(Difference between revisions)
Jump to: navigation, search
Revision as of 13:08, 20 October 2011 (edit)
SvDijk (Talk | contribs)
(New page: <br>__NOEDITSECTION__ == Biljana Doj?inovi? == <br><br><br> Self-promoting writing as networking strategy<br><br> *Nieves Baranda Leturio:<br> *Spanish women prologues as silent debat...)
← Previous diff		 Current revision (12:56, 12 September 2012) (edit) (undo)
AKulsdom (Talk | contribs)

 
(5 intermediate revisions not shown.)
Line 4: Line 4:
<br><br><br> <br><br><br>
-Self-promoting writing as networking strategy<br><br>+'''Self-promoting writing as networking strategy: Jelica Belovi? Bernadžikovska '''<br><br>
-*Nieves Baranda Leturio:<br>+''Abstract''<br><br>
-*Spanish women prologues as silent debate<br><br>+
-*Monica Bolufer:<br>+In my presentation I will try to answer a number of questions about the position of a woman author in the patriarchal society of Serbia at the beginning of the 20th century: the meaning of public sphere for women, the importance of self-awareness; understanding of the mechanisms important for presenting one’s self as a public figure; the notion of women as production, reception and interpretative community – all of them presented by a woman author herself. <br><br>
-*‘To the fair sex’ or ‘for all kinds of readers’? <br><br>+
- +
-*Marta Souckova: <br>+
-*On the Irony in Prose by Božena Slan?iková Timrava<br><br>+
- +
-3:45 – 4:15 pm <br> +
-Break<br>+
-4:15 – 5:30 pm <br><br>+
- +
-'''Shifting Paradigms : Theory and Praxis'''<br><br>+
- +
-*Valérie Cossy:<br>+
-*Gender as an object of discourse in Isabelle de Charrière's contribution to the French Enlightenment<br><br>+
- +
-*Elinor Shaffer:<br>+
-*Do special factors play a role in the reception of women authors ?<br><br>+
- +
-5: 30 pm<br> +
-Tour of Chawton Library and House<br>+
-Dinner<br><br><br>+
- +
- +
-Friday, 4th November<br>+
-9:00 - 9:15 am <br><br>+
- +
-*Suzan van Dijk:<br>+
-*From Milestone I to Milestone II (via Training Schools, Short Time Missions, Thinktank meeting)<br><br>+
- +
-9:15 – 10:00 am<br><br>+
- +
-*GertJan Filarski:<br>+
-*From a database to a Virtual Research Environment<br><br>+
- +
-10:00 -11:15 am <br><br>+
- +
-Working Group meetings (agenda to follow)<br><br>+
- +
-11:15 -11:30 am <br>+
-Break<br>+
-11:30 -12:30 am <br><br>+
- +
-Working Group meetings<br><br>+
- +
-12:30 -1:30 am <br>+
-Lunch<br>+
-1:30 – 2:30 pm <br><br>+
- +
-Reports by Working Groups <br><br>+
- +
-2:30 – 4:00 pm<br><br>+
- +
-Management Committee meeting (all WG members invited; agenda to follow)<br><br>+
- +
-4:00 pm <br>+
-Coach to Southampton University<br><br>+
- +
-5:00 – 6:00 pm <br><br>+
- +
-Public Lecture: <br>+
-*Markman Ellis:<br>+
-*Reading, Writing and Print Publishing in the Elizabeth Montagu Circle<br><br>+
- +
-Reception and Dinner <br>+
-Coach back to Chawton<br><br><br>+
- +
- +
-Saturday, 5th November<br><br>+
- +
-9:30 – 11:00 am <br><br>+
- +
-'''Session A. Going Global''' <br><br> +
- +
-*Corinne Fournier Kiss:<br>+
-*Eliza Orzeskowa’s reception of George Sand<br><br>+
- +
-*Kirsi Tuohela: <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> +
- +
-'''Session B. Paratexts and Self-Fashioning of the female author'''<br><br>+
- +
-*Anne-Birgitte Rønning:<br>+
-*Self-positioning and genre-negotiating in female-authored Robinsonades<br><br>+
- +
-*Carme Font Paz:<br>+
-*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>+
- +
-'''Theoretical Approaches to Quantitative/Qualitative Research'''<br><br>+
- +
-*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>+
 +I will focus on two types of texts by [http://neww.huygens.knaw.nl/authors/show/3747 Jelica Belovi? Bernadžikovska] in which she supported the creation of female reception networks. The first type of texts are more theoretical, the representative one being her introduction to the 1913 almanach ''Srpkinja'' in which she had asked many questions similar to those [http://neww.huygens.knaw.nl/authors/show/657 Virginia Woolf] asked 16 years later in her essays ''A Room of One`s Own'' and ''Women and Fiction''. Among these important issues were women’s production and reception networks, the need for a community of women writers and readers and the hardships in creating it. The second type of texts present, in a way, a practical answer to these questions. Jelica Belovi? Bernadžikovka was writing about other contemporary women writers and these texts vary from portraits of authors (in 1913 ''Srpkinja'') to the reviews of particular works. <br><br>
 +The most interesting part of this latter group are those texts or parts of texts in which Jelica Belovi? Bernadžikovska introduces, discusses and promotes the reception of her own work(s). For instance, her [http://neww.huygens.knaw.nl/works/show/10365 monography on Serbian embroidery], published in 1906, is full of remarks and data on her previous achievements and works which she considered not appreciated enough. Five years after this book was published, Jelica Belovi? Bernadžikovska wrote a text which focused on the reception of both her monography, as well as her research on textile art of Serbian women. Both textile art and her collecting work were percieved as lesser, unimportant in comparison to male art, by some male contemporaries. Belovi?-Bernadžikovska strongly opposed such opinions and theorized the craft, and at the same time was trying to establish a receptive and sensitized auditorium for her own and other women's works.
<br><br><br> <br><br><br>
-SvD, October 2011<br><br><br>+AsK, September 2012<br><br><br>
<hr> <hr>
<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] > Dojcinovic <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] > Dojcinovic <br><br>

