Search results - CEJSH

1

Świrszczyńska (za)poznana? Feministyczne odkrywanie poetki

100%

Biedrowska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 32

143-162

EN

This paper encourages to renew a reflection on poetry of Anna Świrszczyńska – a well-known but also unknown author. It discusses the subject of motherhood in this poetry (pregnancy, childbirth, puerperium) and shows, how relevant Świrszczyńska’s works still are. Her poetry is nowadays continued not only by others women writers and poets, but also – or maybe: first of all – by feminist opinion journalism.

2

Emancipácia žien v západoukrajinských regiónoch na začiatku dvadsiateho storočia: spoločenský a jazykový aspekt

98%

Machek V.

Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)

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2021

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vol. 29

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issue 2

83-111

EN

This paper presents an outline of development of the emancipation movement in the territory of present-day Ukraine from the last third of the nineteenth century to the end of the 1930s (when the Sovietization of Ukraine culminates), the development of women’s self-awareness, and the increasing presence of women in Ukrainian public life – and its influence on dissemination of women’s official and managerial names in Ukrainian press releases. It focuses mainly on the research of feminist ideas and the nature of their spreading in various regions of western Ukraine in the 1920s and 1930s which, in this period, were part of different state arrangements (Poland, Romania, Czechoslovakia) compared to the Soviet Ukraine; the role of women’s organizations in shaping women’s public awareness and public opinion of a woman as a full-fledged active person, and the role of periodicals in this process. Explored are the changes in the position of women in western Ukraine, reflection on the processes of feminization of society in the dynamics of the female lexicon at the beginning of the twentieth century. The problems of women’s emancipation in Ukrainian society are observed against the background of intensifying feminization processes in the West Ukrainian version of the Ukrainian language in the 1920s–1930s. The research material consisted of the texts of the West Ukrainian press releases from the 1920s and 1930s. The material used for illustration testifies to the spheres and facts of functioning of the then established, as well as newly created language designations of the female person, especially the official and managerial names in the language of West Ukrainian periodicals.

3

Politologia wobec feminizmu a feminizm wobec politologii

98%

KOŁODZIEJCZAK M.

Przegląd Politologiczny

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2011

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issue 2

7-18

EN

The paper discusses the issue of the complex relationship between political science as a branch of academia and modern trends in feminism, understood as a collection of mutually related ideologies. The author emphasizes that both science and ideology are forms of politi- cal practice exercised in the same social and political reality. However, they are fundamen- tally different with respect to the hierarchy of their functions. The ‘clash’ of these two products of human activity produces political science on women and the politological analysis of feminism (subjected first and foremost to the scientific function) on the one hand, and various proposals of feminist modifications of political science that produce feministically re- formed political science and gynocentric political science (where the scientific function is subjected to social objectives) on the other.

4

Report From Beyond the Event Horizon

93%

Bednarek J.

Praktyka Teoretyczna

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2019

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vol. 31

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issue 1

EN

This is a review essay discussing Magdalena Grabowska’s book: Zerwana genealogia: Działalność społeczna i polityczna kobiet po 1945 roku a współczesny polski ruch kobiecy (Warszawa: Wydawnictwo Naukowe SCHOLAR, 2018).

5

Historia szkolnego odbioru, czyli o tym, jak Róża stała się antybohaterką nie tylko dziecięcej wyobraźni

93%

Szoska M.

Filoteknos

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2022

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issue 12

175-187

EN

The Little Prince is a story that has been stimulating the imagination and emotions of readers all over the world for years. Numerous translations into national languages and recently into regional languages, as well the vivid presence of the text in the theatre, film and music are the proof of the inspiration that originates from the text. For years, this story has its persistent place in the required school reading list in Poland, despite changes in the core curricula. Finally, it is a book which – as shown by various studies of the school reception reports – is read by students with pleasure and often remembered by them for years. The article reports the statements of the school reception experience juxtaposing them with the vision of the main character, The Rose, presented in the lesson scenarios. The following regularity is noticeable there: despite the time and changes in research strategies, The Rose character is not only marginalized or trivialized but even demonized in the school reception becoming an anti-heroine of the imagination not only of a child, but also of an adult reader.

6

Age, gender and feminism: addressing the gap from literary and cultural perspectives

93%

Stončikaitė I.

