Search results

1

#Hashtag: How Selected Texts of Popular Culture Engaged With Sexual Assault In the Context of the Me Too Movement in 2019

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Oleszczuk A., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2020

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issue 5

EN

The paper seeks to explore recent shifts within the popular culture with regard to oppression involving gender, class, race, and ethnicity that can be traced back to the #MeToo movement which was revived as a social media hashtag in October 2017 and has since spread all over the world. The paper starts with a brief overview of Western popular culture that “has recently been seen as a champion for feminism . . . with many high-profile female musicians and actresses visibly promoting the movement in their work” (Woodacre 2018, 21). Next, the paper discusses the origins of the Me Too Movement and the way it approaches the meaning of gendered oppressions as well as individualized and collective experiences of survivors of sexual abuse. This is later explored in the examination of the impact of the hashtag-led movement on three works of popular culture: Amazon’s TV series Lorena (2019), Nancy Schwartzman’s documentary Roll Red Roll (2019), and We Believe: the Best Men Can Be (2019) advertisement by Gillette. The entire case study is informed primarily by feminist theory understood as inseparable from feminist activism, following bell hooks’ Feminist theory from margin to center (1984).

2

Why Money Cannot Buy Happiness. The Painful Truth about Traditional Proverbs and Their Modifications

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Mandziuk J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

Can one imagine language without proverbs? Do we really need these somewhat clichéd adages like An apple a day keeps a doctor away, Once bitten, twice shy, or Crime doesn’t pay? Are they still influential, or perhaps modern society should give them a new lease of life? This paper aims to reveal the “painful truth” behind traditional proverbs and especially their modified versions. Leading paremiologists (Wolfgang Mieder, Nihada Delibegović Džanic, Anna Litovkina) introduce a number of terms in reference to the latter, and so this study discusses the etymology and the semantic import of such labels as anti-proverbs, twisted proverbs, quasi-proverbs, and pseudo-proverbs. However, its basic aim is to propose a classification of modified proverbs based on a number of examples, such as Man proposes, mother-in-law opposes; A good beginning is half the bottle; Crime pays – be a lawyer; A new broom sweeps clean, but the old one knows the corners, and many others. Finally, based on Ronald Langacker’s conception of the profile-base distinction, deriving from the figure-ground alignment, this paper makes an attempt to prove the necessary link between traditional proverbs and their innovative modifications.

3

Social Contexts of Indirect Requests in Polish and Hungarian

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Veres-Guspiel A., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2020

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issue 5

EN

The paper presents the influence of social context on illocutionary metonymy in directives evoked by various elements of request scenarios. As the human language activity reflects the physical and social worlds of the intersubjective context (cf. Verschueren 1999), the recognized and construed social relations have an impact not only on addressive forms, but also on the appearance of other elements such as indirectness and its scalarity.Indirect directives are based on illocutionary metonymic scenarios (Panther and Thornburg 1998) and by evoking a part of the scenario referring to the core action they give access to the illocutionary scenario domain. The scalar nature of indirectness (Panther and Thornburg 1998, see also Panther and Thornburg 1999, 2007 and Thornburg and Panther 1997), depends on the number of evoked elements and their conceptual distance from the core of the request. It can be based on conventional grammatical structures (e.g. auxiliary verbs) or giving hints by only introducing the action scenario. As Veres-Guśpiel (2013) has shown the chosen type of indirectness is influenced by social context and the weight of a directive (for the latter, see also Csató and Pléh 1988, Pléh 2012).The main question of the presented research regards types of illocutionary metonymy, that can be experienced in various social contexts and what their frequency of use is.

4

B.S. Johnson’s Liberatic Cityscape in Albert Angelo

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Biela K., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2020

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issue 5

EN

For Bryan Stanley Johnson, a British post-war avant-garde author, space was a crucial aspect of a literary work. Inspired by architects and film makers, he was convinced that “form follows function” (“Introduction” to Aren’t You Rather Young to Be Writing Your Memoirs) and exercised the book as a material object, thus anticipating liberature – a literary genre defined in 1999 by Zenon Fajfer and Katarzyna Bazarnik, which encompasses works whose authors purposefully fuse the content with the form. The goal of this paper is to analyse the cityscape theme in Johnson’s second novel, Albert Angelo (1964), in which London is presented as space that accompanies the character in his everyday life and becomes a witness of the formation of his identity. The protagonist is an architect by profession, so special attention is paid to his visual sensitivity and the way the cityscape is reflected in his memories. Furthermore, Johnson’s formal exploitation of the book as an object and its correspondence to the content is analysed with reference to the metaphor of “[t]he book as an architectural structure” discussed by Bazarnik in Liberature. A Book-bound Genre.