Current revision


Biljana Doj?inovi?




Self-promoting writing as networking strategy: Jelica Belovi? Bernadžikovska

Abstract

In my presentation I will try to answer a number of questions about the position of a woman author in the patriarchal society of Serbia at the beginning of the 20th century: the meaning of public sphere for women, the importance of self-awareness; understanding of the mechanisms important for presenting one’s self as a public figure; the notion of women as production, reception and interpretative community – all of them presented by a woman author herself.

I will focus on two types of texts by Jelica Belovi? Bernadžikovska in which she supported the creation of female reception networks. The first type of texts are more theoretical, the representative one being her introduction to the 1913 almanach Srpkinja in which she had asked many questions similar to those Virginia Woolf asked 16 years later in her essays A Room of One`s Own and Women and Fiction. Among these important issues were women’s production and reception networks, the need for a community of women writers and readers and the hardships in creating it. The second type of texts present, in a way, a practical answer to these questions. Jelica Belovi? Bernadžikovka was writing about other contemporary women writers and these texts vary from portraits of authors (in 1913 Srpkinja) to the reviews of particular works.

The most interesting part of this latter group are those texts or parts of texts in which Jelica Belovi? Bernadžikovska introduces, discusses and promotes the reception of her own work(s). For instance, her monography on Serbian embroidery, published in 1906, is full of remarks and data on her previous achievements and works which she considered not appreciated enough. Five years after this book was published, Jelica Belovi? Bernadžikovska wrote a text which focused on the reception of both her monography, as well as her research on textile art of Serbian women. Both textile art and her collecting work were percieved as lesser, unimportant in comparison to male art, by some male contemporaries. Belovi?-Bernadžikovska strongly opposed such opinions and theorized the craft, and at the same time was trying to establish a receptive and sensitized auditorium for her own and other women's works.





AsK, September 2012



Retrieved from "http://www.womenwriters.nl/index.php/Self-promoting_writing"
Personal tools