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The Curricular Canon of Twentieth- and Twenty-First Century British and Irish Literature at Polish Universities

100%
Drąg W.
Anglica Wratislaviensia
|
2018
|
issue 56
45 - 56
EN
In 2007 Philip Tew and Mark Addis released Final Report: Survey on Teaching Contemporary British Fiction, whose aim was to establish the most popular authors and works as taught by academics at British universities. The purpose of this article is to present the results of a similar survey, which examines the reading lists of British and Irish literature courses offered in the Eng­lish departments of chosen Polish universities (in Warsaw, Gdańsk, Toruń, Poznań, Łódź, Lublin, Wrocław, Opole and Kraków). A discussion of the results — most commonly taught writers and texts — is accompanied by an analysis (based on an online survey) of the lecturers’ motivations behind including certain texts and omitting others. I will argue that whereas the teaching canon of modernist texts appears fixed (all the reading lists include works by James Joyce, Virginia Woolf, William Butler Yeats and T.S. Eliot), the canon of post-war and contemporary literature is yet to emerge. I shall also assert the appearance of the so called “canon lag” and review the selection criteria for the inclusion of canonical texts. The article concludes with a consideration of the texts that appear most likely to join the curricular canons at Polish universities in the near future. All the discussions are set in the context of critical contributions to the study of canonicity made by Harold Bloom, Nick Bentley, Dominic Head and others.
2

“I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists

100%
Drąg W.
American, British and Canadian Studies Journal
|
2016
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vol. 26
|
issue 1
36-51
EN
In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”
3
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Joe Brainard’s I Remember, Fragmentary Life Writing and the Resistance to Narrative and Identity

100%
Drąg W.
Text Matters: A Journal of Literature, Theory and Culture
|
2019
|
issue 9
223-236
EN
Paul Ricoeur declares that “being-entangled in stories” is an inherent property of the human condition. He introduces the notion of narrative identity-a form of identity constructed on the basis of a self-constructed life-narrative, which becomes a source of meaning and self-understanding. This article wishes to present chosen instances of life writing whose subjects resist yielding a life-story and reject the notions of narrative and identity. In line with Adam Phillips’s remarks regarding Roland Barthes by Roland Barthes (1975), such works-which I refer to as fragmentary life writing-emerge out of a profound scepticism about any form of “fixing” oneself and confining the variety and randomness of experience to one of the available autobiographical plots. The primary example of the genre is Joe Brainard’s I Remember (1975)-an inventory of approximately 1,500 memories conveyed in the form of radically short passages beginning with the words “I remember.” Despite the qualified degree of unity provided by the fact that all the recollections come from the consciousness of a single person, the book does not arrange its content in any discernible order-chronological or thematic; instead, the reader is confronted with a life-in-fragments. Although individual passages could be part of a coming-of-age, a coming-out or a portrait-of-the-artist-as-a-young-man narrative, Brainard is careful not to let any of them consolidate. An attempt at defining the characteristics of the proposed genre will be followed by an indication of more recent examples of fragmentary life writing and a reflection on its prospects for development
4
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"A galaxy of signifiers”: David Clark’s "88 Constellations" for Wittgenstein as a Paradigm of the Barthesian Writerly/Plural Text

100%
Drąg W.
Lublin Studies in Modern Languages and Literature
|
2020
|
vol. 44
|
issue 2
DE
Der Artikel enthält das Abstract auschließlich in englischer Sprache.
EN
This article argues that David Clark’s digital biography 88 Constellations for Wittgenstein (to be played with the Left Hand) (2008) meets all the criteria of a writerly/plural text as defined by Roland Barthes in S/Z (1970). The discussion focuses on the interactive and reversible structure of Clark’s work, as well as on the plurality and hybridity of its components. The experimental form of Wittgenstein’s biography is examined as an attempt to capture the elusiveness and the contradictions of its subject.
FR
L'article contient uniquement le résumé en anglais.
5
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Wilfred Owen and the Great War Centenary

