Axis” appeared in 2011 in The New Yorker but never made it into Dear Life (2012), Munro’s final collection. The story includes a brief but crucial description of the Niagara Escarpment and other geological features that interrupt the otherwise bland landscape of Southern Ontario. This focus is in keeping with the “deepening geological sensibility” of Munro’s later work (Thacker 2016: 12). As Munro writes in “Axis,” the Escarpment is a “tower of ancient-looking rock that seem[s] quite out of place” among the flat roads west of Toronto (2012: 131). This paper argues that Munro uses geological symbolism with an overtness not seen elsewhere in her work. The Cambrian and the emotional converge in “Axis” and geology serves as a model for how a story can be put together. The geological model appears to mirror a predictable map, but Munro complicates the parallel between geological or geographical mapping by adding the unpredictable human element.
《轴心》曾于2011年出现在《纽约客》(The New Yorker)上，但从未被收录进门罗的最后一部作品集《亲爱的生活》(Dear Life, 2012)。这个故事包括对尼亚加拉悬崖和其他地质特征的简短但重要的描述，这些地质特征打断了安大略南部平淡无奇的景观。这种关注与门罗后期作品中“不断加深的地质敏感性”保持一致(Thacker 2016: 12)。正如门罗在《轴心》(Axis)中所写的那样，悬崖是一座“看起来很古老的岩石塔，看起来很不合适”，坐落在多伦多以西平坦的道路上(2012:131)。本文认为，门罗在她的其他作品中没有明显地使用地质象征主义。寒武纪和情感在《轴心》中汇合，而地质学则是一个故事如何组合在一起的模型。地质模型似乎反映了一张可预测的地图，但门罗通过添加不可预测的人为因素，使地质和地理制图之间的平行关系变得复杂。
{"title":"Geology and story in Alice Munro's \"Axis\"","authors":"Jason A. Blake","doi":"10.5817/bse2020-2-5","DOIUrl":"https://doi.org/10.5817/bse2020-2-5","url":null,"abstract":"Axis” appeared in 2011 in The New Yorker but never made it into Dear Life (2012), Munro’s final collection. The story includes a brief but crucial description of the Niagara Escarpment and other geological features that interrupt the otherwise bland landscape of Southern Ontario. This focus is in keeping with the “deepening geological sensibility” of Munro’s later work (Thacker 2016: 12). As Munro writes in “Axis,” the Escarpment is a “tower of ancient-looking rock that seem[s] quite out of place” among the flat roads west of Toronto (2012: 131). This paper argues that Munro uses geological symbolism with an overtness not seen elsewhere in her work. The Cambrian and the emotional converge in “Axis” and geology serves as a model for how a story can be put together. The geological model appears to mirror a predictable map, but Munro complicates the parallel between geological or geographical mapping by adding the unpredictable human element.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"87-102"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The period between the Glorious Revolution and the end of Queen Anne’s reign was a time when political parties struggled with one another in order to create their own distinctive identity. The rivalry between Whigs and Tories defined the political situation in early eighteenthcentury Britain and laid the foundation for the development of the ministerial machine of propaganda aimed at discrediting opponents and justifying the policies of the government. The rhetoric adopted by the contemporary political writers included the reason-passion bias so inextricably associated with the philosophical background of the ‘Age of Reason’. From this perspective, this article sets out to trace the evolution in Steele’s journalistic productions (The Spectator, The Englishman, The Reader) and to delineate key changes in his strategies for achieving political goals and, at the same time, discredit his rival paper – The Examiner.
