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Trześniewska Agnieszka, Dariusz Piechota (eds.): Ekomodernizmy. Lublin 2016 (language of publication: Polish, paperback, 174 pages)

100%
Czarnowus A.
Zoophilologica. Polish Journal of Animal Studies
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2017
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issue 3
285-290
EN
"Ekomodernizmy [Ecomodernisms] is the second volume of the Green Literary History series. The volume editors claim that the series has been inspired both by green cultural studies that originated in the United States and by the tradi- tion of nature writing. The ecological turn of the 1970s led to the development of ecocritical humanities, and this volume of articles illustrates the necessity of practising these humanities also on the ground of Polish literature and in the literary periods previous to the present-day one."
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“A foreign language in a familiar country”, or Language, Genealogy, and the City in Marianne Ackerman’s Jump

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Czarnowus A.
TransCanadiana
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2013
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issue 6
157-168
FR
Le roman de Marianne Ackerman intitulé Jump appartient sans doute à ce que Deleuze et Guattari appelaient « une littérature mineure », « celle qu’une minorité fait dans une langue majeure » et dans « la langue [qui] est affectée d’un fort coefficient de déterritorialisation » (1977: 16). Le roman dépeint les conflits et les interdépendances entre les Francophones au Québec et les Anglo-Québécois. Les relations entre deux groupes sont présentées par ce qui est arrivé à Myra Grant, journaliste d’âge mûr. Bien que linguistiquement « anglo », elle traite son irlandicité et son habitation à Montréal comme deux centres de son identité. Comme c’est dans bien d’autres cas de littératures mineures, la généalogie importe sur le fait de parler l’anglais. Pour Myra l’anglais, ainsi que la ville de Montréal, constituent plus une patrie que tout le Canada, perçu ici comme une notion abstraite, peu pertinente pour l’expérience du Québec. Cette province se présente comme un lieu d’une grande qualité artistique, « une nation de muses » (Jump 82) où « l’art compte » (Jump 82). En tant que concepts alternatifs de nation, outre la question de la langue maternelle, s’offre une solution aux dilemmes identitaires de la fin du vingtième siècle, qui se poursuit au vingt-et-unième siècle.
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Judas, a Medieval Other? Religion, Ethnicity, and Gender in the Thirteenth-Century Middle English Judas

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Czarnowus A.
Terminus
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2011
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vol. 13
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issue 24
15-30
EN
The article commences with a discussion of the otherness of medieval literature in comparison with the texts from other epochs. The topic of otherness also appears in medieval texts. The religious, ethnic, and gender difference of Judas is complemented by that of his “sister”, who similarly to him illustrates the anti-Judaic stereotypes of the epoch. In the thirteenth-century poem Judas, however, remains a universal figure, since he is one of many traitors and sinners, while his “sister” univocally embodies the type known as la juive fatale. Judas’ eeminacy, both psychological and physical, seems to be only one of many diverse aspects of that complex literary construct. The equivocal nature of representing Jews in Middle English literature is best exemplified by the fourteenth-century romance The Siege of Jerusalem, but even this text features the topic of weakness, if not effeminacy, of that ethnic group in their confrontation with the Romans. Judas, a text more complex in that respect from e Siege of Jerusalem, emphasizes religious, ethnic, and gender difference, but also presents the main character as an everyman, allowing its modern readers to explore the sphere of medieval imagination to a greater extent.
PL
Artykuł rozpoczyna się tezę o odmienności (otherness) literatury średniowiecznej na tle innych epok, która to inność jest również tematem niektórych utworów średnioangielskich. Judasz, odmienny pod względem religijnym, etnicznym i płciowym, ma w tym utworze także „siostrę”, która tak jak on ilustruje antyżydowskie stereotypy epoki. Judasz jest jednak w tym utworze także postacią uniwersalną, jednym z licznych zdrajców i grzeszników otaczających Jezusa, podczas gdy jego „siostra” jednoznacznie uosabia typ postaci znany jako la juive fatale. Zniewieścienie Judasza (psychiczne, ale może również fizyczne) wydaje się tylko jedną stroną tej złożonej konstrukcji literackiej. Typowy dla innych utworów średnioangielskich brak jednoznaczności w przedstawianiu Żydów dobrze ilustruje czternastowieczny romans Oblężenie Jeruzalem (The Siege of Jerusalem), ale nawet tam pojawia się motyw nie tyle zniewieścienia, co słabości tej grupy społecznej w konfrontacji z Rzymianami. Judasz, tekst bardziej skomplikowany od Oblężenia, uwypukla różnice religijne, etniczne i te dotyczące płci kulturowej, ale też pokazuje główna postać jako rodzaj everymana, pozwalając współczesnym czytelnikom głębiej wniknąć w sferę średniowiecznej wyobraźni.
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Donald Wesling: "Animal Perception and Literary Language"

