Mocné ženy alebo ženy moci?: vizuálna kultúra, reprezentácia, ideológia
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Slovak |
| Published: |
Selce
Csy
2014
|
| Edition: | 1. slovenské vyd. |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Literaturverzeichnis Register // Personenregister Abstract |
| Item Description: | Zsfassung in engl. Sprache |
| Physical Description: | 222 S. zahlr. Ill. |
| ISBN: | 9788097185206 |
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Record in the Search Index
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| adam_text | OBSAH
ÚVOD
8
Rodová politika
v slovenskom
a českom teoretic-
kom diskurze
18
Vizuálna kultúra:
slovenský a český
kontext
24
Rodový aspekt
a vizuálna kultúra:
anglo-americká
perspektíva
27
ŽENA
„NOVÉHO“
TYPU:
TRAJEKTÓRIE
PREMENY
32
Predpoklady
emancipácie:
koncept ženskej
otázky
41
Akt konania:
konštituovanie
(novej) ženy
47
Od hrablí k stro-
jom alebo mesto
a dedina sú jedna
rodina
51
Traktoristka
a kombajnistka:
súčasť dobovej
mytológie
60
PARADIGMY EFEKT PARADOXY ZÁVER
MOCI: TELA: KAŽDODENNOSTI: 194
KOMU TELESNÁ IDEOLOGIZÁCIA
SLÚŽIA KULTÚRA SÚKROMNÉHO APARÁT
REPREZENTÁCIE? POD A 202
66 DOHĽADOM VEREJNÉHO
114 142 SUMMARY
Kult práce 214
a mechanizmy Športujúce telá Atribúty „veľkosti
reprezentácie alebo v zdravom a výnimočnosti“:
68 tele zdravý duch cesta k sebareali¬
116 zácii „superženy“
V mužskom 144
modeli práce alebo Ako v športe, tak
dokáže žena to, čo na pracovisku Líce a rub verejnej
muž? 120 angažovanosti
79 Disciplinované 150
Ako sluší telo a rituálny Verejný odpočet
uniforma? priestor alebo čo sa dialo
88 124 za zatvorený¬
mi dverami
Koho móda, Telesnosť má 157
čie šaty krídla: hmota tela
96 premenená na Model matky:
zážitok staré tradície
Utópia, ktorá 131 v novom rúchu
zlyhala 164
103 Bytie pre pohľad
alebo normy V lesku a tieni
„ženskosti“ propagandy
138 174
Zhmotňovanie
ideológie: v sieti
konzumerizmu
178
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Dobové časopisy
Slovenka, roč. I - XII,
1948 -1959
Móda a textily roč. I ֊ IX,
1951 -1959
Mariena, roč. I - II,
1948 -1949
Roháč, roč. I - XII,
1948 -1959
Živena, roč.
XXXVIII - XXXIX,
1948 -1949
Výtvarné umění, roč. L - XX,
1950 -1959
Výtvarný život, roč I - IV,
1956 -1959
Nová žena, roč I - VI,
1938 -1943
Katka,1949.
Réžia Ján Kadár. Námet
František Petro, Ivan Bu-
kovčan, Maximilián Nitra,
Scenár Ivan Bukovčan,
Vratislav Blažek, Ján Kadár,
Maximilián Nitra. Kamera
Josef Míček. Rudolf Milič.
Hudba Tibor Andrašovan.
Strih Marie Kopecká.
Rodná zem, 1953.
Réžia Josef Mach. Námet
a scenár Ivan Bukovčan,
Josef Mach. Kamera
Karol Krška. Hudba Tibor
Andrašovan. Texty piesní
Vojtech Mihálik. Strih Jan
Chaloupek.
Prečo ona?, 1954.
Réžia Kazimír Barlík, Námet
a scenár Kazimír Barlík.
Kamera Karol Krška. Hudba
Tibor Andrašovan. Strih
Alfréd Benčič.
Farby jesene, 1957.
Réžia, námet, scenár, autor
komentára, Pavel Čalovka.
Kamera Mikuláš Ricotti st.
Strih Margita Baťalíková.
Reklamný film. Pozri http.
www.skcinema.sk .
Prvá celoštátna spartakiáda
sa začala, 1955.
Filmový šot. Pozri http://
www.skcinema.sk
Večerný predaj, 1955.
Réžia Jozef Zachar. Námet,
scenár Radúz Činčera.
Kamera Tibor Biath. Strih
Alfréd Benčič. Pozri http://
www.skcinema.sk .
Prečo sa neponáhľa, 1958.
Réžia, námet, scenár, autor
komentára, Petr Schulhoff.
Kamera Andrej Kristín.
Strih Vlasta Syblíková. Re-
klamný film. Pozri http://
www.skcinema.sk .
