“Routes Rather than Roots”
Women telling nations / Amelia Sanz, Francesca Scott, Suzan van Dijk. – Amsterdam–New York, NY, 2014. – 472 pp. ISBN: 978-90-420-3870-7; E-book ISBN: 978-94-012-1112-3.
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Women telling nations / Amelia Sanz, Francesca Scott, Suzan van Dijk. – Amsterdam–New York, NY, 2014. – 472 pp. ISBN: 978-90-420-3870-7; E-book ISBN: 978-94-012-1112-3.
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The Ethics of Vulnerability: A Feminist Analysis of Social Life and Practice / Gilson, Erinn C. – New York: Routledge, 2014. 202 p. ISBN: 978-0-415-65613-9.
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The study concentrates on the marriage and divorce patterns within the circles of actresses working in Budapest in the long nineteenth century, based on the author’s own database generated out of the data on 239 actresses, who with the exception of the first generation, were all employed in the Hungarian capital between 1790 and 1914. The figures suggest that the number of marriages to actors or theatre professionals is consistently high until a significant drop from 83% to 49% at the end of the period under scrutiny. At the beginning of the period studied, actresses entered the profession through their marriage or because of the family background rather than as a result of their own conscious career choice. Later, their career decisions appear to be increasingly independent, mostly due to the aforementioned decrease of husbands affiliated with the theatre industry and the fact that actresses in the second generation of the sample usually married after their theatrical career was established. While the proportion of actor husbands was decreasing, that of theatre professionals was on the rise (with some fluctuation). The analysis of individual life stories allows for the speculation that actresses often married to promote their own interests. Actors and theatre professionals as husbands were able to help their wives’ career, while “civilians” could help them rise to higher social status; and new marriages often also served to stabilise the actresses’ financial situation. The divorce ratio was rather high across all generations of actresses in this period: with the 15–30%, it was significantly higher than the national average. It is conspicuous that the new husbands were, almost without exception, more successful, affluent or respectable, than the previous ones. Extramarital relationships were frequent mostly before, between and after marriages. The motivation for affairs was to some extent similar to those for marriages, although adventure and sensuality clearly played a greater role in these relationships.
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The issue of women’s work in Polish government institutions in London during World War II has not been a subject of historical research. Additionally, we have not seen the publication of the memoirs written by these women. Current research allows us to state that among about a thousand employees of Polish ministries in London there were about 300 women. Most of them worked in the Ministry of Information and Documentation (116), the Ministry of Internal Affairs (63) and the Ministry of Foreign Affairs (60). On the other hand, the percentage of women was the highest in the Presidium of the Council of Ministers (41.38%), the Ministry of Information and Documentation (38.54%) and the Ministry of Foreign Affairs (28.98%). In the Ministry of Internal Affairs, women were employed in all organisational units, including the ones that carried out secret activities: Department of Social (National) Affairs or the Department of Continental Action. Apart from being secretaries and typists, women performed the very important tasks of radiotelegraph operators, cryptographers, couriers and emissaries during the war. It would be no exaggeration to state that they played a very important role in the tedious everyday functioning of Polish government institutions in London in that difficult time. Another important fact is that a significant portion of these women remain unknown. Their names and surnames are written down in documents, but we know virtually nothing more about their lives during the war. Let us hope that further research will allow us to fill these important gaps in our knowledge.
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On the one hand, this paper examines the impact of multiculturality on women’s role in society, and on the other, their presence in social and artistic life, the level of autochtonousness and originality, but also that of dependence on general social problems, such as copyright and intellectual freedom protection. Relying on relevant information, the information society requires respect for two fundamental privileges: freedom of information, on the one hand, and protection of personal and social interest, on the other. The role of women in the society, however, and all their life determinants by the same token, as well as their scientific and artistic proclivities, have been paid attention to since the third decade of the XX century.
