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Vanja Radaković: PREVRATNIČKA KRITIKA DŽ. HILIS MILERA Vinsent B. Lič: IGRA PO STRANI – DEKONSTRUKCIONISTIČKA KRITIKA DŽ. HILIS MILERA Piter Džefriz: KAVAFI, FORSTER I ISTOČNO PITANJE
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Vanja Radaković: PREVRATNIČKA KRITIKA DŽ. HILIS MILERA Vinsent B. Lič: IGRA PO STRANI – DEKONSTRUKCIONISTIČKA KRITIKA DŽ. HILIS MILERA Piter Džefriz: KAVAFI, FORSTER I ISTOČNO PITANJE
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Zdravko Petrović: DUBROVAČKI NOKTURNO (Milan Milišić: Oficirova kći, Geopoetika, Beograd, 2011) Slađana Ilić: IGRE ISKAZIVANJA (Dejan Aleksić: Jedino vetar, Imam ideju, Kraljevo, 2011) Mića Vujičić: KRČENJE MELANHOLIJE MAČETOM (Faruk Šehić: Knjiga o Uni, Buybook, Sarajevo, 2011) Milica Mirković: ADAŠEVIĆEV KRFSKI ZABAVNIK (Borivoje Adašević: Krf, Stubovi kulture, Beograd, 2011) Bojan Samson: KRITIČNOST. INTERMEDIJALNOST. ČITLJIVOST (Miloš Živanović: Razbijanje, Algoritam Media, Beograd, 2011) Goran Korunović: STAZE KOJE IZMIČU UHODAMA (Bojan Vasić: Tomato, autorsko izdanje, Beograd, 2011) Dragan Babić: LOVCI NA TRAUME (Oleg Tomić: Povređenost, Agora, Zrenjanin, 2011) Sonja Jankov: SA GRADOVIMA U SEBI (Gordana Smuđa: Druga mesta, Gradska biblioteka „Vladislav Petković Dis”, Čačak, 2011) Dragana Beleslijin: KONSTANTINOVIĆEVA MINĐUŠA (Aleksandra Đurić Bosnić: Poetika tamnog vilajeta, Službeni glasnik, Beograd, 2011) Radmila Gikić Petrović: PET ŽIVOTA TEREZ MILER (Terez Miler: Istinita priča, Akademska knjiga, Novi Sad, 2012) Aleksandra Đurić: NOVA ČITANJA I NOVI PREVODI BODLERA (Žan Starobinski: Melanholija u ogledalu: tri čitanja Bodlera, Karpos, Loznica, 2011)
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This text is an attempt to describe gay and Marxist coalition in politics, art and humanities. By the analysis of the works of three artists: Felix Gonzales-Torres (“Untitled. Ross in L. A.”), Pedro Almodovar (“All about My Mother”) and Tony Kushner (“Angels in America”), the author seeks to find and define Marxist and queer basis of thinking of those artists and their works. The essay is also a critique of Polish gay and leftist movements that, according to the author, use trivialized aspects of Marxist thought. The idea of emancipation is possible only in art and thought experiments, such as those offered by Torres, Kushner and Almodovar – the great artists, whose projects of emancipation based on deep and profound analysis of Marx and, conscious or not, queer thinking are the most beautiful political utopias that the world has ever seen and created.
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Konrad Klejsa’ reflection in this text oscillates between the notions of cinema and dissent that are connected to the tern of 60’ and 70’. He formulates his doubts concerning the scope of those notions: can we talk about the cinematic dissent, or rather about the cinema of the decade of dissent? The author claims that it is impossible to establish any meaning of these notions without examination and identification of different modes of production and distribution of films created in those times, as well as without taking into account the dynamics of cultural processes. Cinema was only one of media in which the ideas of the “protest culture” were expressed. The films were accompanied by, and often preceded with, actions of the situationists (especially Guy Debord’s 1967 manifesto The Society of the Spectacle), as well as by critical discussions focusing on the ideological involvement of cinematic apparatus (connected primarily to French film theory and the strategy of exposing the ideological character of the mainstream cinema). The project of tracing the dissent in particular films must constantly be supplemented with the question of the actual scope of this notion: is it tantamount to the content or rather to the “progressive” form? Standpoints characteristic to the critique of dominant culture implied that the cinema of dissent not only documents the awareness of dissent but embodies it. If the mainstream cinema is not able to represent the dissenting groups and their aims, there is a need for independent media and distribution channels (i.e. funded by sources other than government). The author indicates new strategies of expression that realize theoretical assumptions of the dissent movement, focused around the formula of Brechtian cinema. The article is an excerpt of the book: Filmowe oblicza kontestacji. Kino Stanów Zjednoczonych i Europy Zachodniej wobec kultury protestu przełomu lat 60. i 70.
