Between subordinates and hosts: the complex relationship between women and History

ABSTRACT This article aims to analyze Judy Chicago’s work of art, The Dinner Party, in the light of the concepts developed by the Women’s History. Such relationship occurs through the interpretation of the work of Chicago from the context in which it was conceived, that of the second wave of the feminist movement that contributed to the development of the Women’s History as a theoretical field. The studies inserted in the Women’s History, however, are not limited to just pointing out the existence of women throughout History, but also raises questions about the reason and how they were erased. Chicago’s work, rich in symbolism, was chosen precisely because it closed these two biases present in the these epistemological assumptions, connecting the affirmation of identities, the recovery of memories and the re-reading of a History defined by the genre.