Com a proibição do comércio atlântico de escravos em 1850 para o Brasil, as elites proprietárias tiveram que se adaptar a essa nova realidade, e tanto literatura como imprensa discutiram a questão ...escrava e seu futuro. Nesse contexto, é perceptível a emergência de uma nova sensibilidade em relação à escravidão, em que se observa a centralidade da mulher escravizada na década de 1850. Eu argumento que tais discussões apresentam um sentido duplo, pois tanto se relacionam com os debates antiescravistas que ocorriam em outras partes do Atlântico, como também com a questão brasileira que se via diante da necessidade de reproduzir a escravidão internamente. Essa análise se baseia nos textos de duas escritoras, a francesa Adèle Toussaint e a brasileira Nísia Floresta, e os discuto em diálogo com outras obras literárias e artigos da imprensa da década de 1850. Este artigo pretende-se, ainda, uma contribuição aos estudos sobre ideias antiescravistas para períodos anteriores à década de 1860 e, principalmente, considera a participação de mulheres nesses debates.
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The meeting with Karol Jachymek, film expert, author of the book Film-ciało-historia. Kino polskie lat sześćdziesiątych (“Film-body-history. Polish cinema of the 1960s”) took place after ...the screening of the film Drewniany różaniec (The Wooden Rosary) directed by Ewa and Czesław Petelski. It tells the life story of the famous writer, Natalia Rolleczek, who – in her autobiography – describes her difficult childhood in a pre-war orphanage run by the Felician Sisters in Zakopane. Within its walls, she experienced violence, humiliation, hunger, and backbreaking work. The novel's anticlerical message was welcomed by the communist authorities, which “used” her personal story as a propaganda tool. Later on, the writer focused on writing books for children.
Original language summary: Spotkanie z Karolem Jachymkiem, filmoznawcą, autorem książki „Film-ciało-historia. Kino polskie lat sześćdziesiątych” odbyło się po projekcji filmu „Drewniany różaniec” Ewy i Czesława Petelskich. To opowieść o życiu słynnej pisarki, Natalii Rolleczek, która opisuje w autobiograficznej książce trudne dzieciństwo w przedwojennym, zakopiańskim sierocińcu prowadzonym przez siostry felicjanki. Doświadczyła w nim przemocy, upokorzeń, głodu i pracy ponad siły. Antyklerykalna wymowa powieści spotkała się z przychylnością władz komunistycznych, które „używały” tej osobistej historii jako narzędzia propagandy. W późniejszym okresie pisarka skoncentrowała się na twórczości dla dzieci.
This paper investigates narrative strategies in the prose and poetic works of several female writers of Bosnia and Herzegovina. The focus is on Elma Porobić, Lejla Kalamujić, Adisa Bašić, Tanja ...Stupar Trifunović, Emina Žuna, Maja Ručević and Dijala Hasanbegović. The works examined include three short story collections, three novels and one book of narrative poems. The paper will highligth the innovative character of the themes and styles which this pleiade of female writers has introduced into contemporary B&H literature.
중국 고대 여성작가의 西湖詩詞 윤혜지; Yun Hyeji
중국연구,
03/2023, Volume:
94
Journal Article
Since BaiJuyi compared the feminine beauty of West Lake to XiShi during the Tang Dynasty and LinBu, a scholar named LinBu, stayed in Solitary Hill near West Lake during the Song Dynasty, the poems of ...West Lake have contained both beautiful lyricism and clear temperament, and West Lake has been loved as a local space that preserves both popularism and elegance with stories of love between men and women and scholars. However, SuShi during the Song Dynasty greatly contributed to so many works of the poems of West Lake. It is said that SuShi regarded West Lake as his life's best friend and Hangzhou as his second hometown while holding government posts twice in Hangzhou, and the poems of West Lake created by SuShi reached 150 pieces, which can be said that he has greatly expanded the boundaries of the poems of West Lake. Afterwards, many female writers studied the outstanding writings of the poems of West Lake written by BaiJuyi, LinBu and SuShi, and as a result, the poems of West Lake were able to be created in large quantities in the works of female writers.
Most of the main creators of the poems of West Lake by female writers were women who lived in Zhejiang, and the poems of West Lake were created in various ways, from works written after they experienced West Lake while living in the area to works created by them while recalling the beautiful scenery of the area. As examined in the main text, many of the poems of West Lake written by female writers focused not only on natural landscapes but also on the humanistic landscapes contained in them, and the main contents are as follows: First, the poems described the beautiful natural scenery of West Lake. Second, they described love stories or beauty related to West Lake through Zhuzhici. Lastly, there were recollections of history and people related to West Lake. In terms of format, all of the poem works used quatrains and styles of Chinese verse of 7 words including Zhuzhici, and the poem works also used mainly Wangjiangnan and Pusaman's tonal patterns using 7 words.
