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The Morality Play Revisited in Margaret Edson’s Wit

100%
Błasiak E.
Anglica Wratislaviensia
|
2015
|
issue 53
15 - 24
EN
Taking into consideration the contrasting views of two medieval drama scholars, this article will explore the elements of a medieval morality play in Margaret Edson’s modern play Wit. The proposed hypothesis assumes that although Wit cannot be treated as an example of a full-scope “modern morality play,” it may be seen as a twentieth-century derivative of the genre. The play presents the story of terminally-ill literature professor Vivian Bearing, for whom the last months of her life turn into a pilgrimage towards an education in ethics which she neither expects nor welcomes. Gradually, as in Everyman, all her earthly resources, and above all her knowledge of metaphysical poetry, become irrelevant as she realises that life and death are entirely new concepts when not discussed in the abstract. In order to locate the play within the paradigms of morality play tradition, Wit will be compared to several medieval and Renaissance plays. The aspects of the morality play to be considered in relation to Wit include its potentially instructive purpose, medieval motifs, the idea of the protagonist’s universality and a number of dramatic devices and solutions.
2
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The Medievalism of Emotions in King Lear

100%
Czarnowus A.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2021
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vol. 23
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issue 38
181-196
PL
  King Lear unaocznia dwie kultury uczuć, kulturę średniowieczną i renesansową. Jest to widoczne przy prezentacji zagadnienia, jak uczucia mają być wyrażane, gdyż w średniowieczu trzeba je było głośno wyrażać, ale w świecie przedstawionym w sztuce jest to trudne do zrobienia. Elementem wspólnym dla starożytności, średniowiecza i renesansu była teoria humoralna. Shakespeare omawia, jak renesans przepracowuje mediewalistyczne pojęcia honoru, złości, wstydu, dumy, a także w jaki sposób podchodzi do tematu uczuć jako czegoś mającego miejsce w ciele. Artykuł analizuje mediewalizm w uczuciach oraz przedstawia renesansową zmianę, która dotyczyła emocji średniowiecznych.
EN
King Lear exemplifies two cultures of feeling, the medieval and the early modern one. Even though the humoral theory lay at the heart of the medieval and the early modern understanding of emotions, there was a sudden change in the understanding of specific medieval emotions in Renaissance England, such as honour as an emotional disposition. Emotional expression also changed, since the late Middle Ages favoured vehement emotional expression, while in early modern England curtailment of any affective responses was advocated. Early modern England cut itself off from its medieval past in this manner and saw itself as “civilized” due to this restraint. Also some medieval courtly rituals were rejected. Expression of anger was no longer seen as natural and socially necessary. Shame started to be perceived as a private emotion and was not related to public shaming. The meaning of pride was discussed and love was separated from the medieval concept of charity. In contrast, in King Lear the question of embodiment of emotions is seen from a perspective similar to the medieval one. The article analyzes medievalism in terms of affections and studies the shift from the medieval ideas about them to the early modern ones.
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Review of the Book: Hans Sauer and Piotr P. Chruszczewski (eds.) Mostly Medieval: In Memory of Jacek Fisiak (= Beyond Language 5). San Diego, CA 2020: Æ Academic Publishing. ISBN: 978-1-68346-186-9, 568 pages

100%
Traxel O. M.
Academic Journal of Modern Philology
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2021
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issue 14
383–389
EN
This article is a review of a Gedenkschrift intended to memorise Jacek Fisiak, a well-known Polish professor of English who died in 2019. It presents an overview of the contributions to this volume, which is divided into six “Parts,” each of which focuses on a particular aspect connected to his person or academic work. The articles in this book cover a large number of fields, ranging from individual recollections through topics on historical English up to the modern day. It is concluded that this publication is a suitable way to posthumously honour a particularly productive and beloved scholar.
4
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Po co poetom Średniowiecze? Różewicz – Herbert – Miłosz

81%
Regiewicz A.
Tematy i Konteksty
|
2020
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vol. 15
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issue 10
372-386
EN
The paper attempts to describe the concept of the medieval period built by Polish poets: Tadeusz Różewicz, Zbigniew Herbert and Czesław Miłosz. The authors use this concept for the evaluation of contemporary times. The image of the Middle Ages is, on the one hand, an ethical concept abounding in references to the category of Heritage (civilisational and spiritual), and on the other hand, a dark period in which the individual and the human God become lost. The poets prefer using Enlightenment and Romantic clichés, creating a clear ideological view by means of them.
PL
W artykule podjęto próbę opisu koncepcji średniowiecza zaproponowanej przez polskich poetów: Tadeusza Różewicza, Zbigniewa Herberta i Czesława Miłosza. Autorzy wykorzystują tę koncepcję do oceny współczesności. Obraz średniowiecza to z jednej strony koncepcja etyczna pełna odniesień do kategorii Dziedzictwo (cywilizacyjne i duchowe), z drugiej zaś mroczny okres, w którym człowiek i Bóg człowiek gubią się. Poeci wolą używać klisz Oświecenia i Romantyzmu, tworząc za ich pomocą klarowny pogląd ideologiczny.
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Mediewalizmy, neomediewalizm i rola archeologii w badaniu gier

