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1
Content available Reymontowski gotycyzm nowoczesności w Ziemi obiecanej
100%
Łowczanin A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2024
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tom 68
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nr 1
57-78
EN
This article aims to interpret Władysław St. Reymont’s novel, The Promised Land, through the lens of Gothic tradition, utilizing tropes employed by English writers and theorists in the nineteenth century to depict the social impacts of the industrial revolution. I argue that in his portrayal of industrial Łódź, Reymont created a coherent vision of Gothic modernity, which can be understood through Foucault’s concept of deviant heterotopia, constructed by means of multifacated gothicization of urban space.
PL
Celem artykułu jest odczytanie powieści Władysława St. Reymonta Ziemia obiecana z perspektywy tradycji powieści gotyckich, których tropy były w dziewiętnastym wieku wykorzystywane przez angielskich pisarzy i teoretyków do opisu społecznych konsekwencji rewolucji przemysłowej. W artykule dowodzę, że spójna literacka wizja gotycyzmu nowoczesności stworzona przez Reymonta może być odczytana z perspektywy heterotopii dewiacyjnej Foucaulta, którą pisarz buduje poprzez wielowarstwową gotycyzację przestrzeni przemysłowej Łodzi.
2
Content available Body Politics In Ann Radcliffe’s The Mysteries Of Udolpho And The Italian
100%
Łowczanin A.
Kwartalnik Neofilologiczny
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2015
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nr 4
691-702
EN
The purpose of this paper is to demonstrate the way in which Ann Radcliffe manages to register shifts in the ontology of the self and the other which were taking place in the late eighteenth century. Acknowledging the ambivalences of the semiotics of the body, especially in The Mysteries of Udolpho and The Italian, allows her to toy with the notion of the body as character correlate, and orchestrate the problematics of the union between a character and his or her corporeal designation and perception by others. The paper demonstrates how grappling with the dynamics informed by the Cartesian opposition of substance and essence in turn allows for subscribing to the paradigmatic gothic atmosphere, but also foreshadows the contemporary post-Cartesian phenomenological understanding of the body, and introduces a truly modern psychologised and internalised eschatology and “spectralisation of the other.”
3
Content available Conflict as a Literary Gothic Convention
100%
Łowczanin A.
Kwartalnik Neofilologiczny
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2016
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nr 1
105-113
EN
This paper examines conflict as a literary convention in the early stage of the development of Gothic fiction on the basis of two novels: Horace Walpole’s The Castle of Otranto (1764) and Ann Radcliffe’s The Mysteries of Udolpho (1794). The starting point for the analysis is the now-classic division of the genre into male and female Gothic, proposed by Ellen Moers in Literary Women (1976), to show that the focus in Walpole’s story is on the political: on the monarchic conflict of power; whereas Radcliffe concentrates on the politics of domesticity. However, as the paper aims to show, though both stories are informed by the instability of their times – an era of wars and revolutions, when political tensions and conflicts brought to light certain aspects of social injustice – both novelists place at the centre of their interest a human being, the culprit of conflict. Underneath the layers of conflict for power, dominance and property, in both texts, whether representing male or female Gothic, lies the conflicted, often tortured individual, and it is this presentation of the human side of characters that annuls all divisions, and makes Gothic stories significant voices in their contemporary political and social debate.
4
Content available Convention, Repetition and Abjection: The Way of the Gothic
100%
Łowczanin A.
Text Matters: A Journal of Literature, Theory and Culture
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2014
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tom 4
184-193
EN
This paper employs Deleuze and Kristeva in an examination of certain Gothic conventions. It argues that repetition of these conventions- which endows Gothicism with formulaic coherence and consistence but might also lead to predictability and stylistic deadlock-is leavened by a novelty that Deleuze would categorize as literary “gift.” This particular kind of “gift” reveals itself in the fiction of successive Gothic writers on the level of plot and is applied to the repetition of the genre’s motifs and conventions. One convention, the supernatural, is affiliated with “the Other” in the early stages of the genre’s development and can often be seen as mapping the same territories as Kristeva’s abject. The lens of Kristeva’s abjection allows us to internalize the Other and thus to reexamine the Gothic self; it also allows us to broaden our understanding of the Gothic as a commentary on the political, the social and the domestic. Two early Gothic texts, Walpole’s The Castle of Otranto and Lewis’s The Monk, are presented as examples of repetition of the Gothic convention of the abjected supernatural, Walpole’s story revealing horrors of a political nature, Lewis’s reshaping Gothic’s dynamics into a commentary on the social and the domestic.
