orient in literature literature of the orient...international conference on oriental literatures and...
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International Conference on Oriental Literatures and Orient in Literary Texts
5th Edition
Orient in Literature – Literature of the Orient
Literature Towards Freedom & Oppression
28-29 March 2019 Toruń
PROGRAM & ABSTRACTS
Adam Bednarczyk Magdalena Kubarek Magdalena Lewicka Maciej Szatkowski
Michał Dahl
Faculty of Languages Nicolaus Copernicus University in Toruń
2019
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The 5th Edition of the International Conference:
Orient in Literature – Literature of the Orient Literature Towards Freedom & Oppression
Toruń, 28-29 March, 2019
Program & Abstracts
https://ollo2019.wordpress.com/
Department of Japanese Studies Arabic Language and Culture Center
Chinese Language and Culture Center
Faculty of Languages
Nicolaus Copernicus University Toruń, Poland
&
Polish Oriental Society http://pto.orient.uw.edu.pl/
Print Machina Druku
Szosa Bydgoska 50, 87-100 Toruń tel.: +48 56 651 97 87 tel.: +48 502 320 776
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Orient in Literature – Literature of the Orient
Literature Towards Freedom & Oppression
PROGRAM
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Thursday, 28 March 2019 09:30-18:00 Registration desk open (in front of Kolankowski’s Hall [Room 307],
Collegium Maius) 10:00-10:15 Opening of the Conference and Welcome Adresses (Kolankowski’s Hall) Opening address The Dean of the Faculty of Languages, Nicolaus Copernicus University
Przemysław NEHRING Professor of Classical Philology
10:15-11:45 Plenary session (Kolankowski’s Hall) Keynote speech (1) Prof. Stephan GUTH Professor of Arabic and Middle Eastern Literatures
Department of Cultural Studies and Oriental Languages (IKOS) University of Oslo
Three Middle Eastern Utopias and the Fading Trust in the Nahdah
Keynote speech (2) Prof. Lisette GEBHARDT Professor of Japanese Literature and Culture
Department 9: Languages and Cultures Johann Wolfgang Goethe-University
Thought Control and Totalitarian System in Recent Japanese Literature: Yoshimura Man’ichi, Tsushima Yûko and Kirino Natsuo
11:45-12:00 Coffee break (Room 306) 12:00-14:00 Noon session (Collegium Maius) Panel 1: Freedom and Oppression in Chinese Literature (Room 309)
Panel 2: Concepts of Freedom (Room 307)
Panel 3: Different Perspectives of Freedom and Oppression (1) (Room 203)
14:00-15:00 Lunch break (restaurant at Collegium Maius) 15:00-16:30 Afternoon session (Collegium Maius) Panel 4: The Dimensions of Freedom in Arabic Literature (Room 307)
Panel 5: Freedom and Religious Texts (Room 309)
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Panel 6: Discourses about Freedom (Room 203)
16:30-17:00 Coffee break (Room 306) 17:00-19:00 Evening session (Collegium Maius) Evening session (Collegium Maius) Panel 7: The Experience of Oppression in Contemporary Japanese Literature –
Precarity, Imprisonment, Totalitarian Tendencies (Room 307)
Panel 8: Woman: between Freedom and Oppression (1) (Room 203)
Panel 9: China: the Picture of Freedom and Oppression (Room 309)
19:00 Conference welcome reception (restaurant at Collegium Maius)
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Friday, 29 March 2019 09:45-14:30 Late registration desk open (in front of Kolankowski’s Hall [Room 307]) 10:00-11:30 Plenary session (Kolankowski’s Hall) Keynote speech (3) Prof. Marek DZIEKAN Professor of Arabic Culture and Literature
Department of Middle East and North Africa University of Łódź
Koncepcja wolności w „Al-Lisan al-murib an tahafut al-adżnabi hawla Al-Maghrib” Muhammada as-Sulajmaniego (1869–1926)
Keynote speech (4) Prof. Daniel KALINOWSKI Professor of Polish Studies
Institute of Polish Studies Pomeranian University in Słupsk
Trzy drogi do buddyjskiej wolności (Jack Kerouac, Janwillem van de van de Wetering, Artur Cieślar)
11:30-12:00 Coffee break (Room 306) 12:00-14:00 Noon session (Collegium Maius) Panel 10: Woman: between Freedom and Oppression (2) (Room 307)
Panel 11: The Freedom in Colonial and Postcolonial Perspective (Room 309)
Panel 12: Freedom in Contemporary Arabic Literature (Room 203)
14:00-15:00 Lunch break (restaurant at Collegium Maius) 15:00-17:00 Afternoon session (Collegium Maius)
17:00 17:15-19:00
Panel 13: Freedom and Violence in Narration (Room 307) Panel 14: Spheres of Freedom and Oppression between Orient and Polish Literature (Room 309) Panel 15: Different Perspectives of Freedom and Oppression (2) (Room 203) Conference closing remarks (Kolankowski’s Hall) Integration event: guided tour at Toruń’s Old Town ent. “Get Gothic”
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Orient in Literature – Literature of the Orient
Literature Towards Freedom & Oppression
KEYNOTE SPEECHES &
PANELS
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Keynote Speech 1
Thursday, 28 March, 10:15-10:45 / Room 307
Language: English
PPrrooff.. SStteepphhaann GGUUTTHH
Department of Culture Studies and Oriental Languages
UNIVERSITY OF OSLO (Oslo/Norway)
TThhrreeee MMiiddddllee EEaasstteerrnn UUttooppiiaass aanndd tthhee FFaaddiinngg TTrruusstt iinn tthhee NNaahhddaahh
The paper analyses three utopian novellas, written by prominent authors from the Middle East at three different periods
(M.F. Akhundov 1857, Al-Manfalūṭī c. 1908, Y. Idrīs 1954). Each novella represents a stage in the development of Middle
Easterners’ attitude towards the project of a nahḍah, or cultural upswing/revival, and with it the – gradually decreasing –
belief in the feasibility of social and political reform, progress, and modernity in general. The main focus of the analysis will be
on narrative perspective, as the structural feature that tells us most about the writers’ vision du monde – and the view of their
respective society’s future.
Keynote Speech 2
Thursday, 28 March, 10:45-11:15 / Room 307
Language: English
PPrrooff.. LLiisseettttee GGEEBBHHAARRDDTT
Department 9: Languages and Cultures
JOHANN WOLFGANG GOETHE-UNIVERSITY (Frankfurt/Germany)
TThhoouugghhtt CCoonnttrrooll aanndd TToottaalliittaarriiaann SSyysstteemm iinn RReecceenntt JJaappaanneessee LLiitteerraattuurree::
YYoosshhiimmuurraa MMaann’’iicchhii,, TTssuusshhiimmaa YYûûkkoo aanndd KKiirriinnoo NNaattssuuoo
The last years of Abe Shinzô’s leadership as prime minister of Japan were characterized by a conservative legislation and
a restrictive press code. The tendency to limit freedom of opinion led to a lower placement of Japan on the annual worldwide
press freedom index, where it ranked 72nd in 2017, 67th in 2018. A few representatives of the literary community, however,
still cling to the values of Japanese postwar democracy and state their opinions frankly. Especially when it comes to
a fictional representation of the trifold catastrophe on 11th March 2011, they precisely show aspects of an unwanted reality.
Noteworthy is first of all, the late renowned writer Tsushima Yûko 津島佑子 (1947–2016) with Hangenki wo iwatte (半減期を
祝って 2016 / Celebrating Half-time) where she refers to the German “Hitler Jugend” when she characterizes a dystopian
totalitarian Japanese society in the near future. Yoshimura Man’ichi (Borâdobyô ボラード病 2014 / The Bollard Syndrom)
and Kirino Natsuo (Baraka バラカ ) create similar dystopian systems in their texts and prove thus that Japanese
“post-disaster literature” (shinsaigo bungaku 震災後文学) has made a contribution to today’s world literature in the direction
of what was formally known as “political literature”.
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Keynote Speech 3
Thursday, 29 March, 10:00-10:45 / Room 307
Language: Polish
PPrrooff.. MMaarreekk DDZZIIEEKKAANN
Department of Middle East and North Africa
UNIVERSITY OF ŁÓDŹ (Łódź/Poland)
KKoonncceeppccjjaa wwoollnnoośśccii ww AAll--LLiissaann aall--mmuurriibb aann ttaahhaaffuutt aall--aaddżżnnaabbii hhaawwllaa
AAll--MMaagghhrriibb MMuuhhaammmmaaddaa aass--SSuullaajjmmaanniieeggoo((11886699––11992266))
Muhammad Ibn al-Aradż as-Sulajmani należy do grupy marokańskich intelektualistów przełomu wieków XIX i XX, których
pisarstwo oraz działalność społeczno-polityczna odegrały kluczową rolę w marokańskiej nahdy. As-Sulajmani wywodził się
z Al-Mu’askaru w Algierii, ale swoje życie związał z Marokiem. Był znanym historykiem, ale jego twórczość obejmuje także
poezję i jest jednym z najwybitniejszych poetów swego kraju w XX wieku. Najważniejszym dziełem As-Sulajmaniego jest
obszerna praca historyczna „Zubdat at-tarich wa-zahrat asz-szamarich” [Masło historii i kwiat winogradu], która pozostaje
po dziś dzień w rękopisie. W 1911 roku ukazał się natomiast w Rabacie skrót tej pracy, „Al-Lisan al-murib an tahafut
al-adżnabi haula Al-Maghrib” [Język opowiadający o zniszczeniu Maghrebu przez cudzoziemców]. Niewielki traktat Ibn
al-Aradża obejmuje z jednej strony analizy historyczne, z drugiej zaś odnosi się do pewnych pojęć filozoficznych
i socjologicznych, w tym wolności (hurrijja). W zasadzie jego pojęcie wolności można uznać za bardzo zbliżone
do zachodniego rozumienia tego terminu, co w tamtych czasach nie było powszechne, a czasem nie jest i dzisiaj.
Przedmiotem wystąpienia będzie prezentacja mało znanej na zachodzie postaci As-Sulajmaniego oraz koncepcji wolności,
jaką przedstawia we wspomnianym wyżej dziele.
TThhee CCoonncceepptt ooff FFrreeeeddoomm iinn AAll--LLiissaann aall--mmuu’’rriibb ‘‘aann ttaahhaaffuutt aall--aajjnnaabbii hhaawwllaa
AAll--MMaagghhrriibb bbyy MMuuhhaammmmaadd aass--SSuullaayymmaannii ((11886699––11992266))
Muhammad Ibn al-Araj as-Sulaymani belongs to a group of Moroccan intellectuals at turn of the nineteenth century whose
literary and socio-political activity has played a key role in Moroccan nahda. Although As-Sulaymani came from Algierian city
of Al-Muʽaskar, his life became more connected to Morocco. He was well known historian, but his work also includes poetry
as he is considered to be one of the most prominent poets of his country within the twentieth century. The most important
work of As-Sulaymani is an extensive historical text “Zubdat at-tarikh wa-zahrat ash-shamarikh” [The butter of history and
the flower of vine], which remains nothing but a manuscript even today. However, a summary of this text has been published
in Rabat in 1911, under the title of “Al-Lisan al-murib an tahafut al-ajnabi hawla Al-Maghrib” [Language describing the
destruction of the Maghreb by foreigners]. A lesser treaty of Ibn al-Araj involves on one hand historical analysis, but also
touches on certain philosophical and sociological notions, including freedom (hurriyya). His idea of freedom can be essentially
understood as very similar to western understanding of this notion, a resemblance that was very uncommon in his times and
is not too common today either. The objective of this speech will be to present the character of As-Sulaymani, rarely known
in the west, along with his idea of freedom described within the text mentioned above.
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Keynote Speech 4
Thursday, 29 March, 10:45-11:30 / Room 307
Language: Polish
PPrrooff.. DDaanniieell KKAALLIINNOOWWSSKKII
Institute of Polish Studies
Pomeranian University in Słupsk (Słupsk/Poland)
TTrrzzyy ddrrooggii ddoo bbuuddddyyjjsskkiieejj wwoollnnoośśccii ((JJaacckk KKeerroouuaacc,, JJaannwwiilllleemm van de van de
vvaann ddee WWeetteerriinngg,, AArrttuurr CCiieeśśllaarr))
Artykuł dotyczy literackich opisów doświadczeń na drodze duchowego rozwoju. Charakterystyki dokonane zostały przez
trzech autorów wywodzących się z różnych kręgów kulturowych Zachodu. Pierwszy z nich zawarty jest w powieści Jacka
Kerouaca o podróży duchowej odbywanej przez amerykańskich beatników lat pięćdziesiątych XX wieku. Druga opowieść
pochodzi od niderlandzkiego hippisa Janwillema van de Weteringa, który opisuje swoje przeżycia w japońskim klasztorze
zen w latach sześćdziesiątych i siedemdziesiatych. Trzecia narracja sformułowana została na początku XXI wieku przez
polskiego artystę, podróżnika i adepta buddyzmu tybetańskiego oraz zenu – Artura Cieślara.
TThhrreeee WWaayyss ttoo BBuuddddhhiisstt FFrreeeeddoomm ((JJaacckk KKeerroouuaacc,, JJaannwwiillll vvaann ddee WWeetteerriinngg,,
AArrttuurr CCiieeśśllaarr))
The article deals with literary descriptions of experiences on the path of spiritual development. Characteristics were made
by three authors originating from different cultural circles of the West. The first of these is contained in the novel by Jacek
Kerouac about a spiritual journey held by American beat generation of the 1950s. The second story comes from the Dutch
hippie Janwillem van de Wetering, who describes his experiences in the Japanese Zen monastery in the sixties and seventies.
The third narration was formulated at the beginning of the 21st century by a Polish artist, traveler and adept of Tibetan
Buddhism and Zen – Artur Cieślar.
