European Journal of Women's Studies

Unlike Russia, one of the most potent forces in reinterpretations of Ukraine’s cultural legacy is its matriarchal myth. This article explores the ways in which that myth has been reconfigured to conform to the requirements of Ukraine’s contemporary historical circumstances. It also examines how a cult figure, known variously as the great goddess, domestic madonna, hearth mother and today as the nation’s mother, and widely portrayed in the media as such, can be transformed into an instrument of women’s subjugation. Although in her original incarnation Berehynia conveyed a message of female empowerment, today she represents nothing more than a free-floating symbol of an allegedly unchanging Ukranian reality, and the woman’s essential status within it, without any real connection to the society in which she once flourished. The idea of female empowerment which she embodies, however, seduces contemporary Ukranian women into a false sense of their own centrality even as it consigns them to inferior status.

This article draws on data from a qualitative research study undertaken in an old (pre-1992) UK university with the main aim of investigating the issue of the gender dimension of academic careers. It examines the idea of an individualistic academic career that demands self-promotion, which is still used as a measure of achievement by those in senior positions. However, there is a basic contradiction. While this idea is upheld, men simultaneously gain by an in-built patriarchal support system. They do not have to make a conscious effort to be helped by it, thereby perpetuating the cultural hegemony of individualism. Women are not admitted to this support system, and if they are seen as needing or wanting to set up their own system, this is viewed as a weakness. The answer appears to be for women to strategically harness feminist ways of working in a collaborative and supportive way.

One of the most significant changes in the medical professions in Europe is the trend towards feminization. Some of the patterns of gender inequality arising from the feminization of the European medical professions are clearly apparent within the Russian medical profession, which experienced feminization 70 years ago. Yet little is known about the processes by which these patterns of gender inequality emerged and were maintained. This article is based on interviews with female doctors in Voronezh, Russia in 1996. It explores the attitudes of these women to gender divisions within the medical profession. This is placed within the wider context of Soviet and post-Soviet employment and family policies directed at women. It is suggested that the material and ideological focus on women’s role in reproduction had direct implications for the choices women made in relation to paid labour.

In discussing Simone de Beauvoir’s ontological ethics in an earlier article in this journal, the author suggested in passing that she could be seen as a ‘philosopher manqué’, a ‘lost’ or ‘missed’ philosopher, a woman who gave up or rejected philosophy to pursue ideas by better means for her purposes. Here the author explores the idea of de Beauvoir as a philosopher manqué in relation to her play Les Bouches inutiles, using a translation-in-progress into English, The Useless Mouths, to examine ideas about morality, ethics and intersubjectivity expressed within it. De Beauvoir constructs characters around different philosophical positions, which are evaluated by reference to the play’s unfolding action. This turns on men’s hidden evaluation of the category of women as, by definition, ‘the useless mouths’ of society, an evaluation revealed by strategies for survival in the in extremis situation of a town under siege.

The purpose of this article is to provide a general overview of the work of Wanda Jakubowska (1907–98), the first Polish, female film director to gain national and international recognition. Her career spanned over 50 years, in which she directed 14 full-length feature films, thus being the longest working film director in the history of Polish cinema. She was also one of the highest profile filmmakers to join the Polish communist party after the Second World War and in subsequent years represented the ‘party line’ among her fellow film-makers, and lobbied the party on behalf of the cinema industry. The article looks at style, ideology and the most important themes of Jakubowska’s work. Its focus is on her films about concentration camps and about contemporary Poland. The article also attempts to establish whether and to what degree Jakubowska was a feminist.