Search results

1

Les pieces de George Sand dans les Théâtres de Varsovie au XIXe siecle

100%

Bochenek-Franczakowa R.

Acta Philologica

|

2016

|

issue 49

151-161

EN

The article discusses the stagings of George Sand’s plays at Government Theatres of Warsaw in the 19th century (“Mauprat,” “Le marquis de Villemer,” “Académie de l’art poétique,” “Le mariage de Victorine”). The play that achieved the greatest success was “Mauprat,” staged almost continuously at the Teatr Wielki from 1856 to 1878. The success was due to the tastes of the Warsaw audience, sensitive to the achievements of the Romantic theatre and attached to their stage “stars”: in the case of “Mauprat,” the beloved “star” was Jan Królikowski, who frequently appeared as John Mauprat during the 20-year staging period. The article presents the traits of “Mauprat”’s adaptation and translation by Jan Tomasz Seweryn Jasiński (based on the available theatrical copies of the play), as well as theatrical reviews appearing in the press at that time, concerned with all of Sand’s plays which were staged in Warsaw.

2

ГЕНДЕРНЫЕ МОДЕЛИ ИСПОВЕДАЛЬНОЙ СТРАТЕГИИ В ИСПОВЕДИ СЫНА ВЕКА А. ДЕ МЮССЕ И ИСПОВЕДИ МОЛОДОЙ ДЕВУШКИ ЖОРЖ САНД

100%

Попова А.

Conversatoria Litteraria

|

2020

|

vol. 14

|

issue XIV

99-108

PL

The article deals with the peculiar features of the confessional strategy in the novels La Confession d'un enfant du siècle (1836) by Alfred de Musset and La Confession d’une jeune fille (1864) by George Sand. The author analyses correlation between the universal and the gender marked principles in the authors’ style of the presentation of events. There have been revealed similarities at the level of the plot model (the story of a young man/woman growing up), the narrative organization (confession), the motives’ structure (orphanhood, self-identification, “sentimental education”), which have been determined by the influence of the genre tradition and the authors’ Romantic worldview. At the same time, the differences in the composition, the criteria for the selection of material, the degree of frankness and self-esteem show the dependence of the confessional text on gender.

3

Francuska twórczość teatralna Charles’a Edmonda

89%

Desurvire E.

Prace Polonistyczne

|

2015

|

vol. LXX

51-80

EN

We describe the French-theater works of Charles Edmond Chojecki and associated career. Through his legacy of nine pieces, we highlight his evolution in dramatic concepts, his occasional collaborations, his high successes and failures, what the critics had to say, and moreover, his prime relation with his first friend and advisor, George Sand.

4

Wokół recepcji Lukrecji Floriani George Sand – refleksje na marginesie polskiego wydania powieści

89%

Nadana-Sokołowska K.

Autobiografia. Literatura. Kultura. Media

|

2015

|

issue 2(5)

133–146

PL

Artykuł omawia posłowie do polskiego wydania Lukrecji Floriani (2009) – powieści George Sand z 1846 roku, opartej na motywach autobiograficznych (związku pisarki z Fryderykiem Chopinem). Książka ta spotykała się na ogół z bardzo nieżyczliwą oceną kolejnych biografów Chopina, do uznania jej za karykaturę i paszkwil włącznie. Artykuł ukazuje, że autor posłowia, Mieczysław Tomaszewski, także wpisuje się w mizoginiczną tradycję recepcji powieści, odmawiając pośrednio pisarce prawa do własnego punktu widzenia, a także sugerując, że poza ewentualnym znaczeniem dla biografistyki powieść pozbawiona jest wszelkich wartości literackich. Autorka zestawia wywód Tomaszewskiego z najnowszymi odczytaniami powieści przez krytykę feministyczną, kładącymi nacisk na niezwykłość jej wyemancypowanej bohaterki na tle dziewiętnastowiecznych wzorców kobiecości.

EN

The article discusses the afterword to the Polish edition of “Lucrezia Floriani” (2009) – George Sand’s 1846 novel, based on autobiographical motifs (the author’s relationship with Frederic Chopin), which was usually seen in a very unfavorable way by Chopin’s successive biographers, up to considering the novel an example of caricature and libel. The article shows that Mieczysław Tomaszewski, author of the afterword, joins this misogynous tradition of the novel’s reception as well, through denial of the writer’s right to her own view and suggestions that apart from its biographical meaning, the novel is devoid of any literary value. The article compares Tomaszewski’s afterword to the newest interpretations which emphasise the uncommonness of the novel’s in feminist criticism emancipated protagonist when juxtaposed with 19th-century models of femininity.