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Panel 1: Freedom and Oppression in Chinese Literature
Thursday, 28 March, 12:00-14:00 / Room 309
Language: English
Chair: Dr. Maciej SZATKOWSKI (Nicolaus Copernicus University in Toruń, Poland) Papers:
1. Dr. Daniela ZHANG CZIRÁKOVÁ (Slovak Academy of Sciences, Slovakia):
Liao Yiwu – a Voice of Freedom
2. Dr. Ting Ting-Yu LEE (University of Social Sciences and Humanities, Poland): Reflection of Identity and Freedom for Mainlanders in Taiwan
3. Dr. Paweł ZYGADŁO (Xi’an Jiaotong-Liverpool University, China): Face and Oppression – Lu Xun and Lin Yutang on Chinese Cult of Face
4. Dawid ROGACZ (Nicolaus Copernicus University in Toruń, Poland; Adam Mickiewicz University, Poland): Freedom and Liberation in the Taipingjing
Panel 2: Concepts of Freedom
Thursday, 28 March, 12:00-14:00 / Room 307
Language: Polish
Chair: Prof. Marcin GRODZKI (University of Warsaw, Poland) Papers: 1. Prof. Swietłana CZERWONNAJA (Nicolaus Copernicus University in Toruń,
Poland): Symbole wolności (walki o wolność) oraz Ojczyzny w poezji Tatarów polsko-litewskich
2. Prof. Dorota KARWACKA-PASTOR (University of Gdańsk, Poland): Między wolnością a niewolą. Sytuacja kobiet w krajach muzułmańskich w twórczości Vittorii Alliata di Villafranca
3. Prof. Beata TARNOWSKA (University of Warmia and Mazury in Olsztyn, Poland): Pustynia jako przestrzeń wolności na podstawie twórczości Jehudy Amichaja
4. Dr. Magdalena LEWICKA (Nicolaus Copernicus University in Toruń, Poland): Koncepcja wolności przedstawicieli arabskiego odrodzenia (an-nahḍa): Rifā‘a aṭ-Ṭahṭāwī (Al-Mašriq) i Hayr ad-Dīn at-Tūnusī (Al-Maḡrib)
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Panel 3: Different Perspectives of Freedom and Oppression (1) Thursday, 28 March, 12:00-14:00 / Room 203
Language: English
Chair: Prof. Stephan GUTH (University of Oslo, Norway)
Papers: 1. Prof. Iwona MILEWSKA (Jagiellonian University, Poland): Freedom of Choice
or “Freedom of Choice”. The Custom of Svayamvara as Described in the Indian Epic Mahabharata
2. Prof. Ewa MACHUT-MENDECKA (University of Warsaw, Poland): Language
of Freedom in Arab Prose 3. Yasuo SHIMIZU (Doshisha, JAPAN): Haruki Murakami’s Sports Perspective and Sports
Event Viewing – Freedom and Oppression
4. Zofia LITWINOWICZ (University of Warsaw, Poland; University of St. Andrews, UK): The Boat of Death and the Expedition Boat: Dialectics of Enslavement. The Representations of a “Boat in Belle” and “Apocalypse Now” through Postcolonial Lenses
Panel 4: The Dimensions of Freedom in Arabic Literature Thursday, 28 March, 15:00-16:30 / Room 307
Language: English
Chair: Dr. Nihad FOTTOUH (The French University in Egypt, Egypt) Papers: 1. Prof. Arzu SADYKHOVA (Adam Mickiewicz University, Poland): Some Notes
on the Tenson of Waḍḍāḥ al-Yaman (d. c. 93/712) and the Fate of the Munāẓara Genre in Arabic Poetry
2. Dr. Dominika CZERSKA-SAUMANDE (INALCO-CERMOM, France): Selected aspects of Egyptian Committed Poetry at the Turn of the 21st Century
3. Bartosz PIETRZAK (Jagiellonian University, Poland): “Muḥibbu al-H urriyya”? Concept of Freedom in Pre-Islamic Poetry. Cognitive Linguistic Approach
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Panel 5: Freedom and Religious Texts Thursday, 28 March, 15:00-16:30 / Room 309
Language: Polish
Chair: Prof. Marek DZIEKAN (University of Łódź, Poland) Papers: 1. Prof. Marcin GRODZKI (University of Warsaw, Poland): Claude Gillot i badania
nad Koranem jako tekstem literackim
2. Prof. Roman MARCINKOWSKI (University of Warsaw, Poland): Sługa kananejski w świetle wybranych tekstów literatury rabinicznej
3. Dr. Nina BUDZISZEWSKA (University of Wrocław, Poland): Anugita o wyzwoleniu
Panel 6: Discourses about Freedom Thursday, 28 March, 15:00-16:30 / Room 203
Language: Arabic
Chair: Prof. Ewa MACHUT-MENDECKA (University of Warsaw, Poland) Papers: 1. Prof. Moussa FATAHINE (University of Djilali Bounaama – Khemis-Miliana,
Algeria): The Logic of the Language in the Discourse of the Arab Heritage. Through the Contemporary Rhetorical Turn. A Debate between Abu Sa'id al-Sirafi and Abu-Bishr Mataa – Ibn Yunus as a Model
2. Prof. Ahmed Ali IBRAHIM (University of Falluja, Iraq): The Semantic Function of the Poetic Discourse of Poets
3. Prof. Ismael HAZIM (University of Mosul, Iraq): Manifestations of Rebellion in the Poetry of Vagabonds
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Panel 7: The Experience of Oppression in Contemporary Japanese Literature – Precarity, Imprisonment, Totalitarian Tendencies Thursday, 28 March, 17:00-19:00 / Room 307
Language: English
Chair: Prof. Lisette GEBHARDT (Goethe-University in Frankfurt, Germany) Papers: 1. Dr. Filippo CERVELLI (Durham University, UK): The Oppression of Democracy:
Political (Mis)Representation and Community in Takahashi Gen’ichirō’s writings 2. Adam GREGUŠ (University of Vienna, Austria): When Bubblonia Bursts – Kirino
Natsuo’s Politikon and its Subversive Utopia
3. Christian CHAPPELOW (Goethe-University in Frankfurt, Germany): Henmi Yô’s Approaches towards Imprisonment and Death Sentence in Japan
Panel 8: Woman: between Freedom and Oppression (1) Thursday, 28 March, 17:00-18:30 / Room 203
Language: English
Chair: Prof. Arzu SADYKHOVA (Adam Mickiewicz University, Poland) Papers: 1. Prof. Roswitha BADRY (Freiburg University, Germany): A Literary Plea for Freedom
of Expression – Laylā al-’Uthmān’s Muḥākama as an Example 2. Dr. Najla KALACH (Tuscia University, Italy): Between Tradition and Change. Qatari
Women Writers and the Short Story: a Focus on Kalthum Jabr
3. Dr. Nihad FOTTOUH (The French University in Egypt, Egypt): Nawal el Saadawi: The Egyptian face of resistance
4. Dr. Weronika ROKICKA (University of Warsaw, Poland): Quest for Freedom: An Indian Female Traveller’s Struggles in Nabaneeta Dev Sen’s Travel Writings
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Panel 9: China: the Picture of Freedom and Oppression Thursday, 28 March, 17:00-19:00 / Room 309
Language: Polish
Chair: Dr. Paweł ZYGADŁO (Xi’an Jiaotong-Liverpool University, China) Papers: 1. Dr. Maciej SZATKOWSKI (Nicolaus Copernicus University in Toruń, Poland):
Chińska literatura obozowa
2. Dr. Zofia JAKUBÓW (University of Warsaw, Poland): Poszukiwanie wolności
w kulturze wolnego rynku: chińscy pisarze „środkowego pokolenia”
3. Dr. Agnieszka PATERSKA-KUBACKA (Adam Mickiewicz University, Poland):
Sun Wukong jako symbol buntu i wolności w kulturze chińskiej
4. Dr. Anna KOŁOS (Adam Mickiewicz University, Poland): Przez Ocean Indyjski. Polscy podróżnicy w drodze do Chin (1850–1939)
Panel 10: Woman: between Freedom and Oppression (2) Friday, 29 March, 12:00-14:00 / Room 307
Language: English
Chair: Dr. Najla KALACH (Tuscia University, Italy) Papers: 1. Dr. Monika BROWARCZYK (Adam Mickiewicz University, Poland): In Search
of Oppression of Freedom and Freedom from Oppression. Meena Kandasamy’s “Gypsy Goddess” and “When I Hit You or, A Portrait of the Writer as a Young Wife”
2. Maria SKAKUJ-PURI (Independent Scholar, India): Mothers, Daughters, Sisters,
Wives… Women and the 1984 trauma in Punjabi short stories by Ajeet Caur
3. Natalia GRENIEWSKA (University of Warsaw, Poland): Mongolian Female Perspective of Individual Freedom
4. Joanna GRUSZEWSKA (Jagiellonian University, Poland): Freedom through Enlightenment in the Poems of the Early Buddhist Nuns
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Panel 11: The Freedom in Colonial and Postcolonial Perspective Friday, 23 March, 17:00-19:00 / Room 309
Language: English
Chair: Dr. Daniela ZHANG CZIRÁKOVÁ (Slovak Academy of Sciences, Slovakia) Papers: 1. Dr. Małgorzata SOKOŁOWICZ (University of Warsaw, Poland; Fryderyk Chopin
University of Music, Poland): The Category of Freedom in the French Colonial Literature: “L’étrange aventure d’Aguida” [The Strange Adventure of Aguida] by A.-R. de Lens
2. Alicja WALCZYNA (University of Warsaw, Poland): Write a Lived Prison Experience,
Transcribe an Experience Heard. The Comparative Study of Ben Jelloun’s “The Blinding Absence of Light” and Marzouki’s ”Tazmamart-Cell 10”
3. Aleksandra SZKLARZEWICZ (Jagiellonian University, Poland): Literature as a Testimony. Memoirs of Prison and Torture in Tahar Ben Jelloun’s “This Blinding Absence of Light” and in Fatema Oufkir’s “Les Jardins du roi”
4. Khedidja CHERGUI (Ecole Normale Supérieure of Algiers, Algeria): Nurrudin Farah, Wole Soyinka and the Not Yet Dethroned African Kongism
Panel 12: Freedom in Contemporary Arabic Literature Friday, 28 March, 12:00-14:00 / Room 203
Language: Polish
Chair: Dr. Hab. Elżbieta KOSSEWSKA (University of Warsaw, Poland) Papers: 1. Dr. Magdalena Kubarek (Nicolaus Copernicus University in Toruń, Poland):
Pięć wizji kobiecego zniewolenia w dramcie „Kafas” [Klatka] Dżumany Haddad
2. Dr. Agnieszka GRACZYK (Adam Mickiewicz University, Poland): W oczekiwaniu na wyrok. Wspomnienia irackich pisarzy Rifata Chadirijego i Balqis Szarary
3. Dr. Sebastian GADOMSKI (Jagiellonian University, Poland): Droga do wolności –
dramaturgia egipska wobec rewolucji 2011 roku 4. Dr. Adrianna MAŚKO (Adam Mickiewicz University, Poland): Opór irackiego
intelektualisty wobec baasistowskiej propagandy i cenzury w powieści „Znaki diakrytyczne” Sināna Anṭūna
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Panel 13: Freedom and Violence in Narration Friday, 28 March, 15:00-17:00 / Room 307
Language: English
Chair: Prof. Ahmed Ali IBRAHIM (University of Falluja, Iraq) Papers: 1. Dr. Mustafa WSHYAR (University of Szeged, Hungary): Violence Representation
in “And the Mountains Echoed” by Khaled Hosseini 2. Joanna ANTONIAK (Nicolaus Copernicus University in Toruń, Poland):
Does independence equal freedom? The Motif of Independence in M.G. Vassanji’s “No New Land” (1991)
3. Jacek SKUP (Jagiellonian University, Poland): Narratives of Struggle for Freedom in the Writings of S.C. Bose
4. Daniela SPINA (University of Lisbon, Portugal): Repressing Satyhagraha, Representing Satyhagrahis: Violence and Non-violence in a Novel by Goan Writer Orlando da Costa
Panel 14: Spheres of Freedom and Oppression between Orient and Polish Literature Friday, 29 March, 17:00-19:00 / Room 309
Language: Polish
Chair: Dr. Adrianna MAŚKO (Adam Mickiewicz University, Poland) Papers: 1. Dr. Hab. Elżbieta KOSSEWSKA (University of Warsaw, Poland): Orientalizm
w literaturze polskich uchodźców w Palestynie 2. Prof. Michał KURAN (University of Łódź, Poland): Obraz niewoli turecko-tatarskiej
w literaturze polskiej wieków XVI i XVII – propaganda i stereotypy
3. Dr. Renata GADAMSKA-SERAFIN (Jagiellonian University, Poland): Polskie orientalia kaukaskie. Proza zesłańcza Michała Andrzejkowicza-Butowta
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Panel 15: Different Perspectives of Freedom and Oppression (2) Friday, 29 March, 17:00-19:00 / Room 203
Language: English
Chair: Prof. Ismael HAZIM (University of Mosul, Iraq) Papers: 1. Dr. Viktoria PÖTZL (Independent Scholar, Austria): From Pan-Asianism
to Safari-Zionism: Gender and Orientalism in Jewish-Austrian Literature
2. Marco MEDUGNO (Newcastle University, UK): Questioning Oppression and Freedom: A New Perspective on J.M. Coetzee’s “Life & Time of Michael K.”
3. Paulina STANIK (University of Warsaw, Poland): The Experience of Polish World War II Soldiers and Refugees in the Orient: the Act of Singing as an Escape to Freedom
4. Maria SZAFRAŃSKA-CHMIELARZ (University of Warsaw, Poland): Escaping to and from Orientalism: “The Count of Monte Cristo” and its Adaptations
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Orient in Literature – Literature of the Orient
Literature Towards Freedom & Oppression
ABSTRACTS
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PANEL 1
Freedom and Oppression in Chinese Literature
DDrr.. DDaanniieellaa ZZHHAANNGG CCZZIIRRÁÁKKOOVVÁÁ
Institute of Oriental Studies
SLOVAK ACADEMY OF SCIENCES
(Bratislava/Slovakia) [email protected]
LLiiaaoo YYiiwwuu –– aa VVooiiccee ooff FFrreeeeddoomm
In my paper I will present and analyze the works
of Chinese poet, writer, musician and reporter Liao
Yiwu (廖亦武; also known as Lao Wei, born in June 16
1958 in Sichuan) who started as a poet of Chinese
avant-garde in the middle of 80ties. His earlier poems
were indifferent to political events, but the composing
a long poem Massacre after hearing about
the Tiananmen Square protests, which he recorded
to audiotape in the poetic the recitation by using
Chinese ritualistic chanting and howling, invoking
the spirits of the dead, for which he has been
imprisoned, has changed him to a dissident
and a fierce critic of Chinese communist system.
Although Liao Yiwu became known mostly for the
books he wrote after being released form the prison,
as The Corpse Walker: Real Life Stories: China from
the Bottom Up, Interviews with the Lower Strata
of Chinese Society (translated to Czech) For a Song
and a Hundred Songs: A Poet’s Journey Through
a Chinese Prison, which has been translated
to Slovak and published in Slovakia in 2018,
I am going to turn my attention to his poetry,
especially the poem Massacre. I will try to find in his
poems means of expression such as metaphors,
personifications and others in which he expresses his
essential desire for life in a free country without
political repression. Due to the fact that I met
the poet personally on the occasion of publishing his
book in Slovakia and I am in touch with him, I can
also use personal contact to clarify or supplement my
observations and conclusions.
DDrr.. TTiinngg TTiinngg--YYuu LLEEEE
UNIVERSITY OF SOCIAL SCIENCES AND HUMANITIES
(Warsaw/Poland) [email protected]
RReefflleeccttiioonn ooff IIddeennttiittyy aanndd FFrreeeeddoomm
ffoorr MMaaiinnllaannddeerrss iinn TTaaiiwwaann
Chinese civil war was a war fought between
Kuomintang (KMT) and Communist Party of China
(CPC) from 1945 to 1949. On 1 Octorber 1949, Mao
Zedong proclaimed the founding of the People’s
Republic of China (ROC) with its capital in Beijing.
Chiang Kai-shek and approximately two million
Nationalist soldiers (mainlanders 大陸人 ) retreated
from Mainland China to the island of Taiwan. 1949
was a symbolic and unforgettable year for
mainlanders in Taiwan. Since 1949 mainlanders
in Taiwan were forbidden to go back to their
hometowns in Mainland China. Thousands
of families were forced to fall into apart. Hundreds
of children became orphans because of the Chinese
civil war. Until 1987 Deng Xiaopeng and Chiang
Ching-kuo (son of Chiang Kai-shek) reopened
the gates between Taiwan strait and allowed
the mainlanders in Taiwan to visit their families
and relatives in Mainland China. Long Yingtai,
as a well-known writer in Mainland China, Taiwan
and Hongkong, has published the book 1949 Great
River and Great Sea in 2009. Long attempts to recall
and reshape the memories and histories through
the interviews and dialogues with mainlanders
in Taiwan in order to search for their identities
and the notion of freedom during their residences
in Taiwan. This article is aimed to analyze
mainlanders’ psychological transformation
in Taiwan. The notion of family root (根) is deeply
rooted in Chinese families and societies. There
are four main research questions are proposed
in this article: (1) Does mainlanders in Taiwan really
recognize Taiwan as their home or they still eager
to go back to their hometown in Mainland China?; (2)
25
How the second and third generation from
mainlanders’ families identify themselves in Taiwan;
(3) Do mainlanders in Taiwan finally achieve to their
goals to find their freedom which means democracy
in Taiwan?; (4) What price have mainlanders paid
for their freedom in Taiwan? The reflection
and finding are summarized through the fragments
from 1949 Great River and Great Sea.
DDrr.. PPaawweełł ZZYYGGAADDŁŁOO
DEPARTMENT OF CHINA STUDIES
XI’AN JIAOTONG-LIVERPOOL UNIVERSITY
(Suzhou/China) [email protected]
FFaaccee aanndd OOpppprreessssiioonn –– LLuu XXuunn aanndd LLiinn
YYuuttaanngg oonn CChhiinneessee CCuulltt ooff FFaaccee
This paper is intended as an analysis of the notion
of face (Chin. mianzi), as presented in literary works
of two renewed writers of the early Republican Era
China, Lu Xun and Lin Yutang. As psychologist
David Ho claimed “It is virtually impossible to think
of a facet of [Chinese] social life to which the question
of face is irrelevant” (Ho, 1976: 883), Lu Xun (1934),
followed later by Lin Yutang (1936) were first native
Chinese who identified the degree to which face
controlled Chinese morality and social behaviour.
This paper is then an attempt towards reexamination
of the notion of face as a form of cultural oppression,
as it had been identified and expounded in the
literary works of two champions of Chinese cultural
modernisation of the Republican Era. It will argue,
taking the notion of face as a point of reference that
culturally specific values and behavioural patterns
due to they totalness can become a form of persistent
and inevitable oppression that only through artistic
sensitiveness can be identified and denounced.
Especially in the case of high-context cultures, such
as Chinese, and more subtle forms of “cultural
oppression”, such as face, more “sensitive minds” are
often indispensable factor allowing for critical
analysis of culturally specific phenomena and
subsequently for a call for change. The significance
of the literary work goes then beyond the field
of literature. As Lu’s and Lin’s analyses of face show,
it can accelerate social change and contribute
to the development of social sciences.
DDaawwiidd RROOGGAACCZZ
ADAM MICKIEWICZ UNIVERSITY (Poznań/Poland)
NICOLAUS COPERNICUS UNIVERSITY IN TORUŃ
(Toruń/Poland) [email protected]
FFrreeeeddoomm aanndd LLiibbeerraattiioonn
iinn tthhee TTaaiippiinnggjjiinngg
The Classic of the Supreme Peace 太平經 Tàipíngjīng
is one of the most important Neo-Daoist works that
was created already under the late Han dynasty.
It proclaims the advent of an era of peace, equality,
and community of goods, which eventually inspired
the Taiping Rebellion sixteen centuries later. Most
importantly, the Taipingjing offers an exceptional
theory of universal liberation from inherited guilt (承
負 chéngfù). In the state of the supreme peace slaves,
bondswomen and barbarians will be equally
recognised; violence against women will also cease.
However, as I shall show, the state of universal
freedom is only one way among many, for humankind
could also lead to its complete “annihilation” (滅盡
mièjìn). The question then arises to which extent
such vision might be called Millenarianism, as it is
proposed by contemporary studies on the Classic
of the Supreme Peace.
