DOCSLIB.ORG

Curators of Memory”: Women’S Voices in Literature in English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curators of Memory”: Women’S Voices in Literature in English “CURATORS OF MEMORY”: WOMEN’S VOICES IN LITERATURE IN ENGLISH Wydział Anglistyki Uniwersytet im. Adama Mickiewicza w Poznaniu “CURATORS OF MEMORY”: WOMEN’S VOICES IN LITERATURE IN ENGLISH Edited by: Liliana Sikorska Katarzyna Bronk Marta Frątczak and Joanna Jarząb Poznań 2015 Wydano z finansowym wsparciem Wydziału Anglistyki Uniwersytetu im. Adama Mickiewicza w Poznaniu. Autorzy niniejszego tomu składają podziękowania: Dziekan Wydziału Anglistyki prof. zw. dr hab. Katarzynie Dziubalskiej-Kołaczyk This Monograph has been financed by the Faculty of English, Adam Mickiewicz University, Poznań. Cover idea: Marta Frątczak Cover design: Agnieszka Frydrychewicz Cover photos: upper row, from the left: Liliana Sikorska (by permission of the author), Stanisława Strzelczyk (née Piątkowska 1914-1982) (from Liliana Sikorska’s private collection by permission of the owner), Jadwiga Kasprowicz-Przybyszewska (née Gąsowska 1869- 1927) with her daughter Janina Małaczyńska (née Kasprowicz 1893-1980) (from Janina Sikorska’s private collection by permission of the owner), Anna Jarocka (née Kasprowicz 1914-1982) (from Janina Sikorska’s private collection by permission of the owner), Eileen Cox (1918-2014) and Sharon Maas (from Sharon Maas’ private collection by permission of the owner), Eileen Cox (from Sharon Maas’ private collection by permission of the owner) Typesetting by Pracownia Wydawnicza WA UAM Printed by Zakład Graficzny UAM ul. H. Wieniawskiego, 161-712 Poznań http://wa.amu.edu.pl Copyright © 2015 Wydział Anglistyki UAM All rights reserved. ISBN 978-83-938256-6-0 To Our Mothers and Grandmothers CONTENTS Liliana Sikorska and Katarzyna Bronk Introduction, or on women, writers and their work ......................... 9 I ET DIEU ... CRÈA LA FEMME ... AND GOD ... CREATED THE WOMAN… Liliana Sikorska (Adam Mickiewicz University, Poznań) Encore des mots toujour des mots: Michèle Roberts’ art of storytelling ...................................................................................... 31 Michèle Roberts Oh you storyteller: On fiction and memoir .................................... 61 Monika Szuba (University of Gdańsk) Playing with mud: Literary ghosts in Michèle Roberts’ prose writing ................................................................................... 75 II RE-MEMBERED THROUGH TEXTS: WOMEN AND WRITING IN ENGLISH LITERATURE Jacek Olesiejko (College of Modern Languages, Szczecin) Gender and representational violence in Old English Judith ......... 93 Giada Goracci (The University of Verona) The birth of a feminist: Gender, religion and silence in Anne Askew’s Trials ................................................................ 113 Katarzyna Bronk (Adam Mickiewicz University, Poznań) “All in a wife is the work of her husband”: William Cobbett’s not-so-incidental advice on finding and recognising the perfect woman .......................................................................................... 129 8 Contents III SUB ROSA: THE COVERT LIVES OF CONTEMPORARY WOMEN IN LITERATURE IN ENGLISH Liliana Sikorska (Adam Mickiewicz University, Poznań) Telling stories, telling lives: Sharon Maas and her work ............. 149 Sharon Maas The woman who walked the walk ................................................ 167 Marta Frątczak (Adam Mickiewicz University, Poznań) Seeking one’s (Guyanese) self: Web of secrets (1996) by Denise Harris and Buxton spice (1999) by Oonya Kempadoo ................. 171 Rula Quawas (The University of Jordan, Amman) Hysterically speaking and resisting: A reading of Fadia Faqir’s sane madness-ism in Pillars of salt .............................................. 187 Rania Reda (Ain Shams University, Cairo) “Female oppression in the name of God”: A reading of Manette Ansay’s Vinegar Hill in relation to new feminist thought ............ 205 Collected bibliography ........................................................................ 219 INTRODUCTION, OR ON WOMEN, WRITERS AND THEIR WORK LILIANA SIKORSKA AND KATARZYNA BRONK In the Polish film Seksmisja [Sexmission] (1983, directed by Juliusz Ma- chulski, screenplay Juliusz Machulski, Jolanta Hartwig and Pavel Hajný) the world in 2043 is deprived of men. Following a nuclear conflict, what was left of the human race moved underground, into the former coal mines and with time created a new society ruled by women only. Like all other totalitarian regimes, of which this one is quite clearly a parody, the Poland of the future also tries to rectify the past. Thus, the new genera- tions of women, born out of tubes and without the presence of men in their lives, are taught that men were intolerable and never-changing op- pressors, violent and dominating. What is more, they are led to understand that Copernicus and Einstein were women. The mishaps and adventures involving two male characters found and revived from induced cryonic sleep are hilariously funny, and the subtext of the movie is that of re- creating men as, once again, part of the human race. The new world women who are afraid of touch and do not know anything about the sen- sual pleasures of eating are predictably depicted as sex starved weaklings, despite all of their power of self-government. Not to mention the fact that her Excellency, the great ruler, is, in fact, a man. If read in the context of 1980s right wing politics, the movie is straightforward anti-feminist prop- aganda. Seen not