| Revision as of 13:15, 20 October 2011 (edit) SvDijk (Talk | contribs) (New page: <br>__NOEDITSECTION__ == Corinne Fournier Kiss == <br><br><br> Eliza Orzeskowa’s reception of George Sand<br><br> *Kirsi Tuohela: <br> *The Reception of the Baltic German Writer Laura...) ← Previous diff |
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| - | Eliza Orzeskowa’s reception of George Sand<br><br> | + | '''Eliza Orzeskowa’s reception of George Sand: : crossed reading of ''La Petite Fadette'' (Sand) and ''Dziurdziowie'' (Orzeszkowa)'''<br><br> |
| - | *Kirsi Tuohela: <br> | + | ''Abstract''<br><br> |
| - | *The Reception of the Baltic German Writer Laura Marholm-Hansson in Nordic Countries and Germany<br><br> | + | |
| - | + | ||
| - | *Isabel Lousada: <br> | + | |
| - | *Portugese translators of British authors from 1554 to 1900<br><br> | + | |
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| - | '''Session B. Paratexts and Self-Fashioning of the female author'''<br><br> | + | |
| - | *Anne-Birgitte Rønning:<br> | + | It is a leitmotif of [http://neww.huygens.knaw.nl/receptions?fromreceptionsearch=1&sort=year&page=1&searchtoggle=on&workauthor=sand&worktitle=&receptionauthor=&receptiontitle=&receptionyear=&country_ids=16&references=¬es=&per_page=20 George Sand’s reception in Poland] during the 19th century that Sand was more famous because of her personality than because of her art. The literary influence she may have had on Polish women writers is not an issue that has ever been seriously examined. [http://neww.huygens.knaw.nl/authors/show/2315 Eliza Orzeszkowa] was called the "Polish Sand" by her German and even Polish contemporaries, yet this did not imply that any similarity between their works was thought to exist: the reference to Sand was simply meant to stress Orzeszkowa’s talent and literary productivity.<br><br> |
| - | *Self-positioning and genre-negotiating in female-authored Robinsonades<br><br> | + | |
| - | *Carme Font Paz:<br> | + | An attentive reading of Orzeszkowa’s works (of her novels as well as of her critical texts and her correspondence) shows nevertheless that she knew Sand’s writings very well and appreciated them. In this paper, I will focus on a comparative reading of [http://neww.huygens.knaw.nl/works/show/272 ''La petite Fadette''] by George Sand and [http://neww.huygens.knaw.nl/works/show/11902 ''Dziurdziowie''] by Eliza Orzeszkowa – two works whose main protagonist is a young woman treated as a witch by her village community. |
| - | *Defending Female Authorship in Elizabeth Poole’s ''A Vision'' (1648)<br><br> | + | |
| - | 11:00 – 11:15<br> | ||
| - | Break<br> | ||
| - | 11:15-12:00<br><br> | ||
| - | *Ele Carpenter:<br> | ||
| - | *Embroidered Digital Commons<br><br> | ||
| - | |||
| - | 12:00 – 1:00 am <br> | ||
| - | Lunch<br> | ||
| - | 1:00 - 2:30 pm <br><br> | ||
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| - | '''Theoretical Approaches to Quantitative/Qualitative Research'''<br><br> | ||
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| - | *Alessa Johns:<br> | ||
| - | *Explicating Cultural Transfer<br><br> | ||
| - | |||
| - | *Tania Badalic and Begona Regueiro:<br> | ||
| - | *Leading Voice – The reception of George Sand in Slovenia, Spain and Germany<br><br> | ||
| - | |||
| - | * Kim Heuvelmans and Ton van Kalmthout:<br> | ||
| - | * The Representation of Women Writers in Textbooks for Literary Education<br><br> | ||
| - | |||
| - | *Carmen Dutu:<br> | ||
| - | *Toward a (frin)gender perspective within the COST Action<br><br> | ||
| - | |||
| - | 2:30- 3:00 <br> | ||
| - | Break<br> | ||
| - | 3:00 - 4:00 pm <br><br> | ||
| - | |||
| - | Keynote<br> | ||
| - | *Vanda Anastácio:<br> | ||
| - | *Thinking about Women’s Writing: The Challenge of Theory<br><br> | ||
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| - | SvD, October 2011<br><br><br> | + | AsK, September 2012<br><br><br> |
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| *Conferences > [http://www.womenwriters.nl/index.php/NEWW_international_conferences NEWW international conferences] > [http://www.womenwriters.nl/index.php/Oxford/Chawton%2C_November_2011 Chawton November 2011] > Fournier Kiss <br><br> | *Conferences > [http://www.womenwriters.nl/index.php/NEWW_international_conferences NEWW international conferences] > [http://www.womenwriters.nl/index.php/Oxford/Chawton%2C_November_2011 Chawton November 2011] > Fournier Kiss <br><br> | ||
Current revision
Corinne Fournier Kiss
Eliza Orzeskowa’s reception of George Sand: : crossed reading of La Petite Fadette (Sand) and Dziurdziowie (Orzeszkowa)
Abstract
It is a leitmotif of George Sand’s reception in Poland during the 19th century that Sand was more famous because of her personality than because of her art. The literary influence she may have had on Polish women writers is not an issue that has ever been seriously examined. Eliza Orzeszkowa was called the "Polish Sand" by her German and even Polish contemporaries, yet this did not imply that any similarity between their works was thought to exist: the reference to Sand was simply meant to stress Orzeszkowa’s talent and literary productivity.
An attentive reading of Orzeszkowa’s works (of her novels as well as of her critical texts and her correspondence) shows nevertheless that she knew Sand’s writings very well and appreciated them. In this paper, I will focus on a comparative reading of La petite Fadette by George Sand and Dziurdziowie by Eliza Orzeszkowa – two works whose main protagonist is a young woman treated as a witch by her village community.
AsK, September 2012
- Conferences > NEWW international conferences > Chawton November 2011 > Fournier Kiss