Abstract

Woman is not simply an object, however. If we think in terms of the production of culture, she is an art object: she is the ivory carving or mud replica, an icon or doll, but she is not the sculptor. Lest this seem fanciful, we should remember that until very recently women have been barred from art schools as students yet have always been acceptable as models. Both Laura and Beatrice were turned into characters by the poems they inspired. A poet as sensitive as Chaucer to this reification of the female allowed Criseyde to recognize and lament her own dilemma: "Allas, of me, unto the worldless ende,/Shall neyther ben ywritten nor ysonge/No good word; for these bokes wol me shende" . Like the words written about her, she fears she will be "rolled on many a tongue!"6· 6. I am indebted for this view of Criseyde to Marcelle Thiebaux's "Foucault's Fantasia for Feminists: The Woman Reading" .Susan Gubar, associate professor of English at Indiana University, is coauthor of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination and coeditor of Shakespeare's Sisters: Feminist Essays on Women Poets, both with Sandra M. Gilbert. They are currently working on No Man's Land: Feminism and Modernism, the sequel to their book