26
PANEL 2
Concepts of Freedom
PPrrooff.. SSwwiieettłłaannaa CCZZEERRWWOONNNNAAJJAA
Department of Ethnology and Cultural Anthropology Faculty of History
NICOLAUS COPERNICUS UNIVERSITY IN TORUŃ (Toruń/Poland)
POLISH INSTITUTE OF WORLD ART STUDIES [email protected]
SSyymmbboollee wwoollnnoośśccii ((wwaallkkii oo wwoollnnoośśćć))
oorraazz OOjjcczzyyzznnyy ww ppooeezzjjii TTaattaarróóww
ppoollsskkoo--lliitteewwsskkiicchh
Poezja Selima Chazbijewicza, Musy
Czachorowskiego, Adasa Jakubauskasa oraz innych
współczesnych poetów pochodzących z etnicznej
grupy Tatarów litewskich i posługujących się
w swoich wierszach językami polskim, litewskim,
białoruskim, obfituje w motywy i symbole poetyczne
walki o wolność, pragnienia wolności. Patos tej poezji
rozpowszechnia się na różne epoki historyczne:
zawiera ona w sobie pamięć zbiorową Tatarów
litewskich o walecznym udziale ich przodków
w bitwie pod Grunwaldem, w obronie Wielkiego
Księstwa Litewskiego i Korony Polskiej od wrogów
z Zachodu i ze Wschodu, w powstaniu styczniowym
1863 roku, w wojnie o niepodległość Polski
(odrodzonej II Rzeczypospolitej), wreszcie – w ruchu
oporu przeciwko okupantom sowieckim (przede
wszystkim na Litwie). Ideały wolności politycznej
i duchowej są ściśle związane w poezji tych autorów
z obrazem Ojczyzny. Jest to obraz bardzo
skomplikowany, wielowarstwowy, bowiem łączy
rzeczywistość z mitami romantycznymi, obywatelską
lojalność wobec dzisiejszej Polski, Litwy, Białorusi
z mirażami fantazyjnymi – przedstawieniami
o historycznej praojczyźnie Tatarów na
przestworzach Eurazji, ze sławą imperiów
Czyngis-chana i Timura (Tamerlana). Głównym
motywem tych przedstawień romantycznych jest
krajobraz bezkresnego stepu – kolebki wolności
tatarskiej i przewagi wojennej. Porównanie tych
„wierszy stepowych” z obrazami „ziemi rodzimej”
(lasami, górami, z pięknem Morza Czarnego, Wołgi /
Idelu, Uralu) w poezji Tatarów krymskich oraz
Tatarów kazańskich ukazuje samoistność kultury
i mentalności Tatarów polsko-litewskich.
SSyymmbboollss ooff FFrreeeeddoomm ((FFiigghhtt ffoorr FFrreeeeddoomm))
aanndd tthhee HHoommeellaanndd iinn tthhee PPooeettrryy ooff tthhee
PPoolliisshh--LLiitthhuuaanniiaann TTaattaarrss
The poetry of Selim Chazbijewicz, Musa
Czachorowski, Adam Jakubauskas and other
contemporary poets from the ethnic group
of Lithuanian Tatars and speaking Polish,
Lithuanian and Belarusian in their poems abounds
in poetic motifs and symbols of the fight for freedom
and the desire for freedom. The pathos of this poetry
spreads to various historical epochs: it contains
the collective memory of the Lithuanian Tatars about
the valiant participation of their ancestors
at the Battle of Grunwald, in defense of the Grand
Duchy of Lithuania and the Polish Crown from
enemies from the West and the East, in the January
Uprising of 1863, in the war for independence
of Poland (reborn in the Second Polish Republic), and
finally in the resistance movement against the Soviet
occupiers (above all in Lithuania). The ideals
of political and spiritual freedom are closely related
in the poetry of these authors to the image
of the Fatherland. This is a very complexed,
multi-layered image, because it combines reality with
romantic myths, civic loyalty to today’s Poland,
Lithuania, Belarus with fanciful mirages – depictions
of the historical Tatar forefathers on the Eurasian
territories, the fame of Genghis Khan and Timur
(Tamerlane) empires. The main motif of these
romantic performances is the landscape of the
endless steppe – the cradle of Tatar freedom and war
superiority. The comparison of these “steppe poems”
with pictures of “native land” (forests, mountains,
with the beauty of the Black Sea, Volga / Idelu, Urals)
in the poetry of the Crimean Tatars and Kazakh
Tatars reveals the self-esteem of culture and
mentality of the Polish-Lithuanian Tatars.
27
PPrrooff.. DDoorroottaa KKAARRWWAACCKKAA--PPAASSTTOORR
Institute of Romance Studies
Faculty of Languages
UNIVERSITY OF GDAŃSK (Gdańsk/Poland) [email protected]
MMiięęddzzyy wwoollnnoośścciiąą aa nniieewwoolląą.. SSyyttuuaaccjjaa
kkoobbiieett ww kkrraajjaacchh mmuuzzuułłmmaańńsskkiicchh
ww ttwwóórrcczzoośśccii VViittttoorriiii AAlllliiaattaa
ddii VViillllaaffrraannccaa
Vittoria Alliata di Villafranca jest współczesną
pisarką, dziennikarką i tłumaczką. Pochodzi
z arystokratycznej rodziny sycylijskiej. Jako
absolwentka prawa muzułmańskiego i wybitna
znawczyni krajów arabskich poświęciła większość
swoich książek sprawom społeczno-politycznym oraz
mentalności i tradycjom w krajach muzułmańskich.
Interesuje ją w szczególności sytuacja kobiet. W wielu
swych tekstach dziennikarskich oraz
w opowiadaniach, także w swojej najgłośniejszej
powieści, która odniosła międzynarodowy sukces,
Harem, memorie d’Arabia di una nobildonna siciliana,
przedstawia nie tylko sylwetkę kobiety Orientu, ale
także jej warunki życia, możliwości i aspiracje, kładąc
szczególny nacisk na kwestię wolności. Wyjaśnia też
różne konteksty słowa „harem”, ukazując blaski
i cienie życia we współczesnym haremie. Vittoria
Alliata pisze też o próbach wyzwolenia i o poczuciu
godności arabskich kobiet. Jej twórczość, analizująca
szczegółowo problem wolności i zniewolenia kobiet,
powstała w oparciu o przeprowadzone przez nią
badania i jej doświadczenia związane z długoletnim
pobytem w krajach muzułmańskich w ścisłym
kontakcie z kobietami z wpływowych arabskich
rodzin.
BBeettwweeeenn FFrreeeeddoomm aanndd EEnnssllaavveemmeenntt::
tthhee SSiittuuaattiioonn ooff WWoommeenn iinn MMuusslliimm
CCoouunnttrriieess iinn tthhee WWoorrkkss ooff VViittttoorriiaa AAlllliiaattaa
ddii VViillllaaffrraannccaa
Vittoria Alliata di Villafranca is a contemporary
writer, journalist and translator. She comes from an
aristocratic Sicilian family. A graduate of Islamic Law
and a renowned expert in Arabic countries, she has
devoted the majority of her books to the social
and political affairs as well as the mentality
and traditions of Muslim countries. She
is particularly interested in the situation of women.
In many of her journalistic texts and stories,
including her most famous, internationally
successful novel Harem, memorie d’Arabia di una
nobildonna siciliana she has presented not only
a portrait of the Oriental woman, but also
the conditions in which such a woman lives,
the opportunities and aspirations, with particular
emphasis on the question of freedom. She also
explains the various contexts of the word harem,
showing the advantages and disadvantages of living
in a contemporary harem. Vittoria Alliata also
describes the attempts at liberation and the feeling
of dignity of Arabic women. Her works analyzing the
problem of freedom and enslavement of women have
been created on the basis of the research she
conducted and her experiences of long-term stay
in Muslim countries in direct contact with the women
from influential Arabic families.
PPrrooff.. BBeeaattaa TTAARRNNOOWWSSKKAA
The Institute of Polish Studies and Speech Therapy
UNIVERSITY OF WARMIA AND MAZURY IN OLSZTYN
(Olsztyn/Poland) [email protected]
PPuussttyynniiaa jjaakkoo pprrzzeessttrrzzeeńń wwoollnnoośśccii
nnaa ppooddssttaawwiiee ttwwóórrcczzoośśccii JJeehhuuddyy AAmmiicchhaajjaa
Tematem wystąpienia „Pustynia jako przestrzeń
wolności – na podstawie twórczości Jehudy
Amichaja” jest relacja człowiek – pustynia ukazana
w dziele izraelskiego poety, a szczególnie tomu
poetyckiego Nof Galui Ejnajim [Krajobraz otwarty dla
oczu] z 1992 roku. W utworach Jehudy Amichaja
pustynia funkcjonuje zarówno w aspekcie
geograficzno-przestrzennym, jako obszar
percypowany zmysłowo, jak i w kontekście
filozoficzno-kulturowym. Pustynny krajobraz z jednej
strony odsyła do (oddalonych w czasie) wydarzeń
z dziejów narodu żydowskiego, jak opisana w Biblii
czterdziestoletnia wędrówka z Egiptu przez pustynię
28
czy stacjonowanie na pustyni żydowskich oddziałów
militarnych podczas wojny w Mandacie Palestyny
oraz wojny o niepodległość. Natomiast z drugiej
strony – stanowi miejsce absolutnej wolności od
wszelkich więzów i ograniczeń, jakie związane są
z funkcjonowaniem człowieka w społeczeństwie. To
poczucie wolności, ewokowane przez pejzaż pustyni
jako przestrzeni niepoddającej się zamiarom
człowieka, łączy się z mistycznym przeżyciem pustki
będącej najgłębszą prawdą istnienia.
TThhee DDeesseerrtt aass aa SSppaaccee ooff FFrreeeeddoomm –– oonn tthhee
BBaassiiss ooff YYeehhuuddaa AAmmiicchhaayy’’ss WWoorrkk
The topic of the paper is the relationship between
man and a desert, presented on the basis of Yehuda
Amichay’s poems, especially his volume of poetry
entitled Nof Galui Ejnajim [Open Eyed Land] (1992).
The desert is examined in this volume from two
aspects: the geographical-spatial, as an area
perceived by senses, and the philosophical-cultural
one. On one hand, the desert-like landscape refers to
the historical events of the Jewish nation, such as
Israelits’ wandering through the wilderness for 40
years, described in the Bible, or the stay of the Jewish
troops on the desert during the civil war at the end
of the British Mandate of Palestine and Israeli war
of independence. On the other hand, it is also a place
of absolute freedom from every ties and limitations
which are imposed on an individual by society. This
feeling of freedom is evoked by the view of a desert as
the space independent from the human activity and it
is merged with the mystical experience of emptiness
as the deepest truth of existence.
DDrr.. MMaaggddaalleennaa LLEEWWIICCKKAA
Arabic Language and Culture Center
NICOLAUS COPERNICUS UNIVERSITY IN TORUŃ (Toruń/Poland)
KKoonncceeppccjjaa wwoollnnoośśccii pprrzzeeddssttaawwiicciieellii
aarraabbsskkiieeggoo ooddrrooddzzeenniiaa ((aann--nnaahhḍḍaa))::
RRiiffāā‘‘aa aaṭṭ--ṬṬaahhṭṭāāwwīī ((AAll--MMaaššrriiqq)) ii HHaayyrr
aadd--DDīīnn aatt--TTūūnnuussīī ((AAll--MMaaḡḡrriibb))
Referat poświęcony będzie koncepcji wolności w myśli
reformatorskiej przedstawicieli arabskiego
odrodzenia (an-nahḍa): działającego na obszarze
Arabskiego Wschodu (Al-Mašriq) Rifā‘y aṭ-Ṭahṭāwīego
oraz reprezentującego Arabski Zachód (Al-Maḡrib)
Hayr ad-Dīna at-Tunūsīego. Jako pionierzy odnowy
w świecie arabsko-muzułmańskim postulowali oni
koncepcję rozwoju cywilizacyjnego (at-tamaddun),
którego atrybutami miało być poszanowanie prawa
muzułmańskiego (aš-šarī‘a al-islāmiyya) oraz
przejęcie od Zachodu nauk i sztuk (al-‘ulūm
wa-al-ma‘ārif), a więc pójście jego śladem, co było
możliwe tylko dzięki otwarciu się świata
muzułmańskiego na zdobycze europejskiej kultury
i cywilizacji. Byli jednymi z pierwszych myślicieli
arabskich, którzy z ogromną wnikliwością i głęboką
świadomością obserwowali nowożytną cywilizację
zachodnią, jednak ich poglądy na temat państwa
i społeczeństwa nie były prostą refleksją idei
zapoznanych zagranicą, ani też powtórzeniem
tradycyjnego religijnego światopoglądu, lecz próbą
wypracowania kompromisu pomiędzy wzorcami
europejskimi a szariatem i osadzenia go w tradycji
muzułmańskiej, w celu pogodzenia z islamem i jego
teorią polityczną. U podstaw tej metody legła
konieczność udowodnienia, że po pierwsze –
europejska wiedza i nauki należały do świata
arabsko-muzułmańskiego, zanim przejął je Zachód,
a po drugie – nie ma sprzeczności pomiędzy wiarą
i nowoczesnością, przeciwnie – rozwój państwa
i społeczeństwa należy do religijnych obowiązków
władzy, która winna dbać o realizację dobra
powszechnego, pomnażanie dóbr i rozwój sfer
użyteczności publicznej, panowanie sprawiedliwości
oraz eliminowanie niesprawiedliwości i ucisku,
zapewnienie swobód obywatelskich, wspieranie
działalności gospodarczej i aktywności społecznej.
Doktryna społeczno-polityczna obu myślicieli oparta
została o idee Wielkiej Rewolucji Francuskiej oraz
o zasadę, że naród powinien korzystać z przywilejów
wolności politycznej i osobistej, zaś mechanizmy
29
regulujące relacje pomiędzy władzą i społeczeństwem
winny opierać się na poszanowaniu praw, a co za tym
idzie – w kręgu ich zainteresowań znalazła się kwestia
wolności (al-ḥurriyya) i swobód obywatelskich,
określanych mianem wolności powszechnych
(al-ḥurriyyāt al-‘āmma) bądź praw cywilnych
(al-ḥuqūq al-madaniyya), będących podstawowym
warunkiem rozwoju (al-umran).
Rifā‘a aṭ-Ṭahṭāwī jest autorem szeregu dzieł
i artykułów, których opracowania podjął się
Muḥammad ‘Amāra w Al-A‘amāl al-kāmila li-Rifā‘a
aṭ-Ṭahṭāwī [Dzieła zebrane Rifā‘y aṭ-Ṭahṭāwīego]
opublikowanych w 1973 roku, zaś punkt wyjścia
do sformułowanej przez niego koncepcji reformy
władzy i społeczeństwa stanowi Kitāb taẖlīṣ al-ibrīz fī
talẖīṣ Bārīz [Wydobycie czystego złota czyli krótki opis
Paryża] z 1834 roku. Hayr ad-Dīn at-Tunūsī
natomiast swoje koncepcje zreformowania świata
muzułmańskiego wyłożył w dziele Aqwam al-masālik
fī ma‘rifat aḥwāl al-mamālik [Najprostsza droga
do poznania sytuacji w królestwach] wydanym
drukiem w 1868 roku.
TThhee CCoonncceepptt ooff FFrreeeeddoomm
iinn RReepprreesseennttaattiivveess ooff AArraabb RReennaaiissssaannccee
((AAnn--NNaahhḍḍaa))::
RRiiffāā‘‘aa aaṭṭ--ṬṬaahhṭṭāāwwīī ((AAll--MMaaššrriiqq)) aanndd HHaayyrr
aadd--DDīīnn aatt--TTūūnnuussīī ((AAll--MMaaḡḡrriibb))
The paper will be devoted to the concept of freedom
in the reformatory thought of representatives of Arab
Renaissance (An-Nahḍa): Rifā‘a aṭ-Ṭahṭāwī active in
the Mashriq, i.e. the eastern part of the Arab world
(Al-Mašriq) and Hayr ad-Dīn at-Tunūsī who
represented the Maghreb (Al-Maḡrib). As pioneers
of revival in the Arab-Muslim world, they advocated
a programme of political, social and economic
development (at-tamaddun) that was meant to
respect Islamic law (aš-šarī‘a al-islāmiyya) while
assimilating the achievements of Western civilisation,
arts and sciences (al-‘ulūm wa-al-ma‘ārif) and
applying them appropriately in the Muslim world.
They were among the first Arab thinkers to observe
modern Western civilisation so thoroughly and with
such a deep awareness even though their views on
the state and society were neither a simple reflection
of ideas learnt abroad nor a repetition of the
traditional religious views. They attempted to find
a compromise between European models and the
Sharia law, and to embed this compromise in the
Muslim tradition in order to reconcile it with Islam
and its political theory. This method was based on
the necessity to prove that, firstly, European
knowledge and sciences had belonged to the Arab
and Muslim world before the West took them over
and, secondly, there was no contradiction between
faith and modernity. Quite the contrary, the
development of the state and society was part of the
religious duties of the government that should ensure
the pursuit of the common good, development
of public assets and public services, rule of justice,
elimination of injustice and oppression, respect
of civil liberties and support of economic activity and
civic engagement. Thus, the socio-political doctrine
of these thinkers was based on the ideas of the Great
French Revolution and the principle that the nation
should benefit from political and personal freedom
while the mechanisms regulating the relations
between the government and society should be based
on respect for the laws. Consequently, their interests
included the question of freedom (al-ḥurriyya) and
civil liberties, described as universal liberties
(al-ḥurriyyāt al-‘āmma) or civil rights (al-ḥuqūq
al-madaniyya), constituting the basic condition of
development (al-umran).
Rifā‘a aṭ-Ṭahṭāwī is the author of several works and
articles that were collected and edited by Muḥammad
‘Amāra in Al-A‘amāl al-kāmila li-Rifā‘a aṭ-Ṭahṭāwī
[Collected Works of Rifā‘y aṭ-Ṭahṭāwī] published
in 1973. Kitāb taẖlīṣ al-ibrīz fī talẖīṣ Bārīz [Extraction
of pure gold or a short description of Paris] from 1834
is the starting point of his concept of reforming
government and society. Hayr ad-Dīn at-Tunūsī
expounded his ideas for reforming the Muslim world
in Aqwam al-masālik fī ma‘rifat aḥwāl al-mamālik
[The Simplest Path to Recognise the Situation in the
Kingdoms] published in print in 1868.
30
PANEL 3
Different Perspectives
of Freedom and Oppression (1)
PPrrooff.. IIwwoonnaa MMIILLEEWWSSKKAA
JAGIELLONIAN UNIVERSITY (Kraków/Poland) [email protected]
FFrreeeeddoomm ooff CChhooiiccee oorr ““FFrreeeeddoomm
ooff CChhooiiccee””.. TThhee CCuussttoomm ooff SSvvaayyaammvvaarraa
aass DDeessccrriibbeedd iinn tthhee IInnddiiaann EEppiicc
MMaahhaabbhhaarraattaa
In the paper I discuss the topic of Indian custom
of svayamvara as described in the epic Mahabharata.