Gender a výzkum / Gender and Research

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2021

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vol. 22

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issue 1

59-77

EN

Although important demographic shifts have generated both an interest and profound transformations in sociocultural interpretations of ageing and old age, the experience of growing older is still perceived negatively and is often measured according to how successfully people adapt to the current Western ideals of later life. In the light of recent research on cultural and literary representations of ageing, this article critically addresses contemporary American writer Erica Jong’s mid-life and later works from feminist and gender perspectives. It shows how the author’s writings contest the narrative of decline and ageism and incorporate some aspects of positive ageing in terms of body image. Yet, instead of following the model of successful ageing, Jong offers alternative views of ageing femininities and sexuality that enable a different narrative of growing older to emerge. The writer’s work also shows that socially and culturally constructed gender and power relationships can be deconstructed, which allows for new forms of self-expression that are not moulded into anti-ageing discourses and their neoliberal imperatives.

7

Paula Meehan’s "Cell": The Imprisoned Dialogue of Female Discourses

93%

Poloczek K.

Research in Language

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2014

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vol. 12

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issue 4

401-421

EN

The paper discusses Paula Mehan’s play Cell with focus on the female discourses present in the context of this literary work and the multifold metaphorisation that both the title of the work and the contents invite. The discourses are analysed against the relevant social background and critical literature. The focal types of discourses under discussion involve imagery from maternal and familiar discourse, the “biological” discourse related to hygiene, the sexual discourse, the mock feminist discourse, the discourse of the military and the propaganda of the common good, and the discourse related to the animal world.

8

Polskie Kameronki

93%

Talarczyk-Gubała M.

Kwartalnik Filmowy

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2017

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issue 99 Triki, numery specjalne, atrakcje

217-222

PL

Talarczyk-Gubała recenzuje książkę Małgorzaty Radkiewicz „Modernistki o kinie. Kobiety w polskiej krytyce i publicystyce filmowej 1918-1939” (2016). Na wstępie zauważa, że badaczka od lat konsekwentnie wzbogaca polską literaturą filmoznawczą o pozycje poświęcone sztuce i kinu kobiet, teorii i praktyce filmowego feminizmu oraz płci kulturowej. W omówieniu książki recenzentka szczegółowo przedstawia jej konstrukcję i najważniejsze tezy. Wskazuje, że tytułowe modernistki to kobiety nowoczesne, intelektualistki i miłośniczki kina, które zajmowały się działalnością naukową i krytycznofilmową, ale też wchodziły w amatorskie relacje z filmem, co przejawiało się w ich aktywności kinofilskiej. Talarczyk-Gubała zwraca uwagę, że najbardziej zajmujące są te fragmenty książki, w których czytamy o wzajemnych relacjach modernistek. Małgorzacie Radkiewicz udaje się w gąszczu informacji prasowych oraz innych archiwalnych dokumentów znaleźć dowody kontaktów towarzyskich między pisarkami, krytyczkami i kobietami kina, na przykład między Stefanią Zahorską, Franciszką Themerson i Marią Kuncewiczową. W zakończeniu recenzentka stwierdza, że otwierając najnowszą książkę Małgorzaty Radkiewicz, otwieramy kobiece archiwum polskiego dwudziestolecia międzywojennego.

EN

Talarczyk-Gubała reviews the book by Małgorzata Radkiewicz „Modernistki o kinie. Kobiety w polskiej krytyce i publicystyce filmowej 1918-1939” [„Modernists on cinema. Women in Polish Film Criticism and Journalism 1918-1939”] (2016). At the outset, she notes that the researcher has for years consistently enriched Polish film studies with publication dealing with the women’s arts and cinema, the theory and practice of film feminism and gender studies. The reviewer details the structure of the book and presents its key thesis. She points out that the title modernist women are modern intellectuals and cinema aficionados engaged in academia and film studies, but that they also entered amateur relationships with film, which was manifested in their cinematic activity. Talarczyk-Gubała points out that the most interesting fragments of the book deal with the relations between the modernists. Małgorzata Radkiewicz was able to find among press releases and other archival documents evidence of social contacts between writers, critics and women in cinema, for example between Stefania Zahorska, Franciszka Themerson and Maria Kuncewicz. In conclusion, the reviewer states that in opening the latest book by Małgorzata Radkiewicz, we open the Polish archive on the interwar period.

9

Action Art as a Way of Emancipation. Women's Performance Art Practices in the Context of the Totalitarian Regime Based on Communist Ideology and the Young Democracy in Poland

93%

Leśniak A.

