DOCSLIB.ORG

Adam Mickiewicz in Russia 1824-1829

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adam Mickiewicz in Russia 1824-1829 The Romantic Other : Adam Mickiewicz in Russia 1824-1829 Maria Magdalena Dzieduszycka Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Science COLUMBIA UNIVERSITY 2013 © 2012 Maria Magdalena Dzieduszycka All Rights Reserved ABSTRACT The Romantic Other: Adam Mickiewicz in Russia 1824-1829 Maria Magdalena Dzieduszycka This dissertation examines the role of Polish poet Adam Mickiewicz as the Romantic Other in the formation of Russia’s Romantic identity during his Russian sojourn between 1824 and 1829. Analysis of Mickiewicz’s image as the poetic Other, with respect to his Russian contemporaries, reveals the process that led to the establishment of their individual and national identities during the transition from Classicism to Romanticism in the second half of the 1820s. Examination of materials gathered from a variety of sources – poetry dedicated to, and inspired by, Mickiewicz, reviews of his work, correspondence and memoirs – demonstrates how contemporary Russians perceived Mickiewicz: a Polish poet, all at once a representative of Western literature and culture, a Lithuanian bard, a Slavic Byron, and a poet who was also close to Russia’s cultural and poetic tradition. Special consideration is also given to Mickiewicz as the Other in Pushkin’s poetic paradigm “bard vs. prophet”, through which the Russian poet expressed and interpreted his own poetic identity in the context of Western and Russian literature. Such a multi- dimensional image of Mickiewicz reflects the Russians’ struggle to establish their own Romantic identity in response to Western literary and cultural models, as well as one that would reflect Russia’s own history and tradition. By examining Mickiewicz’s so far unexplored position as the Romantic Other, this dissertation provides a new perspective on the significant role that the Polish poet and his work played in the critical period of Russia’s transition towards its own Romantic literature. Table of Contents Acknowledgment ii Dedication iv Introduction 1 I. Mickiewicz and the Polish Battle between the Classicists and the Romantics. 13 II. The Transition from Classicism to Romanticism in Russian Literature. 66 III. From the Naïve vs. Sentimental to the Romantic Dialogue: Mickiewicz as 110 Pushkin’s Poetic Other. IV. Between the Classical and the Romantic. 146 Part 1. Mickiewicz’s Evolution from Rebellious Classicist to Romantic 146 National Poet. Part 2. The Classical vs. Romantic Other: Perceptions of Mickiewicz in Russia. 175 V. A Lithuanian Bard and a European Poet: Mickiewicz’s Polishness as 210 the Mirror of Russian Identity. VI. Afterward. Mickiewicz in the Zinaida Volkonsky Salon. 257 Bibliography 271 i Acknowledgments Writing this dissertation has been a long journey, which I could never have completed without the support of several people, to whom I would like to express my deepest appreciation. I owe a depth of gratitude to my dissertation sponsor Professor Boris Gasparov, for his unwavering support and interest in my thesis, for so generously sharing his knowledge and stimulating ideas that continued to inspire me on my journey, and for his patient intellectual guidance over the years. I am particularly thankful to Dr. Anna Frajlich for directing my scholarly interest towards “Mickiewicz in Russia” and for always being available with her valuable suggestions and comments throughout the long process of research and writing. I would also like to thank Dr. Frajlich and her husband Wladyslaw Zajac for their friendship, as well as support and encouragement. I am also especially grateful to Professor Cathy Thimer-Nepomnyashchy, for her generous support and interest in my dissertation, for her insightful comments and probing questions that greatly helped to clarify my ideas, as well as for her editorial input. I thank Maura Pollard for her invaluable help with editing my dissertation, for her friendship and support. I would also like to thank Jacek Grocholski for his assistance in ii editing the final draft of the manuscript. I owe special thanks to my friend Elizabeth Kossakowska whose daily support and encouragement allowed me to complete this project. Finally, I would like to thank my family, my mother, my sisters and brothers-in- law, and my dear friends in America, Poland and Europe, for their unstinting love, support and encouragement. iii Dedication In memory of Professor Robert A. Maguire iv 1 Introduction The representatives of emerging