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  • Din
    26
    Feb
    2019

    Dubbele lezing 3: Raising the woman's question in the early Russian fashion press: The case of Modnyi magazin (1862-1883)

    18:00Campus Boekentoren, Blandijnberg 2, room/lokaal 110.046 (first floor/eerste verdieping)
    SEELECTS

    Maria Alesina (Universiteit Gent)

    The pre-revolutionary Russian fashion press remains a field neglected by scholars and thus marked by two persistent stereotypes: the assumed triviality of the content of such magazines and the idea that they were created and developed by a couple of well-known male publishers. In my lecture, I want to present the counterarguments to both of these assumptions. After a brief overview of a 90-years-long history of women editing fashion magazines in the nineteenth and early twentieth centuries, I will zoom onto the particular case of Modnyi magazin (1862-1883) that was published and edited by Sofia Rekhnevskaia-Mei. Firstly, I will cover the contribution of this magazine and its editor to the development of the Russian fashion press and its transnational connections. Secondly, I will focus on Modnyi magazin’s agenda on promoting the so called woman question and demonstrate how Rekhnevskaia-Mei turned her fashion publication into a platform for supporting women's rights. I will outline a range of emancipation-related issues that were covered in the pages of Modnyi magazin and discuss its particular focus on the pro-women’s philanthropy, which, according to Richard Stites, signified the beginning of feminism in Russia.

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  • Din
    26
    Feb
    2019

    Dubbele lezing 3: Jean-Paul Sartre’s Theatre after Communism: Perpetuating the Past through Non-Retranslation

    18:00Campus Boekentoren, Blandijnberg 2, room/lokaal 110.046 (first floor/eerste verdieping)
    SEELECTS

    Charlotte Bollaert (Universiteit Gent)

    Jean-Paul Sartre’s Russian fate in translation has been complex and highly changeable over time. He was first introduced to the Soviet reader as a playwright with the translation of two of his plays in 1955: La Putain Respectueuse and Nekrassov (to be republished already in 1956). Although they both form the basis for the canonization of the Russian Sartre, the selection of these plays with their respective anti-American and pro-communist thematic, the way in which they were initially translated and then performed for about a decade, led to what Gal’tsova (1999:252) describes as the “total falsification” of Sartre’s oeuvre. In 1966, Le Diable et le Bon Dieu as first translated and in 1967, Nekrassov and Le Diable et Le Bon Dieu republished, this time in a collection of seven plays, together with a retranslation of La Putain Respectueuse and four new plays (Le Diable et le Bon Dieu, Les Mouches, Morts sans Sépulture, Les Séquestrés d’Altona). A part from Sartre’s autobiography Les Mots, these seven plays were the only works by Sartre officially accessible to the Soviet reader before the Perestroika.

    With the political changes induced in the 1980s and the ensuing fall of the USSR in 1991, Sartre’s other work became acceptable and he was slowly introduced as a novelist and a philosopher as well. His theatre, however, was consigned to oblivion in those years, and this for about a decade. Our hypothesis is that “Sartre as a playwright” was, regardless, of the earlier framing of his work, felt to be too closely related with the communist past to be of interest during those years. Between 1999 and 2010, however, the 1967 collection (without Nekrassov and Huis Clos) was republished at least 7 times by different publishing houses. It will be our aim to explore the stakes of non-retranslation, id est to investigate the impact of uncritically (?) reprinting Sartre’s Soviet theatre translations today and to uncover how Soviet censorship, 25 years after its abolition, continues to shape the reading of contemporary readers.

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  • Woe
    27
    Feb
    2019

    Ime: Dobrica, Prezime: nepoznato | Name: Dobrica, Last Name: Unknown

    19:30Filmplateau, Paddenhoek
    Slavische films

    Servië, 2016 – Srdja Penezić

    Ime: Dobrica, prezime: nepoznato is een feelgoodfilm of zelfs een sprookje voor volwassenen. Het hoofdpersonage, Dobrica, wordt als baby op een vuilnisbelt achtergelaten. De vondeling wordt eerst door twee oude mensen opgevoed, maar later wordt hij door de staat in een weeshuis geplaatst. Ondanks alle ellende die hij in zijn leven meemaakt, blijft Dobrica – de naam betekent ‘goed mens’ – toch geloven dat iedereen goed is, en dat wie slecht is gewoon het goede voorbeeld moet krijgen. Uiteindelijk wordt Dobrica verliefd op een drugsverslaafde.

    De film werd bijzonder warm ontvangen in Servië en daarbuiten. De hoofdrol wordt vertolkt door Slavko Štimac, die een dertigjarige filmcarrière achter de rug heeft (met onder meer rollen in films van Emir Kusturica). In Ime: Dobrica worden er fragmenten gebruikt uit verschillende van zijn eerdere films, waardoor deze film ook een eerbetoon is aan de laatste echte Joegoslavische filmster.

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