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The relationship between photography and death dates back to the birth of the former. In About Looking John Berger asks about the consequences of publishing pictures of human suffering. Photography can surprise and shock. The question is: How long will it continue to do that? Shock can also be familiar, because people have the ability to adapt quickly. As Mathew Brady, a photographer during the American Civil War (1861-65), used to say: “Camera is the eye of history”. The aim of his photos was to show the horror of war and its real face. But the general practice was different. For photographers composition meant everything and they had no scruples about arranging images as they saw fit. Using photography for propaganda reasons and pictorial manipulations has a long tradition. At first, the Nazis started using photography as propaganda, but then they noticed the danger of documentary materials. Photography can be considered an atypical history lesson, as Geert van Kesteren shows us in the Why Mister, Why? Exhibition, a report from his journey to Baghdad in April 2003. His photographs show reality as it is: often blurred and vague, sometimes ridiculous, often fearfully brutal. The Why Mister, Why? is a travelling exhibition, with multimedia projections, which transfer on-line information from Iraq, and an exhaustive publication. This is a political history in practice. Van Kesteren and the exhibition producers take into consideration Iraq’s contemporary history.
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There are a lot of artistic phenomena which have been passed over in polish academic art history between 1945 and 1989. It seems absolutely necessary to explore them. One of them is the issue of creating an artistic formation oriented towards social and political problems in Gdańsk. This text tries to show the outline of the origin of appearing avantgarde art in this milieu in the 80’. Artist analyzed in this text are heirs of avant-garde art which didn’t have its own tradition in Gdańsk. Łódź has been the main centre of art in Poland since the 20’. There were also some artistic formations that remonstrated against the political system in Poland in the 80’ in Łódź, as well as in Warsaw, Poznań and Wrocław. All those artistic phenomena are well known and have quite a large bibliography in contrast to Gdańsk’s. Gdańsk was not important as an art centre until the 80’ because avant-garde art didn’t exist there. Art was developing mostly in nearby Sopot where the Institute of Fine Arts was created after the World War II. Artist from one aesthetic formation (colorism) came to Gdańsk after the War. This new milieu was very monolithic. There were some people from esteemed group KP among them. They were painting well balanced still lives, landscapes and portraits in warm colors. Finally some artist started to create works which showed signs of political engagement in the 80ties. Polish artistic milieu has been divided because of the activity of the Solidarity. Some artist wanted to create independent art, in opposition to the Church and the government. They were connected to Wyspa Gallery located on the Island of Granaries in Gdańsk. They were (for the first time in Gdańsk) making art in public space, performances, they where also analyzing the language of media, creating installations and videos. Their art was not openly against the political system, but a lot of their works started to be like this because of specific political atmosphere of those times. Artist connected with Wyspa (Grzegorz Klaman – the leader, Kazimierz Kowalczyk, Jacek Staniszewski, Robert Rumas, Robert Kaja, Piotr Wyrzykowski, Eugeniusz Szczudło, Jarosław Bartołowicz, Marek Rogulski, Jarosław Fliciński) and TOTART had a great influence on Gdańsk artists in the 90’, which is still not explored sufficiently. Some of them (Grzegorz Klaman, Robert Rumas) became one of the most important representatives of so called “critical art” which had its renaissance in Poland in the 90’.
