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Wyspa doktora Moreau Herberta George’a Wellsa – rewizja tropów mitologicznych

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Ligęza A.

Tematy i Konteksty

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2022

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tom 17

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nr 12

330-348

EN

This article puts forward a reinterpretation of the presence of mythological tropes in H. G. Wells's, “The Island of Doctor Moreau.” Once the various contexts within which the novel tends to be read have been presented, attention is drawn to the interpretative approaches adopted by literary critics, such as Bergonzi, Bowen, Hayes, to name but a few, who search for connections between the author's chosen text and myths. Among the cited interpretations, we will find references to, among others, Circe, Comus and Prometheus. Availing himself of the research methodology adopted by John White and Marie Miguet-Ollagnier, the author identifies the sections where allusions to the myths pertaining to Daedalus and Dionysus are to be most frequently encountered. At the same time, the author expands on the findings of previous research by highlighting newly-found mythological motifs. In his conclusion, the author of this article highlights the need for Wells's work to be now read against the background of the mythological allusions which he has identified as being present in the world of this novel.

PL

Artykuł jest reinterpretacją obecności tropów mitologicznych w Wyspie doktora Moreau H. G. Wellsa. Autor rozpoczyna od przedstawienia spostrzeżeń o dotychczasowych interpretacjach powieści Wellsa. Po zaprezentowaniu kontekstów, w jakich zazwyczaj odczytuje się tę powieść, uwaga skierowana zostaje na omówienie stanowisk badaczy (m.in. Bergonziego, Bowena oraz Haynes), którzy poszukują związków pomiędzy interesującym autora artykułu utworem a mitami. Wśród przywoływanych stanowisk znajdziemy odniesienie m.in. do Kirke, Komosa i Prometeusza. Autor, posiłkując się metodami badawczymi Johna White’a oraz Marie Miguet-Ollagnier – wskazuje miejsca, w których najczęściej występują odniesienia do mitu o Dedalu i Dionizosie. Tym samym poszerza dotychczasowy stan badań o nowe wątki mitologiczne. W konkluzjach autor artykułu zwraca uwagę na potrzebę odczytania utworu Wellsa w kontekście funkcjonowania zauważonych przez niego odniesień mitologicznych w świecie przedstawionym powieści.

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Motywy folklorystyczne w przestrzeni artystycznej opowiadania Herberta Georga Wellsa Piękny strój

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Jankowska T.

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2012

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nr XIV/2

129-140

EN

The elements of symbiosis between a literary work and fable are clearly reflected in the structure of Herbert George Wells short story The Beautiful Suit that was published originally as A Moonlight Fable. The distinct allusion of the author about the title as well as the fact of two titles indicates similarity to folkloristic genre and gives posibility to perceive the story in two ways: literary work and fable. The typical semantics of folkloristic works is introduced by a number of constant formulas and motifs. They are conditioned by the function of moonlight topos that creates the opposition man – moon. The determining character of this antithesis implies the main division of the text and provides the paradigmatic sequence man – earth – mortal life versus moon – heaven – eternity that constitutes the fundamental element to model the basic relationships of the space and time structure. As well as in the sources of mythology and folklore the motif of the moon in the Wells’s short story introduces the aspect of duality of the depicted world, has an allegorical effect on the protagonist’s fate that touches the secret of existence and happiness.

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The Cassandra Syndrome, or How not to be a Prophet

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Swirski P.

Filozofia i Nauka

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2022

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tom 10

31-40

EN

The central question of the article is should Stanisław Lem be read as a futurologist? The main thesis is that more than in predicting the future Lem always has been more interested in exploration the conceptual limits of science and its technological offshoots.

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Herbert George Wells. Socjalizm, utopia i melancholia

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Franczak J.

Przestrzenie Teorii

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2023

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nr 39

21-42

EN

The article is a review of the most important works by Herbert George Wells in terms of the relationship between futurological vision, projected ideal and knowledge about the past. Wells is usually associated with a prospective attitude, with forecasting the future and modeling its desired image. Indeed, his science fiction novels, treatises and utopias try to answer the question of the paths of civilization’s development. But this work is accompanied by constant analysis of the past, correcting the scenarios of past events and shaping their new version. On the one hand, the retroactive formation of historical matter supports a utopia with a socialist profile, and on the other, it prevents its stabilization and closes it in the circle of left-wing melancholy, as described by Enzo Traverso. Some of the writer’s progressive ideas seem to be patient self-persuasion, others – such as fantasies about “fortunate disasters” – can be understood as attempts to escape from melancholy. Breaking free from its power, however, comes at a high price: it is the end of the socialist utopia, the abandonment of the idea of progress and the optimistic history of philosophy.

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Catastrophic aftermath: the loss of sight as a process of becoming posthuman in contemporary audiovisual culture

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Charvát M.

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nr Special_issue_1

141-155

EN

In contemporary audiovisual production (mainly the Apple TV series See), the theme of the loss of sight due to (environmental) catastrophe becomes a symptom for the analysis of the disintegration and revival of a world that has deterritorialized due to the exploitative demands of postmodern capitalism, thus de facto marking the end of the so-called Anthropocene era. If Western philosophy traditionally defines man as an animal possessing reason and at the same time an animal in which the different senses are in balance, the loss of sight and the respective post-apocalyptic environment in which survivors exist without the possibility of seeing, on the one hand, outlines a process that could seemingly be considered degenerative or decadent: without sight, man is not man and approaches the animal. On the other hand, however, the loss of this sense also articulates the hints of the renewal of a world that will be a posthuman world, in which the new norm and normative of life becomes life without sight as a new form of social, economic, habitual arrangement, in which sight is understood as something regressive, as something responsible for the almost complete destruction of humanity. This in itself brings about a transformation of the relationship between human and non-human actors, transformations in the flows of belief and desire, and ways of articulating life, which, following Deleuze, is actualized from virtual modulations and temporal variants of events. My perspective is therefore based on the philosophy of G. Deleuze and vitalism in general, and I intend to read the figure of the loss of sight as a kind of counter-actualization of the event: as an effort to negate the effects of catastrophe and at the same time to establish a new (life) form.