Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Woolf" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-15 z 15
    Tytuł:
    When the Mind Becomes a Place: The Modernist Psychological Novel
    Autorzy:
    Terentowicz-Fotyga, Urszula
    Powiązania:
    https://bibliotekanauki.pl/articles/579301.pdf
    Data publikacji:
    2018
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    modernism
    psychological novel
    space
    time
    Woolf
    Beckett
    Opis:
    The paper focuses on the modernist psychological novel as a genre that dramatizes the radical transformations of spatial and temporal categories of the time. The genre is often identified with the narrative experiments of stream of consciousness, which represent the mind in and through time. Yet an equally important inheritance of the generic experiments is the spatialization of the mind — understood in the context of the spatial conception of human subjectivity and in terms of the spatial character of inner reality. The paper argues that the most vivid spatialization of the mind is evident in the portrayal of schizophrenic experience and demonstrates the thesis in the analyses of two novels — Virginia Woolf’s The Waves and Samuel Beckett’s Murphy.
    Źródło:
    Zagadnienia Rodzajów Literackich; 2018, 61, 1(125); 9-23
    0084-4446
    Pojawia się w:
    Zagadnienia Rodzajów Literackich
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Vision and Violence in Virginia Woolf’s The Waves
    Autorzy:
    Otto, Peggy D
    Powiązania:
    https://bibliotekanauki.pl/articles/653565.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Virginia Woolf
    The Waves
    visual imagery
    violence
    Opis:
    Virginia Woolf describes her artistic goal in The Waves as an attempt to create “an abstract mystical eyeless book.” Yet, in creating her eyeless book, one that eschews a single narrative perspective, Woolf amasses abundant visual details. For each of her six characters, visual images mark significant moments of being. In fact, Woolf emphasizes the characters’ capacity for sight as a vulnerability that allows them to be violated and wounded over and over. This article analyzes connections between visual imagery and themes of violence in the novel to demonstrate how they cohere into an extended metaphor for the ways in which acts of looking can elicit powerful emotions that threaten to fragment individual identity in painful ways. While Woolf’s novel has received critical commentary that focuses on the role of vision in the narrative and critics have also noted how violence in the text supports other themes, the explicit relationship between sight and violence has not yet been fully explored. A close examination of the visual imagery in key scenes of the novel demonstrates how Woolf engages the reader to participate in the characters’ deepening sense of fragmentation as they are repeatedly assaulted by experience, as the eyes themselves become symbols of the twin dynamics of desire and destruction.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2015, 3, 2
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Англофонный диптих о России и русских Вирджинии Вулф и Джона Стейнбека
    Autorzy:
    Weretiuk, Oksana
    Powiązania:
    https://bibliotekanauki.pl/articles/1022357.pdf
    Data publikacji:
    2020-10-26
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Russian character
    Woolf
    Steinbeck
    Russian soul
    Russian mind
    Opis:
    The paper deals with the reception of the Russian character (mind and soul) by two prominent anglophone writers: Virginia Woolf and John Steinbeck. Virginia Woolf recognizes the Russians and their soul through the perception of the great Russian masterpieces of Tolstoy, Dostoevsky, and Chekhov (The Russian Point of View, essay, 1925); Steinbeck’s A Russian Journal, 1948, presents the Russians as they were observed by the American author in their everyday life, rebuilding their country after WWII. The genre specificity of each work, the differences of time, emotions and purpose of writing, the Russian “experience” of each author, determine a certain heterogeneity of understanding of Russia and Russians; nevertheless, both form a heterogeneous whole of the Anglophone perception.
