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The Interplay of the Domestic and the Uncanny in Susanna Clarke’s Jonathan Strange and Mr Norrell

100%

Borowska-Szerszun S.

2015

tom 9

This article examines the effects resulting from the interplay of the domestic and the uncanny in Susanna Clarke’s Jonathan Strange and Mr Norrell, a novel that boldly blends the conventions of the novel of manners and Gothic fiction. Analysing the selected key elements of the story, it is argued that while the uncanny is domesticated for a considerable part of the narrative, in the Gothic layer of the novel the mechanism of the uncanny is used to bring to light repressed voices. In the process, the long-established sources of inspiration for fantasy literature are rejected, and the nineteenth-century tradition of women’s writing, in both its realistic and Gothic threads, is used to reinvigorate the thematic and structural repertoire of the genre.

‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction

72%

Aguirre M.

nr 2

105-123

This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern-that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.

Rola zmysłów w opowiadaniu Edgara Allana Poego Serce – oskarżycielem

58%

Guner M.

nr 13

55-70

Summary The thesis analyses the role of senses in Edgar Allan Poe’s short story The Tell-Tale Heart. The narrator suffers from chronic squeamishness of senses – his most sensitive one is hearing. Thus, the text is full of descriptions of varied sounds. Sight is another important sense, which becomes protagonist’s main source of anxiety. An obsession about an old man’s eye leads him to commit a murder. The apprehension of the world by the protagonist is modeled by psyche of its character. As such, the analysis of his sensatory experiences has allowed to construct a picture of his internal life.