company was, no doubt, hoping that the art exhibition and the activities of Women's Week would go on record as testimony to their newfound good will toward women. Much to my surprise, and to the dismay of the sponsors, the exhibition became the focal point of hot debate. Violent emotional reactions, protest and support quickly assumed the dimensions of a local scandal and echoed for months in letters to the editor in <title>The Orbiter</title>, the company's newspaper.</p> <p>The art in the exhibition offered a feminist point of view on subject matter usually treated from a male perspective. Though one might assume that the controversial responses arose out of an alienation from contemporary art forms, it seems that the conflict stemmed primarily from feminist content.<note type="scholarNote">Though some of the non-feminist viewers more familiar with contemporary art forms did not share the protesters' offense, it is very unlikely that a "neutral“ exhibit of contemporary art would have caused similar negative reactions. In addition, none of the protesters mentioned any criticism of art forms; all their comments tended to focus on content, and most of them made reference to a general distaste for feminism.</note> None of the works included were blatantly political protest art, yet they all reflected, to varying degrees, a new feminist consciousness. It was this consciousness —judging from the reactions of many of the female viewers—that was unfamiliar and threatening.</p> <p>We are accustomed to think of political art as crude, illustrative, or plainly propagandistic, in contrast to "good/serious/modernist" art. It has of course been pointed out that no art is entirely disconnected from its historical, political, cultural, and geographical environment, and that therefore any art reflects these conditions. However, feminist art is often labeled political art because the consciousness it reflects is held by a minority, and it is at odds with the tacit beliefs of those in power. The label "political art“ is used to demean the work rather than to evaluate its artistic significance.</p> <p>In a recent interview with <persName key="Judy Chicago" ref="http://www.wikidata.org/entity/Q441440">Judy Chicago</persName>, the artist articulated her thoughts and feelings about these issues:</p> <quote>The issue of politics for me arises at the point where my work interfaces with culture; it does not arise at the point of origin in my studio. never think about politics when ! make my art; rather 1 think about being true to my own impulses, and for a woman to be true to her own impulses is, at this point in history, a political act.... What ! challenge is the idea that masculinity is inherently better than femininity; that hardness is better than softness, that defensiveness is better than vulnerability, and <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_074.jpg"/> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_075.jpg" /> that violence is better than sharing. The assertion of womanhood is a challenge to all these values that allow war dehumanization, rape, and art that lacks relationship with reality to continue.<note type="scholarNote">All the quotations from artists are from recent interviews conducted for this article</note></quote> <p> <persName key="Faith Wilding" ref="http://www.wikidata.org/entity/Q5431238" >Faith Wilding</persName> elaborated on the relation between personal and political change:</p> <quote>It has always been a tenet of the feminist movement that the personal is political. It is political because when a person becomes transformed, enters into public experience, and infuses her own experience into the publi c, the world becomes transformed for her but in addition she then has the possibility of transforming the world. We have witnessed too many people who are in politics who have never experienced any kind of personal change or real vision.</quote> <p> What specifically triggered the controversy? The art in the exhibition included a wide range of feminist work: parodies on public images of women (<persName>Helen Alm Roth</persName> and <persName key="Carole Caroompas" ref="http://www.wikidata.org/entity/Q5044669">Carole Caroompas</persName>); private images of women and interior spaces (<persName>Margaret Neilson</persName>); women's self-images integrated with their historical and mythological references (<persName key="Judy Chicago" ref="http://www.wikidata.org/entity/Q441440">Judy Chicago</persName> and <persName key="Faith Wilding" ref="http://www.wikidata.org/entity/Q5431238" >Faith Wilding</persName>); references to women's vulnerability, powerless¬ ness, and powerfulness (<persName key="Astrid Preston" ref="http://www.wikidata.org/entity/Q108480540">Astrid Preston</persName>); relics of admired female figures as magic talismans (<persName>Hazel Slawson</persName>); communal efforts (Maria Karras); and the quilt/grid pattern and color pink seen as tributes to women's collaborative forms (<persName key="Sheila Levrant de Bretteville" ref="http://www.wikidata.org/entity/Q13560673">Sheila de Bretteville</persName>).</p> <p>In her tableau environment <title>Remnants in Homage to Lily Bart from <persName key="Edith Wharton" ref="http://www.wikidata.org/entity/Q276032">Edith Wharton</persName>'s <title key="The House of Mirth" ref="http://www.wikidata.org/entity/Q6474536">House of Mirth</title></title>, <persName key="Nancy Youdelman" ref="http://www.wikidata.org/entity/Q19668110">Nancy Youdelman</persName> "reconstructed" a scene from the book with theatrical grandeur and presence. The tableau represents the climax of Wharton's novel, when Lily Bart, having lost her wealth and status kills herself. Hauntingly life-like, her full-size figure, bearing the artist's own features reclines in bed. Her skin tone is grayish and the sleeping drops that caused her death are by the side of her bed. The tloor is cluttered with remnants of her life: letters photographs delicate laces dresses, corsets, and veils. Youdelman creates metaphors (sleep, passivity, death) for what have been essential aspects of female experience: economic dependence on others, lack of ultimate control over one’s own life, victimization by circumstances. In the guise of a 19th-century tragedy, Lily Bart's story is emblematic for women who have remained powerless in society.</p> <p>In Youdelman's photographic series <title key="Leaves: A Self Portrait" ref="https://www.artsy.net/artwork/nancy-youdelman-leaves-a-self-portrait" >Leaves: A Self Portrait</title>, the artist is lying on the ground, gradually being covered with leaves (from photograph to photograph) until she is entirely buried:</p> <quote>It represented ways I felt; I felt numb all over, or like a sleepwalker, something that could just disappear and 1 think that is that powerlessness in female experience, sleep. There is also something esthetic about it; 1 love the color of the leaves; it is about death and one could suppose that it might also mean renewal.</quote> <p> Youdelman treads on precarious ground in presenting the passive female figure, lying unconscious as horizontal female figures have so often been used in the history of (male) art to entice the spectator by reminding him of his vertical superiority. However Youdelman's tableau successfully evokes the solemn empathy of the viewer who is confronted with the victims feelings about her powerlessness.</p> <p>In <persName><persName key="Jan Lester" ref="https://www.moma.org/artists/133473" >Jan Lester</persName></persName>'s tableau environment—<title>Cats Enamoured Kits: Helpless Tom and Merciless Sex Kitten</title> (1974)—two cats are anthropomorphized to enact a sexual-encounter scene. The human environment, dress and behavior patterns throw into relief the stereotyped patterns of men and women, only the roles are reversed. The female cat plays the determined "attacker the seducer while the male cat withdraws with some apprehension. At the same time, Lester sees her work as a manifestation of how women are perceived when they take an active role in a situation:</p> <quote>The tableau had to do with sexual politics and with the female taking power. It goes farther than just one sexual encounter, it goes out into the world in general. It is one situation like a snapshot that makes it clear that this goes on n al situations in society.</quote> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_076.jpg"/> <p><persName key="Sherie Scheer" ref="http://www.wikidata.org/entity/Q28883455" >Sherie Scheer</persName>'s series—<placeName>Heavenly Visions</placeName>— depicts Fragonard-inspired images of her own baby as a cherub floating in an infinite blue California sky. "Wherever they go, they have no choice in it. ... The heavenly vision in which they appear is both ideal and it is limbo." This reflects Scheer's own experience as a first-time mother:</p> <quote>I found the child very sensual. It was unexpected to me what a strong female biological experience it was to have a child, and then to be absolutely in love with the child. In the course of using her as model, however, 1 made her cry, sometimes neglected her, and in a way used her, both as a model and as inspiration. was aware that the art that makes it in L.A. or made it at the time (two years ago) was non-image-oriented and I am very image-oriented. 1 was also entirely aware that showing babies in one's art was really outrageous and it gave me a devilish pleasure, because think that a lot of art that makes it is empty formula and doesn’t have any blood in it; it is not daring and it is not a turn-on either. So it was like breaking a taboo, and especially for a woman artist.</quote> <p>Like Scheer <persName key="Hirsch, Gilah Yelin" ref="http://viaf.org/viaf/231144783102333361477/">Gilah Hirsch</persName> deals with female power within its traditional domain. She uses the imagery of food as "a secret biography, a metaphorical code.</p> <quote>The shape and color of food itself was so completely right and ripe for my own feelings that it became a symbol for me; especially the tomato strawberry, and egg became symbols for myself. These are expressed in scale and potency; it is a strange word to use in relationship to an egg, a potent egg. The strawberry is one of the few fruits that carries its seed on the outside, it is a vulnerable fruit; it is juicy and has strength and vulnerability at the same time. Rather than feminist, these paintings are, 1 think, more expressive of femaleness. It was a personal statement for me....l can't separate my experience from a female experience; 1 feel powers in me, very specifically in certain centers in me.</quote> <p><persName key="Suzanne Lacy" ref="http://www.wikidata.org/entity/Q7650894" >Suzanne Lacy</persName>'s book <title key="Rape Is" ref="https://www.suzannelacy.com/rape-is#:~:text=Rape%20Is.-,(1972),the%20Happiness%20Is%20book%20genre." >Rape Is</title> (1972) has a white cover which becomes bloody red on the inside. To open the book one must tear apart a red sticker labeled "rape.“<note type="scholarNote">The precedent for this feminist use of the sticker is Susana Torre's exhibition catalogue for "Twenty-Six Contemporary Women Artists“ (Aldrich Museum, Ridgefield, Conn. April, 1971), in which tearing the seal implied not only physical violation in order to "enter" the long-hidden works of women artists, but also the destruction of a square cold black seal on a white cover, which represented the prevalent Minimal Art, to reach the warm inside covers, colored red.</note> Lacy's book names 21 instances of rape—not only as a sexual violation but also as a series of psychological assaults:</p> <quote>Rape is when you are skipping home from school, and are surrounded suddenly by a gang of large boys. Rape is when the man next door exposes himself and you feel guilty for having looked. Rape is when you're walking alone, thinking your own thoughts and a man driving by shouts "HI SWEETIE!"</quote> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_077.jpg"/> <p> The traditional representation of rape in art (with the exception of <persName key="Käthe Kollwitz" ref="http://www.wikidata.org/entity/Q142472" >Kollwitz</persName><note type="scholarNote">Kollwitz's etching Raped is unique in its complete focus on the experience of the raped woman: she is lying on the ground, dead or unconscious. Neither the rapist nor his act are in the picture.</note>) represents the experience of the rapist by focusing on his strength, activity and beauty, and further removes rape from a realistic experience through mythological disguise. Lacy first forces the viewer to enact a metaphorical rape ("deflowering" the book by tearing the sticker) and then confronts the viewer with what rape means to its victim.</p> <p>In <persName key="Karen Carson" ref="http://www.wikidata.org/entity/Q19802644" >Karen Carson</persName>'s drawings of beds (1971-75) woman is the bed. The drawings are expressionistic in style and imagery, powerful as well as satirical statements about the myth of happiness in sexual relationships. In this case, too, the "disturbing“ feminist content of Carson's drawings arises from the art-historical tradition of reclining female figures on beds and sofas. Many of these women become an integral part of the inanimate, passive, yet sexually inviting surface on which they are reclining. Unlike males Carson identifies with the oppressed— the woman/bed—and at the same time, as artist, she takes active charge of that surface, penetrates it with a giant screw (<title>Screw</title>), converts it into a carton of eggs (<title>Fasy Lay</title>), severs it with a saw blade (<title>Edge of Night</title>), or crowns it with a giant camera (Easy Shot).</p> <p>These surreal visualizations are take-offs on popular puns, which function as titles and were often the starting points for the drawings. The series began as a macabre though humorous comment on popular sexist consumerism. What emerges is a violent denunciation of sexual roles, until finally the bed—former haven of consumer pleasure—disintegrates from within (<title>Cracking Up</title> and <title>Shattered Dreams</title>), smashing any illusions we might still have about bed and woman. In these most recent drawings the formerly inanimate object erupts uncontrollably, and its fragments fly into space. What is commonly labeled Women’s Liberation is in fact, as Carson expresses it, an excruciatingly painful process beginning with the recognition of exterior oppression, leading to the experience of oppression from within and finally building toward a complex re-integration—represented by the artist's new work—collages in which the torn and mutilated fragments are reunited on a cohesive surface.</p> <quote>would say that these drawings were intentionally propagandistic.... It had to do with consumer and sexual politics. The frame of mind that ! was in when I did these drawings was severe frustration over treatment by men. The drawings were also politically charged for me because ! talked about them to all kinds of groups from Valley housewives to a continuation high school culture-hour class; thought people would be bored by these draw<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_078.jpg" />ings and they weren’t. They seemed to have a good time, and related to the drawings immediately. Now, it is not necessary to have a good time when viewing art, but there was blanket recognition of the issues. When 1 looked in the newspaper I noticed that you could apply sexual politics, directly or indirectly, to almost every image in the advertisement world; every image implies sexual oromises. My original fantasy was that ! would have enough money to take out a full page ad in the L.A. Times, and just change the images a little bit. Obviously the most political thing about that was my fantasy about how many people 1 could reach that way. It is the nature of good political art to be recognizable and understandable by a lot of people and maybe at a visceral level too. Political art is often satirical, and probably most effective at that level.