Warszawa – Nowy Jork. O Dwóch biegunach Elizy Orzeszkowej i Wieku niewinności Edith Wharton

WARSAW-NEW YORK. ELIZA ORZESZKOWA’S DWA BIEGUNY AND EDITH WHARTON’S THE AGE OF INNOCENCE The article proposes a comparative reading of two feminine novels: Dwa bieguny by Eliza Orzeszkowa, written in 1893, and The Age of Innocence by Edith Wharton from 1920. In both novels one can see not only the surprising similarities at the level of plot, but also a strong presence of the author. Article points to the convergence in the biographies of the two novelists, and compares the situation of women writers in Poland and America at the turn of the nineteenth century

„Księgi Justynine”. O biografii Justine Frank

The article is devoted to the biography of Justine Frank (1900-1943), a marginalized member of the surrealist movement, a painter and writer who combined Judaism with pornography, a critic of the Zionist project who tragically died in Palestine. Written by an Israeli artist and an expert on the interwar avant-garde, Roee Rosen, it is not only an artistic provocation – a part of a larger experiment in the field of the so-called parafiction also including editions of Frank’s novel Sweet Sweat and exhibitions of her paintings – but also an interesting statement in the discussion on the possibilities and limitations of feminist criticism, as it points out the problem of fabrication of the indispensable precursors.The article is devoted to the biography of Justine Frank (1900-1943), a marginalized member of the surrealist movement, a painter and writer who combined Judaism with pornography, a critic of the Zionist project who tragically died in Palestine. Written by an Israeli artist and an expert on the interwar avant-garde, Roee Rosen, it is not only an artistic provocation – a part of a larger experiment in the field of the so-called parafiction also including editions of Frank’s novel Sweet Sweat and exhibitions of her paintings – but also an interesting statement in the discussion on the possibilities and limitations of feminist criticism, as it points out the problem of fabrication of the indispensable precursors

Splenic trauma : WSES classification and guidelines for adult and pediatric patients

Spleen injuries are among the most frequent trauma-related injuries. At present, they are classified according to the anatomy of the injury. The optimal treatment strategy, however, should keep into consideration the hemodynamic status, the anatomic derangement, and the associated injuries. The management of splenic trauma patients aims to restore the homeostasis and the normal physiopathology especially considering the modern tools for bleeding management. Thus, the management of splenic trauma should be ultimately multidisciplinary and based on the physiology of the patient, the anatomy of the injury, and the associated lesions. Lastly, as the management of adults and children must be different, children should always be treated in dedicated pediatric trauma centers. In fact, the vast majority of pediatric patients with blunt splenic trauma can be managed non-operatively. This paper presents the World Society of Emergency Surgery (WSES) classification of splenic trauma and the management guidelines.Peer reviewe

Warsaw-new york. Eliza Orzeszkowa’s dwa bieguny and Edith Wharton’s the age of innocence

The article proposes a comparative reading of two feminine novels: Dwa bieguny by Eliza Orzeszkowa, written in 1893, and The Age of Innocence by Edith Wharton from 1920. In both novels one can see not only the surprising similarities at the level of plot, but also a strong presence of the author. Article points to the convergence in the biographies of the two novelists, and compares the situation of women writers in Poland and America at the turn of the nineteenth century

Czy Emily Dickinson pisała wiersze?

The author proposes a reflection on discovering the poet with regard to his creation or construction. This issue is discussed on the example of Emily Dickinson’s works which were published only after her death and were not prepared for print by the author herself. In the light of the latest research on the material dimension of her legacy (starting from Virginia Jackson’s study Dickinson’s Misery: A Theory of Lyric Reading from 2005 to the recently published collection The Gorgeous Nothings. Emily Dickinson’s Envelope Poems), it appears that many of Dickinson’s works were not written in a form that could be recognized as poetic at first glance. A large part was preserved only in notebooks, loose sheets covered with handwriting written in continuo or at odd angles, in a manner adapted to the format of a given scrap of paper, usually a free fragment of a recycled envelope or a torn-off corner of a piece of paper used previously for a different purpose. These texts had to be recognized then by discoverers as poems, and then copied and edited in a way consistent with what was considered lyric poetry in the era. Some of them were then rejected as not falling into the category of poetry and included in the opus of the American only by later researchers. Others, in the first editions treated as poems with time were excluded by historians of literature from this collection. Contrary to the provocative title, the aim of the article is not to answer the question about the status of the texts left by Dickinson. Instead, the author reflects on the poetic criteria ascribed to her works by the first and subsequent readers

„Moje siostrzyce po piórze”. Jane Austen wobec poprzedniczek

The paper, starting from the analysis of Northanger Abbey, suggests reflection on the attitude of Jane Austen to her predecessors, Ann Radcliffe, Fanny Burney and Maria Edgeworth etc., but also the other both fertile and popular authors of the end of 18th and the beginning of 19th century. Using the research of Dale Spender and Brian Corman, the author presents the novelist as a conscious heiress of a significant, though successfully marginalised in the Victorian period and overlooked even today, female literary tradition. Taken from Linda Hutcheon, the definition of parody allows to compare in the end Northanger Abbey to Strach w Zameczku of the first Polish novelist, who referred in a very similar way to her foreign predecessors, Anna Mostowska