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My intention in this paper is to contextualize Danica Marković as a women poet who acts within the dominantly male poetry formation. I define Serbian modernism as a small peripheral literary culture that tends to develop the autonomy of literary field, which was the symptom of modernization and nationalization of a peripheral national literary field. I will point to feminist interpretation of her poetry in the texts written by Biljana Dojčinović and Magdalena Koch, as well as to the interpretation of Radomir Konstantinović. My thesis will be that Danica Marković created a female lyrical „I“ by using the strategies and tactics of male modernist poetry culture in which she participated.
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The text is about Jelica Belović Bernadzikowska, a writer, ethnographer and teacher, and about her work on self-affirmation and the affirmation of her contemporaries. Bernadzikowska’s effort to describe and present the work of Serbian women in the cultural domain is seen in the light of the specific notion of culture she uses in her monograph on textile art (1907) and connected to the work and reception of her contemporaries who were presented in the almanac Serbian Woman (1913).
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This text deals with some issues related to women’s emancipation in the Kingdom of Yugoslavia. Here we wish to present how first feminist societies were established, and what their role in the society was. We also gave an overview on the legal system and women’s position in it. The First feminist organization was established in 1919 in Belgrade, and after that in Ljubljana, Zagreb, Sarajevo. One of the main goals for Yugoslav feminists was the issue of getting suffrage for women. But these feminists did not have much success because of the many obstacles they had to face, one of them being the fact that a unique legal system had not been established in the Kingdom of Yugoslavia.
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„Када сазремо као култура...”: Стваралаштво српских списатељица на почетку XX века: канон – жанр – род = „...Kiedy dojrzejemy jako kultura...“ Twórczość pisarek serbskich na początku XX wieku: kanon – genre – gender / Magdalena Koch. – Acta Universitas Wratislaviensis No 2958. – Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego, 2007 – 318 стр. ISBN 9788322928424
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На Филолошком факултету Универзитета у Београду, од 14. до 16. априла 2011, одржан је међународни скуп, радионица COST акције IS0901, Women Writers in History, www.costwwih.net под називом Међународне женске мреже (International Female Networks). Скупу је претходио састанак управног одбора (Management Committee), одржан у среду, 13. априла, такође на Филолошком факултету у Београду.
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Since the establishment of the Women's Trade school in NiŠ, in 1883, UNTIL April 1, 1941, when it stopped working due to the outbreak of the Second World War, during a period of fifty-eight years, the Female community of Niš actively took care of its survival, the organization of work, quality of teaching and extracurricular activities. Founded as a women's humanitarian organization, whose members are worried about the rights and education of women, the community immediately was involved in the very beginnings of the institutional secondary education of women in Serbia. As direct founders of the Women's Trade school, the members of community provided funds for the purchase of school buildings in Niš, during the war years of World War I, turned into a military hospital. In that period, and in the early postwar years, the work of the community was carried out for military purposes and needs of the population in Niš. The members dedicated themselves to work in hospitals, school sewing machines made available Šivaram military ministry. After taking over the school building from the military authorities, the efforts of the community were directed towards its repairs and the procurement of basic school inventory, and to the normalization of teaching. Following the adoption of the Law on Women's Trade Schools (1922), this school in Niš had become a semi-state, because the Ministry of Trade and Industry payment of salaries to qualified teachers, while the Management of community had to take care of the school material costs and salaries and rewards for freelancers classes. Caring for the financial survival of the school meant for the members of the community that a number of humanitarian actions aimed at collecting funds and at ensuring conditions for the education of women had to be taken. In addition to regular membership dues, they, for this purpose, organized numerous entertainment, shows, concerts, matinees and exhibitions. In addition to care abou thet school, the community collaborated with numerous charitable women's organizations and associations, and actively participated in numerous activities that were aimed at improving the lives of both the local population and marginalized groups, such as the action of opening a workshop for making rugs in penal institutions in Niš. The care of Women's Trade school meant that the Board of Community had to comply with all legal regulations and acts and to provide teaching staff who would provide students with the necessary general and professional education. Due to the lack of professional staff, during the thirties of the twentieth century many professional teachers taught general subjects, and some items, such as history and religion were not represented. Shedding the number of enrolled female students and the lack of permanent professional teachers and part-time workers at the school were constantly the problems of the community. Despite the problems, states managed to organize numerous actions, allocation of resources, so the classes were maintained regularly until the beginning of World War II. The humanitarian and educational role of the Women’s Trade in Niš in institutional education and upbringing of women and improvement of the quality of life of the whole community shows a great strength and enthusiasm the members of the administration of a voluntary association of women, founded in 1879, had and therefore, in many ways it represents the forerunner of modern informal women's associations and organizations.