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Czarnowus A.
Zoophilologica. Polish Journal of Animal Studies
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2019
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issue 5
427-428
EN
Donald Wesling: "Animal Perception and Literary Language" Palgrave Studies in Animals and Literature.Cham: Palgrave Macmillan, 2019. 286 pp.
5
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Girlhood, Disability, and Liminality in Barbara Gowdy’s Mister Sandman

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Czarnowus A.
Romanica Silesiana
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2010
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vol. 5
EN
Barbara Gowdy’s 1996 novel Mister Sandman centers on the mysteriously silent figure of Joan Cannary, a mentally disabled child who yet does not become a spectacle of the grotesque in the mode quite standard for representations of the disabled female figures, as Rosemarie Garland Thomson noticed in her magisterial study Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature. In her disability Gowdy’s Joan does not constitute a metaphor of the condition of her family, either, despite the transgressions they are prone to devote themselves to. The novel offers an open-minded outlook on transgression as a means of liberating oneself from the social constraints and from the self-imposed limitations. Joan’s eternal girlhood makes her a lens for the family members’ tendency to transgress against the norms, which is ultimately received with affirmation. Her figure offers a valuable commentary on other texts by Gowdy, which present a discourse on the liminality of human body and on the boundaries of identity. Key words: Barbara Gowdy, Canadian novel in English, disability, body, gender.
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The Holy and the Unholy in Chaucer’S Squire’S Tale

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Czarnowus A.
Studia Anglica Posnaniensia
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2012
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vol. 47
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issue 2-3
115-128
EN
As Richard Kieckhefer once noticed, “the holy” and “the unholy” were interlocking phenomena in the medieval culture. Such a perspective on religion and magic may, indeed, be seen in possible sources of Chaucer’s Squire’s tale, John Carpini’s Historia Mongalorum and in Historia Tartarorum, attributed either to Benedict the Pole, a member of the 1245 papal mission to Mongols, or to the scribe, “C. de Bridia”. Perhaps Carpini and Benedict projected their Christian perception of magic as connected with religion onto the Tartar world they experienced. The Mongol beliefs they related may have been the very convictions mentioned by Chaucer in the discussion of Cambuskyan’s “secte”. The tale then proceeds to a discussion of magic, but the magic there is no longer “unholy”, as opposed to “the holy”, but technological, manmade, and unnatural. The texts portray two stages in a medieval approach to magic, which were followed by the Renaissance condemnation of magic as heretical. In Squire’s tale magic leads to the experience of wonder, which unites the community.
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Françoise Lionnet, “Écritures féminines et dialogues critiques. Subjectivité, genre et ironie/Writing Women and Critical Dialogues. Subjectivity, Gender and Irony,” L’Atelier d’écriture, La Pelouse, Trou d’Eau Douce, Île Maurice, 2012, 315 p., ISBN...

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Czarnowus A.
Romanica Silesiana
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2015
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vol. 10
8
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Graceful Pre-Raphaelites and Pre-Raphaelite Grace: Victorian visual arts in Margaret Atwood’s Alias Grace

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Czarnowus A.
Romanica Silesiana
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2008
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vol. 3
PL
The visual imagery of Margaret Atwood’s Alias Grace might have as one of its sources the “graceful”, hence popular, art of the Pre-Raphaelite Brotherhood. Grace’s beauty veils her emotional torment in the mode similar to the comely faces of Pre-Raphaelite models: theirs are the faces disguising suffering and insanity. Moreover, during her confinement in the asylum Grace is even compared by one of the characters to the raging Ophelia, a theme recurrent in the Victorian art. In her “psychoanalytic” sessions the servant reveals her obsession with the gothic image of her dead mother drowning in the sea, metamorphosing into another woman, perhaps Mary Whitney or Nancy Montgomery. In the dream vision of doctor Simon Jordan in turn, Grace overcomes the Ophelia-like death in water and lives on despite the difficult past. Consequently, Pre-Raphaelite paintings constitute another Victorian element in the novel’s dense texture, which has already been interpreted by the critics as the one involving Dickensian orphans and Coventry Patmore’s “angels in the house”. Key words: Pre-Raphaelite visual arts, victorian sensation novel, symbolic corruption of female body, representing Ophelia, rewriting Victorianism.
9
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Greening the Anglo-Saxons in Paul Kingsnorth’s "The Wake"

