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1

Językowe, muzyczne i psychologiczne oblicza kobiecości w Siostrze Angelice Giacomo Pucciniego

100%

Muszyńska-Andrejczyk A., Posłuszna J.

Conversatoria Linguistica

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2014

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issue 8

79-99

PL

The present paper discusses the linguistic, musical and psychological aspects of female characters in Giacomo Puccini’s Suor Angelica. The authors focus particularly on the central image of the opera, entitled Aunt Princess (La Zia Principessa). An interdisciplinary approach to the subject was possible thanks to the competences of authors on the field of literature, libretto and music as well as psychology and music theory.

2

Kurpiowskie Eleusis. O bohaterkach „Brzeziny” Jarosława Iwaszkiewicza

100%

Całbecki M.

Pamiętnik Literacki

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2017

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vol. 108

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issue 4

5-13

PL

Artykuł jest próbą interpretacji funkcji, jaką pełnią w opowiadaniu Jarosława Iwaszkiewcza dwie postaci kobiece. W najważniejszych omówieniach „Brzeziny” historycy literatury wskazują wyłącznie na pierwszoplanową rolę dwóch braci. Pozostające w tle – Malwina i Barbara – to pełnoprawne bohaterki dramatu, jaki rozgrywa się na terenie leśniczówki Bolesława. Tylko analizując ową złożoną relację, można głębiej odczytać tę prozę oraz zrozumieć, z jakich powodów utwór Iwaszkiewicza nosi tajemniczy tytuł „Brzezina”.

EN

The article is an attempt at interpreting the function played in Jarosław Iwaszkiewicz’s story by two female characters. In most important research in “Brzezina (The Birch Wood)” literary historians exclusively indicate the leading role of two brothers. Malwina and Barbara, two background figures, are, however, rightful heroines of the drama taking place in Boleslaw’s ranger’s station. Only when analysing such a complex relation can we deeper understand the prose and comprehend the reasons Iwaszkiewicz gave such a mysterious title to his piece.

3

Das Unbehagen ’reicher Mädchen’? Silke Scheuermanns "Reiche Mädchen" und" Die Stunde zwischen Hund und Wolf"

88%

Nogal G.

Przegląd Zachodni

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2019

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issue 4 (373)

33-46

EN

For some time, the concept ‘lifestyle’ has become the object of intensified scientific research. Starting from the 80s and 90s of the previous century, the research has placed emphasis on the deconstruction of the traditional class and gender role assignments in regard to individualistic and pluralist lifestyles and life situations. Considering the above ideas, attempt is made to trace and analyse these processes in literary forms. The question arises, whether and how these social changes are expressed in the literary narrative forms. This is specified on the example of a contemporary German writer Silke Scheuermann. As Scheuermann involves her female characters in the context of rich modern societies and thus aims at reality effects, her stories make it possible to follow the time spirit. It is to show, whether the post-modern worlds contribute to a new ‘orientation’ of the literary figures, i.e. whether their lifestyles and systems of values are the outcomes of an autonomous development or result from a variety of possibilities.

4

Of bees, birds, trees, and women: iconography, superstition and victimization of female characters in Yugoslav New Film

76%

Vuković V.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2020

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vol. 28

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issue 37

285-307

PL

This study investigates how the directors of two selected case study films criticise the real-life remnants of patriarchy in the family sphere, in nominally gender-equal Yugoslavia. I argue that they do this by transposing their stories from socialist Yugoslavia to the pre-socialist times: during Ottoman rule and monarchist Yugoslavia. The selected period films Breza/The Birch Tree (Ante Babaja, 1967, Yugoslavia) and Roj/The Beehive aka The Swarm (Miodrag ‘Mića’ Popović, 1966, Yugoslavia), both belonging to the Yugoslav novi film (New Film) movement (1961-1972), refract the workings of the vestiges of patriarchy in a family domain of Yugoslav socialist society. In these two costume dramas, patriarchy is portrayed to its fullest extent, due to their stories being set in the past, ostensibly unrelated to contemporary Yugoslav society and thus uninhibited by the drive to cater to the official discourse of female emancipation. Applying a critical film feminist perspective, by formal analysis via close readings of these two selected films, this article examines the iconography linked to fictional depictions of heroines and delves into the representation of victimisation of women. I investigate whether the depiction of the female sorceress(es) embody the primitiveness, ignorance, and/or poverty of economically disadvantaged and historically oppressed pre-socialist village. In order to peruse not only the individual portrayal of female protagonists but the dynamics of their interaction, the Bechdel test is applied and complemented with concepts such as the ‘reversed masquerade’ and ‘cryptomatriarchy’, which sheds light on the relationship between women and the presence or absence of female solidarity.