210
MENNÝ REGISTER
Alpers Svetíana, 14,31
Andrašovan Tibor, 210
Bakoš Ján, 21,26,56,73,77
Bann Stephen, 24
Barlik Kazimír, 144,210
Barthes Roland, 14,113,181,
217
Bartlett Djurdja, 97-100,
104,105
Bartlová Milena, 22,25,
Baxandall Michel, 14,31
Beauvoir Simone de, 14,
117, 217
Bellova Mária, 148
Benka Martin, 77
Bentham Jeremy, 128
Berger John, 14,30
Biath Tibor 210
Blažek Vratislav, 210
Booher Bridget, 113
Bourdieu Pierre, 58
Breton Jules, 76
Bryson, Norman, 29
Bukovčan Ivan, 210
Butler Judith, 14,47-51,141,
217, 219
Bútorová Zora, 13
Callen Anthea, 121
Cartwright Lisa, 25
Cixous Helene, 14, 217
Clark Timothy James, 14
Clements Barbara Evans, 43
Courbet Gustave, 28,76
Crimp Douglas, 14
Čechová Matilda, 78,198
Čepička Alexej, 132
Čihánková Jarmila, 78,198
Činčera Radúz, 210
Daumier Honoré, 159-160
Degas Edgar, 28
Descartes René, 117
Dikovitskaya Margaret, 24
Ditteová Vlasta, 149
Donátová Narcisa, 148
Dubnický Jaroslav, 73
Duncan Carol, 28
Engels Friedrich, 41-43,116
Felski Rita, 180,184,188
Filipova Marta, 25, 26
Flügel John Carl, 113
Foucault Michel, 14,47,48,
70,122,128,129,131,157
Freud Sigmund, 14,65,167,
170, 217
Géricault Théodore, 28
Geržová Jana, 20, 27
Gottwald Klement, 33,53,
84,197
Giintherová-Mayerová
Alžběta, 19
Hájek Václav, 25
Hanáková Petra, 20,25
Hanzlíková Maria, 145,146
Havelková Hana, 13,60,154,
165,167, 217
Herbert Robert, 76
Hlaváčková Konstantina,
96,99
Holly Michel Ann, 14, 29
Hubina, P. G., 64
Isaak Jo Anna, 29
Jones Amelie, 14,15,30,217
Kadár Ján, 55, 210
Kesner Ladislav, 26
Kiczková Zuzana, 11
Királyová Blanka, 151
Kmetoniová Sylvia, 148
Kostka Ferdiš, 72
Kostka Jozef, 71-73,77,78,
198.199, 220
Kreuzzieger Milan, 25
Kristeva Julia, 14,170, 217
Kristin Andrej, 210
Križan Ludovít, 76,77,198
Krška Karol, 210
Kusá Alexandra, 26
Lacan Jacques, 14,65,170,
217
Lenin Vladimir Hjič, 42
Luptáková Eva, 168
Macura Vladimír, 65,126,
165
Mach Josef, 61,62,210
Machonin Pavel, 60
Majerová Marie, 134
Marešová Milada, 23
Marx Karol, 43,116,
Medvecká Maria, 18,168-171,
198.199, 221
Meunier Constantin, 72
Míček Josef, 210
Mihálik Vojtech, 210
Milic Rudolf, 210
Millet Jean-François, 76
Mirzoeff Nicholas, 25, 29
Mitášová Monika, 21
Mitchell W.J.T., 30
Moxey Keith, 14, 29
Mulvay Laura, 14, 30, 217
Němčík Julius, 95,198
Németh Ilona, 20
Nitra Maximilian, 210
Nochlin Linda, 14,28, 68, 76,
78,159,169
Oates-Indruchová Libora,
117,118,122,133
Oříšková Maria, 19, 25, 27
Owens Craig, 15,16,196
Pachmanová Martina, 14,
21-23, 25
Pajdušáková-Mrkosová
Ludmila, 147
Parker Rozsika, 29
Peirce Charles Sanders, 18
Petišková Terezie, 26
Petro František, 210
Pohorelcová Magda, 57-58
Pollock Griselda, 29,67-70,
78, 89,192, 220
Rampley Matthew, 24, 26
Ricotti Mikuláš st., 210
Riordan James, 116
Rogoff Irit, 29
Roubal Petr, 127,133
Rusinová Zora, 20, 25
Rusnáková Katarina, 20
Selecká Viera, 149
Seurat Georges, 28
Schmit Coleen M., 25
Schulhoff Petr, 210
Silverman Kaja, 28,92
Stalin Jozef Vissarionovič,
33, 38, 57, 97,105, 215
Sturken Marisa, 25
Šiklová Jiřina, 12,153
Šimaliaková Jarmila, 148
Štefková Zuzana, 23
Trizuljak Alexander, 77
Váross Marian, 73
Volavková-Skořepová
Zdenka, 71
Wagnerová Alena, 45,46,60
Weyde-Leweke Gizela, 19
Wolf Naomi, 14,141,217
Wolff Janet, 28
Zachar Jozef, 210
Zápotocký Antonín, 132-133
Zavacká Marína, 62
Želibská Jana, 20
Žižek Slavoj, 14,178
211
ZOZNAM ILUSTRÁCIÍ
Úvod
Obr. 1 Film Katka, 1949.
Žena
„nového“
typu:
trajektorie
premeny
Obr. 1J NĚMČÍK, J. In-
dustrializácia nášho kraja,
1951. Olej na plátne, 114,5 x
134 cm. Majetok SNG, inv. č.
0 461.
Obr. 2a CHOVÁN. J. Chlapci
nové pracoviská vás volajú,
1955. Plagát. Tlač, 57 x 42
cm. Majetok SNG, inv. č.
UP-P 3214.
Obr. 2b Slovenský autor.
Stroje v JRD, 1948 - 1949.
Plagát. Tlač, ofset, 56x 83
cm. Majetok SNG, inv. č.
UP-P 703.
Obr. 2c HANH, Žatevný pla-
gát, 1950 - 1952. Tlač, ofset,
96,5x 65. Majetok SNG,
inv. č. UP-P 838.
Obr. 3a In: Slovenka, roč. IV,
14/1951, s. 5.
Obr. 3b In: Slovenka, roč. IV,
14/1951, s. 4.
Obr. 4a In: Slovenka, toč. I,
11/1948, s. 7.
Obr. 4b In: Slovenka, roč. I,
11/1948, s. 7.
Obr. 4c In: Slovenka, roč. I,
7/1948, obálka.
Obr. 5 Film Katka, 1949.
0br.6a In: Slovenka, roč. V,
39/1952, s. 6.
Obr. 6b In: Slovenka, roč. V,
39/1952, s. 6.
Obr. 7 In: Roháč, roč VIII,
28/1955, s. 218.
Obr. 8a In: Slovenka, roč, IV,
19/1951, s. 8.
Obr. 8b In: Slovenka, roč V,
18/1952, s. 5.
Obr. 8c In: Slovenka, roč. III,
3/1950, obálka.
Obr. 9. In: Nová žena, roč. IV,
50/1941, s. 8.
Obr. 10a In: Slovenka,
roč. IV, 19/1951, s. 8.
Obr. 10a In: Slovenka,
roč. IV, 19/1951, s. 8.
