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

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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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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For many years literary theorists considered that women writers of the Beat Generation were not worth mentioning. Being present and absent at the same time, these women remained invisible in popular as well as academic reviews in the Beat Generation literature until the nineties. Today, however, it is crystal clear that the literature of the Beats, even with its distinct misogynistic features, had strong influence on several generations of women writers and artists who have written and performed within the feminist frame. Here we will discuss the women of the Beat Generation who in the early sixties, as insiders within a seemingly male group, started expressing themselves within feminist discourses, through which they sought to free women from the socially imposed roles. The main weapon of the Beat Generation’s fight against globalization, conformism, and class inequalities was the freedom of mind, and this particular mind of beatniks was used by women Beat writers in order to question the social model of gender and sex. By overtaking the spirit of defiance and resistance of the Beats, these authors assigned a new meaning to the term Beat by breaking the mainly masculine definition of the Beat Generation. ...

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Izbor iz djela Enrica Casassesa (Barcelona, 1951.) kakav ovdje slijedi tek je jedna od mogućnosti. Uzmemo li u obzir da je riječ o autoru koji je objavio mnoštvo zbirki i nešto manje diskova s audio-zapisima svoje poezije, dvadesetak mahom kratkih pjesama ne čini se bogznašto. Tako bi bilo kada bi se poezija prodavala na vagu, kao riba na zadarskoj peškariji. Nasreću, ovdje se radi o riječima, riječima koje u primatelja izazivaju različite utiske i koje prenose brige i boli autora ili nekoga tko mu je jako sličan.U tom smislu, nužan bi bio izbor iz „9072 neepska stiha“ „brze pjesme“ Uh (1997.), čega ovdje nema. S druge strane, može dostajati tek jedan sonet iz zbirke Tots a casa al carrer (1992.), kao što je ovdje zastupljen tragični epilog. Dovoljna je čak i pjesma u prozi od dva reda iz zbirke A la panxa del poema en prosa que no hi neva ni hi plou (2013.), kadra uhvatiti trenutak tišine između sunca i mjeseca, vjetra i utihnulih ptica. Tišine tek napuknute ili prije svega napuknute zvukom autoceste u podlozi. Kako bilo, ovdje će čitatelj naći dvadesetak Casassesovih pjesama u hrvatskom prijevodu, s radionice u Malom Pašmanu (3.–5. svibnja 2019.)....

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