    Źródło:
    Studia Rossica Posnaniensia; 2020, 45, 2; 9-22
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The (Self)portrait of a Writer: A Hermeneutic Reading of Virginia Woolf’s (Auto)biographical Writings
    Autorzy:
    Hołda, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/1394581.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Virginia Woolf
    autobiography
    hermeneutics
    Paul Ricoeur
    Michel Foucault
    Opis:
    Woolf’s maturing as a writer was deeply influenced by her traumatic experiences in childhood, the (in)capacitating states of mental instability, as well as her proto-feminist convictions. Long before Barthes, she toppled the traditional position of the author, and her literary enshrinement of “the other reality” reached unity with the world rather than individuality. This article ponders Woolf’s creative impulse and investigates her autobiographical writings to show the import of their impact on her fiction, which, as Woolfian scholarship suggests, can be viewed as autobiographical, too. I argue that philosophical hermeneutics sheds light on the self-portrait that emerges from Woolf’s autobiographical writings and offers a rewarding insight into her path of becoming an author. I assert that Paul Ricoeur’s philosophy of subjectivity, and, in particular, his notion of narrative identity provide a route to examine how Woolf discovers her writing voice. In light of his hermeneutics of the self, the dispersed elements of the narrative of life can be seen as a possibility of self-encounter. Woolf’s writings bespeak her gradually evolving self-knowledge and self-understanding, which come from the configuration of those separate “stories” into a meaningful whole. The article also interprets Woolf’s autobiographical writings through the prism of Michel Foucault’s reflection on discourse and subjectivity, indicating that her texts instantiate his assertion of the subject’s constant disappearance.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2020, 6, 1; 52-66
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Virginia Woolf i jej awatary. Ikonizacja oraz zawłaszczenia wizerunku pisarki w kulturze i literaturze popularnej
    Autorzy:
    Szeremeta-Kołodzińska, Katatrzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/638631.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Virginia Woolf, avatars, iconization, popular literature, unauthorized biography
    Opis:
    Virginia Woolf and Her Avatars. Creating an Icon and Appropriating the Writer’s Image in Popular Culture and Literature The act of fictionalising the lives of historical figures, which is the major motivation for this article, has become a common practice and literary phenomenon rather than a short-lived fad. The author analyses several literary works that consciously follow this practice and incorporate Virginia Woolf, an icon and a priestess of Modernism, into the cast of fictional characters. Each writer, representing various tendencies within this practice, creates different avatars – literary representations of Virginia Woolf’s figure which either (partially) correspond or defy the image of this historical figure. Sigrid Nunez in Mitz, the Marmoset of Bloomsbury – ,,unauthorised biography” – appropriates the Woolfian invention of an animal narrator to fictionalise the Woolfs and their domestic life. Looking through the lenses of such an observer casts a different light on this historical figure as well as on the circle of family and friends who frequent the pages of Mitz. Susan Selers’s Vanessa and Virginia, likewise incorporating elements of a biography, focuses on the symbiotic bond between the Stephen sisters, highlighting their rivalry. In The Hours, Michael Cunningham’s literary endeavour and homage to Woolf’s legacy, the writer aims, through one of the three intertwined narratives, to recreate the last day of Virginia Woolf’s life. The author focuses onher daily writing regime which in turn portrays her as a neurotic figure, obsessed with death and how her work might be received. In Passing for Human and I, Vampire Jody Scott plays with the image of Virginia Woolf ad libitum, customising her vision to an image hardly affiliated to Woolf. Generically diverse literary works presented in this study create a multifaceted fictionalised portrait of Virginia Woolf that largely corresponds with biographical facts. At the same time, as in case of Cunningham or Scott, it shows abuse and misuse of certain facts in an attempt to fictionally authenticate the life of the real-life figure
    Źródło:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2013, 8, 1
    2084-3933
    Pojawia się w:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Układ relacyjny bohaterów w powieści Pani Dalloway Virginii Woolf
    The Narrative Schemata in Virginia Woolf’s Mrs Dalloway
    Autorzy:
    Szeremeta-Kołodzińska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/444162.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Warmińsko-Mazurski w Olsztynie
    Tematy:
    Mrs Dalloway
    narrative schemata
    reflector(s)
    Virginia Woolf
    Opis:
    In Virginia Woolf’s ample literary oeuvre the 1925 Mrs Dalloway continues to invite most interest among literary scholars. This article closely examines Woolfian narrative strategies and schemata that pertain to the image of Clarissa Dalloway, the novel’s eponymous character. The subject of analysis is the relation between Clarissa and Peter Walsh (former suitor and confidant) which shapes this portrait. Although he belongs to Clarissa’s “entourage” (Woolf called upon a group of other characters in protagonists’ support), his role as the main observer is most pronounced in the novel. Peter Walsh, who acts as a “reflector” − narrator’s agency − helps to reconstruct for the reader otherwise fragmented and elusive image of Clarissa. His contribution is realised by means of narrative functions he fulfils: legitimising her accounts, accompanying her (as a construct of protagonist’s imagination though) in London strolls and mediating between the realm of imagery and empirical world.
