Feminist Resistance

No. 1 - Year 10 - 12/2019

University of Zadar | ISSN 1847-7755 | SIC.JOURNAL.CONTACT@GMAIL.COM

Editorial

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. ...

Literature and Culture
Maja Pandžić, University of Zadar, Croatia:

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 mo...

DOI: 10.15291/sic/1.10.lc.4
Literature and Culture
Meghan Hurley-Powell, Graceland University, USA:

Women writers use the feminist dystopian genre as a way to resist gender-based oppression in complex ways. To do so, women writers must first construct bleak worlds that subjugate their female characters before they can craft ways for these characters to resist. This article specifically examines Octavia Butler’s novel, Dawn, because the central female character finds ways to resist through working within the system in order to work against it. Even though she cannot overthrow the government or escape, she exercises substantial resistance through her body, voice, and intelligence. Butler ultimately demonstrates that women are able to resist from the margins in complex ways, which prompts real-world women readers to fight and resist gender-based oppression in their own societies. Keywords: feminism, Octavia Butler, science fiction, feminist dystopia, genderWomen writers have woven feminist resistance into the fabric of their novels for centuries to protest the misogynistic treatment and...

DOI: 10.15291/sic/1.10.lc.1
Literature and Culture
Marija Geiger Zeman, Zdenko Zeman and Mirela Holy:

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...

DOI: 10.15291/sic/1.10.lc.5
Literary Translation
Jan Carson and Marta Huber:

Moj je brat alergičan na ljude. Živi u sobi koja je pretvorena u ormar. Prošle su četiri godine, dva mjeseca i nešto sitno otkad sam ga zadnji put vidjela. Nije to ništa strašno. Nismo blizanci. Ja sam cura i nisam alergična na ljude. Sviđaju mi se taman dovoljno. Moj je brat alergičan na ljude. Rekao mi je to jedne noći, deset dana nakon što se prvi put uselio u ormar. Mislila sam da je to samo faza, adolescencija. Bio je čudan i odlučan, potpuno spreman na život u ormaru. U ormar je prenio radio i provukao produžni do najbliže utičnice. Spremala sam mu gotova jela i sendviče s maslacem od kikirikija i ostavljala ih na pladnju pred vratima s uputama kako što treba jesti. Tad je bilo najbolje. Osjećala sam se korisno, kao prava cura. Čak mu ni tada nisam vidjela lice. Nosio je motociklističku kacigu svaki put kad bi preko hodnika išao do zahoda. Ja sam počela nositi tamne naočale. Pretvarala sam se da ga ne vidim. Bilo je važno ugoditi mu.Bila sam na drugom kraju stana kad mi je prvi p...

DOI: 10.15291/sic/1.10.lt.4
Literary Translation
Antonio Ortuño and Ela Varošanec:

Mrtvi osvjetljavaju put živima. Zato čitamo: da upalimo baklju. Uz njezino svjetlo pišemo. To vam govorim uvjerenošću voditelja radionice kreativnog pisanja, četrdesetogodišnjaka, s obiteljskim problemima, čovjeka koji je više star nego mlad (to ne vrijedi za sve četrdesetogodišnjake, ali u mom je slučaju istina), koji stoji ispred grupe muškaraca koji izgledaju kao glumačka postava poznatog filma o velikoj pobjedi grupe nespretnjakovića. Ovima, dečkima s radionice, nedostaje cijeli niz prijeko potrebnih stvari: ruka, osobna higijena, samopouzdanje, minerali, elektroliti. Nemojte kriviti pisanje. Na kraju krajeva, svima nama koji pišemo u određenoj mjeri, svakog jutra, nedostaje jedna ruka.Aura, moja žena, prestala mi je odgovarati na poruke sat vremena prije početka radionica. A poruke koje su stigle prije nego što je nastupila tišina bile su pune grubog prijezira. Nešto sam napravio; nešto, ponavljam kako bih izbjegao mučno razmišljanje. Uzrok nezadovoljstva može biti konkretan ili a...

DOI: 10.15291/sic/1.10.lt.1
Literature and Culture
Damir Španić, Josip Juraj Strossmayer University of Osijek, Croatia:

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...

DOI: 10.15291/sic/1.10.lc.3