5

Superbohaterki w kinie przed powstaniem Marvel Cinematic Universe. Historia adaptacji kobiecych kostiumów superbohaterskich

75%

Srul K.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2021

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vol. 29

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issue 38

274-282

EN

The article focuses on changes within superhero comic book movie adaptations from 1941 (Adventures of Captain Marvel premiere) to 2008 (the creation of Marvel Cinematic Universe) in the aspect of designing female characters’ costumes. Author’s refelections are based on the article From the Top of the Cowl to the Tip of the Cape. The Cinematic Superhero Costume as Impossible by Dru H. Jeffries published in 2013 in „Cinephile: The Univesity of British Columbia’s Film Journal”. The author of the cited paper focuses on the topic of adapting male comic book characters’ costumes which is a starting point for the author of this article for in-depth analysis of this phenomenon including female superhero images.

6

Re-establishing Class Privilege: The Ideological Uses of Middle and Working-Class Female Characters in Downton Abbey

75%

Kevers L.

Anglica. An International Journal of English Studies

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2017

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issue 26/1

221-234

XX

This paper argues that the British period drama Downton Abbey, which aired between 2010 and 2015 and encountered worldwide success, uses working class and middle-class female characters to promote the aristocracy and conservative ideas, while hiding behind historical accuracy and seemingly progressive patterns of behaviour. Through a close reading of four female characters, I will demonstrate how the series’ author, Julian Fellowes, uses the show to endorse his own political agenda, as a Conservative member of the House of Lords in the British Parliament.

7

Wesele Stanisława Wyspiańskiego – między tym, co osobiste i zbiorowe

51%

Czabanowska-Wróbel A.

Polonistyka. Innowacje

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2022

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issue 16

103-114

EN

This article aims to encourage new interpretative readings of Stanisław Wyspiański’s play The Wedding. Special emphasis is put on accentuating the role of the wedding ritual as a rite of passage, highlighting the often underappreciated role of female characters inscribed into the cycle of life, death, and rebirth, and underscores the symbolism of the element of air and wind in the play. Finally, the article evokes personal and familial reminiscences of the reception of the play on the theatre stage.

PL

Artykuł stanowi zachętę do odczytywania na nowo Wesela Stanisława Wyspiańskiego. Zawarte w tym szkicu propozycje interpretacyjne akcentują zwłaszcza znaczenie obrzędu wesela jako rytuału przejścia w dramacie, nie dość docenianą rolę postaci kobiecych wpisanych w rytmy życia, śmierci i odradzającego się życia w utworze Wyspiańskiego oraz istotną w dramacie symbolikę powietrza i wiatru. Autorka przywołuje też osobiste i rodzinne wspomnienia związane z odbiorem dzieła Wyspiańskiego w teatrze.

8

Utrata i żałoba w prozie Michaiła Szyszkina

51%

Skotnicka A.

Ruch Literacki

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2022

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issue 1

115-133

EN

Representations of loss, grief and mourning are have a prominent place in Mikhail Shiskhin's fiction. They coexist with other parathanatological themes such as funerals and reflections on life after death. As funerals provide the proper opening of periods of mourning, the first part of the article deals with the characters’ reactions to the scenes of death and burial. It is followed, in the second part, by a close examination of the internal life of selected female characters who experience grief after the loss of a person they love. On the whole, Shiskhin's characters seem to be less preoccupied with the funeral as a social institution, but rather tend to experience bereavement in a way which is typical of a melancholic. Drawing on Jacques Derrida's conceptualization of mourning, the article demonstrates how Shishkin's female characters conceal mourning by the act of incorporating the dead into their own bodies and allowing them their voice. At the same time, the activity of letter writing enables them to hinder or even deny bereavement, and in this way, hold off the admission of a complete loss.

9

“Quiet and serene I saw you in my dream...”: The oneiric presence of phantom women in the poetry of Kazimierz Przerwa-Tetmajer and Bolesław Leśmian

51%

Kamińska L., Kamińska L.

Ruch Literacki

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2020

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issue 3

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2 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2 Ruch Literacki

1 Anglica. An International Journal of English Studies

1 Conversatoria Linguistica

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1 Polonistyka. Innowacje

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1 Całbecki M.

1 Czabanowska-Wróbel A.

1 Kamińska L.

1 Kevers L.

1 Muszyńska-Andrejczyk A.

1 Nogal G.

1 Posłuszna J.

1 Skotnicka A.

1 Srul K.

1 Vuković V.

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