Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9855
S. Witkowska
The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The statement that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photography or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
{"title":"Polski feminizm - paradygmaty","authors":"S. Witkowska","doi":"10.5604/01.3001.0012.9855","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9855","url":null,"abstract":"The issue of feminist art struggles with a great problem. In my study\u0000I focus solely on Polish artists, and thus on the genealogy of feminist art\u0000in Poland. Although all the presented activities brought up the feminist\u0000thread, in many cases a dissonance occurs on the level of the artists’ own\u0000reflections. There is a genuine reluctance of many Polish artists to use the\u0000term “feminist” about their art. They dissent from such categorization as\u0000if afraid that the very name will bring about a negative reception of their\u0000art. And here, in my opinion, a paradox appears, because despite such\u0000statements, their creativity itself is in fact undoubtedly feminist.\u0000I think that Polish artists express themselves through their art in an\u0000unambiguous way – they show their feminine „I”. The woman is displayed in\u0000their statement about themselves, about the experiences, their body, their\u0000sexuality. Feminism defined the concept of art in a new way. The statement\u0000that art has no gender is a myth. The activities of women-artists\u0000are broader and broader, also in Poland women become more and more\u0000noticed and appreciated. Feminist art does not feature a separate artistic\u0000language, it rather features a tendency towards realism, lent by photography\u0000or video, which reflects the autonomy of the female reception of the\u0000world. It should be stated that feminism is a socially needed phenomenon,\u0000and its critique drives successive generations of women-artists.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133383303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9846
A. Kostołowski
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 manifested 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 multi- level dualism of the patriarchal domination and neo-avant-guarde freedom, 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.
{"title":"ZAWOALOWANA I BEZPOŚREDNIA UWAGI O FEMINOŚWIATACH MARII PINIŃSKIEJ-BEREŚ I EWY PARTUM1","authors":"A. Kostołowski","doi":"10.5604/01.3001.0012.9846","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9846","url":null,"abstract":"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 manifested 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 multi- level dualism of the patriarchal domination and neo-avant-guarde freedom, 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.","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"206 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115721627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9850
Grzegorz Dziamski
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.
{"title":"Estetyka wobec feminizmu","authors":"Grzegorz Dziamski","doi":"10.5604/01.3001.0012.9850","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9850","url":null,"abstract":"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.","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120972480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9829
G. Dziamski
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.
{"title":"ESTHETICS TOWARDS FEMINISM","authors":"G. Dziamski","doi":"10.5604/01.3001.0012.9829","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9829","url":null,"abstract":"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.","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124901149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9849
E. Janiak
The aim of the article is showing diverse ways of reception and description of female autobiographies in the critical literary research. The author 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.
{"title":"Feministyczne gry z autobiografią","authors":"E. Janiak","doi":"10.5604/01.3001.0012.9849","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9849","url":null,"abstract":"The aim of the article is showing diverse ways of reception and description\u0000of female autobiographies in the critical literary research. The author\u0000devotes exceptional attention to the feminist researchers’ approach\u0000to these texts and the reading strategies proposed by them. Tracing the\u0000feminism – female autobiography relation makes it possible to perceive\u0000mutual influences and observe evolution of the emerging discourse of the\u0000feminist literary criticism.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129119863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9834
Edyta Janiak
Edyta Janiak 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.
{"title":"FEMINIST GAMES WITH AUTOBIOGRAPHY","authors":"Edyta Janiak","doi":"10.5604/01.3001.0012.9834","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9834","url":null,"abstract":"Edyta Janiak\u0000The Feminist Games with Autobiography\u0000The 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.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125084601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9854
Sandrine Ferret
Natacha Lesueur is a French photographer, who discreetly conforms with the feminist tendencies, starting from her earliest works realized in the 1990s. Her first photographs depict compositions, in which fragments of the body, the head, the bust, the legs, etc., are adorned with intricately composed pieces of food, sometimes creating mysterious alphabets. The colour photographs are exceptionally painstainkingly processed – refined – and disorient the viewer with the vision of body fragments staged in weird situations. On the exhibition entitled White shadows, in the Marc Chagall Museum in Nice in 2014, Natacha Lesueur presented a work realized during several trips to Tahiti. Moved by the similarity of the Tahitian landscapes to her own shots, she would ask herself a question, how to use visual means to depict the reality in which the women and men of Tahiti lived, the reality so distant from the postcards which we all see in front of our eyes. Her choice included adopting these schematic representations as a starting point, together with introducing elements of destruction connected with colonisation, and especially with nuclear tests. She also considered voluptuous looks cast at young Tahitian women (wahine) by the colonizers. Playing with the Tahitian exoticism in an exaggerated way, undertaking strategic topics and perspectives (the landscape and wahine), Natacha Lesueur stages these subjects in order to introduce distortions into their perception. The light of the stroboscope lamp or red lighting make the viewers embarrassed, as they also perceive typical pictures from the well- known categories: the paradise lagoon, the lewd native, light flashes or overly erotic dance. Lesueur’s work criticises depictions of the Tahitian exoticism, with which it enters into a dispute, thus deconstructing it. The article analyses in detail two video films, Omaï and Upa Upa, shown during the exhibition mentioned. At the same time it attempts to answer the question, in what way, while making use of special lighting in her work, Natacha Lesueur utilizes the feminist methodology, whose aim is to deconstruct identity.
