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Anatomia lektury

100%
Banot A. E.
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2014
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vol. 12
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issue (2)23
337-342
PL
[Review: Krystyna Kłosińska, Feministyczna krytyka literacka, Katowice 2010, Wydawnictwo Uniwersytetu Śląskiego, pp 712.]
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Women and Intertextuality: On the Example of Margaret Atwood’s The Penelopiad

88%
Lisowska K., University of Wrocław, Katarzyna Lisowska is a Ph.D. student in the Institute of Polish Philology at the University of Wrocław. The subjects of her interest are Gender Studies e. s. c. a. M. s. S.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2014
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vol. 2
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issue 1
EN
The aim of the study is to consider feminist retellings of myths and legends. As an example, Margaret Atwood’s book The Penelopiad is analyzed. The interpretation is situated in a broader context of intertextual practices characteristic of the feminist vision of literature. I present the ideas which Atwood shares with authors engaged in women’s movement. Among these there is Atwood’s understanding of intertextuality (noticeable especially in The Penelopiad). Bibliographical basis of the study comprises books which are fundamental to feminist and gender criticism (e.g. Poetics of Gender, ed. by N. Miller, New York 1986; S. M. Gilbert, S. Gubar The Madwoman in the Attic. The Woman Writer and the Nineteenth- Century Literary Imagination, New Haven and London 1984). What is more, the study refers to the books which allow considering the notion of intertextuality (G. Allen, Intertextuality, London and New York 2010, J. Clayton. E. Rothstein (eds.), Influence and Intertextuality in Literary History, Wisconsin 1991) and connecting the interpretation with the problems crucial to contemporary literary studies (L. Hutcheon L. A Poetics of Postmodernism. History, Theory, Fiction, New York and London 1988, B. Johnson, A World of Difference, Baltimore and London 1989).
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Women and Intertextuality: On the Example of Margaret Atwood’s The Penelopiad

88%
Lisowska K.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2014
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vol. 2
|
issue 1
18-27
EN
The aim of the study is to consider feminist retellings of myths and legends. As an example, Margaret Atwood’s book The Penelopiad is analyzed. The interpretation is situated in a broader context of intertextual practices characteristic of the feminist vision of literature. I present the ideas which Atwood shares with authors engaged in women’s movement. Among these there is Atwood’s understanding of intertextuality (noticeable especially in The Penelopiad). Bibliographical basis of the study comprises books which are fundamental to feminist and gender criticism (e.g. Poetics of Gender, ed. by N. Miller, New York 1986; S. M. Gilbert, S. Gubar The Madwoman in the Attic. The Woman Writer and the Nineteenth- Century Literary Imagination, New Haven and London 1984). What is more, the study refers to the books which allow considering the notion of intertextuality (G. Allen, Intertextuality, London and New York 2010, J. Clayton. E. Rothstein (eds.), Influence and Intertextuality in Literary History, Wisconsin 1991) and connecting the interpretation with the problems crucial to contemporary literary studies (L. Hutcheon L. A Poetics of Postmodernism. History, Theory, Fiction, New York and London 1988, B. Johnson, A World of Difference, Baltimore and London 1989).
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Diverse Voices: Czech Women’s Writing in the Post-Communist Era

75%
Sokol E.
ARGUMENT: Biannual Philosophical Journal
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2012
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vol. 2
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issue 1
37-57
EN
Różne głosy: Pisarstwo Czeszek w okresie postkomunistycznym. This essay offers an overview of the diversity of women’s prose writing that emerged on the Czech cultural scene in the post-communist era. To that end it briefly characterizes the work of eight Czech women authors who were born within the first two decades after World War II and began to create during the post-1968 era of ‘normalization’. In this broad sense they belong to a single generation. With rare exception their work was not officially published in their homeland until the 1990s. The writers included are: Lenka Procházková, Tereza Boučková, Alexandra Berková, Zuzana Brabcová, Daniela Hodrová, Sylvie Richterová, Iva Pekárková, and Eva Hauserová. The overview is followed by a concise comparative analysis of texts by three very different writers (Procházková, Pekárková, and Hodrová), using a feminist critical approach. There is also an appendix of works by these writers available in English translation.
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W jaki sposób metafory wyrażają literaturoznawczy światopogląd? Analiza wybranych tekstów teoretyczno i krytycznoliterackich

75%
Lisowska K.
Prace Literackie
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2018
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vol. 58
349-367
EN
In the article, Katarzyna Lisowska analyzes selected literary studies metaphors (Edward Balcerzan’s term) in order to discuss the way in which they represent the academic worldview of the author. The paper focuses on the phrases from the semantic field of corporeality and/or eroticism and their presence in four influential methodologies: structuralism, post-structuralism (as well as the perspectives related to it: deconstruction and deconstructionism), feminist criticism and gender studies discourse. The analyses reveal a significant role of metaphors in expressing and formulating the assumptions of a given methodology, as well as some paradoxes which result from the application of the presented phrases.
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Il perturbante come strategia sovversiva: realismo magico ed elementi fantastici nei Racconti sardi di Grazia Deledda