    Źródło:
    Acta Neophilologica; 2013, XV/2; 203-212
    1509-1619
    Pojawia się w:
    Acta Neophilologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Haunting Presence of the Feminine: Virginia Woolf in the Streets of London
    Autorzy:
    Pantuchowicz, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/632512.pdf
    Data publikacji:
    2017
    Wydawca:
    Projekt Avant
    Tematy:
    haunting, Gothicism, Virginia Woolf, gender, flâneur, market, London
    Opis:
    Beginning with the theme of the location of haunting in Gothic interiors and the confusion of life and death and the “sub-central” positioning of the feminine as the hidden source of fearfulness, the paper analyzes Virginia Woolf’s “Street Haunting: A London Adventure” as an example of a narrative written from the position of the haunting in which the figure of fearful feminine is transformed into a “hauntess” participating in the public world on equal rights with others. Woolf’s text, though seemingly positing the protagonist in the position of flâneuse, in fact implicitly criticizes flâneuring as a masculine kind of looking and participating in the public space. Taking place away from home, Woolf’s strolling in the streets of London carnivalizes (in the Bakhtinian sense) the activity by way of a joyful blurring of the split between the home and the market. Transgressing what Kathryn Simpson calls “the male privilege of the flâneur” (2010: 47) and rendering the transgression as haunting, Woolf evades participation in the masculine world of traffic and exchange by way of bringing the space of the Gothic confinement, and also of entombment, to the public.
    Źródło:
    Avant; 2017, 8, 2
    2082-6710
    Pojawia się w:
    Avant
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Translating and Transcending Censors: Modernist Appropriation and Thematisation of Censorship in the Works of Virginia Woolf, Allen Ginsberg, Czesław Miłosz and Bohumil Hrabal
    Autorzy:
    Sriratana, Verita
    Polišenská, Milada
    Powiązania:
    https://bibliotekanauki.pl/articles/951606.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    censorship
    Modernism
    Virginia Woolf
    Allen Ginsberg
    Czesław Miłosz
    Bohumil Hrabal
    Opis:
    Censorship has often been regarded as the archenemy of artists, thinkers and writers. But has this always been the case? This research paper proposes that censorship is not a total evil or adversarial force which thwarts and hinders twentieth-century writers, particularly those who were part of the artistic, aesthetic, philosophical and intellectual movement known as Modernism. Though the word “censor” originally means a Roman official who, in the past, had a duty to monitor access to writing, the agents of censorship – particularly those in the modern times – are not in every case overt and easy to identify. Though Modernist writers openly condemn censorship, many of them nevertheless take on the role of censors who not only condone but also undergo self--censorship or censorship of others. In many cases in Modernist literature, readership and literary production, the binary opposition of victim and victimiser, as well as of censored and censor, is questioned and challenged. This research paper offers an analysis of the ways in which Virginia Woolf (1882–1941), Allen Ginsberg (1926–1997), Czesław Miłosz (1911–2004) and Bohumil Hrabal (1914–1997) lived and wrote by negotiating with many forms of censorship ranging from state censorship, social censorship, political censorship, moral censorship to self-censorship. It is a study of the ways in which these writers problematise and render ambiguity to the seemingly clear-cut and mutually exclusive division between the oppressive censor and the oppressed writer. The selected writers not only criticise and compromise with censorship, but also thematise and translate it into their works.