Sztuka i Dokumentacja

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2020

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issue 22

103-119

PL

Artykuł został napisany z perspektywy artystki zajmującej się feminizmem i sztuką performance. Moja metoda badawcza łączy podstawy teoretyczne z pola historii sztuki z praktycznym doświadczeniem artystki w polskich realiach społecznych, politycznych i artystycznych. Skupiam się na pozycji artystek i ich działalności artystycznej w kontekście zmieniającej się sytuacji politycznej. Przedstawiam polskie artystki działające na scenie performance od lat siedemdziesiątych do dziś. Staram się też odpowiedzieć na pytanie, co mają wspólnego artystki mojego pokolenia ze swoimi „artystycznymi babkami”. Ostatnia część tekstu skupia się na tym, co już zostało osiągnięte i co jeszcze trzeba zrobić dla emancypacji kobiet zarówno w życiu artystycznym, jak i społeczno-politycznym. Celem artykułu jest także przybliżenie zagranicznym czytelnikom specyficznego statusu kobiet w procesie zmian politycznej sytuacji w Polsce po upadku żelaznej kurtyny w 1989 roku. W okresie młodej demokracji, zwłaszcza w ostatnich dwóch dekadach, performance polskich artystek stały się bardziej radykalne. Od 2016 kurs oficjalnej polskiej polityki stał się bardziej populistyczny, konserwatywny. Demokracja znów jest zagrożona, a co odzwierciedla się w łamaniu kobiet i wpływa na ich pozycję w społeczeństwie.

EN

I wrote this article from the perspective of an artist involved in feminism and performance art. My research method connects my theoretical background on art history studies and my practical experience as female artist in Polish social, political and artistic realities. I focus on the position of women artists and their artistic activity in the contexts of the changing political situation. I introduce Polish women artists who were active on the art scene from the seventies until today in the field of performance art. I am also trying to answer the question what the women artists of my generation have in common with their 'artistic grandmothers.' The last part of the text focuses on what has been already achieved and what still needs to be done for women's emancipation both in artistic as well socio-political life. The aim of this article is also to familiarize foreign readers with the specific status of women in the process of the changing of the political situation in Poland that took place after the fall of the Iron Curtain in 1989. In the period of the new democracy, especially during last two decades, performance art pieces by Polish women artists became more rebellious. Since 2016, the course of Polish politics has become more populistic, conservative and democracy is in danger again, and this also badly affects women’s rights and their position in the society.

10

THE NEW (ATHEIST) WOMAN: A LEGACY OF THE 1960S CULTURAL REVOLUTION?

93%

Eccles J.

Society Register

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2017

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vol. 1

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issue 1

51-66

EN

It is undoubtedly true that a number of British women turned their back on religion, from the beginning of the period of the cultural revolution of the 1960s and onwards. To what might we attribute these defections and the taking up of a new nonreligious identity? Was it the change in sexual mores and the rise of second wave feminism, the increase in women entering higher education opening up new worldviews to them or increasing affluence? This article examines a variety of factors through the eyes of self-identified women atheists/humanists most of whom have lived through that period. It notes that, while these factors may well be significant to different degrees for different women, the turn to atheism, specifically, results largely from women having been damaged by religion and the deep emotional impact thus left behind. The turn to atheism is not a uniform experience as the women are enmeshed in differing types of ‘emotional regime’ which affects how they respond.

11

Joanna Bator w polskim polu literackim

93%

Kocznur A.

Przestrzenie Teorii

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2021

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issue 35

247-261

EN

The starting point of the article is locating Joanna Bator in the Polish literary field using Pierre Bourdieu’s methodology, and considering such elements as gender determinants, the author’s attitude towards the media and self-creation, and the time of the prose’s debut. The Nike Prize Bator was awarded in 2013, and not only did enable this author to maintain autonomy in her field, but also led to a change in poetics, i.e. a change in the dominant genre of her novel from magical realism to fairy tale. The article describes the conditions that influenced the transfer of the author by critics from the current of high and award-winning literature to the prose of the medium.

12

Later-life learning and older women learners: a feminist commentary

93%

Formosa M.