</quote> <p>The exhibition provided an opportunity to witness the heightened impact of contemporary feminist art when viewed by a "non-art“ audience—a cross-section of middle America that normally would not encounter art, and specifically by a female audience alienated from feminism. (The negative response came primarily from women<note type="scholarNote">The men seemed to react neutrally to the show, probably because the art did not expose their experience, and possibly, as was suggested to me by Glenda Madrid, because they are more prone to intellectualize and thus more removed from the level of emotional response the show raised for women.</note>) It can also be seen as a test case for implementing a long-desired goal —bringing art into a public daily work environment.</p> <p>Had the show at Aerospace been exhibited in any number of established or alternative gallery spaces, it probably would not have caused unusual debate, and certainly it would not have prompted any doubt about the artistic merit of the work.<note type="scholarNote">When I curated the Aerospace exhibition ! did censor myself at one point: l did not include Chicago's Red Flag lithograph even though, dealing with menstrua tion, it would have fit well into an exhibit on female experience in art. Its literal character prevented me from exhibiting it in that context, as l anticipated that it would be shocking to the audience.</note> In the Cafeteria Conference Rooms of Aerospace, however, the exhibit infiltrated a male environment that ordinarily would not display women's work made from a feminist perspective and certainly would not give it public acclaim. The work was predominantly considered scandalous: it engendered passionate objections and firm negative judgments. The show was labeled pornography rather than art by people who were unlikely ever to have considered what is or isn’t art.</p> <p>This disclaimer was the protesters' attempt to dismiss such threatening and upsetting material. Casting it as pornography implied that the art lacked any real esthetic value and therefore need not be taken seriously. The level of naiveté of the critical responses—when opposed to the more sophisticated criticism to which we are accustomed from much of the art world— was refreshing in its directness. One letter of protest stated:</p> <quote>I object to the Art Exhibition. 1 find it degrading. As a woman, and hopefully a lady, find it extremely offensive. 1am unable to lower my sights to the gutter level of this exhibit. In my opinion, it is lewd, vulgar, obscene and immoral. Since when did good taste and modesty go out-of-style?<note type="scholarNote">Orbiter, Vol. 15, No. 17 (1975), p. 2.</note></quote> <p> In another letter signed by 36 people-almost a petition—the art was called:</p> <quote>...in poor taste, bad character, and a definite infringement on the rights of all women anc men who give sex the dignity, respect and honor that was intended for the human race. The Aerospace Corporation has drastically changed its practices since the 1960s to allow this type of "smut“ to be exhibited, and the employees were encouraged through desk-to-desk distribution and advertising to view the exhibition.<lb/> We are sure that with much less expense to the Company, the representatives... could have arranged for a display of pornography, pictures and books from one of the adult bookstores in the Los Angeles Area, and at a lower insurance premium. The Aerospace Women's Committee does not speak for all of the female employees, as there are those of us who still adhere to the old principle that we were liberated immediately when we were born in America, we enjoy being treated as a woman and we are definitely Miss or Mrs. and not Ms.<note type="scholarNote">12. Ibid.</note></quote> <p>Clearly these female viewers at Aerospace "saw" in the art their own worst fears of feminism. Their objections though focused on the exhibition, were rooted in their alienation from the organized women's movement. Confronted by art that dealt with an oppression familiar in most of their lives, real images that did not correspond to the illusion of the American dream presented a powerful threat.</p> <p>The art was perceived as offensive precisely because it was not placed in a neutralizing environment like a gallery, where viewers can easily hide behind anonymity. The art invaded their own daily working sphere where it threatened how they were viewed in their professional positions. Brought into the work context, the art reflected more directly upon them. The heightened emotional reactions caused a strong need to disassociate themselves verbally from the picture of womanhood presented in the show.</p> <p>While identification with female experiences and values is threatening in any situation in a patriarchal society, such identification may be virtually impossible when introduced into a work environment dominated by male values and power. Such an environment, by implication, and as a condition for the possibility of working there, demands a woman's identification with patriarchy over a recognition of her own oppression. To admit that what was expressed in the art is real—women's powerlessness and powerfulness their sexual feelings and experiences, and the fact that women are rape victims—is to shatter the very myth that has sustained traditional womanhood all along. It is admitting publicly to an embarrassing, private part of woman's experience which she has attempted to conceal even from herself in an effort to preserve the "human dignity" of which <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_079.jpg" /> she is robbed daily. This response is one we all felt during initial stages of our feminism, when we first became conscious of the shame and self-dislike we had buried for so long, before we were ready to reshape our own feelings by taking pride in ourselves other women, and art that dealt with these subjects.</p> <p>The reactions of the women at Aerospace are not, I suspect, uncommon. I doubt very much that a minority of Black workers in a predominantly white work environment would find it any easier to respond to an exhibition of art exposing painful aspects of the experience of being Black in American society; or that Detroit factory workers for example, readily identify with the realistic presentation in Rivera’s mural of the hardships of factory work.<note type="scholarNote">Joanne Parent (one of the authors of "The Fourth World Manifesto“) told me the following incident. While she was working in a factory, experiencing first-hand the hardships involved, she understood how well Rivera's mural portrayed those; but when she commented on that to her fellow workers they negated or at least minimized their own experience of oppression compared to its heightened portrayal in the mural. The similarity to women's situation is that workers who (consciously or unconsciously) feel powerless in their jobs deny the pain of their experiences if its expression would jeopardize the only wage-earning option available to them. It is no accident that women all over the country first explored their oppression in the private, safe, and supportive context of consciousness-raising groups, removed from the institutions in which they experienced that oppression in their daily lives.</note> There is, however an important difference between the situation of women and other workers. Regardless of their status, women are subject to their oppression as women which crosses class boundaries. In âddition to their job or profession—whether factory worker teacher nurse, doctor engineer or scientist—women still do the unpaid, endless, menial labor of housework, bear children and carry the sole responsibility of raising them. All women are potential rape victims, and all women live in a male-dominated society which is based on various cultural versions of enslavement and denies women's culture.<note type="scholarNote">It is for this reason that feminism and feminist art have validity for all women. For the same reason, the Marxist model of workers' oppression does not ultimately address itself to women's oppression, beyond that of working-class women. For an extensive analysis of these issues see "The Fourth World Manifesto," reprinted in: Radical Feminism, Anne Koedt. Ellen Levine, Anita Rapone, eds. (New York, 1973), pp. 322-357.</note></p> <p>Those women who had not attempted to step out of female role-conditioning in their jobs at Aerospace were more oppressed than other workers because they received lower wages and had lower professional status. They were the most offended by the show The middle-class women who rebelled against female role-conditioning in their jobs at Aerospace (the engineers programmers scientists) were the only ones who had developed a feminist consciousness and reacted favorably to the exhibition. For example, in a letter of support, one woman expressed her response to the exhibition and the protesters' views:</p> <quote>That women have suffered personally and professionally from conditions ranging from lack of opportunity to manipulation and even exploitation on the basis that they are women is uncomfortable to face.<lb/> The Art Exhibition, a high quality collection of some very honest and courageous works, was unusually rich in content for those of us who in some way or another have "been there." Although there was a deliberate intent to shock, it was as a means to focus emotionally on the art; it was not propagandistic. These are personal and esthetic interpretations of some of the hard truths encountered by women, and the obscenity lies in the fact that these wrongs arise because of wide-range departure from good human values.<lb/> Those who want to oppose smut should look for it in our politics, in our mores, in the management of our corporations, in our personal relationships.<note type="scholarNote">Orbiter, Vol. 15, No. 20 (1975), p. 2.</note></quote> <p>In her review of the exhibition <persName key="Melinda Wortz" ref="http://www.wikidata.org/entity/Q18207039">Melinda Worz</persName> concluded:</p> <quote>The Female Experience in Art offers a wide panorama of contemporary women's attitudes. It is gratifying to see such a high quality showoutside the established sacred halls of art, as part of a working environment.<note type="scholarNote">Art Week, Vol. 6, No. 29 (Sept. 6, 1975)</note></quote> <p>In thinking now about this exhibition, 1 realize that it was unrealistic to expect an enthusiastic reception, or even acceptance, for art like this among female viewers who were not already feminists or somewhat sympathetic to feminism. It might have seemed that the work was not perceived for what it was—but on the contrary it was in fact accurately perceived, and found objectionable. Such response is typical when feminism is introduced into a male-dominated culture.</p> <p>For those women at Aerospace who were sympathetic to feminism, the exhibition was a positive experience providing a new awareness of the existence of women's culture created by contemporary feminists. In that sense the exhibition did broaden the audience for contemporary feminist art. For some of these women who previously had no particular interest in art, the exhibition was a beginning of what has since become an ongoing interest and commitment to women's art.</p> <quote>I am still thinking about one piece in the show which 1 would like to own if 1 had money. decided that if 1 bought art, it would be women's art because of my commitment to feminist artists.<note type="scholarNote">Glenda Madrid, in a recent conversation with the author. Madrid was also a major source of information for the responses to the exhibition and the statistics and position of women employees at Aerospace.</note></quote> <p>Earlier that same summer, my colleagues and in <orgName>the Feminist Studio Workshop</orgName><note type="scholarNote">The Feminist Studio Workshop is the first alternative institution for women in the arts and humanities; it is housed in the unique context of the Woman's Building in Los Angeles. Since it was founded in 1973, over 100 women have received their education at the Feminist Studio Workshop, and several thousand students have participated in the Extension Program at the Woman's Building.</note> had come to a collective definition of feminist art based on our goals, experiences and observation of our students' work. We defined the function of feminist art as raising consciousness inviting dialogue, and transforming culture. It became clear to me that both the individual art exhibited at Aerospace and the exhibition as a whole in fact realized these goals to the extent that was possible in that time and space. </p> </div> </body> <back> <p> <persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/"><persName>Ruth Iskin</persName></persName> is a feminist art historian living in <placeName key="Los Angeles" ref="http://www.wikidata.org/entity/Q65">Los Angeles</placeName>, formerly co-director of <orgName key="Womanspace" ref="http://viaf.org/viaf/306281115/">Womanspace</orgName> and the editor of <orgName>Womanspace journal</orgName>. Now she is director of the <orgName key="Woman's Building Galleries" ref="http://thewomansbuilding.org/">Woman's Building Galleries</orgName>, on the faculty of the <orgName key="Feminist Studio Workshop" ref="http://viaf.org/viaf/146971828/">Feminist Studio Workshop</orgName>, and an editor of <orgName key="Chrysalis: A Magazine of Women’s Culture" ref="http://www.wikidata.org/entity/Q16958172">Chrysalis: A New Magazine of Women's Culture</orgName>. </p> </back> </text> </TEI>
