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- Ingbrant, Renata, 1966-
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From Her Point of View : Woman's Anti-World in the Poetry of Anna Świrszczyńska
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This book is a monograph about Anna Świrszczyńska’s poetry. It may be described as one woman’s attempt to read another woman’s literary work by taking into account established canons as well as the tools of feminist literary analysis. Part One begins with a discussion of Świrszczyńska’s biography (Chapter One). It then moves on to an overview of critical (mainly male) reactions to Świrszczyńska’s work (Chapter Two), with special regard to Czesław Miłosz’s contribution to its interpretation and popularization (Chapter Three). In Part Two there are three principal discussions: 1) of Anna Świrszczyńska’s early work Wiersze i proza [Poems and Prose] (1936), in which the poet develops her specific female view of European art and culture as disintegrated into incongruent fragments. Her premonition of the apocalypse, which is soon to be fulfilled in the events of World War II, finds its expression in the poet’s desperate attempts to unite the fragments of a shattered culture into individualized versions of myths (Chapter Four); 2) of the collection Budowałam barykadę [Building the Barricade] (1974), in which what is most crucial to the poet (biographically and poetically) is expressed – the encounter with human suffering in an inhuman world. Following this, her poetic view of the mortal body exposed to suffering under an empty sky becomes a well established motif in her work (Chapter Five); 3) of the collection Jestem baba (1972), in which Świrszczyńska introduces into poetry, by making the non-poetical “baba” her lyric heroine, the “outlawed feminine” and, as a result, revolutionizes the language of poetry and poetic representation, which leads in turn to liberating herself from the hegemony of the totalizing male gaze. In this way her anti-world is created (Chapter Six). The “world” is understood here as a male term – one might say that Świrszczyńska creates a “woman’s anti-world” as a place where the woman herself has to regain the right to name things according to her own terms.
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The new woman and the aesthetic opening : unlocking gender in twentieth-century texts
- 2004. - 1
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Is there such a thing as an aesthetic feminism? How has the poetics of gender changed since the beginning of the twentieth century? Starting with the Modern Breakthrough and the fin de siècle and ending with a discussion of contemporary literary feminism, this anthology attempts to redirect the study of the interrelation of aesthetics and gender by giving historical perspective to twentieth-century literary works. Its approach invites a de-centering of modernist aesthetics and a revision of the canon with its persistent cult of the male genius at the expense of the more dialogical model of women´s literature. By following the course of women´s and men´s literature throughout the period, gently unlocking the gridlock of gender and aesthtics in high modernism, it traces a forgotten dialogue between the sexes.The New Woman should be understood as a figure connecting nineteenth-century discourses of sexuality and the feminist movement(s) in a discursive response. Her brave redefinition of the gender contract is an indispensable gateway to modern culture. The fin de siècle anticipated postmodernism themes such as unstable male-female identities, the importance of Eros, a queer fantasy of a neuter gender, and the narcissistic game of self-invention as a response to the feeling of loss of collective values.This volume works across the east-west divide, discussing texts by Victoria Benedictsson, Lou Andreas-Salomé, Illa Christensen, Selma Lagerlöf, Henrik Ibsen, Knut Hamsun, Karen Blixen, L. Onerva, Elin Wägner, Ida Bäckman, Alexandra Kollontai, Colette, Djuna Barnes, Agnes von Krusenstjerna, Sigfried Siwertz, Karin Boye, Vicki Baum, Tora Dahl, Natasha Goerke, Natasha Tokarczuk, Henning Mankell adn Liza Marklund
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