This article is concerned with writing in Poland since the collapse of Communism. It focuses mainly on the generation of Polish writers who made their debut around the time of the collapse of Communism and whose work has since begun to appear in English translation. It considers the changing focus of the post-Communist generation of writers, asks how the translations of their work represent Poland to the world and what these works might indicate about changes within contemporary (...) Polish literary and political culture. In particular the article looks at recent fiction from Polish Women Writers and themes in recent writing including the ideas of Poland as Post-Communist, Post-nationalist, Post-Jewish and Post-German. (shrink)

Publication date: 14 June 2017 Source: Author: Muhammad Hussein Oroskhan, Sayyed Mohammad Anoosheh By the 1930s, the Iranian society was driven toward modernization. Consisted with the concept of modernization, feminism ushered a whole new era in Iranian history. Besides, the outbreak of World War II and the consequent abdication of Reza Khan afforded women a golden opportunity to fight for their rights and emancipations. This movement was also supported by the famous male writers of the time among whom (...) Jalal Al-e-Ahmad marked a prominent place. He was keen enough to properly explore women's situation in his works and notice the drastic effect of modernization upon women's situation. Hence, in this study, we try to investigate Al-e-Ahmad's short story entitled “Pink Nail Polish” 1948 with respect to Bakhtin's Carnivalesque's theory. Furthermore, it is shown how Bakhtin's new literary mode can create the excellent chance of studying Iranian women's situation properly. Finally, we explain that due to the drastic change of Iranian women's situation towards modernity, they may lead a double life if their rights are not respected. This can lead to a disproportionate relationship between the husband and the wife as the marital infidelity becomes rampant. (shrink)

In this article we will observe Sartre sketching, elaborating, and polishing characters, most of whom he carried around in himself for almost fourteen years. In short, we go back to the beginning of the question of the relationship of the writer and his work, relying above all on the manuscripts we have been able to consult. We postulate, and we will see in the course of this article if it is true, that the choice of writing in a certain way, (...) of inventing a character who takes shape in a particular way, can be conceived as the transformation of a real body into an imaginary one. J. F. Louette expressed it very well in 1996 when he stated that Sartre writes "to change his lymph and blood into ink: to get rid of himself thanks to the sheet of paper, which is not himself; in short … to change the contingency of the body into the necessity of art." Thus, the artist is the man who chooses to create imaginary objects in reality, but also and above all (from the ontological point of view), the man who chooses to create the real world in imagination, whose perception of the situation is in itself creation. (shrink)

This paper considers how women and gender are conceptualised within early German Romanticism and argues that work by early German Romantic women should be addressed in scholarship on this movement. The chapter addresses feminist critiques of early German Romanticism as exemplified by the work of Friedrich Schlegel and Novalis, concluding that an essentialist view of traditional gender characteristics informs central aspects of these writers’ work, including their view of the relationship between human beings and nature and their (...) theories of language and poetry. The paper argues that a thoroughgoing critique of gender categories and development of the implications of this critique are found in the early German Romantic writings, not of Schlegel and Novalis, but of Dorothea Veit-Schlegel and Karoline von Günderrode. (shrink)

The European Legacy, Volume 17, Issue 3, Page 426, June 2012.

There are many reasons to include texts written by women in early modern philosophy courses. The most obvious one is accuracy: women helped to shape the philosophical landscape of the time. Thus, to craft a syllabus that wholly excludes women is to give students an inaccurate picture of the early modern period. Since it seems safe to assume that we all aim for accuracy, this should be reason enough to include women writers in our courses. (...) This article nonetheless offers an additional reason: when students are exposed to philosophical texts written by women, they learn that women have been, are, and can be philosophers. Given how underrepresented women are in philosophy, this finding is significant. If we aim to change the face of philosophy—so that it includes more women—we must include texts written by women in our syllabi. The article considers various obstacles faced by those who work to respond to this call to action. (shrink)

Feminist work in the history of philosophy has been going on for several decades. Some scholars have focused on the ways philosophical concepts are themselves gendered. Others have recovered women writers who were well known in their own time but forgotten in ours, while still others have firmly placed into a philosophical context the works of women writers long celebrated within other disciplines in the humanities. The recovery of women writers has challenged the myth (...) that there are no women in the history of philosophy, but it has not eradicated it. What, we may ask, is impeding our progress? This paper argues that so often we treat early modern women philosophers’ texts in ways that are different from, or inconsistent with, the explicit commitments of the analytic tradition, and in so doing, we may be triggering our audiences to reject these women as philosophers, and their texts as philosophical. Moreover, this is the case despite our intention to achieve precisely the opposite effect. (shrink)