Obr. 11 Film Rodná zem,
1953.
Obr. 12 In: Slovenka, roč. IV,
13/1951, obálka.
Obr. 13 In: Slovenka, roč. III,
9/1950, s. 11.
Obr. 14a. In: Slovenka,
roč. IV, 7/1951, s. 5.
Obr. 14. In: Slovenka, toč. IV,
7/1951, s. 5.
Paradigmy
moci:
komu
slúžia
reprezentácie?
Obr. la Kostka, J. Pijúca
žnica, 1954. Bronz, v. 58
cm. In: Jozef Kostka. Výběr
z tvorby. (Kat. výst.) Národ-
ní galerie v Prahe. Praha:
Národní galerie, 1981, nepag.
Obr. lb KÔSTKA, J. Roľnícka
z východného Slovenska,
1952. Bronz, v. 52 cm. In: Jo-
zef Kostka. Výběr z tvorby.
(Kat. výst.) Národní galerie
v Prahe. Praha: Národní
galerie, 1981, nepag.
Obr. lc KOSTKA, J. Draž-
stevníčka, 1952. Bronz, v. 125
cm. In: VII. celoslovenská
výstava (Kat. výst). Ústred-
ný zväz Československých
výtvarných umelcov, 1952,
nepag.
Obr. 2a KRIŽAN, t. Žatva,
1952. Olej na plátne, 147,8 x
282 cm. Majetok SNG, inv.
č. O 2984.
Obr. 2b In: Slovenka, toč. III,
23/1950, s. 11.
Obr. 2c In: Slovenka, toč. I,
12/1948, obálka.
Obr. 3 KOSTKA, J. Čítajúci
robotník, 1953. Bronz, v. 36,5
cm. Majetok SNG, inv. č.
P. 194.
Obr. 4a ČIHÁNKOVÁ, J.
Kopačky, 1949. In: Slovenka,
roč. III, 8/1950, s. 10.
Obr. 4b CECHOVÁ, M. Šičky,
1949. In: Slovenka, toč. III,
8/1950, s. 10.
Obr. 5 In: Slovenka, roč. III,
12/1950, s. 15.
Obr. 6a In: Slovenka, toč. IV,
9/1951, s. 9.
Obr. 6b In: Slovenka, roč. III,
15/1950, s. 7.
Obr. 6c In: Slovenka, roč. III,
15/1950, s. 7.
Obr. 7 In: Slovenka, roč. V,
21/1952, obálka.
Obr. 8a In: Slovenka, roč III,
19/1950, s. 14.
Obr. 8b In: Slovenka, roč. III,
8/1950, obálka.
Obr. 9 In: Slovenka, toč. III,
16/1950, s. 9.
Obr. 10a In: Slovenka, roč. V,
34/1952, obálka.
Obr. 10b In: Slovenka,
toč. IV, 31/1951, s. 4.
Obr. 10c In: Slovenka,
toč. IV, 31/1951, s. 4.
Obr. 11a In: Slovenka,
toč. VI, 35/1953, s. 4.
Obr. 11b In: Slovenka,
roč. VI, 35/1953, s. 4.
Obr. 12 In: Slovenka, roč IV,
39/1951, obálka.
Obr. 13 MUDROCH, J. Parti-
zanka na stráži pod Rozsut-
com, 1954. Olej na plátne, 86
x 66 cm. Majetok SNG, inv.
č. 01617.
Obr. 14 Július NĚMČÍK Od-
por, 1959. In: Výtvarný život,
toč. IV, 7 - 8/1959, s. 272.
Obr. 15a In: Móda a textil,
toč. II, 6/1952, s. 19.
Obr.lSb In: Móda a textil,
toč. IV, 6/1954, s. 10.
Obr. 16a In: Móda a textil,
toč. 1,9/1951, s. 5.
Obr. 16b In: Móda a textil,
toč. 1,9/1951, s. 5.
Obr. 17a In: Slovenka, 1/1950,
s. 6.
Obr. 17b In: Móda a textil,
toč. II, 3/1952, s. 5.
Obr, 18a In: Móda a textil,
rot II, 3/1952, s. 5.
Obr. 18b In: Móda a textil,
toč. II, 3/1952, s. 5.
Obr. 18c. In: Móda a textil,
toč. II, 3/1952, s. 5.
Obr. 19a In: Móda a textil,
roč. 1,9/1951, s. 5.
Obr. 19b In: Móda a textil,
toč. I. 9/1951, s. 4.
Obr. 20a In: Móda a textil,
roč. 1,12/1951, s. 5.
Obr. 20b In: Móda a textil,
roč. 1,12/1951, s. 4.
Obr. 20c In: Móda a textil,
toč. 1,10/1951, s. 6.
Obr. 21a In: Móda a textil,
toč. III, 6/1954, s. 18.
Obr. 21b In: Móda a textil,
roč. III, 6/1954, s. 19.
Obr. 22a In: Móda a textil,
roč. 1,1/1953, s. 2.
Obr. 22b In: Móda a textil,
roč. 1,1/1953, s. 2.
Obr. 22c In: Móda a textil,
roč. 1,11/1951, s. 13.
Obr. 22d In: Móda a textil,
toč. 1,11/1951, s. 13.
Obr. 22e In: Móda a textil,
roč. 1,11/1951, s. 13.
Obr. 24b In: Móda a textil,
roč. III, 10/1953, s. 24.
212
Obr. 23a In: Móda a textil,
toč. III, 4/1954, obálka.
Obr. 23b In: Móda a textil,
roč. IV, 5/1954, s. 31.
Obr. 25a In: Móda a textil,
roč. III, 7/1954, s. 6.
Obr. 25b In: Móda a textil,
roč. I, 8/1951, obálka.
Obr. 26 Reklamný film Farby
jesene, 1957.
Obr. 27a In: Slovenka,
roč. IX, 10/1956, s. 13.
Obr. 27b In Slovenka,
TOČ. IX, 10/1956, s. 13.