Romantic movements all over Europe faced a formidable challenge: to define themselves, and by doing so, to formulate their literary and artistic aspirations. This task of Romantic self-identification was perhaps nowhere more difficult than in Russia. In Western Europe, particularly in Germany and in England, the transition from Classicism, to the Sturm und Drang movement and concurrently Sentimentalism in England, to Neoclassicism, and finally to the Romantic movement proper, progressed gradually over 100 years. Thus, the young German and English Romantics who appeared on the literary scene at the end of the eighteenth century represented an entirely new generation of writers: rebels against, but at the same time, the heirs of, the preceding traditions. In Russia, due to historical and cultural circumstances, the same process took place over the first 25-30 years of the nineteenth century, with opposing trends existing and co-existing not only within one generation of writers, but often within one author’s work. During the period of such an intense cultural “growth spurt,” a paramount task for Russian writers was the establishment of their individual and, equally important, national literary identity. The Romantic movement in Russia, like the Classical, Sentimental and Neoclassical movements before it, followed existing Western literary models; within this context writers attempted to define the national character (narodnost’) of Russian literature. The Russian Romantics shared the key Romantic sensibility with their Western counterparts: an antinomy of the Self vs. the Other as a way of determining one’s own poetic identity. I will argue that the Russians found such an Other in the Polish Romantic poet, Adam Mickiewicz (1798-1855) who, as Pushkin poetically described him, “lived among us/Amidst a tribe foreign to him,” (“Он 2 между нами жил/Средь племени ему чужого”) between 1824-1829. Therefore examining the image of Mickiewicz as a Romantic poet in the eyes of his Russian contemporaries demonstrates the process by which they established their own Romantic identity. The Russian strategy of establishing Romantic identity in relation to the Other followed earlier Western, particularly German models formed during the early Romantic period (die Frühromantiker). Known as “Jena Romanticism” (or “the Jena school”), early German Romanticism developed in the city where some members of this movement lived, lectured and studied at the local university at the turn of the nineteenth century. The philosophical foundations that defined the relationship between the Romantic self and the Other were set forth in Jena. Briefly examining the aesthetic theories of the leading figure of the Jena School, Friedrich Schlegel (1772- 1829), facilitates our understanding of the development of the Russian Romantic identity in relation to Adam Mickiewicz. The influential Jena circle of friends and collaborators led by Friedrich and his brother Wilhelm (1767-1845) also included such formative figures of German Romanticism as the poet Novalis (Friedrich von Hardenberg 1772-1801), the philosopher Friedrich Schelling (1775-1854), the poet and novelist Ludwig Tieck (1773-1853) and the theologian Friedrich Schleiermacher (1768-1834). The circle gathered around the brothers Schlegel consisted of young, brilliant, very different but, “sympathetically minded individuals…whose mutually supportive considerations of philosophy, literature, and science became enmeshed in the tangle of their personal and professional 3 relationships.”1 The life experiences they shared with one another affected their work, but then, “they composed Romantic poetry and became the passionate, ironic and adventuresome individuals their verse described – thus did life imitate art.”2 This phenomenon of modern literature, which Friedrich Schlegel described as romantische Poesie, came into being through the process he called sympoetize and symphilosophize: Perhaps there would be a birth of a whole new era of the sciences and arts if symphilosophy and sympoetry became so universal and heartfelt that it would no longer be anything extraordinary for several complementary minds to create communal works of art. One is often struck by the idea that two minds really belong together, like divided halves that can realize their full potential only when joined. (Athenaeum Fragments. No 125)3 This fragment conveys the atmosphere of excitement, the sense of creating something new and “extraordinary” that young Romantics felt when they came together to symphilosophize and sympoetize during their frequent gatherings (and in the brothers Schlegel’s journal Athenaeum 1798-1800), while at the same time it reveals a deep need, almost a necessity, for each other: they knew that they could not fully realize their creative potential without the Other. A member of the Jena circle and F. Schlegel’s close friend, Novalis in his Logological Fragments I (No. 3), described the “True collaboration in philosophy,” (italics in the original) as a “common movement toward a beloved
