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Park Mary Poppins – między realnym a wyobrażonym

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Gralewicz-Wolny I.

Śląskie Studia Polonistyczne

2018

vol. 11

issue 1

109-117

Based on the fourth part of Pamela Lyndon Travers’s series of children’s books, Mary Poppins in the Park, the article proposes a view of a park as a dychotomic place: subjected to some rules, yet simultaneously a real and magic space which stirs one’s imagination. Following this double understanding, it can be stated that a park ideally matches the title character of the novel, who cares (often too much) about her children’s appropriate behaviour, but at the same time displays her predilection for children plays and imagination games. The conclusion highlights the two-dimensionality of the park, which by welcoming adults and children, becomes the space of both the real and the imaginary.

“White World, Not a Sound.” Paternal Spaces in Samuel Beckett’s Embers

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Kisiel M.

Romanica Silesiana

2017

vol. 12

This paper aims at the interpretation of the father as an empty figure of authority in Samuel Beckett’s radio play entitled Embers. Through the close-reading of this play and the analysis of the relations between the protagonist and the two feminine characters, Ada and Addie, it demonstrates how the father figure coincides with the classical impasse of Beckett’s oeuvre: the subject unable to manifest itself. Due to that fact, the father is presented in the constant process of wearing his authorial space out. It is eventually demonstrated that in Embers the subject is coerced to balance between its self-deconstruction and the paternal violence: its focus on its own materiality results in the collapse of language, whereas overt attention on the linguistic cognition puts forward the logic of remnants resisting father’s orders, be it in the form of sound collage, or material element immune to symbolisation.

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1 Romanica Silesiana

1 Śląskie Studia Polonistyczne

1 Gralewicz-Wolny I.

1 Kisiel M.

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1 2017

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Park Mary Poppins – między realnym a wyobrażonym

“White World, Not a Sound.” Paternal Spaces in Samuel Beckett’s Embers