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		<title>Literary Archaeology - Revision history</title>
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			<title>SvDijk at 20:17, 13 November 2012</title>
			<link>http://www.womenwriters.nl/index.php?title=Literary_Archaeology&amp;diff=8081&amp;oldid=prev</link>
			<description>&lt;p&gt;&lt;/p&gt;

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				&lt;td colspan='2' width='50%' align='center' style=&quot;background-color: white;&quot;&gt;Revision as of 20:17, 13 November 2012&lt;/td&gt;
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&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;*Conferences and activities &amp;gt; [http://www.womenwriters.nl/index.php/Meetings_of_COST_Action_%22Women_Writers_In_History%22 COST meetings] &amp;gt; Poznan November 2012 &amp;gt; Sauperl&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;*Conferences and activities &amp;gt; [http://www.womenwriters.nl/index.php/Meetings_of_COST_Action_%22Women_Writers_In_History%22 COST meetings] &amp;gt; &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;[http://www.womenwriters.nl/index.php/Conference_presenting_the_3rd_Milestone &lt;/span&gt;Poznan November 2012&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;] &lt;/span&gt;&amp;gt; Sauperl&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
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			<pubDate>Tue, 13 Nov 2012 20:17:04 GMT</pubDate>			<dc:creator>SvDijk</dc:creator>			<comments>http://www.womenwriters.nl/index.php/Talk:Literary_Archaeology</comments>		</item>
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			<title>SvDijk at 20:05, 13 November 2012</title>
			<link>http://www.womenwriters.nl/index.php?title=Literary_Archaeology&amp;diff=8077&amp;oldid=prev</link>
			<description>&lt;p&gt;&lt;/p&gt;

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				&lt;td colspan='2' width='50%' align='center' style=&quot;background-color: white;&quot;&gt;Revision as of 20:05, 13 November 2012&lt;/td&gt;
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&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;__NOEDITSECTION__&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;__NOEDITSECTION__&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;== &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Ma Li &lt;/span&gt;==&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;== &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Mojca Sauperl &lt;/span&gt;==&lt;/td&gt;&lt;/tr&gt;
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&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;'''&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Mathematics or literature&lt;/span&gt;: &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Sophie Kowalevski&lt;/span&gt;'s &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;choice&lt;/span&gt;'''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;'''&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Literary Archaeology&lt;/span&gt;: &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Disclosing Fanny Mongellaz&lt;/span&gt;'s &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Canon of Women Writers&lt;/span&gt;'''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;''Abstract:''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;''Abstract:''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Are there innate differences between men &lt;/span&gt;and women &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;which cause women to gravitate toward literary activity &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;men toward quantitative activity? According &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Sophie Kowalevski (Sonja Kovalevskaya 1850&lt;/span&gt;-&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;1891&lt;/span&gt;) &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;it is impossible &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;be &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;mathematician without being a poet in soul. In all her life she was unable to decide to which she was more attracted &lt;/span&gt;- &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;mathematics or literature. She said that possibly, &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;each &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;these areas she might have accomplished more&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;if she would have given herself up to it exclusively, nonetheless she was not able to renounce one &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;them completely&lt;/span&gt;. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;In 1828 Fanny Mongellaz (1798–1829) published her second &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;last work ''De l'Influence des femmes sur les mœurs et les destinées des nations, sur leurs familles et la société, et de l'influence des mœurs sur le bonheur de la vie''. Divided into three books, the work deals with the history of &lt;/span&gt;women &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;around the world, their social roles, &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;a number of other, mainly moral, issues. ''De l'Influence des femmes'' is a reaction &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;an essay by Marc&lt;/span&gt;-&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Antoine Jullien de Paris, ''Esquisse d'un cours d'histoire, ou d'un plan de lectures historiques, rapporté spécialement à l'influence des femmes, considéré dans les différens siècles et chez les différentes nations'' (1821&lt;/span&gt;)&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;, where he had invited women &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;write their own history and proposed &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;method of note&lt;/span&gt;-&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;taking &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;the study &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;history&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;comprising a list &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;key words, such as ''piété filiale, amour conjugal, tendresse maternelle, éducation, amour de la patrie, courage, législation relative aux femmes, poésie'', etc&lt;/span&gt;. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Kowalevski was born in Russia as Sofya Vasilievna Kryukovskaya in 1850. &lt;/span&gt;In &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;order &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;get higher education in Germany&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;she married at &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;age &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;18. She was conferred a PhD in mathematics &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;invited to Sweden. Then she began to write her recollections of growing up &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Russia&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;based on her childhood memories. Kowalevski wrote in her mother tongue Russian&lt;/span&gt;, but &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;the first publication in 1889 was a translation into Swedish&lt;/span&gt;. &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt; &lt;/span&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;In &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;her enterprise &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;demonstrate women’s worth&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;and &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;importance &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;their education &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;status &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;society&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Mongellaz adopted Jullien’s key words&lt;/span&gt;, but &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;paid considerable attention to women who were speakers, legislators, philosophers, scientists, polyglots, poets, writers or translators, of all ages and “nations”&lt;/span&gt;. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Her other literary output includes a number of plays&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;novellas&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;poems, essays&lt;/span&gt;, and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;sketches&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;some of which were unfinished. Most of these might be of less &lt;/span&gt;or &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;marginal literary interest today although some were widely read &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;reviewed at that time. In spite of her choosing mathematics above literature&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Kowalevski did pursue literary activities &lt;/span&gt;- &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;indeed not merely out &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;interest. Based on her writings I hope &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;show some interesting insight we can get into &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;complex nature of her personality and the psychological dynamics that shaped her&lt;/span&gt;. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;This paper looks at European women writers since the Renaissance&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;whom Mongellaz mentions&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;uses as sources or critiques. Among these&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;there are 35 francophone writers from Christine de Pizan to the translator &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;writer Bonne de Maussion&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;17 Italian writers from Nina di Messina &lt;/span&gt;or &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;les deux Isotta to Mongellaz’s contemporary educator &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;poet Cecilia de Luna Folliero&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;27 “English” authors from the Seymour sisters to Letitia Elizabeth Landon, and 14 authors of Prussia and Allemagne from Sophia&lt;/span&gt;-&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Charlotte &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Hannover &lt;/span&gt;to the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Dutch Katharina Wilhelmina Bilderdijk-Schweickhardt&lt;/span&gt;. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;After my earlier studies on Kowalevski's achievements &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;mathematics&lt;/span&gt;, and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;further studies on &lt;/span&gt;her &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;life from &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;gender perspective&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;this presentation will focus &lt;/span&gt;on some &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;aspects related &lt;/span&gt;to her &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;literary endeavor &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;output&lt;/span&gt;.&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;The retrieval of European women’s literary heritage bequeathed by this Savoyard-French author is inhibited by a 21st-century reader’s lack of intimacy with what was common knowledge &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;the 1820s&lt;/span&gt;, and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;hindered as well by either scarcity of information in Mongellaz, who (without altogether dismissing quality) favoured quantity, or by possible errors by either Mongellaz or &lt;/span&gt;her &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;source (cases in point are &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;“Madame Recklan”&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;probably the French-German writer Marie Henriette Charlotte Reclam, and a “Madame Hoffman” listed as English but likely to be the Pole Klementyna Hoffmanowa). &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&amp;#160;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Mongellaz was well read and must have known works by many of the authors she mentioned, particularly the historians and novelists, yet in accounting for women writers she admittedly drew &lt;/span&gt;on &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Félicité de Genlis, Pierre-Louis Ginguené and others; she borrowed from Fortunée Briquet but, astonishingly, never mentioned her either as her source or as a writer. Other likely but unacknowledged sources for her information on writers are such diverse texts as Morgan’s ''Italy'' and a short overview of contemporary English women writers in a critique of Landon’s poems by Frédéric Degeorge. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&amp;#160;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Mongellaz herself seems never to have been included in a literary compilation and remains almost entirely neglected today, although she published a novel and included two novellas in ''De l’influence des femmes'', and despite the fact that her work was rather favourably received. However, she has been acknowledged as a writer of &lt;/span&gt;some &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;worth on education, and enjoyed international recognition as a historian of women throughout the 19th century, &lt;/span&gt;to &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;be cited in 1946 by the American historian and feminist Mary Ritter Beard in &lt;/span&gt;her &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;''Woman as Force in History''. &lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&amp;#160;&lt;/td&gt;&lt;/tr&gt;
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&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;SvD, November 2012&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;
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&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;&amp;lt;br&amp;gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;*Conferences &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;activities &amp;gt; [http://www.womenwriters.nl/index&lt;/span&gt;.&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;php/Meetings_of_COST_Action_%22Women_Writers_In_History%22 COST meetings] &amp;gt; Poznan November 2012 &amp;gt; Sauperl&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;
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			<pubDate>Tue, 13 Nov 2012 20:05:43 GMT</pubDate>			<dc:creator>SvDijk</dc:creator>			<comments>http://www.womenwriters.nl/index.php/Talk:Literary_Archaeology</comments>		</item>
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			<title>SvDijk: New page: &lt;br&gt;__NOEDITSECTION__ == Ma Li ==   &lt;br&gt;&lt;br&gt;&lt;br&gt; '''Mathematics or literature: Sophie Kowalevski's choice'''&lt;br&gt;&lt;br&gt;  ''Abstract:''&lt;br&gt;&lt;br&gt;  Are there innate differences between men and wo...</title>
			<link>http://www.womenwriters.nl/index.php?title=Literary_Archaeology&amp;diff=8075&amp;oldid=prev</link>
			<description>&lt;p&gt;New page: &amp;lt;br&amp;gt;__NOEDITSECTION__ == Ma Li ==   &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt; '''Mathematics or literature: Sophie Kowalevski's choice'''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;  ''Abstract:''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;  Are there innate differences between men and wo...&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&amp;lt;br&amp;gt;__NOEDITSECTION__&lt;br /&gt;
== Ma Li ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
'''Mathematics or literature: Sophie Kowalevski's choice'''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
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''Abstract:''&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
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Are there innate differences between men and women which cause women to gravitate toward literary activity and men toward quantitative activity? According to Sophie Kowalevski (Sonja Kovalevskaya 1850-1891) it is impossible to be a mathematician without being a poet in soul. In all her life she was unable to decide to which she was more attracted - mathematics or literature. She said that possibly, in each of these areas she might have accomplished more, if she would have given herself up to it exclusively, nonetheless she was not able to renounce one of them completely. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
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Kowalevski was born in Russia as Sofya Vasilievna Kryukovskaya in 1850. In order to get higher education in Germany, she married at the age of 18. She was conferred a PhD in mathematics and invited to Sweden. Then she began to write her recollections of growing up in Russia, based on her childhood memories. Kowalevski wrote in her mother tongue Russian, but the first publication in 1889 was a translation into Swedish.  &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
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Her other literary output includes a number of plays, novellas, poems, essays, and sketches, some of which were unfinished. Most of these might be of less or marginal literary interest today although some were widely read and reviewed at that time. In spite of her choosing mathematics above literature, Kowalevski did pursue literary activities - indeed not merely out of interest. Based on her writings I hope to show some interesting insight we can get into the complex nature of her personality and the psychological dynamics that shaped her. &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
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After my earlier studies on Kowalevski's achievements in mathematics, and further studies on her life from a gender perspective, this presentation will focus on some aspects related to her literary endeavor and output.&lt;/div&gt;</description>
			<pubDate>Tue, 13 Nov 2012 19:56:09 GMT</pubDate>			<dc:creator>SvDijk</dc:creator>			<comments>http://www.womenwriters.nl/index.php/Talk:Literary_Archaeology</comments>		</item>
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