{"title":"Depicting a political rival : evolution of Richard Steele's essay periodical writing","authors":"K. Kozak","doi":"10.5817/bse2020-2-11","DOIUrl":"https://doi.org/10.5817/bse2020-2-11","url":null,"abstract":"The period between the Glorious Revolution and the end of Queen Anne’s reign was a time when political parties struggled with one another in order to create their own distinctive identity. The rivalry between Whigs and Tories defined the political situation in early eighteenthcentury Britain and laid the foundation for the development of the ministerial machine of propaganda aimed at discrediting opponents and justifying the policies of the government. The rhetoric adopted by the contemporary political writers included the reason-passion bias so inextricably associated with the philosophical background of the ‘Age of Reason’. From this perspective, this article sets out to trace the evolution in Steele’s journalistic productions (The Spectator, The Englishman, The Reader) and to delineate key changes in his strategies for achieving political goals and, at the same time, discredit his rival paper – The Examiner.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"29 21 1","pages":"195-209"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Italy, as elsewhere, codes of ethics are an integral part of the development of an ethical business behaviour and of a corporate identity and culture. In the present paper, ten codes of ethics adopted by ten large Italian companies active in different sectors are analysed within the theoretical framework of discourse analysis. The scope of this study is to understand whether the selected companies opt for a legalistic or a commitment-oriented code type. The analysis conducted on the collected corpus reveals the presence, or lack of thereof, of the typical traits of the two types both at a macroand a micro-textual level, although a tendency to employ a hybrid code was detected.
{"title":"Italian corporate codes of ethics : the influence of national regulatory framework","authors":"Cinzia Giglioni","doi":"10.5817/bse2020-1-1","DOIUrl":"https://doi.org/10.5817/bse2020-1-1","url":null,"abstract":"In Italy, as elsewhere, codes of ethics are an integral part of the development of an ethical business behaviour and of a corporate identity and culture. In the present paper, ten codes of ethics adopted by ten large Italian companies active in different sectors are analysed within the theoretical framework of discourse analysis. The scope of this study is to understand whether the selected companies opt for a legalistic or a commitment-oriented code type. The analysis conducted on the collected corpus reveals the presence, or lack of thereof, of the typical traits of the two types both at a macroand a micro-textual level, although a tendency to employ a hybrid code was detected.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"5-20"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay undertakes an exploration of Trevor Griffiths’ Comedians to delineate the socio-cultural, moral and psychological functions of humour in it and to scrutinize how Griffiths adopts a negative-dialectical method to assay the socio-political efficacy of a socialist aesthetics by counterpointing various modes of humour against each other in this specific historical period (1970s). Nevertheless, the common thread here, as will be demonstrated, is that the modes of humour permeating Comedians are saliently tainted by various shades of tragedy. Chiefly drawing on Deleuze’s distinction between humour and irony, the thrust of the argument here is that, in Comedians, humour features as a means of psychological and ontic-ontological descent (into the subor unconscious of personal or national history) and of critical movement between immanent social-historical surfaces. Humour, in its negative-dialectical mode is also argued to feature as a political strategy where both sadistic irony and masochistic humour are possible strategies. More specifically, humour serves as a catalyst for putting metaphysics into motion. Metaphysics, in Comedians, designates the metaphysical conception of history, to wit, history as a determinate, teleological narrative. To put such a metaphysical history into motion means to expose its immanence and reveal it to be a historical process and a human construct, susceptible to being altered.
