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„Jak to dobrze, kiedy ma się koło siebie kawałek marynarki…”. Miłość projektowana w powieściach dla dziewcząt

100%
Pigoń A.
Filoteknos
|
2022
|
issue 12
257-270
EN
According to Małgorzata Wójcik-Dudek, „love takes the central place in the novels for girls. The reason for this fact is not only because of the emotional needs of young readers, but it is also the genetic consequence of the sub-genre”. The aim of the article is to examine the changes of the novels for girls which take place during three social and literary periods (middle-war, post-war period and contemporaneity) in terms of the way of presenting the main characters: especially the relations between male and female, which are being built by characters or – more often – which are being imposed on them; by the frames of genre, as well as by the readers’ expectations. The bestselling and canonical novels for girls have been analyzed (some of which are on the complementary reading list for primary schools): by Kornel Makuszyński, Krystyna Siesicka, Małgorzata Musierowicz or by Ewa Nowak. These are the classical novels, model for their sub-genre. Their main characters are easily recognizable, distinctive, sometimes they are the prototype of the type of character which is being developed later. The fact that the characters finding their way into the consciousness of an audience results in readers taking over the kind of a value system which is promoted in the novel. At the head of it there is a designed love – the model of a feeling, which is also associated with the heroines’ profiles and their attitude towards the world.
2

Honouring The Wound: War and Performance in the Lives of Hannah Snell, Deborah Sampson and Pauline Cushman

86%
Lock G. K.
Linguaculture
|
2011
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vol. 2011
|
issue 2
23-38
EN
This essay investigates three women’s cross-dressed service in the military. Hannah Snell (1723-92) served as a British marine and fought the French in India. Deborah Sampson Gannet (1760-1827) fought the British in the American Wars of Independence and Pauline Cushman (1833-1893) claimed to have disguised herself for the Union during the American Civil War. These three are, by no means, the only women to claim action and remuneration as male combatants (Jelinek 53-62),1 when the legal extent of women’s engagement was as unpaid camp followers. However, all three gave accounts of their military exploits to the public through biographies and solo performances on stage.
3
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Жіноче письмо, авторка, героїня в українському літературознавстві часів незалежності

86%
Zharkova R.
Przegląd Wschodnioeuropejski
|
2022
|
vol. 2
249-260
XX
The article is devoted to an analysis of women's writing in the literary theory and criticism of independent Ukraine. A general overview of the formation of feminist critique and gender approach in Ukrainian literary criticism is made based on the principles of American and French literary schools. Researchers’ concepts concerning the features of women’s writing, themes, stylistics and poetics of texts created by women are analyzed. The achievements of Ukrainian scholars in the study of women's literature, in particular, the works of modernist and postmodernist women authors, are shown. The leading research themes of the period of Independence are determined, namely: representation and reception of a woman author, features of a text written by a woman, types of heroines in modern Ukrainian women’s prose.
4
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Sex, drugs & gender w „Heroinie” Tomasza Piątka

86%
Nowicka M.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
|
2017
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issue 8 "Jak czytać (pop)literaturę?"
213-224
EN
Tomasz Piątek is a journalist and writer who debuted with an award-winning novel Heroine partly based on his own experiences. The article focuses on the language used in this novel to describe the effects of the titular addictive drug. Metaphors used in the novel present heroine as an androgynous, perfect lover. Linguistic methods used for the analysis of The Great Empress help to understand the ways drugs “seduce” addicts and the specifics of the relation between both drug, addict and others. In this article, I investigate whether the drug was gendered and sexualized, and thus I interpret the sexual context of the relation between the heroine and addicts.
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