5
Content available Cathartic Paths of the Gothic in Ciemno, prawie noc by Joanna Bator
100%
Łowczanin A.
Text Matters: A Journal of Literature, Theory and Culture
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2024
|
nr 14
88-104
EN
The aim of this paper is to investigate how the Gothic is employed in Joanna Bator’s novel Ciemno, prawie noc [Dark, Almost Night]. I frame my analysis on the author’s assertion that “Poland is a horror,” exploring firstly how the Gothic serves as an aesthetic framework that intertwines different time periods and family histories within the narrative. Secondly, I examine its role in grounding these temporal layers within the specific geographical location of Wałbrzych, which itself assumes a villain-like presence in the novel. I argue that Bator adapts the Gothic tradition for cathartic purposes, particularly in narrating transgenerational traumas. This approach enables the expression and understanding of a fractured past, potentially fostering a process of healing.
6
The Topography of Confinement in "Jane Eyre" and “The Lady of Shalott”
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Łowczanin A.
Roczniki Humanistyczne
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2013
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tom 61
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nr 5: Neofilologia
267-280
EN
This paper is based on the assumption that it is possible to overcome generic boundaries and discern a shared language in the literary and visual arts. Its purpose is to demonstrate how literature and art rupture the Victorian ideal of angelic woman at home and allow us to enter intimate territories of female minds where free will goes against the sanctioned expectations. I will demonstrate this on the basis of Charlotte Brontë’s Jane Eyre, where a pilgrimage to maturity and emotional fulfillment is embodied as space. This text will be juxtaposed with Tennyson’s “The Lady of Shalott,” read as a representation of defiance of gender-ascribed confinement. One of this poem’s most potent pictorial images, Hunt’s engraving of 1857 (a basis for his later painting of 1905), capturing the Lady in the moment of fateful decision-making is compared with Jane Eyre’s other silent home-ridden character, Bertha Rochester. All three images, of Jane, Bertha and the Lady, realize in their own way a territorial relocation seen as necessary for an untrapping of femininity.
PL
Na podstawie wybranych utworów literackich, „Jane Eyre” Charlotte Brontё i „Pani na Shalott” Alfreda Tennysona, oraz obrazu Prerafaelity Williama Hunta, artykuł ukazuje sposoby kwestionowania przez ich autorów wiktoriańskiego ideału kobiety-anioła, strażniczki domowego ogniska. Omawiane prace pokazują jednocześnie, że wspólna tematyka umożliwia przekroczenie barier gatunkowych, a przez to ukazanie podobnej intensywności uczuć, dotarcie do intymnych przestrzeni świadomości i ukrytych przed światem pragnień i przemyśleń bohaterek, które nie wahają się kwestionować usankcjonowanych konwencji społecznych. We wszystkich omawianych pracach kluczowym elementem definiującym przynależność społeczną jest przestrzeń i to w odniesieniu do niej bohaterki Charlotte Brontё, Jane Eyre i Bertha Rochester, oraz Pani na Shalott Tennysona i Hunta definiują swoją tożsamość. Artykuł ukazuje, że to właśnie w odniesieniu do na nowo zdefiniowanego własnego terytorium odnajdują one drogę do swoiście pojmowanej wolności i uwolnienia kobiecości.
7
Content available Death and the woman in M.G. Lewis’ s The Monk
75%
Łowczanin A.
Kwartalnik Neofilologiczny
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2013
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nr 2
133-143
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