as an anti-totalitarian but an anti-feminist work, the film is a good example of cultural backlash, very much in the style later de- scribed by Susan Faludi, which just like the earliest anti-suffragette movements, belittles and ridicules the feminist cause. One can be quite certain, that the authors of the screenplay were not familiar with Marilyn Stone’s When God was a woman (1976), a work in which the author searches for the genesis of the mythical Great Goddess of the early matri- 10 Liliana Sikorska and Katarzyna Bronk archal societies and analyses the suppression of women’s religious power, which, incidentally is also the main area of interest of Michele Roberts’ works, especially in The wild girl (1984). Likewise, Mieke Bal’s Lethal love, Feminist literary readings of Biblical love stories (1987) in her read- ing of Genesis shows how mistaken translations rewrote the Biblical story of Creation to give rise to the blatant anti-female sentiments in the centu- ries to follow. As has been mentioned, Faludi’s Backlash (1991) charts the develop- ment of hostile reactions to many forms of feminist movements. Feminist criticism has always been perceived as political discourse, more than a cultural or a critical practice utilized in the struggle against patriarchy and sexism. Concentrated on the study of institutional and personal power re- lations between the sexes feminist criticism was used to analyze symbolic language (psychoanalysis), language (sociolinguistics), as well as litera- ture and culture (literary texts and films). Various feminist authors have seen these areas as subject to patriarchal ideology, as outlined by Gerda Lerner in her Creation of patriarchy (1986) and The creation of feminist consciousness (1993). The early work of Dale Spender’s Man made lan- guage (1980) demonstrates how language encodes the inferior position of women in society, making them victims of their own subordination. Even if for today’s readers, such statements could be read as extreme, Dale’s work was an inspiration for Deborah Cameron, whose Verbal hygiene (1995) and then The feminist critique of language (1998) engage in dis- cussions on ways and methods of controlling language, and like feminist criticism, assume writing from anti-patriarchal and anti-sexist positions. What is more, feminist work on Freud and Lacan, for which one of the milestones was the thought of Luce Irigaray in her Speculum of the other woman (1985), This sex which is not one (1985) and An ethics of sexual difference (1993) interpreted femininity as a patriarchal construct of doc- ile and obedient wives and daughters. Such an approach was buttressed by the demand to equal access to the symbolic order. This assumed bio- logical inequality has been scrutinized by Carol Pateman in her Sexual contract (1988). Pateman used Rousseau’s and Locke’s idea of the social contract and showed its contradictions in reference to contracts involving women, most notably the marriage contract. It has been frequently assert- ed that while “female” and “male” are reserved for purely biological as- pects of sexual difference, the notions of “feminine” and “masculine” are social constructs. Likewise Judith Butler’s Gender trouble (1990) was Introduction, or on women, writers … 11 seminal in understanding the working of gender and gender politics. The differentiation between the tradition of “female” writers as opposed to “feminist” writers is also discussed in the present volume. While Michèle Roberts’ work is decidedly feminist, Sharon Maas’ is more in line with a female tradition of writing. In other words, as in Toril Moi’s definitions: “feminist” writing engages in the analysis of discourses which create and uphold patriarchal structures, “female” discusses the tradition of women’s writing in literature and investigates the question of femininity in litera- ture and culture (Moi 1997: 104-116). The twentieth century tradition of re-claiming women writers has re- sulted in the rehabilitation of previously forgotten and marginalized authors hitherto deemed “minor”, for example, medieval women mystics. As a con- sequence, in fair Poznań where we laid our scene,
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]
  • The Popular Culture Studies Journal
    THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 1 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor Kevin Calcamp Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Wrestling” by Brent Jones © 2018 Courtesy of https://openclipart.org EDITORIAL ADVISORY BOARD ANTHONY ADAH FALON DEIMLER Minnesota State University, Moorhead University of Wisconsin-Madison JESSICA AUSTIN HANNAH DODD Anglia Ruskin University The Ohio State University AARON BARLOW ASHLEY M. DONNELLY New York City College of Technology (CUNY) Ball State University Faculty Editor, Academe, the magazine of the AAUP JOSEF BENSON LEIGH H. EDWARDS University of Wisconsin Parkside Florida State University PAUL BOOTH VICTOR EVANS DePaul University Seattle University GARY BURNS JUSTIN GARCIA Northern Illinois University Millersville University KELLI S. BURNS ALEXANDRA GARNER University of South Florida Bowling Green State University ANNE M. CANAVAN MATTHEW HALE Salt Lake Community College Indiana University, Bloomington ERIN MAE CLARK NICOLE HAMMOND Saint Mary’s University of Minnesota University of California, Santa Cruz BRIAN COGAN ART HERBIG Molloy College Indiana University - Purdue University, Fort Wayne JARED JOHNSON ANDREW F. HERRMANN Thiel College East Tennessee State University JESSE KAVADLO MATTHEW NICOSIA Maryville University of St.
