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Poza girl power: dziewczyński opór, kontrpubliczności i prawo do miasta

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Abstract

Polityczny potencjał siły dziewczyńskości nie tkwi w sile jednostki, ale w dostrzeżeniu wspólności i wielości dziewczyńskich doświadczeń. Odrzucenie postawy heroicznej i wyjście poza indywidualistyczny paradygmat girl power pozwalają na uwidocznienie różnych, nierzadko sprzecznych ze sobą narracji i reprezentacji składających się na współczesne dziewczyństwo, co z kolei pozwala nie tylko na identyfikację kompleksowych mechanizmów wykluczenia, ale też wytworzenie inkluzywnych taktyk i strategii oporu wobec nich. W oparciu o literaturę feministyczną oraz przykłady dziewczyńskiego oporu z kultury popularnej staram się pokazać, w jaki sposób dziewczyny, dokonując interwencji w miejscach zakodowanych jako męskie, łamią kody kulturowe, płciowe, rasowe i klasowe, stawiają opór, przechwytują narracje o sobie samych i egzekwują swoje prawo do miasta. Choć niektóre z omawianych przeze mnie gestów, taktyk i strategii mogą się wydawać zbyt łagodne, żeby mieć siłę polityczną, proponuję, że właśnie tym niepozornym formom wyrażania oporu warto się bliżej przyjrzeć, stosując w ich analizie kategorię kontrpubliczności i upłciowionego prawa do miasta.
Praktyka Teoretyczna
Numer 2(32)/2019
ISSN 2081-8130
DOI: 10.14746/prt.2019.2.3
www.praktykateoretyczna.pl
POZA GIRL POWER: DZIEWCZYŃSKI OPÓR,
KONTRPUBLICZNOŚCI I PRAWO DO MIASTA
AGATA LISIAK
Abstrakt:         
ale w        
girl power 
         
na 

n      


            
z             


do miasta.
Słowa kluczowe:       ,
heroizm, girl power
Praktyka Teoretyczna 2(32)/2019
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Wprowadzenie
Na przest          
         

        Tupeciarach Penelope Bagieu (2018)
czy Opowieściach na dobranoc dla młodych buntowniczek Eleny Favilli i Franceski Cavallo (2017)
         wczyny
z   
        
Ta            ieci ze
            




          
         

Jak wskazuje Ewa Majewska w Kontrpublicznościach ludowych i feministycznych (2018),
historie pojedynczych k        
     -  selfie wrzucanych przez Polki i ich
   
       
i     (2018, 81-83)   
w przypadku spopularyzowanych przez hashtag 
       
          
za          
        
       
z         
girl power w jej skomercjalizowanej, zindywidualizowanej i odpolitycznionej wersji.
Agata Lisiak: Poza girl power
49
       

cenie
       girl power 
na         
 

        girl power    
         
        
           
 wo do miasta.
            
         
i teoretyczek miasta (m.in. Marcuse 2009; Mayer 2009; Purcell 2002)   
jak          
              
zasadach (Solnit 2016). Kluczowe w dyskusji na temat politycznego 

  

Girl power
Girl power       riot grrrls   
Zjednoczonych we wczesnych latach 90. Do najbardziej znanych przedstawicielek tego ruchu
    Huggy Bear, Bratmobile,
Heavens to Betsy czy Sleater-    
z riot grrrl           
The      riot grrrl     
         
(Marcus 2010).
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Ruch riot grrrl 
         
z          
         
      
       
riot
grrrls           
         
          
h zasadach (Baumgardner i Richards 2000;
       
i 
     riot grrrl  
na          
      riot grrrls 
          
w tekstach swoich piose        
od        riot grrrl   
            riot grrrl   

    riot
grrrl a w zasadzie praktycznie natychmiastowa popularyzacja girl power 
         
girl bandów z lat
             
wany do kilku uproszczonych cech typ dziewczyny 
        riot grrrls 
        

    girl power   
w  riot grrrl 
Agata Lisiak: Poza girl power
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echwycenie i utowarowienie.
 riot
grrrls           
       na obrazach powielanych w zinach.
         
riot grrrl
           
to       
     riot grrrl   
           riot
grrrl talk
showach 
 riot grrrls     
         
i 
  riot grrrl    
   GUNK. Jego
riot grrrl
 
      -kali Brown wspomina
w  riot
grrrl            

 
           
od 
          
nie  iwej dziewczyny aktywnie przyczynia
        
          


Praktyka Teoretyczna 2(32)/2019
52
         
        
     

Dziewczyny a prawo do miasta
   Space, Place and Gender (1994) marksistowska geografka feministyczna
            
         
do               
           
            
             
             
            
