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1

Wpływ egzemplów barokowych na wyobraźnię twórczą Anny Mostowskiej na przykładzie powieści Zamek Koniecpolskich oraz Matylda i Daniło

100%
Vincůrková D.
Meluzyna. Dawna Literatura i Kultura
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2015
|
vol. 1(2)
59-72
XX
The article compares the novels Zamek Koniecpolskich and Matylda i Daniło by Anna Mostowska (ca. 1762– before 1833) with the Baroque Jesuit exempla collected in Historie dziwne i straszliwe. The Jesuit stories from early XVIII century were edited by Mariusz Kazańczuk. The novels by the Vilnius writer and the Baroque exempla share similarities in presenting the fictional world: the scenery of the events and the characters. The ghosts in Mostowska’s stories have the features of the so called ‘returning ghosts’ who come down to the world to ask the living for the prayers. These phantoms appear in the Jesuit texts as well as in Zamek Koniecpolskich and Matylda i Daniło. The ghosts of Władysław and Edgwarda are related to the teachings of the Catholic Church (intensified after the Council of Trent) regarding the purgatory and the penance. Mostowska’s sources of inspirations were diverse. She was inspired with the Western Gothic stories (e.g. The Monk by Matthew Gregory Lewis, The Castle of Otranto by Horace Walpole and The Italian by Ann Radcliffe) as well as religious didactics.
2
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Anna Mostowska – preromantyczna protofeministka

100%
Hanuszewicz Z.
Czasopismo Naukowe Instytutu Studiów Kobiecych
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2022
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issue 2(13)
103-115
EN
Anna Mostowska is part of the group of lesser-known, even forgotten, Polish women writers, whose works were written during the first decade of the 19th century. Her biography deserves widespread attention and to be recalled, as she was a pre-romantic protofeminist far ahead of her time. She was a nonconformist, an independent woman, who in 1804, after divorcing her second husband, Tadeusz Mostowski, decided to become financially independent and start writing. In her time, she was one of the very few women scholars and writers, that was also a frequent guest in artistic circles. Moreover, she did not fulfill the cultural and social roles assigned to women of that time, as she was an erudite, patron of the arts, painter, writer and translator.
PL
Anna Mostowska należy do grona mniej znanych, wręcz zapomnianych polskich pisarek, której twórczość powstawała w pierwszej dekadzie XIX w. Jej biografia zasługuje na przypomnienie i rozpowszechnienie – jako preromantycznej protofeministki, znacznie wyprzedzającej czasy, w których żyła. Była nonkonformistką, kobietą niezależną, która w 1804 r. po rozwodzie z drugim mężem, Tadeuszem Mostowskim, postanowiła usamodzielnić się finansowo i zaczęła parać się pisaniem. W swoich czasach była jedną z nielicznych kobiet uczonych, literatek, bywalczyń w artystycznych sferach. Ponadto nie pełniła ról kulturowo-społecznych przypisanych ówczesnym kobietom – była sawantką, mecenasem sztuki, malarką, pisarką oraz tłumaczką.
3

Pozostałości kultury oralnej w powieściach Zamek Koniecpolskich oraz Matylda i Daniło Anny Mostowskiej

84%
Vincůrková D.
Meluzyna. Dawna Literatura i Kultura
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2015
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vol. 2(3)
79-93
EN
This paper presents the oral residuum in the gothic novels “The Koniecpolskis’ castle” (Zamek Koniecpolskich) and “Matylda and Daniło” by Anna Mostowska. The analysis of both texts has revealed in the narration features such as asides reminding of the narrator’s presence or interruptions of the plot explained by exhaustion of characters. “The Koniecpolskis’ castle” and “Matylda and Daniło” display the nested story structure while also keeping resemblance to the gawęda Polish epic literary genre. The remain of the oral culture is the parallelism of the plots of both novels. The types of characters present in the texts (‘flat’ characters, usually equipped with one main characteristic, also the wandering characters, whose internal metamorphosis happens during journey) are characteristic for oral stories. The pre-modern approach to the theory of the past assumed that it is Fortune who controls a human’s fate, and Mostowska’s work reflects that belief. The protagonists of the two novels usually stay true to the ruling of Fate and those who do not, face punishment. The characters’ lack of the ability to self-analyse (the case of the transformation of Bohdan Koniecpolski) and some logical inconsistencies (e.g. in the construction of the character of Władysław) present in the novels may suggest that the author has not yet fully interiorised writing.
4

