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1

Tożsamość kobiet(y) a problematyka społeczno-filozoficzno-kulturowa w prozie Ludmiły Ulickiej powieść Веселые похороны)

100%
Tarkowska J.
Studia Wschodniosłowiańskie
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2013
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vol. 13
279-290
EN
In the present article an attempt of defining the essence of Lyudmila Ulitskaya’s characteristic polemics, with a well-established in culture and literature stereotype of both, femininity and a woman, as well as female-male relations, has been carried out. From our point of view, the postmodern author, in her novel The Funeral Party, tries to demonstrate that Cartesian definition of femininity is wrong, as in her novel it is not a woman, but a man who is the epitome of “a suffering body”. In concordance with which Ulitskaya, playing a saturated with irony game, by the use of three archetypical female heroines, not only openly dismantles the myth of an emotional, weak, female “self”, but also of a masculine “self” – which is alleged to be rational, strong and logical.
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FEMINIZM SZUKA KORZENI – PRZYCZYNEK DO POSZUKIWAŃ I PRZEMIAN W HISTORYCZNEJ NARRACJI POLSKIEGO RUCHU FEMINISTYCZNEGO

75%
Tomczak S.
Meritum – Rocznik Koła Naukowego Doktorantów-Historyków Uniwersytetu Warmińsko-Mazurskiego w Olsztynie
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2016
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vol. VIII
403-416
EN
The aim of the article is to present two elements supplementing each other: searching for its own roots by Polish feminist movement and its changes over the twentieth century. There are four phases specified: up to 1911, to 1939, to 1989, and after 1989, which to a great extent cover crucial events both for the country and the movement. Each phase exhibits characteristics unique for itself, resulting from changing sociopolitical conditions as well as from the generational exchange. It seems that each feminist generation had a bit different expectations regarding characters in their pantheon, and their choice was usually dictated by the current efforts of the movement. The article also concerns remarkably interesting issue which is the Americanisation of the main present Polish feminist movement, projecting also into its historical awareness.
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PROBLEM NAGOŚCI, TOŻSAMOŚCI I DORASTANIA (W DZIEŁACH WSPÓŁCZESNYCH ARTYSTEK)

75%
Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 25
68-87
EN
The Problem of Nakedness, Identity and Growing up (in the works by contemporary female artists) The text discusses the oeuvre of the selected contemporary female art- ists, who in their works analyse the problem of nakedness, treated as a costume, metaphor or event, as well as those, who deal with issues of identity, processes of creating it and the visual (media) identity masks. The works by such artists as Alba d’Urbano, Vanessa Beecroft, Katarzyna Kozyra, Alina Szapocznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ur- sula Rogg and Tanja Ostojič are analysed. The text includes theoretical considerations by Lynda Nead, Agata Jakubowska, Giorgio Agamben and Hans Belting.
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ZAWOALOWANA I BEZPOŚREDNIA UWAGI O FEMINO-ŚWIATACH MARII PINIŃSKIEJ-BEREŚ I EWY PARTUM1

63%
Kostołowski A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 25
108-135
EN
Veiled and Direct. Remarks About the Feminine Worlds of Maria Pinińska-Bereś and Ewa Partum The proposals of art by the internationally known: Maria Pinińska-Bereś (1931–1999) and Ewa Partum (b. 1945) have been emerging since the 1960s and 1970s as the successive steps driving through the shell of masculine domination in art. Owing to the power and coherence of the liberation endeavours, both artists have worked out their own forms of creativity. Through the individuality of feminine approaches they mani- fested in their statements some sort of model message, and at the same time a uniqueness in the way of using artistic means of expression. For the sculpturess and “performeress” Pinińska-Bereś entangled in the mul- ti-level dualism of the patriarchal domination and neo-avant-guarde free- dom, the method depended on showing psychoanalytically filtered depths through the veiled object allusions. For the relatively early emancipated and direct in her strong performances conceptual artist, Ewa Partum, the fusion of corporal presence with critical ideas was, and still is, important.
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ESTETYKA WOBEC FEMINIZMU

63%
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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FEMINISTYCZNE GRY Z AUTOBIOGRAFIĄ

51%
Janiak E.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 25
152-165
EN
The Feminist Games with Autobiography The aim of the article is showing diverse ways of reception and descrip- tion of female autobiographies in the critical literary research. The au- thor devotes exceptional attention to the feminist researchers’ approach to these texts and the reading strategies proposed by them. Tracing the feminism – female autobiography relation makes it possible to perceive mutual influences and observe evolution of the emerging discourse of the feminist literary criticism.
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Inhabit Janine Antoni jako metafora kobiecej twórczości

51%
Janiak E.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 26
174-185
EN
Janine Antoni’s Inhabit as a metaphor of feminine creativity The article aims to present the figure of contemporary artist Janine Antoni by discussing her most important performances. The author of the article pays particular attention to Antoni’s work Inhabit, which she interprets and analyzes in the spirit of arachnology. This strategy intends to present Inhabit as a kind of metaphor of feminine creativity.
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#TROPY#FEMINIZM

45%
Szuba A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 25
88-107
EN
#tropy#feminizm The contemporary media message can be perceived in two perspectives: an active one, in which women perform a role of journalists and editors, and a passive perspective, in which they become a part of media mes- sage. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which al- lows a subordination of a certain fragment of reality a priori. The media’s visible, negative influence on women has them create a reality beyond the boundaries of acceptance, presenting it in a way the audience expects. A new kind of feminism appears, i.e. one which answers the receiver’s needs (succumbing to the expectations and exposing to the view), and a question appears – whether in the time of the feminist legacy, thereby changes resulting from the development of the media, feminists should gain their own unique style? In a way this begins to happen. Due to the development of the media, women gained an unrestricted possibility to express their views, and the reception and availability of the media lifts the restrictions and causes an inconspicuous person to please and sweep the crowd and his or her voice to be impossible to be ignored in the discourse.
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