scholarly journals Polskie pisarstwo kobiet w wieku XX – projekt syntezy

2012 ◽  
Vol 53 (2) ◽  
pp. 137-154
Author(s):  
Ewa Kraskowska

Summary This article deals with the methodological problems involved in constructing a history of women’s writing. It also presents an outline history of women’s writing in Poland and a review of the state of research in that field. Although women’s writing is an integral part of Polish literature, the author argues that its development is influenced by specific factors which determine the cultural and social condition of women in a given historical time. Consequently, the periodization of women’s writing should take into account criteria and divisions which do not always coincide with the customary reference points of the mainstream literary history. The author also compiles a list of some specific problems of the historiography of Polish women’s writing which require more focused attention on the part of researchers, ie. the phenomenon of the second-rank female writer, subgenres of women’s writing, and the work of female writers from the interwar period, who continued to write in the post-war Poland.

Author(s):  
Megan Peiser

What is the place of women writers in literary history, and the history of women’s print media? Megan Peiser’s chapter answers these questions through the specific lens of Romantic women reviewers’ assessments of work by Romantic women novelists. The chapter begins by accounting for the difficulties of its approach. Since periodical voices are often collaborative, anonymous/pseudonymous and published serially they require readers to chase their commitment to these publications through multiple issues rather than declaring completeness and authority through a single accessible printing. The chapter proceeds with detailed accounts of the reviewing careers of Elizabeth Moody and Anna Barbauld and how they used their contingent presence as writers for the Monthly Review (1749–1844) to bolster the works of women writers of the period in a medium that has traditionally been perceived to be hostile to women’s writing.


2021 ◽  
Author(s):  
О. В. Гусева ◽  

Women have been involved in the creation of Polish literature since the 17th century. A new page in the history of Polish literature, which came after 1989, is associated with the rapid development of feminism. An important phenomenon of poetry at the beginning of the XXI century was the abundance of female names: at this time, the authors of the older generation, such as V. Szymborska, E. Lipska, K. Miłobędzka, J. Hartwig, continue to create, but new names also appear: J. Mueller, M. Cyranowicz, J. Bargielska, M. Podgórnik, M. Lebda, J. Fiedorchuk, M. B. Kielar. Contemporary Polish women’s poetry is very soulful, sensual and deep, it is filled with empathy, and at the same time it is subjective. Corporeality and frankness become one of the characteristic features of women’s writing: women’s poetry tells more openly and directly about the most intimate experiences.


2017 ◽  
Vol 25 ◽  
Author(s):  
E. J. Nielsen

In what ways can medieval texts be looked at as fan works? How might the rhetorical tools of fan studies or affect theory aid in further understanding of these texts? Likewise, can we use medieval understandings of literary production to look at modern fan works in order to complicate our contemporary ideas of authorship? Here I consider how Christine de Pizan's The Book of the City of Ladies (Le Livre de la Cité des Dames) can be read as a reclamatory fan work addressing issues of representation and gender within both the texts it responds to and the larger culture within which the work is situated. Moreover, contextualizing de Pizan's work as fan work can help fan scholars by locating fan studies within a broader literary history. By reframing these earlier works of literature as part of a longer history of women's writing that also involves the works being done today within modalities of fan writing, and by reconsidering fan works as part of a historical continuum of women's writing, we, much as de Pizan herself did, create a theoretical space that historicizes, contextualizes, and indeed valorizes women writers of both fannish and nonfannish works.


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