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Pastoralizm wobec wojny w Tęczy oraz Zakochanych kobietach D.H. Lawrence’a

100%
Wojciechowska S.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2021
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issue 10
217-230
EN
The Great War is a watershed moment in the history of British literature and culture; the pre-WWI period denotes the time of late-Victorian and Edwardian stability whereas the second decade of the twentieth century means instability and uncertainty reaching far beyond the limits of the world of art. The tumult becomes discernible in numerous areas, and in the first place, in a sudden re-awakening of interest in (pseudo)pastoral literature. The article examines two novels by D.H. Lawrence, The Rainbow (1915) and Women in Love (1920), in terms of their endorsement of the pastoral mode. The major question is to what extent the war-time reality influenced the imagery and the application of the well-known pastoral topoi in the literary works under examination.
PL
Dla literatury i kultury brytyjskiej Wielka Wojna stanowi cezurę, wyraźnie oddzilając czasy pokoju i stabilizacji wiktoriańskiej i edwardiańskiej od niepewności wpisanej w wojenną i powojenną rzeczywistość. Stanowczy zwrot w obrazowaniu uwidocznia się na wielu płaszczyznach, również w nagłym zwrocie ku twórczości o charakterze (pseudo)pastoralnym. Przedmiotem niniejszego artykułu jest analiza dwóch powieści D.H. Lawrence’a, Tęcza (1915) oraz Zakochane kobiety (1920), dokonywana w świetle konwencji sielankowej. Celem podjętych rozważań jest próba udzielenia odpowiedzi na pytanie, czy i w jakim stopniu wojenna rzeczywistość oraz osobiste doświadczenia autora mają wpływ na kształt pastoralizmu w obu powieściach.
2
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“Throw[ing] the Longest Shadows”: The Significance of the Bogus Quotation for Arcadia by Jim Crace

100%
Wojciechowska S.
Text Matters: A Journal of Literature, Theory and Culture
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2012
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vol. 2
180-191
EN
Preceding his Arcadia with a non-existing quotation, Jim Crace proves to be no Arcadian innocent: challenging the shrewdness of his readers, the contemporary novelist seems to take pleasure in inviting them to an intellectual game which begins before the novel unfolds. The highly evocative title and the bogus quotation are bound to evoke associations which become the subject of minute examination in the novel. Its result turns out to be as astounding as the uncommon aphoristic trap laid for the readers. This article examines the significance of the bogus quotation as a part of the novel’s message and a key to its interpretation.
3

Locus amoenusorlocus horridus: The Forest of Arden as a setting inAs you like it

100%
Wojciechowska S.
Studia Anglica Posnaniensia
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2011
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vol. 46
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issue 3
103-116
EN
As you like it stands out from the rest of Shakespeare's plays as a comedy of conspicuously unusual dramaturgy. Critics have vindicated its idiosyncratic form claiming that As you like it's uneventful plot is due to the pastoral character of the play. Along with such typically pastoral elements as song contests or lover's woes they have listed its setting as an example of an idyllic locus amoenus. This article examines the actual character of the Forest of Arden and turns readers' attention towards the equivocal image of the place.
4
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Metaphor, metonymy and emotions

63%
Wojciechowska S., Juszczyk K.
Poznań Studies in Contemporary Linguistics
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2014
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vol. 50
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issue 1
1-13
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