Gender a výzkum / Gender and Research

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2021

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vol. 22

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issue 1

178-200

EN

Later-life learning continues to remain well under the radar as far as feminist theorising and empirical research are concerned. This exclusion is surprising considering that older women make up the majority of learners in later-life learning programmes. This essay has three objectives: to present the available knowledge on older women and learning given that this information remains undocumented; to apply a feminist critique to the mainstream literature on older adult learning, with a special reference to the University of the Third Age (U3A) and Women’s Institutes (WI); and to promote an understanding of the similarities and diversities of older women by highlighting the significance of socially diverse factors such as class, ethnicity, and age in shaping their learning experiences or lack thereof. In an ageing society, organisations such as U3As and WIs have the potential to improve the quality of life of older women and the overall community in which they live. However, their role in enabling older women to attain some level of critical consciousness by leading them to reflect on everyday realities and analyse the relationships between personal contexts and the wider social forces of marginalisation was found to be marginal at best.

13

Suturing a Wounded Body-Wounded Mind in Red Silk on White Linen: Embodied and Hand(Y) Knowledge of Trauma

93%

Goggin M. D.

Linguaculture

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2012

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vol. 2012

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issue 1

27-46

EN

In 1830, Elizabeth Parker, daughter of a day laborer and of a teacher in Ashburnham, East Sussex, England, cross-stitched in red silk thread an extraordinarily complex text that participates in several genres, including a memoir of her then brief life of some seventeen years, a confession, a suicide note, and a prayer. These various genres cohere around one momentous event in Parker’s young life: the sexual violation and physical abuse at the hands of her employer, Lt. G. After suturing 46 lines, 1,722 words, and 6,699 characters, she stops mid-line and mid-way down her cloth with the powerful plea, “What will become of my soul[?]” This paper argues that Parker’s sampler was a robust site in which Parker was able to grapple with her wounded body and mind. To justify the claim that a woman’s stitching can be interpreted as an epistemic activity, the proposed paper turns to two key concepts “situated knowledges” and “embodied knowledge”- both of which have been posited by feminists as a way to destabilize the dominant validation of disembodied, abstract thinking where the eye serves as the mind’s tool of investigation. (Haraway; Knappett; Frank; Driver)

14

FEMINIDAD INSTITUCIONAL Y FEMINISMO ¿UN BINOMIO IMPOSIBLE?

93%

ESQUIROL SALOM M.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2013

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vol. 5

7-21

15

Virginia Held: Etika péče : osobní, politická a globální

93%

Drozenová W.

Filosofický časopis (Philosophical Journal)

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2018

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vol. 66

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issue 6

951-960

EN

The Czech translation of the book Virginia Held: The Ethics of Care: Personal, Political, and Global (Etika péče. Osobní, politická a globální. Praha, Filosofia 2015) by Petr Urban has made views of the ethics of care available to the broad public; its ideas are relevant also to bioethics and the caring professions. This study is focused on the question of the ethics of care as a moral theory, and comes to the conclusion that it is a species of empiricist ethics based on moral sentiments, in combination with a feminist starting point. The strength of Held’s standpoint is its awareness of the variety of women’s experience in different societies.

DE

Das Buch von Virginia Held: The Ethics of Care: Personal, Political, and Global (Etika péče. Osobní, politická a globální. Praha, Filosofia 2015), das in der tschechischen Übersetzung von Petr Urban erschienen ist, bietet dem breiten Publikum einen Einblick in Standpunkte der Ethik der Pflege, deren Ideen auch für die Bio-Ethik und für Pflegeberufe wichtig sind. Die vorliegende Studie befasst sich mit der Frage der Ethik der Pflege als Ethiktheorie und kommt zu dem Schluss, dass es sich um eine empirische Ethik handelt, die auf dem moralischen Empfinden gründet, freilich mit einem feministischen Ansatz. Ein Vorteil des Ansatzes von V. Held ist dabei ihr Sinn für die Verschiedenartigkeit der Erfahrungen von Frauen in verschiedenen Arten von Gesellschaften.

16

Gendered Figurational Strategies in Norbert Elias’s Sociology

93%

Bucholc M.

Polish Sociological Review

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2011

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vol. 176

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issue 4

425-436

EN

Norbert Elias conceptualized social inequality as a result of shift in relative social forces of individuals in figurations, in which framework he also viewed the inequality between men and women. In this paper I examine the main thesis of what could be named Elias’s gender sociology: firstly, men and women use different strategies in their striving for an increase in relative power depending on their social position, and secondly, one of the most effective strategies which may be successfully used by the weaker party in order to change the distribution of power between the sexes is redefining the arsenal of cultural weapons used in this struggle. The antagonism between men and women trying to draw as much power as possible to themselves in the zero-sum social game can become very fierce, especially if the use of physical violence is legitimized on a respective level of civilization. On the other hand, according to Elias’s basic theoretical assumptions all individuals in a figuration are interrelated and interdependent, which restrains direct violence as well as suppresses radical liberation tendencies. This makes it easier for women to engage in strategies of coping with oppression on institutional, symbolic and proxemic level, which are discussed in the final part of the paper.