According to the meaning of the word itself the term
svayamvara should mean “self-choosing”. Together
with the word kanya it should stand for “a girl who
chooses her husband herself”. In the Mahabharata
there are several shorter or longer descriptions
of different svayamvara-s. The word itself appears
in the epic, in various contexts, about fifty times. On
the basis of some chosen examples I would like
to show the complexity of the problem. Are the
heroines of svayamvara-s free in their choices of their
future husbands or are they strictly limited by the
rules of tradition till the edge of not choosing them
independently? What is the role of their fathers
as shown in the different contexts? Is it really
freedom of choice as suggested by the meaning of the
word used for the custom or is it an artificial “freedom
of choice” as may be concluded from the analysis
of some of the examples?
PPrrooff.. EEwwaa MMAACCHHUUTT--MMEENNDDEECCKKAA
Faculty of Oriental Studies
UNIVERSITY OF WARSAW (Warsaw/Poland)
LLaanngguuaaggee ooff FFrreeeeddoomm iinn AArraabb PPrroossee
Ancient The contemporary Arab prose from the turn
of the 19th and 20th centuries is permeated
by opposing and complementary concepts of freedom
and violence which are expressed on the one hand
by a realistic language, representing the natural
reality, on the other – symbolic and ambiguous.
Realism includes combat prose, directly and bluntly
expressed, especially armed struggle and
underground activities. In the realistic prose of the
prominent writers: Naguib Mahfouz (1911–2006)
from Egypt, Hanna Mina (1924–2018) from Syria,
Abdul Rahman Majeed al-Rubai (1939) from Iraq and
many others, it is a struggle for national freedom
of their countries – their own homelands, expressed
in meaningful images, death is a concrete thing and
also an extreme suffering. In the prose of Arab writers
the heroes are dying and fighting for homeland.
Realism, sometimes bordering on naturalism, at the
same time illustrates the struggle for personal
freedom, the images of surveillance, prisons and
humiliation are horrifying. In turn, the symbolic
prose of freedom has been using allegory,
camouflage, understatement or absurdity. An
example is the prose of Abdul Rahman Munif (1933–
2004) from Jordan and Salim Barakat from Syria
(born 1951).
YYaassuuoo SSHHIIMMIIZZUU
DOSHISHA UNIVERSITY (Kyoto/Japan) [email protected]
HHaarruukkii MMuurraakkaammii’’ss SSppoorrttss PPeerrssppeeccttiivvee
aanndd SSppoorrttss EEvveenntt VViieewwiinngg
–– FFrreeeeddoomm aanndd OOpppprreessssiioonn
Haruki Murakami is a runner and a player
of triathlon. How is a sportsman Murakami Haruki
looking at Japanese sports events? Based on the
essays and interviews about triathlon, marathon,
Olympic etc. I thought about Murakami Haruki’s
sports event view and sports view. Also I also studied
Murakami literature from there. The results are
31
as follows. From various books it seems that his
running is trying to break down the stereotyped
novelist view. Also, Haruki Murakami’s view of the
Olympic Games is “Sydney!” [“Sydney!”] In detail. The
book states that the Olympic Games are boring and
enduring boredom. That boredom can be said to be
suppressed boredom peculiar to the Olympic Games.
It can be said that this book reveals that he is
confronted with the suppressed boredom feeling.
In addition, he mentioned the difference between the
Japanese marathon race and the American marathon
race in the “sad foreign languages”, and opinions are
given to the Japanese marathon contest. There are
criticisms of suppressed formalism and
authoritarianism of Japanese society. Also, his
favorite marathon is the Boston Marathon, his
favorite running course is the course of the Charles
River. This will also be affected by American society
where liberty is respected. That is reflected in the
style of Murakami novel. I would like to mention
about that as well.
ZZooffiiaa LLIITTWWIINNOOWWIICCZZ
UNIVERSITY OF WARSAW (Warsaw/Poland)
UNIVERSITY OF ST. ANDREWS (St. Andrews/UK) [email protected]
TThhee BBooaatt ooff DDeeaatthh aanndd tthhee EExxppeeddiittiioonn
BBooaatt:: DDiiaalleeccttiiccss ooff EEnnssllaavveemmeenntt..
TThhee RReepprreesseennttaattiioonnss ooff aa BBooaatt
iinn ““BBeellllee”” aanndd ““AAppooccaallyyppssee NNooww””
tthhrroouugghh PPoossttccoolloonniiaall LLeennsseess According to DeLoughrey, each landscape should be
regarded not only as a setting for human experience,
but a true actor, a participant in a historical process.
A boat, as an element of this postcolonial landscape,
particularly reflects on the representation
of postcolonial and neocolonial situations
of enslavement in “Apocalypse Now” (dir. Frank
Coppola, 1979) and “Belle” (dir. Amma Asante, 2013).
In the light of the transatlantic trade, the connotation
of a boat englobes both the colonised and the
coloniser. It is at once the boat of death, symbolising
the horror of the Middle Passage of the slaves
transported from Africa to America, and expedition
boat, standing for the British imperial power. Both
of these representations are present in the “Belle”
and “Apocalypse Now”, which, as films, whose
aesthetic and factual tissue differ from that of literary
work, offer different methodological views on the
topic than solely literature. I will therefore analyse,
compare and contrast the narrative space of a boat in
these two films through postcolonial lenses. In the
first part I will focus on the representations of the
boat of death in “Belle”: as a metaphor for colonial
power; as a symbol of the Middle Passage and
triangular trade; and as “presence in absence” in the
particular case of the Zong ship. The first two are
intrinsically related to each other, as the imperial
power arose from the triangular trade. In the second
part I will analyse different representations of the
expedition boat in “Apocalypse Now”: as a space
of violence towards the virgin land; as a sanctuary
and shelter; as a space of death (both literal and
metaphorical). Finally, I will draw conclusion on how
this comparison reflects on the ambivalent role of the
boat as a symbol of enslavement in the postcolonial
(“Belle”) and neocolonial (“Apocalypse Now”) space.
32
PANEL 4
The Dimensions of Freedom
in Arabic Literature
PPrrooff.. AArrzzuu SSAADDYYKKHHOOVVAA
ADAM MICKIEWICZ UNIVERSITY (Poznań/Poland) [email protected]
SSoommee NNootteess oonn tthhee TTeennssoonn ooff WWaaḍḍḍḍāāḥḥ
aall--YYaammaann ((dd.. cc.. 9933//771122)) aanndd tthhee FFaattee
ooff tthhee MMuunnāāẓẓaarraa GGeennrree iinn AArraabbiicc PPooeettrryy Among the poetic heritage of Waḍḍāḥ al-Yaman (d.c.
93/712), one of the famous love poets of the
Umayyad period who became popular due to his fatal
love to the caliph’s wife Umm al-Banīn and his tragic
death in the chest-coffin, there is a remarkable short
poem, the so-called tenson, or debate poem,
or dialogue poem, i.e. munāẓara in Arabic. This poem
consists of ten lines and was devoted to his former
beloved Rawda, but the style, poetic meter and
composition of the poem could be considered as the
demonstration of some influence of the pre-Islamic
Persian Poetry on the Arabic one. However, these
arguments could not be considered as final and
undiscussable, due to some specific features of the
local Yemenite culture. Nevertheless, the latest
researches in the field of modern poetry in Arabic
dialects revealed several interesting facts which shed
the light on the further fate of the munāẓara genre
in Arabic poetry.
DDrr.. DDoommiinniikkaa
CCZZEERRSSKKAA--SSAAUUMMAANNDDEE
INALCO-CERMOM (Paris/France) [email protected]
SSeelleecctteedd AAssppeeccttss ooff EEggyyppttiiaann CCoommmmiitttteedd
PPooeettrryy aatt tthhee TTuurrnn ooff tthhee 2211sstt CCeennttuurryy My research is a study of the historical references
and social commitment of Egyptian poets in the
second half of the 20th century and at the beginning
of the 21st century, in the poetic works of Fārūq
Ǧuwayda, Fārūq Šūša – writing in Literary Arabic and
Ah mad Fu’ād Nigm, Salāh Ǧāhīn – writing
in Egyptian dialect. These poetic productions are
analysed on several levels: historical, social, political
– on the one side – and literary focus on language and
poetics – on the other side. These various levels cross
and influence one another in every poem, creating its
unique form and content in each work involved
in historical themes and social issues. By the means
of sociological criticism and poetic studies I have
analysed the selected poems of these four poets,
which constitute the framework of my research. Each
poet has different social origins and curriculum vitae,
as well as education that bring various tinctures to
the commitment in their poetry.
BBaarrttoosszz PPIIEETTRRZZAAKK
JAGIELLONIAN UNIVERSITY (Kraków/Poland) [email protected]
““MMuuḥḥibbu alibbu al--HH uurrrriiyyyyaa””?? CCoonncceepptt
ooff FFrreeeeddoomm iinn pprree--IIssllaammiicc ppooeettrryy..
CCooggnniittiivvee LLiinngguuiissttiicc AApppprrooaacchh Frequently, researchers of Arabic culture suggest
freedom to be one of the central values for pre-Islamic
Arabs. However, the modern lexeme used in reference
to freedom – ḥurriyya – does not occur within the
corpus of pre-Islamic poetry and, moreover, does not
seem to refer to what one usually understands
as freedom. The study aims to present a detailed
description of the pre-Islamic Arabic
conceptualization of freedom. It employs cognitive
linguistics based analysis in order to better
understand pre-Islamic Arabic thinking on this
value. Firstly, the semantic items,which might
be seen as referring to the concept of freedom, were
selected on the basis of kutub al-alfāḍ (topic-based
33
dictionaries). The items were then analyzed based
on Classical Arabic dictionaries, which allowed
demonstration of semantic relations between them,
as well as the metaphors employed in the
conceptualization they refer to. As a result,
hypothetical explications of the items were proposed.
Consequently, the proposed explications are to be
validated against the corpus of pre-Classical and
Classical Arabic poetry. At the current stage, the
research results suggest that the pre-Islamic
conceptualization of freedom consisted of two
conceptual categories: “freedom from” as in the
concepts of tabarruˀᵘⁿ and salāmᵘⁿ, and “freedom
as political dominance” as in the concept of {liqāḥᵘⁿ}
and dakalaᵗᵘⁿ. Additionaly, based on the dictionaries
explication, one can add the third category – “freedom
as NON slavery” – which consists of the concept
of ḥurriyyaᵗᵘⁿ. Consequently, the results reveal the
pre-Islamic Arabic understanding of freedom
as an individual value, which requires power to be
sustained. These findings are in accordance with
anthropological data on pre-Islamic society. The
results indicate that the employment of cognitive
linguistics methods might enhance the
understanding of pre-Classical Arabic semantics and
pre-Islamic Arabic culture.
34
PANEL 5
Freedom and Religious Texts
PPrrooff.. MMaarrcciinn GGRROODDZZKKII
Department of Arabic and Islamic Studies
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
CCllaauuddee GGiilllloott ii bbaaddaanniiaa nnaadd KKoorraanneemm
jjaakkoo tteekksstteemm lliitteerraacckkiimm Claude Gillot (ur. 1940) – znany arabista
i islamoznawca, przedstawiciel współczesnej
francuskiej szkoły koranistyki badającej najstarsze
zabytki piśmiennictwa arabsko-muzułmańskiego.
Jego naukowe dociekania koncentrują się wokół
Koranu jako tekstu literackiego, Gillot poszukuje jego
źródeł literackich i ideowych, bada dostępnymi
metodami naukowymi jego historię oraz tradycje
przekazu ustnego i pisemnego z nim związane.
Znajdując wyraz we wzniosłej formie literackiej,
upatruje w tekście Koranu wielowymiarowy kres
pewnej epoki historycznej (w dziejach Arabów
i, szerzej, historii człowieka) i dojście na nowo
do głosu pewnych ponadkulturowych idei, motywów
i duchowości cyrkulujących od wieków na Bliskim
Wschodzie.
CCllaauuddee GGiilllloott aanndd tthhee QQuurr’’aann
aass aa LLiitteerraarryy TTeexxtt Claude Gillot (b.1940) – a known French scholar
of Arabic & Islamic studies, representative of the
modern French school of Qur’anic studies, focusing
on the oldest Arabic-Muslim writings. His academic
investigations tackle the Qur’an as a literary text.
Gillot seeks out its literary and ideological sources,
explores its history and traditions of oral and written
transmittance, using available scholarly methods.
Finding expression in an exalted literary form, he
sees in the Qur’an’s text a multidimensional end
of a certain historical epoch (of the history of Arabs
and, more broadly, man’s history) and coming a new
to voice of certain supra-cultural ideas, motifs and
universal spirituality circulating in the Middle East
for centuries before.
PPrrooff.. RRoommaann MMAARRCCIINNKKOOWWSSKKII
UNIVERSITY OF WARSAW (Warsaw/Poland)
SSłłuuggaa kkaannaanneejjsskkii ww śśwwiieettllee wwyybbrraannyycchh
tteekkssttóóww lliitteerraattuurryy rraabbiinniicczznneejj Święte teksty judaizmu z Biblią hebrajską włącznie
odróżniają sługę hebrajskiego (ewed iwri)
od nieżydowskiego niewolnika (ewed kenaani – dosł.
‘sługa kananejski’). Na temat traktowania tego
pierwszego wypowiada się Tora: „Gdyż dobrze mu
[było] u ciebie” (Pwt 15,16), która głównie w Księdze
Wyjścia (21,2 nn.) oraz w Księdze Kapłańskiej (25,39
nn.) określa jego prawa. Talmud stara się je zwykle
interpretować na korzyść hebrajskiego sługi, stąd też
zapewne wzięło się talmudyczne powiedzenie: „Kto
nabywa hebrajskiego niewolnika, kupuje sobie pana”
(Kid 20a). Jak literatura rabiniczna określa status
nieżydowskiego niewolnika? Wprawdzie nie zaliczano
go jako rzeczywistego członka do społeczności Izraela,
to jednak pod wieloma względami do niej należał.
Skoro mieszkał w jego domach, to na pewno musiał
podporządkować się określonym obowiązkom
i prawom. Pierwszym obowiązkiem, jakiemu
podlegał, było obrzezanie, ale nawet i to nie
zrównywało go w prawach z Izraelitą i nie dawało mu
równego z nim statusu społecznego czy religijnego.
Referat omawia najważniejsze aspekty pozycji
społeczno-religijnej sługi kananejskiego pośród
Izraela w świetle wybranych tekstów literatury
rabinicznej.
TThhee CCaannaaaanniittee SSeerrvvaanntt iinn tthhee LLiigghhtt
ooff CChhoosseenn RRaabbbbiinniicc WWrriittiinnggss The sacred texts of Judaism, including the Hebrew
Bible, make a distinction between Hebrew servant
(eved ivri) and non-Jewish slave (eved kenaani – lit.
35
‘Canaanite servant’). Torah speaks about the
treatment of the former in the following way: “Since
it [was] good [for him to be] with you” (Deuteronomy
15:16); it lays down their rights mainly in the Book
of Exodus (21:2 ff.) and in the Book of Leviticus
(25:39 ff.) The Talmud usually tries to interpret them
in favour of Hebrew servants, and hence the
Talmudic saying: ”One who buys a Hebrew slave buys
a master for himself” (Kid 20a). How does the rabbinic
literature set out the status of a non-Jewish slave?
Although he was not regarded as a true member
of the Israeli community, he belonged to it in many
respects. Since he lived in their houses, he certainly
had to obey certain laws and to fulfil certain
obligations. His first obligation was the circumcision
but even this did not give him equal rights with an
Israelite or equal social or religious status. The paper
discusses the most important aspects of social and
religious position of a Canaanite servant in Israel
in the light of chosen texts of rabbinic writings.
DDrr.. NNiinnaa BBUUDDZZIISSZZEEWWSSKKAA
UNIVERSITY OF WROCŁAW (Wrocław/Poland)
AAnnuuggiittaa oo wwyyzzwwoolleenniiuu The Anugita, zawarta w XIV. ks. Mahabharaty,
określana jest jako powtórzona tajemna nauka
Kriszny. Nauka ta dotyczy kwestii najważniejszej
dla jogi, tj. wyzwolenia – warunków jego osiągnięcia,
specyfiki tegoż aktu oraz podmiotu dokonującego
wyzwolenia w sensie tak ontologicznym, jak
epistemicznym. Chociaż soteriologiczna treść Anugity
jest niezwykle interesująca, to dzieło to
w indologicznych badaniach nadal pozostaje mało
znane.
TThhee AAnnuuggiittaa oonn FFiinnaall LLiibbeerraattiioonn The Anugītā, a didactic part of the XIV. Book of the
Mahābhārata, is defined as a repetition of the hidden
teaching of Kṛṣṇa. His divine instructions concern the
most important yogic question – the final liberation:
its conditions, its specificity and the subject
achieving the liberation in an ontological
and epistemological sense. Although the soteriologial
content of the Anugītā is fascinating, the work
is merely known in the indological studies.
36
PANEL 6
Discourses about Freedom
PPrrooff.. MMoouussssaa FFAATTAAHHIINNEE
UNIVERSITY OF DJILALI BOUNAAMA
(Khemis Miliana/Algeria) [email protected]
TThhee LLooggiicc ooff tthhee LLaanngguuaaggee
iinn tthhee DDiissccoouurrssee ooff tthhee AArraabb HHeerriittaaggee..