5

America’s Digital Messiah(s) of Detroit: Become Human (2018)

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Tomczak I., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2019

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issue 4

EN

The article explores the relation between implicit biblical patterns existing in American popular culture and video games. In analyzing a blockbuster video game, Detroit: Become Human developed by Quantic Dream studio in 2018, the text establishes three examples of the representation of a new model of messiahs/prophets in the digital context. The entire narrative revolves around undermining binary oppositions, as between religion and technology, mass culture and high culture, and Christ/Antichrist. To account for this fluidity, the major concept employed to discuss particular aspects of the games’ characters is Beebee’s definition of hybrid-messiahs.

6

Searching for the Self: Transcendentalist Ideas as an Inspiration for American Teenagers in Little Women by Gillian Armstrong and Paper Towns by John Green

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Kalinowska Ł., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2020

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issue 5

EN

This paper examines two American works of fiction concerning how teenage characters explore and manifest their identity, looking up to transcendentalist ideas, whether consciously or not. The paper puts forth the most individualistic protagonists and investigate their motivation, ways of escaping the society’s expectations and the interaction between them and their environment. The first source analyzed: the film Little Women directed by Gillian Armstrong tells the story of the March family living in the 1860s Concord, influenced by the spirit of transcendentalism. The second source discussed: John Green’s novel Paper Towns employs the notion of a character coming back to transcendentalist values and authors in the 21st century. This paper shows how the teenagers use the transcendentalist ways, whether they are aware of them, and defy the rules of the society frequently represented by the people in their closest environment.

7

A Dog or a Wolf – The Role of Connotations in Animalistic Metaphors and the Process of Dehumanisation

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Waśniewska M. P., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2018

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issue 3

EN

Animalistic metaphors have been used since the dawn of times to dehumanise members of outgroups and thereby deny them their rights. The paper examines the causes and symptoms of animalistic dehumanisation through the analysis of connotations of several terms used to conceptualise undesirable individuals and groups across various cultures, focusing on four source domains: rat, cattle, wolf, and dog.

8

James Joyce's Play with Dramatic Conventions in Ulysses (1922): Episode 15 (Circe)

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Vasylenko R., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2019

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issue 4

EN

Abstract. This essay focuses on the fifteenth episode of James Joyce’s Ulysses(1922), „Circe”, which is written in the form of a drama script. My claim is that in „Circe” Joyce subverts the traditional Western view of drama, established by Aristotle in Poetics(c. 335 BCE), particularly with respect to the principles of imitation, the plot structure, the process of interpretation, and the role of dramatis personae. Yet, the focal point of the analysis is Joyce's vision of the categories of time and space categories and their implementation in „Circe”.

9

“Dogwood and Chestnut, Flowering Judas”: The Role of Tree Images in T.S. Eliot’s Poetry

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Wilde J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2019

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issue 4

EN

The aim of this paper is to examine the role of the tree depictions in T.S. Eliot’s poetry and to demonstrate the way they enrich interpretations of particular poems. In every culture the tree symbolizes similar notions such as life or rebirth. Yet, different tree species have been believed to possess certain properties and sometimes even personalities – this knowledge is passed on through cultural transmission and thus may linger on the edges of one’s consciousness. This seems also true for T.S. Eliot and the symbolism of the trees appearing in his poetry. Despite the fact that they tend to be presented either as a background or the scenery for the lyrical situation, one should not assume that they were chosen accidentally – especially given the purposefulness and rich symbolism of Eliot’s writings. For this reason, the analysis of tree depictions in Eliot’s selected poems reveals new aspects of interpretations, drawing attention to the connection between the author and the culture he was rooted in.

10

Revisiting the Monster Tale: Frankensteinian Tropes in Margaret Atwood’s Speculative Fiction

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Kosa M., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2020

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issue 5

EN

Mary Shelley’s iconic Frankenstein is a pivotal work in the Western canon. Since its publication in 1818, the novel has been re-written and adapted many times. Shelley’s magnum opus sublimely evokes the postlapsarian condition of the fallen, while also capturing the imminent fear of technology, scientific progress and artificial procreation. The paper aims to explore the Frankenstein legacy and the development of Frankensteinian motifs in Atwood’s speculative fiction. More precisely, the paper focuses on The Handmaid’s Tale (1985), The MaddAddam Trilogy – Oryx and Crake (2003), The Year of the Flood (2009), MaddAddam (2013), and The Heart Goes Last (2015), analyzing how postmodern literature recycles and incorporates elements from Frankenstein to reflect (on) contemporary anxieties and to insist on the fluid discursivity of monstrosity.