    [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]
  • Final Corrected Full Thesis # 2.Pdf
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2015 Walk Like an Egyptian: Belly Dance past and present practice in England Cooper, Siouxsie http://hdl.handle.net/10026.1/3361 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Walk Like an Egyptian Siouxsie Cooper This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior written consent. 1 Walk Like an Egyptian Siouxsie Cooper Walk like an Egyptian Belly Dance past and present practice in England by Siouxsie Cooper University of Plymouth in fulfilment of a degree in Doctor of Philosophy University College of Falmouth October 2012 2 Walk Like an Egyptian Siouxsie Cooper Abstract How Belly Dance practitioners in England construct a sense of self-identity, social-identity and identity-in-practice in a border-crossing Belly Dance ethnoscape is of interest for this research project. What kinds of identities-in-practice do Belly Dancers in England construct in order to authenticate their performance? By applying social theories of education and identity formation, in particular Holland et al’s “figured worlds” (2001), it is possible to critically frame the development of a practitioner’s Belly Dance identity over a period of time.
    [Show full text]
  • Introduction
    Introduction Ever since corpus linguistics entered the mainstream, it has become increasingly difficult to keep track of its most recent developments due to the sheer volume of corpus-based, corpus-driven or corpus-informed studies. For twelve years, the conferences known as PALC (Practical Applications in Language and Computers) and organized at the University of ód in Poland have served the international community of corpus and computational linguists by providing a useful forum for the exchange of views and ideas on how corpora and computational tools can be effectively employed to explore and advance our understanding of language. The conferences and the ensuing volumes have attempted to reflect the widening scope and perspectives on language and computers. The present volume is no different in that it documents new developments and explorations in these areas encompassing an array of topics and themes, ranging from national corpora and corpus tools through cognitive processes, discourse and ideology, academic discourse, translation, and lexicography to language teaching and learning. In keeping with the PALC tradition, it is our policy to publish contributions from both seasoned researchers as well as from colleagues who are recently initiated members of the corpus linguistics community. The contributions are drawn from papers presented at the 7th Practical Applications in Language and Computers PALC conference held at the University of ód in 2009. The plenary speakers were Khurshid Ahmad (Trinity College, Dublin), Mark Davies (Brigham Young University), Ken Hyland (then at University of London), Terttu Nevalainen (University of Helsinki) and Margaret Rogers (University of Surrey). This volume is divided into nine Parts, each Part being further subdivided into chapters.
    [Show full text]
  • Krasiński, Zygmunt
    467 Koresh, David 468 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Krasin´ski, Zygmunt Napoleon Stanisław Adam Feliks Zygmunt Krasiń- ski, more commonly known as Zygmunt Krasiński (1812–1859), was one of the Three Bards of Poland, the nation’s greatest national poets or wieszczowie (poet-prophets) of the Romantic period – the other two being Adam Mickiewicz and Juliusz Słowacki. Some speak of Poland’s Four Bards, adding Cyprian Norwid to the list; notably, all four were Roman Catholics. The Bible exerted a profound influence upon his literary art throughout his career as a writer. Krasiński was born and died in Paris. His father, Wincenty Krasiński (1782–1858), was a general in Napoleon’s army, and his mother, Maria Urszula Radziwiłł (Radziwiłłówna), was a Polish princess. Zygmunt Krasiński, in addition to being a poet, was an aristocrat, philosopher, dramatist, novelist, pro- lific epistolist, and the first Ordinate in the largest land estate in Opinogóra, near Ciechanów. He debuted as a writer in 1828, publishing ma- cabre gothic novels. He showed in this work the constant, characteristic elements of his writing, so his obsessions over the suffering and massacre of Encyclopedia of the Bible and Its Reception vol. 15 Bereitgestellt von | De Gruyter / TCS © Walter de Gruyter, Berlin/Boston, 2017 Angemeldet Heruntergeladen am | 01.09.17 09:18 469 Krasin´ski, Zygmunt 470 Polish civilians (e.g., by the Russian army at the presents as a sin, from a NT, Christian, ethical view- time of Kościuszko’s Insurrection), the interior tur- point, the vengeance taken by the main hero on the moil of the Romantic national struggle for Poland’s enemy (ancient Rome).