72%
Sołtysiak M.
Homo Ludens
|
2017
|
issue 1(10)
217-238
PL
Tematem artykułu jest analiza możliwości i ocena potrzeby wykorzystania dorobku nauk historycznych (w  szczególności archeologii) w badaniu gier. W dotychczasowej dyskusji na ten temat dominuje przeświadczenie, że gry jako element ludyczny są zjawiskiem nastawionym na przyjemność i jako takie nie podlegają ewaluacji jako element kulturotwórczy. Wszelkie zaś wątki w grach z zasady stanowią rezultat niezobowiązującej kreacji. Nawet te wykorzystujące wiedzę historyczną, przedstawiające obraz dawnych czasów nie są rozpatrywane jako głos w dyskusji o promowanym wizerunku naszej rzeczywistej przeszłości. Pojawia się jednak pytanie, czy takie podejście nie jest wynikiem źle rozumianego postmodernizmu, gdzie w ramach problemów z „wielością prawd” częściej ocenia się stronę formalną niż merytoryczną. Tym samym legitymizuje się dowolne rekombinacje treści i propagowanie przestarzałych teorii, uznając je za jedną z wielu prawd, jakkolwiek by była ona już zdezaktualizowana.
EN
The aim of the article is to analyse the possibilities and the needs for achievements of historical sciences (especially archeology) in game studies. In the current discussion about this field, it is stated that games are merely entertainment, oriented only at pleasure, and as such are not a significant cultural element. All the stories in games are generally an effect of casual creation. Even those using historical knowledge and picturing the past are not actually evaluated as a voice in the discussion about the promoted image of our true past. The question is whether this approach is not a result of misguided postmodernism, where a part of the problem of “the multiplicity of truths” is often evaluating the form, not the content. If so, it legitimizes any recombination of the content and promotes obsolete theories, considering them as some of many truths, whether or not they were already outdated.
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Greening the Anglo-Saxons in Paul Kingsnorth’s "The Wake"

58%
Czarnowus A., Czarnowus A.
Kwartalnik Neofilologiczny
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2018
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issue 4
7
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Bruncvík se chápe slova. Marginálie k didaktickému využití hrdinů středověké literatury

58%
Rejzlová V., Jaluška M.
Slovo a smysl - Word & Sense
|
2023
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vol. 20
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issue 2
112-128
EN
Teaching the thousand-year period of medieval European literature and six-hundred years of Old Czech literature in Czech secondary education is often confronted by two interrelated challenges: the subjects are traditionally taught through a chronological approach to literary history in the first year of school, while presenting language, literary genres, themes, and ideas that are distant and difficult to understand for contemporary readers, particularly the target student group (15–16 years of age). A majority of teachers are unwilling to deal with old literature in their lessons. Can we find a way to modify and improve this practice? In this paper we try to grasp the perceived difficulty and otherness of this corpus in a constructive way and show that it can be productively used, for example, by moving away from the traditional chronological framework and focusing on probing texts (especially narratives) that link the present to the past. We show this possibility through the example of the story of Bruncvík, comparing its medieval version to a more recent version by Alois Jirásek in his Staré pověsti české (Legends of Old Bohemia).
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Až na konec světa. Struktura starých českých cestopisů

58%
Hrbata Z., Jaluška M.
Slovo a smysl - Word & Sense
|
2020
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vol. 17
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issue 2
15-47
EN
Tis essay ofers a close reading of the Diary (c. 1465) of Squire Jaroslav, the Commentarius (c. 1467; Czech original lost, a Latin translation printed in 1577) by Václav Šašek of Bířkov, and the modern reworking of Šašek’s text in a children’s novel by Alois Jirásek (Až na konec světa, published in 1890). Te authors try to elucidate the characteristic features of these travelogues by examining the various kinds of fssures that can be found in each text. Troughout Jaroslav’s diary, for example, these rifs are indicated by “etc.”, which the reader is simply invited to fll in. Pavlovský introduces discontinuity into the story by inserting verbatim citations of various documents and charters that ultimately glorify Pavlovský’s benefactors, the family of the leader of Šašek’s legation, Lev of Rožmitál. Finally, Jirásek is presented as an exemplary post-medieval reader of antique texts who flls the ofered gaps with didactic content, anchoring his own agenda in the picturesque scafolding of a knightly quest to the edge of the world.
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