Feminist Abstract Art—A Political Viewpoint Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Feminist Abstract Art–A Political Viewpoint</title> <author>Harmony Hammond</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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try to pinpoint and define a feminist sensibility. Few of these articles go beyond the recognition that feminist art is based on the personal experiences of women by beginning to question its larger political implications and the role it plays in feminist revolution. Most articles originating from the art world tend to be formal descriptive attempts at documenting what women are doing, and do not attempt a feminist analysis of function and meaning.</p> <p>In a reactionary escape from formalist criticism, most movement writing on feminist art deals with political issues, but lacks any real understanding of the creative process, how it functions for the artist and how it affects form and content. Without such an understanding it is impossible to evaluate the work as art. While feminist poets and writers comment on each other's work and write of their own processes, we visual artists tend to remain silent and let others do the writing for us. Our silence contributes to a lack of dialogue between artist and audience, to the lack of criticism from a feminist perspective, and ultimately to the misinter- pretation of our work.</p> <p>In this article I wish to focus on abstract art and show that it can have a feminist basis and therefore be political. Feminists are not only people to attempt political or revolutionary art, but because certain ideas and issues occur over and over, they are of interest to us and worth exploring. I will focus on one area of abstract art by discussing concepts of marking and language in feminist drawing and painting-to show its origin, meaning, and political potential.</p> <p>In "Prime Time: Art and Politics"<note type="scholarNote"><persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName>, "<title>Prime Time: Art and Politics</title>," <title><orgName key="Quest: A Feminist Quarterly" ref="http://www.wikidata.org/entity/Q105972288">Quest: A Feminist Quarterly</orgName></title> (Summer, 1975).</note> <persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName> look at how art is viewed in this capitalist, patriarchal society and criticize activists for reacting too quickly and overlooking the revolutionary potential of art. However, they in turn react to male estabishment myths about abstract (non-representational) art and exclude it from feminist and political potential. They view abstract art as private expression which is not understandable or analyzable to the audience, and therefore irrelevant to feminist political goals. Thus they incorrectly see elitism as a pre-condition of abstract art, rather than realizing that this is how abstract art has been used by men as a defense mechanism against the alienation of their own capitalist system; that as well as furthering the myth of artist as alienated and isolated genius, abstract art has offered an illusion of objectivity. Such notions suggest that the content of one's work can be separated from one's political beliefs. By sponsoring international exhibitions showing apolitical abstract paintings by former <orgName key="communist party" ref="http://www.wikidata.org/entity/Q233591">Communist Party</orgName> members, the <orgName key="Central Intelligence Agency" ref="http://www.wikidata.org/entity/Q37230">C.I.A.</orgName> (via the <orgName key="Museum of Modern Art" ref="http://www.wikidata.org/entity/Q188740">Museum of Modern Art</orgName>) has sought to impress other nations with the cultural freedom of the U.S.A. The way in which Abstract Expressionist art was defined and developed by the artists and then used by others to further cold war politics in the fifties is only one example of the manipulation of abstract art to create the illusory separation of art and politics.<note><persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>, <title key="Abstract Expressionism, Weapon of the Cold War" ref="http://www.columbia.edu/itc/barnard/arthist/wolff/pdfs/week4_cockcroft.pdf">"Abstract Expressionism, Weapon of the Cold War,"</title> <title><orgName key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</orgName></title> (June, 1974).</note> Thus when women continue to respond to abstract art as "apolitical," they are reinforcing and maintaining myths established by men.</p> <p>The Freeman/MacMillan article is typical in its analysis of art and politics. Abstract art has become taboo for most artists who consider themselves political feminists. Because of the history outlined above, it is difficult to determine abstract painting's relationship to feminist ideology. There are radical feminists who are making abstract art. Radical feminism operates from the belief that women as a class are oppressed, and that a mass political women's movement is necessary to overthrow male supremacy.<note><persName>Brooke</persName>, "<title>The Retreat to Cultural Feminism</title>," in <title><orgName>Feminist Revolution</orgName></title>, ed. <orgName key="Redstockings" ref="http://www.wikidata.org/entity/Q3480184">Redstockings</orgName> (<placeName key="New York City" ref="http://www.wikidata.org/entity/Q60">New York</placeName>, 1975).</note> Therefore, we might ask, how are the visions of radical feminists analyzed and portrayed in this art?</p> <p>It is necessary to break down the myths and fears surrounding abstract art and make it understandable. Women—artists and non-artists—need to talk about art, and talking about abstract art need not be more difficult than discussing portraits, nudes, vaginas, or whatever. Every work of art is understandable on many different levels. It is by talking about our work and work processes that we will not only begin to develop a new language for interpreting abstract art, but also to integrate this work with society. This language, which I see evolving from consciousness-raising techniques, will be able to be shared with any woman, regardless of class background. For artists, such a dialogue with the audience is essential, as it offers valuable feedback for the development of our art.</p> <p>I want to reclaim abstract art for women and transforrn it on our own terms. It is interesting to note that much of women's past creativity, as <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_069.jpg"/> well as the art by women of non-western cultures, has been abstract. I'm thinking of the incredible baskets, pottery, quilts, afghans, lace and needlework women have created. Many of the motifs used were based on "the stitch" itself. The repetition and continuity of the stitch or weaver formed the individual shape and also the pattern resulting from its repetition. Usually these motifs and patterns were abstract and geometric. <persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName> points out that they had specific meaning for the women who made them, and in a sense formed a visual language in themselves:</p> <quote>in designing their quilts, women not only made beautiful and functional objects, but expressed their own convictions on a wide variety of subjects in a language for the most part comprehensible only to other women. In a sense, this was a secret language among women, for as the story goes, there was more than one man of Tory political persuasion who slept unknowingly under his wife's 'Whig Rose' quilt. Women named quilts for their religious beliefs...or their politics-at a time when women were not allowed to vote. The 'Radical Rose' design, which women made during the CIvil War, had a black center for each rose and was an expression of sympathy with the slaves.<note><persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName>, "<title>Quilts: The Great American Art</title>," <title><title key="Feminist Art Journal" ref="http://www.wikidata.org/entity/Q18207079">The Feminist Art Journal</title></title> (Winter, 1973).</note></quote> <p>As we examine some contemporary abstract art by women, it is important to develop a sense of identity and connection with our own past creativity rather than that of the oppressor who has claimed "fine art" and "abstract art" for himself. In fact, the patriarchal putdown of "decorative" traditional art and "craft" has outright racist, classist, and sexist overtones. <persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName> states:</p> <quote>Art history assigns creative products to two categories -fine arts and crafts-and then certifies as legitimate only the fine arts, thereby excluding those creative traditions of primitive people, peasants, women, and many other groups outside the mainstream of Western history.<note><persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName>, "<title>Craft for Art's Sake</title>," <title><orgName key="Ms." ref="http://www.wikidata.org/entity/Q3656351">Ms. Magazine</orgName></title> (May, 1973).</note></quote> <p>Until recently, decorative art, or craft techniques and materials, have been valid only as sources for contemporary male artists. While women working with these ideas, techniques, and materials have been ignored (<persName key="Ann Wilson" ref="http://www.wikidata.org/entity/Q64532860">Ann Wilson</persName> first painted on quilts in 1958) or put down for doing "womens work," men like <persName><persName key="Shields, Alan" ref="http://vocab.getty.edu/ulan/500021038">Shields</persName></persName>, <persName key="Oldenburg, Claes" ref="http://vocab.getty.edu/ulan/500029735">Oldenburg</persName>, <persName key="Frank Stella" ref="http://www.wikidata.org/entity/Q375268">Stella</persName>, and <persName><persName key="Kenneth Noland" ref="http://www.wikidata.org/entity/Q527001">Noland</persName></persName> are hailed as innovative. But times have changed. Today many female artists are connecting to a long line of creativity by proudly referring to women's traditional arts in their own work. They are recording the ritual of women's artmaking both in the past and the present, thereby reflecting a feminist concern not only with the end product but with the dally process and function of making art. Sewing techniques and materals as both process and content are used in a variety of ways in the abstract works of <persName key="Sarah Draney" ref="http://www.wikidata.org/entity/Q21289822">Sarah Draney</persName>, <persName key="Pat Lasch" ref="http://www.wikidata.org/entity/Q28553688">Pat Lasch</persName>, <persName key="Nina Yankowitz" ref="http://www.wikidata.org/entity/Q20642044">Nina Yankowitz</persName>, <persName key="Paula Tavins" ref="http://www.wikidata.org/entity/Q114223354">Paula Tavins</persName>, <persName key="Patsy Norvell" ref="http://www.wikidata.org/entity/Q28059096">Patsy Norvell</persName>, <persName key="Rosemary Mayer" ref="http://www.wikidata.org/entity/Q29024964">Rosemary Mayer</persName>, and many other women. <persName key="Kruger, Barbara" ref="http://vocab.getty.edu/ulan/500118792">Barbara Kruger</persName> says that she first learned to crochet and sew when she decided that these techniques could be used to make art.<note>Ibid.</note> For women, the meaning of sewing and knotting is "connecting" —connecting the parts of one's life, and connecting to other women-creating a sense of community and wholeness. Other women, drawing on women's traditional arts, make specific painterly reference to decoration and craft. <persName key="Miriam Schapiro" ref="http://www.wikidata.org/entity/Q542496">Miriam Schapiro</persName> utilizes remnants of fabric, lace, and ribbon along with handkerchiefs and aprons in large collages, thus making the very material of women's lives the subject of her art. <persName key="Joyce Kozloff" ref="http://www.wikidata.org/entity/Q6297552">Joyce Kozloff</persName> and <persName key="Mary Grigoriadis" ref="http://www.wikidata.org/entity/Q21643944">Mary Gregoriadis</persName> explore decoration as fine art, basing their paintings on the abstract patterning of Islamic architecture and tiles, Tantric art, Caucasian rugs, and Navaho weaving.</p> <p>The way many women talk about their work is revealing, in that it often denies formal art rhetoric. Women tend to talk first about their personal associations with the piece, and then about how these are implemented through visual means; in other words, how successful the piece is in its own terms. This approach to art and to discussing art has developed from the consciousness-raising experience. It deals primarily with the work itself, what it says and how it says it-rather than with an imposed set of esthetic beliefs.</p> <p>In her excellent catalogue introduction to "Changes<note type="researchNote">Note exhibition</note>," an exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName>Carole Fisher</persName>, <persName key="Johnson, Kathryn C." ref="http://viaf.org/viaf/68171928/">Kathryn C. Johnson</persName> comments that "intent" is most important when defining feminist art. She states that it is "a powerful oneness of subject and content" that makes certain work feminist:</p> <quote>...Their work both is and tells about the pain of their life experiences. It is about pain and is painful, but does not present woman as passive victim. The pain is presented with deep understanding of its sources and effects, and the anger which follows confrontation with the hurt.<note><persName key="Johnson, Kathryn C." ref="http://viaf.org/viaf/68171928/">Kathryn C. Johnson</persName>, catalogue introduction to "Changes," exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName>Carole Fisher</persName> at the <placeName key="St. Catherine University" ref="http://www.wikidata.org/entity/Q3444427">College of St. Catherine</placeName> (St. Paul, Minn., 1976).</note></quote> <p>Fisher writes:</p> <quote>Betsy looked at the work and recognized the fact that I worked to survive, to keep from growing crazy, and to keep the pain from becoming too great. She recognized the pain in my work instantly! This was something I had only come to recently recognize and acknowledge in my work. Like many women in our culture, I had become adept at hiding and covering my pain. I had gotten all the messages that to be vulnerable in our culture is to be weak and despised.<note type="scholarNote">Ibid</note>.</quote> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_070.jpg"/> <p>It is this "oneness of subject and content" that carries their work through feminist consciousness beyond the personal to the political. It is also present in abstract paintings that seem superficially more related to the male modernist tradition than to women's creativity in that they involve the physically expressive manipulation of paint on a two-dimensional surface.</p> <p>In much of this work the reoccurring stitch of women's traditional artmaking becomes the repetitive mark, taking on a new form as a "visual diary." Such works are dally records of thoughts and are used as such by the artists. Just as the weaver continues from day to day, from one physical and psychic location to another, mate- rials and dyes changing slighty, irregularities and tension showing, the painted marks also reveal daily emotional changes and tensions. They are a record of present feeling, a ritual giving in to the repetitive gesture, a language to reveal self-a woman's mantra.</p> <p><persName key="Jenny Snider" ref="http://www.wikidata.org/entity/Q62057437">Jenny Snider</persName>'s nervous lines recall ancient Chinese calligraphy, which has both a letter/ character reference and a body/figure reference. Her drawings are made with and are about her nervousness and vulnerability. She "is" the mark, the line. As the marks are repeated and contained in different spaces (usually grids or rectangles suggesting fabric, rooms and houses), the quality and feeling of the line changes and she becomes more comfortable in some spaces than in others. She explores her self-image and feelings about her body in relationship to other people and spaces. Snider describes these works as "figurative." To me, it is the mark and its repetition that is most important. Her works are figurative in the sense that Chinese calligraphy is figurative-in having a direct body reference. Works are sometimes combined or used interchangeably with the markings, reinforcing Snider's commitment to the diaristic mode. As she says, "The words and lines come from the same psychological place and gesture and are not intended to describe or explain what the drawings are in terms of images-but rather express the fact that they come from a nervous hand and a yakking heart." Phrases such as "little sounds arose (and it showed)"; "Well, for one thing, never step on broken glass"; and "Remember when we saw the ocean? It was just like this, wasn't it?" tell where the drawing is coming from and what the drawing is about.</p> <p><persName key="Louise Fishman" ref="http://www.wikidata.org/entity/Q6688739">Louise Fishman</persName>'s paintings also function as a place for personal confrontation and as a statement directed towards other women. Earlier, Fishman ripped up her old paintings and reconnected them by sewing and knotting them together with fragile thread. Her past was used to make a statement about her present. The strips and connecting thread formed loose grids, transformed in later work to a series of strokes or marks repeated across the page of canvas or within the confines of a "particular felt shape" (a circle or a piece of irregularly cut masonite). The marks of paint, layered on top of each other, lead eventually to a rich sensuous sur- face. The top layer usually consists of strong marks holding the partially revealed undermarks to the painting surface-feelings revealed and hidden. Fishman has always talked about her work in terms of hiding, guilt, vulnerability, anger, and personal individuation.