POLECAMY
Redakcja:
Tomasz Dobrogoszcz, Tomasz Fisiak, Agata Handley, Krzysztof Majer
Wydawca:
Format:
ibuk
The volume, honoring Professor Dorota Filipczak, whose energetic and fruitful academic career was cut short in 2021, offers a contribution to literary criticism and culture studies, the areas on which her own scholarly endeavors centered. The theme of “the woman artist” was of particular significance both for Filipczak’s inquiry into the work of writers such as Alice Munro, Jane Urquhart, Michèle Roberts or Margaret Laurence, and for her own poetic practice.
Rather than focus on her achievements in various fields (as scholar, writer, teacher, poet, and translator), the texts collected in this volume go beyond remembrance and the honoring of an established scholar’s remarkable feats. Despite their undeniable commemorative role, the chapters are an attempt to carry Dorota Filipczak’s academic endeavors forward, into the future, with her own texts serving as prologue and inspiration. The contributors to the volume — representing various fields of the academia — are her friends, colleagues and collaborators, and the essays eloquently testify to her intellectual influence.
From more personal reflections and ruminations inspired by Filipczak’s life and work to articles exploring the work of a range of women artists, the volume offers an investigation of various approaches to autobiography, tensions between public personas and private selves, subversive performative personas, transcending religious frameworks of bodily discipline, as well as “toggling” between the human and the nonhuman.
Rok wydania | 2024 |
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Liczba stron | 202 |
Kategoria | Publikacje darmowe |
Wydawca | Wydawnictwo Uniwersytetu Łódzkiego |
ISBN-13 | 978-83-8331-398-6 |
Numer wydania | 1 |
Język publikacji | angielski |
Informacja o sprzedawcy | ePWN sp. z o.o. |
POLECAMY
Ciekawe propozycje
Spis treści
Tomasz Dobrogoszcz, Agata Handley, Krzysztof Majer and Tomasz Fisiak – Preface | 9 |
Section 1: Creativity and Memory | |
1. Aritha van Herk – Aesthetic Modes of Attack: The Woman Critic-Artist, Caractère unique | 15 |
2. Mieke Bal – Untimeliness, Inter-ship, Mutuality | 27 |
3. David Jasper – Disciplined Interdisciplinarity | 47 |
Section 2: Multivocality and Interaction | |
4. Dorota Filipczak – “Alternative Selves” and Authority in the Fiction of Jane Urquhart | 61 |
5. Norman Ravvin – What Is In the Picture (and What Is Not): Canada, Women, and Autobiography in the Work of Geraldine Moodie, Eva Hoffman and Alice Munro | 77 |
6. Philip Hayward and Matt Hill – Elizabeth Bernholz’s Gazelle Twin: Disguise, Persona and Jesterism | 99 |
7. Mark Tardi – Vernacular Architecture: Posthumanist Lyric Speakers in Elizabeth Willis’s Address | 121 |
Section 3: Spirituality and Embodiment | |
8. Dorota Filipczak – “Let me hear Thy voice”: Michèle Roberts’s Refiguring of Mary Magdalene in the Light of The Song of Songs | 133 |
9. Jan Jędrzejewski – A Catholic New Woman Artist: A Contradiction in Terms? Sex, Music and Religion in George Moore’s Evelyn Innes and Sister Teresa | 147 |
10. Marta Goszczyńska – Cherishing the Body: Embodiment and the Intersubjective World in Michèle Roberts’s Playing Sardines | 161 |
11. Monika Kocot – On Spaces Within and Between: Dorota Filipczak’s (Embodied) Visions of the Sacred | 175 |