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1
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"Lissa": An EthnoGraphic Experiment

100%
Ferens D.
Lublin Studies in Modern Languages and Literature
|
2020
|
vol. 44
|
issue 2
DE
Der Artikel enthält das Abstract ausschließlich in englischer Sprache.
EN
The paper analyzes a recent experiment in the collaborative production of ethnographic knowledge and the use of the graphic novel form as an alternative to the conventional academic monograph. Lissa: A Story about Medical Promise, Friendship, and Revolution (2017) is discussed here as a useful tool in the age of globalization for building recognition of the need to protect the lives of people other than our immediate kin, tribe, race, or nation. The paper argues that both the collaborative research behind the story and the formal experimentation stem from the authors’ sense of accountability to their informants. By telling a story about distant others who are given names and faces, Lissa’s authors encourage readers to develop empathy across borders.
FR
L'article contient uniquement le résumé en anglais.
2
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Narrating Chaos: Theresa Hak Kyung Cha’s "DICTEE" and Korean American Fragmentary Writings

100%
Ferens D.
Anglica Wratislaviensia
|
2019
|
issue 57
25-35
EN
In The Wounded Storyteller: Body, Illness, and Ethics, sociologist Arthur Frank uses narratology to typologize the stories people tell about illness. Next to teleological stories of survival, which “reassure the listener that however bad things look, a happy ending is possible”, Frank discusses “the chaos narrative” in which “events are told as the storyteller experiences life: without sequence or discernible causality” (97). While the storytellers discussed by Frank mostly suffer from physical ailments and traumas, I would argue that the chaotic mode of telling also characterizes texts that explore other kinds of traumas, including those related to displacement and shaming experienced by several generations of Koreans and Americans of Korean descent. Drawing on affect studies, I analyze Theresa Hak Kyung Cha’s DICTEE (1982) alongside two essays, by Grace M. Cho and Hosu Kim published in The Affective Turn: Theorizing the Social (2007), all of which use the collage form to challenge the expectation that “in life as in story, one event [leads] to another” (Frank 97). The speech act is foregrounded in all three texts; it is de-naturalized, deformed, shown as a recitation of prescribed language, and repeatedly interrupted. Nonetheless, as Frank suggests, “the physical act becomes the ethical act” because “to tell one’s life is to assume responsibility for that life.” It also allows others to “begin to speak through that story” (xx–xxi).
3
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Zwiedzanie cudzych kolonii. Wiedza i władza w afrykańskich powieściach Karola Maya

100%
Ferens D.
ER(R)GO: Teoria – Literatura – Kultura
|
2004
|
issue 8
EN
Dominika Ferens Visiting French and German Colonies: Knowledge and Power in Karl May's African Novels This paper considers the ambivalent role that the still popular German writer Karl May (1842-1912) played in the construction of the German colonial discourse. Although May opposed the colonial race and did not travel outside Europe until he was in his sixties, by writing adventure fiction set in exotic locales he colonized the world with his pen. An interesting connection between race, power, and knowledge becomes apparent when we analyze May's "African" novels. At a time when Germany was intent on annexing Namibia, Togo, and Cameroon, May's prota­gonist is interested only in British and French colonies. He ostensibly travels as an amateur ethnographer yet he already knows Africa better than do the locals. Quick to criticize colonial authorities, he nonetheless repeatedly finds himself in positions of power, authorized by people of color who value his European knowledge. To throw light on May's ambivalent texts, this essay reconstructs their historical context and compares May's flamboyant persona with those of his contemporaries: Sir Richard Burton, Isabelle Eberhardt, and Theodore Roosevelt.
PL
Dominika Ferens Visiting French and German Colonies: Knowledge and Power in Karl May's African Novels This paper considers the ambivalent role that the still popular German writer Karl May (1842-1912) played in the construction of the German colonial discourse. Although May opposed the colonial race and did not travel outside Europe until he was in his sixties, by writing adventure fiction set in exotic locales he colonized the world with his pen. An interesting connection between race, power, and knowledge becomes apparent when we analyze May's "African" novels. At a time when Germany was intent on annexing Namibia, Togo, and Cameroon, May's prota­gonist is interested only in British and French colonies. He ostensibly travels as an amateur ethnographer yet he already knows Africa better than do the locals. Quick to criticize colonial authorities, he nonetheless repeatedly finds himself in positions of power, authorized by people of color who value his European knowledge. To throw light on May's ambivalent texts, this essay reconstructs their historical context and compares May's flamboyant persona with those of his contemporaries: Sir Richard Burton, Isabelle Eberhardt, and Theodore Roosevelt.
4
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Marsz Równości: Wstęp

100%
Ferens D.
InterAlia: Pismo poświęcone studiom queer
|
2006
|
issue 1
7
PL
W tej części InterAliów publikujemy trzy teksty związane z ważnym dla polskich odmieńców wydarzeniem, jakim był poznański Marsz Równości (19.11.2005). Pierwszy z tych tekstów to relacja Błażeja Warkockiego, jednego z uczestników, pisana tuż po wyjściu z komisariatu, dokąd trafił razem z ponad sześćdziesięcioma uczestnikami marszu. Tekst drugi to analiza medialnych przekazów na temat Marszu autorstwa jednej z organizatorek, Izabeli Kowalczyk. Na końcu zamieszczamy notkę prasową z Gazety Wyborczej dotyczącą orzeczenia Trybunału Konstytucyjnego, według którego Marsz był zgodny z prawem, a ograniczanie prawa do manifestacji nielegalne.
EN
In this section of InterAlia we print three texts related to an important event for Polish queers: the Poznań Equality March of November 19, 2005. The first is a personal account by Błażej Warkocki, written right after he was released from jail along with some sixty other participants of the March.The second is an analysis of the media representations of the March written by one of the organizers, Izabela Kowalczyk. Finally, we include a short note from the national daily Gazeta Wyborcza about a ruling by the Polish Constitutional Tribunal, which declared that the March had been legal while the efforts to ban the March were illegal.
5
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Od redakcji/Editorial

63%
Mazur K., Ferens D.
InterAlia: Pismo poświęcone studiom queer
|
2010
|
issue 5
1
6
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Kabaret “Barbie Girls" - wprowadzenie

63%
Lizurej M., Ferens D.
InterAlia: Pismo poświęcone studiom queer
|
2010
|
issue 5
8
XX
A lesbian cabaret would be an extraordinary phenomenon anywhere; it is all the more so in Poland, where public expressions of the LGBT movement - let alone lesbian culture - are rare. Most male and female artists who might be included in the category of LGBT culture claim to be independent and avoid identifying with the movement. By contrast, Barbie Girls Cabaret overtly defines itself as lesbian. The group mainly jokes about lesbian lives, but it also performs skits on other queer folk. Established in 2005, the group initially appeared very seldom, but it has lately been performing more regularly at gay and lesbian clubs and LGBT culture festivals. Within the past year, it has also been spotlighted in the mainstream press and television. Poles love the cabaret - it is one of the most popular stage genres in our country. In addition to performing at a number of cabaret festivals and meets, groups tour the country with new programs. Significantly, the cabaret in Poland is male-dominated, with men frequently playing women's roles; women are a minority on the cabaret stage. Meanwhile, Barbie Girls is an all-women's group, though as yet an amateur one, and it is the women who play male roles. Allegedly, feminists have a poor sense of humor, and lesbians have none at all. Barbie Girls belies this stereotype. One of its numbers is a series of sketches titled "From the Diary of Maria Konopnicka".
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