11

Formulaic Sequences in First Language Acquisition and Foreign Language Learning

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Orlik M., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

Formulaic sequences constitute a large part of the language we speak. This group contains, for example, idiomatic expressions, proverbs, mnemonics, or larger texts taught as a whole, like songs or prayers. They seem to be stored in our mental lexicon rather than created from scratch every time they are needed. The aim of the present article is to examine some types of formulaic sequences and discuss their function in communication. First, the article describes how children acquire and make use of formulaic sequences when they start speaking English as their mother tongue. Secondly, the paper discusses the difference between learning English as an L1 and as an L2. The paper aims to discuss various strategies used by children who do not speak English but have to use it because they find themselves in English-speaking environments. Furthermore, the article discusses some selected issues concerning adults learning formulaic sequences and major problems connected with it. Such difficulties usually stem from not having enough linguistic input from native speakers and therefore not being able to recognise strings of words that are most likely to occur.

12

The Crying of Lot 49 and the Parody of Detective Fiction

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Róg B., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

The Crying of Lot 49, recognized as an important example of postmodern fiction, is a novella by an American author Thomas Pynchon. It follows the story of Oedipa Maas, who encounters a possible underground conspiracy related to postal services. Its themes and structural properties suggest affinities with a detective story genre, although there are crucial differences which actually mark the novel as a parody of the genre. In my article I want to analyze two elements which contribute to the parodic nature of The Crying of Lot 49. One is the wide use of various cultural references to the popular culture, history, American society etc.; they are usually satirized by the author as to what contributes to the overall sense of a parody. The second contributes directly to the reversed structure of a detective fiction; the use of entropy as the plot device distorts the unraveling mystery in the novel. Moreover, the reading of the novel as a parody in terms of the characteristics listed above justifies its reputation as a postmodern text.

13

On Reduction in English: What the English Don’t Say

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Tomaka M., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

The aim of this article is to examine which sounds are most often omitted in official oral public performances by native speakers of British English. Such terms as reduction, elision (and its types), and connected speech are explained; the literature cited is concerned with elision of vowels (triphthong smoothing being treated separately), of consonants, and of whole syllables. The study presents the results of an analysis conducted on selected material available on the Internet – this comprises three British English oral performances of the total length of approximately 20 minutes. With regard to the nature of the data, they were divided into scripted, semi-scripted, and unscripted samples. The research has shown that earlier preparation significantly lowers the number of phonetic reduction phenomena. Furthermore, if the speech is given in front of an audience rather than being pre-recorded, the number of reduction phenomena is higher. Besides, the analysis has shown a few important tendencies in modern British pronunciation, such as omission of /t/, realisation of final /t/ as [ʔ], omission of final /t/ in contractions, which therefore are realised as [n] instead of [nt].

14

The Labyrinth as an Anti-Home in Mark Z. Danielewski’s House of Leaves

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Solarz M., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

This paper examines the spatial model of a house as a labyrinth in Mark Z. Danielewski’s experimental novel House of Leaves in relation to Yuri M. Lotman’s concept of an anti-home. The aim of the paper is to analyze the spatial organization of the house presented in the novel and its influence on the characters. It also examines the connection between the mental state of the inhabitants and the changing nature of the labyrinth by demonstrating how the subversive spatiotemporal organization of domestic space accounts for the transformation of the novel’s protagonists.

15

The Translation Minefield On Specific Translation Challenges Posed by the Graphic Novel Form

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Skwarzyński J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

