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Jeanette Winterson’s The Stone Gods as a Feminist Cyborg Story Cyborg Story

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Dobrogoszcz T.
Zagadnienia Rodzajów Literackich
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2020
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vol. 63
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issue 1
11-20
EN
Jeanette Winterson’s 2007 novel The Stone Gods is an admonitory tale about human environmental irresponsibility: in a highly gendered narrative the novelist demonstrates how the patriarchal domination inherent in human civilization leads to the destruction of the planet. Drawing upon the theoretical framework provided by posthumanist studies, especially the feminist perspective of Donna Haraway, N. Katherine Hayles and Rosi Braidotti, the article interprets Winterson’s novel as a critique of the masculinist domination of human culture. It shows The Stone Gods as one of Haraway’s “feminist cyborg stories”, demonstrating that a female robot might prove to be a model for new human subjectivity which could lead our civilization away from the path towards self-destruction.
2
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Are We In This Together?: The Polarisation of the British Society and the Marginalisation of Otherness in Ali Smith’s Seasonal Quartet

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Dobrogoszcz T.
Porównania
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2021
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vol. 30
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issue 3
137-154
PL
Tetralogia Ali Smith inspirowana porami roku – Jesień, Zima, Wiosna, Lato – została napisana i opublikowana w ekspresowym tempie, pomiędzy referendum w sprawie Brexitu w 2016 roku a ostatecznym opuszczeniem UE przez Wielką Brytanię w roku 2020. Artykuł analizuje sposoby literackiego przedstawienia brexitu w powieściach Smith, skupiając się na wyznacznikach ukazanego przez pisarkę niepokojącego procesu kulturowego oraz drastycznych zmianach zachodzących w brytyjskim społeczeństwie. W tekście dokonuję przeglądu czynników psychologicznych powodujących polaryzację narodu brytyjskiego oraz badam, w jaki sposób proza Smith ukazuje wpływ populistycznej propagandy zagrożenia na marginalizację Inności. Wykorzystując nomadyczną teorię podmiotu sformułowaną przez Rosi Braidotti, omawiam strategie literackie wykorzystane przez autorkę do ukazania zarówno manipulacyjnego potencjału postprawdy i zinstytucjonalizowanej brytyjskiej ksenofobii, jak i działań osób, które się im przeciwstawiają.
EN
Ali Smith’s seasonal quartet-Autumn, Winter, Spring, Summer-was written and published at lightning speed, between the 2016 Brexit referendum and Britain’s effective departure from the EU in 2020. The article examines how the novels engage with the issue of Brexit, as they become the chronicle of a grinding cultural process and critically confront the transformation of the British nation. I survey various psychological factors related to the polarisation of the British nation and investigate Smith’s presentation of the way in which the populist propaganda of menace produced by the right-wing media leads to marginalising Otherness. Employing the nomadic theory of the subject developed by Rosi Braidotti, I analyse Smith’s literary strategies used to represent not only post-truth manipulation and institutionalised British xenophobia, but also the actions of people who resist them.
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Narrative as Expiative Fantasy in Ian McEwan’s Atonement