63%
Gorgojo-Iglesias R.
Italica Wratislaviensia
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2024
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issue 15.1
85-104
IT
Questo studio nasce dalla constatazione dell’assenza di Grazia Deledda sia dai curricula delle università spagnole sia dal mercato editoriale della Spagna. Tale oblio è stato subìto da altre autrici di varie nazionalità a lei contemporanee e ha una doppia origine: il loro genere e il genere letterario che esplorano. La produzione di studi accademici che analizzano l’opera di Grazia Deledda contribuirà al suo concreto inserimento in specifiche sezioni del programma di studi, oltre a fornire una base per la promozione e la diffusione della sua opera sul piano editoriale. Con questo obiettivo, il presente studio si propone di offrire una nuova lettura dei Racconti sardi (1894) di Grazia Deledda attraverso un’analisi critica della sua architettura, tra realismo magico e genere fantastico, all’interno di quella che potrebbe anche essere definita l’estetica del limite (Tomassini, 1992). Il fantastico o perturbante e il realismo magico tentano di rielaborare la storia dell’alterità in contrapposizione alle storie normative e legittimate, proponendo un mondo a misura dell’esperienza dell’altro che rifiuta la verità ufficiale, nel caso del realismo magico, o sottolineando i difetti della concezione univoca della realtà, nel caso del fantastico. Si tratta di narrazioni che, in un secondo livello di lettura, possono presentare un potenziale messaggio sovversivo che passa inosservato grazie ai meccanismi dei generi del non reale, meccanismi che permettono un allontanamento del lettore, una riformulazione del patto di finzione e, quindi, molteplici livelli di lettura che, in sostanza, fanno di Deledda un’autrice classica, meritevole di continue riletture, la cui narrazione parte dal locale per diventare universale.
EN
This paper discusses the absence of Grazia Deledda both in Spanish university curricula and on the Spanish publishing market, an oblivion shared by other female authors of her time. This exclusion has a dual cause: the writers’ gender and the literary genre they cultivated. In this study, I offer a new reading of Deledda’s Racconti sardi (1894) through a critical analysis of its architectural elements, resonating with magic realism and the fantastic genre. These elements fit within the aesthetics of the liminal (Tomassini, 1992), which seeks to reinterpret the history of otherness as opposed to normative and legitimised histories. While magic realism proposes a world tailored to the experience of the other, which belies the official truth, the fantastic highlights the flaws of the uniform conception of reality. Such narratives may convey a subversive, albeit often overlooked, message as the mechanisms of the genres of the non-real promote readers’ estrangement, a revision of the contract of fiction and, therefore, multiple levels of reading. These accomplishments make Deledda a classic author whose narrative production, which starts from the local to become universal, is worth continual re-reading.
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Activist Discourse and the Origins of Feminist Shakespeare Studies

63%
Nerio M.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2023
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vol. 27
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issue 42
143-160
EN
This essay reconsiders interpretations of Shakespeare by Irish writer Anna Murphy Jameson and the American Transcendentalist Margaret Fuller. Developing an informal method in which the voice of the female critic rallies in defence of Shakespeare’s heroines, they intervene in a male-dominated intellectual sphere to model alternative forms of women’s learning that take root outside of formalized institutional channels. Jameson, in Shakespeare’s Heroines, invokes the language of authentic Romantic selfhood and artistic freedom, recovering Shakespeare’s female characters from earlier critical aspersion as figures of exceptional female eloquence and resilience; she adopts a conversational critical voice to involve her female readers in the interpretative process itself. Fuller, in Woman in Nineteenth Century, speaks authoritatively as a kind of female prophet to argue that women’s creative reinterpretations of Shakespeare point the way to a revitalization of a sterile literary critical field. Both writers call for the reform of women’s education through revisionist interpretations of history attuned to the representation of female exceptionalism. In embryonic form, these nineteenth century feminist writings formulate a persistent strain of socially engaged, activist feminist criticism of Shakespeare.
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Emigracja i twórczość emigracyjna Polek – od ewolucji społecznych do literackich

63%
Kronenberg A.
Civitas Hominibus. Rocznik filozoficzno-społeczny
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2015
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vol. 10
157-167
EN
The aim of this article is to present the phenomenon of Polish women's emigration after 2004, based on their rich literary output (40 novels and 30 diary excerpts published in 3 anthologies). Therefore, the author employs a research perspective known as the sociology of literature. Women's emigration is a phenomenon that permanently changes societies: both in Poland and in their new homelands. This process is also reflected in the literary works of emigrant women: literature written by women has been enriched with new types of heroines, new threads, themes, and motifs. This serves as an example of how social evolutions (such as emigration) also transform cultural products and, ultimately, societies (e.g., by proposing new attitudes for women, in this case, feminist ones).
PL
Celem artykułu jest prezentacja zjawiska emigracji Polek po roku 2004 na podstawie ich bogatej twórczości literackiej (40 powieści i 30 fragmentów dzienników opublikowanych w 3 antologiach). Dlatego autorka korzysta z perspektywy badawczej określanej terminem socjologii literatury. Emigracje kobiet to zjawisko, które trwale zmienia społeczeństwa: zarówno Polski, jak i nowej ojczyzny. Ten proces znalazł odbicie także w twórczości literackiej emigrantek: literatura pisana przez kobiety została wzbogacona o nowe typy bohaterek, nowe wątki, tematy, motywy. Jest to przykład na to, jak ewolucje społeczne (np. emigracja) zmieniają także wytwory kulturowe, a docelowo – także społeczeństwa (np. proponując nowe postawy kobiet, w tym przypadku feministyczne).
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