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Rick Riordan: A villámtolvaj. Könyvmolyképző Kiadó, Szeged 2008. Ford. Bozai Ágota. Rick Riordan: Szörnyek Tengere. Könyvmolyképző Kiadó, Szeged 2009. Ford. Acsai Roland.
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haunt Gerry Fegan, a former “soldier” and assassin. Picking up the metaphorical cue from the epigraph to Neville’s novel – “the place that lacks its ghosts is a barren place” – the article addresses the thriller’s supernatural content. The meaning and role of the titular ghosts have been in part determined by Neville’s debt to the Western traditions of making sense of the supernatural. However, they assume new roles within the narrative and possibly also in the author’s vision of the peace process: i.e. in keeping Northern Ireland “fertile”.
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Even if the Gothic romance may be considered as one of the predecessors of detective fiction, the world model proposed by the latter seems to exclude what was the essence of the former: the irrational underlying the proposed world model. However, some of detective novel writers deploy Gothic conventions in their texts, thus questioning the rational order of the reality presented there. Such a genological syncretism is typical – among others – of the novels by John Dickson Carr. The paper is an analysis of Gothic conventions and their functions in four earliest novels by Carr, featuring a French detective-protagonist, Henri Bencolin. It concentrates on elements of Gothic horror, on the atmosphere of terror as well as the motif of the past intruding the present.
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The paper is devoted to the analysis of Mrs de Winter, one of the main characters from Daphne du Maurier’s Rebecca, as an example of a Gothic figure. The analysis traces the stages in the development of the heroine by demonstrating how she first becomes, through the process of gothicisation, “the Gothic damsel in distress.” Vulnerable and easily threatened, she is defined solely in relation to her aristocratic husband, whose status she is unable to match. Then, however, as a result of her growth as an individual, Mrs de Winter is degothicised. We witness a change in her attitude toward her tormentors: she no longer feels intimidated; she starts developing, in what we view as an identity-building process, her public and personal sense of a mature and independent individual.
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A perennially fruitful activity in Gothic studies is to track the development of Gothic tropes as popular literature evolves. Joseph Conrad’s career, which spanned Victorianism and early Modernism, provides examples of the evolution of certain Gothic conventions between early- and late-career work. Conrad’s collaboration with Ford Madox Ford on Romance (1903) is an early example of Conrad’s exposure to, and use of, Gothic tropes, especially relating to Catholic ghost-seeing. This paper demonstrates similarities between Romance’s uses of the trope of Catholic superstition and those of three classic Gothic novels, and also outlines the trope’s lasting effect on Conrad’s later work.
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Discussing the specificity of the Gothic plot in Ben Aaronovitch’s Rivers of London, this study focuses on the theatricality of crime which, by blending violence and laughter, by transforming policemen into performers and criminals into artists, also highlights the fact that various methods of detecting and law enforcement have thespian roots.
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Bruno Bourel – Parti Nagy Lajos: Fényrajzok. Magvetõ Kiadó, Bp., 2001.
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The paper focuses on the Argentine picture book for children by Amalia Boselli and Vero Gatti titled Los indomables pensamientos del Señor O from 2013. It is suggested to analyze the text with respect to Rousseau’s philosophical reflections on time and dreaming as seen by Poulet, and on the basis of the future orientation paradigm and the concept of daydreaming studied from the psychological perspective. The research revolves around the relationship between the main character’s mental imagery and his perception of the future, with regards to actions he undertakes. Over time, Mr. O’s thinking process becomes dominated by the anticipatory imagination which deprives him of boundless creativity experienced in childhood. Eventually the protagonist’s journey ends with the triumph of creative imagination. It is through numerous references to the emotionality and sensuality — present at both verbal and visual levels — that the text by Boselli and Gatti intensifies a singular reading experience. Thus, despite several simplifications and generalizations, it opens up to the individualized (child and adult) reader response.
