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(Nie)uczciwość akademicka polskich studentów a poświadczanie kwalifikacji

Author(s): Agnieszka M. Sendur / Language(s): English,Polish Publication Year: 0

Examination malpractice is claimed to be a problem in Polish schools and universities. What is the actual scale of academic dishonesty among Polish higher education students and what seems to be its causes? What kind of actions do Polish students consider dishonest and which of them are not assigned to this category? The article describes a survey on academic integrity conducted at Polish higher education institutions and presents conclusions relevant to certification purposes.

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The Tempest: Declan Donnellan and Oskaras Korsunovas Look Backwards into the Abyss of Time

Author(s): Maria Shevtsova / Language(s): English,Polish Publication Year: 0

A reinvigorated interest in The Tempest by world-famous directors has surfaced in the past few years to give Shakespeare’s play some rather unexpected twists and turns. The most notable among recent productions has been the work of Declan Donnellan (2010) with the Russian sister company of Cheek by Jowl, which he founded in Britain in 1981, and the concise, fist-in-the-gut appropriation Miranda, After Shakespeare’s ‘The Tempest’ (2011) directed by Oskaras Korsunovas with the OKT/Vilnius City Theatre, founded in 1998. The striking link between these two productions is the way they cast their gaze into the Soviet past, each director having a different relationship with it. Donnellan essentially achieves it through his Russian ensemble where, as noted in this article, he was helped by actors fully experienced in devising the performance material through the étude method characteristic of the Russian school of acting. Korsunovas’s is a direct, visceral relationship, which is expressed in the corrosive surrealism of his perspective. The latter is in some ways close in spirit to the satirical humour of Donnellan’s production, but the interest of putting these two productions side by side is to highlight the singularity of each, and to show how each operates within the framework developed for it.

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Humphry Repton and the Pocketbook Picturesque

Author(s): Stephen Daniels / Language(s): English Publication Year: 0

The aim of the article is to examine one the most successful pocketbooks of the period, "The Polite Repository, or Pocket Companion", illustrated by designs by Humphry Repton, of places he was commissioned to improve. The illustrations for "The Polite Repository" display the repertoire of Repton’s art, the social range of properties, including aristocratic palaces, gentry manor houses, and suburban villas of merchants and professionals. One of the effects of the small, standardised format was to represent properties of vastly different size, style and status, within a common scenic genre, part of Repton’s promotion of a form of polite landscape which united many social ranks. The vignettes show various features, beyond the mansions, lodges, conservatories, pavilions, grottoes, flower gardens, woodlands, lakes, riversides, and wider views of the country, such as ranges of hills and sea views. The views include some parkland animals - sheep and deer - also human figures, including residents and visitors. Many view points are from a public road, displaying Repton’s art, and the properties of his clients, to passing travellers, including the many tourists from polite society who were patriotically discovering the British landscape, now that war had closed continental Europe to tourism. Repton donated the drawings for the publication, to promote his career and showcase the properties of his clients. The illustrations for "The Polite Repository" are part of Repton’s project to reclaim the concept of the picturesque from his learned antagonists: Richard Payne Knight and Uvedale Price.

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G.M. Hopkins: Landscape with a Rainbow

Author(s): Aleksandra Kędzierska / Language(s): English Publication Year: 0

Hopkins’s poems abound in landscapes. Sometimes, as is the case with “Pied Beauty,” “plotted and pieced, / fold, fallow and plough,” they offer a panorama of the world “charged” with the grandeur of God. The power, yet also humour and beauty, of the Creator reveal themselves in numerous cloud- or sea-scapes, and in truth all nature captured in Hopkins’s poetic vignettes - rocks and meadows, trees and plants, stars, rainbows and sunsets - allows an insight into the glory of creation. Through his aesthetic of the Christian belief, Hopkins, as Charles Taylor has it, forges “a surprising new itinerary” for faith in an age of disenchantment, as a poet “graced with rare insight” to see the concrete “particular in all its specificity” participating in a universal “communion” of Divine love, wisdom, and beauty (764). Focusingon Hopkins’s fascination with rainbows and discussing the treatment of “nature’s arc” in his poetry, this paper will demonstrate how this particular “inscape of his environment” (Nelson), channeling Christological, ontological, and also ecological didactics, narrates the story of Hopkins’s relationship with the Divine: the poet’s plunge into aestheticism followed by his discovery of the prismatic, rainbow-like nature of the Divine.