</p> <p>In a seven-panel reversible painting on unstretched canvas, Fishman deals with her feelings about her mother, also an artist. One side of each canvas is painted with calm strokes, while on the other side the marks explode into intensely scrawled letters reading "A letter to my mother about painting." Another canvas has the star of David and the words "I am a Jewish working-class dyke" scratched into the surface. Just as consciousness raising leads to political awareness; this work moves from the personal into the political. Titled <title key="Angry Jill, Angry Djuna, Angry Paula, Angry Sarah" ref="https://louisefishman.net/work/feminism.html">Angry Jill, Angry Djuna, Angry Paula, Angry Sarah</title>, and so on... they seem to be painted with the anger. When she made these "angry paintings" Fishman said that all she could feel was her rage. When she looked around at other women, she saw that they were crippled by their anger too. These paintings were made to force women to confront it rather than letting it turn inward and become self-destructive. Grouped together as a wall of women's anger, the paintings show a tremendous amount of energy that can now be redirected towards feminist creativity and revolution.</p> <p>These women as well as others (<persName key="Joan Snyder" ref="http://www.wikidata.org/entity/Q6205466">Joan Snyder</persName>, <persName key="Tardi, Carla" ref="http://vocab.getty.edu/ulan/500074371">Carla Tardi</persName>, and <persName key="Pat Steir" ref="http://www.wikidata.org/entity/Q7144042">Pat Steir</persName>, to name a few) have used words and marks fairly interchangeably as abstract gestures with concrete feminist meanings. Words are marks and marks are words; their repetition becomes not only an interior monologue but also a dialogue with other women. Like Damon and Fisher, these artists make individual feeling and experience the subject of their work, while the content deals with the difficulties and ambiguities of being a feminist artist in a patriarchal society.</p> <p>Their painting surfaces are often violated on mutilated; cut, gouged, ripped, scratched, or torn. The reversal of the usual additive process of painting refers to the violation of the traditional painting surface and also to the physical and psychic violation of women. The thick paint applied with a palette knife in Fishman's work, for instance, acts both as poultice for wounds and cement for holding self together. In Joan Snyder's recent work the marks, cuts and burning combine with words and color to make a passionate statement about sexuality.</p> <p>This work is certainly political. Yet Freeman and MacMillan, in their attempt to distinguish protest from political art, to show that specific forms are more conducive to one or another, <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_071.jpg"/> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_072.jpg"/>still ignore the political potential of abstraction.<note type="scholarNote">Freeman and MacMillan, op. cit.</note> They accept male definitions of what art is, and do not deal with the evolution of a feminist creative process or feminist art forms. Theirs is a reformist approach to a revolutionary endeavor.</p> <p>I am reminded of <persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>'s "afterword" "<title>The Great Punctuation Typography Struggle</title>" —in her book <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692">Woman Hating</title>, where she explains how the text was altered against her will by the publisher's insistence on uppercase letters and standard punctuation. She had wanted the book to be as empty of convention as possible, to create a new form that would merge with the content.</p> <quote>reading a text which violates standard form forces one to change mental sets in order to read. there is no distance. the new form, which is in some ways unfamiliar, forces one to read differently-not to read about different things, but to read in different ways. <lb/> to permit writers to use forms which violate convention just might permit writers to develop forms which would teach people to think differently: not to think about different things, but to think in different ways. that work is not permitted.<note><persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>, <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692">Woman Hating</title> (New York, 1974).</note></quote> <p>The fact that innovative form is so feared by the male establishment shows that like content it has a power of its own. If our lives and our art are connected, and if "the personal is political" in the radical sense, then we cannot separate the content of our work from the form it takes. </p> <p>As abstract artists, we need to develop new abstract forms for revolutionary art. The women's work I've discussed here, and I include my own, is moving in this direction. We are not yet there. Hopefully, as we create art within the context of other women's art, and within the context of evolving feminist theory, we will develop a new visual language. Art in transition is political, for it both is our develop- ment and describes our development. In a sense we are coming out through our art, and the work itself is a record of the ongoing process of developing a feminist esthetic ideology. </p></div> </body> <back> <div><p><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName> is an artist living in New York who teaches, gives workshops, and has shown her work here and elsewhere. She has also studied martial arts, Tai Chi Ch'uan and Aikido.</p></div> </back> </text> </TEI>
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the hell am l anyway</l> <l>Not to bow?</l> <l>(<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName>/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>)</l> </lg> <p>In July 1973 I wrote an article for <title key="Village voice (Greenwich Village, New York, N.Y.)" ref="http://viaf.org/viaf/198145541783196601418/">The Village Voice</title> about a hunger strike then taking place at the <placeName key="Women's House of Detention (New York City Correctional Institution for Women," ref="https://en.wikipedia.org/wiki/New_York_Women%27s_House_of_Detention">Women's House of Detention (New York City Correctional Institution for Women,</placeName> housing around 400 detention and sentenced women) on <placeName key="Rikers Island" ref="http://viaf.org/viaf/315527979/">Riker's Island.</placeName> I used a pseudonym for the article because I was working at the time at the prison as a mental health worker as well as teaching a poetry class, and I wanted to keep both occupations. Many of the women in my class were involved in the strike and were emphatic about the significance of their stand, although traditionally women at Riker's were notoriously apolitical, even downright reaction¬ ary. Strikes had taken place before, but on issues such as cosmetics (the women had wanted an Avon lady), more dances and recreation time or flashier products in commissary. </p> <p>This strike was different. The women were demanding, among other things, a legal library, an end to massive and lax prescription of "diagnostic" medication, decent food, and limitation of solitary confinement to three days. At the Women's House, where an old adage ran "all riots end at mealtime," this was pretty heady stuff.</p> <p>The article in <title key="Village Voice" ref="http://www.wikidata.org/entity/Q876158">The Village Voice</title> (<date when="1973-07-26">July 26, 1973</date>) was supposed to get the world (or at least <placeName key="Manhattan" ref="http://www.wikidata.org/entity/Q11299">Manhattan</placeName>) listening and to familiarize people with a woman’s situation in prison: <quote>incarceration for women is a somewhat different experience than it is for men. Male prisoners are expected to be political in one form or another, they are far better legally informed, and an atmosphere of "bonding" is prevalent. (They are also considered more "trainable"—more vocational rehab programs exist for men on Riker's Island.)</quote> </p> <p>The administration broke the back of the strike in its sixth day by separating the ringleaders, transferring them to different housing areas, or locking them in the "bing" (solitary). But it was too late. The article appeared and provoked a reaction from the community: pressure was put on the warden. A few of the women’s demands were met: a legal library was established, kitchen conditions were improved, and other steps were taken. Someone from the class hand-printed a sign and put it up in the classroom: WORDS CAN TURN THEM AROUND. </p> <p>This was a milestone. I had been teaching the class for about a year and felt that although the women's response had been overwhelmingly enthusiastic, I was getting nowhere in the actual teaching of writing. It wasn’t that the women were intimidated by the act of writing. Far from it. They wrote to keep mentally alive, to keep sane. When I first suggested the idea of a writing workshop to the warden, she scoffed at it. "These women don’t write," she said. "They don’t read. The overall educational level is poor. Reading, writing, comprehension... all very low." At the first class, I learned that all the women "wrote"—they came to class lugging diaries, journals, manuscripts full of long poems, ballads, stories. Everyone had a poem to "tell“; poetry was a tradition; poems were written, read, copied by hand, and passed around—a publishing network. No one owned a poem. All the poems rhymed, and all were either sentimental love/religious verse or political rhetoric. My failure had been the inability to let them see alternatives: a poem was not always an escape, a fantasy, or a slogan, but a way into yourself, an illumination. Somehow the article, which was about them, about their very real lives in clear, simple language, did it. Someone said that a poem could be like reporting on your life, telling the story of your life— journalism of the soul. They tried out this approach. <persName>Millie Moss</persName>, who sat all day in front of the television watching commercials about getting away from it all and listening to the planes (one every three minutes) take off from <placeName key="La Guardia" ref="https://en.wikipedia.org/wiki/LaGuardia_Airport">La Guardia</placeName> a few hundred yards across the water from the prison, wrote the first. (Millie had been a "hearts and flowers" verse writer: her poems were filled with giggly sunsets“): </p> <lg> <head><title>Fly Me, l'm Mildred</title></head> <l>Finger my earring as I lean low</l> <l>over your bomber cocktail</l> <l>I've been known</l> <l>to put you on a throne</l> <l>send you off alone (not united)</l> <l>through the tomb-boom roar</l> <l>you get what you’re asking for</l> <l>when you fly me, honey,</l> <l>l'm Mildred.</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_033.jpg"/> <lg> <head><title>Personally</title></head> <l> So you spoke to me in silence</l> <l>in the ice man's choir </l> <l>and I dangled all the while</l> </lg> <lg> <l>You said (in silence) </l> <l>live each day </l> <l>spittin' on <placeName key="Fifth Avenue" ref="http://www.wikidata.org/entity/Q109858">Fifth Avenue</placeName> </l> <l>fox-trottin' in hell</l> </lg> <lg> <l>So we ain’t home— </l> <l>we’re together </l> </lg> <lg> <l>Smile: </l> <l>I take it personally</l> </lg> <p>They were on fire. I told them about <persName key="Osip Mandelstam" ref="http://www.wikidata.org/entity/Q189950">Mandelstam</persName>, <persName key="Dostoïevski, Fedor Mikhaïlovitch" ref="http://viaf.org/viaf/6074160486121805180007/">Dostoyevsky</persName>, the long tradition of writers in prison. I read them poems. Another woman, <persName>Elizabeth Powell</persName>, came to class with a poem about homosexuality which was explicit, honest, and skillfully done. The class praised it Elizabeth left the class that night, made a sheaf of copies by hand, and passed it "on the vine." The next time I arrived at the prison, I was called into the warden’s office. A member of my class, the warden said, had written a poem about her "unique perversion" and had implied, she said, that there were also correction officers who were homosexual, one in particular. She spoke of libel, telling me that I should have confiscated the poem immediately, or at least made sure that it didn’t go beyond the class. (Though homosexuality was indeed common— the "only game" in the prison, the warden steadfastly refused to admit that she had any more than-a few "deviants" on her hands, whom she described as hard-core—in other words, gay even on the outside. Actually, as is the case in most women's prisons, homosexual relationships were standard even for straights, for the simple reason that human beings need physical intimacy and affection when they are confined to correctional institutions and cut off from relationships available to them outside the walls. Definitions of personal sexuality tend to change behind bars. Upon release, some women remain "changed," while the majority of former prisoners return to heterosexual lifestyles. The warden deeply feared homosexuality; any manifestation of "butch" conduct was enough to tag an inmate a troublemaker and "male attire" was expressly forbidden in the rules guide. Correction officers were warned not to wear pants to work, and thus their uniform remained skirted. (Although many C.O.'s were, in fact, gay, the atmosphere reflected the warden's artificial notion of femininity.</p> <p>After this incident, I was informed that the poem had been confiscated and that <persName>Elizabeth Powell</persName> had been placed in solitary confinement pending a hearing by the disciplinary board. I was told that I would be allowed to continue the poetry class for the time being, but that if another incident like this took place, I would be asked to leave the prison. The warden sincerely hoped that I had "learned a lesson."</p> <p>I had. It was just as I had told them: a dramatic testimony to the power of words—and, thought, one of the stupidest things I have ever done. It was easy for me to drop in and talk about "getting it down right“ and being honest in writing—I went home every night. For me, there was no danger of being thrown in solitary, having my personal papers raided, or worse. It occurred to me that even when l had written my ever-so-honest article, I had used a pseudonym to protect myself. There were obviously bigger risks than job loss at stake for women or men who chose to write while incarcerated; risks l had clearly not understood. Words could indeed turn around the authorities, but could also turn them into the oppressors they actually were.</p> <p>Elizabeth Powell was in the bing for three weeks. When she came back to class, she was ready to go another round (she had written 25 poems, all dealing with homosexuality, while in lock), but I had made a decision. I explained how I felt as an outsider with no right to tell them how to write in this volatile situation, but I asked that they make a distinction between public and private poems to protect themselves from exactly this kind of censorship/punishment. Private poems were, obviously, ones you could get thrown in the bing for; public poems could be "published." At this point, I also went back to the warden and told her she should not be surprised at some "emotional" poems; I described the class as "therapy" and she agreed that that was a good way of viewing it.</p> <p>The class flourished. The women began to express themselves, to find words underneath and in the midst of the gloss of everyday language. Some discovered (recovered?) a subterranean language like subway graffiti: the poem became a Kilroy, a zap: "I was here."</p> <p>I had quit my mental health worker job and was concentrating on expanding FREE SPACE, as the class had come to be called. The <orgName key="National Endowment for the Arts" ref="http://www.wikidata.org/entity/Q1967116">NEA</orgName> had given us some funding, as did Poets & Writers and some local banks. <persName>Linda Stewart</persName> of The Book-of-the-Month Club mailed boxes of overstocked paperback books; we amassed our own library and <persName>Ted Slate</persName> of Newsweek donated supplies and equipment.