    [Show full text]
  • Venice According… Venice According to Odyniec (And Mickiewicz?) in Romantic Contexts
    Czytanie Literatury https://doi.org/10.18778/2299-7458.09.04 Łódzkie Studia Literaturoznawcze 9/2020 ISSN 2299–7458 ANNA KURSKA e-ISSN 2449–8386 Jan Kochanowski University of Kielce 0000-0002-2776-2449 65 VeNICe ACCoRDING… VeNICe Venice According to Odyniec (and Mickiewicz?) in Romantic Contexts SUMMARY This text is a reconstruction of the image of Venice offered in Listy z podróży by Antoni Edward Odyniec. Against the background of Romantic traditions (Byron, Chateaubriand, Shelley, and Radcliffe), I present how the author shaped the portrait of Venice suspended between the Romantic vision of the city/monster (Leviathan) and the ballad-based vision of the city/Siren. I indicate not only the fact that the im- age of Venice was rooted in the sentimental/Romantic stereotype, but I also define to what extent it was formed by the imagined world of Polish nobility, i.e. szlachta. Most of all, however, I am interested in the traces present in Listy z podróży which enable one to uncover Mickiewicz’s influence on how Odyniec shaped the image of Venice. Keywords Adam Mickiewicz, Antoni Edward Odyniec, Venice, Romanticism, journey. Mickiewicz arrived with Odyniec in Venice on 7 October 1829 “at one in the afternoon”; they stayed at the de Luna Inn, from where they moved the very next day to a private apartment at “Ponte dei Dai, Torre Correnta, al. Moro.” Their visit lasted until 20 October and it was recorded by Antoni Edward Odyniec in a fragment of Listy z podróży that he wrote to Julian Korsak and Ignacy Chodźko. His description raises a major question: to what degree © by the author, licensee Łódź University – Łódź University Press, Łódź, Poland.
    [Show full text]
  • Download Download
    Authorship 9.1 (2020) Rhodes 1 “RÊVE (Romantic Europe: The Virtual Exhibition): Romantic Authorship.” European Romanticisms in Association, http://www.euromanticism.org/virtual-exhibition/reve- the-collections/romantic-authorship.1 In the era of Covid-19, the move to find new ways to share scholarship and to recreate heritage experiences in digital formats has taken on an increased sense of urgency. As 2020 has seen conferences cancelled and museums and galleries around the world close their doors, at least temporarily, researchers, curators and educators have turned to technology as a way of facilitating conversations between people and between objects, collections and exhibits. But even before the pandemic changed the way we communicate, travel, and interact with each other and the spaces we inhabit, physical distance has always placed limitations on the ways in which we connect ideas and objects. While some objects are capable of being, or even designed to be, moved —a notebook, a travelling case, or a handbag, for example—others such as buildings, mountains, monuments, and tombs are (generally) fixed in one particular location. People, however, are mobile. And European Romantic authors such as Rousseau, de Staël, Wollstonecraft, or Byron, whose careers were defined by travel, itinerancy, or exile, were no exception. As Romantic writers moved around the continent, so the objects which they owned and interacted with and which now help us to construct their identities are scattered. Some of these objects, as we have seen, are immovable, and for those which are portable, the question is raised as to whether any single location can justifiably lay sole claim to an author, or the material relics – the ‘scattered leaves’ - which they have left behind.
