Baùbo au naturel
The woodcut painting Hymn to Baùbo au naturel represents a naked woman sitting on a tree with her legs spread apart, in evocation of Baùbo, the character from Greek mythology who, with her obscene songs, makes the inconsolable Demeter laugh. Here Adam Adach responds to the demands of eco-feminism so that each and every one discovers his or her inner goddess, his or her witch, in a time, a uchronia, where gender is no longer a marker of stigmatization, but of liberation.
“The treatment of women in different cultures and its effects is also considered by Hegel in his historical writings. The repression of women’s imagination in the medieval period and its consequences in ‘the ghastliness of witchcraft’, for example, is contrasted with the Bacchanalian festivities in which Greek women were able to give full expression to their imagination:
‘On the one hand witches, on the other maenads; in the one case the object of phantasy is a devilish grimace (Frazze), in the other a beautiful vine-bedecked God; in the one socialised satisfaction of envy, of the desire for revenge and hate, in the other nothing but purposeless pleasure often verging on raging madness; in the one progress from individual attacks of insanity to total and enduring derangement of the mind; in the other withdrawal into ordinary life; in the first case the age did not consider this displaced madness as an illness but a blasphemous outrage which could be atoned only with the funeral pyre, in the second the need of many female phantasies and temperaments was something holy, the outbreak of which gave (occasion for) holidays, something which was sanctioned by the state and thereby given the possibility of being innocuous (G. W. F. Hegel, “Fragments of Historical Studies”).’
Eston Susan , “Functionalism and Feminism in Hegel’s Political Thought“, 1984.