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The article Zombie Apocalypse in Contemporary Children’s Literature tackles a subject which has scarcely been mentioned in Polish research on children’s literature: that of catastrophic zombie-centric narratives, elements of which – especially the motif of the zombie apocalypse – are increasingly common in works targeted at children of pre- school and early school age. Three popular English-language picturebooks are interpreted: A Brain Is for Eating (2001) by Dan and Amelia Jacobs with ilustrations by Scott Brundage, Joe McGee and Charles Santoso’s Peanut Butter & Jelly Brains (2015), and Zombie Cat. The Tale of a Decomposing Kitty (2012) by Isabel Atherton and Bethany Straker. The dominant features of these books are respectively: dark carnivalisation and a drastic representation of bloodthirsty monsters; mild carnivalisation and a zombie-child as a humanised phantom; dark carnivalisation with an animal zombie leitmotif. The texts present a multidimensional, grotesque-macabre depiction inspired by children’s folklore and apocalyptic gore cinema, as well as its significance in the context of discourses focused on post-humanism and social issues of importance in the present day. The article also seeks to answer the question of why these subjects are less popular among Polish authors, and what makes them so important in Anglo-Saxon children’s literature.
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Although the significance of phantasms in Anne Shirley’s life cannot be questioned, the shapes and forms that they take are discussed very rarely. Trying to gather and classify the effects of the protagonist’s imagination, we can look at them in reference to the time problem. Those phantasies vastly concern the future, but – at the same time – they are deeply rooted in Anne’s past. Her state, initially hard and prompting her to escape into the imaginary world, is gradually appearing clearer. However, the girl does not give up the prospects of what will (or what she would like to) happen. In her statements one can see the prediction of the significant social changes related to emancipation, education or religion, which at that time were yet to come. Montgomery’s book, popular ceaselessly for more than one hundred years, shows that “all is still ahead of us”, even people who are unsung, excluded, marginalized... But will those dreams really be fulfilled?
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The present article aims to show the nineteenth century vision of the future in one of the first Polish science fiction novels, A Journey around the Moon (Podróż po Księżycu), written in 1858 by Teodor Tripplin. In the first (theoretical) part, the author characterizes the science fiction genre, highlighting a distinctive role of technological invention and scientific method, as well as locating the story in a future perspective. A concise description of the Polish science fiction genesis allows for relating Tripplin’s novel to a wider context and, hence, for considering it as a unique phenomenon in Polish literature. In the second part of the article, the author discusses Tripplin’s vision of the future, which is classified into three categories in the novel: 1) the future of technological inventions, 2) the future of medicine development, and 3) the future of society.
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Review: Śmierć w literaturze dziecięcej i młodzieżowej, red. Katarzyna Slany, Wydawnictwo Stowarzyszenia Bibliotekarzy Polskich, Warszawa 2018, ss. 352.
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The article presents Priest Walenty Barczewski’s arguments for the Polishness of southern Warmia, which belonged to the Prussian partition in the second half of the 19th century. At that time Warmia saw intensifying nationalistic anatagonisms and at the same time the sense of separateness of Warmians from the Catholic German and Masurian population began to develop. The rise of the national consciousness and the conviction about Warmia’s historical and cultural connection with Poland and the Polish nation was embraced by Priest W. Barczewski, which found confirmation in his work Kiermasy na Warmii. For Walenty Barczewski Polishness was linked to belonging to “the ancient Polish population” and the attachment of the people to the Catholic religion, which was identified with Polishness. He emphasized the Polishness of Warmia’s dialect, pointed out traditional Polish hospitality and the cultural experiences encoded in the language of Warmia’s inhabitatnts, which were close to the experiences of the Polish people.
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The proto-Lechitic ablaut *ęT > *′ǫT, as in Kashubian v′ǫzc, v′ąze in oppositionto the regular unchanged form v′izc, v′ize did not occur in some preserved Slavic placenames in the southern area of Western Pomerania: from the area south of Szczecin intoregions of Darłowo in Middle Pomerania, e.g. Kotentowe – Chociętowo, Diosintablotta:*desęt- ‘ten’. In this area the absence of *ŕ̥T > *r̥T umlaut is also noted, e.g. Czirnowe :czarny ‘black’, Dirloua ‘Darłowo’. The absence could have been caused by some early contactswith a Slavic population from the Sorabian group, in which Proto-Lechitic umlaut*ęT > *′ǫT did not occur.
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Review: Philippe Lejeune, Napisać swoje życie. Droga od paktu autobiograficznego do dziedzictwa autobiograficznego [Polish translation by Aneta Słowik, Małgorzata Sakwerda of Ecrire sa vie: Du pacte au patrimoine autobiographique], Wydawnictwo Naukowe Dolnośląskiej Szkoły Wyższej, Wrocław 2017.
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Review: J. Kuciel-Frydryszak, Iłła: Opowieść o Kazimierze Iłłakowiczównie [Iłła: A Tale about Kazimiera Iłłakowiczówna], Marginesy, Warsaw 2017.
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