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The article concerns projects of Krzysztof Wodiczko designed for public space. It shows how his works bring to light the excluded from the social life and criticize the rules that govern the existence of individuals within capitalist public space. His art is perceived through a general tendency in conceptual art toward more socially and politically conscious art. Moreover, Wodiczko’s public works and texts appear to precede Polish critical art as a genre and are seen as one of the most important voices in the postmodern critique of universalisms of modernity.
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A kitchen and a pure process of cooking is used as the ground for developing an analogy between the way in which we consume dishes and in which we become consumers of selected pictures. The criterion which allows the author to put together those two orders, is the taste understood as the fact or condition of liking or preferring something determined by the subjective pleasure that one takes from it. As it is said, in the matter of taste there is no discussion. It is difficult to find criteria which everyone would accept. Immanuel Kant already noticed the mysteriousness of this term and the difficulty to explain its meaniang. He thought that aesthetic judgments can be both subjective and universal. The article tries to define taste in the negative way – through things which we don’t want to look at, which we avoid in creating representations in public space - and connect it with the structure of our cognition.
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Irit Rogoff gives the following answer to the question posed in the title: “A theorist is one who has been undone by theory”. Her analysis is embedded in Visual Studies on one hand, and in post-colonial and globalization discourses – on the other. The condition we are now in, the visual culture, she explains as the condition of being ‘without’ – the state of simultaneously knowing and being unable to know. She describes the shift from criticism to critique to criticality, where criticism is understood as an act of judgment addressed to a clear cut object of criticism, the application of values and judgments based on naturalized beliefs and disavowed interests; critique is as examination of those assumptions, values and thought structures that have sustained the inherited truth claims of knowledge. Criticality in her account would be the latest phase of cultural theory and would consist in emphasizing the present, moving from causes to effects, from revealing faults to the possibilities of actualizing the potential. But the most important shift Rogoff describes is the move from the sanctioned subject for theoretical activities towards the constitution of a subject for the work, or substituting the historical specificity of what is being studied with the historical specificity of who is doing the studying. It results in a different way of writing about art, which becomes a practice of writing with an artist’s work rather than writing about it. Rogoff also recognizes theoretical possibilities connected to introducing the notion of Creolisation in order to provide more complex and more appropriate modes of cultural engagement.
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August Sander (1876-1964) was a German photographer working in Cologne. In the early 20’ of the last century he came up with an original idea to create a work of art which in a form of an atlas would show all kinds of people, jobs and social groups of the Weimar Republic. Initially the work entitled „The People of the XX the century” was to consist of 7 portfolios of portrait photographs, each devoted to one social class. However it was never to be published, nor finished by the author due to political circumstances of the Hitler rule and the World War II. In my essay I wanted to describe the general concept behind Sander’s work, inspirations both artistic and scientific. I intended to look into the question of photography considered as a document and therefore believed to be the most objective means of representation. I inquire into the nature of portrait photography: whether it is a mere record of one’s individual presence, or perhaps it shows something more general, a „face of that time”, or a „type” of a person, making reference to the images we carry in our minds. Finally, I wanted to draw attention to Sander’s skill and distinctive attentiveness that enabled him to take portraits that still capture our eyes and make us wonder about the past and people who lived in it.
