The artist Sandra McMorris Johnson once told me that, as much as she had always loved Gauguin, she had nevertheless become increasingly uncomfortable looking at his paintings because so many of them depict thirteen-year-old girls in an extremely sexualized way. I think about her discomfort with Gauguin whenever I consider my reaction to Balthus, an artist whose best paintings I find to be utterly beautiful.1 These paintings are, however, highly, if not obsessively, eroticized portraits of prepubescent girls. It should be (...) noted that Balthus—known to some as the "Lolita painter"—dismissed criticism of his subject matter by declaring an allegiance to formalism.2 But, as a pragmatist, I cannot hide behind a strict .. (shrink)

The turn of the 1990s saw the emergence of “the political” in feminist theory. Despite there being a number of publications devoted to the theme, the concept itself has remained rather undertheorized. Instead of producing a thoroughly developed concept, it served to create an epistemic community devoted to the political aim of women’s emancipation. In the article, I argue that it would be beneficent for feminist theory to adopt an affirmative stance towards the contingency of politics. This of course poses (...) a challenge to feminist politics, which still operates mainly within the framework of the politics of representation. Nevertheless, Linda Zerilli’s approach, which interprets contingency in an Arendtian vein as the condition of the world-creating and world-building power of feminism as a practice of freedom may prove to be a productive way of approaching the challenging issue of contingency in feminist theory. (shrink)