While all chairs of classics after the war were entrusted to already well-established pre-war professors, female scholars, junior often only by rank, took care of the mind-boggling logistics of setting up the defunct departments and preparing them for the first cohort of students. It was an unusual group composed of various ages and levels of knowledge. Older ones saw their education put on hold during the war or attended underground university classes but did not obtain their degrees. Younger ones completed (...) high school within the same clandestine system. Things began to change during the second post-war decade with women advancing in their careers, obtaining degrees and university positions. The paper discusses the careers of seven prominent classicists: Zofia Abramowiczówna (1906–1988), Leokadia Małunowicz (1910–1980), Daniela Tennerówna-Gromska (1889–1973), Izydora Dąmbska (1904–1983), Anna Maria Komornicka (1920–2018), Iza Bieżuńska-Małowist (1917–1995), and Stefania Światłowska (1914–2009). (shrink)

A growing number of Irish women have chosen to write in Irish for reasons varying from a desire to promote and preserve the Irish language to a belief that a marginalized language is an appropriate vehicle of expression for marginalized women. Their work explores aspects of womanhood relating to sexuality, relationships, motherhood and religion. Some feel hampered by the lack of female models. Until recent years there were few attempts on the part of women to explore the (...) reality of women's lives through literature in Irish. The largely subordinate role played by women in literary matters as teachers, translators, and writers of children's literature reflected the position of women in Irish society since the achievement of independence in the 1920s. The work of earlier women poets has, for the most part, lain buried in manuscripts and is only recently being excavated by scholars. The problems of writing for a limited audience have been partially overcome in recent years by increased production of dual-language books. The increase in translation has sparked off an intense controversy among the Irish language community, some of whom are concerned that both the style and content of writing in Irish are adversely influenced by the knowledge that the literature will be read largely in translation. Nevertheless, translation also has positive implications. Interest in women's literature is helping to break down the traditional barriers between Irish literature in Irish and in English. The isolation of Irish literature in Irish is further broken down by the fact that women writers in Irish and their critics operate in a wider international context of women's literature. (shrink)

Infertility Accepted treatment is replete with bioethical dilemmas regarding the limits of available medical therapies. Poland has no legal acts regulating the ethical problems associated with infertility treatment and work on such legislation has been in progress for a long time, arousing very intense emotions in Polish society. The purpose of the present study was to find out what Polish women undergoing infertility treatment think about the most disputable and controversial bioethical problems of assisted reproduction. An Attitudes (...) towards Bioethical Problems of Infertility Scale was constructed specifically for this study. Items were taken from the Bioethics Bills currently under discussion in Polish Parliament (Seym). 312 women were enrolled in the study. Women experiencing infertility favoured more liberal legislation. Participants disagreed, for example, with the following regulations: prohibition of embryo freezing, prohibition of preimplantation genetic diagnosis of embryos, age limits for women using in vitro fertilisation and prohibition of in vitro fertilisation for single women. The opinions of patients undergoing infertility treatment are an important voice in the Polish debate on the Bioethics Bills. (shrink)

In 1795, Mary Wollstonecraft's travels to Scandinavian cities gave her new perspectives on the English and Continental bourgeois cultures with which she was acquainted. Her notions of the city as a source of inspiration for self-knowledge and knowledge of the world are echoed in the epistolary writings of the Norwegian author Camilla Collett (1813–1895) and the novels of her countrywoman Amalie Skram (1846–1905). Collett and Skram were both frequent visitors to different European capital cities, and incorporated their impressions and experiences (...) of these cities. This resulted in innovative texts, with the individual in a new, modern environment, the city, as one of the central themes. For Collett, who can be regarded as a city correspondent avant la lettre, the city was also a yardstick for cultural progress. In her novels, Skram used the European city as a sort of laboratory of the modern era. Nevertheless, Collett's and Skram's ‘city texts’ are not the ones that have ensured that these two authors found their way into the literary canon. Collett became famous as the author of the first Norwegian feminist novel, whereas Skram is known as a Norwegian naturalist. Until recently, the prose texts in which Collett and Skram processed their urban experiences were either not discussed in Norwegian literary historiography, or were labelled as contributions to the morality debate that raged in Scandinavia at the end of the nineteenth century. In this article, I shall propose that Collett and Skram contribute to a distinctive yet unrecognized genre – female urban prose – which proffers new modes of thinking and writing about women's experience of contemporaneous bourgeois culture. (shrink)

