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Prowincjonalizowanie feminizmu w polskich badaniach literackich

100%

Galant A.

Poznańskie Studia Slawistyczne

2016

issue 11

189-200

The author of the text analyzes the strategies of provincializing the Polish feminism and gender studies. Starting points for interpretations in the article are Dipesh Chakrabarty’s book – Provincializing Europe. Postcolonial Thought and Historical Difference and feminist publications about modernity, nationalism, capitalism in Poland. In the article the category of a province is considered as an emblem existing in a new regionalism’s discourse. The author claims that the history of the category of a province is entangled in the ambiguities which are related to the glocal understanding of a region; she also reflects on the relations between feminism, regionalism and local experiences of a global reality.

Zmowa kobiet? Inscenizacje feministyczne w polskim teatrze dwudziestolecia międzywojennego

82%

Poskuta-Włodek D.

Przestrzenie Teorii

2015

issue 23

The first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s,created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective.

The first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s, created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective.

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1 Poznańskie Studia Slawistyczne

1 Przestrzenie Teorii

1 Galant A.

1 Poskuta-Włodek D.

1 2016

1 2015

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Prowincjonalizowanie feminizmu w polskich badaniach literackich

Zmowa kobiet? Inscenizacje feministyczne w polskim teatrze dwudziestolecia międzywojennego