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Nature, Nostalgia, and the Countryside (Goldsmith, Gilpin, and Cobbett)

Author(s): Przemysław Uściński / Language(s): English Publication Year: 0

In "The Song of the Earth", an ecocritical reading of numerous English writers of the countryside (Gilpin, Wordsworth, Austen and Hardy, among others), Jonathan Bate draws attention to the ambiguity of nostalgia, a feeling the implications of which entail both the idealization of the past and, Bates argues, the potentially valuable critique of the present. While focusing on Oliver Goldsmith’s influential poem “The Deserted Village” (1770) and its later resonance and reception, I refer also to such writers and thinkers as Crabbe and Cobbett, for whom the poetical meditation on the countryside compels an often wide-ranging political reflection on change and progress, on (human) nature as well as on politics and economy. I consider the ambivalence of nostalgia together with the notion of the picturesque as discussed by Gilpin. The fashionable “aesthetization” of the countryside in picturesque representations risks obliterating its historical transformations as discussed by Goldsmith. If nostalgic longing risks cancelling history by returning to the idealized past, the picturesque risks, in turn, erasing human labour by “naturalizing” itself as a mere framing of nature, or a mere adjustment of our perception of what is presumed to be already naturally present, but which may, in fact, be constructed through our nostalgic longing for such presence.

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Multiplying Unintelligibility: Joyce, Schizophrenia, Cities and Crime

Author(s): Jeremy Tambling / Language(s): English Publication Year: 0

The attempt to ‘read’ the city and so to master it has been the subject of so much writing: Wordsworth, Blake, De Quincey, Dickens, Gissing, and Joyce being some examples from the ‘English’ tradition. But the modern city, unlike the village, or the country-setting, cannot be read, because it knows no inside or outside; its exterior harbours secrets as much as its interiors; put another way, the city allows no separation between the person who tries to understand it, and what is beheld: it allows no single-subject position to exist as the observer. This increasing failure, despite the attention given to conceptualising cities in such figures as Engels, or Georg Simmel, or Walter Benjamin, produces writing which may be considered as marked by a schizoid tendency, defining schizophrenia in terms of a loss of ego-boundaries, an inability to distinguish inside from outside, which may in turn be paranoiainducing. This article will move through several Romantic and nineteenth-century examples of such writing, focusing at last on James Joyce and Ulysses as texts which were in their own time thought of as schizophrenic, tending to the destruction of language as that which can distinguish inside and outside. What then is the relation of the city to schizophrenia? It is a question this article wishes to provoke.

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City and Irony: London’s Contradictions in Samuel Johnson’s London

Author(s): Przemysław Uściński / Language(s): English Publication Year: 0

The article discusses Samuel Johnson’s early poem, London (1738), written in imitation of Juvenal’s Third Satire. It considers the trope of irony as employed in the poem within its imitative mode, examines the construction of the speaker in the poem and, in particular, Johnson’s satiric depiction of the eighteenth-century London as the place that intensifies contrasts and contradictions and hence defies attempts at clear definition. The poem is also placed in the broader tradition of eighteenth-century urban satire. More specifically, the article looks at Dr Johnson’s treatment of the disjunction between the moral and the economic that seems to define Britain’s capital for him. Consequently, his construction of Englishness in this piece appears to be outlined in direct contrast with his satiric representation of London’s cosmopolitan urban milieu, which Johnson tends to link with foreign influences as well as with chaos and corruption.

