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- Packalén, Malgorzata Anna, 1952-
(författare)
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Nieobecna obecność: kobieca mimikra literackiej konwencji na przykładzie wybranych utworów Nataszy Goerke i Olgi Tokarczuk
- 2009
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Ingår i: Swedish Contributions to the Fourteenth International Congress of Slavists (Ohrid, 10-16 September 2008). - Umeå : Print&Media. - 9789172648142 ; , s. 81-91
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Konferensbidrag (refereegranskat)abstract
- The culture of the nobility, with their strong influence in forming Poland’s very special mentality, established the Polish view of the woman and her role in society. What is particularly characteristic of women’s position in Poland still today is the notion of the inherent nature of femininity and the idea that a woman’s purpose is first and foremost to be a mother. The Polish woman symbol has another specific dimension, the strongly emotional image of “The Polish Mother” (Matka-Polka), who – like the Virgin Mary – unselfishly sacrifices her own child not just for the common good but, in Poland’s case, for the fatherland that has endured centuries of suffering. This determines the Polish view of women in general and the Polish woman’s self-image: she knows that she is expected to fulfil the traditional feminine scenario. It is this very old tradition that makes the “feministic” problem, in all its different senses, still a very controversial issue in Polish cultural and literary contexts. Herein lies a powerful reason for the restrictive, reserved way that “femininistic” themes have been and still are treated in Polish literature, which is heard clearly in discussions of the works by young Polish female writers. Several of these works published in the beginning of the 1990s made an attempt to re-evaluate the traditional image of women in Polish literature. Portrayals of women by Izabela Filipiak, Manuela Gretkowska, Natasza Goerke and Olga Tokarczuk especially deviate from the traditional figures in earlier Polish literature. In their view of the world and in their narrative strategies, these writers have more or less unconsciously distanced themselves from tradition and created their own means of approaching “woman” and “femininity”. A distinguishing feature here is that their strategies are all characterised by a kind of narrative and linguistic mimicry. Borrowing Luce Irigaray’s term, one might be tempted to claim that they represent the “female mimicry of male discourse” and thus through this kind of mimetism (or its parody) disrupt patriarchal logic. As Irigaray argues, “To play with mimesis is thus, for a woman, to try to recover the place of her exploitation by discourse, without allowing herself to be simply reduced to it.” The focus in this discussion is on the works of Natasza Goerke and Olga Tokarczuk. They belong to the same generation of writers, and both take a stand against the new feministic trends in Polish literature, although their ways of using and treating the “feminine” aspect are very different. Their female characters have one thing in common: they live in a society run by men. Aware of this unjust division and treatment, these authors bring up, convey and defend the nature and rights of femininity in their writing – albeit in different ways. In a similar way, Goerke and Tokarczuk realise that the only way to get at and decode the deeply rooted and obsolete ideals and notions about the differences between the sexes is to attack their reflection in the cultural stereotypes and national myths, where foremost Mother Poland and motherhood have their given places. When Goerke and Tokarczuk take the somewhat Promethian role of speaking in the name of women and femininity, they see all these banal patterns as their greatest opponents. At the same time, however, they use protective masks and manoeuvers to be able to put a distance between themselves and the reality they describe. Their “feminine mimicry” is however expressed – as I try to argue – in a completely different way. Goerke takes on the male perspective in her narrative worlds. This mimicry that Goerke uses to keep at arm’s length from these ideas allow her to go over the boundaries of the feminine, staked out by culture and tradition, and make the cultural absurdities of Poland come out even more clearly and sharply. Tokarczuk’s writing is somewhat different. Her approach to patriarchal stereotypes and male values is more of the “non-aggressive” type, almost quiet. This does not mean that Tokarczuk does not take up the fight against these stereotypes and patterns that devalue women, but she does this in quite another way. Her mimicry is made up of a conscious mythologising and even a re-sacralisation of the female sphere she describes. Goerke’s and Tokarczuk’s books deal not only with a position of resistence toward patriarchal stereotypes and male values in Polish literature. Their works also put forth a female perspective in the literature under consideration – it is “women’s femininity” that is discussed and uncovered in all its vulnerability. The works of these authors were created under the influence of the past decade’s feminist debates in Poland and in opposition to the strong patricharchal tradition. Goerke’s and Tokarczuk’s literary strategies and protective narrative manoeuvers thus give us a salient example of how difficult is the woman’s path, from a position of subordination dictated by tradition, to freedom; especially in a country that is so strongly formed by the burden of its history.
