The Woman Artist

Opis produktu

The volume, honoring Professor Dorota Filipczak, whose energetic and fruitful academic career was cut short in 2021, offers a contribution to literary criticism and culture studies, the areas on which her own scholarly endeavors centered. The theme of “the woman artist” was of particular significance both for Filipczak’s inquiry into the work of writers such as Alice Munro, Jane Urquhart, Michèle Roberts or Margaret Laurence, and for her own poetic practice.

Rather than focus on her achievements in various fields (as scholar, writer, teacher, poet, and translator), the texts collected in this volume go beyond remembrance and the honoring of an established scholar’s remarkable feats. Despite their undeniable commemorative role, the chapters are an attempt to carry Dorota Filipczak’s academic endeavors forward, into the future, with her own texts serving as prologue and inspiration. The contributors to the volume — representing various fields of the academia — are her friends, colleagues and collaborators, and the essays eloquently testify to her intellectual influence.

From more personal reflections and ruminations inspired by Filipczak’s life and work to articles exploring the work of a range of women artists, the volume offers an investigation of various approaches to autobiography, tensions between public personas and private selves, subversive performative personas, transcending religious frameworks of bodily discipline, as well as “toggling” between the human and the nonhuman.

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Table of Contents

Tomasz Dobrogoszcz, Agata Handley, Krzysztof Majer and Tomasz Fisiak – Preface 9

Section 1: Creativity and Memory
1. Aritha van Herk – Aesthetic Modes of Attack: The Woman Critic-Artist, Caractère unique 15
2. Mieke Bal – Untimeliness, Inter-ship, Mutuality 27
3. David Jasper – Disciplined Interdisciplinarity 47

Section 2: Multivocality and Interaction
4. Dorota Filipczak – “Alternative Selves” and Authority in the Fiction of Jane Urquhart 61
5. Norman Ravvin – What Is In the Picture (and What Is Not): Canada, Women, and Autobiography in the Work of Geraldine Moodie, Eva Hoffman and Alice Munro 77
6. Philip Hayward and Matt Hill – Elizabeth Bernholz’s Gazelle Twin: Disguise, Persona and Jesterism 99
7. Mark Tardi – Vernacular Architecture: Posthumanist Lyric Speakers in Elizabeth Willis’s Address 121

Section 3: Spirituality and Embodiment
8. Dorota Filipczak – “Let me hear Thy voice”: Michèle Roberts’s Refiguring of Mary Magdalene in the Light of The Song of Songs 133
9. Jan Jędrzejewski – A Catholic New Woman Artist: A Contradiction in Terms? Sex, Music and Religion in George Moore’s Evelyn Innes and Sister Teresa 147
10. Marta Goszczyńska – Cherishing the Body: Embodiment and the Intersubjective World in Michèle Roberts’s Playing Sardines 161
11. Monika Kocot – On Spaces Within and Between: Dorota Filipczak’s (Embodied) Visions of the Sacred 175

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