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Arnold Bennett’s Romance of the Suburbs

Author(s): Małgorzata Nitka / Language(s): English Publication Year: 0

"A Man from the North" (1898), Arnold Bennett’s first novel, reflects, to a certain degree, the end-of-the-century shift in which, as Lynne Hapgood contends, suburbs rather than city constitute the narrative location and become a literary subject in its own right. The novel tells the story of Richard Larch who comes to London to attempt a literary career, for which he believes himself destined. He fails to accomplish the dream as he lacks both talent and commitment, while the dream itself turns out to be a piece of self-delusion. He turns out to be more suited to the regular and unimaginative life of a clerk and husband commuting to work from the suburbs. Even though this conclusion suggests that the suburban pattern of life may annihilate literary creativity, Bennett considers possibilities of their reconciliation. This paper seeks to examine the relationship between writing and suburbs as shown in the novel as well as to discuss larger, social and cultural, implications of the suburbs.

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City as a Nightmare: The Treatment of Urban Space in "The Strange Case of Dr Jekyll and Mr Hyde" and Its Selected Visual Interpretations

Author(s): Anna Krawczyk-Łaskarzewska / Language(s): English Publication Year: 0

The Strange Case of Dr Jekyll and Mr Hyde, the 1886 novella by Robert Louis Stevenson, has inspired numerous interpretations and adaptations in visual and audio-visual media. While its popularity and cultural resonance should be ascribed first and foremost to the captivating portrayal of doctor Henry Jekyll and his evil alter ego, the setting of the controversial story merits attention as well, especially because it happens to be “integral to the situations played out within it” (Ridenhour 12). Presented as “a labyrinth of uncertain topography and confusing repetitions” (Dury 63), constantly transformed and distorted due to the intricate narratorial pattern, Stevenson’s London in Jekyll and Hyde remains an enigmatic, underwritten space and, therefore, a considerable challenge in terms of visual reimagining. From the point of view of the present article, of particular interest will be the work done by several artists who either provided illustrations for the novella or condensed its content into graphic novels. The common denominator for the examples selected is the representation of the city as a nightmare. Furthermore, as rendered by artists such as Charles Raymond Macauley, S. G. Hulme Beaman, Nestor Redondo, Thomas Van Der Linde, and Angela Barrett, the visualized “urbanscapes” function also as an extension of the narrators’ inner turmoil and a marker of the symbiotic, if toxic, relationship between the fictional characters and their (artificial) environment.

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From Britain’s Most Unloved Queen to the Favourite?

Author(s): Dorota Babilas / Language(s): English Publication Year: 0

Compared with her eminent compatriots, Queen Elizabeth I and Queen Victoria, Queen Anne appears to enjoy a very limited presence in popular culture. The recent Oscar-nominated film "The Favourite" (2018) directed by Yorgos Lanthimos may be perceived as an attempt to redress this situation. However, the director, known for his highly experimental earlier works, seems to be interested more in the symbolic and ironic cultural uses of the Queen, than in her real biography. The article attempts to explore the apparently sudden vindication and re-appreciation of Britain’s most unloved female monarch in the light of modern cultural issues, such as feminism and LGBT rights.

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The Possible Worlds of Oliphant and Eliot in "Miss Marjoribanks" and "Middlemarch"

Author(s): Ana Clara Birrento / Language(s): English Publication Year: 0

In the introduction to "Miss Marjoribanks" [1866] 1969, Q. D. Leavis stated that Margaret Oliphant was the missing link between Jane Austen and George Eliot. Lucilla Marjoribanks was, in the critic’s words, the Victorian anti-heroine, insubordinate as far as her relationship to men is concerned, with a voracious appetite, and in opposition to the feminine ideal of a fragile submissive angel. Leavis argued that the novel carries an Oliphant tone in the honesty and realism, in the acknowledgement of the lack of idealism in life, constrained by conventions and prejudices. This is an opinion, I counterargue, that is underpinned by the theory of possible worlds. It was against these conventions and prejudices that George Eliot, wrote "Middlemarch" (1871) a few years later, representing Dorothea Brooke as a young woman both rational and ardent. This article analyses the modes in which the two novelists constructed respectively in "Miss Marjoribanks" and in "Middlemarch", possible worlds for women characters, discussing the relationship between the private and the public issues of culture and society, where Lucilla and Dorothea, living in those possible worlds, try to free themselves from Blake’s “mind-forged” social manacles.