    Źródło:
    Poznańskie Studia Slawistyczne; 2018, 14; 289-312
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    READER’S MEANDERS: VIRGINIA WOOLF’S ESSAYS
    Wędrówka czytelnika: eseje Virginii Woolf
    Autorzy:
    Księżopolska, Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/509300.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Finansów i Biznesu Vistula
    Tematy:
    Woolf
    modernism
    biography genre
    essay genre
    Modernizm
    gatunek biografii
    gatunek eseistyki
    Opis:
    The essay analyses the style and content of Virginia Woolf’s essays. The genre is reinvented by Woolf, who is famous for writing fiction without plot, and who yet often uses fabula-based structures in her supposedly non-fictional writings. The essay examines several examples of Woolf’s technique, addressing her writings on reading, fiction-writing, biography, travel and the art of seeing the world.
    Autorka analizuje styl i treść esejów Virginii Woolf. Gatunek eseistyczny został na nowo wymyślony przez Woolf, znanej z pisania prozy bezwątkowej, którą jednak obserwujemy sięgającej do struktur opartych na fabule w swoich rzekomo niefikcyjnych dziełach. W eseju omawiane są przykłady tej techniki, odnosząc się do jej prozy eseistycznej o czytaniu, pisaniu fikcji, biografii, podróżach i sztuce oglądania świata.
    Źródło:
    Zeszyty Naukowe Uczelni Vistula; 2019, 65(2) Filologia; 16-35
    2353-2688
    Pojawia się w:
    Zeszyty Naukowe Uczelni Vistula
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Mind Is the World: Virginia Woolf on the Embodied Self
    Autorzy:
    Serrano, Leonor María Martínez
    Powiązania:
    https://bibliotekanauki.pl/articles/2159832.pdf
    Data publikacji:
    2020-12-13
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    embodied self
    more-than-human
    perception
    transcorporeality
    vibrant matter
    Virginia Woolf
    Opis:
    Drawing on Jean-Luc Nancy’s insights into bodies as the place of existence, David Abram’s thinking on the more-than-human world, Jane Bennett’s conceptualisation of vibrant matter and Stacy Alaimo’s notion of “transcorporeality,” this article explores how Virginia Woolf transforms fiction into a powerful epistemological tool in her examination of the self amidst a vibrant world. In novels like Mrs. Dalloway (1925), To the Lighthouse (1927) and The Waves(1931), Woolf found not only that human beings are finite, singular and exposed, but also porous, embodied selves that are sensuously immersed in the vitality intrinsic to matter. Fascinated by the flow of consciousness and the workings of the human mind when confronted with reality, the novelist seeks to capture the evanescent moment in time as refracted through the consciousness of her own characters. Her compulsion to write down impressions, thoughts, and half-ideas is expressive of her concern with imposing order upon the phenomena of a world populated by agentive entities through the medium of language. If the flux of life was simply unstoppable, language gave her at least the opportunity to freeze moments of being and look at them as if from simultaneous perspectives, as well as to shed light on how humans are in and of the earth – i.e., part of, not apart from, a more-than-human world.
    Źródło:
    Ars inter Culturas; 2020, 9; 295-315
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fotografia, szok i oburzenie: ramy wojny
    Photography, shock and wrath: frames of war
    Autorzy:
    Sendyka, Roma
    Powiązania:
    https://bibliotekanauki.pl/articles/969622.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    war
    war photographs
    Wirginia Woolf
    Susan Sontag
    Judith Butler
    wojna
    fotografia wojenna
    Opis:
    Modern military conflicts seem to involve more and more ardently the tools of visual discourse. Machine-made pictures, as modern acheiropoeta, provide the mass spectatorship with countless images of wars in Iraq, Afghanistan, or the Balkans. However, the “war of images,” so often diagnosed by contemporary scholars of visual culture, seem to have an interesting feature, which so far has not been pronounced sufficiently enough in current discourse. Namely, the classical mode of pictorial representation of war concentrated predominantly on the Fronterlebnis: the First World War drawings or photographs showed soldiers in immediate combat; the contemporary mode of representation seems to prefer the pre- or post-combat situations: missiles before hitting the target, towns after the bombing etc. Therefore, the main position of the observer shifts from the one of the field soldier to the one of an observer, of a passive by-stander. Traditionally, this position was occupied by women and for that reason it is important to investigate their accounts of “looking at the war atrocities.” The article follows a discussion built up over the years by the books of Virginia Woolf (Three Guineas, 1936) and Susan Sontag (Regarding the Pain of Others, 2003), and a recent publication by Judith Butler (Frames of War, 2009).