Sposoby widzenia. Optyka w służbie oświeceniowego racjonalisty

67%
Kowalewska D.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2014
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issue 20
29-40
EN
“Seeing is to some extent an art to be learned” (William Herschel). Thanks to the new optical tools human perceptual capabilities greatly increased. Cognitive standards have also changed. “The magical glasses” began to modify the image of reality, so the science could deal with objects that had never seen before. The use of a telescope to study celestial bodies caused that universe gained an extra dimension that had to be tamed and explained. My text refers to the impact that the development of optics has on perception of the world in the Age of Lights. I try to show when and how optical devices, assisting the reason in explaining and rationalizing supernatural phenomena, allowed people in the Enlightenment – in literal and figurative sense – to see through, eventually becoming an attribute of the rationalist from this period. The analysis is focused on selected literary and “utility” texts (Jan Bohomolec ’s "Diabeł w swojej postaci"), in which popular instruments (the microscope) and optical phenomena (such as an optical illusion) in the eighteenth century appear.
5

Tradycja egzemplów w powieści „Matylda i Daniło” Anny Mostowskiej

60%
Vincůrková D.
Pamiętnik Literacki
|
2020
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vol. 111
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issue 1
185-197
PL
W artykule analizowana jest tradycja egzemplów w powieści „Matylda i Daniło” Anny Mostowskiej (1806). W tym celu przywołano narracje pochodzące z dwóch zbiorów: „Wielkiego zwierciadła przykładów” Joannesa Majora (tłumaczenie polskie: Szymon Wysocki, 1612) oraz „Historyj świeżych i niezwyczajnych” Michała Jurkowskiego (1. połowa XVIII wieku). Ukazano „długie trwanie” pewnych schematów fabularnych oraz motywów (motyw ducha-pokutnika, stosunek do życia zakonnego, ukazanie cierpień duszy czyśćcowej czy problem odkupienia grzechów i zbawienia jednostki), obecnych tak w kaznodziejskich przykładach, jak i w analizowanej powieści. Wzorce zachodnioeuropejskiej powieści grozy zmodyfikowane zostały w utworze poprzez konwencje tekstów użytkowych – egzemplów.
EN
The paper analyses the tradition of exempla in Anna Mostowska’s novel Matylda i Daniło (Matylda and Danilo) (1809). To effectuate this task, it recalls the narrations from two collections, namely Joannes Major’s “Wielkie zwierciadło przykładów” (“Great Mirror of Examples)” (Polish translation by Szymon Wysocki from the year 1612) and Michał Jurkowski’s “Historyje świeże i niezwyczajne” (“Fresh and Unusual Stories)” (the first part of the 18th c.). The article reveals the ‘long-lasting’ of certain fictional schemes and motifs (a penitent ghost, attitude to monastic life, suffering of a purgatory soul, or the redemption of sins and salvation of an individual) present both in the preacher’s examples and in the novel in question. The patterns of Western European horror novel are in Mostowska’s piece modified through the conventions of applied texts—exempla.
6
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„Moje siostrzyce po piórze”. Jane Austen wobec poprzedniczek

48%
Magnone L.
Przegląd Humanistyczny
|
2019
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vol. 63(2 (465))
11-23
PL
The paper, starting from the analysis of Northanger Abbey, suggests reflection on the attitude of Jane Austen to her predecessors, Ann Radcliffe, Fanny Burney and Maria Edgeworth etc., but also the other both fertile and popular authors of the end of 18th and the beginning of 19th century. Using the research of Dale Spender and Brian Corman, the author presents the novelist as a conscious heiress of a significant, though successfully marginalised in the Victorian period and overlooked even today, female literary tradition. Taken from Linda Hutcheon, the definition of parody allows to compare in the end Northanger Abbey to Strach w Zameczku of the first Polish novelist, who referred in a very similar way to her foreign predecessors, Anna Mostowska.
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