The Portrait of Tadeusz Różewicz’s Mother

Tekstualia ◽  
2021 ◽  
Vol 1 (64) ◽  
pp. 61-78
Author(s):  
Ewa Szkudlarek

Using a variety of sources – photographs, poems, fragments of a diary and family memories – in his collection of short stories The Mother Departs Tadeusz Różewicz presents a complex portrait of his mother as a young girl, a caring mother, a mature woman and a dying old woman. The image of his mother, memorized and documented through a range literary means, emerges as a version of the myth of Magna Mater. The poet also tries to imagine his mother after death, whether she is a decomposing corpse under the ground or a spirit in the land of the dead. The stories can be treated as a literary attempt at dealing with profound grief and going through mourning. It is not only the grief and mourning of the writer but also of the reader who shares a similar experience. The memories gathered in the collection The Mother Departs have a therapeutic signifi cance, they enable liberation from trauma and constitute a frame for an eternal portrait of the mother. It is art that provides the possibility of preserving something for posterity and of immortalizing people and their work.

2020 ◽  
Vol 25 (1) ◽  
pp. 237-261
Author(s):  
Jung Ja Choi

Abstract This article explores the configuration of female intersubjectivity demonstrated in the film Poetry (Si, 2010) by Lee Chang-dong (Yi Ch’angdong), as well as the power of poetry to conjure the dead and provide space and voice for marginalized and silenced women. The focus of the film is Mija, a woman in her mid-sixties who works as a caregiver to a disabled man while raising a grandson on her own. Just as Mija discovers that her grandson has been implicated in a sex crime that led to a girl’s death, she learns that she herself is in the first stage of Alzheimer’s disease. It is through poetry that Mija mourns her own impending death and also that of the young girl, who is otherwise consigned to oblivion under the phallocentric order of South Korean society. Lee Chang-dong’s film, this article argues, shows that despite the impossibility of poetry in the face of tragedy, lyric imagination offers women the power to escape the patriarchal imposition of silence and preserve a story of their own.


2017 ◽  
Vol 163 ◽  
pp. 289-300
Author(s):  
Elżbieta Tyszkowska-Kasprzak

Old people in novels of Yuri Mamleyev The End of the CenturyThe purpose of the article is an examination of the images of old men and women in The End of the Century — aseries of short stories by Yuri Mamleyev. Elderly characters in the series are almost always presented in the context of the end of their lives and are apretext to present the author’s philosophical views on the nature of existence, death and immortality. Images of reality in The End of the Century are combined with the mystique, the belief in the immortal soul and its journey. Mamleyev’s philosophical views are based on Vedanta and Advaita Vedanta. Hence, his considerations do not fit into the mainstream of the Russian religious-philosophical tradition. Old people in The End of the Century combine the world of the living with the world of the dead, they are capable of crossing the border — death — in both directions. The characters are often accompanied by acat — which in different beliefs is associated with the ability to communicate with other worlds — and achild, abeing close to the border separating the mortal world from the amorphous underworld, arecurring symbol of rebirth. Старики в рассказах Юрия Мамлеевацикл Конец векаВ статье анализируются образы пожилых людей в цикле рассказов Юрия Мамлеева Конец века. Старые люди почти всегда представлены здесь в контексте конца жизни, ивта­кой контекст вводятся философские рассуждения писателя о природе бытия, смерти ибес­смертия. При этом изображение реальности сочетается с мистикой, верой в бессмертие души и ее переселение. Поскольку свои философские взгляды писатель основал на учениях веданты и адвайта-веданты, то они не вписываются в русло русской религиозно-философ­ской традиции.Старики/старухи в произведениях Мамлеева объединяют мир живых и мир мертвых, они способны пересекать границу, которой является смерть, в обоих направлениях. Ча­сто этих персонажей сопровождают кошки, которым в разных верованиях приписывают способность общаться с другими мирами, а также дети, находящиеся близко к границе, разделяющей мир смертных и аморфную преисподнюю, и являющиеся символом повторя­ющегося возрождения.


Author(s):  
Azadeh Nouri ◽  
Fatemeh Aziz Mohammadi

In 1979, Carter published one of her mast renowned collections of short fiction, The Bloody Chamber. The majority of Angela Carter’s work revolve around a specific type of feminism, radical libertarian feminism and her critique of the patriarchal role that have been placed on women. which she promotes feminist due to her style, referred to as "Galm-Rock" feminism In this article, the main concentrate is on heroine’s internalized consciousness which echoes in their behavior. All of the female protagonists in carter’s short stories; such as The Werewolf, The Wolf_Alice,and mainly in The Company of Wolves have similar characteristics with different conditions, in which they are represented in a very negative light with less than ideal roles. In these stories, the protagonist is a young girl who has many conflicts with love and desire. Carter attempts to encourage women to do something about this degrading representation.


Slavic Review ◽  
2011 ◽  
Vol 70 (2) ◽  
pp. 353-372 ◽  
Author(s):  
Sarah J. Young

From recurring characters to the retelling of stories, repetition plays a central role in Varlam Shalamov'sKolymskie rasskazy(Kolyma Tales). Sarah J. Young examines how repetition functions in Shalamov's collections of short stories as an indicator of trauma, by foregrounding the tensions created by the erosion of identity in the labor camp and its connection to the gulag survivor/narrator's problematic relationship to memory. At the same time, repetition also becomes a means of drawing the uncomprehending reader into the text to act as witness to that trauma. Comparing Shalamov's mode of testimony to Giorgio Agamben's theorization of the nonsurvivor as the true witness to Auschwitz, drawn from Primo Levi's conception, Young argues that Shalamov's stories bear witness to the trauma of Kolyma and to those who did not survive it, not through a transformation of the writer, but through a reciprocity between writer and reader.


