Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9828
A. Więckowski
For the author of the essay When Euridice will speak at last feminism is the eternally negative approach towards patriarchate, which was born with it. It is characteristic that problems mentioned in “Lysistrata” or “As- semblywomen” by Aristophanes in the 5th century BC are identical with the demands of contemporary feminism. Its successes in the 19th and 20th centuries concerning the formal emancipation of women’s rights, in the long run are both meaningful and illusory: the culture of patriarchate while granting women the voting and other rights did not change its pa- triarchal principle, it just alleviated its repressive character on a small fragment of the Western culture, though in this zone of the biggest wom- en’s freedom the forgotten disputes about the rigours of the patriarchate all the time come back to life. The paradigm of the fundamental way of thinking about the world remains unchanged, while the approach to women is just its embodiment. Patriarchate is the means of treating the world as a collection of objects to be used, it is not only an approach towards women. The contemporary culmination of the Western culture as a technological civilisation reaches its limit, whose crossing threatens with a total disaster even in the most optimistic scenarios. In this context the author of the essay perceives feminism as a huge possibility, as one of more important movements in civilisation and culture, which not only will fight for formal rights, but rather for a change of the thinking paradigm from object-oriented to sub- ject-oriented. Euridice – the silent-for-centuries subject of lost love – has to start speaking.
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Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9833
Sandrine Ferret
Sandrine Ferret Ironic banalities: the discreet Feminism of Natacha Lesueur 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 – re- fined – 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 vo- luptuous looks cast at young Tahitian women (wahine) by the colonizers. Playing with the Tahitian exoticism in an exaggerated way, underta- king strategic topics and perspectives (the landscape and wahine), Nata- cha 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":"IRONIC STEREOTYPES: DESCREET FEMINISM OF NATACHA LESUEUR","authors":"Sandrine Ferret","doi":"10.5604/01.3001.0012.9833","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9833","url":null,"abstract":"Sandrine Ferret\u0000Ironic banalities: the discreet Feminism of Natacha Lesueur\u0000Natacha 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 – re- fined – and disorient the viewer with the vision of body fragments staged in weird situations.\u0000On 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 vo- luptuous looks cast at young Tahitian women (wahine) by the colonizers.\u0000Playing with the Tahitian exoticism in an exaggerated way, underta- king strategic topics and perspectives (the landscape and wahine), Nata- cha 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.\u0000The 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.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"181 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":"125825975","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: 10.5604/01.3001.0012.9851
K. Maliszewski
The author in his sketch describes the early lyrics of Antoni Matuszkiewicz. He emphasizes that what has been modernist in them, the avantgarde shape of the poem, has been marked by a special spiritual fervor, as if Matuszkiewicz tried to reconcile in a single record a revealing metaphor with something eternal, with something what seems like a mystical spiritual formation. Matuszkiewicz, in a dispute over poetry, is on the side of those who believe in a substantial image of the world and, hence, the metaphysical nature of literature.
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