TThhrroouugghh tthhee CCoonntteemmppoorraarryy RRhheettoorriiccaall
TTuurrnn.. AA DDeebbaattee bbeettwweeeenn AAbbuu SSaa''’’iidd
aall--SSiirraaffii aanndd AAbbuu--BBiisshhrr MMaattaaaa IIbbnn YYuunnuuss
aass aa MMooddeell In this paper I examine the extent to which the logic
of language is present in literary discourse when
trying to persuade or to seek persuasion. Since life is
full of communication and dialogue between a source
and a recipient, a linguistic or rhetorical solution has
become necessary for every attempt at persuasion,
victory, demolition, refutation or, at least, influence
in the other. Is there in the literary heritage confirms
the convergence between the logic of language
(reason) and the language of logic, or between the
Agumentation rhetoric and reason? Is there
a functional interaction between the links
of argumentation in the construction and
demolition? In this context comes the lines
of research, highlighting the role played by the
rhetoric in the discourse mechanisms; when the
aesthetic taste to the arena of pilgrims and
persuasion, to influence the other, to prove the
opinion or the demolition, or at least upset. And
in the debate (Abu Said Al-Sirafi 284 AH 364 AH) and
Mattaa Ibn Younis Al-Qinai what fulfills this purpose,
and reveals the facts and results became topics
of research in the science of argumentation and
tongues. Rather, the same problems posed
by contemporary logic and new rhetoric
in contemporary philosophical and literary
discourse. In texts on freedom, justice, aesthetics,
values and truth. A discourse that appreciates the
persuasion and an argumentation and invites him
to come to bring the views closer to each other in all
areas, philosophical, literary, political, social and
even linguistic and Semitic.
PPrrooff.. AAhhmmeedd AAllii IIBBRRAAHHIIMM
UNIVERSITY OF FALLUJA (Falluja/Iraq) [email protected]
TThhee SSeemmaannttiicc FFuunnccttiioonn ooff tthhee PPooeettiicc
DDiissccoouurrssee ooff PPooeettss
Tramps hair represents a unique phenomenon in the
Arab poetry path, because it carries a revolutionary
experience in the social and technical levels and
refused to one evaluates the non-same basis. The
revolutionary movement has reached at Urwa ibn
roses phase of honesty reflected the same poetic, he
took mostly advantage of other properties, in motion
and narration by war and fiction character, as well as
philosophical and ideological character, and his
vision in the face of poverty, power and rebellion
against the norm. The discourse of poetic activity
is communicative deliberately influence, because the
ultimate goal vested by this letter is to influence the
recipient impact achieved with specific objectives and
targets drawn to his speech in line with the contexts
communicative, in which the poet seeks to Alavham
and persuasion, and influence in the recipient by
language and speech, and the argument mental logic
and evidence, and therefore need the poet Tramp to
employ the value of the speech and authority / text
and its ability to act and achieve the benefit and
efficacy, and the significance of purposes, so
mediated effect in the recipient and persuade him
and touched his feelings and emotions towards the
objectives and behavior unique and own convictions.
This study adopted the rhetoric and technical
analysis of the methods and means of persuasion
speech in defense of the idea or situation, through
certain methods and mechanisms persuasive
multiple orbital reflect the ideology of the poet, so the
37
search will turn behind the text and turned to see the
side Baaah.
PPrrooff.. IIssmmaaeell HHAAZZIIMM
UNIVERSITY OF MOSUL (Erbil/Iraq) [email protected]
MMaanniiffeessttaattiioonnss ooff RReebbeelllliioonn iinn tthhee PPooeettrryy
ooff VVaaggaabboonnddss This research examines the manifestations
of rebellion in the poetry of vagabonds. The vagabond
poets embodied their suffering in a creative manner.
They recorded the details of their life, and what they
suffered under the tribal society which abhors and
disrespect them. Therefore, they bore the banner
of revolution against this oppression and the social
differentiation. The psychological aspect had a deep
impact in drawing the map of this poetry through
artistic and psychological means which are very clear
in their poetry. Rebellion was a means to repress
weakness and surrender, and a means
of self-affirmation. Rebellion is a strong psychological
desire to change the lived reality, and to turn it into
an active reality. This topic is represented
in measuring the extent of using the stylistic aspects
aesthetically in the literary texts, the psychological
analysis depends on a number of the methodological
rules among which are focusing on ways
of expressing the linguistic aspect about the view
of the text, especially in relation to vocabulary and
structures, the discovery of the expressionist forms
of these poets by seeing their poems through the
criticism of the psychological factor, which
constitutes the basis of this study.
38
PANEL 7
The Experience of Oppression
in Contemporary Japanese Literature – Precarity,
Imprisonment, Totalitarian Tendencies
DDrr.. FFiilliippppoo CCEERRVVEELLLLII
DURHAM UNIVERSITY (Durham/UK) [email protected]
TThhee OOpppprreessssiioonn ooff DDeemmooccrraaccyy:: PPoolliittiiccaall
((MMiiss))RReepprreesseennttaattiioonn aanndd CCoommmmuunniittyy
iinn TTaakkaahhaasshhii GGeenn’’iicchhiirrōō’’ss WWrriittiinnggss
In both his fiction and non-fiction, Takahashi
Gen’ichirō is attentive to social and political issues.
This commitment to discuss current events and
organizations is also underscored by the fact that
Takahashi was a political activist himself, and was
even imprisoned in his youth. Across sources
manifesting his standpoint on contemporary
Japanese and world politics, Takahashi describes
a contemporary society where citizens are not
represented adequately by politicians, who do not act
in their best interests. Often, they use ambiguous
language to divert attention from important issues
such as the reevaluation of war responsibility or the
comfort women case. This is a form of oppression,
because the citizens are at loss for representation,
since the official channels do not tackle their needs
clearly, nor do they seem to address the complexities
in their lives.
A comparable notion emerges also from Takahashi’s
literature. In numerous narratives a similar
oppression is visible, where characters are not given
a chance to identify with overarching ideologies, that
fail to represent them. Political slogans too only
promote messages for immediate one-sided benefits,
failing to grasp the reality of everyday life. Within this
context, the citizens isolate themselves in their
localized realities, privileging what is of immediate
concern to their survival, without considering
communal issues. This misrepresentation is
experienced crucially at the level of communication,
where words only amount to tools to convey one
portion of individual reality that does not achieve
mutual understanding with others.
This study focuses on Takahashi’s treatment
of political misrepresentation in everyday life.
By analyzing essays, articles and two novels, Koi suru
genpatsu [The Nuclear Plant in Love, 2011] and
Sayonara Cristopher Robin [Goodbye, Christopher
Robin, 2012], this paper proposes a double
movement between the author’s fiction and
non-fiction, so as to illustrate how an influential
author contributes through different ways and media
to articulating oppression, and showing how freedom
may be achieved through a collective redefinition
of democracy and the reestablishment of community.
AAddaamm GGRREEGGUUŠŠ
UNIVERSITY OF VIENNA (Vienna/Austria) [email protected]
WWhheenn BBuubbbblloonniiaa BBuurrssttss –– KKiirriinnoo NNaattssuuoo’’ss
PPoolliittiikkoonn aanndd iittss SSuubbvveerrssiivvee UUttooppiiaa
One of Japan’s most enduringly popular authors,
Kirino Natsuo, has made a name for herself with her
unflinching depictions of Japan’s post-bubble
society. Although not identifying as a political writer,
themes of systemic oppression, gender inequality,
precarious life conditions and struggles of lower
classes, among other societal ills, form the core of her
writing. In her novel Politikon (2011), Kirino tackles
the framework of utopian fiction, and the fictional
commune in which the novel takes place ostensibly
serves as a refuge from the shackles of Japanese
39
society. Yet as Kirino portrays it through the lens
of a male insider and a female outsider, the
commune becomes a stage of power play and political
intrigue which none of the inhabitants can escape.
In my talk, I will focus on Kirino’s dismantling
of utopian idealism, as well as her portrayal of its two
protagonists in and outside of this society and how it
relates to her socially critical writing. I will also
highlight Kirino’s engagement with social and
economic issues through her construction of a failing
utopia and her possible outlook for Japan at large.
CChhrriissttiiaann CCHHAAPPPPEELLOOWW
GOETHE-UNIVERSITY IN FRANKFURT
(Frankfurt/Germany) chappelow at em.uni-frankfurt.de
HHeennmmii YYôô’’ss AApppprrooaacchheess ttoowwaarrddss
IImmpprriissoonnmmeenntt aanndd DDeeaatthh SSeenntteennccee
iinn JJaappaann In April 2012 NHK Educational Television (ETV)
showed a documentary following author and
journalist Henmi Yô 辺見庸 (1944) to the death tract
of a Japanese prison. Henmis intention was to visit
and to talk to convicted leftist terrorist Daidôji
Masashi 大道寺将司 (1948-2017), whose involvement
in attacks by the East Asia Anti-Japan Armed Front
[東アジア反日武装戦線, Higashi Ajia Hannichi Busô
Sensen] led to his death sentence in 1987. Henmi
had two goals in mind: To highlight the plight
of death convicts in Japan, and to make public the
haiku writing Daidôji produced during his time
in prison.
Henmis critical approach towards imprisonment
and death sentence has its roots in a fundamental
and cultural critique of Japanese society at the turn
of the 21st century. His essayistic writings after
winning the Akutagawa price in 1991, with the
seemingly unmarketable thesis of Japan falling back
into totalitarian and neo-fascist tendencies, can
be read as an antithesis to the increasingly
commercialized and apolitical literature of the
Heisei-Era.
This paper aims to discuss the topic of prison
literature in the context of Henmi’s literarily and
intellectually constructed critique of the post war
system. Special focus will be given to his televised
encounter with Daidôji, which further raises
questions into the reach of artistic engagement and
the place of what could be described as undesirable
topics like death sentence and leftist terrorism
in contemporary Japanese literature.
40
PANEL 8
Woman: between Freedom
and Oppression (1)
PPrrooff.. RRoosswwiitthhaa BBAADDRRYY
FREIBURG UNIVERSITY (Freiburg/Germany) [email protected]
AA LLiitteerraarryy PPlleeaa ffoorr FFrreeeeddoomm ooff EExxpprreessssiioonn
–– LLaayyllāā aall--’’UUtthhmmāānn’’ss MMuuḥḥāākkaammaa
aass aann EExxaammppllee
This paper will focus on the novel Al-Muḥākama [The
Trial] by the prominent Kuwaiti author Laylā
al-‘Uthmān which was published in 2000
in Damascus and reprinted twice (2001, 2005). The
first-person narrative is based on the writer’s
personal experiences between 1996 and 2000 when
two Takfīr (accusation of unbelief) cases were
initiated against her because of the allegedly indecent
contents of two of her early short-story collections
printed in 1979 and 1980. The first Takfīr case only
led to an interrogation by the public prosecutor
in 1996, but the second resulted in the court
proceedings of 1999/2000. The novel presents
a mixture of genuine facts and fiction. It not only
depicts the investigations against the
narrator-protagonist and her worries, feelings, and
actions connected with them. Following the
technique of de-concentration in Derridean terms, it
also gives attention to seemingly unimportant,
marginal aspects, such as minor daily problems
or what is said in small talk. The analysis of the novel
will demonstrate that despite these digressions, the
call for freedom of expression and other fundamental
liberties figures prominently in Al-Muḥākama. This is
also true for other autobiographical texts by Laylā
al-‘Uthmān which will partially be taken into
consideration.
DDrr.. NNaajjllaa KKAALLAACCHH
TUSCIA UNIVERSITY (Viterbo/Italy) [email protected]
BBeettwweeeenn TTrraaddiittiioonn aanndd CChhaannggee.. QQaattaarrii
WWoommeenn WWrriitteerrss aanndd tthhee SShhoorrtt SSttoorryy::
aa FFooccuuss oonn KKaalltthhuumm JJaabbrr Literature, as a means to express freedom
and oppression, has been played an important role
in the Arabic Literature. The purpose of my speech is
to highlight how writing provided the opportunity for
some important Qatari women writers (since 1970’s)
to present, through the short story, the image of the
woman in the Arabian Gulf who looks for freedom
and autonomy and who struggles with the traditional
and tribal structures of the Arab society. The
presentation will focus on one of the most important
Qatari writer, Kalthum Jabr, who has been able with
her simple and expressive language to greatly
describe the role of women in Qatar and the
conflicting feelings that arose between past and
contemporary world.
DDrr.. NNiihhaadd FFOOTTTTOOUUHH
THE FRENCH UNIVERSITY IN EGYPT (Cairo/Egypt) [email protected]
NNaawwaall eell SSaaaaddaawwii:: TThhee EEggyyppttiiaann FFaaccee
ooff RReessiissttaannccee “All the men I did get to know, every single man
of them, has filled me with but one desire: to lift my
hand and bring it smashing down on his face. But
because I am a woman I have never had the courage
to lift my hand. And because I am a prostitute, I hid
my fear under layers of make-up” Fardus Those
words begin Nawal el Saadawi’s Women at Point Zero
(1982). Saadawi is an Egyptian feminist who has paid
the price of her independences from her personal and
public life. In 1972 Saadawi was removed from her
position as the Director of Health Education and the
41
Editor-in-Chief of “Health magazine” after the
publication of Women and Sex. She was imprisoned
in Qanatir (women’s prison) in 1981 for political
offenses. The paper answers the question do women
have freedom or any choice at all? Saadawi presents
Fardus, the novel’s protagonist as an example
of every woman living in the Middle East who lives
performing a life that is carefully designed for her by
the Patriarchal Middle eastern society, she lives to
satisfy everyone and is taught to ignore her desires,
however when she chooses to refuse she pays it from
her life. The paper thus joins Saadawi in her
questions of freedom and liberation to women,
through examining Women at Point Zero as
a representation of every woman in the Middle East,
especially Egypt.
DDrr.. WWeerroonniikkaa RROOKKIICCKKAA
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
QQuueesstt ffoorr FFrreeeeddoomm:: AAnn IInnddiiaann FFeemmaallee
TTrraavveelllleerr’’ss SSttrruugggglleess iinn NNaabbaanneeeettaa DDeevv
SSeenn’’ss TTrraavveell WWrriittiinnggss Travelling is often associated with exercising
freedom, overcoming barriers and limitations. Even
more so if it is a woman who goes on a journey
breaking patriarchal norms, challenging
gender-based prejudice. This paper will aim
at analysing selected travel writings of Nabaneeta
Dev Sen, one of most eminent Indian Bengali female
writers of 20th century. Apart from being
a successful author of fiction Dev Sen is also a keen
traveller and has a number of travel books to her
credit. Travelling alone or in a group she goes to
different parts of India, sometimes remote and other
time overcrowded. In her writings along with
observations and reports from the journeys she
shares her feelings and thoughts on freedom,
womanhood, family and culture. This paper will focus
on this part of Nabaneeta Dev Sen’s travel writings
that examines personal experience of being an Indian
female traveller. What motivates her to take to the
road? What image of the society and of herself does
she create through her writings?
42
PANEL 9
China: the Picture of Freedom
and Oppression
DDrr.. MMaacciieejj SSZZAATTKKOOWWSSKKII
Chinese Language and Culture Center
Faculty of Languages
NICOLAUS COPERNICUS UNIVERSITY
(Toruń/Poland) [email protected]
CChhiińńsskkaa lliitteerraattuurraa oobboozzoowwaa Referat jest próbą opisu miejsca literatury obozowej
na mapie współczesnej literatury chińskiej.
Wspomnienia z chińskich obozów pracy
w zdecydowanej większości nie zostają wydane
w oficjalnym obiegu wydawniczym na terenie
Chińskiej Republiki Ludowej. W ostatnich latach
rząd ChRL zakazał niemal całkowicie publicznych
dyskusji na temat kampanii antyprawicowych
z czasów rządu Mao Zedonga, po których 1,2 miliona
ludzi zostało uwięzionych w chińskich obozach pracy,
tzw. laogaiach (劳改 ‘reedukacja poprzez pracę’).
Wielu badaczy (np. Frank Dikötter) twierdzi, że Mao
Zedong założył obozy, wzorując się na radzieckich
gułagach. Podobnie jak w Związku Radzieckim,
w chińskich laogaiach znalazło się w latach 50. wielu
intelektualistów, w tym także tych lewicujących
i wiernych komunistów. Było to pokłosie kampanii
antyprawicowych oraz „kampanii stu kwiatów”, które
były okazją do pozbycia się wszelkich przejawów
myśli krytycznej wobec władzy i zdławienia opozycji.
Wielu z osadzonych zmarło, a ci, którzy przeżyli
nierzadko 20-letnią odsiadkę, wyszli zrehabilitowani
dopiero po śmierci Mao Zedonga. Zazwyczaj milczeli
na temat doświadczeń obozowych, bojąc się
kolejnych represji. Nieliczni zdecydowali się na
wydanie wspomnień obozowych, często w drugim
obiegu lub poza Chinami kontynentalnymi. W języku
polskim ukazały się dwa opowiadania Zhang
Xianlianga: Zupa z trawy i Zielonodrzew, Zimny wiatr.
Pamiętnik z lat spędzonych w chińskim gułagu
Harrego Wu oraz W poszukiwaniu ojczyzny:
wspomnienia z chińskiego obozu pracy Gao Ertaia,
które będą przedmiotem szerszej analizy.
CChhiinneessee LLaabboorr CCaammpp LLiitteerraattuurree
The presentation focuses on Chinese labor camp
literature and its place in Chinese modern literature.
Prison-camp memoirs usually can not be published
officially in the People’s Republic of China. In the
recent years Chinese government prohibits almost all
public discussions of the “Anti-Rightist campaign”,
which can lead to national amnesia and new shaping
of the collective memory. After Maoist campaigns (e.g.
The Hundred Flowers Campaign) around 1,2 million
people were sent to labor camps, so called laogai (劳
改 reform through labor).
Many scholars believes (e.g. Frank Dikötter) that Mao
Zedong established laogai by following the example
of Soviet gulags. As in the case of Soviet Union,
in Chinese prison-camps many leftist and
communist activists were imprisoned.