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Saving Face

Author(s): Rebecca W. Boylan / Language(s): English Publication Year: 0

In Thomas Hardy’s "A Pair of Blue Eyes", nature precipitates a drama in which female ingenuity and chivalry save the life of the cliff-clutching Henry Knight. Hardy narrates this in photographic impressions of disrupted realism: while Nature’s inversion both protects and threatens to destroy, a woman’s rescue of a man momentarily promises a new regard for the woman but eventually releases a torrent of destructive secrets and lies. This article contemplates Hardy’s regard for such inversions in nature – both human and atmospheric – to reflect on the novel’s preoccupation with gender identity. Borrowing from such scholars as Jonathan Crary, J. Hillis Miller, Mary Rimmer, and Timothy Hands, it observes the nineteenth-century transformation of human and natural forces as “inversions” that bring romantic confusions. Hardy’s sympathies suggest that inversion can actually preserve the fraught truths of both natural and human experiences.

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“In religion all roads have their obstacles”

Author(s): Grażyna Bystydzieńska / Language(s): English Publication Year: 0

Newman’s first novel "Loss and Gain. The Story of a Convert" (1848) possesses some autobiographical elements. In this article the specific character of both conversions – of Newman and of Charles Reding, the protagonist of his novel – are discussed. Both conversions were the result of a rational, intellectual endeavour, although the emotional and irrational issues were frequently decisive. Oxford as the centre of the Oxford Movement was the setting of both conversions, which in both cases meant that the converts had to leave Oxford. "Loss and Gain" is also a response to the popular and numerous anti-Catholic arguments of the time, concerning, for instance, the Real Presence, the veneration of the Blessed Virgin Mary, the saints and their relics, celibacy of the clergy, but also to the revival of Gothic architecture and Gregorian music in the liturgy of the Church of England. The article also discusses the poetics this spiritual Bildungsroman and its dialogical structure.

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“I saw the Man, that saw the Man, that said he saw this wondrous Sight”

Author(s): Paul Goring / Language(s): English Publication Year: 0

The idea of the newspaper as a substitute eye working in the service of the reader, reflected in 18th-century titles, was predominant for most of the first two centuries of print-newspaper history. Newspapers were there to observe, and what they observed was primarily conveyed by the power of the printed word. Word-based forms of news reporting could also be ‘visual’, and this essay aims to expose the visual aspirations apparent in the work of early news writers. It does this by considering the newspaper reporting of the 1761 coronation of George III, which was a visually lavish public occasion that formed part of the ‘spectacular politics’ of the era. Although a mass public desire to see something unmediated can still be demonstrated, the newspapers also provided a critique of traditional spectatorship, pointing to the emerging power of the press.

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Dickens the Vagabond and the Tradition of Nightwalking

Author(s): Michael Hollington / Language(s): English Publication Year: 0

In the context of the history of city streets by night, this essay explores the importance of Dickens’s night walking, when he sought inspiration for his writing in the London streets and their denizens, preferably in foul and dark weather, with sordid sights on display. Passages of Dickens’s novels which reflect this fascination are subjected to in-depth analysis which in particular draws attention to the centrality of the idea of the vagabond, and demonstrates the importance for Dickens of senses other than the visual – of hearing, odour, touch and even taste.

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“We must marry ’em”

Author(s): Sophia C. Jochem / Language(s): English Publication Year: 0

Charles Dickens’s "Dombey and Son" (1846-8) represents a key reference point for Victorian gender studies, with critics focusing on the contrast between the ‘gender offender’ Edith and what Juliet John terms normative passivity on the part of the heroine Florence. This article addresses the question of whether marriage was really a happy ending for the women in Dickens’s novels, demonstrating that despite numerous weddings and marriages, "Dombey and Son" by no means presents matrimony as a solid foundation for happy unions and success in personal relations. Along with a vivisection of the marriage plot, there is speculation on what readers are expecting from the ending of a Dickens novel and concludes that weddings in "Dombey and Son" are not even “incisive beginnings”. As exemplified by the unions of Bunsby with Mrs. MacStinger, Florence with Walter, Cornelia Blimber with Mr. Feeder, B.A., and Susan Nipper with Toots, marriage is presented as a rather dusty tradition, and often a farce, not introducing the desired or expected change for the protagonists.