5

« Comme si nous étions à la contredanse » : chorégraphies utopiques chez Claire de Duras et George Sand

89%

Nunn T. A.

Quêtes littéraires

|

2021

|

issue 11

76-86

EN

During the first half of the 19th century, contradances, made up of displacements and interactions between all the dancers starting in different places, abolish the obligations imposed by a society divided into classes. In Édouard (1825), Claire de Duras compares the performance of contradances, during an ancien régime ball, to fleeing to England, where social ascension seems possible. George Sand, in Le Compagnon du Tour de France (1840), contrasts the possibility of romantic relationships across classes during contradances with the impossibility of these unions in everyday life. By establishing a non-place, these fictional dances create ephemeral moments during which equality and freedom reign; however, off the dance floor, social hierarchies remain rigid.

FR

Durant le premier XIXe siècle, la contredanse, constituée de déplacements et d’interactions entre tous les danseurs n’importe leur place de départ, abolit les contraintes d’une société divisée en classes. Dans Édouard (1825), Claire de Duras compare le moment des contredanses, pendant un bal parisien de l’Ancien Régime, à une échappée vers l’Angleterre, où l’ascension sociale semble réalisable. De plus, la danse crée un espace où l’héroïne peut franchir les barrières entravant les membres de son sexe et empêchant le mariage par amour. George Sand, dans Le Compagnon du Tour de France (1840), contraste la possibilité de l’amour entre des personnages de classes différentes lors des contredanses avec l’impossibilité de ces unions dans la vie quotidienne. En établissant un non-lieu, les contredanses de ces romans produisent des moments éphémères où l’égalité et la liberté règnent, pourtant, hors de la danse, les hiérarchies sociales demeurent rigides.

6

La nature et l’écriture chez George Sand : l’histoire d’un bonheur qui ne trahit jamais

89%

Rebai E.

e-Scripta Romanica

|

2021

|

vol. 9

55-62

EN

George Sand's originality stems from her desire not to be devastated by the afflictions and setbacks that cruelly crossed her life. Paradoxically, political disenchantment and sentimental disappointment made her a very optimistic and enthusiastic woman, in love with life and its harshest and most discreet joys. Sand never sought to deny the misfortunes that consumed her life, her heart and her mind. She accepted them while seeking to take advantage of them and sublimate them, always living in the hope of finding what rejoices her heart, revives her strength of love and renews her faith in the future. This quest for happiness, Sand carried it to the last breath: the secret of Sandian bliss lies both in writing and in nature.

FR

L'originalité de George Sand naît de cette volonté de ne pas être dévastée par les afflictions et les revers qui ont cruellement traversé sa vie. Paradoxalement, le désenchantement politique et la déception sentimentale ont fait d'elle une femme très optimiste et enthousiaste, amoureuse de la vie et de ses joies les plus âpres comme les plus discrètes. Sand n'a jamais cherché à nier les malheurs qui ont consumé sa vie, son coeur et son esprit. Elle les accepte tout en cherchant à en tirer profit et à les sublimer, vivant toujours dans l'espoir de trouver ce qui réjouit son coeur, ravive sa force d'amour et renouvelle sa foi en l'avenir. Cette quête du bonheur, Sand l'a portée jusqu'au dernier souffle : le secret de la béatitude sandienne réside à la fois dans l'écriture et dans la nature.

7

« Faut-il nécessairement que la beauté s’ignore pour ne rien perdre de son éclat ? » : le goût et la grâce dans Le Piccinino de George Sand

75%

Tonnerre O.

Orbis Linguarum

|

2018

|

issue 50

361-371

EN

« Faut-il nécessairement que la beauté s’ignore pour ne rien perdre de son éclat ? » : Good Taste and Grace in George Sand’s Le Piccinino In Histoire de ma vie, George Sand claims that the main reason she wrote Le Piccinino (1847) was so that she could present her views on the nobility in three central chapters. While using the discourse of the nobility on itself, in particular when it comes to the relationship between heredity and aristocratic memory, she also subverts this discourse by democratizing the relationship between memory and lineage. The rest of the novel offers many representations of noblewomen and noblemen, who all seem to share a specific trait: good taste and grace of manners, whose degree seems to accurately represent their position in society. This essay will explore these two facets of the nobility and the way in which they conspire to display an aura of natural superiority, while simultaneously being undermined by Sand’s very personal opinion, as she strives to dispel this long-lasting illusion.