Obr. 24a In: Móda a textil,
toč. IV, 12/1954, s. 21.
Efekt
tela:
telesná
kultura
pod
dohľadom
Obr. la In: Slovenka, toč. VI,
26/1953, s. 8.
Obr. 1b In: Slovenka, roč. VI,
26/1953, s. 9.
Obr. lc In: Slovenka, roč. III,
13/1950, s. 17.
Obr. Id In: Slovenka, roč. VI,
26/1953, s. 8.
Obr. 2a In: Slovenka, toč. III,
13/1950, s. 17.
Obr. 2b In: Slovenka, roč. III,
13/1950, s. 17.
Obr. 3a In: Slovenka, toč. IV,
24/1951, s. 8.
Obr. 3b In: Slovenka, roč. IV,
24/1951, s. 9.
Obr. 4 In: Slovenka, rot VI,
29/1953, s. 6.
Obr. 5 In: MUCHA, V. První
celostátní spartakiáda 1955.
Praha: Státní tělovýchovné
nakladatelství, 1956, s. 156.
Obr. 6. In: MUCHA, V. První
celostátní spartakiáda 1955.
Praha: Státní tělovýchovné
nakladatelství, 1956, s. 152.
Obr. 7 Prvá celoštátna
spartakiáda sa začala, 1955.
Filmový šot.
Obr. 8a In: MUCHA, V. První
celostátní spartakiáda 1955.
Praha: Státní tělovýchovné
nakladatelství, 1956, s. 154.
Obr. 8a In: MUCHA, V. První
celostátní spartakiáda 1955.
Praha: Státní tělovýchovné
nakladatelství, 1956, s. 152.
Obr. 8c Ženy s kuželkami. In:
Slovenka, roč. VIII, 4/1955,
zadná strana obálky.
Obr. 9 In: MUCHA, V. První
celostátní spartakiáda 1955.
Praha: Státní tělovýchovné
nakladatelství, 1956, s. 110.
Obr. 10 REICHMANN, V.
Kresba. In: Roháč, toč. V,
26/1952, s. 2.
Paradoxy
každodennosti:
ideologizácia
súkromného
a
verejného
Obr. 1 Prečo ona?, 1954.
Dokumentárny film.
Obr. 2 In: Slovenka, toč. IV,
22/1951, s. 6.
Obr. 3 In: Slovenka, toč. X,
29/1957, obálka.
Obr. 4 In: Slovenka, toč. X,
17/1957, s. 9.
Obr. 5 In: Slovenka, toč. X,
44/1957, s. 4.
Obr. 6. In: Slovenska,
roč. VII, 33/1954, s. 5.
Obr. 7a In: Slovenka, toč. IV,
3/1951, s. 4.
Obr. 7b In: Slovenka, roč. IV,
3/1951, s. 4.
Obr. 8 In: Slovenka, toč. III,
19/1950, s. 6.
Obr. 9. In: Roháč, roč. V,
42/1952, s. 3 - 4.
Obr. 10a In: Roháč, toč. XI,
10/1958, s. 80.
Obr. 10b In: Roháč, roč. XI,
10/1958, s. 80.
Obr. İlin: Slovenka, roč. X,
1/1957, s. 1.
Obr. 12 In: Roháč, toč. VII,
46/1954, s. 7.
Obr. 13 In: Slovenka, roč. IX,
46/1956, zadná strana
obálky.
Obr. 14 In: Slovenka, toč. X,
34/1957, s. 9.
Obr. 15 In: Slovenka, roč. IX,
25/56, príloha, nepag.
Obr. 16a In: Slovenka,
roč. IX, 23/56, s. 5.
Obr. 16b In: Slovenka,
toč. VI, 3/1953, obálka.
Obr. 12c In: Slovenka,
roč. 35/1954, obálka.
Obr. 17 MEDVECKÁ, M.
Odovzdávanie kontingentu
na Home] Orave, 1951. Olej
na plátne, 171 x 272 cm Ma-
jetok Oravská galéria, inv.
č. O 1713.
Obr. 17a MEDVECKÁ, M.
Na poli, 1952 ֊ 1972. Olej na
sololite, 24 x 35 cm. Maje-
tok Oravská galéria, inv. č.
0 240.
Obr. 17b MEDVECKÁ, M.
Matka na poli, 1949. Olej na
plátne, 50 x 35cm. Majetok
Oravská galéria, inv. č. O
1562.
Obr. 17c MEDVECKÁ, M.
Vnúčatko, 1949. Olej na
plátne, 50 x 35 cm. Majetok
Oravská galéria, inv. č. 1583.
Obr. 17d MEDVECKÁ, M.
Červený kvietok, 1948. Olej
na plátne, 50 x 35 cm. Ma-
jetok Oravská galéria, inv.
č. 307.
Obr. 17e MEDVECKÁ, M.
Matka s dieťaťom, 1950. Olej
na preglejke, 41 x 41 cm.
Majetok Oravská galéria,
inv. č. O 322.
Obr. 18. MEDVECKÁ, M.
Odovzdávanie kontingentu
na Hornej Orave, 1951. Olej
na plátne, 171 x 272 cm.
Majetok Oravská galéria,
inv. č. O 1713.
Obr. 19 WEISSKOPF, V. Žena
u nich, u nás. Kresba. In:
Roháč, roč. VII, 9/1954, s.
4-5.
Obr. 20 Večerný predaj, 1955.
Reklamný film.
Obr. 21a In: Slovenka,
toč. VII, 16/1954, s. 8.
Obr. 21b In: Slovenka,
roč. VII, 43/1953, s. 2.
21c In: Slovenka, roč. VII,
16/1954, obálka.
Obr. 22a In: Móda a textil,
roč. II, 2/1952, s. 31.
Obr. 22b Móda a textil,
toč. II, 7/1952, s. 31.
Obr. 22c In: Móda a textil,
roč. II, 6/1952, s. 31.
Obr. 22d In: Móda a textil,
toč. I, 5/1951, s. 31.