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The “(Un)fair Play” Method in Arthur Conan Doyle’s Sherlock Holmes Tales

Author(s): Joanna Kokot / Language(s): English Publication Year: 0

It is already a commonplace that the style of reading assumed by classic detective fiction assumes the reader’s involvement in solving the puzzle, as the literary detective’s rival. This implies “the modern ‘fair play’ method”, as Dorothy Sayers calls it, consisting in supplying the reader with all the clues necessary to solve the riddle, concealing them at the same time so that their significance is not revealed too soon. However, one would seek the “fair play” method in Conan Doyle’s stories in vain. Watson, adopting the perspective of a participant of the events, reconstructs and reiterates in the process of telling his misinterpretations, omissions and blunders which he committed as a character of his stories. Hence Watson proves to be not only a naive narrator, but an unreliable one as well, making it impossible for the reader to act as a rightful rival to the detective. The article deals with the functions of this “unfair play” method.

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Progress and/as Utopia in James Hume Nisbet’s "The Great Secret: A Tale of To-morrow"

Author(s): Marta Komsta / Language(s): English Publication Year: 0

Dedicated to “all those who, not quite satisfied with to-day, may be seeking after a happier to-morrow”, James Hume Nisbet’s "The Great Secret: A Tale of Tomorrow" (1895) stands out from the author’s predominantly adventure-oriented oeuvre as a work with a distinctly consolatory and didactic inclination, represented in the novel by the depiction of the afterlife as a utopian land of plenitude and comfort. This essay seeks thus to examine the relationship between the generic paradigm of utopia and the notion of progress, the latter contextualized in Nisbet’s novel with regard to the issues of scientific advancement and spiritual evolution. The author argues that by juxtaposing the dynamic spatio-temporal model of the post-mortem utopia with the implicitly dystopian depiction of late Victorian society, "The Great Secret" foregrounds the ideals of moral restoration and spiritual development as the foundations of a better future.

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Cultivating the Imagination

Author(s): Catherine Maxwell / Language(s): English Publication Year: 0

The article examines a late Victorian concern about the accurate representation of flora in poetry of the period, demonstrating that poems which regard flowers and plants with studied attention are in a minority, and that poets usually use plants to serve their own interests, invoking flowers impressionistically for incidental atmospheric contribution or for symbolic or personal associations. It then goes on to explore poems by both male and female poets (principally Constance Naden, Laurence Binyon, Algernon Charles Swinburne, Katherine Bradley) that look attentively at plants and flowers, considering their interest is in the plant for the plant’s sake, and exposing ways in which the poetic self is represented in relation to the flower or plant.

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Figures of Hypocrisy

Author(s): Przemysław Uściński / Language(s): English Publication Year: 0

In Charles Dickens’s "Hard Times" (1854), the discourse of facts and figures is exposed as a mask of narrow-minded utilitarianism that promotes a morality blind to anything but statistical data. Parody and multi-layered irony allow Dickens to expose such reductive logic as hypocritical, demonstrating how the novel’s villains discredit charity and pity as unsound only to replace them with a pseudo-scientific reverence for practicality. This article examines the textual devices through which Dickens exposes such hypocrisy, also by looking at the intertextual references in the novel and some earlier satirical writings about hypocrisy, which often link this vice with pity (as William Blake so frequently does), and with the response to poverty (as in the case of, for instance, Henry Fielding and Percy Bysshe Shelley). It also discusses the aesthetics of the novel in terms of its use of metonymy and allegory, which help Dickens to build a grim, fable-like narrative that challenges the reductive worship of utility and appreciates the value of kindness and compassion.

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