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

100%

Tarkowska J.

tom 13

279-290

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.

ESTETYKA WOBEC FEMINIZMU

63%

Dziamski G.

tom 25

40-66

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.

Inhabit Janine Antoni jako metafora kobiecej twórczości

51%

Janiak E.

tom 26

174-185

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.