Obr. 22d In: Móda a textil,
toč. II, 1/1952, s. 31.
Obr. 23 Prečo sa neponáhľa.
Reklamný film, 1958.
Obr. 24a In: Slovenka,
roč. VIII, 50/1955, obálka.
Obr. 24b In: Slovenka,
roč. IX, 33/1956, s. 4.
Obr. 25a In: Slovenka,
toč. VI, 16/1953, s. 7.
Obr. 25b In: Slovenka,
roč. VI, 16/1953, s. 7.
Obr. 25c In: Móda a textil,
roč. 1,1/1951, s. 31.
Záver
Obr. 1 In: Slovenka, roč. IX,
25/56, príloha, nepag.
213
SUMMARY
214
The publication entitled Powerful
Women or Women of Power? Visual
Culture, Representation and Ideology
represents one of the current, yet relatively
complicated topics of research in the field
of our past seen from the gender point of
view and through visual representations.
Even though this may seem to be unambig-
uous research ground, the black-and-white
knowledge of the historical period of
the 50s of the 20th century appears to be
much more pliable that it may at the first
sight seem. Memories of the period of the
society’s reorganization, establishment of
agricultural cooperatives or collectivization
remind many personal observers of
the-then Czechoslovakia with hindsight
of their bitter experience and unlucky
consequences. The others for many years
became a part of the mythical ideas of fair
society which brought victory to the work-
ing people. While the darker side of the
period remained hidden in the splendor
of pretense of equal society, the “genuine”
one formed a part of false ideas presenting
man and woman sharing equal position.
The totalitarian power model which
was exported to the countries of the East-
ern Europe from the Soviet Union after the
Second World War represented a suitable
platform to implement the transformation
of the society. One of the changes which
were brought by the new social model
formed on the basis of Soviet Stalinist
pillars was represented by the emancipa-
tion concept. The theory also began to be
established in former Czechoslovakia as
a kind of utopian Soviet variant denying
the country’s past. If seen from the point
of view of historical development, it is
necessary to realize that the period of
constructive enthusiasm came up with the
concept of a “ new type woman” and this
was not discontinuity in the development.
Masked in the veil of ideology heading
towards the future (towards “better to-
morrow”) the genealogy, activities and the
outcomes of movements of women in the
second half of the 19th century and in the
period of the first Czechoslovak Republic
were somehow sinking into oblivion. It is
necessary to remind that women did not
only succeeded in joining the working
and political environment thanks to
socialism and by interference from on
high, it is much more probable that they
also succeeded in so doing thanks to their
own efforts and mutual movement from
below and from on high and with political
support of males. If the “new woman”
may in the beginning be mainly seen as
a woman who was suddenly bestowed with
numerous positions changing the stere-
otyped gender working relations (often
personified by a woman driving a tractor
in the fields of an agricultural cooperative
or operating a machine at a plant of light
or heavy industry), the fundamental model
was gradually changing and branching
out to include other variants - such as
female official, female scientist, female
researcher, female university teacher, but
also a woman resisting the social order
or the patriarchal model of relations.
The “new type” women then did not
represent certain grey, united mass, but
the women studying, holding important
posts and having extraordinary jobs or
215
women active in public matters. Paradigm
of a socialist woman was subjected to
stereotyped clichés of women of the
constructive enthusiasm period (female
tractor drivers, female combine operators,
female shock-workers, female officials,
female scientists, mothers and wives
and a woman as object of beauty) and
was existing in much more complicated
frameworks. If women are examined from
the point of view of emancipation and the
gender relations, it is impossible to avoid
revelation of the contradiction inside
and the tension between the equality
concept and understanding of a woman as
a biologically specific being determined to
mother, to care for her family and house-
hold. This represented her double or even
triple burden. The is the point of view
to make us realize the period ambiguity,
the difference between the ideological
construct and the actual situation in the
social “life” of women and men. The publi-
cation’s ambition is to try to sketch a more
compact view of the canonized period
of building socialism from 1948 to 1959
from the point of view of emancipation
of women, the gender relations and their
impacts on depicting women not just in
“high culture”, but in the wider context of
visual culture. It turned out that research
of the socialist society from the angle of
gender issues, a part of art history, but as
well as a part of many other social scien-
tific disciplines not sufficiently explored,
is important mainly from the point of
view of realization of those connections
and conflicts which accompanied the
policy of emancipation of women through
wider scale of visual images. One of the
important moments that the book was
also based on is the knowledge that the
research of our history done from the
angle of gender issues is not just in case
of many scientific disciplines (including
art history) marginalized. Much bigger
interest in the issues of women dating
back to the period of socialism was
recorded with researchers from the West.
Philosopher Zuzana Kiczková who led the
Pamäť žien project (Memory of Women)
aimed at reflection of socialism from the
angle of gender issues states: “There were
feminists from the West keen on learning
more on the specific form of emancipation
of women in the socialist society coming
to the countries of the former Eastern bloc
in the first half of the 90s. (...) Position of
women was assessed by female experts
from behind borders according to the
experience of their own. Their publications
many times included gross generalizations
and assessments taken out of social and
political context. (...) The women from the
Eastern and Central Europe could not of-
ten recognize themselves in those studies
and were not satisfied with that manner of
their depiction. The interpretation models
seemed to be strange” (Kiczková, 2006).