100%
Drąg W.
Anglica Wratislaviensia
|
2015
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issue 53
55 - 64
EN
This article sets out to examine and summarise Wilfred Owen’s rise from relative obscurity in the 1920s to the immense popularity and critical acclaim that he enjoys today. The first section focuses on the first editions of Owen’s poetry arranged in the 20s and 30s by his earliest champions: Siegfried Sassoon, Edith Sitwell and Edmund Blunden, as well as on W.B. Yeats’s notorious exclusion of Owen from his influential Oxford Book of Modern Verse in 1936. Section two describes the various factors that contributed to the major boost in popularity that Owen’s output experienced in the 1960s. Around that time appeared the first full-blown critical studies of his poetry together with first biographies, which raised questions about Owen’s sexuality. The next part assesses Owen’s status in contemporary criticism, providing examples of the poet’s noted advocates and detractors; also, it attempts to account for his popularity with the current British readership. The final section relates the ongoing debate on Owen’s place in the canon, which was ignited by David Cameron’s Education Secretary’s highly publicised remarks about the skewed perception of Britain’s role in the Great War and by a series of centenary publications about Owen and the First World War. The article concludes with an attempt to predict the ways in which the centenary is likely to affect Owen’s critical status in the future.
6
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Material Loss: Multimodality and Mourning in B.S. Johnson’s The Unfortunates and Anne Carson’s Nox

100%
Drąg W.
Studia Litteraria Universitatis Iagellonicae Cracoviensis
|
2023
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vol. 18
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issue 2
129-143
PL
Nieszczęśni (1969) B.S. Johnsona i Nox (2010) Anne Carson należą do najbardziej oryginalnych pod względem formalnym literackich reakcji na doświadczenie straty. Nieszczęśni to pierwsza anglojęzyczna powieść w pudełku w literaturze angielskiej, a zarazem relacja z przedwczesnej śmierci najlepszego przyjaciela pisarza, Tony’ego Tillinghasta. Elegia Carson również zamknięta jest w pudełku, w którym znajduje się 25-metrowy harmonijkowy zwój zawierający liczne elementy tekstowe i wizualne, w tym artefakty związane ze zmarłym bratem Carson. Autor artykułu analizuje implikacje konkretnych wizualnych i dotykowych właściwości obu dzieł dla ich reprezentacji straty i żałoby na podstawie teorii Zygmunta Freuda i Jacques’a Derridy. Stawia tezę, że zarówno struktura talii kart (card shuffle), jak i format zwoju podkreślają ciągłość żałoby i wyrażają sceptycyzm w odniesieniu do możliwości jej zakończenia. W artykule przeanalizowano również symboliczne znaczenie przypominających trumny pudełek oraz wykorzystanie poetyki fragmentaryczności.
EN
B.S. Johnson’s The Unfortunates (1969) and Anne Carson’s Nox (2010) are among the most formally inventive and materially unique literary responses to personal loss. The first novel-in-a-box in English literature, The Unfortunates is a poignant account of the premature death of Johnson’s best friend Tony Tillinghast. Also contained in a box, Carson’s elegy is printed on a 25-metre-long concertinaed scroll, which contains a collage of textual and visual fragments of various artefacts connected with Carson’s dead brother. This article considers the implications of certain visual and tactile properties of both works for their representation of loss and the work of mourning, as theorized by Sigmund Freud and Jacques Derrida. It argues that both the card-shuffle structure and the scroll format accentuate the ongoingness of mourning and convey scepticism about the possibility of any closure. The article also examines the significance of encasing the contents of both elegies in coffin-like boxes and the importance of their extensive use of fragmentation. 
7
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Narrative Fiction and Other Media: An Introduction

63%
Maziarczyk G., Drąg W.
Lublin Studies in Modern Languages and Literature
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2020
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vol. 44
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issue 2
DE
-
8
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The Poetics of Crisis in Life-Writing Experiments: A Conversation

63%
Drąg W., Sroka H.
Autobiografia. Literatura. Kultura. Media
|
2024
|
vol. 22
163-170
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