17

Diskursi feminizma i modernizma u esejima Julke Chlapec Đorđević i Jele Spiridonović-Savić

93%

Đurić D.

Poznańskie Studia Slawistyczne

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2014

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issue 6

EN

I start from the definition of Serbian Yugoslav bourgeois culture as a semi-peripheral and having this in mind, I tend to analyze the essays by Julka Chlapec Đorđević and Jela Spiridonović-Savić, from the perspective of the world systemic theories applied to literature.

18

In the clutches of melancholy. Interpretive analysis of Gilles Renard’s student film “Late Afternoon”

93%

Drąg F.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

|

issue 33

179-184

EN

The aim of the analysis is to present the film (Late Afternoon) by Gilles Renard as a study of melancholy. Both the plot and the cinematographic means used to shape the form of this short film correspond with the theoretical texts by Julia Kristeva and Melanie Klein on depression in women. The author of the text considers Late Afternoon as a feminist and affirmative film, strongly inspired by the aesthetics of Krzysztof Kieślowski’s cinematic output.

19

Oblicza feminizmu

93%

Szydło J.

Marketing i Rynek

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2014

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vol. 21

|

issue 2

172-180

PL

Feminizm jako ruch społeczny, jako ideologia i jako teoria czerpie swoją energię z tego, że od początku swego istnienia zyskał zasięg ponadnarodowy. Przekraczał granice państw i kontynentów. Wpływał na życie i mentalność ludzi z różnych kultur, wspólnot etnicznych i warstw społecznych. Tekst pokazuje, że zjawisko to obejmuje szeroką gamę postaw, zachowań, strategii. Zatem, w jaki sposób zjednoczyć kobiety mimo dzielących je różnic i właśnie za pośrednictwem tych różnic? Artykuł jest próbą ukazania wewnętrznego dialogu feminizmu. Eksponuje sposób różnicowania się odpowiedzi feministek na powtarzające się pytania. Przedstawia wewnętrzną dynamikę feministycznych wędrówek po drogach i bezdrożach filozofii, historii tak, aby podkreślić zarówno ograniczenia, jak też różnorodność i bogactwo otwieranych horyzontów.

EN

From its inception feminism drew its energy from its supra-national coverage as a social movement, an ideology, and as a theory. Overcoming national and continental borders. Influencing the life and mentality of people of diverse cultures, ethnic communities, and social levels. The text shows that the phenomenon encompass a wide range of attitudes, behaviours, and strategies. Therefore, how to unite women with dividing differences, and particular using this differences? This article is an attempt to show the internal dialog of feminism. It used the method of differing replies of feminists to recurring questions. Exhibiting the internal dynamics of the philosophy of feminism travelling on explored and unexplored paths; and history to emphasize equally the limits, diversity, and wealth of open horizons.

20

Victim-Warriors and Restorers-Heroines in the Post-Apocalyptic World of Mad Max: Fury Road

93%

Reglińska-Jemioł A.

Text Matters: A Journal of Literature, Theory and Culture

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2021

|

issue 11

106-118

EN

The article discusses the evolving image of female characters in the Mad Max saga directed by George Miller, focusing on Furiosa’s rebellion in the last film-Mad Max: Fury Road. Interestingly, studying Miller’s post-apocalyptic action films, we can observe the evolution of this post-apocalyptic vision from the male-dominated world with civilization collapsing into chaotic violence visualized in the previous series to a more hopeful future created by women in the last part of the saga: Mad Max: Fury Road (2015). We observe female heroes: the vengeful Furiosa, the protector of oppressed girls and sex slaves, the women of the separatist clan, and the wives of the warlord, who bring down the tyranny and create a new “green place.” It is worth emphasizing that the plot casts female solidarity in the central heroic role. In fact, the Mad Max saga emerges as a piece of socially engaged cinema preoccupied with the cultural context of gender discourse. Noticeably, media commentators, scholars and activists have suggested that Fury Road is a feminist film.

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