The participation of women in legislation is an important aspect and means of safeguarding women’s rights.Feminist theory,based on criticism of both the“citizenship identity theory as rights”and the“citizenship id...The participation of women in legislation is an important aspect and means of safeguarding women’s rights.Feminist theory,based on criticism of both the“citizenship identity theory as rights”and the“citizenship identity theory as responsibilities,”proposes the“citizenship identity theory as subjectivity.”Observing the current practice of women’s participation in legislation in China,two institutional safeguard principles can be summarized:the“minimum proportion”and the“influence evaluation.”However,each of these principles has its inherent limitations.Therefore,it is necessary to supplement them with the principle of“subjective participation”in a reflective manner.This principle requires women to participate substantively in the legislative process as subjects,express women’s needs and demands,input women’s perspectives and experiences,and reconstruct the distribution of rights and responsibilities in the existing legislation.The three principles complement each other and work together to comprehensively constitute the institutional structure of women’s participation in legislation,thereby promoting the reproduction of corresponding action structures.展开更多
Michel Foucault in Security, Territory, Population: Lectures at the Collège de France, 1977-1978 argues, that there has never been such a thing as an anti-pastoral revolution in Western societies. Yes, we have ha...Michel Foucault in Security, Territory, Population: Lectures at the Collège de France, 1977-1978 argues, that there has never been such a thing as an anti-pastoral revolution in Western societies. Yes, we have had revolutions against the disciplinary apparatus and legal devices of power (schools, hospitals, prisons) and we have had examples of revolutions against the economic foundations of social inequality, but there has never been a genuine revolution against pastoral power as a power relating to the conduct of individuals (but also entire social groups) and their disposition to “voluntary submission” to the will of external authorities. In my paper, I would like to reflect on this thesis, and taking it quite seriously, to look for examples of such revolutions. One of them is a women’s strike in Poland during the power of the conservative government of “Law and Justice”. Mainly referring to the texts of Silvia Federici and Paul Preciado, I will want to reflect on contemporary practices of reclaiming the body in contemporary capitalism. I will defend the thesis that regaining control over sexuality and reproduction means changing the material conditions of life and modern reproductive technologies.展开更多
The paper traces back women like Celie, Shug, Sofia or Nettie engaged in journeys of self-discovery and development, ones that follow predicted feminist patterns, who try to get free from any dominance, either be it m...The paper traces back women like Celie, Shug, Sofia or Nettie engaged in journeys of self-discovery and development, ones that follow predicted feminist patterns, who try to get free from any dominance, either be it male, social or cultural. The colour purple signifies a metaphysical, social and personal rebirth reflected into different shades by their inner self. The social oppression for black women in their quest for freedom is the main theme of Walker＇s novel The Color Purple, written in the epistolary technique of Samuel Richardson＇s in the XVIllth century English novel. In our attempt to analyse the theme and the female characters of the novel we are also trying to cross a bridge from the slave woman of the past belonging to a completely different culture and race to the contemporary paradigm of the liberated woman. The movement in time encompasses possible similitudes and differences.展开更多
The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film schola...The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film scholar whose interests focus on women directors and problems of cultural and gender identity in the contemporary cinema. Nevertheless, she decided to expand her research area to include works of Polish female artists who utilise the media and these means of expression that can be analysed in regard to modern film studies. She adopted the theoretical, feminist, and gender perspective, also applying the methodology of cultural studies in their broadest definition. This enables the author to situate the movies under discussion in diverse contexts and theoretical concepts. The purpose of the paper is thus not to offer a comprehensive or historical discussion of women＇s input into audiovisual arts of Central and East European Countries, but to emphasise complexity and demonstrate dynamics of their artistic creativity in Poland particularly. In her analysis, Radkiewicz considers four different research approaches： historical, theoretical （which refers to film and media studies）, artistic, and identity related ones. From this perspective, she investigates filmmakers＇ and artists＇ strategies of using the cinematic field, film conventions, and means of representations, which are the foundation of their narrative expression.展开更多
基金a phased project of the “Research on the Principles of Argumentation of Ratio Legis (Reasons) in Local Legislation” (Project Approval Number 2023EFX002)a Youth Project of Shanghai Philosophy and Social Science Planning in 2023。
文摘The participation of women in legislation is an important aspect and means of safeguarding women’s rights.Feminist theory,based on criticism of both the“citizenship identity theory as rights”and the“citizenship identity theory as responsibilities,”proposes the“citizenship identity theory as subjectivity.”Observing the current practice of women’s participation in legislation in China,two institutional safeguard principles can be summarized:the“minimum proportion”and the“influence evaluation.”However,each of these principles has its inherent limitations.Therefore,it is necessary to supplement them with the principle of“subjective participation”in a reflective manner.This principle requires women to participate substantively in the legislative process as subjects,express women’s needs and demands,input women’s perspectives and experiences,and reconstruct the distribution of rights and responsibilities in the existing legislation.The three principles complement each other and work together to comprehensively constitute the institutional structure of women’s participation in legislation,thereby promoting the reproduction of corresponding action structures.
文摘Michel Foucault in Security, Territory, Population: Lectures at the Collège de France, 1977-1978 argues, that there has never been such a thing as an anti-pastoral revolution in Western societies. Yes, we have had revolutions against the disciplinary apparatus and legal devices of power (schools, hospitals, prisons) and we have had examples of revolutions against the economic foundations of social inequality, but there has never been a genuine revolution against pastoral power as a power relating to the conduct of individuals (but also entire social groups) and their disposition to “voluntary submission” to the will of external authorities. In my paper, I would like to reflect on this thesis, and taking it quite seriously, to look for examples of such revolutions. One of them is a women’s strike in Poland during the power of the conservative government of “Law and Justice”. Mainly referring to the texts of Silvia Federici and Paul Preciado, I will want to reflect on contemporary practices of reclaiming the body in contemporary capitalism. I will defend the thesis that regaining control over sexuality and reproduction means changing the material conditions of life and modern reproductive technologies.
文摘The paper traces back women like Celie, Shug, Sofia or Nettie engaged in journeys of self-discovery and development, ones that follow predicted feminist patterns, who try to get free from any dominance, either be it male, social or cultural. The colour purple signifies a metaphysical, social and personal rebirth reflected into different shades by their inner self. The social oppression for black women in their quest for freedom is the main theme of Walker＇s novel The Color Purple, written in the epistolary technique of Samuel Richardson＇s in the XVIllth century English novel. In our attempt to analyse the theme and the female characters of the novel we are also trying to cross a bridge from the slave woman of the past belonging to a completely different culture and race to the contemporary paradigm of the liberated woman. The movement in time encompasses possible similitudes and differences.
文摘The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film scholar whose interests focus on women directors and problems of cultural and gender identity in the contemporary cinema. Nevertheless, she decided to expand her research area to include works of Polish female artists who utilise the media and these means of expression that can be analysed in regard to modern film studies. She adopted the theoretical, feminist, and gender perspective, also applying the methodology of cultural studies in their broadest definition. This enables the author to situate the movies under discussion in diverse contexts and theoretical concepts. The purpose of the paper is thus not to offer a comprehensive or historical discussion of women＇s input into audiovisual arts of Central and East European Countries, but to emphasise complexity and demonstrate dynamics of their artistic creativity in Poland particularly. In her analysis, Radkiewicz considers four different research approaches： historical, theoretical （which refers to film and media studies）, artistic, and identity related ones. From this perspective, she investigates filmmakers＇ and artists＇ strategies of using the cinematic field, film conventions, and means of representations, which are the foundation of their narrative expression.