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It is hard to believe, but the extremely popular books by Joanna Chmielewska have only had two film adaptations. Professor Monika Talarczyk and film expert Krzysztof Tomasik try to ...explain the mystery of the writer's tiny presence on the silver screen. They bring up Chmielewska's temper as one of the reasons as well as her reluctance towards interfering with her works. “Her books seem to form a very good basis for a film, but they must be difficult to adapt because most of those attempts have failed,” says Tomasik. The participants take a look behind the scenes of the writer's cooperation with the director Jan Batory. They also explain why the co-author of the script for A Cure for Love (Lekarstwo na miłość) was not satisfied with Kalina Jędrusik being cast in one of the main roles. Tomasik also points out that the work in question is the first post-war Polish film about female friendship. According to the participants, the comedy owes its success to Kalina Jędrusik and Krystyna Sienkiewicz's on-screen chemistry.
Original language summary: Trudno w to uwierzyć, ale niezwykle popularne książki autorstwa Joanny Chmielewskiej doczekały się jedynie dwóch kinowych adaptacji. Profesor Monika Talarczyk i filmoznawca Krzysztof Tomasik starają się wyjaśnić zagadkę tak niewielkiej obecności pisarki na srebrnym ekranie. Jako jedną z przyczyn wymieniają temperament Chmielewskiej i jej niechęć do jakiejkolwiek ingerencji w jej dzieła. „Jej książki wydają się być bardzo dobrą podstawą do filmu, ale muszą być trudne do zaadaptowania, bo większość z tych prób była nieudana” – stwierdza Tomasik. Rozmówcy przybliżają kulisy współpracy pisarki z reżyserem Janem Batorym. Tłumaczą także, dlaczego współautorka scenariusza do „Lekarstwa na miłość” nie była zadowolona z obsadzenia Kaliny Jędrusik w jednej z głównych ról. Tomasik zwraca również uwagę, że omawiane dzieło jest pierwszym powojennym polskim filmem o kobiecej przyjaźni. Zdaniem rozmówców to właśnie umiejętności oddania tej chemii przez Kalinę Jędrusik i Krystynę Sienkiewicz komedia zawdzięcza swoje powodzenie.
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“Write every day, write as much as possible, paint for fun, and when it comes to side-work – scripts and the like – meet your deadlines, don't screw up.” – such was the professional goal ...set by Krystyna Kofta in her journals, published as Monografia grzechów. Z dziennika 1978-1989 (“Monograph of Sin. From the Journal 1978-1989”). The writer talks about the beginnings of her work in film, incl. about Marek Piwowski's proposal to adapt the romance Ciało niczyje (“Nobody's Body”), the concept of which did not appeal to Janusz Morgenstern. The collaboration with Piotr Szulkin was largely based on artistic disputes. Ultimately, as Krystyna Kofta points out, the film was made – in a way – against her ideas.
Original language summary: „Pisać codziennie, pisać jak najwięcej, malować dla przyjemności, a jeśli chodzi o poboczne zajęcia zawodowe – scenariusze i tym podobne – pisać na wyznaczony termin, nie zawalać.” – takie zadanie zawodowe postawiła sobie Krystyna Kofta w swoich dziennikach, wydanych jako „Monografia grzechów. Z dziennika 1978-1989”. Pisarka opowiada o początkach swojej współpracy z filmem, m.in. o propozycji Marka Piwowskiego na ekranizację romansu „Ciało niczyje”, której koncept nie spodobał się Januszowi Morgensternowi. Współpraca z Piotrem Szulkinem w dużej mierze polegała na artystycznych sporach. Ostatecznie, jak zauważa Krystyna Kofta, film ten powstał niejako na przekór jej pomysłowi.
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The last meeting in the Pisarki, na ekrany! (“Writers, to screens!”) series was devoted to the memory and work of Jadwiga Stańczakowa, a blind poet and writer, long-time activist in ...Warsaw's blind community, and a close friend of Miron Białoszewski. Dr hab. Monika Talarczyk, the series' curator, interviewed Stańczakowa's granddaughter – literary critic Justyna Sobolewska. The conversation shows a person with an extremely strong personality – determined, extremely active, enjoying life despite adversities. And at the same time, during her weaker moments – a person who is fragile and easily plunges into depression. Justyna Sobolewska mentions family stories and anecdotes related to Jadwiga Stańczakowa, and also tells a lot about her relationship with Miron Białoszewski and the her attempts to achieve literary independence.
Original language summary: Ostatnie spotkanie z cyklu „Pisarki na ekrany!” zostało poświęcone pamięci i twórczości Jadwigi Stańczakowej, niewidomej poetki i pisarki, wieloletniej działaczki środowiska niewidomych w Warszawie i bliskiej przyjaciółki Mirona Białoszewskiego. Gościnią kuratorki cyklu, dr hab. Moniki Talarczyk, była wnuczka Stańczakowej, krytyczka literacka Justyna Sobolewska. Z rozmowy wyłania się portret osoby o niezwykle silnej osobowości – zdeterminowanej, niezwykle aktywnej, czerpiącej z życia mimo przeciwności. A jednocześnie, w słabszych momentach – kruchej i pogrążającej się w depresji. Justyna Sobolewska przytacza rodzinne opowieści i anegdoty związane z osobą Jadwigi Stańczakowej, mówi też wiele o jej relacji z Mironem Białoszewskim i próbach wybicia się przez poetkę na literacką niepodległość.
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