    Źródło:
    Wielogłos; 2012, 2, 12; 93-104
    2084-395X
    Pojawia się w:
    Wielogłos
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Moments of liberty. (Self-)censorship Games in the Essays of Virginia Woolf
    Autorzy:
    Pająk, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/650133.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Virginia Woolf
    liberty
    censorship
    self-censorship
    personal essay
    women’semancipation
    non-heteronormativity
    pacifism
    Opis:
    What is surprising in Virginia Woolf’s essays is the scale and the audacity of her intellectual searches – in the time of increased repressive censorship and growing totalitarianisms, she approached the themes of freedom which have remained controversial ever since. The article presents the essayistic nature as a strategy applied by Woolf in her personal essays to avoid censorship, and intentionally expand the limits of freedoms important to her. The author offers an outline of the mechanism of repressive censorship and the chilling effect it worked in the interwar United Kingdom based on the examples of suspensions of outstanding modernist works and show-trials of writers. She presents three areas of study of freedom in Woolf’s essays: women’s emancipation, tolerance towards non-heteronormative persons, and pacifism, as well as the areas of private and public (self-)censorship which existed therein.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2017, 45, 7
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zagadnienia biografii literackiej Marii Jasińskiej
    Maria Jasińska’s Zagadnienia biografii literackiej (Problems in Literary Biography)
    Autorzy:
    Marzec, Lucyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1365787.pdf
    Data publikacji:
    2017-03-06
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    biography studies
    biographical reportage
    Virginia Woolf's Flush
    referential pact
    biographism
    Julian Barnes
    Flaubert's Parrot
    academic pedagogical practice
    biographical scholarship
    naukowość biografii
    reportaż
    Flush Virginii Woolf
    pakt referencjalny
    pakt biograficzny
    papuga Flauberta
    dydaktyka akademicka
    biografistyka
    Opis:
    Artykuł omawia najważniejsze uwarunkowania przemian dwudziestowiecznej biografistyki, stawiając sobie za cel ukazanie ograniczeń i nowych ścieżek biografii, w odniesieniu do trzech obszarów: praktyki literackiej (na przykładzie Virginii Woolf i Juliana Barnesa), dydaktyki akademickiej (na przykładzie doświadczenia autorki tekstu) oraz jednej z klasycznych prac z zakresu biografistyki w literaturoznawstwie polskim: Zagadnień biografii literackiej Marii Jasińskiej z 1970 roku, która bliska jest refleksjom Philippe’a Lejeune’a na temat biograficznego paktu referencjalnego. Biografistyka, będąca od początku swojej historii dyskursem hybrydycznym, łączącym literackość, dokumentarność i (popularno)naukowość, w wieku dwudziestym z jednej strony rozwinęła się na skalę dotąd nieznaną (tendencja ta jest podtrzymana i w obiegu akademickim i popularnonaukowym; powstał też odrębny gatunek reportażu biograficznego), z drugiej strony stała się przedmiotem zainteresowania modernistycznych i postmodernistycznych twórców, traktujących konwencje i tradycje biografii jako asumpt do pytań o jej filozoficzne inklinacje.
    The article discusses the most important factors behind transformations in the twentieth-century study of biography, setting as its aim demonstrating the limits on and new paths for biography in relation to three areas: literary practice (working with the examples of Virginia Woolf and Julian Barnes), university pedagogical practice (using the example of the author’s experience), and one of the classic works in the area of the study of biography in Polish literary studies: Maria Jasińska’s 1970 book Zagadnienia biografii literackiej (Problems in Literary Biography), which touches on common ground with the work of Philipp Lejeuene on the biographical “referential pact.” Biography, having been since its inception a hybrid discourse, joining together literariness, a documentary aspect, and a (popular-) scholarly aspect developed in the twentieth century on an unprecedented scale (this tendency is sustained in academic and popular-scientific discourse; the separate genre of biographical reportage also emerged), while the topic also became a focus of interest among modern and postmodern writers who treated the conventions and traditions of biography as pretexts for questions about its philosophical direction.