Faced with high levels of unemployment and discrimination in Poland, Polish women have made up a very large proportion of those leaving the former Communist states of central Europe, to work in EU member states. They have constituted a large undocumented migrant workforce in Europe, usually working as domestic workers and carers in the informal economy. Poland’s membership of the EU is starting to regulate Polish women’s work abroad and to increase their access to better paid (...) and skilled work in the formal labour market. New market-led immigration policies in Europe are still selective and restricted however. What Polish women really need from the EU is help in securing a new framework of gender equality and equal treatment in Poland that offers hope for an improvement in their rights at home. (shrink)

All the early advocates of women’s education, male and female, had proposed history as a central subject in women’s education—perhaps as the central subject. They envisaged it as a substitute for novel reading, which they viewed as strengthening women’s mental weakness and encouraging them in unrepublican habits of idleness, extravagance, and daydreaming.6 Many prominent women educators wrote history, among them Pierce, Rowson, and Willard. But besides such history writing and history advocacy by materialist educational reformers, American (...) women wrote history in other modes and contexts, and it is on these that I want to focus now.Speculating on history as a woman’s writing practice from the earliest years of the republic, my approach is purely literary in taking for granted, but considering it unimportant, that by present-day standards none of these women could have been “good” historians. More generally, I supposed that insofar as our present-day definition of literature or, more generally, of writing, invokes such forms as poem, play, story, and novel—and insofar as the feminist enterprise of recovering women’s writing further emphasizes such private, putatively unpublished forms as journal, diary, and letters—we have been instructed to perceive women writers as largely sealed off from public discourse, writing from somewhere outside the public sphere. This currently dominant view of women’s writing may be an inadvertent artifact of an unself-conscious, individualistic, curiously romantic definition of writing even among postmodernist critics; or, it may be a strategic view designed to focus attention on and valorize previously silenced or presently new forms of utterance. In contrast, to encompass diverse, already published, programmatically public instances of women’s writing in our definition is to begin to see how often and how openly American women have written in such forms. We then begin to recover a different sort of writing woman from the madwoman in the attic and acquire materials with which to begin constructing a different narrative of American women’s literary history. Nina Baym is Jubilee Professor of Liberal Arts and Sciences at the University of Illinois, Urbana. She is the author of many books and articles on American and feminist literary topics. (shrink)

Since the Accession 8 (A8) of the European Union in 2004 the United Kingdom has experienced a significant influx of European Union Member State migrants. Although the A8 migration has been studied widely, gender and gender roles are still in need of further research in particular in relation to older Polish women migrants. The focus of this paper is to provide an insight into the experiences of mobility as reflected by older women migrants from Poland. The findings (...) are crafted into a multivocal account composed around the theme of ‘the embodied experience of migration – age, invisibility, social and economic exclusion’ by drawing on reflections from a life-story interview as well as literary accounts interwoven with ‘authorial stiches’ and connected to the wider migration discourse. The different women’s voices presented in this article point to the fact that the experience of migration can have an empowering and emancipatory effect in relation to gender subjectivity. In contrast to previous studies on female migration with a focus on economic factors, this paper demonstrates that the experience of mobility could be understood as an opportunity to redefine gender subjectivity and offer a route to escape undesirable gender ideology in Poland. (shrink)

Situé au carrefour des études culturelles et visuelles (cultural and visual studies), de l’histoire matérielle (material history), de l’histoire du livre et de l’édition, et de la littérature, l’ouvrage publié sous la direction de Ann R. Hawkins et Maura Ives (toutes deux dix-neuvièmistes, spécialistes à la fois de la bibliographie et des women’s studies) regroupe douze études savantes qui brossent un large panorama de la situation littéraire, sociale et symbolique des écrivaines de langue an...

The aim of the article is to examine the representation of ageing in selected issues of the Polish women’s magazine Twój Styl. With reference to Wolf’s concept of the “beauty myth,” the article argues that ageing is presented as a threat to women’s psychological integrity. Although the theme of old age is rarely directly addressed in the magazines, its presence is implied in the advertised anti-age beauty products. Based on semiotic theory and Cognitive Metaphor Theory, the paper (...) demonstrates that the advertising of anti-ageing beauty products serves the function of controlling ageing female bodies, which are positioned outside of the mainstream concept of femininity. (shrink)

Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another (...) to describe the workings of structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:720 Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. Julie R. Enszer “She Who Shouts Gets Heard!”: Counting and Accounting for Women Writers in Literary Grants and Norton Anthologies In 1979, the Coordinating Council of Literary Magazines (CCLM), a New York-based nonprofit that supported literary magazines through technical assistance and grant-making, announced a new program: CCLM editor fellowships.1 Editor fellowships came with a $5,000 (...) grant. Members of the literary community nominated editors to CCLM for the award. Adrienne Rich nominated Ellen Marie Bissert, editor of the feminist journal 13th Moon, and Mab Segrest, editor of Feminary: A Feminist Journal for the South Emphasizing the Lesbian Vision, for the editor fellowships. In 1979, the inaugural year of the prize, among the ten winners, not one was a woman. Bissert was one of three honorable mentions. Bissert rejected the distinction with a public letter to Maureen Owen, the only woman on the CCLM board of directors. Bissert deplored “the sexism inherent in the panelists’ decisions.”2 Several feminist publications reprinted Bissert’s letter while “the male small press gave it scant 1. The work of CCLM continues today, although now the organization is called the Council for Literary Magazines and Presses (CLMP). Under the leadership of Jeffrey Lependorf, the nonprofit organization continues to be a vital advocate for small magazines and publishers. 2. Open letter from Ellen Marie Bissert to Maureen Owen, June 28, 1980, CCLM Editors’ Grant 1980 folder, box 6, 13th Moon records, New York Public Library, Rare Books and Manuscripts Division (hereafter, CCLM folder). Julie R. Enszer 721 coverage.”3 As a result of Bissert’s objections, CCLM released the application statistics: 225 people were nominated, forty (18%) were women, and fifteen (7%) were non-white men. Of the 124 people who completed the applications, twenty-three (19%) were women and eleven (9%) were nonwhite men. There were thirty-three semifinalists, five (15%) women and four (12%) non-white men. These numbers shocked and outraged Bissert and other feminists. Adrienne Rich wrote to Maureen Owen, “I am appalled by the blatant sexism evidenced in the Council’s decision to fund ten male editors.”4 The attention that Bissert brought to the grant process resulted in a special meeting of the CCLM board to “discuss the controversy” and the awards.5 The next year, the CCLM editor fellowships went to five journals run by women and five run by men; one of the winners of the $5,000 award in 1980 was the editorial collective of Conditions, a magazine of writing by women with an emphasis on writing by lesbians.6 In a letter to readers of Conditions, the three editors, Elly Bulkin, Jan Clausen, and Rima Shore, noted that the “feminist protest following the announcement of the 1979 awards no doubt had an impact on the decision-making process” and that the award “represents the only substantial payment we have received, or seem likely to receive, for our editorial work, and we were greatly encouraged by it.”7 Maureen Owen acknowledged the importance of Bissert’s protests saying it “strengthened my position on the board at CCLM and the position of women editors and writers in general. She who shouts, get heard!”8 In 1979, Bissert, Rich, and other feminists demonstrated the importance of shouting about the inclusion of women in systems of literary appraisal; they recognized the important economic consequences of grants for feminist publishers and feminist authors. Thirty years later, in 2009, Cate Marvin and Erin Belieu founded VIDA: Women in Literary Arts to promote “conversations regarding the critical reception 3. Open letter from Bissert to Owen. 4. Rich to Owen, August 7, 1979, CCLM folder. 5. Open letter from Bissert to Owen. 6. Press release, June 11, 1980, CCLM folder. 7. Elly Bulkin, Jan Clausen, and Rima Shore, Conditions 7, unnumbered front matter. 8. Postcard from Owen to Bissert, undated, CCLM folder. 722 Julie R. Enszer of women’s creative writing in our current culture.”9 Each February or March since 2010, VIDA releases “the count”: a compilation of the gender breakdown of prizes, reviews, and literary journals in the United States. VIDA’s numbers demonstrate bias toward men in... (shrink)

Melancholia is a hybrid concept, deployed in feminist and philosophical theories politics and aesthetics, but ‘properly” belonging to neither. This heterogeneity of melancholia as both an aesthetic and a political category allows us to interrogate the interrelationship between gender politics and aesthetics without, however, abolishing their differences. Reinterpreted in the context of a feminist aesthetics, melancholia not only points to art’s origin in the unjust and gendered division of labor and power but also to the ethical and political task of (...) art to bear witness to the mute suffering of women cut off from the signifying possibilities of language. Moving beyond the entrenched oppositions between historicism/subjectivism, subject/object, or formalism /materialism, my own approach to an aesthetics of melancholia in women’s modern novels stresses unpredictable, conflicting migrations of pain between subjects and objects, political oppression and autonomous art, language and affect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of juxtapositions (...) and comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)