The comic book genre, or, to be more precise, medium (Chute and Dekoven 2012), like any other, creates many formal elements which influence the interpretation of the story and set particular technical boundaries to the amount of text presented: for example, through the size of speech bubbles. In this article, I outline how both features have an effect on the process of translation by comparing Adrian Tomine’s well-acclaimed (Diaz 2007, Fułek 2010, Goodreads n.d., Windolf 2007) graphic novel, Shortcomings, with its Polish translation by Agnieszka Murawska entitled Niedoskonałości. I also evaluate on the quality of the choices made by the translator. Formal components of the comics, such as the composition of frames on a page as well as the composition of images within the individual frames, the use of color or the design of diegetic space (Lefѐvre 2009), constitute how the readership (including the translator) combine the elements on the page, fill in the extradiegetic space, and thus interpret and receive the story (McCloud 1994). It is not just the text in the speech bubbles that has to be translated – it is also the way in which it corresponds to images, transitions between frames, symbolia, narration boxes or the lack thereof (Baetens 2002). Moreover, the technical constraints, such as the size of speech bubbles and narration boxes, are another feature of the medium which translators must conform to. Finally, the question of cultural references and the readers’ knowledge assumed by the author may pose a difficulty, which, upon translation of a graphic novel, can be solved in a number of ways, which Murawska exemplified in Niedoskonałości. In this article, I attempt to show that, in terms of translation, the elements of “articulatory grammar” (Zanettin 2008) are of utmost importance and cannot be ignored. The images and design, unlike the text, will not be replaced in any translated edition; thus, the translator must ensure that the translated version corresponds to those elements just as the original text does. Murawska’s translation of Shortcomings is a notable example of such rendition.

16

“May the Odds be Ever in Your Favor” Dystopian Reality in Suzanne Collins’ The Hunger Games Trilogy

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Kula J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

The research paper focuses on the dystopian reality depicted in Suzanne Collins’s the Hunger Games trilogy. I shall primarily discuss the social and political relations established in the post-apocalyptic country – Panem, and how they affect the quotidian life. Crucial here is the clash between two realms comprising the world represented in the novels – dystopian districts and the seemingly utopian Capitol. The juxtaposition of two completely different ‘constituents’ of the country shapes the mutual relations between the Panem inhabitants – these within the districts, amongst them and between the center and the peripheries. The Hunger Games (2008), Catching Fire (2009) and Mockingjay (2010) consecutively portray the history of dystopian civilization from the entropic reality succeeding after the Dark Days, through a coincidental chain of events initiated during the 74th Hunger Games, to the ultimate armed conflict bringing hope and the promise of a new beginning. Pivotal in the oppressive world is the concept of the savior in the person of Katniss Everdeen who, initially unconsciously and unintentionally, contributes to igniting the final revolt against the dictatorial regime of President Snow. The aim of the paper is to analyze how the author represents the realm of Panem with regard to the complex relations between the center and the periphery.

17

Beyond the Convention? Representation of Female Characters in Middle English Romances

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Kiełkowicz J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2017

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issue 2

EN

The paper presents literary images of medieval women in four Middle English romances, viz. King Horn, Sir Isumbras, Havelok the Dane and Sir Gawain and the Green Night. Its aim is to identify some conventional patterns of representation of female characters in the literary works classified as different subtypes of the genre of romance, namely ancestral romance (King Horn, Havelok the Dane), homiletic romance (Sir Isumbras) and Arthurian romance (Sir Gawain and the Green Knight). After Sharon Farmer and other feminist critics, the concept of gender is interpreted as one of the major categories of difference in medieval English society. This argument is supported by the analysis of the construction of female characters in the romances in question. However, while it is important to remember that the society of medieval England was to a large extent male-governed and male-dominated, which is the reason for the apparent centrality of male protagonists in medieval English literature, the function of female characters in literary works of that period is not necessarily secondary. The paper focuses on the importance of women in presenting the protagonist’s genealogy and on selected strategies of representation, such as reversal of gender roles or marginalization of female characters. The essay attempts to demonstrate that the category of gender, as it is seen in the medieval texts, cannot be reduced to a simplified model of binary oppositions, since the romances also introduce the complexity of power relations and tensions between the sexes.

18

Angry in Pink: Representation of Women in Video Games in the Infamous Franchise (2009-2014)

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Waszkiewicz A., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2019

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issue 4

EN

It is still common for video games to be classified as a predominantly male pastime. Five years after GamerGate, women and non-binary people still meet with the harassment, sexism, and aggressive behavior (Fox and Tang 2017). On the other hand those games that target women specifically - sometimes called “pink games” - mostly include stereotypes, concentrating their themes around chores, cooking, and fashion. Furthermore, in mainstream games, the male representation of the main characters still overshadows the number of female playable characters. While the non-binary and transgender characters are hardly ever present, women characters are often pigeonholed as a narrative tool, mostly as a trope of “damsel in distress”, victim whose death is to be avenged, or the heterosexual love interest (Ivory 2006, Beck at al. 2012, Huntemann 2014). The parallels can be drawn between the over-sexualization of the playable action protagonists in digital games (Behm-Morawitz and Mastro 2009) and the disagreement to overt expressions of female masculinity in the society (Halberstam 1998). Drawing on Halberstam’s work and I will offer an analysis of Fetch, a protagonist of Infamous First Light (2014) - the standalone additional content to a series of video games developed by Sucker Punch Productions.

