Feminist Resistance

Broj 1 - Godina 10 - 12/2019

Uvodnik

This issue of [sic] is devoted to consideration of feminist resistance as it manifests in diverse representations within popular culture. The inspiration for this 2019 issue is not a mystery. One must only glance at global headlines to see the evidence of feminist resistance: hashtag activism, protestors in the streets, calls for “equal” political representation. More nuanced is the investigation of the headline silences, the absence of gender where our curiosity prompts us to anticipate the rise of feminist resistance and the resistance toward feminism. The phrase itself – feminist resistance – is ambiguous. It is at once a burden and a possibility. Which feminism? Whose resistance? The contributors to this special issue ask pertinent questions about the interplay of gender, race, identity, and power in their intersectional analyses to engage these questions through literature, popular culture, and cultural historical investigations. ..

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Izdvojeno

Bila sam budna iz tri razloga. Prvi: živiš blizu podzemne, a ona se pripremala za svoje prvo dnevno putovanje. Drugi: ispred tvog prozora na drvetu je ptica i dere se na tvoju kuću. Ne znam kakva je to ptica, ni kakvo je to drvo. Treći: pčela, zarobljena pod čašom, od sinoć čeka da je oslobodiš. Namjera je očito postojala, da je preneseš niz stepenice ili pustiš kroz prozor, i zato je razglednica iz Beča ili Sankt Peterburga ili tako nekog mjesta završila pod čašom. Zapravo to uopće nije bila čaša, nego isprana teglica Nutelle i pčela je bila omamljena od cjelonoćnog buljenja u znamenitosti Beča ili Sankt Peterburga i gradskih duhova lješnjaka i šećera, zzzab-zzzab-zzzabijajući glavu o nevidljivi zid na tvom noćnom ormariću. Zarobljena ispod tvoje ruke, trepnula sam promatrajući je. Pčele vide UV svjetlost pa nas je sinoć vjerojatno doživjela kao neki nebulozni disko. Mahnito je mahala glavom, potvrđujući moju pomisao, tim svojim saćastim očima, zvjezdastim kaleidoskopima, dok se vani ptica derala malo glasnije....

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Madonna has an iconic status in the global entertainment industry. Because of her ongoing reinvention, she has been in a focus of media and academia for more than three decades. Throughout her career, Madonna creates, combines, and presents complex and contradictory messages (van den Berg i ter Hoeven 2013). Contradictory receptions and polarized readings of Madonna's artistic and activist interventions concerning race, sexuality and gender identities are highlighted and are reflected in her messages about old age and aging. Since the 1980s, Madonna has drawn the attention of feminists and generated heated debate about whether she is a feminist or actually anti-feminist. The analysis shows that this pop icon is characterized by a specific sensibility that Rosalind Gill (2012) calls “postfeminist sensibility.” Madonna's experience of ageing and her narratives about ageing presented in media are defined by the fact that she is a white, heterosexual and privileged woman. Her recent public resistance against gendered ageism is based on a simultaneous critique of the establishment and perpetuation of old meanings, norms and expectations along with the commodification of the cult of youth and youthful appearance....

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Nadošla je ljetna bujica i naša je teretna kobila zapela u rijeci. Rijeka je pljuskala o kamenje i zvuk je bio kao kad brave škljocaju. Bilo je vrijeme silaže i voda je mirisala po travi. Teretna kobila, očeva ljubimica, zašla je u rijeku, da ponjuši možda, pa zapela, ni makac, prednja noga zaglavila među kamenjem. Otac ju je našao i povikao Katie! nadglasavajući se s hukom kiše. Ja sam bila u staji, isplazila jezik da dočekam kapi iz rupe na krovu. Istrčala sam pored kuće u polje. U rijeci je kobila sumanuto kolačila oči kroz kišu, možda me prepoznala. Otac se kretao sporo i preplašeno kao da gazi kroz dubok snijeg, osim što snijega nije bilo, bujica samo, a otac se bojao vode, bojao se oduvijek. Viknuo je Na onaj tamo kamen, mala. Dodao mi je uže s kopčom za povodac i znala sam što mi je činiti. Od oca sam viša još od zadnjeg rođendana, petnaestoga. Raširila sam se kao ljubav i stavila jednu nogu na kamen posred rijeke, rukom uhvatila granu iznad njega i odbacila se preko bujice....

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This article deals with the concept/identity of the monster kys in Tatyana Tolstaya’s novel of the same title (Kys, 2000). By drawing on the theory of feminist literary critics Sandra Gilbert and Susan Gubar, this work interprets kys as the articulation of the author’s resistance to patriarchal politics in Russian literature. In creating the post-apocalyptic society, Tolstaya depicts traditional gender roles, chooses a male protagonist and inserts numerous citations from literary works written exclusively by male authors. Nevertheless, even though in such a manner she appears to be imitating the dominant (male) literary tradition and depriving female characters of their voice, other elements lead to a different conclusion. For instance, the images of patriarchal society are primarily carnivalesque, while the classical notion of “the angel in the house” undergoes demythologization. Kys itself is gradually taking over the protagonist’s mind transforming him into her own embodiment – a monster which in her passionate yearning for books will stop at nothing – and so creates her own story in the process....

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