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Studia Litteraria Universitatis Iagellonicae Cracoviensis

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np. 10.4467/16890027AP.16.022.6009
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Volume 13, Issue 4

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2018 Następne

Data publikacji: 19.12.2018

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Celina Juda

Sekretarz redakcji Dominika Kaniecka

Zawartość numeru

Gabriela Abrasowicz, Magdalena Koch

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 4, 2018, s. 237 - 255

https://doi.org/10.4467/20843933ST.18.021.9474
The bloody conflicts accompanying the collapse of Yugoslavia in 1991–1995 have become one of the extremely interesting, recurrent subject in the (post)Yugoslav drama and theatre. The female artists and playwrights also leap at a chance to abreact the horrors of war. Their engaged art and writing defined by a syntagma: (anti)war female dramaturgy arises interest, because it is situated/placed in the opposition to the masculinist mode of describing armed conflicts, their side effects and consequences. The paper presents three categories of contemporary
(post)Yugoslav female drama heroines who represent three role models in war narratives: Victims – Alienated – Agents. The analytical part of a paper consists of three parts. Firstly, the problem of female victims of ethnic rapes is presented on an example of drama Maria’s Pictures (Slike Marijine, 1992) by Croatian playwright Lydia Scheuermann Hodak. Secondly, the category of alienated heroines is illustrated by a play Finger (Gishti, 2011) by Albanian author Doruntina Basha from Kosovo in which refugees problems and questions evoked by missing persons (husbands and sons) is thematised. Thirdly, there are presented three plays by Croatian author Ivana Sajko representing the figures of violence activism: a figure of avengeress (Archetype: Medea – monologue for a Women who Sometimes Speak, 2000), a female terrorist (Woman-Bomb, 2003) and an emperess-warrior (Europe – a monologue for Mother Courage and her Children, 2004). The stress is also put on the artvivism as well as on catharctic function of this artistic creativity.
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Roswitha Badry

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 4, 2018, s. 257 - 269

https://doi.org/10.4467/20843933ST.18.022.9475
Since the 1970s women authors in Egypt have produced a number of narratives that centre on the plight and fate of socially marginalised women. In this context marginalisation is not only understood in the sense of socio-economically disadvantaged women of the lower strata but also refers to non-conformist women, whose behaviour is considered to be deviant from the norm, abnormal or even mad by mainstream society. As a result, they feel alienated from society, and choose diverse ways (passive, active, or subversive) of coping with their fate. This contribution will take selected novels and short stories written by Alifa Rifaat (1930–96), Nawal El Saadawi (b. 1931), and Salwa Bakr (b. 1949) as examples in order to demonstrate the shift in emphasis and perspective on the topic. This will be done against the individual biographical background and writing career of the three authors. Although all authors are committed to women’s issues and gender equality, not all of them can be described as feminist writer-activists.
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Piotr Gierowski

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 4, 2018, s. 271 - 283

https://doi.org/10.4467/20843933ST.18.023.9476
The main aim of the paper is to present a literary model of the family in the Czech poetry of the 1950s. The author explains the way the socialistic ideology determined and changed the character of intimate family relationships showed in literature. Another aspect of the problem is also undertaken: the author describes the way how the socialistic literature was using family relationships as a metaphor of the communistic state and party. The traditional attributes of the family was used in literature and propaganda to depict the relations between the individual and society and to create the vision of the socialistic state.
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Barbara Marczuk-Szwed

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 4, 2018, s. 285 - 295

https://doi.org/10.4467/20843933ST.18.024.9477
The Fortune is a one of basic concepts functioning both in literature and in moral discourse of the Renaissance. The main difficulty that Christian writers are facing while dealing with this concept, is the definition of the Fortune’s prerogatives: it is responsible for unpredictable and changeable course of human life, yet it is also subject to the rational and just Divine Providence.
The paper investigates this problem in three tales (10, 42, 57) from the collection Les comptes du monde adventureux signed by A.D.S.D. The author proves that, according to the moralist narrator, the protagonists who follow their own passions, are unconditionnally subject to whims of the hostile and cruel Fortune. Those who choose as guides God and reason, can count on Providence intervention. This position distinguishes A.D.S.D. from the views of Masuccio Salernitano, whose tales he has adapted in this collection. 
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Jarosław Zawadzki

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 4, 2018, s. 297 - 307

https://doi.org/10.4467/20843933ST.18.025.9478
The aim of this paper is to show and explain the similarities that can be identified between the early Taoists philosophy of Lao-Chuang and the poetry of the American poet Robinson Jeffers along with his doctrine of inhumanism. In the books of Tao Te Ching and Chuang Tzŭ, Tao has been depicted as a natural force (or even nature itself) that creates but then leaves its creation alone for good or bad. A Taoist sage accepts such natural manifestations of violence as death or suffering, for it is the way things work in the world. Jeffers’s attitude toward nature and society resembles that of Tao and Taoist sages. Jeffers, however, goes a step further: not only does he accept violence and suffering as part and parcel of life, but he praises them, as a classical poet would praise beauty and love.
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