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After the experience of American counter-culture revolution Anglo-Saxon science fiction had to face the process of gradual revaluation and deconstruction of its conventional motives. One of such stereotypical clichés was the intemperate misogynic characteristic of s-f plots which, under the cover of futuristic space technologies and distant cosmic worlds, often described adventurous “male” narratives. Female writers such as Ursula Le Guin, Joanna Russ and Alice Bradley Sheldon started deconstructing the “male gaze” of hard science fiction using the plots connected with futuristic, utopian worlds, based on matriarchy or fully devoid of male heroes. Female s-f, at the beginning often considered as controversial and aggressive, not only changed popular literary conventions but also made an impact on the mainstream cinema productions. Unfortunately, film industry reacted to this new trend mainly by boosting misogynic aspects of s-f cinematic plots. Such films as Bryan Forbes’ “Stepford Wives” (1975) or L. Q. Jones’ “A Boy and his Dog” (1975) present the female protagonist as the objects of desire for the male audience. This tendency reached the highest popularity in the s-f Hollywood cinema of 1980’s and early 1990’s. One the other hand, some movie productions also indicted a positive feedback to feminism. One of the first movies that efficiently reinterpreted misogynic clichés connected to the images of female s-f characters was Ridley Scotts’ “Blade Runner” (1982/1992). Gradually Scott’s masterpiece inspired other directors: Frank Oz’s re-make of “Stepford Wives” (2004) wittily argues with the gender stereotypes of modern s-f, other movies, such as Andrew Niccol’s ”Gattaca” (1997), Michael Winterbottom’s “Code 46” (2003) and Alfonso Cuaron’s “Children of Man” (2006), indicate negative aspects of future patriarchal society where female protagonists have no equal rights to man. Another example of female critique of the modern capitalist societies is the motif of cloning. Unfortunately, cloning (altogether with other pro-feminist motives), in the beginning used by counterculture authors as themetaphorical indication of the inhuman aspects of the “technological capitalism”, very soon became another cliché used without any deconstructing power by the main cinema. This way the omniscient power of mass culture absorbed the revolting ideas of female s-f.
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This article gives a metaphorical representation of the woman in a feminist discourse of Russia. The author studies its historical background, development and influence of the USA
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We have implemented the characteristic of institutions of gender power, which operate at every level of the hierarchy. We have established that in the aggregate these institutions form a hierarchical system of institutions of gender power. On the one hand, the quality of operation of the system is determined by the external macroenvironment. On the other hand, it influences the state, focus and efficiency of its operation. With the use of correlation and regression analysis of the linear regression model, we identified a causal relationship of the impact of economic, social and institutional parameters of the environment on the quality of institutional regulation of the degree of gender power
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In this article we reflect on the importance of women in development of migration processes. The importance of women in formation of international relations is determined, the main issues arising from the presence of migrants in the country are pointed out, such subject as the conclusion of sham marriages in order to obtain citizenship is considered. In addition to it we disclose their consequences and give recommendations on development and control of these social phenomena
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In the article on the basis of longitudinal research data the influence of transformation of 1990-th on the deepening of gender inequalities in health is studied. On the grounds of it the peculiarities of employment, characteristics of men and women behavior models regarding health in post reform years are analyzed
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The article presents an overview of foreign and domestic studies of fatherhood and masculinity. It substantiates the importance of studying of this problem in modern society. It analyzes the stages of development of studies of fatherhood and masculinity, the approaches to the interpretation of these terms. The article examines the possibilities of the analysis of the phenomenon of fatherhood in relation with the phenomenon of masculinity. Gender approach is suggested to be used for the perspective direction of studying of this problem
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The article presents the results of the historical and pedagogical research of «the sex/gender question» in Russian education and pedagogics during two centuries (XVIII — the beginning of XX century). The key sociocultural pre-conditions of the transformation are characterized successively; the author allots four stages and several periods, underlines the main aspects and tendencies of changes.
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The analysis of private women’s boarding schools phenomenon in Russian province of ХIХ century is given. The author cavers special role of a boarding school in the development of women’s education in province in the first half of the XIX century, which was unique women’s educational settlement at that time. From the other side the idea that possibility of foundation of provincial women’s boarding schools was a new form of gender identity is expressed. The analysis of the main purposes of boarding school foundation, social and property cast of provincial she-boarders and peculiarities of educational process is given. Moreover the information about everyday life of provincial she-boarders is introduced
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This article provides a sociological analysis of women’s small entrepreneurship. The basis of expediency of small women's entrepreneurship consideration in the light of the concepts of marginality is given. Specific problems and constraints faced by small enterprises of the sphere of the consumer complex of Gatchina in the gender context are analyzed
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Article analyzed the peculiarities of memory replacement in Polish society of right-bank Ukrainian provinces. On the basis of the structure analysis of many memories conclusions about the dominant role of women in building of alternative memory — family, national, which allowed the Poles to re-establish independence through decades of statehood and policies of assimilation, are made
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