Author(s):  
Azadeh Nouri ◽  
Fatemeh Aziz Mohammadi

One of the most radical and stylish fiction authors of the 20th century, Angela Carter, expresses her views of feminism through her various novels and fairy tales. Carter began experimenting with writing fairy tales in 1970, which coincided with the period of second wave feminism in the Unites States. The majority of Angela Carter’s work revolve around a specific type of feminism, radical libertarian feminism and her critique of the patriarchal role that have been placed on women. In this article, the main concentrate is on heroine’s internalized consciousness which echoes in their behavior. All of the female protagonists in carter’s short stories; such as The Company of Wolves, and Werewolf and mainly in Wolf_Alice have similar characteristics with different conditions, in which they are represented in a very negative light with less than ideal roles. In these stories, the protagonist is a young girl who has many conflicts with love and desire. Carter attempts to encourage women to do something about this degrading representation.


2021 ◽  
Vol 14 (1) ◽  
pp. 32
Author(s):  
I Nyoman Yasa

The ability of students to analyze literary works is very weak. An important effort to improve students’ abilities in analyzing literary works is to introduce the CDA approach as an analysis tool for literary works. This study aims to describe, interpret, and explain (1) the ability of students to identify words/phrases/sentences that are praxis in short stories, (2) the ability of students to identify the form of praxis in short stories, and (3) the ability of students to interpret the socio-cultural short stories that have been analyzed. This research uses a three-dimensional technical analysis of Fairclough discourse. The result of this study show that students able to (1) choose praxis words/phrases/sentences, such as adjectives that support binary opposition and words of denial, (2) find the form of short story praxis, such as stereotypes and discrimination, and (3) the socio-cultural dimension of the short story interpreted by students is discursive Balinese ritual tradition of the dead.


2021 ◽  
Vol 11 (1-2) ◽  
pp. 127-143
Author(s):  
Lucie Ratail

Poe’s tales, though set in decaying, gloomy and silent places, are particularly sonorous. While several sound patterns are prototypical of the gothic (gusts of wind, shutting doors, absolute silence…), others denote Poe’s interest in uncanny sound perception and illusion. Acuteness of the senses is taken to an extreme, and the sounds of death take on a new dimension. Hearing the dead as well as the living, narrators are perpetually on the brink of insanity and draw their readers into a world rhythmed by sounding clocks, hissing pendulums and unstoppable heartbeats. Binary and ternary rhythms alternate, and it is ultimately in their composition that the tales show Poe’s mastery of rhythmic patterns and of their impact on the reading experience. Self-interruptions, refrains and other rhythmic strategies give the tales a dizzying quality, keeping the reader in a perpetual state of suspense.


Author(s):  
Paul Cheshire

This chapter addresses what Gilbert intended to represent through the action of his poem. An evidently symbolic young girl, Elmira, is the sole survivor of a shipwreck. Her mother is drowned. Gilbert makes several references to the Eleusinian Mysteries which concern the rebirth of Ceres’ daughter Proserpina. The common mother-daughter theme suggests a parallel interplay between the living and the dead. The ancient mystery cults, and their parallels with the secret rituals associated with Masonic initiation, were of contemporary interest, as can be shown by Thomas Taylor’s Dissertation on the Eleusinian and Bacchic Mysteries, which was based on an exegesis of Aeneas’ descent into the underworld (Aeneid, Book VI). This method of exegesis – which had been used by Neoplatonists to unlock hidden meanings in Homer – provides a possible key to Gilbert’s allegory.


2011 ◽  
Vol 80 (1) ◽  
pp. 40-75
Author(s):  
Monica D. Fitzgerald
Keyword(s):  

The chamber pot was still full. The Dewy family's servant had not yet completed her morning chore of emptying the chamber pot when she dumped it over the head of their next door neighbor, Goody Ingerson. The unexpected assault was retaliation for the murder of some of the Dewys' hens. In 1714, the Dewys owned over 120 chickens, and as their closest neighbor, Ingerson grew tired of the fowl running freely through the Ingersons' property. The Ingersons chased those chickens out of their garden, barn, barley field, and scurried the unwanted guests out of their house. So, to show her unhappiness, Goodwife Ingerson wrung a few necks. The contents of the chamber pot did not slow her down, as Ingerson sent her daughter home with two more dead hens. Tensions escalated and a small brawl almost erupted when Abigail Dewy ordered her chamber pot wielding servant to apprehend the young girl escaping with the dead poultry. The Ingersons' daughter escaped the servant's clutches before Dewy could mete out a flogging with her whipping cord. The Ingersons' daughter made it home safely (perhaps to a chicken dinner). The case of the great hen squabble went to court, where the Connecticut magistrates ordered the Ingersons to pay for the dead chickens. However, when the court asked Abigail Dewy if she ordered her servant to drag Ingerson's daughter by the hair to the Dewy house, she lied and said no. For that, the Westfield church censured her for the sin of lying.


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