Many Western feminist researchers
intended to show their interest in the
phenomenon correctly and formulated
their research starting points anchored in
the Western paradigmatic contexts which
did not much overlap with the experience
of the women under socialism. One of the
intentions of the research concerned was
to show how to make use of the legacy of
216
Western feminism and the gender studies
to respect the specific historical, geograph-
ical or geopolitical given facts of the envi-
ronment under research without adopting
any predetermined interpretation model
and without introducing any new forms of
intellectual colonialism. Czech sociologist
Hana Havelkovâ wrote: “On the one hand,
there is a reality in post-communist coun-
tries that requires theorizing; on the other
hand, there is a ready-made, imported
theory to analyze this reality - namely,
Western feminism. Since this theory
already exists, it is impossible to ignore it
completely in analyzing women’s situation
in Eastern Europe.” (Havelkovâ, 2000)
The intention of the book as implied
already above is to attempt to analyze the
visual depictions from the perspective
of the gender policy, seeing the process
of defining the gender relations and how
the process was also formed by the visual
representations. Focusing on the connec-
tions between the visuality, the gender
relations and the power of the ideological
machinery in the setting of social and his-
torical changes. It is not going to be just
nostalgic remembering, nor recalling the
injustices and injuries or heroization of
female builders of socialism, but the issues
connected with building the male and
female identities as included in the visual
depictions will, however, be in the center
of our attention, especially as to how the
new forms of feminity were (co)established
and represented. This implies many other
questions such as: What did the term of
a “new” woman mean? What was her role?
How was it developing and changing? Was
the social discourse conditioned in terms
gender issues despite the emancipation
concept? How and by whom was the gen-
der policy formulated? Was it a product
of power or the women themselves made
efforts to join the working sphere? How
did the emancipation concept show in
the visual culture and in the manner of
depiction? How did the visual depictions
vice versa influence the construction of
feminity and masculinity?
In writing the book the author was
applying the method of combining several
approaches based on psychoanalysis,
semiotics, linguistics or cross disciplinary
starting points from philosophy, gender
studies and sociology. She based her de-
liberations on the theoretical background
of Sigmund Freud, Jacques Lacan, Michel
Foucault, Roland Barthes, Judith Butler,
Simone de Beauvoir, Laura Mulvay, Julia
Kristeva, Hélène Cixous and Naomi Wolf.
Diversification of methodological
and theoretical basis is also typical for the
area oriented at several disciplines now
examined - the visual culture. Example of
cross disciplinary overlaps or combining
two disciplines, feminism and visual
culture is represented by publication by
Amelie Jones entitled The Feminism and
Visual Culture Reader. The author states in
her book as follows: “The intersection of
feminism and visual culture, two models
of thinking, making, doing, or strategizing
which have their own historical trajectories
and political reasons for being, is volatile
and immensely rich one.” (Jones, 2003)
On the understanding that the visual
practices are closely interconnected
217
and controlled by power systems the
publication is focused on visual images
as instruments which were produced and
which represent specific social powers
and ideologies. The images so become an
important instrument through which the
ideologies are not just projected, but cre-
ated as well. In analyzing the visual images
the work will be based on their instrumen-
tal function where depiction may not be
understood in its apolitical function. If
Craig Owens claims that depiction is never
“impartial and then politically neutral
activity”, but is “an inseparable part of the
social processes of supremacy and control”,
then researching systems of representation
means uncovering specific interests which
are served by all depictions. It does not
mean, as Owens claims, studying the
manners that those in power exercise their
interests, nor being interested in what
such representations “say”. Asking what
they “cause” is much more important as
“demonstrating is not just a manifest
of power, but an integral part of social
processes of differentiation, expulsion,
inclusion and governing.” (Owens, 2005).
Realizing that official representations
of socialist culture (as well as those of
other totalitarian regimes) served political
interests, representations will then need
to be regarded not as reflection, but as
an activity interconnected with political
interests, as an instrument of ideological
and political power and propaganda.
Art history underwent reassessment
in recent decades. Issues of canon,
style, aesthetic value as well as those of
universalistic objectivistic principles of
discipline lost their justifiability. The
so-called “visual turn”, growing interest
in the images beyond or outside art
changed paradigm of understanding visual
representations.
The understanding that art history
did not provide sufficient paradigm to
grasp the visual images as the perspective
that we may “read” the images was
enhanced urges us to apply the new
theoretical techniques. Besides the new
methodological and interpretation starting
points we will also be interested in images/
objects of artistic, but also non-artistic
character. Besides the works in the area of
visual arts (sculptures, paintings, graphics)
within the framework of material research
we will also focus on the images outside
the canon of high culture, the non-artistic
images or the technical media images
(magazine photographs, posters, illustra-
tions, caricature, printed advertisement),
actors’ film or advertising spot. It is not
going to be a formal or style analysis of
“canonical” works of socialist realism, but
emphasis will be laid on the mass media,
technical images the massive and rapid
flow of which is provided by the distribu-
tion channels directly in front of the users.
Instrumentalization of the mass culture
the principal role of which is represented
by the image distribution, reproduction
and circulation process, through the
media, such as magazines (and their visual
images), film, poster, advertisement, is
a model example of how the power of
ideological machinery works.
As compared with the non-artistic
images the main distribution flows of
218
artistic productivity were represented by
the exhibitions looking back upon the
successes of social changeover in the field
of art, exhibitions presenting the results
of the “task campaign” as the state order
for production of “socially engagé works”
or the exhibitions reflecting the results of
the visits to the authentic environment of
agricultural cooperatives and factories by
artists. Just like many canonized artistic
images of the period of constructive
enthusiasm were acquiring status
iconicity, magazine photographs were by
serial repetition of the “new” typologies
of women - female tractor drivers, female
welders, female shock-workers - becoming
indexical features recording the track of
reality.
Even though the research of the topic
will take place through diversified media
images as the case studies, the irreplacea-
ble role will in analyzing visual representa-
tions be played by textual element of the
period archives. If many theoreticians sug-
gest that emphasis laid on visuality in the
visual culture does not mean separation
of the images from writing, speech or lan-
guage, within the research which requires
studying period text material we will base
our deliberations on the supposition that
the gender policy is present in both the
language and the images as well, that the
gender relations are deeply rooted in the
language which as the obedient servant
of the ideology produced standards (their
ambiguity will be shown as the contradic-
tion of the visual images to the text) that
became the obligatory constructs present
in the specific social system.
The structure of the publication will
on the basis of those discourse frame-
works range over the triangle of the three
fundamental issues: gender relations rep-
resentations - ideology - concentrated in
four chapters which may be understood as
the separate parts without the continuous
linear successiveness.