</p> <p><persName key="Tom Weatherly" ref="https://en.wikipedia.org/wiki/Thomas_E._Weatherly_Jr.">Tom Weatherly</persName> taught a second poetry class, <persName>Gail Rosenblum</persName> taught fiction, and <persName>Fannie James</persName>, an ex-inmate, ex-student of the Space whom the warden actually allowed to come back to work with us, taught poetry and library skills. Each teacher learned to cope in his or her own way with the trials of trying to run a writing class in a prison. Each class was like a hypothetical leap: it would take place 1) IF the officer in <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_034.jpg"/> the housing area remembered to announce it; 2) IF the women were there and not a) in court b) in solitary c) in another part of the prison d) watching television e) sleeping and/or drugged f) transferred to another floor g) trans- ferred to another prison h) out on bail (good news); 3) IF the officer on hall duty okayed the passes; 4) IF the warden had not scheduled something else in your classroom (usually a course in etiquette); 5) IF there was no "contraband," i.e., spiral notebooks (the wire is a potential weapon), chewing gum (jams locks), tweezers, or snap-top pens (another weapon—only ball points or pencils allowed).</p> <p>Somehow, the class took place and thrived. Visitors came to read and comment on student work: poets <persName key="Mae Jackson" ref="http://www.wikidata.org/entity/Q87410543">Mae Jackson</persName>, <persName key="Daniela Gioseffi" ref="http://www.wikidata.org/entity/Q5219218">Daniela Gioseffi</persName>, <persName key="Daniel Halper" ref="http://www.wikidata.org/entity/Q17411190">Daniel Halper</persName>n, <persName key="Audre Lorde" ref="http://www.wikidata.org/entity/Q463319">Audre Lorde</persName>. For a long time, everyone learned. Information was taken in, absorbed—classes were spent writing and rewriting, letting off steam.</p> <p>Almost four years later, most of the women from the old class had been transferred or freed (detention women often spend two years waiting for trial), but emphasis was still placed on getting along." We all stressed writing as craft. Classes were run as any outside workshop would be, except no one ever published anything.</p> <p>The poetry class at this time was full of women who were considered potential security threats—in other words, intelligent, outspoken, and funny. Some were "controversial" cases: <persName>Juanita Reedy</persName>, about to have her first child behind bars; <persName key="Ramer, Carole J." ref="http://viaf.org/viaf/63352640/" cert="low">Carole Ramer</persName> who had been busted with <persName key="Abbie Hoffman" ref="http://www.wikidata.org/entity/Q306514">Abbie Hoffman</persName> and who had a lot to say about everything; <persName key="Jensen, Gloria H." ref="http://viaf.org/viaf/43354610/" cert="low">Gloria Jensen</persName>, whose imagination was like a vaudeville show; <persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur/Joanne Chesimard</persName>—alleged leader of the <orgName key="Black Liberation Army" ref="http://www.wikidata.org/entity/Q2545743">Black Liberation Army</orgName>, brilliant and talented, with a Cool-Hand Luke aura of insouciance, compassion, and tenacity. (Assata was considered so dangerous that the prison required her to have a continual guard-escort.) These women were all good writers. They had learned craft and practiced it—and wanted more. They wanted to go further than "therapeutic" writing or workshop poems. They were writing dynamite.</p> <p>After four years, there was a huge pile of handwritten poems, Fannie's log with the names of every woman who had come to class, some incredible memories, and that was all. We went to the prison week after week and no one ever saw or heard what the women wrote: the voices were never heard outside, and on the inside, only in class. I began to feel that something had to give—no matter what risks were involved for the women (if they should decide to publish)and for FREE SPACE as a writing program. It was Catch 22—we were losing either way. At this stage, the women were denied the natural fulfillment of self-expression, which is publication. If we published their writing, however, we stood to lose the writing program itself. I began to fantasize about getting the word out: if people could only hear some of this stuff, I thought, no one would ever ask me again about either the quality of prisoners' writing or the reasons for running workshops in prisons. We would have evidence in writing. Best of all, the women would have the audience they deserved. I began to draft a rough script, a framework for some of the poems.</p> <p>What happened to <persName>Juanita Reedy</persName> made up everybody's mind about publication. Juanita went to Elmhurst Hospital to have her child and was treated so inhumanely that she refused to let prison doctors touch her upon her return. She wrote a poem about her experience, which she developed into a longer <title>"Birth Journal."</title> She published it in <orgName key="Majority Report" ref="http://www.wikidata.org/entity/Q106091070">Majority Report</orgName>, the feminist journal. In the same issue there was an article about FREE SPACE and a poem by <persName>Carole Ramer</persName>. The issue began to circulate in the prison. Assata, inspired by Juanita, wrote her own "Birth Journal" and sent it to a major magazine. One night in class she read this poem:</p> <lg> <head><title>Butch </title></head> <l>You should have told me </l> <l> About your dick </l> <l> Stashed inside your bureau drawer</l> <l> woulda believed you</l> </lg> <lg> <l>Ya say ya wanna be my daddy </l> <l> Va say ya wanna be my daddy </l> <l> Ya say ya wanna be my daddy</l> </lg> <lg> <l>Yeah! Run it! l'm ready! </l> <l> My mamma warned me about you</l> <l> She taught me about you </l> <l> She beat me about you</l> </lg> <lg> <l>But I thought you were a man.</l> </lg> <lg> <l>And I lower my eyes </l> <l> And I lower my back</l> <l> And I swivel my hips </l> <l> And I lighten my voice </l> <l> And I powder my nose </l> <l> And I blue up my eyes </l> <l> And I redden my cheeks </l> <l> And I jump when you call </l> <l> And I cook and I knit</l> </lg> <lg> <l>And I clean and I sew</l> <l> And it is all so cozy </l> <l> You lying in my arms</l> <l> (If I am not being too forward, </l> <l> too unladylike)</l> </lg> <lg> <l>But who will know, anyway, </l> <l> That you were in my arms </l> <l> Not me in yours</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_035.jpg"/> <lg> <l>And if it comes to it</l> <l> To save face </l> <l> You can lie </l> <l> l'Il back you up </l> <l> I've gotten very good at it lately</l> </lg> <lg> <l>You should have told me </l> <l> About your status— </l> <l> I would have bowed to you </l> <l> What's one more bow, anyway?</l> </lg> <lg> <l>I bow to the dollar </l> <l> I bow to the scholar </l> <l> I bow to the white house </l> <l> I bow to the church mouse </l> <l> I bow to tradition </l> <l> I bow to contrition </l> <l> I bow to the butcher </l> <l> I bow to the baker </l> <l> I bow to the goddamn </l> <l> lightbulb maker—</l> </lg> <lg> <l>Who the hell am l anyway </l> <l> Not to bow?</l> </lg> <lg> <l>What else do I know how to do?</l> </lg> <lg> <l>But you should have told me baby </l> <l> You should have hipped me momma </l> <l> I didn’t know you would pull it out </l> <l> And strap it on</l> </lg> <lg> <l>Fucking me mercilessly </l> <l> Long stroking me </l> <l> So that even my shadow is moaning</l> </lg> <lg> <l>But damn baby </l> <l> I didn't know </l> <l> You coulda saved me the trip¬</l> </lg> <lg> <l>I thought I was on my way </l> <l> To a garden </l> <l> Where fruit ain’t forbidden </l> <l> Where snakes do not crawl to seduce </l> <l> I thought for a second </l> <l> That earth was a good thing </l> <l> That acting had played out </l> <l> And cotillions were outlawed </l> <l> That bingo was over </l> <l> And ladies had drowned in their tea </l> </lg> <lg> <l>But now that l'm hip momma </l> <l> Come, fuck me.</l> </lg> <p>(@ <persName>Assata Shakur/Joanne Chesimard</persName>) </p> <p>Some of Assata’s poems were accepted for publication in, a literary magazine. Poets & Writers gave us a grant to do an anthology of students' writing which Gail and I compiled. We published it through the <orgName>Print Center in Brooklyn</orgName> and called it <title level="a">Songs from a Free Space: Writings by Women in Prison</title>. The anthology was sold in New York bookstores and distributed to the women in the classes.</p> <p>It contained some of the best work done in the classes. By now I had handed over a rough script to the poetry class and an idea about doing some kind of theater piece. The women put together a revue of loosely scripted poems, songs, and vignettes called Next Time. They memorized lines and improvised costumes. <persName key="Sanderson, Karen" ref="http://viaf.org/viaf/7163456189304813715/">Karen Sanderson</persName>, a friend and videotape expert, arrived at the prison one Sunday with a crew of women (after endless haggling for permission; we told the Corrections Department that we needed the videotape as a rehearsal tool for a play) and taped for nine hours straight. Finally, after months of editing, a half-hour tape emerged which documents the poems, songs, love, and exasperation of some of these incredible women. (This tape is available to anyone interested.)</p> <p>In September 1975, <orgName>FREE SPACE</orgName> merged with <orgName key="Art without Walls (Organization)" ref="http://viaf.org/viaf/157557651/">ART WITHOUT WALLS</orgName>, another arts project for women in prison. Now we were able to offer graphic arts and dance, in addition to having a larger staff. The publishing idea had fulfilled itself, a renaissance. Juanita had begun a book about her experiences; another woman, <persName>Isabelle Newton</persName>, was collecting her poems in manuscript. Then Assata, who had been held in solitary for one year in New Jersey, whose cell was raided by guards every day in search of contraband, and who had been beaten by the prison goon squad on numerous occasions, completed her book of poems and wrote two chapters of a book, an account of her arrest and life in prison. The warden stopped me in the hall one day and told me that she knew we were collaborating on a book with Assata and Juanita. She told me she hadn’t forgotten the Elizabeth Powell case.</p> <p>On <date when="1975-11-26">November 26, 1975</date>, Gail was preparing to leave home to go to her fiction class (filled with new students) when the phone rang. It was Deputy Freeman, the WHD Program Director, who advised her not to come to class: the program had been cancelled. We were not allowed to do anything after that except to pick up our books and any program belongings; we couldn’t say good-bye to anyone or discuss plans for any of their work.</p> <p>Naturally, we are contesting this decision, but there isn’t much hope in appealing a warden’s whim. It is, after all, her turf. Official reasons for the cancellation were said to be duplication of services (they stated that the public school provided the same type of classes) and irregularity of classes. The warden refused, however to put these reasons in writing for us. It is clear that the writing classes were taken seriously only when the women wrote seriously about their lives and published those writings. Poetry is safe, women are safe until they begin to make sense and communicate. Still, ART <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_036.jpg"/> recognizes the possibilities of self-expression, perhaps the walls crack a little. Perhaps. Words can, indeed, turn them around, but sometimes having all the right words is small change. "Before despairing, speak of it," said a woman one day in class. Even when writing of despair there’s the fact—named and held to the light for a moment—maybe even under¬ stood.</p> <p>WITHOUT WALLS/FREE SPACE is continuing to work at a children’s center, a drug clinic, and another women’s prison. It’s important to maintain the lifelines between people on the outside and those inside.</p> <p>But what happened at the Women's House of Detention can easily happen again. Especially if publishing is, as it should be, part of the writing project. Prison writers have a right to be heard as does any writer. Their voices are too impor¬ tant to be missed. Publishing is part of the art of not bowing. Each time a man or woman in a cell</p> <lg> <head><title>Next Time </title> <lb/>(group poem from the videotape </head> <l>of the same name) </l> <l> You don’t hear me </l> <l> You don't see me </l> </lg> <lg> <l>I'm the one just a step behind you </l> <l> a split second before the light changes on the</l> <l> corner. </l> <l> The face that breaks the glass without a sound </l> <l> The hands that take your money on a </l> <l> screaming train uptown.</l> </lg> <lg> <l>Ladies. I had nowhere to take myself tonight </l> <l> Except to myself </l> <l> To my own face </l> <l> Reflected in yours </l> <l> And my own voice </l> <l> telling me </l> <l> THERE IS NO NEXT TIME FOR ANY OF US </l> </lg> <lg> <l>Just the husbands and families waiting </l> <l> Just the habits and fast money waiting </l> </lg> <lg> <l>The kids in the street</l> <l>The kids in strangers' homes</l> <l>The kids in our bellies</l> <l>The kids we are inside</l> <l/><l>And the lies we tell ourselves</l> <l>To go on living</l> </lg> <lg> <l>LISTEN</l> <l>No one got over on you tonight</l> <l>No one lied here tonight</l><l/> <l>We told the truth</l> <l>And the truth is what you see before</l><l>your eyes</l><l/> <l>Ladies</l> <l>Before you forget, ladies,</l> <l>Till the "next time" My best.</l> </lg></div> </body> <back> <div><p><persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName> is a New York poet and assistant editor of Anteus. Her book, <title>Camouflage</title>, was published in 1975 (University of Pittsburgh Press). She directs the prison program Art Without Walls/Free Space at Bedford Hills Correctional Facility for Women.</p></div> </back> </text> </TEI>