Many of the political prisoners died in laogai, and
those who survived were set free after 20 years
of imprisonment, after Mao Zedong’s death. Usually
they did not share their experience from the labor
camp with public and lived in fear of the next
persecution. Only a few decided to publish their
memoirs from laogai, mostly outside of PRC. In my
speech I intend to analyze those few memoirs
translated into Polish, i.e. Zhang Xianliang’s Zupa
z trawy [Grass Soup] and Zielonodrzew [Mimosa],
Harry Wu’s Zimny wiatr. Pamiętnik z lat spędzonych
w chińskim gułagu [Bitter winds: a memoir from my
years in China’s Gulag] and Gao Ertai’s
W poszukiwaniu ojczyzny: wspomnienia z chińskiego
obozu pracy [In Search of My Homeland].
DDrr.. ZZooffiiaa JJAAKKUUBBÓÓWW
43
Department of Chinese Studies Faculty of Oriental Studies
UNIVERSITY OF WARSAW (Warsaw/Poland)
PPoosszzuukkiiwwaanniiee wwoollnnoośśccii ww kkuullttuurrzzee
wwoollnneeggoo rryynnkkuu:: cchhiińńssccyy ppiissaarrzzee
„„śśrrooddkkoowweeggoo ppookkoolleenniiaa”” Współczesna literatura chińska powstaje
w warunkach systemu gospodarczego określanego
czasem jako kapitalizm o chińskiej specyfice albo
wręcz przeciwnie: socjalizm o chińskiej specyfice.
Niejednoznaczność dotknęła także sfery
ideologicznej, w której spotkały się wprawdzie różne
orientacje, ale poczesne miejsce zajmuje
neoliberalizm z wizją teleologicznego, dobiegającego
właśnie końca, rozwoju historycznego, nakazem
uczestnictwa w przypominającej walkę pogoni
za pieniądzem, korzystania z indywidualnej wolności
i dźwigania odpowiedzialności za siebie. Refleksję
nad obecnym stanem chińskiego społeczeństwa
i kultury uprawia tzw. „środkowe pokolenie”
chińskich pisarzy – literaci urodzeni zbyt późno, by
pamiętać „rewolucję kulturalną”, ale i zbyt wcześnie,
by całkowicie, bezkrytycznie zanurzyć się w świecie
konsumpcji, w którym żyje albo do którego aspiruje
część mieszkańców chińskich wielkich miast. Choć
neoliberalizm ma w nazwie upragnioną po latach
socjalistycznej kontroli wolność, bohaterowie
powieści pisarzy „środkowego pokolenia” nie tylko nie
wydają się zadowoleni, ale wręcz odczuwają rodzaj
zniewolenia i bezsilności wobec tych mechanizmów.
Stąd ich poszukiwanie sposobów uwolnienia się
od dominujących wartości, przybierające najczęściej
formę powrotu do tradycji, ucieczki z metropolii,
do domu rodzinnego, do religijności i lokalnych
wzorców osobowych.
SSeeaarrcchh ffoorr FFrreeeeddoomm iinn tthhee CCuullttuurree
ooff tthhee FFrreeee MMaarrkkeett:: CChhiinneessee WWrriitteerrss
ooff tthhee ““MMiiddddllee GGeenneerraattiioonn”” Contemporary Chinese literature is written under the
conditions of an economic system sometimes termed
“capitalism with Chinese characteristics” and
at other times, on the contrary, described
as “socialism with Chinese characteristics”.
Ambiguity characterizes the ideological sphere
as well. While it has become the space where various
orientations meet and merge, an especially
prominent position has been occupied by
neoliberalism with its vision of teleological, by now
nearly complete, historical development, its precepts
of participation in the fierce pursuit of money,
experiencing individual freedom and shouldering the
full responsibility for oneself. Reflections on the
current state of the Chinese society and culture can
be found in the writings of the so called “Middle
Generation” of Chinese authors. They were born too
late to remember the Cultural Revolution and too
early to completely and uncritically immerse
themselves in the world of consumerism – the world
that has become the living place of some of the
big-city dwellers or at least the object of their
aspirations. Neoliberalism nominally entails liberty
much needed after years of socialist control.
However, the characters created by the “Middle
Generation” writers not only feel unhappy, but even
experience a sense of enslavement and helplessness
in the face of those mechanisms. Hence their search
for methods of liberating themselves from the
dominating values, most often embodied in the form
of a return to tradition, religion, locally generated role
models, and to their home towns far from the modern
metropolises.
DDrr.. AAggnniieesszzkkaa
PPAATTEERRSSKKAA--KKUUBBAACCKKAA
ADAM MICKIEWICZ UNIVERSITY (Poznań/Poland) [email protected]
SSuunn WWuukkoonngg jjaakkoo ssyymmbbooll bbuunnttuu
ii wwoollnnoośśccii ww kkuullttuurrzzee cchhiińńsskkiieejj Tadeusz Żbikowski we wstępie do powieści Małpi
bunt pisze: „Odmiennie od kręgu kultury
europejskiej, małpa w krajach Dalekiego Wschodu
nie była zwierzęciem pogardzanym czy wręcz
utożsamianym z siłami nieczystymi. W wielu
kulturach wschodnich, zwłaszcza w Indiach,
na wyspach Archipelagu Malajskiego, a także
44
niektórych rejonach Chin, otaczano ją nimbem
świętości, małpokształtnym bogom budowano
świątynie, składano ofiary, zanoszono do nich modły.
Nierzadko małpa bywała bohaterką utworów
literackich”. Rzadko czy często, sądzę, że nikomu
dotąd nie przyszło do głowy sprawdzać, ile małp
wystąpiło w głównej roli w chińskiej literaturze.
Dlaczego? Ponieważ wszystkie i tak zostałyby
przyćmione przez tę jedną, najważniejszą – Małpiego
Króla Sun Wukonga. „Obrońca maluczkich,
szlachetny buntownik”, wulkan energii,
niewyczerpane źródło mniej lub bardziej szalonych
pomysłów. Nie ogranicza go ani przestrzeń, ani
powierzchowność, kiedy chodzi o realizację jego
marzeń. Nieustannie w akcji, często najpierw robi,
później myśli o skutkach, łamie wszelkie normy
i działa wbrew zasadom, ale zawsze w dobrej wierze
i z reguły z pozytywnym skutkiem. Bohater filmów,
seriali i sztuk, odnalazł się również we współczesnym
świecie reklamy. Postać nie do zastąpienia i nie do
wyeksploatowania, wciąż żywa w świadomości
Chińczyków. Jakie jego cechy sprawiły, że stał się
nieśmiertelnym (jak pragnął) symbolem buntu
i wolności? Na to pytanie spróbuję znaleźć
odpowiedź.
SSuunn WWuukkoonngg aass aa SSyymmbbooll ooff RReebbeelllliioonn
aanndd FFrreeeeddoomm iinn CChhiinneessee CCuullttuurree In the preface to the novel called Monkey rebellion
Tadeusz Żbikowski wrote: “Unlike the European
culture, in the Far East monkey was not an animal
despised or even identified with unclean forces.
In many eastern cultures, particularly in India,
on the islands of the Malay Archipelago and in some
parts of China, the monkey was considered a saint,
people built temples for ape-like gods, offered them
sacrifices and sent prayers to them. Often monkey
was the hero of literary works”. Rarely or often,
I think it has never occurred to anyone to count how
many monkeys have played the lead in Chinese
literature. Why? Because all of them would
be dimmed by this one, the most important – the
Monkey King Sun Wukong. “Defender of the little
ones, noble rebel”, volcano of energy,
an inexhaustible source of more or less crazy ideas.
He is never limited neither by the space, nor by his
appearance, when it comes to fulfill his dreams.
Incessantly in action, often he first do, then think
about consequences, brakes all the principles and
acts against the rules, but always in good faith and
usually with positive results. The hero of the movies,
series, dramas and plays, he found his place also
in the modern world of advertisement. The character,
that cannot be replaced and the mark that will never
be used up, still alive in Chinese minds. Which
qualities caused him to become immortal (as he
wished) symbol of rebellion and freedom? This
question I will try to answer.
DDrr.. AAnnnnaa KKOOŁŁOOSS
ADAM MICKIEWICZ UNIVERSITY (Poznań/Poland) [email protected]
PPrrzzeezz OOcceeaann IInnddyyjjsskkii.. PPoollssccyy ppooddrróóżżnniiccyy
ww ddrrooddzzee ddoo CChhiinn ((11885500––11993399))
Przed drugą połową XIX wieku polscy podróżnicy
docierali do Chin niemal wyłącznie jedną drogą,
mianowicie przez rosyjską Syberię. Chociaż nie wszyscy
spośród nich byli zesłańcami, typ narracji
martyrologicznej, zawierającej elementy
podróżopisarstwa na Daleki Wschód, stał się
dominujący w polskiej kulturze. Znacznie mniej
wiadomo natomiast o innych polskich rodzajach
podróży do Chin. W niniejszym wystąpieniu
chciałabym skupić się na polskich podróżnikach,
którzy przebywali Ocean Indyjski, by odwiedzić
południowe wybrzeża Chin. Otwarcie Kanału
Sueskiego w 1869 roku, a w szczególności przejęcie
go przez Brytyjczyków w 1882 roku, znacząco
ułatwiło transport morski do Indii i Azji
Południowo-Wschodniej. Doprowadziło to do
ekspansji usług komercyjnych parowców, które
spopularyzowały podróże handlowe i nowoczesną
turystykę w tej części globu. Przed podróżnikiem
stanęły nagle do dyspozycji różne możliwości,
a ośrodki portowe między Kanałem Sueskim
45
a Japonią stały się wszystkie łatwo dostępne. W dużej
mierze były one również kontrolowane przez
europejskie mocarstwa, dzięki czemu trasa ta była
w pewnej mierze homogeniczna. Podróż mogła być
kojarzona z podziwianiem kolejnych stopni
kolonizacji, a kontakt z lokalnymi kulturami był
ograniczony do minimum. W 1939 roku Aleksander
Janta-Połczyński deklarował, że statki przeznaczona
dla masowych turystów przypominały „pływającą
Europę” i chroniły podróżnych przed interakcjami
z pozaeuropejskimi kulturami. Moim celem jest
porównanie wybranych opisów podróży morskiej
z drugiej połowy XIX wieku (Julian Fałat, Karol
Lanckoroński, Paweł Sapieha, Czesław Karol
Petelenz, Lucjan Jurkiewicz) i z okresu
międzywojennego (Julian Bandrowski,
Janta-Połczyński), by wyciągnąć z nich ogólniejsze
wnioski mówiące o świadomości tych podróżników,
ich percepcji Chin oraz stosunku do kolonializmu
wraz z ich poglądami politycznymi dotyczącymi
opresji, co jest szczególnie istotne dla polskich
podróżników przed 1918 rokiem.
CCrroossssiinngg tthhee IInnddiiaann OOcceeaann.. PPoolliisshh
TTrraavveelleerrss oonn TThheeiirr WWaayy ttoo CChhiinnaa
((11885500––11993399))
Before the second half of the 19th century there was
hardly any other route to China for Polish travelers than
the one leading from Russian Siberia. As much as not all
those travelers were exiles, this sort of martyrologic
narratives concerning travels to the Far East became
prevailing in the Polish culture. Much less is known
about other types of Polish journeys to China. In this
paper I would like to elaborate on the topic of Polish
travelers who crossed the Indian Ocean to get to the
southern coasts of China. The opening of the Suez Canal
in 1869 and, in particular, Britain’s seizure of it in 1882
significantly facilitated maritime transport to India and
East Asia. This led to the expansion of commercial
steamship services that made travel accessible for trade
and modern tourism alike. This mode of travel suddenly
allowed one to choose from a range of destinations: port
towns between the Suez Canal and the coast of Japan
were all accessible. These hubs had predominantly been
given over to European control. As a result, this route
depicted the world as somewhat homogeneous. The
journey was associated with visiting the progressive
stages of colonization, and contact with local cultures was
limited to a minimum. In 1939 Aleksander
Janta-Połczyński declared that the ships for the masses
of tourists resembled of “floating Europe” and protected
tourists from interactions with non-European cultures
of Asia. In the paper I would like to compare several
accounts of maritime journeys from the second half of the
19th century (J. Fałat, K. Lanckoroński, P. Sapieha. C.K.
Petelenz, L. Jurkiewicz), from around the interwar period
(J. Bandrowski, Janta-Połczyński). I would like to draw
some conclusions on the awareness of those travelers,
their perception of the Chinese and their approach
to colonialism along with their political opinions
regarding oppression, which is particularly crucial for the
Polish travelers from before 1918.
46
PANEL 10
Woman: between Freedom
and Oppression (2)
DDrr.. MMoonniikkaa BBRROOWWAARRCCZZYYKK
Department of Asian Studies
Faculty of Modern Languages and Literatures
ADAM MICKIEWICZ UNIVERSITY (Poznań/Poland) [email protected]
IInn SSeeaarrcchh ooff OOpppprreessssiioonn ooff FFrreeeeddoomm
aanndd FFrreeeeddoomm ffrroomm OOpppprreessssiioonn.. MMeeeennaa
KKaannddaassaammyy’’ss GGyyppssyy GGooddddeessss aanndd WWhheenn II HHiitt YYoouu oorr,, AA PPoorrttrraaiitt ooff tthhee WWrriitteerr
aass aa YYoouunngg WWiiffee
Meena Kandasamy, holder of a PhD
in sociolinguistics and a Dalit activist, had several
collections of poetry to her credit when in 2014 she
debuted with her first novel, Gypsy
Goddess that smudged the line between powerful
fiction and fearsome critique in narrating the 1968
massacre of forty-four landless untouchable men,
women and children striking for higher wages in the
village of Kilvenmani
(https://www.kandasamy.co.uk). Her second novel,
narrated in the first-person When I Hit You or,
A Portrait of the Writer as a Young Wife of 2017
portrays an abusive marriage of a female protagonist
who happens to be a writer. Kandasamy accepts the
novel as being partly autobiographical, but restrains
from providing an estimate of “autobiographical
element” in it. In these narratives Kandasamy
debates Indian visions of womanhood, talks about
female sexuality and writing. The paper seeks
to outline the question of freedom and oppression
in these unique narratives of caste and domestic
violence in India.
MMaarriiaa SSKKAAKKUUJJ--PPUURRII
INDEPENDENT SCHOLAR (India) [email protected]
MMootthheerrss,, DDaauugghhtteerrss,, SSiisstteerrss,, WWiivveess……
WWoommeenn aanndd tthhee 11998844 TTrraauummaa iinn PPuunnjjaabbii
SShhoorrtt SSttoorriieess bbyy AAjjeeeett CCaauurr
Military operation (June 1984) ordered by the Prime
Minister, Indira Gandhi, aimed at flushing out
Jairnail Singh Bhindrawale and his cohort from the
Golden Temple, left hundreds of people dead. The
desecration of the temple and the bloodshed
committed within its walls shook the Sikh
community and led to the assassination of Indira
Gandhi by her Sikh body-guards (31 October 1984).
This was followed by anti-Sikh riots and
an unprecedented growth of militancy in Punjab.
Punjabi literature, especially the short story,
addressed the matter, trying to make sense of the
traumatic event and its aftermath. The present paper
proposes to examine some short stories authored
by a well-known Punjabi writer, Ajeet Caur,
juxtaposing narratives describing what happened in
Delhi (ex. Navaṁbar ćurāsi / November 1984) with
those whose action takes place in Punjab
(eg. Nā māro / Dead-end; Kuṭṭe/ Bloodhounds, Ćuṭṭi
/ On vacation), with special focus on women, their
fate and their coping strategies when confronted with
violence. As most of the stories were written and
published only years after the 1984 events, one
is faced again, as was the case with the Partition
of 1947, with the question of how to come to grips
with the memories of a traumatic past. The paper
tries to answer this question.
NNaattaalliiaa GGRREENNIIEEWWSSKKAA
Faculty of Oriental Studies
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
MMoonnggoolliiaann FFeemmaallee PPeerrssppeeccttiivvee
ooff IInnddiivviidduuaall FFrreeeeddoomm
The main subject of the present paper will be female
perspective of individual freedom in Mongolian
47
literature. I will focus on works of one of the most
famous and important Mongolian contemporary
writer and poet – Ulziitogs, which reflect modern
Mongolian society. She vividly describes the daily,
unequal struggle of Mongolian women for equal
rights, equal treatment and their individual freedom.
She often shows the image of the oppressed woman
and her relationship with society and attempts
to gain independence. At the same time, she
underlines the perspective of a Mongolian woman –
writer, attempts to realize herself as an independent
author and her struggle for creative freedom.
Literature of Ulziitogs is well received by the
Mongolian society judging from the number of the
sold copies of her books. Since her works were
translated into numerous languages it can
be assumed that she is perceived as a writer
of universal subjects. In the paper, I will draw
on examples of novellas by the writer from her last
two books entitled The urban tales and The images
seen in glasses.
JJooaannnnaa GGRRUUSSZZEEWWSSKKAA
JAGIELLONIAN UNIVERSITY (Kraków/Poland) [email protected]
FFrreeeeddoomm TThhrroouugghh EEnnlliigghhtteennmmeenntt
iinn tthhee PPooeemmss ooff tthhee EEaarrllyy BBuuddddhhiisstt NNuunnss
The Therīgāthā [Songs of the Elder Nuns], a collection
forming a part of the Earliest Buddhist canon,
is an anthology of verses ascribed to the ancient
Buddhist nuns. Those poems describe the life stories
of nuns and their way to the highest Buddhist goal –
the enlightenment. The enlightenment and the
monastic way of life are often described as freedom:
freedom from fear, from desire, from the circle
of rebirth and sometimes also as freedom from
an unhappy marriage or hardships of life before the
ordination. In two cases the epithet “freed” (muttā)
even serves as the name of the nun to whom the
poem is ascribed (Therīgāthā 2 and 11). The aim
of the proposed paper is to analyze selected verses
of the Therīgāthā in terms of in which contexts the
notion of “freedom” is used and in which terms
it is explained, taking into account the context of the
socially ascribed gender norms of ancient India and
the early Buddhist notions of liberation.