First chapter entitled Žena “nového”
typu: trajektórie premeny (The “New” Type
Woman: Trajectories of the Changeover”)
deals with the emancipation policy of en-
gagement of women in the world of labor
that provided them with independence of
men. The issue of the status of male which
represented an important “sexist” question
is looked into within the framework of
the expropriation and nationalization
measures - nationalization in fact did
not only afflict the capitalists, large and
small owners as such, but mainly affected
them as men and the fact will in direct
proportion imply the change of position of
women. The chapter is not just focused on
the theoretical settings of the subject’s es-
tablishment which is according to Butler
further created through processuality and
“the new meaningfulness”, but also pro-
vides room to direct establishment of the
subject through visual the images of young
girls leaving their family environment and
their home villages to get jobs in the city
(film entitled Katka). Continuity of the
family lines including the archetypal role
of the family seems to suddenly lose its
traditional function. Massive mobility of
labor and its monumental shifts from the
agriculture and the households to textile
or engineering production resulted in the
219
new distribution of labor and consequent-
ly also affected the position of women in
the society.
Second chapter entitled Paradigmy
moci: komu slúžia repreze?
(Paradigms of Power: Who is it that the
Representations Serve?) is focused on
the term of representation and the issue
may through the theoretical background
of Griselda Pollock be understood as
something encrypted in rhetorical, textual
and imaging methods which are quite
different from their social existence. If the
period media were suffused with visual
representations of women in the period
of building socialism, we may at the same
time ask: Who was creating them, what
was his intention and who was it that they
were serving? We may also aslc Who is to
perceive them and what effect is so caused?
Example of creation of artistic por-
trayals of a female co-op member, a female
worker, a worker, a welder, a miner and
a mineworker was used to deal with the
issues of official representations (examples
of the authors Jozef Kôstka) which were
to serve as evidence of overcoming artistic
formalism as social order of labor glorifica-
tion. This was in fact just illusion, pretense
of what is not real, of what the socialist
utopia was heading to. The chapter further
deals with portrayals of women working in
positions that in the past belonged to men.
Their physical condition was not in fact
taken into account and thus work of wom-
en under the pressure of universality once
again found itself seen from the angle of
certain lack of gender specifics or seeming
gender neutrality implying the male
system. Even though the masculinized
women wearing boiler suits, rail man’s or
military uniforms signalized that they
commenced male professions, the takeover
of male features did not, however, mean
that many positions were really open
to women. There was, not just behind
a woman wearing a uniform, but behind
clothing of women and men in general as
well, strong ideological background. To
be accepted within the framework of the
new social order, a woman was expected to
change her clothing and appearance. Many
visual representations convince us, how-
ever, that the system which destroyed and
renounced fashion (which was understood
as bourgeois anachronism) just to make
illusion of fashion of their own available to
all layers of women in fact failed.
Third chapter entitled Efekt tele-
sná kultúra pod dohľadom (The Body Effect:
Physical Culture Supervised) deals with
the issues of body and physical existence.
It draws your attention to the question of
how body of a woman engaged in sports
understood in mental and physical symbi-
osis considerably influenced her working
activity and health. The background of
the Spartakiáde - a specific element of the
socialist culture - reveals many stereotypes
and paradoxes of the period which on the
one hand perceive body of man and that
of woman as a “gender neutral” body, but
at the same time as a subject to the power
supervision of the political authorities.
The last chapter Paradoxy
nosti:ideologizácia súkromného a verejného
(Paradoxes of the Everydayness: Ideologi-
zation of the Private and the Public Lives)
220
deals with a socialist woman within the
framework of everydayness. It highlights
the visual representations which strove to
publicly reveal many shortcomings con-
nected with gender distribution of working
positions at home or at work. It reflects
the irreplaceable role of mothers since
the ideal concept of a woman as mother
whose care for her child is taken over by
the society differed from the everyday
practice (example - the works by Mária
Medvecká). Even though the period social
and economic context may imply that
the society embarked the path away from
consumerism, the reality was much more
complicated. As many representations
pointed out, despite the emancipation
proclaimed which released a woman from
her principal domain - the household - into
the public sphere - the most loyal group of
consumers were just women.
Analysis of the period representa-
tions (and the textual ones as well) was
gradually uncovering new layers and led
to understanding that even though the
ideological constructs were functioning
as instruments of propaganda, many
representations (visual representations/
caricature, textual representations/ col-
umn) pointed out the ambiguity between
the equality concept and the actual experi-
ence of women. If we were, as we had the
opportunity to convince ourselves, on the
official level assured by representations of
alleviation of the women’s burden of care
for their families through establishment
of day nurseries, kindergartens, laundries
etc., there was also darker side to the
gender equality declared. There was on the
one hand society in which power is held by
men and women only hold marginalized
functions, yet many representations
reflected the new position of man excluded
from his traditional roles. The insuffi-
ciently active, but still, however, dominant
masculinity resulting from the weakened
economic strength of man represented
one of the key issues of deconstruction of
gender relations. If the weakened status
position of man resulted in the change of
that of women in the family (combination
of the economic independence with the
traditional division of labor which was still
surviving supported her executive power
in the family), the position of women in
the society was indirectly strengthened
as well (by improved level of education
and qualification). Even though the social
order emphasized workers’ professions,
the construct of a female tractor driver,
a female combine operator, a female crane
operator, a female miner, a female brick-
layer is gradually enhanced by other jobs
representing not just the working class,
but the middle class as well. The construct
is established not just through working
positions such as female administrative
staff, female teachers, female physicians,
female researchers, female artists, nurse
and female officials, but also through the
aspect of fashion and clothing.
The constructivist approach followed
by the author does not, however, only
require “inclusion” and “differentiation”,
but the “expulsion” process as well. The
ability to recognize how the things appear
and to decrypt what is not visible, what we
cannot see. What has not been included in
221
the field of visibility and what has to the
contrary been removed from it is repre-
sented by the anachronistic subjects corre-
sponding to the bourgeois concept (maids,
city ladies, nuns etc.) or the discourse
that was primarily used to emphasize its
negative inimical connotation.