 


 
miejsca (sense of place
             
i rozumian

         yczna, Tovi


         
do   right to the gendered city     
do            
     
Agata Lisiak: Poza girl power
53


     
inwazji miej
        
     
ko          

.
Dziewczyny wychodzą ze swoich pokojów

i 

   The Julie Ruin        
          
wypowiedzenia          
         
          
te 
1

na polityczny sens girl power      

             

             


         
1
 autorki.
Praktyka Teoretyczna 2(32)/2019
54



         
           
        
To 

         

         
o          
heteropatriarcha        
           
            
ulic, skwer            
          
          
papie
             
         ejowi
          
metrem ze stacji Assata Shakur na Harlemie do stacji Serena Williams w Queens, albo
w 
          
          
           

           
do 
We francuskim filmie Bande de filles  Celine Sciamma, 2014), cztery czarne
     banlieues   
Agata Lisiak: Poza girl power
55

            
      
        
od woli po twarzach jej

              
        i b    
      dance off    
        
           
         
       
do          stotne
                 
to 

      


    aniec nastolatek z biednych paryskich
         
        
          
          
 
       
          

           

Praktyka Teoretyczna 2(32)/2019
56
          
          

         
dokonuje interwencji w przestrzeni publicznej: na festiwalach muzycznych i artystycznych,
na           
 
a           jest pokazywany
na         
         
  
      
w              
       elementami
    

anie perspektyw na temat
             

przestrzeni.
       
w         
           
       wydanej w 1983 roku
            
na           
          
       
      
o 
       
            
Agata Lisiak: Poza girl power
57
i     wybiega na now
            
z 
            
            

(Majewska 2018) nie
           

            
           

       
i seksualnych, dziewczyny i g       
W           
     
     w tej egalitarnej, inkluzywnej wersji    

          
          
         
  co zdumiewa jeszcze bardziej 
i            
w             zez Lauper
          
Ich    
           
w 
Praktyka Teoretyczna 2(32)/2019
58
Dziewczyński opór a opór podporządkowanych innych
           
     moje
przyja jak i ja sama mamy bez liku historii o nieproszonych

            rzystanku,
w             
               
            
        
 
              

Ruch #metoo, zainicjowany w 2006 roku w Stanach Zjednoczonych przez
        
aktorki w 2017 roku 
        
            
przemocy seksualnej wobec 
         
        
problemu dyskryminacji seksualnej kobiet. Lokalne wersje hashtagu #metoo 
w Polsce,         
  
seksualnego i kwestii zgody na seks.
        


          
      
z            
Agata Lisiak: Poza girl power
59
znana 

ich,
           
          
     
         
do jednego gestu odczytywanego jako heroiczny i buntowniczy.
          
           
        
        
Tishani Doshi (2018) i pisarka Arund       
z          
       
Girls are coming out of the woods  


tych ze zmarginalizowanych grup (Roy 2012).

owite w peleryny i kaptury,

i bezmiar blizn zebranych
na hektarach przedwczesnej trawy i w miejskich
18)
Praktyka Teoretyczna 2(32)/2019
60
     
 
i            i na sile
         
         
  [       (2018, 72).
        

Zakończenie: odheroizowana siła dziewczyn
  eowane przez girl power   
do    

, jak bohaterowie.
          
       
i i
           
         
czy seksualnym.
         
          
         
          k proponuje
          
i 

304).
Agata Lisiak: Poza girl power
61
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Agata Lisiak: Poza girl power
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Agata Lisiak 
          


          Feminist Review; City; Gender, Place and
Culture i WidokumigART.
DANE ADRESOWE:
Migration Studies
Bard College Berlin

13156 Berlin
EMAIL: a.lisiak@berlin.bard.edu
CYTOWANIE: Praktyka Teoretyczna 2(32): 47-63
DOI: 10.14746/prt.2019.2.3
AUTHOR: Agata Lisiak
TITLE: Beyond girl power: girl resistance, counterpublics, and the right to the city.
ABSTRACT:            
    
          mes
contradictory narrations and representations of contemporary girlhood. This non-heroic
approach to girlhood reveals not only the intricate workings of exclusion mechanisms, but
also the various inclusive tactics and resistance strategies at work. Engaging with the concepts
of counterpublics, the gendered right to the city, and feminist theory more broadly, I look

interventions in urban places usually coded as masculine can subvert cultural, gender, racial,
and class codes, reappropriate narrations about themselves, and execute their right to the city.
Even if some of the gestures and tactics I discuss in the paper may seem too mild to have any
political power, I propose that it is exactly such unassuming forms of resistance that promise
real change and deserve our urgent attention.
KEYWORDS: girlhood, resistance, right to the city, feminism, counterpublics, heroism, girl
power
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