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"oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118738#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118738#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "\"An Exhortation to Theodore after His Fall,\" in A Select Library of the Nicene and Post-Nicene Fathers, ed. Philip Schaff et al. (New York, 1889), IX, 103-104." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118739", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.739Z", "dcterms:modified": "2023-04-23T19:31:18.739Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118739#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118739#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[2]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "From the Carmen de Mundi contemptu, quoted in Not in God’s Image, ed. J. Ofaolain and L. Martines (New York, Harper and Row 1973), p. xlij. St. Odo of Cluny had earlier phrased this with almost identical wording in his Collationes, lib. 2, cap. 9 (in J. P. Migne’s Patrologia Latina (Paris, 1844-82). CXXXIII, 556), while Ancrene Riwle (below) directly refers to a similar expression in St. Bernard's Meditationes Plissimae de Cognitione Humanae Conditionis, cap. 3 (Migne, op, cit., ClXXXIN 489); The key phrases are \"stercoris saccum” and saccus stercorum” —literally, a bag of shit." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118740", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.740Z", "dcterms:modified": "2023-04-23T19:31:18.740Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118740#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118740#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "The Early English Text Society's Ancrene Riwle, ed. E. J. Dobson (London, 1972), pp. 202-203; author's translation." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118740", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.740Z", "dcterms:modified": "2023-04-23T19:31:18.740Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118740#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118740#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note[2]" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Salimbene, in From St. Francis to Dante: Translations from the Chronicle of the Franciscan Salimbene (1221-1288). 2nd ed., ed. and trans. G.G. Coulton (London, 1907), p. 97. and Tertullian, quoted in G.L. Simon's A Hisory of Sex (London, New English Library, 1970). p. 71" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": 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"https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118741#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note[3]" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": " From La Clef d'amor and La Cour d'aimer in Nina Epton's Love and the French (London, 1959), pp. 30ff " }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118742", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.742Z", "dcterms:modified": "2023-04-23T19:31:18.742Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118742#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118742#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[8]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "For troubadour biographies, 1 have consulted Jehan de Nostredame, Les Vies des Plus Celebres et Ancien: Poetes Provencaux, ed. Camille Chabaneau (1913; rpt Geneve, 1970—first published in 1575); La Curne de Sainte-Pelaye, Histoire Litteraire des Troubadours (1774 rpt. 3 vols. in 1, Genève, 1967); and Victor Balaguer, Los Trovadores, 2nded. (Madrid, 1883). 4 vol." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118742", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.742Z", "dcterms:modified": "2023-04-23T19:31:18.742Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118742#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118742#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[10]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Jaufre was not the onty fatality of romance. Andrieu of France—eulogized by at least six troubadours —also fell victim to “too much love\" and hed never set eyes on his lady either. See Jehan de Nostredame, op. cit., pp. 166, 180" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118743", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.743Z", "dcterms:modified": "2023-04-23T19:31:18.743Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118743#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118743#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[12]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Plutarch’s Lives, trans. Langhorne (London, Frederick Warne, n.d.). IV, 37" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118743", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.743Z", "dcterms:modified": "2023-04-23T19:31:18.743Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118743#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.0" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-04/ladden.xml?note_annotation_20230423153118743#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[14]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Ovid's Remedia Amoris, line 405; Rolfe Humphries' translation in The Art of Love (Bloomington, 1957) p. 193" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": 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wings.)</caption></figure> <p>The attitudes in True Romances (and in most of our pasts) originally shone forth from 12th-century troubadour poetry and even then they were a little tarnished. Chaste, idealistic and upper-ciass, medieval troubadour poetry supposedly countered a strong tradition of misogyny. It also supposedly elevated woman by upholding that same feminine mystique which, for centuries, the Christian fathers had diligently) tried to demolish: “Corporeal beauty is nothing else but phlegm, and blood, and humor, and bile, and the fluid of masticated food.... " said <persName key="John Chrysostom" ref="http://www.wikidata.org/entity/Q43706">John Chrysostom</persName>, a saint, in the 4th century. "When you see a rag with any of these things on it, such as phlegm, or spittle, you cannot bear to touch it even with the tips of your fingers. . . . Are you in a flutter of excitement about the storehouses and depositories of these things?" <note type="researchNote">"An Exhortation to Theodore after His Fall," in <title key="Nicene and Post-Nicene Fathers" ref="http://www.wikidata.org/entity/Q16152258" level="m">A Select Library of the Nicene and Post-Nicene Fathers</title>, ed. <persName key="Philip Schaff" ref="http://www.wikidata.org/entity/Q115922" type="real">Philip Schaff</persName> et al. (New York, 1889), IX, 103-104.</note></p> <p>Woman was so many layers of mucous membrane. And writings from 6 and 7 centuries later attest to the muddy strides saints and clerics had taken in the interim: "If her bowels and flesh were cut open, you would see what filth is covered by her white skin. If a fine crimson cloth covered a pile of foul dung, would anyone be foolish enough to love the dung because of it?" <note type="researchNote">From the Carmen de Mundi contemptu, quoted in <title>Not in God’s Image</title>, ed. J. Ofaolain and L. Martines (New York, Harper and Row 1973), p. xlij. <persName key="Odo of Cluny" ref="http://www.wikidata.org/entity/Q454553">St. Odo of Cluny</persName> had earlier phrased this with almost identical wording in his <title key="Collationes" ref="http://www.wikidata.org/entity/Q21436484">Collationes</title>, lib. 2, cap. 9 (in J. P. Migne’s <title key="Patrologia Latina" ref="http://www.wikidata.org/entity/Q548044" level="m">Patrologia Latina</title> (Paris, 1844-82). CXXXIII, 556), while Ancrene Riwle (below) directly refers to a similar expression in St. Bernard's <title>Meditationes Plissimae de Cognitione Humanae Conditionis</title>, cap. 3 (Migne, op, cit., ClXXXIN 489); The key phrases are "stercoris saccum” and saccus stercorum” —literally, a bag of shit.</note> Now, woman was simply so much manure smattered across the coprophagous pages of Christian doctrine.</p> <p> The wheels of progress kept on turning. A 3th-century work addressed itself specifically to women—three worthy recluses: "What fruit does your flesh yield from all its openings?" began their catechism. “Between the taste of mouth and smell of nose, aren’t there holes like two privy holes? Aren't you born of foul slime? Aren't you worm-food? <note type="researchNote">The Early English Text Society's <title key="Ancrene Wisse" ref="http://www.wikidata.org/entity/Q489442" level="m">Ancrene Riwle</title>, ed. <persName key="Dobson, James E." ref="http://viaf.org/viaf/187144782706114501587/">E. J. Dobson</persName> (London, 1972), pp. 202-203; author's translation.</note> To the Church, woman was simply full of shit. Yet this was the legacy bequeathed to the Middle Ages where the love of woman was a cult—an absolute prerequisite for respectability. And love flourished. Of course, misogyny continued to flourish too. Woman would still be called "a stinking rose" and "glittering mud” and “a temple built over a sewer." <note type="researchNote"><persName key="Salimbene" ref="http://www.wikidata.org/entity/Q108446705">Salimbene</persName>, in <title>From St. Francis to Dante: Translations from the Chronicle of the Franciscan Salimbene</title> (1221-1288). 2nd ed., ed. and trans. <persName key="Coulton, G.G. (George Gordon), 1858-1947" ref="http://viaf.org/viaf/95255424/">G.G. Coulton</persName> (London, 1907), p. 97. and <persName key="Tertullian" ref="http://www.wikidata.org/entity/Q174929">Tertullian</persName>, quoted in G.L. Simon's <title level="m">A Hisory of Sex</title> (London, New English Library, 1970). p. 71</note> But, as sister to Mary, she was also the mystical elevator of the masculine soul which, by its nature, gravitated toward perfection. By merely contemplating woman in her golden radiance, man could rise to spiritual heights in a kind of "gilt” by association. For somewhere between the muddy slime and the hazy castle spire, a new woman had been spawned. Like the enchanted fay (fairy) of Celtic lore, she moved softly, gliding over but never touching terra firma, surrounded by auras so fragile that they were better left unpenetrated. But these were beautiful, mysterious and promising auras, and scribes feverishly copied down the formulas for keeping them intact: "If you have ugly teeth, don't laugh with your mouth open." "Practice making pretty speeches. “ "Dye your hair; wear false hair if you have lost your own." <note type="researchNote"> From L<title>a Clef d'amor and La Cour d'aimer</title> in <persName key="Nina Epton" ref="http://www.wikidata.org/entity/Q18705131">Nina Epton</persName>'s <title>Love and the French</title> (London, 1959), pp. 30ff </note></p> <p> <persName key="Andreas Capellanus" ref="http://www.wikidata.org/entity/Q4340">Andreas Capellanus</persName>, <persName key="Jacques D'Amiens" ref="https://www.wikidata.org/wiki/Q95795577">Jacques D'Amiens</persName>, <persName key="Robert de Blois" ref="http://www.wikidata.org/entity/Q1774110">Robert le Blois</persName>, <persName key="Garin lo Brun" ref="http://www.wikidata.org/entity/Q1778218">Garin le Brun</persName>, <persName key="Drouart la Vache" ref="http://www.wikidata.org/entity/Q54834439">Drouart la Vache</persName>, <persName key="Pierre Ermangaud" ref="http://www.wikidata.org/entity/Q20922145">Ermangau</persName> and <persName key="Richard de Fournival" ref="http://www.wikidata.org/entity/Q2121581">de Fournival</persName> —all added their instructions to the heap: Lie. Cheat. Drop names, if you have to. Drop dead, if you have to. Anything.</p> <p> Maintaining the mystique was the important thing, and that meant keeping the distance. It meant the ecstasy was in the wooing while sex lay in the winding down. Even the ladies understood that attainment decreased their value, and many who loftily kept their suitors well below thigh level would rather have had it otherwise. After all, as even the ladies knew: a <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_045.jpg"/> lover is a vision surrounded by auras. But flesh and blood is flesh and blood... and phlegm and dung and mucous and bile and etc.</p> <p> Once woman ceased to be a symbol, she became a person, a passion, a robber of reason–a literal and metaphorical scum-bag.</p> <p> No wonder the ladies were afraid to submit. With submission, love and its raison d'être became the discarded backdrop for a fait accompli. The love was no longer ennobling (ergo: the animal soul pawed and dragged down its rational counterpart), and the woman was no longer mounted on a pedestal (ergo: with the man on top, she was mounted, period). And man’s desire—well, that often died along with his suffering.</p> <p> It’s natural, then, that the really legendary lovers chose the most distant and unattainable objects they couid conceive of. <persName key="Guilhem de la Tor" ref="http://www.wikidata.org/entity/Q3779564">Guilhem de la Tour</persName>, for instance, loved the woman he lived with. <note type="researchNote">For troubadour biographies, 1 have consulted <persName key="Jean de Nostredame" ref="http://www.wikidata.org/entity/Q1218411">Jehan de Nostredame</persName>, <title>Les Vies des Plus Celebres et Ancien: Poetes Provencaux</title>, ed. <persName key="Camille Chabaneau" ref="http://www.wikidata.org/entity/Q1029137">Camille Chabaneau</persName> (1913; rpt Geneve, 1970—first published in 1575); La Curne de Sainte-Pelaye, <title key="La Curne de Sainte-Palaye, Jean-Baptiste de, 1697-1781. | Histoire littéraire des troubadours" ref="http://viaf.org/viaf/516154387331530970006/">Histoire Litteraire des Troubadours</title> (1774 rpt. 3 vols. in 1, Genève, 1967); and <persName key="Víctor Balaguer i Cirera" ref="http://www.wikidata.org/entity/Q713246">Victor Balaguer</persName>, <title>Los Trovadores</title>, 2nded. (Madrid, 1883). 4 vol.</note> Now such women were worn on everyday occasions and were inevitably mundane. But Guilhem’s enamorata was unearthly; in fact, she was dead. On the eve of her burial, Guilhem visited her grave and, after ten days of morbid embracing and poignant conversation (she was a good listener), he went home firm in the belief that she would rise from her tomb and come back to him. She didn't. But for years, it was only Beatrix he longed for. She was the perfect lover—mystical ethereal and unobtrusive. It was a passion that rivaled even Jaufre Rudel's.</p> <p> <persName key="Jaufre Rudel" ref="http://www.wikidata.org/entity/Q5260">Jaufre Rudel</persName> was ingenious. In an age which valued prolonged desire, he contrived a wonderful device. He fell in love with the Countess of Tripoli—a woman he had never seen but whose beauty had filled his imagination so enchantingly that southern France became a glorious vantage point. And so it remained for several years until, despite the protests of his friends and patron, he resolved at last to cross the ocean to be near her. </p> <p>Maybe he just got sick. Or maybe, as his biographers prefer to believe, the anticipation of seeing her was too much for his little heart to bear. In any case, as the boat was approaching <placeName key="Tripoli" ref="http://www.wikidata.org/entity/Q3579">Tripoli</placeName>, he apparently expired. But only apparently. For as the countess rushed to his side, her presence revived him and he pronounced himself fulfilled at last and died again in her arms— a self-extinction metaphorically equivalent to orgasm, but which Jaufre seems to have taken much too literally, since <persName key="Petrarch" ref="http://www.wikidata.org/entity/Q1401">Petrarch</persName> and other chroniclers affirm that this time he actually did die, and in all probability with his pants on. <note type="researchNote">Jaufre was not the onty fatality of romance. Andrieu of France—eulogized by at least six troubadours —also fell victim to “too much love" and hed never set eyes on his lady either. See Jehan de Nostredame, op. cit., pp. 166, 180</note> </p> <p> True, Jaufre was a strange and nearly legendary breed. But while to him sex must have seemed an unspeakable defilement, most were not so theoretical. Even troubadours who constantly reminded women that sex was debasing and honor was all had an ultimately sensua physicality in mind. Woman was like a fine wine. A man twirls it about, observes its color, its clarity, savoring its bouquet and rolling it around on his languishing taste-buds. And though the swallow is only the means to the end, the end is still very definitely in view. Most pleas for chastity were only lip-service. Even <persName key="Sordello" ref="http://www.wikidata.org/entity/Q665165">Sordello</persName>, a troubadour who repeatedly swore he’d rather die than see a lady even taint her honor, happened to kidnap a Veronese countess and that didn’t help her honor a bit. Nor did it discredit his poetry. Such scandal was irrelevant. In fact, women were irrelevant. Love was the important thing and the trick was to keep it alive as long as possible, feeding it little by ever-so-little in an extended and delicious tease. Men could nudge at the gates to the ovarian fortress, but entrance, they knew should be delayed. The uitimate object was sex; men wanted what they waited for. They just didn’t want it right away. And this largely explains why other men’s wives proved such suitable candidates for adoration. Forbidden, llicit, deliciously dangerous—yet slightly damaged, they promised all the more to be ultimately affordable. They were perfectly fashioned for desire.