48
PANEL 11
The Freedom in Colonial
and Postcolonial Perspective
DDrr.. MMaałłggoorrzzaattaa SSOOKKOOŁŁOOWWIICCZZ
FRYDERYK CHOPIN UNIVERSITY OF MUSIC
(Warsaw/Poland)
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
TThhee CCaatteeggoorryy ooff FFrreeeeddoomm iinn tthhee FFrreenncchh
CCoolloonniiaall LLiitteerraattuurree:: LL’’ééttrraannggee aavveennttuurree
dd’’AAgguuiiddaa [[TThhee SSttrraannggee AAddvveennttuurree
ooff AAgguuiiddaa]] bbyy AA..--RR.. ddee LLeennss
Due to its occupation by Arabs, firstly, and relations
with the Ottoman Empire, secondly; in the 19th
century, the North Africa was considered to be a part
of the Oriental world, the world which was usually
depicted in literature and art as a certain projection
of European dreams and desires. This way
of representing the North Africa persists in the
colonial literature but is also enriched by new
contents. In my speech I would like to focus on a book
by Aline Réveillaud de Lens (1881–1925), a French
woman painter and writer living in Tunisia
(1911–1913) and Morocco (1913–1925), a newly
created French protectorate. L’étrange aventure
d’Aguida is composed of three short stories
describing the life of three Moroccan people: Aguida,
a girl kidnapped from her native village to be sold
as a slave in a city; Marouf, a blind boy who looses
his family and is forced to become a beggar; and
Omar, a slippers’ seller who is wrongfully accused
of stealing money. In all the stories Moroccans
become those who oppress and limit the freedom
of their fellow countrymen while French people help
them to regain freedom. But what is this freedom
like? What does it mean to be free under the colonial
rule? How does the French colonial literature
influence the perception of freedom and define “the
white man’s burden”? May we talk about the category
of freedom in the French colonial literature? Those
are the questions I would like to answer
in my speech.
AAlliiccjjaa WWAALLCCZZYYNNAA
Institute of Romance Studies
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
WWrriittee aa LLiivveedd PPrriissoonn EExxppeerriieennccee,,
TTrraannssccrriibbee aann EExxppeerriieennccee HHeeaarrdd..
TThhee CCoommppaarraattiivvee SSttuuddyy ooff BBeenn JJeelllloouunn’’ss
TThhee BBlliinnddiinngg AAbbsseennccee ooff LLiigghhtt aanndd
MMaarrzzoouukkii’’ss TTaazzmmaammaarrtt--CCeellll 1100 Tazmamart-Cell 10 (Paris: Éditions
Paris-Méditerranée, 2000) have been written from
two distinct perspectives : the first author rewrites
the prison experience heard from one of the
Tazmamart’ survivors and the second one,
writer-survivor reveals his own experience
of Tazmamart. The question is to approach the way
they treat the subject of human oppression, physical
and psychological sufferance and the inner strength
of human being to survive. The two authors choose
distinctive linguistic strategies to present prison: Ben
Jelloun uses poetic language while Marzouki’s
writing sticks to the reality employing another range
of vocabulary. I will show that these two testimonies,
direct and indirect, diverge but prove to be equally
powerful.
AAlleekkssaannddrraa SSZZKKLLAARRZZEEWWIICCZZ
Institute of Oriental Studies
JAGIELLONIAN UNIVERSITY (Kraków/Poland) [email protected]
LLiitteerraattuurree aass aa TTeessttiimmoonnyy.. MMeemmooiirrss
ooff PPrriissoonn aanndd TToorrttuurree iinn TTaahhaarr BBeenn
JJeelllloouunn’’ss TThhiiss BBlliinnddiinngg AAbbsseennccee ooff LLiigghhtt
aanndd iinn FFaatteemmaa OOuuffkkiirr’’ss LLeess JJaarrddiinnss dduu rrooii
49
In the early 1970’s, the Moroccan military has staged
two unsuccessful coups d’état against King Hassan
II. In the aftermath, thousands of dissidents were
tortured, imprisoned or forcibly disappeared.
For years, the atrocities which occurred at that time
were a secret well-kept from the public. Tahar Ben
Jelloun, a critically acclaimed Moroccan writer,
presents a true story of a former inmate
of Tazmamart, a secluded secret prison. The
protagonist is a young cadet who has been jailed for
participation in the failed coup of 1971. This Blinding
Absence of Light is a dramatic tale of injustice
and above all about the persistence of human dignity
and will. In 2000, Fatema Oufkir, the widow
of General Mohammad Oufkir, published her
autobiography in which she unfolds the events that
led to her imprisonment in the so-called King’s
gardens. The aim of the presentation is to compare
how literature can serve as a testimony of oppression
and how the protagonists cope with harsh conditions
to which they have been subjected.
KKhheeddiiddjjaa CCHHEERRGGUUII
ECOLE NORMALE SUPÉRIEURE OF ALGIERS
(Bouzaréah/Algeria) [email protected]
NNuurrrruuddiinn FFaarraahh,, WWoollee SSooyyiinnkkaa
aanndd tthhee NNoott YYeett DDeetthhrroonneedd
AAffrriiccaann KKoonnggiissmm
Totalitarian regimes with their destructive scenarios
had been sweeping most post-independence African
countries in innumerable guises and tactics. These
regimes shaped many literary works on the part
of African intellectuals who found themselves at the
forefront as denunciators and political activists.
In this paper, I intend to articulate the
anti-totalitarian literary discourse as shaped
by writers like Wole Soyinka and Nurrudin Farah
in their reaction to various forms of political tyranny
and neo-imperialism which have overtaken many
post-independence African nations with a particular
emphasis on Soyinka’s political dramaturgy of the
80’s and 90’s together with his prison writings and
Nurrudin Farah’s internally shattered Somalia
as depicted in his Dictatorship Trilogy. The paper
brings to light the possible literary modes
of counter-discourse emanating from both writers’
works pointing to the political contexts within which
they emanated and to which they actively responded
identifying patterns of oppression and resistance.
While Soyinka’s shot-gun-writing aesthetics manifest
in plays like King Baabu and A Play of Giants
constituting a vehement cry of anguish over a corrupt
post-independence African politics, Farah projects,
throughout the trilogy, his country Somalia since
Syad Barre’s coup of 1969 and the new political
totalitarianism to which Somalia has drifted over the
years.
50
PANEL 12
Freedom in Contemporary
Arabic Literature
DDrr.. MMaaggddaalleennaa KKUUBBAARREEKK
Arabic Language and Culture Center
Faculty of Languages
NICOLAUS COPERNICUS UNIVERSITY IN TORUŃ
(Toruń/Poland) [email protected]
PPiięęćć wwiizzjjii kkoobbiieecceeggoo zznniieewwoolleenniiaa
ww ddrraammcciiee KKaaffaass [[KKllaattkkaa]]
DDżżuummaannyy HHaaddddaadd
Referat analizuje współczesne manifestacje kobiecego
zniewolenia przedstawione w dramacie Dżumany
Haddad (Joumana Haddad). Urodzona w 1970 roku
libańska poetka, pisarka, dziennikarka tłumaczka,
aktywistka walcząca o prawa kobiet w swoich
utworach podejmuje tematykę prawa jednostki do
wolności i samostanowienia niezależnie od płci,
religii, rasy czy pozycji społecznej. Jej odwaga
i bezkompromisowość w wyborze tematyki i sposobie
jej przedstawienia, która nierzadko ociera się
o prowokację, wielokrotnie spotykały się z krytyką
i potępieniem ze strony kręgów konserwatywnych.
Do swojej bogatej i uznanej twórczości poetyckiej
i eseistycznej Haddad dołączyła w 2014 roku dramat
zatytułowany Kafas [Klatka], którego bohaterki
(lesbijka, prostytutka, „grubaska”, stara panna, oraz
„zakwefiona”) tkwią w klatce zbudowanej
z ograniczeń narzuconych przez obowiązujące normy
społeczne i kulturowe.
FFiivvee VViissiioonnss ooff WWoommeenn’’ss OOpppprreessssiioonn
iinn tthhee DDrraammaa KKaaffaass [[TThhee CCaaggee]]
bbyy JJoouummaannaa HHaaddddaadd
The paper analyzes modern manifestations
of women’s oppression presented in the drama Kafas
[The Cage] by Joumana Haddad (b. 1970). In her
works, the Lebanese poet, writer, translator
journalist, activist fighting for women’s rights takes
up the subject of the individual’s right to freedom and
self-determination regardless of sex, religion, race
or social position. Her courage and uncompromising
attitude in choosing the issues and the way of their
presenting – which is often close to provocation – has
repeatedly met with the criticism and condemnation
from conservative circles.
In 2014, Haddad added the drama Kafas [The Cage]
to her rich and well-recognized poetic and essayist
works. Its protagonists (the lesbian, the prostitute,
“the fat”, the old maid, and “the veiled”) are stuck
in a cage built of restrictions imposed by prevailing
social and cultural norms.
DDrr.. AAggnniieesszzkkaa GGRRAACCZZYYKK
Faculty of Modern Languages and Literatures
ADAM MICKIEWICZ UNIVERSITY (Poznań/Poland) [email protected]
WW oocczzeekkiiwwaanniiuu nnaa wwyyrrookk.. WWssppoommnniieenniiaa
iirraacckkiicchh ppiissaarrzzyy RRiiffaattaa CChhaaddiirriijjeeggoo
ii BBaallqqiiss SSzzaarraarryy Irak, lata siedemdziesiąte XX wieku. Okres reżimu
wojskowego i zwalczania opozycji. Czas, kiedy wielu
obywateli było represjonowanych, aresztowanych
i ginęli w niewyjaśnionych okolicznościach. Wśród
nich był jeden z najbardziej znanych arabskich
architektów, Rifat Chadirji, któremu zarzucono
współpracę z Amerykanami i skazano na dożywocie.
Wpływy rodzinne i sytuacja w kraju doprowadziły
do jego uwolnienia. Jednakże okres dwóch lat, kiedy
przebywał w więzieniu, gdzie był torturowany,
głodzony i prześladowany przez współwięźniów wyrył
w jego świadomości niebagatelne piętno.
Równocześnie jego żona, Balqis, która pozostała
sama, opuszczona przez przyjaciół, którzy obawiali
się kontaktów z rodziną skazańca, zmuszona była
mierzyć się z trudną sytuacją rodzinną i społeczną.
Ich wspólna opowieść pt. Dżidar bajna zulmatajn
[Ściana między dwiema ciemnościami, 2003), oparta
na autentycznych faktach, spisana po wielu latach
na emigracji, przedstawia ich losy, ale jednocześnie
51
ukazuje jak każdy z nich przeżywał lata rozłąki,
niepewność i samotności. Konfrontacja dwóch
narracji, męża i żony, jednocześnie omawiających ten
sam okres ich życia, jest niezwykle ważnym
dokumentem, który zwraca uwagę zarówno na
przeżycia więźnia, ale również, co rzadko się zdarza,
na los najbliższych, mimo iż wolnych, uwięzionych
w strukturach społecznych i ograniczonych sytuacją
polityczną.
WWaaiittiinngg ffoorr tthhee SSeenntteennccee.. MMeemmoorriieess
ooff IIrraaqqii wwrriitteerrss RRiiffaatt CChhaaddiirrjjii
aanndd BBaallqqiiss SShhaarraarraa Iraq, 1970s. The period of the military regime and
opposition. A time when many citizens were
repressed, arrested and died in unexplained
circumstances. Among them was one of the most
famous Arab architects, Rifat Chadirji, who was
accused of working with the Americans and
sentenced to life imprisonment. Family connections
and the situation in the country led to his release.
However, the period of two years, when he was
in prison, where he was tortured, starved and
persecuted by his inmates, engraved a significant
mark in his consciousness. At the same time, his
wife, Balqis, who remained alone, abandoned by
friends who feared contact with the convict's family,
was forced to face a difficult family and social
situation. Their shared story Jidar Bayna
Dhulmatayn [A Wall Between Two Obscurities, 2003]
based on authentic facts, written down after many
years in exile, presents their fate, but also shows how
each of them experienced years of separation,
uncertainty and loneliness. The confrontation of two
narratives, husband and wife, simultaneously
discussing the same period of their lives,
is an extremely important document that draws
attention both to the prisoner's experiences, but also,
what happens rarely, to the fate of their relatives,
free, but imprisoned in social structures and limited
by the political situation.
DDrr.. SSeebbaassttiiaann GGAADDOOMMSSKKII
JAGIELLONIAN UNIVERSITY (Kraków/Poland) [email protected]
DDrrooggaa ddoo wwoollnnoośśccii –– ddrraammaattuurrggiiaa eeggiippsskkaa
wwoobbeecc rreewwoolluuccjjii 22001111 rrookkuu Wydarzenia, które miały miejsce w Egipcie
na początku 2011 roku wstrząsnęły życiem
społeczno-politycznym w całym kraju. Uliczne
wystąpienia i demonstracje nie tylko doprowadziły
do zmian na szczytach władzy, ale sprowokowały
otwartą debatę na temat kondycji społeczeństwa, jego
świadomości politycznej i poczucia odpowiedzialności
za własną ojczyznę. Środowiska artystyczne
reprezentowane przez poszczególnych twórców
towarzyszyły wszystkim etapom egipskich przemian,
aktywnie włączając się w spontaniczny ruch, który na
nowo definiował swoją tożsamość obalając skostniały
system, w którym obywatelski głos utracił swoją moc
i znaczenie. Utwory dramatyczne, które powstawały
w przededniu rewolucyjnego zrywu, a także w jego
trakcie i tuż po nim stały się żywym świadectwem
żmudnego procesu zdobywania wolności
i dojrzewania do niej. Ich historyczno-literacka
wartość przejawia się nade wszystko
w autentyczności przekazu, który odzwierciedla
głębokie pragnienie społeczno-politycznej zmiany
i niestrudzone podążanie za głosem wolności.
WWaayy ttoo FFrreeeeddoomm –– EEggyyppttiiaann DDrraammaattuurrggyy
TToowwaarrddss tthhee RReevvoolluuttiioonn ooff 22001111 The events that took place in Egypt at the beginning
of 2011 shook social and political life throughout the
country. Street protests and demonstrations have not
only led to changes at the summit of power, but have
provoked an open debate on the condition of the
society, its political awareness and sense
of responsibility for its own homeland. Artistic milieu
represented by individual artists took part in all
stages of Egyptian transformations, actively joining
a spontaneous movement, which redefined the
national identity by refuting the ossified system
in which the civic voice lost its power and meaning.
Dramatic works, which were created on the eve of the
revolutionary uprising, as well as during and after
52
it became a living testimony to the arduous process
of gaining freedom and maturing to it. Their
historical-literary value manifests itself above all
in the authenticity of the message, which reflects the
deep desire for socio-political change and the tireless
pursuit of the voice of freedom.
DDrr.. AAddrriiaannnnaa MMAAŚŚKKOO
Faculty of Modern Languages and Literatures
ADAM MICKIEWICZ UNIVERSITY (Poznań/Poland) [email protected]
OOppóórr iirraacckkiieeggoo iinntteelleekkttuuaalliissttyy wwoobbeecc
bbaaaassiissttoowwsskkiieejj pprrooppaaggaannddyy ii cceennzzuurryy
ww ppoowwiieeśśccii ZZnnaakkii ddiiaakkrryyttyycczznnee
SSiinnāānnaa AAnnṭṭūūnnaa W powieści Iʻǧām [Znaki diakrytyczne, 2003] Sinān
Anṭūn odbija w krzywym zwierciadle ironii głównego
bohatera, studenta literatury angielskiej na
Uniwersytecie Bagdadzkim, realia życia
intelektualistów w Iraku w cieniu dyktatury
Saddama Husajna w latach 80. XX wieku, kiedy to
ingerencja aparatu Partii Baas w codzienne
funkcjonowanie obywateli sięga już zenitu. Autor
powieści obrazuje, w jaki sposób wbija się
Irakijczykom do głowy dziesiątki sloganów mających
inspirować ich do nieustannego poświęcania się dla
przywódcy i partii. Przytacza dziesiątki przykładów
słów i fraz składających się na propagandową
retorykę. Wskazuje różne absurdalne powody
stosowania cenzury. Przedstawia konsekwencje
krytycznych wypowiedzi pod adresem reżimu.
Wreszcie ukazuje stosowane przez intelektualistów
formy cichego oporu. W moim referacie chciałabym
zaprezentować zarówno sposób, w jaki Anṭūn opisał
w swojej powieści funkcjonowanie baasistowskiej
propagandy i cenzury, jak i strategie, do jakich
ucieka się główny bohater, by wymknąć się spod
wszechobecnej kontroli państwa. Rozważania
dotyczące literackiej reprezentacji funkcjonowania
totalitarnej machiny władzy chciałabym poprzedzić
informacjami o charakterze faktograficznym.
IIrraaqqii IInntteelleeccttuuaallll’’ss RReessiissttaannccee ttoo BBaaaatthhiisstt
PPrrooppaaggaannddaa aanndd CCeennssoorrsshhiipp iinn tthhee NNoovveell
DDiiaaccrriittiiccss bbyy SSiinnaann AAnnttoooonn
In the novel I’ǧām [Diacritics, 2003], Sinan Antoon
reflects in the crooked mirror of the main character’s
irony, a student of English literature at the University
of Baghdad, the realities of life of Iraqi intellectuals
under Saddam Hussein’s dictatorship in the 1980s.
At the time, the Baath Party apparatus’ interference
in everyday life of Iraqi citizens is already at its
zenith. The author of the novel depicts how Iraqis are
attacked with dozens of slogans inspiring them
to sacrifice themselves for the leader and the party.