Load more

Recommended publications
  • The Young Narcyza Żmichowska's Reception of Western Cultural
    Rocznik Komparatystyczny – Comparative Yearbook – Komparatistisches Jahrbuch 7 (2016) DOI: 10.18276/rk.2016.7-16 Ursula Phillips UCL School of Slavonic and East European Studies (SSEES) With Open Eyes: The Young Narcyza Żmichowska’s Reception of Western Cultural Influences Narcyza Żmichowska (1819–1876) is not a name instantly recognizable outside Poland. In the English-speaking world, however, she is not unknown thanks to research on women’s history, where she is usually discussed in connection with the group of women with whom she was associated in the 1840s known as the Enthu- siasts (Fraisse and Perrot, 1993: 485). It is thanks to the appearance of Grażyna Borkowska’s book in English (2001) that her achievements as a literary author have become better known among Slavists and women’s literature researchers outside Poland. An English translation of Żmichowska’s best known novel Poganka (The Heathen) appeared in 2012 with a substantial introduction placing the work in both its Polish and European contemporary contexts (Żmichowska, 2012). Recently, this novel has featured alongside works by Charlotte Brontë, Daphne du Maurier and others, in a PhD dissertation inspired by psychoanalytic theories of femininity and mirroring, thereby proving her potential for comparative analysis (Naszkowska, 2012). The aim of the current article is to discuss this non-Polish context, and how foreign inspirations made their way into Żmichowska’s work and thinking. Like many other Polish cultural figures, Żmichowska maintained a close con- nection with France, although she never became an émigrée. Her literary activity is a testament nonetheless to how, despite spending more or less her whole life in the partitioned Polish lands, mostly in the Russian partition but also in the 1840s in the Poznań region of the Prussian, she was able to keep abreast of philosophical, political and literary developments in France and Germany and, in the latter part of her life, in Britain, North America, Italy and Scandinavia.
    [Show full text]
  • Enlightenment in Poland
    Enlightenment in Poland Enlightenment in Poland Lesson plan (English) Lesson plan (Polish) Bibliografia: M. Piotrowska-Marchewa, Nędzarze i filantropi. Problem ubóstwa w polskiej opinii publicznej 1815-1863, Toruń 2004. Enlightenment in Poland Naonal Theatre on the Krasiński Square in Warsaw Source: Zygmunt Vogel, 1791, domena publiczna. Link to lesson You will learn to characterize the characteristic features of the Enlightenment in Poland; to exchange the leading creators of the Polish Enlightenment; to recognize the examples of the Classicism period art, including your own region Nagranie dostępne na portalu epodreczniki.pl Nagranie abstraktu The most significant Enlightenment impulses reached Poland from France. Another Enlightenment source of inspiration were the patterns derived from Germany. Both, August II and his son August III, were known for their love of art. Thanks to their investments, Dresden turned into a model baroque city, and Zwinger into an example of a palace building, admired by people in Europe. In Warsaw a number of investments were carried out - from the famous Saxon Axis to the Royal Castle reconstruction. In Grodno a new castle was built and the Sejm sessions were held there. However, Polish culture owns the most to the patronage of the last king - Stanisław August. In cooperation with the art advisory: Marcello Bacciarelli and Fryderyk Moszyński, Stanisław August implemented a number of initiatives in the field of urban planning, architecture, sculpture and painting. Wonderful palaces, gardens, residential towns reconstructions and art collecting became the responsibility of the largest magnate families. The main magnate families began to build magnificent residences. The most famous are: Radziwiłł Palaces in Nieśwież and Nieborów, Branicki Palace in Bialystok, Lubomirski Palace in Łańcut, Czartoryski Palace in Puławy, Sieniawa and Korc, and Potocki Palace in Tulczyn.