8

ТРИ ЖЕНСКИХ ВОЗРАСТА В "ИСТОРИИ МОЕЙ ЖИЗНИ" ЖОРЖ САНД

75%

Попова А.

Conversatoria Litteraria

|

2017

|

vol. 11

|

issue XI

357-373

RU

The article focuses on how the category of age is interpreted in George Sand’s The History of my Life, how general and gender aspects are related in every phase of age triad “childhood – youth – old age” and author’s personal experience of maturation coincides with diachronic paradigm “daughter – mother – grandmother”. This corre-spondence helps the writer to investigate her own personal evolution ad absurdum. Synchronic and diachronic narrative levels stipulate George Sand’s interpretation of the conventional opposition “youth – old age” through two pairs of concepts: “youth – maturation” and “childhood – old age”.

9

Alegoria i namiętności. Kartka z dziejów krytyki literackiej w XIX wieku

71%

Rudkowska M.

Prace Filologiczne. Literaturoznawstwo

|

2016

|

issue 6(9)

145-156

EN

The starting point for the present essay is the controversy that arose in the 1840s between Edward Dembowski and Józef Ignacy Kraszewski. It pertained to the poetics of George Sand’s Les sept cordes de la Lyre, published in 1839 in the Parisian Revue des Deux Mondes magazine. The argument between the two Polish critics can be summarised in one question, frequently formulated straightforwardly in the contemporary critical writing of the epoch: what is the point of using allegory in the 19th century? What is more, in his article, Dembowski juxtaposed allegory and “fantasy”, essentially associated with the matter of subjectivity of a literary text, which topic was undertaken by Kraszewski. This essay aims to re-construct the Polish and French contexts, allowing us to understand both ends of the spectrum we use to evaluate the allegories in a literary work. The question about the point of using allegory by 19th-century writers is asked anew to extract from the modern historical-literary perspective themes important for understanding the 19th-century literary worldview, in which the tension between the conventionality and emotionality of the literary communication act is revealed.

10

It all began with George Sand. Novelistic portraits of Fryderyk Chopin and his music in foreign literature. A survey

63%

Maciąg K.

Interdisciplinary Studies in Musicology

|

2010

|

issue 9

251-264

PL

The literary works discussed in this article exploit the motif of Fryderyk Chopin and his oeuvre in a variety of ways. The earliest novel is Lucrezia Floriani (1846), penned by the French writer George Sand, Chopin’s companion. The creation of Prince Karol (Chopin’s name in the novel), as if “detached” from the Polish composer’s biography, is an interesting, although none too original (even within the context of Sand’s oeuvre) example of the Romantic hero. Popular output, aimed at a readership seeking above all scandal and emotion, is represented by the German writer Hermann Richter’s novel Drei Frauen um Chopin (1935) and the contemporary thriller of collective authorship The Chopin Manuscript (2008). In these works, the composer is a tool designed to give readers the illusion of becoming acquainted with his biography or to interest sensation-seekers. Artistically the most interesting novel is Preludes, by the Danish writer Peer Hultberg (1989). Besides its original artistic form, the author is the only one to deal with musical material, attempting to present in prose that which ought to form the heart of every work about the brilliant musician, but which was achieved only by Cyprian Norwid in Fortepian Szopena [Chopin’s piano].

Refine search results

2 Conversatoria Litteraria

1 Acta Philologica

1 Autobiografia. Literatura. Kultura. Media

1 Interdisciplinary Studies in Musicology

1 Orbis Linguarum

1 Prace Filologiczne. Literaturoznawstwo

1 Prace Polonistyczne

1 Quêtes littéraires

1 e-Scripta Romanica

2 2021

1 2020

1 2018

1 2017

2 2016

2 2015

1 2010

2 Попова А.

1 Bochenek-Franczakowa R.

1 Desurvire E.

1 Maciąg K.

1 Nadana-Sokołowska K.

1 Nunn T. A.

1 Rebai E.

1 Rudkowska M.

1 Tonnerre O.