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The text counters the prevailing idea that there was no feminism in the socialist Eastern bloc, carefully presenting a peculiar case of Yugoslav feminism which grew out of socialist political and cultural framework. Yugoslavia was the country where the organization of the singular feminist event in the Eastern world, the conference “Comrade Woman – The New Approach?” (1978), took place. The text traces the ideas on emancipation and liberation which appeared in Yugoslav scientific and literary journals, immediately after the “Comrade Woman” and until the late 1980s, before the proclaimed fall of the Iron Curtain. The written material is grouped into three sections, according to how the so called woman’s question was elaborated. By re-reading this material, the text examines if feminism was legitimized within the dominant socialist discourse, or whether it was purely translated as something externally Western. The aim of the text is to describe how scholars and activists portrayed emancipation and liberation at that very time: to see if they negotiated or failed to negotiate Western definitions and Eastern realities. In that sense, given material is not used to simply reinforce or refute the claim that feminism was an imported Western (i.e. capitalist) product that had no place interfering with the development of socialism. It also urges us to re-consider the common knowledges we have, in order to see how they become situated as common.
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The subject matter of this article are certain aspects of legal position of women under the Statute of the medieval city of Pag, especially their status, family matters including marital relations, property, and the rules of criminal and procedural law which particularly apply to women. The author compares the Statute of Pag with the statutes of other Dalmatian medieval cities (e.g. Zadar and Šibenik). The fact that the compared sources of law have common origin, i.e. that they derive from the old and unsaved Statute of Zadar, provides a good starting point for historical and legal analysis. Also, the analysis takes into account preserved individual contracts and other legal documents, as well as the notary sources. The author holds a position that tendency of the city authorities to prevent foreigners from acquiring property, and to avoid division of the family property by dowry, caused the inferior position of women in the communal legal systems. Thorough analysis of the Statute of Pag reveals clear influence of the Statute of neighboring City of Zadar, and of the Croatian-Hungarian law. The author indicates existence of legal transplants and borrowings in the medieval statutes in Dalmatia.
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The mass mobilization of women into the workforce which took place in Poland in the 20th century contributed to changes within the institutions of family and marriage. For some women, the ingress into the labour market symbolized an opportunity to develop and gave them fulfillment and satisfaction. However, for others, professional duties became a hardship and synonym for lack of time, monotony and exhaustion. In the article the author analyzed autobiographical narratives of “ordinary” people which refer to the women’s participation in the labour market. The narratives, which had been composed for autobiographical competitions organized in 1960s, enabled the author to perceive a conspicuous diversity of women’s and their husbands’ attitudes towards the phenomenon which was characteristic of the first decades of the Polish People’s Republic.
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Boris Kirilov Christoff was a great Bulgarian opera singer, a giant of the art of singing in the XX c. Due to the charm of his voice he was called “the king of basses” and “the best bass of our age”. The point is about of the beautiful tone of this voice, of its uncommon, vivid and emotional blends.