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Czarnowus A.
Kwartalnik Neofilologiczny
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2018
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issue 4
531-543
PL
Artykuł proponuje odczytanie powieści The Wake Philipa Kingsnortha w świetle XVIII-wiecznej tradycji pastoralnej. Medievalistyczny w swej naturze prymitywizm jest tu użyty do opisania kultury i języka Anglo-Sasów. Inną cechą mediewalizmu tej powieści jest prezentyzm. Buccmaster jest w niej zarówno „dzikim człowiekiem”, jak i „szlachetnym dzikusem”. Kingsnorth na sposób pastoralny pisze w duchu antropocentyzmu i skupia się na podziałach klasowych we wczesnośredniowiecznym świecie, który przedstawia na sposób „zielony”, ekologiczny.
EN
The essay argues that Paul Kingsnorth’s novel The Wake is written in the spirit of the eighteenth century pastoral tradition. The medievalist trope of primitivism is used in reference to the Anglo-Saxon culture and language. What characterizes the medievalism of the novel is presentism. Buccmaster represents both the Wild Man and the Noble Savage type. In the pastoral manner, Kingsnorth writes in the spirit of anthropocentrism and focuses on the social classes in the early medieval world that he “greens” in the novel.
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Chaucer’s Knight’s Tale and Emotions in the Epic

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Czarnowus A.
Kwartalnik Neofilologiczny
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2016
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issue 3
330-340
EN
The Knight’s Tale continues the epic tradition and is worth reading from the perspective of the history of emotions, which allows us to interpret not only texts written after the “affective turn” of the eighteenth century, but also earlier ones. Emotions can be “found” in Chaucer’s text, to mention only honour as a “lost” emotion. Other questions that need to be addressed are the weakening or empowering potential of emotions and feelings as something that is able to change collective bodies.
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Echoes of Medieval and Pre-Modern Animal Trials in the Interlude Declamatio sub forma iudicii (1735)

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Czarnowus A.
Romanica Silesiana
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2021
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vol. 20
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issue 2
1-12
EN
Declamatio sub forma judicii can be found in the Graudenz Codex (1731–1740). It is an interlude that jokingly reports an animal trial. The interlude is a humorous treatment of the historical trials on animals that continued from the Middle Ages to the eighteenth century. Onthe one hand, such eighteenth-century discussions of animal trials continued the medieval tradition. This would confirm the diagnosis about the existence of the “long Middle Ages”, especially in Central and Eastern Europe, where the cultural trends could be somehow belated in comparison to those in the West. On the other hand, perhaps writing about animal trials in the eighteenth century was already a form of medievalism. High culture propagated anthropocentrism in its thinking about animals, while folk culture entailed anthropomorphism. In animal trials animals are treated as subjects to the same regulations as humans, which means that they were seen as very much similar to humans. The eighteenth-century interlude recreates this tradition, but it is a source of satirical laughter.
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Honourable slave traders and aristocratic slaves in Middle English "Floris and Blancheflour"

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Czarnowus A.
Acta Philologica
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2016
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issue 49
EN
The Middle English “Floris and Blancheflour” idealizes slave trade and suggests that only the highly-born can be subject to enslavement. It disregards the oriental origin of the merchants who will trade in Blancheflour. The poem focuses on wealth and ignores the widespread nature of medieval poverty. Respect for the merchants in the text foreshadows the later high social status of slave traders in England. Slavery is romanticized in the poem and the reality of serfdom is not included. The text is similar to the later “mercantile romances” and it is a mercantile text responding to the worldview of merchants, who were probably the text’s audience and to whose expectations the plot was adjusted.
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An Interview with Ananda Devi

63%
Czarnowus A., Mamet-Michalkiewicz M.
Romanica Silesiana
|
2022
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vol. 21
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issue 1
1-8
PL
Wywiad z Anandą Devi przeprowadzony przez dr. hab. Annę Czarnowus i dr. Martę Mamet-Michalkiewicz z Uniwersytetu Śląskiego w 2019 roku. W wywiadzie autorka opowiada o swojej wielojęzyczności, powieściach, w których opisuje przemoc, również seksualną, swoich inspiracjach pisarskich, symbolice w swoich tekstach, kobiecym gniewie i feminizmie, kulturowym znaczeniu gotowania oraz powieści 'Les jours vivants'.
EN
An interview with Ananda Devi, which was conducted by Associate Professor Anna Czarnowus and Dr Marta Mamet-Michalkiewicz in 2019. The author talks about her own multilingualism, the novels where she dicusses violence, including sexual violence, her literary inspirations, the symbolism of her texts, female anger and feminism, the cultural meaning of cooking, and her novel 'The Living Days'.
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