    [Show full text]
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • COCKEREL Education Guide DRAFT
    VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19
    [Show full text]
  • Course Title: Introduction to Polish History and Culture*
    Course Lecturer Hours ECTS Semester Introduction to Polish History and Culture (till 1795) prof. Robert Bubczyk 30 4 winter Introduction to Polish Modern and Contemporary History and Culture prof. Robert Bubczyk 30 4 summer Polish Modern and Contemporary History in Film prof. Robert Bubczyk 30 4 summer Course title: Introduction to Polish History and Culture* Course code: PHC/2017/2018 Number of didactic hours: 30 (15 sessions, 90 mins each) Course duration: 1st semester; classes on Thursdays, from 14:40 to 16:10, starting from 5th October 2017**. Note: it is possible to change this timetable following the arrangement with the participants in the first meeting Venue: classroom no. 226, 2nd floor (important: the ‘old’ building with a clock on the wall of the Faculty of the Humanities) ECTS credits: 4 Course description The aims of the course are the following: To provide the participants with the knowledge of major aspects of the history of Poland down through the centuries To offer students an opportunity of better understanding the challenging process of creating and sustaining a civil society and liberal democracy in post-Communist Poland To foster a creative comparison between Poland and the participants’ own country To compare the Polish political, social and cultural arrangements with other EU member states The classes have been devised to be conducted in a interactive lecture format, consisting of lectures and possible follow-up discussions on the respective subjects which cover the history of Polish society and civilization from the origins of the nation and state until the collapse of the Polish state at the end of the 18th century.* Since Lublin and the Lublin region are historic areas with lots of historical monuments and artefacts (a number of them dating from the Middle Ages), students’ individual excursions to such sights are highly recommended, which should facilitate a deeper insight into the history of Polish society and culture of the area.
    [Show full text]
  • Adam Mickiewicz's
    Readings - a journal for scholars and readers Volume 1 (2015), Issue 2 Adam Mickiewicz’s “Crimean Sonnets” – a clash of two cultures and a poetic journey into the Romantic self Olga Lenczewska, University of Oxford The paper analyses Adam Mickiewicz’s poetic cycle ‘Crimean Sonnets’ (1826) as one of the most prominent examples of early Romanticism in Poland, setting it across the background of Poland’s troubled history and Mickiewicz’s exile to Russia. I argue that the context in which Mickiewicz created the cycle as well as the final product itself influenced the way in which Polish Romanticism developed and matured. The sonnets show an internal evolution of the subject who learns of his Romantic nature and his artistic vocation through an exploration of a foreign land, therefore accompanying his physical journey with a spiritual one that gradually becomes the main theme of the ‘Crimean Sonnets’. In the first part of the paper I present the philosophy of the European Romanticism, situate it in the Polish historical context, and describe the formal structure of the Crimean cycle. In the second part of the paper I analyse five selected sonnets from the cycle in order to demonstrate the poetic journey of the subject-artist, centred around the epistemological difference between the Classical concept of ‘knowing’ and the Romantic act of ‘exploring’. Introduction The purpose of this essay is to present Adam Mickiewicz's “Crimean Sonnets” cycle – a piece very representative of early Polish Romanticism – in the light of the social and historical events that were crucial for the rise of Romantic literature in Poland, with Mickiewicz as a prize example.
    [Show full text]
  • Nineteenth-Century French Challenges to the Liberal Image of Russia
    Ezequiel Adamovsky Russia as a Space of Hope: Nineteenth-century French Challenges to the Liberal Image of Russia Introduction Beginning with Montesquieu’s De l’esprit des lois, a particular perception of Russia emerged in France. To the traditional nega- tive image of Russia as a space of brutality and backwardness, Montesquieu now added a new insight into her ‘sociological’ otherness. In De l’esprit des lois Russia was characterized as a space marked by an absence. The missing element in Russian society was the independent intermediate corps that in other parts of Europe were the guardians of freedom. Thus, Russia’s back- wardness was explained by the lack of the very element that made Western Europe’s superiority. A similar conceptual frame was to become predominant in the French liberal tradition’s perception of Russia. After the disillusion in the progressive role of enlight- ened despotism — one must remember here Voltaire and the myth of Peter the Great and Catherine II — the French liberals went back to ‘sociological’ explanations of Russia’s backward- ness. However, for later liberals such as Diderot, Volney, Mably, Levesque or Louis-Philippe de Ségur the missing element was not so much the intermediate corps as the ‘third estate’.1 In the turn of liberalism from noble to bourgeois, the third estate — and later the ‘middle class’ — was thought to be the ‘yeast of freedom’ and the origin of progress and civilization. In the nineteenth century this liberal-bourgeois dichotomy of barbarian Russia (lacking a middle class) vs civilized Western Europe (the home of the middle class) became hegemonic in the mental map of French thought.2 European History Quarterly Copyright © 2003 SAGE Publications, London, Thousand Oaks, CA and New Delhi, Vol.