19

Tracing Menstruation in British and American Culture. Strategies of Invisibilization, Stigmatization, and a Question of Im-Purity in Historical and Cultural Context

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Kasenko J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2019

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issue 4

EN

An absentee from the Western culture, the phenomenon of menstruation is an unlikely theme to be found in the British and American media and literature. Historically and culturally the Menstrual blood was considered impure and maudit, thus positioning the menstruating women at the bottom of the power hierarchies, and asserting the social status-quo of the male dominance. Menstruation is also subjected to capitalization which has been shaping the Menstrual attitudes and practices.The aim of the article is to draw a sketch of what menstruating means in the British and American cultures, as well as to reflect on its frequent absence from the cultural deliberations.

20

Translating Images. Comic Books and Graphic Novels as Multimodal Texts in Translation

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Skwarzyński J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2019

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issue 4

EN

A piece of work that requires the interplay of at least two different codes, e.g. written text and elements of design, is a multimodal text (Serafini 2011, 342). These include short or feature films, video games and comic books. The focus of this paper is comics, the non-interactive texts that, nevertheless, need a reader to be vivified (McCloud 1994, 36-37); a flexible platform for new ways of expression which often provides formidable challenges upon translation.Comic books, often referred to as graphic novels, have become a respected literary form often compared to novels rather than pulp fiction which they used to be classified as. Their growing cultural relevance and increasing recognition shift the gravity of choices made by translators working with these texts. Comics often take on much-debated themes, such as gender, feminism or postcolonial issues; that adds to the importance of comics in a current pop-cultural discourse.Nonetheless, the most unique aspect of these texts is their form, which incorporates static visual images organised “in deliberate sequence” (ibid., 7-9) and text. Even though there are instances of comics with no text, it usually is present; without the imagery, however, it makes little or no sense and vice versa. Moreover, the connection between text and image as well as between the images themselves may be intricate and multilayered, making it even more challenging for translators to tackle.Drawing on examples from classics such as Maus, V for Vendetta, Peanuts and the Asterix series, this paper expands on the aforementioned translation issues and underlines the cultural significance of comic books and graphic novels.

Refine search results

#Hashtag: How Selected Texts of Popular Culture Engaged With Sexual Assault In the Context of the Me Too Movement in 2019

Why Money Cannot Buy Happiness. The Painful Truth about Traditional Proverbs and Their Modifications

Social Contexts of Indirect Requests in Polish and Hungarian

B.S. Johnson’s Liberatic Cityscape in Albert Angelo

America’s Digital Messiah(s) of Detroit: Become Human (2018)

Searching for the Self: Transcendentalist Ideas as an Inspiration for American Teenagers in Little Women by Gillian Armstrong and Paper Towns by John Green

A Dog or a Wolf – The Role of Connotations in Animalistic Metaphors and the Process of Dehumanisation

James Joyce's Play with Dramatic Conventions in Ulysses (1922): Episode 15 (Circe)

“Dogwood and Chestnut, Flowering Judas”: The Role of Tree Images in T.S. Eliot’s Poetry

Revisiting the Monster Tale: Frankensteinian Tropes in Margaret Atwood’s Speculative Fiction

Formulaic Sequences in First Language Acquisition and Foreign Language Learning

The Crying of Lot 49 and the Parody of Detective Fiction

On Reduction in English: What the English Don’t Say

The Labyrinth as an Anti-Home in Mark Z. Danielewski’s House of Leaves

The Translation Minefield On Specific Translation Challenges Posed by the Graphic Novel Form

“May the Odds be Ever in Your Favor” Dystopian Reality in Suzanne Collins’ The Hunger Games Trilogy

Beyond the Convention? Representation of Female Characters in Middle English Romances

Angry in Pink: Representation of Women in Video Games in the Infamous Franchise (2009-2014)

Tracing Menstruation in British and American Culture. Strategies of Invisibilization, Stigmatization, and a Question of Im-Purity in Historical and Cultural Context

Translating Images. Comic Books and Graphic Novels as Multimodal Texts in Translation