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Dobrogoszcz T.
Roczniki Humanistyczne
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2015
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vol. 63
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issue 5: Neofilologia
115-127
EN
The paper endeavours to analyse Ian McEwan’s self-reflexive novel with the theoretical apparatus provided by the psychoanalytic theory of Jacques Lacan. McEwan designs his novel as a fictitious narrative written by Briony Tallis, an aging novelist who wishes to atone for the childhood blunder that ruined the lives of her sister, Cecilia, and her sister’s beloved, Robbie. In order to gain reader’s sympathy, Briony describes her thirteen-year-old self as an idealistic and innocent child, deprived of paternal guidance, governed by the unconscious structures of the Symbolic Order. The girl’s compulsive craving for order and for control of the reality around her is linked to her narcissistic constitution, which, as Freud suggests, proves an important quality in the creative writing process. The paper follows Briony’s efforts to devise an elaborate expiative fantasy which allows her not only to create the appropriate mise-en-scène of personal atonement, but also to establish the coordinates of her desire to achieve some purpose through her writing.
PL
Artykuł podejmuje analizę autotematycznej powieści Iana McEwana Atonement [Pokuta] z wykorzystaniem aparatu pojęciowego zapożyczonego z teorii psychoanalitycznej Jacques’a Lacana. McEwan nadaje swojej książce formę „powieści w powieści” napisanej przez Briony Tallis, starzejącą się pisarkę, chcącą odpokutować za popełniony w dzieciństwie błąd, który zmarnował życie jej siostry Cecylii oraz ukochanego siostry – Robbiego. Z myślą o pozyskaniu współczucia czytelnika, Briony przedstawia swoją własną postać w wieku 13 lat jako idealistyczne i niewinne dziecko, pozbawione ojcowskiego autorytetu i sterowane przez nieświadome struktury Porządku Symbolicznego. Cechujący dziewczynkę upór w dążeniu do porządku i sprawowania kontroli nad otaczającą ją rzeczywistością jest przejawem jej narcystycznej osobowości, która, jak twierdzi Freud, jest przymiotem każdego pisarza. Artykuł analizuje proces budowania przez Briony misternej fantazji ekspiacyjnej, która pozwala jej stworzyć nie tylko odpowiednią scenę spektaklu pokuty, ale umożliwia również wyznaczenie koordynatów własnego pragnienia jako artysty-pisarza.
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The Hidden Gaze of the Other in Michael Haneke'sHidden

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Dobrogoszcz T.
Text Matters: A Journal of Literature, Theory and Culture
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2011
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vol. 1
226-238
EN
In his 2005 French production Hidden (Caché), Michael Haneke continues disturbing his audience with poignant and stirring images. When Georges and Anne Laurent keep finding on their doorstep videotapes showing the exterior of their house filmed with a hidden camera, they do not realize that trying to trace the identity of the photographer will lead Georges back to his deeply concealed childhood atrocity and gravely affect their present life. With Hidden, Haneke presents a provocative case of Freudian return of the repressed and probes the uncertain grounding and pretentiousness of French national self-importance.The article attempts an analysis of Hidden from two interconnected perspectives, provided by the use of the Lacanian category of the gaze in relation to film studies and by the application of certain categories derived from post-colonial theory (voiced here by Homi Bhabha). The discussion ventures to demonstrate that the camera-eye "hidden" in its impossible position can be interpreted as a gaze imagined by Georges in the field of the Other. The voyeuristic act of filming also suggests the question of colonial surveillance, which relates to the racial issue underlying the conflict repressed by Georges. Haneke investigates the way in which the symbolic power bestowed on the authority of the French state facilitates discrimination. Georges, a model representative of the civil/civilized society, is shown as rent by primal fears of imaginary savage "terror," desperately trying to fortify his dominion against Algerian aggressors who are otherwise a necessary part of the structure.
5
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Resisting the Oppressive Paternal Metaphor of God in Michèle Roberts’s "Impossible Saints"

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Dobrogoszcz T.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2020
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vol. 6
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issue 2
43-51
EN
The protagonist of Michèle Roberts’s Impossible Saints, Josephine, establishes a nonconformist convent for women who seek communion with God by following an unorthodox path of sensual spirituality. Impossible Saints intersperses Josephine’s story with a number of miniature narratives depicting fictional lives of saints, rewritten in a feminist manner, portraying both the female predicament in the patriarchally structured society and women’s struggle for empowerment in which they rebel against masculinist conventions. The article employs feminist thought, derived mainly from Julia Kristeva, to examine the way in which Roberts problematizes the relation of the Catholic Church to the position of women as well its concern with the human body. The bodily dimension of the divine, as proposed by Luce Irigaray, manifesting in the emancipatory communal experience of women in Josephine’s convent, greatly contrasts with the Catholic regulatory character of religiosity. The analysis also situates the patriarchal institution of the Church in the context of the Lacanian order of the symbolic and his notion of the Name-of-the-Father. It culminates in exploring the issue of the metaphor of God as seen through the traditional patriarchal frame which pictures God as masculine.
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