{"title":"NATACHA LESUEUR, DES CLICHÉS\u0000IRONIQUES : UN FÉMINISME DISCRET1","authors":"Sandrine Ferret","doi":"10.5604/01.3001.0012.9854","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9854","url":null,"abstract":"Natacha Lesueur is a French photographer, who discreetly conforms with\u0000the feminist tendencies, starting from her earliest works realized in the\u00001990s. Her first photographs depict compositions, in which fragments of\u0000the body, the head, the bust, the legs, etc., are adorned with intricately\u0000composed pieces of food, sometimes creating mysterious alphabets. The\u0000colour photographs are exceptionally painstainkingly processed – refined\u0000– and disorient the viewer with the vision of body fragments staged\u0000in weird situations.\u0000On the exhibition entitled White shadows, in the Marc Chagall Museum\u0000in Nice in 2014, Natacha Lesueur presented a work realized during\u0000several trips to Tahiti. Moved by the similarity of the Tahitian landscapes\u0000to her own shots, she would ask herself a question, how to use visual\u0000means to depict the reality in which the women and men of Tahiti lived,\u0000the reality so distant from the postcards which we all see in front of\u0000our eyes. Her choice included adopting these schematic representations\u0000as a starting point, together with introducing elements of destruction\u0000connected with colonisation, and especially with nuclear tests. She also\u0000considered voluptuous looks cast at young Tahitian women (wahine) by\u0000the colonizers.\u0000Playing with the Tahitian exoticism in an exaggerated way, undertaking\u0000strategic topics and perspectives (the landscape and wahine), Natacha\u0000Lesueur stages these subjects in order to introduce distortions into\u0000their perception. The light of the stroboscope lamp or red lighting make\u0000the viewers embarrassed, as they also perceive typical pictures from the\u0000well- known categories: the paradise lagoon, the lewd native, light flashes\u0000or overly erotic dance. Lesueur’s work criticises depictions of the Tahitian\u0000exoticism, with which it enters into a dispute, thus deconstructing it.\u0000The article analyses in detail two video films, Omaï and Upa Upa,\u0000shown during the exhibition mentioned. At the same time it attempts to answer the question, in what way, while making use of special lighting in\u0000her work, Natacha Lesueur utilizes the feminist methodology, whose aim\u0000is to deconstruct identity.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125291238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9845
A. Szuba
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 message. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which allows 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.
{"title":"#tropy#feminizm","authors":"A. Szuba","doi":"10.5604/01.3001.0012.9845","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9845","url":null,"abstract":"The contemporary media message can be perceived in two perspectives:\u0000an active one, in which women perform a role of journalists and editors,\u0000and a passive perspective, in which they become a part of media message.\u0000The latter aspect is the most controversial for many reasons. Walter\u0000Lippmann defines a stereotype as an image created in the mind which allows\u0000a subordination of a certain fragment of reality a priori. The media’s\u0000visible, negative influence on women has them create a reality beyond the\u0000boundaries of acceptance, presenting it in a way the audience expects.\u0000A new kind of feminism appears, i.e. one which answers the receiver’s\u0000needs (succumbing to the expectations and exposing to the view), and\u0000a question appears – whether in the time of the feminist legacy, thereby\u0000changes resulting from the development of the media, feminists should\u0000gain their own unique style? In a way this begins to happen.\u0000Due to the development of the media, women gained an unrestricted\u0000possibility to express their views, and the reception and availability of\u0000the media lifts the restrictions and causes an inconspicuous person to\u0000please and sweep the crowd and his or her voice to be impossible to be\u0000ignored in the discourse.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128863041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9836
S. Witkowska
Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
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