</p> <p> Desire is a tricky business. In Greece <persName key="Plutarch" ref="http://www.wikidata.org/entity/Q41523">Plutarch</persName> had admired Spartan marriages where, for years, man approached his wife in darkness in secret and in haste "so as not to be satiated... there was still place for unextinguished desire." <note type="researchNote"><title key="Parallel Lives" ref="http://www.wikidata.org/entity/Q842337">Plutarch’s Lives,</title> trans. Langhorne (London, Frederick Warne, n.d.). IV, 37</note> It was a useful formula and was later picked up in the Middle Ages when the notion of infre- quent and clandestine meetings was embraced a lot more than the ladies were. The medieval magic of love was uncertainty. Even the romances preserved this ideal. The lady could be snatched away at any moment by a darkening scandal or a jealous husband, or be absorbed into the ethers which spawned her disappearing into the mist on a white palfrey. The knight wanted her like that: distant, pure, mysterious, virginal —a blonde Mary ascending into <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_046.jpg"/> heaven, looming over the castle horizon with only a little soot on her feet suggesting that she didn’t belong there.</p> <p> Never mind that the only pure-white creature was the post-menopausal albino rabbit—or that even the ladies depicted in romance were potentially swivers of heroic proportions. Since sex distinguished the distant fay from the dung-filled floozy, relatively sexless love became prevalent, and many women—whether they liked it or not—played along.</p> <p> There were advantages, of course. Love became a rare delicacy whereas before it had been something like yesterday’s leftovers. As Ovid's classical formula goes: "Pleasure coming slow is the best”; <note type="researchNote"><title key="Remedia amoris" ref="http://www.wikidata.org/entity/Q1236392">Ovid's Remedia Amoris</title>, line 405; <persName key="Rolfe Humphries" ref="http://www.wikidata.org/entity/Q7360825">Rolfe Humphries</persName>' translation in <title>The Art of Love</title> (Bloomington, 1957) p. 193</note> meaning, the longer the foreplay the better the orgasm; meaning, some courtly couples, when they finally did come, must very nearly have blown their brains out.</p> <p> But some, for sure, were disappointed. Women were dropped, men bumbled like <persName key="Percival" ref="http://www.wikidata.org/entity/Q728510" type="fictional">Perceval</persName> or—like some knights in the bawdier tales— they'd win their ladies with lots of pomp and peter out before they could even open the package, their worlds ending not with a bang but a whimper. These were particularly grateful for courtly love.</p> <p> Courtly love was a game of foreplay whose rule was often touch and go; it was an answet (and a spur) to impotence. Some knights were barely post-pubescent and many were sexually insecure, preferring rich expectations to poor reputations and one-night stands. Better to tilt about the countryside, flaunting a passion and flailing a sword (the sword had always been a metaphor for penis—"vagina” is merely Latin or "sheath"), imagining a truly magnificent sexual prowess when the real thing was maybe limp by comparison. Love by its very nature was a test, and knights were afraid to take the exam. Or sometimes, it was better to put it off than to put it in.</p> <p> Love became formalized. The knight waxed and grew pale, and waxed, and waxed, and waxed. It was blissful and aggrandizing anticipation. Too bad if a lady sometimes felt cheated—if watching her knight charging and gleaming, she secretly wished hed get off his high horse and get down to business. What could the women do? Their iron-clad men performed in the tournaments. Ramming, sweating, thrusting and galloping. . . . Ah, those impervious men in the metal suits.</p> <p> ...The only things naked were their swords.</p></div> </body> <back> <div><p>Ariene Ladden is a poet, scholar and medievalist who teaches at <orgName key="LaGuardia Community College" ref="http://dbpedia.org/resource/LaGuardia_Community_College">LaCuardia Community College</orgName> in New York. She is interested in “the forces motivating culture—especially the more absurd ones," and in this spirit is now working on a cultural history of sex and power. She is also co-authoring a textbook series on literature and creative writing for children.</p></div> </back> </text> </TEI>
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of and apparent endorsement of Carolee\n\t\t\t\t\t\tSchneemann's \"The Prounoun Tyranny\" in the Fox, 3(1976)" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": 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}, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.1" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145159270#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[9]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Opinions of Working People Concerning the Arts, ed. Don Celender (New York,\n\t\t\t\t\t\t1975)" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145221221", "type": "oa:Annotation", "dcterms:created": "2022-11-15T21:52:21.221Z", "dcterms:modified": "2022-11-15T21:52:21.221Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145221221#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.1" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145221221#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[8]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Michele Russell, \"Woman and Third World,\"\n\n\t\t\t\t\t\tNew American Movement (June, 1973)." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { 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"https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145236470#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[2]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Class and Feminism,\n\t\t\t\t\t\ted. Charlotte Bunch and Nancy Myron (Baltimore, 1974). This book contains\n\t\t\t\t\t\tsome excrutiating insights for the middle-class feminist; it raised my\n\t\t\t\t\t\tconsciousness and inspired this essay (along with other recent experiences\n\t\t\t\t\t\tand conversations)." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": 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Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy R.Lippard</persName></byline> </div> <div> <p> Another aspect of this conflict surfaces in discussions around who gets a "piece of the pie" - a phrase which has become the scornful designation for what is actually most peoples goal. (Why shouldn't artists be able to make a living in this society like everybody else? Well, almost <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_085.jpg"/> everybody else.) Those working for "cultural change" through political theorizing and occasional actions are opposed to anybody getting a piece of the pie, though politics appears to be getting fashionable again in the art world and may itself provide a vehicle for internal success; today one can refuse a piece of the pie and simultaneously be getting a chance at it. Still, the pie is very small and there are a lot of hungry people circling it. Things were bad enough when only men were allowed to take a bite. Since "aggressive women" have gotten in there too, competition, always at the heart of the art-world class system, has peaked. </p> <p> Attendance at any large art school in the U.S. takes students from all classes and trains them for artists' schizophrenia. While being cool and chicly grubby (in the "uniform" of mass production), and knowing what's the latest in taste and what's the kind of art to make and the right names to drop is clearly "upward mobility" – from school into teaching jobs and/or the art world-the lifestyle accompanying these habits is heavily weighted "downward." The working-class girl who has had to work for nice clothes must drop into frayed jeans to make it into the art middle class, which in turn considers itself both upper and lower class. Choosing poverty is a confusing experience for a child whose parents (or more likely mother) have tried desperately against great odds to keep a clean and pleasant home. <note type="researchNote">Class and Feminism, ed. Charlotte Bunch and Nancy Myron (Baltimore, 1974). This book contains some excrutiating insights for the middle-class feminist; it raised my consciousness and inspired this essay (along with other recent experiences and conversations).</note> </p> <p> The artist who feels superior to the rich because s/he is disguised as someone who is poor provides a puzzle for the truly deprived. A parallel notion, rarely admitted but pervasive, is that a person can't understand "art" if their house is full of pink glass swans or their lawn is inhabited by gnomes and flamingos, or if they even care about house and clothes at all. This is particularly ridiculous now, when art itself uses so much of this paraphernalia (and not always satirically); or, from another angle, when even artists who have no visible means of professional support live in palatial lofts and sport beat-up $100 boots while looking down on the "tourists" who come to <placeName>SoHo</placeName> to see art on Saturdays; SoHo is, in fact, the new suburbia. One reason for such callousness is a hangover from the 1950s, when artists really were poor and proud of being poor because their art, the argument went, must be good if the bad guys - the rich and the masses - didn't like it.</p> <p>In the 1960s the choice of poverty, often excused as <rs key="anti-consumerism" ref="http://www.wikidata.org/entity/Q1783091">anti-consumerism</rs>, even infiltrated the esthetics of art. Actually nothing new; the history of modern art demonstrates a constant longing for the primitive, the simple, the clear, the "poor," the noble naif, etc. First there was <rs key="pop art" ref="http://www.wikidata.org/entity/Q134147">Pop Art</rs>, modeled on kitsch, on advertising and consumerism, and equally successful on its own level. (Women, incidentally, participated little in Pop Art, partly because of its blatant sexism, sometimes presented as a parody of the image of woman in the media–and partly because the subject matter was often "women's work," ennobled and acceptable only when the artists were men.) Then came <rs key="process art" ref="http://www.wikidata.org/entity/Q545851">Process Art</rs>–a rebellion against the "precious object" traditionally desired and bought by the rich. Here another kind of co-optation took place, when temporary piles of dirt, oil, rags and filthy rubber began to grace carpeted living rooms. The Italian branch was even called <rs key="Arte Povera" ref="http://www.wikidata.org/entity/Q576913">Arte Povera</rs>. Then came the rise of a third-stream medium called "<rs key="conceptual art" ref="http://www.wikidata.org/entity/Q203209">conceptual art</rs>" which offered "anti-objects" in the form of ideas–books or simple xeroxed texts and photographs with no inherent physical or monetary value (until they got on the market, that is). Conceptual art seemed politically viable because of its notion that the use of ordinary, inexpensive, unbulky media would lead to a kind of socialization (or at least democratization) of art as opposed to gigantic canvases and huge chrome sculptures costing five figures and filling the world with more consumer fetishes.</p> <p> Yet the trip from of on canvas to ideas on xerox was, in retrospect, yet another instance of "downward mobility" or middle-class guilt. It was no accident that conceptual art appeared at the height of the social movements of the late 1960s nor that the artists were sympathetic to those movements (with the qualified exception of the women's movement). All of the esthetic tendencies listed above were genuinely instigated as rebellions by the artists themselves, yet the fact remains that only rich people can afford to 1) spend money on art that won't last; 2) live with "ugly art" or art that is not decorative, because the rest of their surroundings are beautiful and comfortable; 3) like "non-object art" which is only handy If you already have too many possessions-when it becomes a reactionary commentary: art for the overprivileged in a consumer society.</p> <p> As a child, I was accused by my parents of being an "anti-snob snob" and I'm only beginning to see the limitations of such a rebellion. Years later I was an early supporter of and proselytizer for conceptual art as escape from the commodity orientation of the art world, a way of communicating with a broader audience via inexpensive media. Though I was bitterly disappointed (with the social, not the esthetic achievements) when I found that this work could be so easily absorbed into the system, it is only now that I've realized why the absorption took place. Conceptual art's democratic efforts and physical vehicles were cancelled out by its neutral, elitist content and its patronizing approach. From around <date from="1967" to="1971">1967 to 1971</date>, most of us involved in conceptual art saw that content as pretty revolutionary and thought of ourselves as rebels against the cool, hostile artifacts of the prevailing formalist and minimal art. But we were so totally enveloped in the middle-class approach to everything we did and saw, we couldn't perceive how that pseudo-academic narrative piece or that art-world-oriented action <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_086.jpg"/> in the streets was deprived of any revolutionary content by the fact that it was usually incomprehensible and alienating to the people "out there," no matter how fashionably downwardly mobile it might be in the art world. The idea that if art is subversive in the art world it will automatically appeal to a general audience now seems absurd.</p> <p> The whole evolutionary basis of modernist innovation, the idea of esthetic "progress," the "I-did-it-first" and "it's-been-done-already" syndromes which pervade contemporary avant garde art and criticism, are also blatantly classist, and have more to do with technology than with art. To be "avant-garde" is inevitably to be on top or to become upper-middle-class, because such innovations take place in a context accessible only to the educated elite. Thus socially conscious artists working in or with community groups and muralists try to disassociate themselves from the art world, even though its values ("quality") remain to haunt them personally.</p> <p> The value systems are different in and out of the art world, and anyone attempting to straddle the two develops another kind of schizophrenia. For instance, in the inner-city community murals, as <persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName> points out elsewhere in this publication, the images of woman are the traditional ones–a beautiful, noble mother and housewife or worker, and a rebellious young woman striving to change her world-both of them celebrated for their courage to be and to stay the way they are and to support their men in the face of horrendous odds. This is not the art-world or middle-class "radical" view of future feminism, nor is it one which radical feminists hoping to "reach out" across the classes can easily espouse. Here, in the realm of aspirations, is where upward and downward mobility and status quo clash, where the economic class barriers are established. As <persName key="Russell, Michele D." ref="http://viaf.org/viaf/11163457050804813684/">Michele Russell</persName> has noted, <note type="researchNote">Michele Russell, "Woman and Third World," New American Movement (June, 1973).</note> the Third-World woman is not attracted to the "Utopian experimentation" of the left (in the art world, the would-be Marxist avant-garde) or to the "pragmatic opportunism" of the right (in the art world, those who reform and co-opt the "radicals").