scholarly journals Женский голос в современной польской поэзии

2021 ◽  
Author(s):  
О. В. Гусева ◽  
Keyword(s):  
Women's Writing ◽  
Rapid Development ◽  
17Th Century ◽  
Women's Poetry ◽  
Polish Literature ◽  
Important Phenomenon ◽  
History Of ◽  
The Creation ◽  
Characteristic Features ◽  
Women’S Writing

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.

Katherine Philips

2014 ◽  
Author(s):  
Gillian Wright ◽  
Jennie Challinor
Keyword(s):  
Literary History ◽  
English Language ◽  
Local Community ◽  
18Th Century ◽  
Women's Writing ◽  
17Th Century ◽  
Female Friendship ◽  
Katherine Philips ◽  
History Of ◽  
Women’S Writing

Katherine Philips (b. 1632–d. 1664) is one of the most important figures in English women’s literary history. She is also a key figure within the history of 17th-century English-language poetry, irrespective of gender. Archival evidence indicates that Philips began to write while young: some of her juvenilia may have been written during her mid-teens, while the earliest items in her autograph collection of her own poems date from her late teens and early twenties. Throughout the remainder of her short life she kept writing, responding to literary fashions (such as the vogue for French neoclassical drama in the early 1660s), the downfall and restoration of the monarchy, and events within her local community and literary coteries. She formed productive acquaintances with some of the leading literary and cultural figures in contemporary London and Dublin, and was the first woman to see her work performed on the commercial stage in Britain or Ireland. Her writing shows a deep engagement with the English literary canon, and was to be an inspiration to later 17th-century and early-18th-century poets and dramatists, both male and female. After their early popularity, Philips’s writings faded from view and were little known in the later 18th and throughout the 19th centuries. (Keats, an important exception, admired her poetry and recommended it to a friend in 1817.) Her critical fortunes began to revive at the outset of the 20th century, when her poetry was re-edited and made available to a scholarly readership. Though curiously neglected in Virginia Woolf’s feminist classic, A Room of One’s Own (1929), her work has benefited greatly from the growth of scholarly interest in early modern women’s writing since the late 1980s. Her writings on female friendship have retained their popularity for feminist scholars and have also been read as key texts in the history of female literary homoeroticism. Her avid interest in politics has been discussed in relation both to literary cultures of the interregnum and Restoration and to women’s engagement with the public sphere. The survival of numerous early manuscripts of her writing a fairly detailed tracing of the production, circulation, and reception of her writing, while the issue of her involvement (or otherwise) in the publication of her 1664 Poems is still an area of lively critical disagreement. Renewed interest in the formal qualities of women’s writing, as well as attention to such issues as literary archipelagism and epistolarity, should ensure that Philips’s writing continues to speak to current critical debates and to attract high levels of scholarly attention.

scholarly journals Polskie pisarstwo kobiet w wieku XX – projekt syntezy

2012 ◽  
Vol 53 (2) ◽  
pp. 137-154
Author(s):  
Ewa Kraskowska
Keyword(s):  
Literary History ◽  
Women's Writing ◽  
Reference Points ◽  
Polish Literature ◽  
History Of ◽  
Methodological Problems ◽  
State Of Research ◽  
Post War ◽  
Condition Of Women ◽  
Women’S Writing

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.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

The History of British Women's Writing, Vols 2 and 3

2012 ◽  
Vol 20 (1) ◽  
pp. 130-133
Author(s):  
Marie-Louise Coolahan
Keyword(s):  
Women's Writing ◽  
History Of ◽  
Women’S Writing
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