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The paper analyzes the works of Smilja Đaković. In its first section, the paper provides an overview of previously researched information about the life of this authoress and an analysis of the previous reception of her work, as well as comments about her life. The central part of this paper is an analysis of short stories by Smilja Đaković in the context of (female) war prose and expressionist literaryartistic procedures and thematic frameworks. Smilja Đaković is an authoress who wrote under a pseudonym and whose stories were printed exclusively in magazine Misao [Thought], which she had owned since 1927. The pseudonym (Jovanka Petrović) that she used to publish short stories was only recently uncovered, which led to the revelation that the owner of the magazine was also one of its authors and associates. These circumstances led to the fact that the literary, political and cultural work of this authoress so far has not been the subject of more systematic scientific research and literaryhistorical interpretation. Hence, this study is one of the pioneering texts about this writer, magazine owner, participant of the First World War and heroine of Serbian interwar literature and culture. This paper is based on an attempt to contextualize the small opus of this authoress in the periodical surroundings in which it was printed, but also to extract it from these surroundings and place it in the framework of the (female) interwar story, and, ultimately, to show the thematic-motive, compositional and symbolic-semiotic specificity and innovation in the introduction and construction of a new type of literary protagonists.
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The ethnographic work of Jelica Belović Bernadzikowska, aimed at the development and classification of ornaments and embroidery techniques, was marked by the strong positioning of folk textile art in the context of South Slavic folklore. This scientific approach is characterized by ideas on the individuality of South Slavic embroidery, specific national spirit that permeates this kind of creative art and distinct intertwining of different types of art, especially poetry and textile ornamentation. By observing national embroidery in the context of larger folklore heritage, the author points to the significance of the creative process as a compound of tradition and individual talent, as well as its complex nature. The notion of national embroidery as the materialization of the national thoughts, feelings and traditions has contributed to the fact that the study of Jelica Belović Bernadzikowska represents a veritable treasure trove of short forms of folklore, passages, beliefs and other echoes of national spirit.
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The paper points to the unique cultural project in the works of Serbian writer Jelena Dimitrijević (1862-1945), inspired by the imagery of Turkish harems and relations among women living in them. Dimitrijević distinctly oscillated between two cultural paradigms: that of the East (Orient) and that of the West (Occident). We can distinguish three stages of Dimitrijević’s “Turkish project” – stage one is represented by her works Letters from Niš on Harems 1897, or a tame and hybrid world of the Turkish-Serbian province; stage two by Letters from Salonika (1908), or the fascination with the Young Turk revolution and the cover cloth controversy; and stage three by the novel Nove (1912), which speaks about the disappointment with the westernization of Turkish women. All these works were marked by deep transgression, the transforming process that reaches deep under the surface of normative societies. Deep transgression denotes the historical and geopolitical (also geopoetical) conjuncture in which a character, a group of characters, or a represented culture as a whole, cannot be designated by any single label. This means that he or she (or they) belongs to more than one established category, which makes them outsiders in all the cultural contexts they are attached to. In most of the cases, overcoming these differences is a utopian project, breeding conflicts the plot is based on, eventually yielding difficult situations and an unhappy outcome.
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Fatma Alije (1862-1936) is the first Turkish female novelist. She is the daughter of the celebrated historian, lawyer, theologian and statesman Ahmet Dževdet-Pasha who was a prototype of the conservative intellectual, but also a state reformer. Both his daughters, Fatma Alije and Emine Semije acquired significant education, the knowledge of French, philosophy, literature and art. Fatma Alije wrote five novels and several articles dedicated mostly to the issue of the position of women in the traditional Turkish society. This paper will be dedicated to her first independent novel, Razgovori (Talks), published in 1891, in which, for the first time in Turkish history, a woman wrote about the intimate world of women, first love, freedom of choice. Although she courageously put forward the question of women’s emancipation, Fatma Alije remained devoted to the traditional Islamic view of the world and the position of women. Despite the little value placed upon her work, Fatma Alije set the foundation of Turkish women’s literature. Her work represents a crucial source for the study of Turkish women’s literature which has until today produced various eminent names and works. Although the historians of Turkish literature forgot about Fatma Alije or purposely left her out for a significant amount of time, it is evident that recently this author has been receiving more and more attention in Turkey.
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