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- Packalén, Malgorzata Anna, 1952-
(författare)
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”Somliga gillar poesi…” – om fenomenet Szymborska i Sverige
- 2014
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Ingår i: Slovo. - Uppsala : Uppsala universitet. - 2001-7359. ; :55, s. 149-159
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Tidskriftsartikel (refereegranskat)abstract
- The first spontaneous reaction by Swedish society when Wisława Szymborska was awarded the 1996 Nobel Prize in Literature was great collective surprise. In spite of the fact that never before had so much been written about the laureate - dealing with literary aspects as well as personal character traits - a majority of the Swedish public was still relatively ignorant of the laureate. Nevertheless, among Swedish Slavists, she had her loyal adherents. Already in the beginning of the 1960s, Nils-Åke Nilsson published an anthology of Polish poetry, Det nakna ansiktet (“The Naked Face”). In 1980, the first Swedish anthology of poems by Szymborska was published, interpreted by Per-Arne Bodin and Roger Fjellström: Aldrig två gånger (“Never twice”). Among those who discovered and appreciated Szymborska’s poetry at an early stage was undoubtedly Professor Sven Gustavsson. Already in 1980, he organized a conference on contemporary Polish poetry at the Department of Slavic Languages at Uppsala University and, in 1984, a symposium devoted exclusively to the poetry of Wisława Szymborska. In 1993, she visited Stockholm University and Uppsala University, attending meetings with students and other interested participants. Today, Szymborska’s poems are still very popular and appreciated, a fact that explains the great demand for renewed editions of her works. The reasons for this popularity are to be found in the complex picture of Szymborska’s literary and non-literary qualities, whose common denominator is simplicity. This is not just a keyword in relation to her poetry, but also in relation to the poet's psychological characteristics. It also forms the basis for what I call “the Szymborska phenomenon in Sweden.” In my article, beyond the reactions of society to Szymborska’s Nobel Prize, I discuss Sven Gustavsson’s lifelong commitment and involvement in the dissemination of Szymborska’s poetry in Sweden. This article is dedicated to the memory of Professor Gustavsson.
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- Packalén, Malgorzata Anna, 1952-
(författare)
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Strefa "pomiędzy" w dwóch powieściach Katarzyny Tubylewicz
- 2017
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Ingår i: Polska literatura emigracyjna w Szwecji po roku 1989. - Stockholm : Drukarnia Elpil, Siedlce. - 9789198423006 ; , s. 87-98
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Bokkapitel (refereegranskat)abstract
- The “between” zone in two novels by Katarzyna TubylewiczIn this article I analyze two novels by Katarzyna Tubylewicz: Własne miejsca (2005) and Rówieśniczki (2014). They have similar narrative structures, themes and stylistic modes. Their plots take place in both Sweden and Poland and reveal a world seen through different filters: social, historical, cultural, religious and emotional. The world presented in these books falls therefore in a “between” zone. The common denominator is mainly a problem of emigration, external and internal, as well as the problem of nationality. The author takes up, amongst others, the problem of xenophobia and societal attitudes to abortion and the Jewish cause. Tubylewicz also refers to and parodies the various national stereotypes, including the image of the Polish Mother and opinions of other nationalities and cultures. An important question is whether preservation of national identity and fidelity to one’s own culture is possible in times of geographical mobility.
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- Packalén, Malgorzata Anna, 1952-
(författare)
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W smudze cienia… : O poezji Edith Södergran och Haliny Poświatowskiej
- 2019
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Ingår i: Recepcja i adaptacja – mecenaty i migracje. - Katowice : Wydawnictwo Gnome. - 9788363268619 ; , s. 158-174
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Bokkapitel (refereegranskat)abstract
- In the Shadow of Dusk ... On the Poetry by Edith Södergran and Halina Poświatowska.Two young women, two extremely talented poets, two distant cultures and one convergentfate marked by living with an incurable illness – this is how one could briefly summarize twoof the most fascinating poetic personalities of the 20th century: Edith Södergran and HalinaPoświatowska. Both poets died at the age of just over thirty, leaving behind works whichtestify not only to their great talent and poetic potential, but also to their extraordinary femalesensitivity and maturity. Although they came from different cultures and times, and wrote intwo different languages (Swedish and Polish), it is hard not to see a stunning affinity betweentheir powerful poetic visions. The article explores these thematic similarities by focusing ontheir understanding of human fate, female sensuality and desire for existential freedom inexpressing their own thoughts and their being in the world.
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- Packalén Parkman, Malgorzata Anna, 1952-
(författare)
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Femmes fatales polskiej wsi : Seksualizm a konwencje społeczno-literackie w powieściach Orzeszkowej, Reymonta i Dąbrowskiej
- 2010
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Ingår i: Slovo. - 0348-744X .- 2001-7359. ; 50, s. 87-105
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Tidskriftsartikel (refereegranskat)abstract
- Femmes fatales of the Polish Village: Sexuality, Society and Literary Conventions in Orzeszkowa, Reymont and DąbrowskaThe works of Eliza Orzeszkowa, Władysław Reymont, and Maria Dąbrowska set in Polish rural society at the end of the nineteenth century, contain a wealth of material relating to the image of woman and the ways in which the female world is created. This article analyses the sphere of female sexuality and how the female figures that violated accepted norms – the femmes fatales – are created.I argue that the depicted "degradation" of women in these works reflects existing cultural codes and conventions. It conforms above all to views long established in the social consciousness – and dictated by the Catholic Church – concerning sexuality, sexual feelings and especially female physiology. These views were particularly dominant in the small close-knit communities where these novels and short stories are set.
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