</p> <p> Many of the subjects touched on here come back to Taste. To a poor woman, art, or a beautiful object, might be defined as something she cannot have. Beauty and art have been defined before as the desirable. In a consumer society, art too becomes a commodity rather than a life-enhancing experience. Yet the <persName key="Vincent van Gogh" ref="http://www.wikidata.org/entity/Q5582">Van Gogh</persName> reproduction or the pink glass swan–the same beautiful objects that may be "below" a middleclass woman (because she has, in moving upward, acquired upper-class taste, or would like to think she has) - may be "above" or inaccessible to a welfare mother. The phrase "to dictate taste" has its own political connotations. A Minneapolis worker interviewed by students of artist <persName key="Don Celender" ref="http://www.wikidata.org/entity/Q28873078">Don Celender</persName> said he liked "old art works because they're more classy," <note type="researchNote">Opinions of Working People Concerning the Arts, ed. Don Celender (New York, 1975)</note> and class does seem to be what the traditional notion of art is all about. Yet contemporary avant-garde art, for all its attempts to break out of that gold frame, is equally class-bound, and even the artist aware of these contradictions in her/his own life and work is hard-put to resolve them. It's a vicious circle If the artist/producer is upper-middle-class, and our standards of art as taught in schools are persistently upper-middle-class, how do we escape making art only for the upper-middle-class?</p> <p> The alternatives to "quality," to the "high" art shown in art-world galleries and magazines have been few, and for the most part unsatisfying, although well-intended. Even when kitsch, politics or housework are absorbed into art, contact with the real world is not necessarily made. At no time has the avant garde, though playing in the famous "gap between art and life," moved far enough out of the art context to attract a broad audience-that audience which has, ironically, been trained to think of art as something that has nothing to do with life and, at the same time, tends only to like that art which means something in terms of its own life, or fantasies. The dilemma for the leftist artist in the middle class is that her/his standards seem to have been set irremediably. No matter how much we know about what the broader public wants, or needs, it is very difficult to break social conditioning and cultural habits. Hopefully, a truly feminist art will provide other standards.</p> <p> To understand the woman artist's position in this complex situation between the art world and the real world, class and gender, it is necessary to know that in America artists are rarely respected unless they are stars or rich or mad or dead. Being an artist is not being "somebody." Middle-class families are happy to pay lip service to art but god forbid their own children take it so seriously as to consider it a profession. Thus a man who becomes an artist is asked when he is going to "go to work," and he is not-so-covertly considered a child, a sissy (a woman), someone who has a hobby rather than a vocation, someone who can't make money and therefore cannot hold his head up in the real world of men—at least until his work sells, at which point he may be welcomed back. Male artists, bending over backward to rid themselves of this stigma, tend to be particularly susceptible to insecurity and machismo. So women daring to insist on their place in the primary rank–as art makers rather than as art housekeepers (curators, critics, dealers, "patrons")–inherit a heavy burden of male fears in addition to the economic and psychological <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_087.jpg"/> discrimination still rampant in a patriarchal, money-oriented society.</p> <p> Most art being shown now has little to do with any woman's experience, in part because women-rich ones as "patrons," others as decorators and "home-makers"—are in charge of the private sphere, while men identify more easily with public art-art that has become public through economic validation (the million-dollar <orgName key="Rembrandt" ref="http://www.wikidata.org/entity/Q5598">Rembrandt)</orgName>. Private art is often seen as mere ornament; public art is associated with monuments and money, with "high" art and its containers, including unwelcoming whitewalled galleries and museums with classical courthouse architecture. Even the graffiti artists, whose work was unsuccessfully transferred from subways to art galleries, were all men, concerned with facades, with having their names in spray paint, in lights, in museums...</p> <p> Private art is visible only to intimates. I suspect the reason so few women "folk" artists work outdoors in large scale (like <orgName key="Simon Rodia" ref="https://oac.cdlib.org/findaid/ark:/13030/kt8k402266/">Simon Rodia</orgName>'s <title level="m">Watts Towers</title> and other "naives and visionaries" with their cement and bottles) is not only because men aspire to erections and know how to use the necessary tools, but because women can and must assuage these same creative urges inside the house, with the pink glass swan as an element in their own works of art the living room or kitchen. In the art world the situation is doubly paralleled. Women's art until recently was rarely seen in public and all artists are voluntarily "women" because of the social attitudes mentioned above; the art world is so small that it is "private."</p> <p> Just as the living room is enclosed by the building it is in, art and artist are firmly imprisoned by the culture which supports them. Artists claiming to work for themselves alone, and not for any audience at all, are passively accepting the upper-middle class audience of the internal art world. This is compounded by the fact that to be middle-class is to be passive, to live with the expectation of being taken care of and entertained. But art should be a consciousness-raiser; it partakes of and should fuse the private and the public spheres. It should be able to reintegrate the personal without being satisfied by the merely personal. One good test is whether or not it communicates, and then, of course, what and how it communicates. If it doesn't communicate it may just not be very good art from anyone's point of view; or it may be that the artist is not even aware of the needs of others, or simply doesn't care.</p> <p> For there is a need out there, a need vaguely satisfied at the moment by "schlock." <note type="researchNote">Bernard Kirchenbaum, in correspondence. Celender, op. cit., offers proof of this need and of the huge (and amazing) interest in art expressed by the working class, though it should be said that much of what is called art would not be agreed upon by the taste dictators.</note> And it seems that one of the basic tenets of the feminist arts should be a reaching out from the private sphere to transform that "artificial art" and to more fully satisfy that need. For the art-world artist has come to consider her/his private needs paramount, and has too often forgotten about those of the audience, any audience. Work that communicates to a dangerous number of people is derogatorily called a "crowd pleaser." This is a blatantly classist attitude, taking for granted that most people are by nature incapable of understanding good art (ie., upper-class or quality art). At the same time, much ado is made about art-educational theories that claim to "teach people to see" (consider the political implications of this notion) and muffle all issues by stressing the "universality" of great art.</p> <p> It may be that at the moment the possibilities are slim for a middle-class art world's understanding or criticism of the little art we see that reflects working-class cultural values. Perhaps our current responsibility lies in humanizing our own activities so that they will communicate more effectively with all women. Hopefully we will aspire to more than women's art flooding the museum and gallery circuit. Perhaps a feminist art will only emerge when we become wholly responsible for our own work, for what becomes of it, who sees it, and who is nourished by it. For a feminist artist, whatever her style, the prime audience at this time is other women. So far, we have tended to be satisfied with communicating with those women whose social experience is close to ours. This is natural enough, since this is where we will get our greatest support, and we need support in taking this risk of trying to please women, knowing that we are almost certain to displease men in the process. In addition, it is embarrassing to talk openly about the class system which divides us, hard to do so without sounding more bourgeois than ever in the implications of superiority and inferiority inherent in such discussions (where the working class is as often considered superior as the middle class).</p> <p> A book of essays called <title>Class and Feminism</title> written by <orgName>The Furies</orgName>, a lesbian feminist collective, makes clear that from the point of view of working-class women, class is a definite problem within the women's movement. As <persName key="Myron, Nancy, 1943-" ref="http://viaf.org/viaf/79318339/">Nancy Myron</persName> observes, middle-class women: <quote>can intellectualize, politicize, accuse, abuse and contribute money in order not to deal with their own classism. Even if they admit that class exists, they are not likely to admit that their behavior is a product of it. They will go through every painful detail of their lives to prove to me or another working-class woman that they really didn't have any privilege, that their family was exceptional, that they actually did have an uncle who worked in a factory. To ease anyone's guilt is not the point of talking about class... You don't get rid of oppression just by talking about it.</quote></p> <figure/> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_088.jpg"/> <p>Women are more strenuously conditioned toward upward cultural mobility or "gentility" than men, which often results in the woman consciously betraying her class origins as a matter of course. The hierarchies within the whole span of the middle class are most easily demarcated by lifestyle and dress. For instance, the much-scorned "Queens housewife" may have enough to eat, may have learned to consume the unnecessities, and may have made it to a desired social bracket in her community, but if she ventures to make art (not just own it), she will find herself back at the bottom in the art world, looking wistfully up to the plateau where the male, the young, the bejeaned seem so at ease.</p> <p> For middle-class women in the art world not only dress "down," but dress like working-class men. They do so because housedresses, pedal pushers, polyester pantsuits, perrnanents, the wrong accents are not such acceptable disguises for women as the boots, overalls and win breaker syndromes are for men. Thus young middle-class women tend to deny their female counterparts and take on "male" (unisex) attire. It may at times have been chic to dress like a native American or a Bedouin woman, but it has never been chic to dress like a working class woman, even if she's trying to look like <persName key="Jacqueline Kennedy Onassis" ref="http://www.wikidata.org/entity/Q165421">Jackie Kennedy</persName>. Young working-class women (and men) spend a large amount of avallable money on clothes; it's a way to forget the rats and roaches by which even the cleanest tenement-dwellers are blessed, or the mortgages by which even the hardest-working homeowners are blessed, and to present a classy facade. Artists dressing and talking "down" insult the hardhat much as rich kids in rags do; they insult people whose notion of art is something to work for-the pink glass swan.</p> <p> Yet women, as evidenced by the Furies' publication, and as pointed out elsewhere (most notably by <persName>Bebel</persName>), have a unique chance to communicate with women across the boundaries of economic class because as a "vertical class" we share the majority of our most fundamental experiences-emotionally, even when economically we are divided. Thus an economic analysis does not adequately explore the psychological and esthetic ramifications of the need for change within a sexually oppressed group. Nor does it take into consideration that women's needs are different from men's-or so it seems at this still unequal point in history. The vertical class cuts across the horizontal economic classes in a column of injustices. While heightened class consciousness can only clarify the way we see the world, and all clarification is for the better, I can't bring myself to trust hard lines and categories where fledgling feminism is concerned.</p> <p> Even in the art world, the issue of feminism has barely been raised in mixed political groups. In 1970, women took our rage and our energies to our own organizations, or directly to the public by means of picketing and protests. While a few men supported these, and most politically conscious male artists now claim to be feminists to some degree, the political and apolitical art world goes on as though feminism didn't exist-the presence of a few vociferous feminist artists and critics not withstanding. And in the art world, as in the real world, political commitment frequently means total disregard for feminist priorities. Even the increasingly Marxist group ironically calling itself <orgName>Art- Language</orgName> is unwilling to stop the exclusive use of the male pronoun in its theoretical publications. <note type="researchNote">This despite their publication of and apparent endorsement of Carolee Schneemann's "The Prounoun Tyranny" in the Fox, 3(1976)</note></p> <p> Experiences like this one and dissatisfaction with Marxism's lack of interest in "the woman question" make me wary of merging Marxism and feminism. The notion of the non-economic or "vertical" class is anathema to Marxists and confusion is rampant around the chicken-egg question of whether women can be equal before the establishment of a classless society or whether a classless society can be established before women are liberated. As <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> says of her own Marxism and feminism: <quote>They are at once incompatible and in real need of one another. As a feminist and a Marxist I carry their contradictions within me and it is tempting to opt for one or the other in an effort to produce a tidy resolution of the commotion generated by the antagonism between them. But to do that would mean evading the social reality which gives rise to the antagonism. <note type="researchNote">Sheila Rowbotham, Women: Resistance and Revolution (London, 1972).</note></quote></p> <p>As women, therefore, we need to establish far more strongly our own sense of community, so that all our arts will be enjoyed by all women in all economic circumstances. This will happen only when women artists make conscious efforts to cross class barriers, to consider their audience, to see, respect, work with the women who create outside the art world-whether in suburban crafts guilds or in offices and factories or in community workshops. The current feminist passion for women's traditional arts, which influences a great many women artists, should make this road much easier, undess it too becomes another commercialized rip-off. Despite the very real class obstacles, I feel strongly that women are in a privileged position to satisfy the goal of an art which would communicate the needs of all classes and sexes to each other, and get rid ofthe we/they dichotomy to as great an extent as is possible in a capitalist framework. Our sex, our oppression and our female experience–our female culture, just being explored–offer access to all of us by these common threads.</p> </div> </body> <back> <p>Lucy R. Lippard is a feminist art critic, writes fiction too, and has been active politically. She is co-founder of several women artists' groups and has published 10 books on contemporary art, the two most recent ones being <title>From the Center: Feminist Essays on Women's Art</title> (E.P. Dutton) and <title>Eva Hesse</title> (N.Y.U. Press).</p> </back> </text> </TEI>