    Źródło:
    Forum Poetyki; 2017, 7; 86-97
    2451-1404
    Pojawia się w:
    Forum Poetyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jane Austen (dla) Josepha Conrada
    Autorzy:
    Karol, Samsel,
    Powiązania:
    https://bibliotekanauki.pl/articles/897008.pdf
    Data publikacji:
    2019-10-31
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Jane Austen
    Joseph Conrad
    Edith Wharton
    Henry James
    Virginia Woolf
    Janeitism
    Gra losu
    the making of England’s Jane
    janeityzm
    Opis:
    The understanding of Jane Austen was for Joseph Conrad (probably) the condition of the understanding of the English soul as such. And, even if we roam around fascinating hypotheses, it is worth formulating them – mainly because they are a new key to the reading of the works of the author of Lord Jim. His problems with the literary heritage of Austen could be affected by different, numerous factors: 1) the growing popularity of Janeites; 2) the authority of, appreciating the author of Mansfield Park, Henry James; 3) the feeling of being lost of the Polish writer in the situation of the late novelist debut; 4) the literary tradition of the Ukrainian School in the Polish Romanticism, in which he was raised and he formed his personality. Conrad could make an attempt of dealing with, incomprehensible for himself, Austen in the 1910s, in the period of jubilees of the editions of her novels. In this spirit, it is worthy to read again such prose texts of Conrad, as: Zwycięstwo (1915) and Ocalenie (1920), but above all – the earliest from this group – Gra losu (1913).
    Źródło:
    Przegląd Humanistyczny; 2019, 63(2 (465)); 77-90
    0033-2194
    Pojawia się w:
    Przegląd Humanistyczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O eseistycznym usuwaniu obrazów twarzy: Ulicami Londynu: przygoda (1927) Virginii Woolf i Akacje kwitną (1935) Debory Vogel
    On Not Showing the Face: Street Haunting (1927) by Virginia Woolf and Acacias Bloom (1935) by Debora Vogel
    Autorzy:
    Bruś, Teresa
    Powiązania:
    https://bibliotekanauki.pl/articles/1385961.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Szczeciński. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
    Tematy:
    Virginia Woolf
    Street Haunting
    Debora Vogel
    Acacias Bloom essay
    face
    visual perception
    adventuressness
    fragmentation
    Ulicami Londynu: przygoda
    Akacje kwitną
    esej
    twarz
    percepcja wizualna
    przygodność
    fragmentaryzacja
    Opis:
    Artykuł O eseistycznym usuwaniu obrazów twarzy: „Ulicami Londynu: przygoda” (1927) Virginii Woolf i „Akacje kwitną” (1935) Debory Vogel proponuje analizę widzeniowych eksperymentów degradujących spojrzenia face-to-face jako kobiecych wyjść „bez twarzy” ku światu, poza widzialne i pewne „ja”. Te estetyczne strategie oporu i niedookreśloności ilustrują tendencje esejów autorstwa Woolf i Vogel do rozpraszania, rozczłonkowania i odchodzenia od żywości idei jedności wyrażanej przez twarz.
    The paper On Essayistic Erasure of the Images of the Face: Virginia Woolf‘s “Street Haunting: A London Adventure” and Debora Vogel’s “Accacias Blooming” addresses Woolf’s and Vogel’s essayistic acts of visual experimentation challenging the conventional “face-to-face” optics. The paper argues that both nomadic auteurs decompose and erase images of the face to transgress the visible and unified subject. The essaysitic “I”s leave their domestic habitus “without the face” to explore the cityscapes. I argue that by means of such departures they can exercise potent strategies of indeterminacy, even rebellion. Gesturing towards new paradigms of the face, they transform the essay.
    Źródło:
    Autobiografia Literatura Kultura Media; 2018, 10, 1; 37-49
    2353-8694
    2719-4361
    Pojawia się w:
    Autobiografia Literatura Kultura Media
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-15 z 15

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies