This essay re-examines the subversive potential of Vera Chytilová's film Daisies and elaborates on its possibilities for exploring (feminine) existence as difference in relation to work, (re)production, and consumption. Drawing on the work of Luce Irigaray and critical fem(me)ninity studies, it theorizes fem(me)nine existence as multiple and ambiguous, and explores its possible materialization through a poetic “re-representation” of the film. Through the ambiguous becoming of the film's protagonists, the Maries, the tension between the “undoing” patriarchal of orders of exchange and their tenacity is discussed in relation to the emergence of non-patriarchal forms of organizing. The essay contributes to organizational research on difference by introducing a critical fem(me)nine lens and by directing attention towards the struggle between existing only for and through an Other – and not existing at all. This allows for an examination of the disruptive potential of difference while further accounting for possible tensions with regards to its materialization. It is argued that fem(me) theorizations of film can be useful for exploring such matters differently as they open up ways to playfully and creative accentuate ambiguity and multiplicity rather than reducing “it” to sameness.

中文翻译：

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变坏的女孩：奇蒂洛娃《雏菊》中关于“存在”的文章

本文重新审视了维拉·奇蒂洛娃 (Vera Chytilová) 的电影《雏菊》(Daisies)的颠覆性潜力，并阐述了它探索（女性）存在作为与工作、（再）生产和消费相关的差异的可能性。借鉴 Luce Irigaray 和批判性fem(me)ninity 的作品研究中，它将 fem(me)nine 的存在理论化为多重和模棱两可的，并通过电影的诗意“再现”探索其可能的物化。通过电影主人公玛丽亚的模棱两可的转变，讨论了交换秩序的“破坏性”父权制与其顽固性之间的紧张关系，以及非父权制组织形式的出现。这篇文章通过引入一个批判性的女性（我）九个镜头，并通过将注意力集中在仅存在于和通过他人而存在与根本不存在之间的斗争，对差异的组织研究做出了贡献。这允许检查差异的破坏性潜力，同时进一步考虑在其具体化方面可能存在的紧张局势。不同的是他们开拓的方式来开玩笑创意突出的模糊性和多样性，而不是减少了“它”来千篇一律。