{"title":"Humour as an art of descent and negative dialectics : a deleuzian analysis of the functions of humour in Trevor Griffiths' Comedians","authors":"A. Fakhrkonandeh","doi":"10.5817/bse2020-1-5","DOIUrl":"https://doi.org/10.5817/bse2020-1-5","url":null,"abstract":"This essay undertakes an exploration of Trevor Griffiths’ Comedians to delineate the socio-cultural, moral and psychological functions of humour in it and to scrutinize how Griffiths adopts a negative-dialectical method to assay the socio-political efficacy of a socialist aesthetics by counterpointing various modes of humour against each other in this specific historical period (1970s). Nevertheless, the common thread here, as will be demonstrated, is that the modes of humour permeating Comedians are saliently tainted by various shades of tragedy. Chiefly drawing on Deleuze’s distinction between humour and irony, the thrust of the argument here is that, in Comedians, humour features as a means of psychological and ontic-ontological descent (into the subor unconscious of personal or national history) and of critical movement between immanent social-historical surfaces. Humour, in its negative-dialectical mode is also argued to feature as a political strategy where both sadistic irony and masochistic humour are possible strategies. More specifically, humour serves as a catalyst for putting metaphysics into motion. Metaphysics, in Comedians, designates the metaphysical conception of history, to wit, history as a determinate, teleological narrative. To put such a metaphysical history into motion means to expose its immanence and reveal it to be a historical process and a human construct, susceptible to being altered.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"109-132"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a new interpretation of Waiting for Godot by Samuel Beckett, Valentin and Pierre Temkine came to the conclusion that it is not a piece of absurd theatre, but a play with a concrete historical background. Based on geographical locations and specific terms used in the original French version, they locate the play in German-occupied France during the Second World War. This article shows that Beckett assimilated his wartime experiences in the play and showed sympathy for the Jews who were hunted by the Germans and their collaborators. Vladimir and Estragon can be regarded as two Jews waiting for someone who will bring them deeper into either the Italian-occupied zone or Switzerland. Godot is therefore an alias for a smuggler taking precautions against arrest. Concrete references in the play are discussed against the historical background to support the thesis of a historical foundation. Several other authors have also stated that the play makes references to the Holocaust.
{"title":"Beckett's Waiting for Godot : a historical play with two Jews as main characters","authors":"O. Hirsch","doi":"10.5817/bse2020-1-8","DOIUrl":"https://doi.org/10.5817/bse2020-1-8","url":null,"abstract":"In a new interpretation of Waiting for Godot by Samuel Beckett, Valentin and Pierre Temkine came to the conclusion that it is not a piece of absurd theatre, but a play with a concrete historical background. Based on geographical locations and specific terms used in the original French version, they locate the play in German-occupied France during the Second World War. This article shows that Beckett assimilated his wartime experiences in the play and showed sympathy for the Jews who were hunted by the Germans and their collaborators. Vladimir and Estragon can be regarded as two Jews waiting for someone who will bring them deeper into either the Italian-occupied zone or Switzerland. Godot is therefore an alias for a smuggler taking precautions against arrest. Concrete references in the play are discussed against the historical background to support the thesis of a historical foundation. Several other authors have also stated that the play makes references to the Holocaust.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"175-194"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is a comparative analysis of The Stone Carvers (2001) by Canadian author Jane Urquhart and The Wing of Night (2005) by Australian writer Brenda Walker, which explore the First World War and its aftermath. My purpose is to demonstrate how the two novels engage with the foundational myths of Vimy and Gallipoli by representing the two battles from unusual perspectives. Instead of celebrating the violent crisis seen as the birthplace of their respective nations, Urquhart and Walker foreground violence as the foundation of the nation-state. Using trauma theories, I explore Urquhart’s and Walker’s representation of war injuries, as well as the traumatic impact of national ideologies on personal and collective identities. While both texts offer an insightful re-reading of the myths of the Great War, Urquhart creates a vision of harmony resulting from the tragedy of the past, whereas Walker’s gesture of revision is more radical, as she insists on the impossibility of post-war reconstruction.