    [Show full text]
  • Network Map of Knowledge And
    Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W.
    [Show full text]
  • Oda Do Młodości” (Gençliğe Od)”, International Reference Social Sciences Studies Journal, (E-ISSN:2587-1587) Vol:6, Issue: 54; Pp:129-137
    International e-ISSN:2587-1587 SOCIAL SCIENCES STUDIES JOURNAL Open Access Refereed E-Journal & Indexed & Puplishing Article Arrival : 08/11/2019 Research Article Related Date : 12/01/2020 Published : 12.01.2020 Doi Number http://dx.doi.org/10.26449/sssj.2082 Körpe Kemer, S. (2020). “Polonya Edebiyatında Bir Romantik Manifesto Olarak “Oda Do Młodości” (Gençliğe Od)”, International Reference Social Sciences Studies Journal, (e-ISSN:2587-1587) Vol:6, Issue: 54; pp:129-137. POLONYA EDEBİYATINDA BİR ROMANTİK MANİFESTO OLARAK “ODA DO MŁODOŚCİ” (GENÇLİĞE OD) "Ode to Youth" As A Romantic Manifesto In Polish Literature Dr. Öğr. Üyesi Seyyal KÖRPE KEMER İstanbul Üniversitesi, Edebiyat Fakültesi, Slav Dilleri ve Edebiyatları Bölümü, İstanbul/TÜRKİYE ÖZET ABSTRACT Polonya romantizmi, ülkenin 18.yy sonunda Rusya, Prusya Polish romanticism has a special significance, hence it was ve Avusturya devletleri tarafından işgal edilmek suretiyle born at the end of the 18th century when Poland was Avrupa haritasından tamamen silinmiş olduğu bir dönemde completely was erased from the European map beeing doğmuş olması bakımından özel bir öneme sahiptir. occupied by Russia, Prussia and Austria. In addition to the Polonya romantizmi, Aydınlanma düşüncesinin temelini its goal of advancing on the path of reason and science, oluşturan akıl ve bilim yolunda ilerleme hedefinin yanı which forms the basis of the Enlightenment thought, Polish sıra, zihinsel sınırların ötesine geçerek varlığın ruhsal romanticism going beyond the mental boundaries, focusing boyutuna odaklanmak, böylelikle Tanrısal yaratım on the spiritual dimension of being, thus reaching the point noktasına ulaşmak suretiyle halkı mevcut rasyonel of Divine creation, undertaked the mission of convincing the koşullarda olanaksız görünen bağımsızlık mücadelesine public to the the struggle for independence that seemed ikna etme görevini üstlenmiştir.
    [Show full text]
  • "National Composer": Chopin and Polish Exiles in Paris, 1831-49 Author(S): Jolanta T
    Deconstructing a "National Composer": Chopin and Polish Exiles in Paris, 1831-49 Author(s): Jolanta T. Pekacz Source: 19th-Century Music, Vol. 24, No. 2, Special Issue: Nineteenth-Century Pianism (Autumn, 2000), pp. 161-172 Published by: University of California Press Stable URL: http://www.jstor.org/stable/746840 Accessed: 08-08-2016 14:21 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/746840?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th-Century Music This content downloaded from 129.173.74.49 on Mon, 08 Aug 2016 14:21:42 UTC All use subject to http://about.jstor.org/terms Deconstructing a "National Composer": Chopin and Polish Exiles in Paris, 1831-49 JOLANTA T. PEKACZ If a biography of an artist is supposed to inform practices have coexisted in works on Chopin criticism and analysis of his output, the lack of since his death. In view of the recent prolifera- a thoroughly researched biography of Fr6d6ric tion of analytical approaches.
