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1

ESTETYKA WOBEC FEMINIZMU

100%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2018

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vol. 25

40-66

EN

Aesthetics Against Feminism When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

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Mity. Kilka tropów

100%

Kostołowski A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2019

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vol. 27(27)

50-66

PL

The text is mainly about some references to myth in the 20-21st century art. A rift in treatment of myth during this period is interesting. On the one hand, in popular literature and media a generic term “myth” is often used. But it is often understood as something substantially irrational and used with a certain disdain, as well as on the boundary of being pejora- tive. Whereas in serious anthropological and philosophical texts and in art, “myth” may be on the one hand specified (in the case of “classical” mythical stories there are references by names to mythical characters in sequences of events), and on the other fully rational elements are excavated from it within its context, which significantly explain natural phenomena and cause and effect aspects of the surrounding world. Taking more rational way of describing myth into consideration, I chose examples of myths: Oedipus, Androgyne and Pygmalion’s. Oedipus is burdened with inter- pretations and omnipresent in the surrealist art (for example especially strongly in Max Ernst’s works). Also, as an “out-take” of the myth, part about Sphinx, carries interesting proto-feminist threads (in Leonor Fini’s paintings). A hermaphroditic Androgyne seems to draw out a new actual- ity and is interpreted in twofold unity, or completely entangled. In twofold unity (as in Marc Chagall’s works or Magdalena Abankowicz’s) they are associated but separated presence of personas. In the sense of negative rifting we may analyze genres of womanly act, which hides objectification of broken Androgyne. However, entanglement is on the one hand a connec- tion (as in lovers’ embrace) and on the other over-individualistic duos or bigger groups of artists, especially those who have been also performance artists since the 60s of the 20th century. Pygmalion myth profusely used in art hides within, among others, a metaphor of illusion.

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Androgyniczny model „nagiej duszy” w tworczosci Stanislawa Przybyszewskiego

85%

Mrowka K.

Pamiętnik Literacki

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2012

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vol. 103

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issue 4

45-55

EN

The subject of the article is a philosophical analysis of Stanislaw Przybyszewski’s work. The writer’s philosophy can be seen as twofold: one labelled “androgyne” and the other “naked soul.” The article consists of three parts. The first part discusses the genesis of androgyne in Przybyszewski’s creativity. Androgyne gives unity to his work. Przybyszewski claimed that it was a key to understand his philosophical investigations. The second part analyses the concept of “naked soul” which was coined on the basis of a number of similar terms as “naked individuality,” “naked state of soul,” “nakedness of being.” The third part synthesises the content of the two terms in question.

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2 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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1 Dziamski G.

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ESTETYKA WOBEC FEMINIZMU

Mity. Kilka tropów

Androgyniczny model „nagiej duszy” w tworczosci Stanislawa Przybyszewskiego