{"title":"Vimy, Gallipoli, trauma, and the poetics of grief : re-reading the myths of the First World War in Jane Urquhart's The Stone Carvers and Brenda Walker's The Wing of Night","authors":"A. Branach-Kallas","doi":"10.5817/bse2020-1-4","DOIUrl":"https://doi.org/10.5817/bse2020-1-4","url":null,"abstract":"The article is a comparative analysis of The Stone Carvers (2001) by Canadian author Jane Urquhart and The Wing of Night (2005) by Australian writer Brenda Walker, which explore the First World War and its aftermath. My purpose is to demonstrate how the two novels engage with the foundational myths of Vimy and Gallipoli by representing the two battles from unusual perspectives. Instead of celebrating the violent crisis seen as the birthplace of their respective nations, Urquhart and Walker foreground violence as the foundation of the nation-state. Using trauma theories, I explore Urquhart’s and Walker’s representation of war injuries, as well as the traumatic impact of national ideologies on personal and collective identities. While both texts offer an insightful re-reading of the myths of the Great War, Urquhart creates a vision of harmony resulting from the tragedy of the past, whereas Walker’s gesture of revision is more radical, as she insists on the impossibility of post-war reconstruction.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"91-108"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
William Blake’s Marriage of Heaven and Hell is a text that can easily be misinterpreted and this is primarily due to its register and tone; Blake has written a text in which what appears to be mystical insight may blind the reader to a misunderstanding of its major themes. The arts, and specifically the art of poetry and the relationship between the artist and society are what are central in this text, as well as a meditation on the nature of human experience. Beginning with a polemic against Kathleen Raine’s statements in Blake and Antiquity, what will be explored here will be the contextual framework of Blake’s poetics in this text and their further implications.
{"title":"Revisiting William Blake's Marriage of Heaven and Hell : a reading against Kathleen Raine's Blake and Antiquity","authors":"Krešimir Vunić","doi":"10.5817/bse2020-1-14","DOIUrl":"https://doi.org/10.5817/bse2020-1-14","url":null,"abstract":"William Blake’s Marriage of Heaven and Hell is a text that can easily be misinterpreted and this is primarily due to its register and tone; Blake has written a text in which what appears to be mystical insight may blind the reader to a misunderstanding of its major themes. The arts, and specifically the art of poetry and the relationship between the artist and society are what are central in this text, as well as a meditation on the nature of human experience. Beginning with a polemic against Kathleen Raine’s statements in Blake and Antiquity, what will be explored here will be the contextual framework of Blake’s poetics in this text and their further implications.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"279-288"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this investigation is to identify and examine the metaphors found in several specific extracts of Great Expectations, in order to explore the significance of these tropes and thereby analyse the impact they have on the semantics of the novel as a whole. The investigation begins by focusing on the opening chapter, paying particular attention to the description of the landscape given by Pip, as well as his terrifying encounter with the escaped convict Abel Magwitch in the cemetery scene. Next, it will analyse the range of metaphors included in the ironic depiction of Wemmick’s house at Walworth, as well as the later episode depicting his son’s interactions with Miss Skiffins (Chapter 37). Lastly, it will explore the metaphorical rhetoric employed in the description of Miss Havisham (Chapter 8) and the fire at Satis House (Chapter 49), investigating the significance that this has for the narrative. These inferences will shed light on the tone of the extracts and corroborate the rhetorical and stylistic mastery of Dickens as a writer.
{"title":"\"Making my Meaning Understood\" : analysing metaphors in Great Expectations","authors":"T. Caballero, Juan de Dios","doi":"10.5817/bse2020-1-12","DOIUrl":"https://doi.org/10.5817/bse2020-1-12","url":null,"abstract":"The aim of this investigation is to identify and examine the metaphors found in several specific extracts of Great Expectations, in order to explore the significance of these tropes and thereby analyse the impact they have on the semantics of the novel as a whole. The investigation begins by focusing on the opening chapter, paying particular attention to the description of the landscape given by Pip, as well as his terrifying encounter with the escaped convict Abel Magwitch in the cemetery scene. Next, it will analyse the range of metaphors included in the ironic depiction of Wemmick’s house at Walworth, as well as the later episode depicting his son’s interactions with Miss Skiffins (Chapter 37). Lastly, it will explore the metaphorical rhetoric employed in the description of Miss Havisham (Chapter 8) and the fire at Satis House (Chapter 49), investigating the significance that this has for the narrative. These inferences will shed light on the tone of the extracts and corroborate the rhetorical and stylistic mastery of Dickens as a writer.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"243-260"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The investment of George Eliot’s narrative in characters impersonating the new epistemological concerns of philology (Casaubon) and biology (Lydgate), makes Dorothea’s own peculiar vision-in-action guided by sympathy, which brings the novel to a close, despite the hesitant asides of the narrator about her uneven web, a contribution to the modern episteme, an engagement with the modern question of how to encompass the teeming multiplicity of modernity in one binding synthesis. This is done by emplotting the dichotomy fragmentation/unity that runs throughout the novel, and by incorporating many forms of visual representation that project an intuited sense of unity going past fragmentation. The aesthetic polarities explored in the novel are isomorphous with pre-cinematic spectacles: they both offer provisional, fragmented perspectives of parts, while demanding a new rearrangement of these parts on a higher plane. These spectacles, therefore, are not a symptom of a crisis in representation, but rather naturalize, through a long history of self-reflexivity harking back to the late Renaissance, the paradoxical nature of realism.
