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TEMATYKA KULINARNA W POLSKIEJ WSPÓŁCZESNEJ POPULARNEJ PROZIE KOBIECEJ

100%
Szczepkowska E.
Acta Neophilologica
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2017
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vol. XIX/1
269-281
EN
This article concerns culinary motifs found in popular women’s fiction at the turn of the 20th and 21st centuries. Women’s fiction is either indifferent to culinary topics or interested in them as a theme, metaphor or recipe. Culinary topics as the main theme appear in novels written by Kalicińska, Enerlich, and Ficner-Ogonowska. I. Sowa employs a culinary code as a metaphor for contemporary urban life style which is marked by consumerism, excess of consumer goods and an intense rivalry. Kalicińska’s novel cycle is an example of downshifting narratives appreciated by some feminists as a way to promote ecology and a women’s community. Culinary novels authored by Enerlich and Ogonowska do not popularize the culinary culture, but rather commercialize it.
2

Dzięki bogu jestem kobietą! Beaty Ewy Białeckiej genderowe dialogi z ikonografią chrześcijańską

84%
Smolińska M.
Miscellanea Posttotalitariana Wratislaviensia
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2014
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vol. 2: Postkolonializm — tożsamość — gender. Europa Środkowa, Wschodnia i Południowo-Wschodnia
305 - 314
EN
The aim of the paper is to analyze the image of a woman in the paintings by Beata Ewa Białecka. The image in question emerges in the manner of a constant dialog with both the traditional Christian iconography, stereotypically decreeing that Eve is to be the symbol of sin, as well as the iconosphere of the popular culture or the world of advertising. On the works, methods adapted from gender studies, post-feminism and the contemporary visual culture are “employed” in the background, being directed towards the investigation of sexual roles and their de(con)struction. As a post-feminist artist, Białecka no longer has the need for focusing on the fight for basic rights, as was the case with the so-called first-wave feminism, instead, she concentrates on individual choices, the living conditions in the consumptionist culture, as well as on redefining the status of a woman, functioning within the traditional social roles. On this painter’s canvas, Christian iconography undergoes disassembling and feminization, which is reflected not only in the female representations of the Good Shepherd or Saint Frances, but most prominently in the subversive play with the traditionally-defined masculinity and femininity, or further, in the clear empowerment of the woman. (tłum. na ang. Maciej Pokornowski)
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