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Motywy folklorystyczne w przestrzeni artystycznej opowiadania Herberta Georga Wellsa Piękny strój

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Jankowska T.
Acta Neophilologica
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2012
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issue XIV/2
129-140
EN
The elements of symbiosis between a literary work and fable are clearly reflected in the structure of Herbert George Wells short story The Beautiful Suit that was published originally as A Moonlight Fable. The distinct allusion of the author about the title as well as the fact of two titles indicates similarity to folkloristic genre and gives posibility to perceive the story in two ways: literary work and fable. The typical semantics of folkloristic works is introduced by a number of constant formulas and motifs. They are conditioned by the function of moonlight topos that creates the opposition man – moon. The determining character of this antithesis implies the main division of the text and provides the paradigmatic sequence man – earth – mortal life versus moon – heaven – eternity that constitutes the fundamental element to model the basic relationships of the space and time structure. As well as in the sources of mythology and folklore the motif of the moon in the Wells’s short story introduces the aspect of duality of the depicted world, has an allegorical effect on the protagonist’s fate that touches the secret of existence and happiness.
2

A buried childhood in Charles Dickens’s David Copperfield

100%
Jankowska T.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
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2017
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issue 14/3
149-169
EN
Charles Dickens’s autobiographical novel David Copperfield devotes much space to the protagonist’s childhood. By analyzing structural relationships of spatial elements in the artistic world of Dickens’s novel the article focuses on the motif of childhood home in relation to such spatial images as churchyard, elm-trees, garden, rookery and Never-never land. Childhood in David Copperfield is associated with death only on the plot level through the motifs of David’s early trauma of loss, but also owing to numerous metaphors constructed through language expressions as well as through imagery and motifs. Moreover, the motif of childhood home indicates the heavenly home (or nest) where we go – in the sense of homecoming – after death.
PL
Dawid Copperfield, autobiograficzna powieść Karola Dickensa poświęca wiele miejsca motywowi dzieciństwa protagonisty. Analiza strukturalnych relacji przestrzennych elementów w artystycznym świecie powieści koncentruje się na przestrzeni domu rodzinnego w relacji do przestrzennych obrazów cmentarza, wiązów, ogrodu, gawronich gniazd i Nibylandii. Motyw dzieciństwa łączy się w powieści ze śmiercią nie tylko na poziomie fabuły poprzez motywy dziecięcej traumy i osierocenia Dawida, ale także dzięki wielości metafor konstruowanych na poziomie języka oraz poprzez obrazowanie i ekwiwalencje motywów. Ponadto, dom rodzinny wskazuje w powieści na niebo, gdzie wszyscy powracamy – jak do domu – po śmierci.
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