One of the basic effects of visual
representations subject to the socialist
propaganda was presentation of concept
of equal society that in fact had no dif-
ference between the professions of males
and those of females (the phenomenon is
best expressed by the slogan “Nowadays
there is no difference between male and
female professions”). Emancipation of
women as later practically shown was
not going on exactly according to the
concepts of its ideological constructors.
Although the representations on the one
hand showed working enthusiasm of
women and officially declared interest in
female labor on the part of the employer,
the emancipation on the other hand met
with displeasure and incomprehension
within the public and private spheres.
The situation finally came under criticism
of not just women who did not hesitate
to break the silence, but also became the
center of sarcastic remarks of their own
colleagues or husbands. Best efforts to
reflect the phenomenon was in the end
put in the field of magazine illustration or
caricature. If we can on the basis of that
starting point side with the statement
that the emancipation concept that the
women identified themselves with was
either not a tailor-made solution to serve
them or totally failed, many period visual
representations were getting around that
confusing essence.
If we tried to look for the answers to
the question what those representations
meant and who and on the basis of what
was creating them by looking at them as
the parts of power relations, the answer
may lead to understanding that a new
type construct of feminity was defined by
many power practices through processes
of supremacy, control, exclusion and
differentiation.
No matter how well the visual rep-
resentations were uncovering the internal
paradoxes of the gender policy concept,
women of the building enthusiasm period
may claim credit for formation of many
concepts, views and attitudes that in con-
nection with the previous emancipation
successes became a part of the identity of
women within this cultural space.
222
|
| any_adam_object | 1 |
| author | Oravcová, Jana 1962- |
| author_GND | (DE-588)136360041 |
| author_facet | Oravcová, Jana 1962- |
| author_role | aut |
| author_sort | Oravcová, Jana 1962- |
| author_variant | j o jo |
| building | Verbundindex |
| bvnumber | BV042472456 |
| classification_rvk | KU 4015 |
| ctrlnum | (OCoLC)907083439 (DE-599)BVBBV042472456 |
| discipline | Slavistik |
| edition | 1. slovenské vyd. |
| era | Geschichte 1950-1960 gnd |
| era_facet | Geschichte 1950-1960 |
| format | Book |
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| geographic | Slowakei (DE-588)4055297-4 gnd |
| geographic_facet | Slowakei |
| id | DE-604.BV042472456 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:22:45Z |
| institution | BVB |
| isbn | 9788097185206 |
| language | Slovak |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027907591 |
| oclc_num | 907083439 |
| open_access_boolean | |
| owner | DE-12 DE-355 DE-BY-UBR |
| owner_facet | DE-12 DE-355 DE-BY-UBR |
| physical | 222 S. zahlr. Ill. |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Csy |
| record_format | marc |
| spelling | Oravcová, Jana 1962- Verfasser (DE-588)136360041 aut Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia Jana Oravcová 1. slovenské vyd. Selce Csy 2014 222 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Geschichte 1950-1960 gnd rswk-swf Frau (DE-588)4018202-2 gnd rswk-swf Identität (DE-588)4026482-8 gnd rswk-swf Ideologie (DE-588)4026486-5 gnd rswk-swf Propaganda (DE-588)4076374-2 gnd rswk-swf Geschlechterrolle (DE-588)4071776-8 gnd rswk-swf Politik (DE-588)4046514-7 gnd rswk-swf Sozialismus (DE-588)4055785-6 gnd rswk-swf Soziale Rolle (DE-588)4055729-7 gnd rswk-swf Slowakei (DE-588)4055297-4 gnd rswk-swf Slowakei (DE-588)4055297-4 g Politik (DE-588)4046514-7 s Sozialismus (DE-588)4055785-6 s Ideologie (DE-588)4026486-5 s Propaganda (DE-588)4076374-2 s Geschlechterrolle (DE-588)4071776-8 s Frau (DE-588)4018202-2 s Identität (DE-588)4026482-8 s Soziale Rolle (DE-588)4055729-7 s Geschichte 1950-1960 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027907591&sequence=000005&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027907591&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027907591&sequence=000007&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027907591&sequence=000008&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Oravcová, Jana 1962- Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia Frau (DE-588)4018202-2 gnd Identität (DE-588)4026482-8 gnd Ideologie (DE-588)4026486-5 gnd Propaganda (DE-588)4076374-2 gnd Geschlechterrolle (DE-588)4071776-8 gnd Politik (DE-588)4046514-7 gnd Sozialismus (DE-588)4055785-6 gnd Soziale Rolle (DE-588)4055729-7 gnd |
| subject_GND | (DE-588)4018202-2 (DE-588)4026482-8 (DE-588)4026486-5 (DE-588)4076374-2 (DE-588)4071776-8 (DE-588)4046514-7 (DE-588)4055785-6 (DE-588)4055729-7 (DE-588)4055297-4 |
| title | Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia |
| title_auth | Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia |
| title_exact_search | Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia |
| title_full | Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia Jana Oravcová |
| title_fullStr | Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia Jana Oravcová |
| title_full_unstemmed | Mocné ženy alebo ženy moci? vizuálna kultúra, reprezentácia, ideológia Jana Oravcová |
| title_short | Mocné ženy alebo ženy moci? |
| title_sort | mocne zeny alebo zeny moci vizualna kultura reprezentacia ideologia |
| title_sub | vizuálna kultúra, reprezentácia, ideológia |
| topic | Frau (DE-588)4018202-2 gnd Identität (DE-588)4026482-8 gnd Ideologie (DE-588)4026486-5 gnd Propaganda (DE-588)4076374-2 gnd Geschlechterrolle (DE-588)4071776-8 gnd Politik (DE-588)4046514-7 gnd Sozialismus (DE-588)4055785-6 gnd Soziale Rolle (DE-588)4055729-7 gnd |
| topic_facet | Frau Identität Ideologie Propaganda Geschlechterrolle Politik Sozialismus Soziale Rolle Slowakei |
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