{"title":"Pre-cinematic vision and the modern episteme of sympathy in George Eliot's Middlemarch","authors":"A. Gabriele","doi":"10.5817/bse2020-1-6","DOIUrl":"https://doi.org/10.5817/bse2020-1-6","url":null,"abstract":"The investment of George Eliot’s narrative in characters impersonating the new epistemological concerns of philology (Casaubon) and biology (Lydgate), makes Dorothea’s own peculiar vision-in-action guided by sympathy, which brings the novel to a close, despite the hesitant asides of the narrator about her uneven web, a contribution to the modern episteme, an engagement with the modern question of how to encompass the teeming multiplicity of modernity in one binding synthesis. This is done by emplotting the dichotomy fragmentation/unity that runs throughout the novel, and by incorporating many forms of visual representation that project an intuited sense of unity going past fragmentation. The aesthetic polarities explored in the novel are isomorphous with pre-cinematic spectacles: they both offer provisional, fragmented perspectives of parts, while demanding a new rearrangement of these parts on a higher plane. These spectacles, therefore, are not a symptom of a crisis in representation, but rather naturalize, through a long history of self-reflexivity harking back to the late Renaissance, the paradoxical nature of realism.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"133-152"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The following article presents an analysis of Sylvia Plath’s mature poetry (1959-1962) concerned with the themes of motherhood and children. The analysis rejects the biographical context and instead reads the individual poems through the prism of Plath’s body of work. The poems concerned with motherhood and children are also treated as a chronologically structured poetic cycle, connected by the presence of recurring characters, plots, settings, and imagery. Moreover, it is argued that Plath’s whole oeuvre is characterized by the constant re-employment of key plots and “dramatis personae” and as such, the poetic cycle in question is a mere installment in a greater tale of troubled family dynamics. Precisely speaking, they represent a mirror image of the (in)famous parent-child conflicts of Plath’s writings, yet this time with the Plathian persona accepting the ambiguous role of a mother, rather than that of a struggling daughter.
{"title":"Children in the blood jet of poetry : Sylvia Plath's poetic tale of infanticide","authors":"Sylwia Gryciuk","doi":"10.5817/bse2020-1-7","DOIUrl":"https://doi.org/10.5817/bse2020-1-7","url":null,"abstract":"The following article presents an analysis of Sylvia Plath’s mature poetry (1959-1962) concerned with the themes of motherhood and children. The analysis rejects the biographical context and instead reads the individual poems through the prism of Plath’s body of work. The poems concerned with motherhood and children are also treated as a chronologically structured poetic cycle, connected by the presence of recurring characters, plots, settings, and imagery. Moreover, it is argued that Plath’s whole oeuvre is characterized by the constant re-employment of key plots and “dramatis personae” and as such, the poetic cycle in question is a mere installment in a greater tale of troubled family dynamics. Precisely speaking, they represent a mirror image of the (in)famous parent-child conflicts of Plath’s writings, yet this time with the Plathian persona accepting the ambiguous role of a mother, rather than that of a struggling daughter.","PeriodicalId":35227,"journal":{"name":"Brno Studies in English","volume":"46 1","pages":"153-174"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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