    [Show full text]
  • Anthology of Polish Poetry. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland)
    DOCUMENT RESUME ED 444 900 SO 031 309 AUTHOR Smith, Thomas A. TITLE Anthology of Polish Poetry. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland). INSTITUTION Center for International Education (ED), Washington, DC. PUB DATE 1998-00-00 NOTE 206p. PUB TYPE Collected Works - General (020)-- Guides Classroom - Teacher (052) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Anthologies; Cultural Context; *Cultural Enrichment; *Curriculum Development; Foreign Countries; High Schools; *Poetry; *Poets; Polish Americans; *Polish Literature; *World Literature IDENTIFIERS Fulbright Hays Seminars Abroad Program; *Poland; Polish People ABSTRACT This anthology, of more than 225 short poems by Polish authors, was created to be used in world literature classes in a high school with many first-generation Polish students. The following poets are represented in the anthology: Jan Kochanowski; Franciszek Dionizy Kniaznin; Elzbieta Druzbacka; Antoni Malczewski; Adam Mickiewicz; Juliusz Slowacki; Cyprian Norwid; Wladyslaw Syrokomla; Maria Konopnicka; Jan Kasprowicz; Antoni Lange; Leopold Staff; Boleslaw Lesmian; Julian Tuwim; Jaroslaw Iwaszkiewicz; Maria Pawlikowska; Kazimiera Illakowicz; Antoni Slonimski; Jan Lechon; Konstanty Ildefons Galczynski; Kazimierz Wierzynski; Aleksander Wat; Mieczyslaw Jastrun; Tymoteusz Karpowicz; Zbigniew Herbert; Bogdan Czaykowski; Stanislaw Baranczak; Anna Swirszczynska; Jerzy Ficowski; Janos Pilinsky; Adam Wazyk; Jan Twardowski; Anna Kamienska; Artur Miedzyrzecki; Wiktor Woroszlyski; Urszula Koziol; Ernest Bryll; Leszek A. Moczulski; Julian Kornhauser; Bronislaw Maj; Adam Zagajewskii Ferdous Shahbaz-Adel; Tadeusz Rozewicz; Ewa Lipska; Aleksander Jurewicz; Jan Polkowski; Ryszard Grzyb; Zbigniew Machej; Krzysztof Koehler; Jacek Podsiadlo; Marzena Broda; Czeslaw Milosz; and Wislawa Szymborska. (BT) Reproductions supplied by EDRS are the best that can be made from the original document. Anthology of Polish Poetry. Fulbright Hays Summer Seminar Abroad Program 1998 (Hungary/Poland) Smith, Thomas A.
    [Show full text]
  • Woman, Nature, and Equality in Russian Sentimentalism
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Disrupted Idylls: Nature, Equality, and the Feminine in Sentimentalist Russian Women’s Writing (Mariia Pospelova, Mariia Bolotnikova, and Anna Naumova) Stohler, Ursula DOI: https://doi.org/10.1017/slr.2018.178 Other titles: With translations by Emily Lygo Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-120423 Monograph Accepted Version Originally published at: Stohler, Ursula (2016). Disrupted Idylls: Nature, Equality, and the Feminine in Sentimentalist Russian Women’s Writing (Mariia Pospelova, Mariia Bolotnikova, and Anna Naumova). Bern: Peter Lang. DOI: https://doi.org/10.1017/slr.2018.178 1 Ursula Stohler Disrupted Idylls: Nature, Equality, and the Feminine in Sentimentalist Russian Women’s Writing (Mariia Pospelova, Mariia Bolotnikova, and Anna Naumova) With translations by Emily Lygo This book is a revised version of my dissertation, Russian Women Writers of the 1800– 1820s and the Response to Sentimentalist Literary Conventions of Nature, the Feminine, and Writing: Mariia Pospelova, Mariia Bolotnikova, and Anna Naumova, submitted to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Russian Studies, June 2005 2 Abstract This study explores the ways in which Russian women writers responded to Sentimentalist conventions of authorship, challenging their conceptualisation of women as mute and passive beings. Its particular focus is on the works by Anna Naumova, Mariia Pospelova and Mariia Bolotnikova, three late-18th- and early-19th- century Russian women authors who have only recently begun to receive some slight scholarly attention from Western European researchers in Russian Women’s Studies.
    [Show full text]