    [Show full text]
  • Konrad Wallenrod by Adam Mickiewicz
    The Project Gutenberg EBook of Konrad Wallenrod by Adam Mickiewicz This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Konrad Wallenrod Author: Adam Mickiewicz Release Date: October 9, 2010 [Ebook 34050] Language: English ***START OF THE PROJECT GUTENBERG EBOOK KONRAD WALLENROD*** [1] KONRAD WALLENROD. An Historical Poem. BY ADAM MICKIEWICZ. TRANSLATED FROM THE POLISH INTO ENGLISH VERSE BY MISS MAUDE ASHURST BIGGS. “Dovete adunque sapere come sono due generazioni da combattere... bisogna essere volpe e leone.” MACCHIAVELLI, Il Principe. LONDON: TRÜBNER & CO., LUDGATE HILL. 1882. [All rights reserved] Contents AUTHOR'S PREFACE . .2 TRANSLATOR'S PREFACE . .4 Introduction. 10 I. The Election. 13 II. .............................. 17 III. 23 IV. The Festival. 33 V. War. 62 VI. The Parting. 69 NOTES. 80 [ii] Printed by BALLANTYNE, HANSON & Co. Edinburgh and London [iii] AUTHOR'S PREFACE THE Lithuanian nation, formed out of the tribes of the Litwini, Prussians and Leti, not very numerous, settled in an inextensive country, not very fertile, long unknown to Europe, was called, about the thirteenth century, by the incursions of its neighbours, to a more active part. When the Prussians submitted to the swords of the Teutonic knights, the Lithuanians, issuing from their forests and marshes, annihilated with sword and fire the neighbouring empires, and soon became terrible in the north. History has not as yet satisfactorily explained by what means a nation so weak, and so long tributary to foreigners, was able all at once to oppose and threaten all its enemies—on one side, carrying on a constant and murderous war with the Teutonic Order; on the other, plundering Poland, exacting tribute from Great Novgorod, and pushing itself as far as the borders of the Wolga and the Crimean [iv] peninsula.
    [Show full text]
  • Grażyna H Alkiewicz
    REVIEWS the methodology used by anna roter-Bourkane, the contexts she describes and the ambition to define the concepts mentioned in the title of the book. at the same time, the authors raises questions about the aesthetics of the treatise-typical features, which in the examined book is not clearly distinguished from the genre of treaty. Key words: treatise; features of treatise; 19th century; poetry; Cyprian norwid; genology. Summary translated by Rafał Augustyn magdaleNa woźNiewsKa-działaK – Phd, assistant professor in the department of theory of Culture and interculturalism, Faculty of Humanities, Cardinal Stefan Wyszyński university (uKSW) in Warsaw. author of the book Poematy narracyjne Cypriana Norwida. Konteksty literacko-kulturalne, estetyka, myśl (2014). uKSW, ul. dewajtis 5, 01-815 Warszawa; e-mail: [email protected] Grażyna H a l k i e w i c z - S o j a k – on tHE HiddEn diMEnSion oF tHE roMantiC HEritaGE doi: http://dx.doi.org/10.18290/sn.2017.35-15en Ewa Szczeglacka-Pawłowska has been consistently developing her research methodology for over a dozen years, looking for a research perspective that would allow to read the poetry of Polish romanticism in exile with respect for the achievements of several generations of editors and historians of literature, but also with emphasis on the researcher’s own, if possible original, approach. this is best evidenced by her two books: Romantyczny homo legens. Zygmunt Krasiński jako czy telnik polskich poetów [romantic homo legens. Zygmunt Krasiński as a reader of Polish poets] (Warsaw 2003, 367 pages) and Romantyzm “brulionowy” [“draft paper” romanticism] (Warsaw 2015, 580 pages).
    [Show full text]
  • Writers of Tales: a Study on National Literary Epic Poetry with a Comparative Analysis of the Albanian and South Slavic Cases
    DOI: 10.14754/CEU.2017.02 WRITERS OF TALES: A STUDY ON NATIONAL LITERARY EPIC POETRY WITH A COMPARATIVE ANALYSIS OF THE ALBANIAN AND SOUTH SLAVIC CASES FRANCESCO LA ROCCA A DISSERTATION IN HISTORY Presented to the Faculties of the Central European University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy Budapest, Hungary 2016 Supervisor of Dissertation CEU eTD Collection György Endre Szőnyi DOI: 10.14754/CEU.2017.02 COPYRIGHT NOTICE AND STATEMENT OF RESPONSIBILITY Copyright in the text of this dissertation rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European University Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. I hereby declare that this dissertation contains no materials accepted for any other degrees in any other institutions and no materials previously written and/or published by another person unless otherwise noted. CEU eTD Collection DOI: 10.14754/CEU.2017.02 iii ABSTRACT In this dissertation I intend to investigate the history and theory of national literary epic poetry in Europe, paying particular attention to its development among Albanians, Croats, Montenegrins, and Serbs. The first chapters will be devoted to the elaboration of a proper theoretical background and historical framing to the concept of national epic poetry and its role in the cultivation of national thought in Europe.
    [Show full text]