He cites dozens of examples of words and phrases
which make up the rhetoric of propaganda. He
indicates various absurd reasons for using
censorship. He presents the consequences of saying
or writing critical words towards the regime. Finally,
he shows some forms of silent resistance used
by Iraqi intellectuals. In my paper, I would like
to present the way in which Antoon shows in his
novel the functioning of Baathist propaganda and
censorship, as well as some strategies to which the
main character resorts in order to escape from the
ubiquitous control of the state. My considerations
regarding the literary representation of the
functioning of the totalitarian machine of Hussein’s
power, I would like to precede by some factual
information.
53
PANEL 13
Freedom and Violence
in Narration
DDrr.. MMuussttaaffaa WWSSHHYYAARR
UNIVERSITY OF SZEGED (Szeged/Hungary) [email protected]
VViioolleennccee RReepprreesseennttaattiioonn iinn AAnndd tthhee
MMoouunnttaaiinnss EEcchhooeedd bbyy KKhhaalleedd HHoosssseeiinnii This paper explores the topic of violence
as it is represented in Khaled Hosseini’s And the
Mountains Echoed (2013). My aim is to look at the
possibilities of translating violence into fictional
context. I will accordingly analyze the novel in order
to see how nonfiction/reality of violence
is represented in a narrative form. For this I will
apply Johan Galtung’s theory on violence triangle.
These include incipient forms of violence defined
by Galtung as invisible violence; structural and
cultural violence will be revealed by certain
consequences, leading to the existence of the visible
violence, the so-called direct violence that can
be prevented by stopping or treating violence as it is
in its early stages.
JJooaannnnaa AANNTTOONNIIAAKK
NICOLAUS COPERNICUS UNIVERSITY IN TORUŃ
(Toruń/Poland) [email protected]
DDooeess IInnddeeppeennddeennccee EEqquuaall FFrreeeeddoomm??
TThhee MMoottiiff ooff IInnddeeppeennddeennccee
iinn MM..GG.. VVaassssaannjjii’’ss NNoo NNeeww LLaanndd ((11999911)) For the citizens of the colonies or those deprived
of their own country, the moment of gaining
independence is seen as a glorious and important
event. The motifs of independence and freedom are
strongly present in M.G. Vassanji’s novel No New
Land. In the text, the author explores the complexity
of the connection between freedom and
independence, showing that the relation between the
two is not as straightforward as it may appear to be.
Vassanji presents this discussion against the plight
of the immigrants from the British Raj who move
from country to county trying to find freedom and
independence and, at the same time, become the
victims of the situations in which independence
is awarded to others. The aim of this presentation
is to discuss the depiction of freedom and
independence in the novel with a particular focus
on the way in which they impact the members of the
diaspora.
JJaacceekk SSKKUUPP
JAGIELLONIAN UNIVERSITY (Kraków/Poland) [email protected]
NNaarrrraattiivveess ooff SSttrruuggggllee ffoorr FFrreeeeddoomm
iinn tthhee WWrriittiinnggss ooff SS..CC.. BBoossee Subhas Chandra Bose (1897–1945) known as Netaji
(revered leader) was one of the leaders of the Indian
independence movement. In the 1930s he left the
Indian National Congress due to disagreements
concerning the methods of obtaining independence,
which led him to the creation of the All-India Forward
Bloc. Later he became the leader of armed struggle
for free India supported by the Axis powers. The aim
of the proposed paper is to provide characteristics
of his thought concerning national and social
liberation of India and its’ evolution through the
years. The material analysed in order to deliver
conclusions, will be mainly provided by Bose’s own
autobiographical narrative covering the period
between 1920 and 1942, and supported by his
articles and speeches. The analysed material will
be presented in a wider perspective of nationalist
currents in British India (i.e. svaraj movement,
Indian nationalism, Hindu nationalism and Muslim
Indian Nationalism).
54
DDaanniieellaa SSPPIINNAA
Centre for Comparative Studies
Faculty of Arts
UNIVERSITY OF LISBON (Lisbon/Portugal) [email protected]
RReepprreessssiinngg SSaattyyhhaaggrraahhaa,, RReepprreesseennttiinngg
SSaattyyhhaaggrraahhiiss:: VViioolleennccee aanndd NNoonn--vviioolleennccee
iinn aa NNoovveell bbyy GGooaann WWrriitteerr OOrrllaannddoo
ddaa CCoossttaa
The enduring Portuguese rule in Goa, Daman and
Diu (1505–1961) was the final colonial rule
to be overthrown in India. The idea of soft
colonialism, spread by the Portuguese propaganda
during the Estado Novo – António de Oliveira
Salazar’s dictatorship (1933–1974) –, enabled
representations of the liberation of Goa by the Indian
Union army, in 1961, as an invasion, an action
of force and violence towards a people who identified
themselves as a part of a great Portuguese nation.
Goan freedom fighters narratives disprove this vision
and enable us to rethink the Goan freedom struggle
as an authentic moment of taking a stance against
the colonial power of Portugal. The aim of this paper
is to revisit the repression of the first satyhagraha –
a non-violent protest inspired by Gandhi – in Goa,
in 1946, through a reading of the novel O Último
Olhar de Manú Miranda [The Last Gaze of Manú
Miranda], by Goan writer Orlando da Costa (2000).
The author represents the violence against
thousands of satyhagrahis – the non-violent
dissidents – through the perspective of Manú
Miranda, a young Goan in the middle of an identity
crisis, due to his condition as colonial subject.
55
PANEL 14
Spheres of Freedom and Oppression between
Orient and Polish Literature
DDrr.. HHaabb.. EEllżżbbiieettaa KKOOSSSSEEWWSSKKAA
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
OOrriieennttaalliizzmm ww lliitteerraattuurrzzee ppoollsskkiicchh
uucchhooddźźccóóww ww PPaalleessttyynniiee
Palestyna zajmowała wyjątkowe miejsce w życiu
Polaków. Była jednym z największych i ważniejszych
centrów życia cywilnego i wojskowego polskiego
wychodźstwa na Bliskim Wschodzie w czasie (1939–
1948). Światy zasiedziałych mieszkańców Palestyny,
zwłaszcza tych pochodzących z Polski, i polskich
uchodźców wzajemnie się przenikały w przestrzeni
politycznej, kulturalnej i społecznej. Życie
wychodźstwa polskiego, w szczególnym miejscu
jakim jest Palestyna, daje wyjątkowo interesującą
panoramę problemów etnicznych i religijnych
(chrześcijaństwa, judaizmu i islamu). W Palestynie
polscy uchodźcy prowadzili niezwykle aktywną
działalność wydawniczą i pisarską. Powstała bogata
literatura piękna i podróżnicza. Celem referatu będzie
przedstawienie dorobku literackiego polskich
uchodźców, w szczególności tego odnoszącego
się do Orientu.
OOrriieennttaalliissmm iinn tthhee LLiitteerraattuurree ooff PPoolliisshh
RReeffuuggeeeess iinn PPaalleessttiinnee
Palestine occupied a unique place in the life of Poles.
It was one of the largest and most important centres
of civil and military life for displaced Poles in the
Middle East during the period from 1939 to 1948.
The worlds of settled Palestinians, especially those
from Poland, and Polish refugees permeated each
other in the political, cultural and social spheres. The
life of Polish emigrants in such a unique place
as Palestine provides an exceptionally interesting
panorama of ethnic and religious problems
(concerning Christianity, Judaism and Islam).
In Palestine, Polish refugees were extremely active
in publishing and writing. This resulted in a vast
wealth of fiction and travel literature. The aim of this
paper will be to present the literary output of Polish
refugees, particularly works pertaining to the Orient.
PPrrooff.. MMiicchhaałł KKUURRAANN
Institute of Polish Philology Faculty of Philology
UNIVERSITY OF LODZ (Łódź/Poland) [email protected]
OObbrraazz nniieewwoollii ttuurreecckkoo--ttaattaarrsskkiieejj
ww lliitteerraattuurrzzee ppoollsskkiieejj wwiieekkóóww XXVVII ii XXVVIIII
–– pprrooppaaggaannddaa ii sstteerreeoottyyppyy
Celem referatu jest ukazanie środków perswazji, jakie
wykorzystywano w staropolskiej publicystyce
antytureckiej wieków XVI i XVII, by zachęcić
społeczeństwo do udziału w międzynarodowych
krucjatach antytureckich, jak i zachęcić do walki
w obronie terenów zagrożonych najazdami
tatarskimi. Konstruując argumenty, publicyści
i pisarze odwoływali się do stereotypowego obrazu
niewoli, jaki w tej literaturze się uformował. Referat
ma ukazać przykładowe argumenty wykorzystujące
stereotypowe ujęcie obrazu niewoli. Pochodzą one
zarówno z tekstów mówiących o porywaniu
do niewoli, jak i z relacji zbiegłych niewolników,
a także pisanych z politycznych pobudek. Mowa
będzie o obrazie uformowanym między innymi
w twórczości Stanisława Orzechowskiego, Bartosza
Paprockiego, Marcina Paszkowskiego.
TThhee IImmaaggee ooff TTuurrkkiisshh--TTaattaarr SSllaavveerryy iinn tthhee
PPoolliisshh LLiitteerraattuurree ooff tthhee 1166tthh aanndd tthhee 1177tthh
CCeennttuurriieess –– PPrrooppaaggaannddaa aanndd SStteerreeoottyyppeess
The purpose of the paper is to show the means
of persuasion used in the old Polish anti-Turkish
journalism of the 16th and the 17th centuries,
to encourage society to participate in international
anti-Turkish crusades, and also to encourage to fight
56
in the name of defending threatened by Tatar
incursions lands. In creating the arguments
publicists and writers referred to the stereotypical
image of slavery, which had been formed in this
literature. The paper presents examples of arguments
using stereotypical view of the image of slavery. They
are derived from both texts about kidnapping
for enslavement, as well as relations of escaped
slaves, and also relations written of political motives.
The paper presents image formed, i. a. in the works
of Stanisław Orzechowski, Bartosz Paprocki and
Marcin Paszkowski.
DDrr.. RReennaattaa GGAADDAAMMSSKKAA--SSEERRAAFFIINN
Faculty of Polish Studies
JAGIELLONIAN UNIVERSITY (Kraków/Poland) [email protected]
PPoollsskkiiee oorriieennttaalliiaa kkaauukkaasskkiiee..
PPrroozzaa zzeessłłaańńcczzaa MMiicchhaałłaa
AAnnddrrzzeejjkkoowwiicczzaa--BBuuttoowwttaa Orientalia kaukaskie stanowią ciekawy i nieodkryty
do tej pory wątek literatury polskiej XIX wieku.
Przedmiotem wystąpienia będą wątki orientalne
zawarte w prozie polskiego zesłańca na Kaukaz –
Michała Andrzejkowicza-Butowta, absolwenta
Uniwersytetu Wileńskiego, uczestnika spisku
Szymona Konarskiego, zesłanego wyrokiem carskim
„w sołdaty” w latach 30. XIX wieku. Andrzejkowicz
spędził na Kaukazie aż 18 lat (jako żołnierz walczący
pod przymusem z plemionami kaukaskimi).
Gruntownie poznał kulturę Gruzji i Dagestanu,
w tym świat kaukaskiego islamu. Na wygnaniu uczył
się miejscowych języków, dobrze opanował język
tatarski. Jego Szkice Kaukazu (Warszawa 1859)
to ciekawe studium poznawcze ukazujące świat
kaukaskiego Orientu uwikłanego w zmagania
z rosyjskim najeźdźcą.
PPoolliisshh CCaauuccaassiiaann „„oorriieennttaalliiaa””.. TThhee EExxiillee
PPrroossee ooff MMiicchhaałł AAnnddrrzzeejjkkoowwiicczz--BBuuttoowwtt Caucasian “orientalia” are the plot of the Polish
19th-century exile literature – interesting and
undiscovered until now. The subject of the statement
will be the oriental plots in the prose of the Polish
exile to the Caucasus: Michał Andrzejkowicz-Butowt,
the graduate of the Vilnius University and the
member of the Szymon Konarski’s conspiracy,
banished to Caucasus „w sołdaty” by the Russian
Emperor’s verdict of guilty in the eighteen thirties.
Andrzejkowicz has spent in Caucasus mountains
as many as 18 years (as a soldier lighting, under
compulsion, with the Caucasian tribes). At that time
he got to know the culture of Georgia and Dagestan
thoroughly, also the Caucasian Islam’s world. On the
exile he had been studying the local languages and he
learnt to speak Tatar well. His Szkice Kaukazu
(Warsaw 1859) is an interesting study showing the
world of the Caucasian Orient embroiled in the war
with the Russian invader.
57
PANEL 15
Different Perspectives of Freedom and Oppression
(2)
DDrr.. VViikkttoorriiaa PPÖÖTTZZLL
INDEPENDENT SCHOLAR (Austria) [email protected]
FFrroomm PPaann--AAssiiaanniissmm ttoo SSaaffaarrii--ZZiioonniissmm::
GGeennddeerr aanndd OOrriieennttaalliissmm
iinn JJeewwiisshh--AAuussttrriiaann LLiitteerraattuurree
The picture of “the Orient” is a discursively produced
image, reproduced through language and thus
analysed here through literature. Like gender, “the
Orient” serves as a category of analysis throughout
this study. Following Said, I use the term “Orient”
to refer to a violent discursive praxis and a construct
in desperate need of deconstruction. I analyse how
“the Orient” served and still serves as an opposition
to the global North/West. Taking into account early
critiques of Said’s Orientalism (Al-Azm 1981) as well
as queer and feminist critiques (Hastings 1992,
Yeğenoğlu 1998, Abu-Lughod 2001), this paper
probes representations of Palestine
in Jewish-Austrian literature and analyses the
influence of (gendered) Zionist narratives. My
presentation discusses Moshe Ya’akov Ben-Gavriêl
texts Jerusalem wird verkauft oder Gold auf der
Straße: Ein Tatsachenroman (Tagebuch 1917), as well
as Die Pforte des Ostens (1923). I highlight the impact
of the rise of antisemitism and nationalisms in the
Austro-Hungarian Monarchy on (Zionist)
Jewish-Austrian thought. My main argument is that
of a return of the Palestinian Subject and
a decolonization in Jewish-Austrian Literature,
as opposed to violent non-representations and
misrepresentations.
MMaarrccoo MMEEDDUUGGNNOO
NEWCASTLE UNIVERSITY (Newcastle/UK) [email protected]
QQuueessttiioonniinngg OOpppprreessssiioonn aanndd FFrreeeeddoomm::
aa NNeeww PPeerrssppeeccttiivvee oonn JJ..MM.. CCooeettzzeeee’’ss LLiiffee && TTiimmee ooff MMiicchhaaeell KK..
This paper aims to explore how the challenging
notions of freedom and oppression are represented
in J.M. Coetzee’s Life & Time of Michael K. (1983).
By focusing on the concept of “personaggio assoluto”
(absolute character), developed by scholar Enrico
Testa (2009), this lecture suggests a revisited
perspective on the novel, thus showing how the
protagonist may be considered – paradoxically –
as both the embodiment of oppression and, at the
same time, the personification of freedom. These two
coexisting and antithetical elements find a place
in the novel in the depiction of the rebellion and
alienation of the protagonist, but also the portrayal
of the serene relationship between Michael K. and
nature. Therefore, this lecture aims to study the
different layers in which the novel displays both
oppression and, at the same time, freedom according
to the different perspectives in which the protagonist
may be analysed. The dystopian South Africa’s
background in which the novel is set, characterised
by internal displacements of people and refugee
camps, raises universal questions about belonging
and individuality that result still predominant and
unsolved in the present-day global context
of migration.
PPaauulliinnaa SSTTAANNIIKK
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
TThhee EExxppeerriieennccee ooff PPoolliisshh WWoorrlldd WWaarr IIII
SSoollddiieerrss aanndd RReeffuuggeeeess iinn tthhee OOrriieenntt::
tthhee aacctt ooff SSiinnggiinngg aass aann EEssccaappee ttoo FFrreeeeddoomm World War II saw thousands of Poles exiled to Siberia
where they were to spend long months struggling
58
for survival. Among them, were the future soldiers
of the II Polish Corps who travelled across the Middle
East and North Africa as well as women and children
who found a welcoming home in India. All of them
experienced previously unknown landscapes which
were supposed to be only stops on their way back
to an independent country. Along that way,
surrounded by the unfamiliar, they sang and the act
of doing so seemed powerfully liberating. In this
study I analyze excerpts from selected World War II
memoirs which concern the act of singing and
present that practice as one having more than
an entertaining value.
MMaarriiaa SSZZAAFFRRAAŃŃSSKKAA--CCHHMMIIEELLAARRZZ
Institute of English Studies
UNIVERSITY OF WARSAW (Warsaw/Poland) [email protected]
EEssccaappiinngg ttoo aanndd ffrroomm OOrriieennttaalliissmm::
““TThhee CCoouunntt ooff MMoonnttee CCrriissttoo””
aanndd iittss AAddaappttaattiioonnss The aim of this paper is to investigate how Alexandre
Dumas’ The Count of Monte Cristo (1844) employs
elements of Mediterranean culture to shape Edmond
Dantes’ identity. Through making him into a an avid
orient-ethusiast, the book explains his morally gray
actions and allows him to exact his revenge without
labeling him as a villain. The oriental subplot in the
book also introduces characters such as Ali and
Haydee, who both reinforce Dantes’ own belief that
he is, in fact, a good man. Interestingly, both
characters are absent from American movie
adaptations of the novel, and from the musical Der
Graf der Monte Cristo (2009), showing that
orientalism has morphed from an idea to which one
can escape to, into a trope that the authors escape
from, trying to shape Dumas’ character into a purely
European vigilante, instead of a morally ambiguous
character who abandons his French nationality.