The paper aims to critically analyze the construction of feminist East/West debates in the context of the anthology Gender Politics and Post -Communism (Funk, Mueller 1993). It does so from the perspective of other critical feminist voices as well as global power relations, taking effect in the international feminist academic community. Its starting point are discussions related to differences among women in feminist theories, which started in the 1980s and, in relation to them, the concept of “discursive colonization” (Chandra Talpade Mohanty), which underscores the effects of power/knowledge (Foucault) in international feminist research related to women in Third World contexts. The analysis in the second part of the paper focuses on the contributions by Nanette Funk, Hana Havelková and Jiřina Šiklová, which have been, in the literature, repeatedly related to the feminist East/West debates. Based on this analysis I argue that the central focus on differences along the “East”/“West” dividing line is the cornerstone of these debates, but, at the same time, it masks the power relations which co -create them. The point is an interaction of the East/West hierarchy with an essentialist and theoretically limited notion of Western feminism. Departing from that, I track how this interaction has shaped further developments of the debates, and explore how a non -essentialist understanding of Western feminism and, in relation to that, a turn toward examining the reproduction of global power relations through mainstream feminist analytical approaches, makes it possible to go beyond the identified limits of feminist East/West debates. and Obsahuje bibliografii
Text reflektuje postavení podniku pro zahraniční obchod (PZO) Artia ve struktuře tuzemských hudebních vydavatelství v období normalizace s cílem přiblížit modus operandi exportně orientované hudebně vydavatelské činnosti v Československu. V porovnání s hudebními vydavatelstvími zaměřenými na domácí trh se Artia odlišovala svou koncepcí ediční i obchodní politiky, u níž ideologický a estetický diktát determinovaný systémem řízení a kontroly kulturní tvorby ustupoval obchodním zájmům Ministerstva zahraničního obchodu. Sledování dynamicky se proměňujícího střetu ideologických a ekonomických zájmů v oblasti kultury je zajímavé zejména v období nastupující normalizace charakteristické zesílenou kontrolou ideologické čistoty uměleckého projevu, a nejen proto je toto téma vhodné pro všechny zájemce o multidisciplinární zkoumání kulturních dějin Československa., The article reflects the position of a foreign trade enterprise called Artia within Czechoslovak music industry. The primary goal is to reveal the modus operandi of the music industry in international trading on the example of Artia. Given its export orientation, Artia was a specific organization dealing more than other Czechoslovak record companies with commercial success instead of ideological and aesthetical issues in its editorial policy. Such an approach was dramatically challenged in the period of „normalization“ (1969-1989) when ideological requirements on record companies were reinforced in the system of management and control of cultural production in Czechoslovakia. Artia, therefore, is a suitable object for exploring the relationship between ideological and commercial aspects of cultural production in Czechoslovakia from a multidisciplinary perspective., Martin Husák., and Obsahuje bibliografii