Abstract The implications of the colonialist discourse, which suggested that the colonized is a person “whose historical, physical, and metaphysical geography begins with European memory” (Thiong’o, 2009), urged postcolonial writers to correct these views by addressing the issues from their own perspectives. The themes of history and communal/national past thus play a prominent role in postcolonial literature as they are inevitably interwoven with the concept of communal identity. In Petals of Blood (1977), the Kenyan writer Ngũgĩ wa Thiong’o explores the implications of social change as brought about by the political and economic development during the post-independence period. This paper seeks to examine the crucial relation between personal and communal/national history and relate it to the writer’s views of principal legacies of colonialism. As Thiong’o states: “My interest in the past is because of the present and there is no way to discuss the future or present separate from the past” (Thiong’o, 1975). Clearly, the grasping of the past and one’s identification with it seems fundamental in discussing national development. As Ngũgĩ wa Thiong’o’s narratives are always situated in the realm of political and historical context, blending fiction with fact, this paper also aims to elaborate on the implications of his vision.
殖民主义话语暗示被殖民者是一个“其历史、生理和形而上学地理始于欧洲记忆”的人(Thiong’o, 2009)，其含义敦促后殖民作家通过从自己的角度解决问题来纠正这些观点。因此，历史和公共/民族过去的主题在后殖民文学中扮演着重要角色，因为它们不可避免地与公共身份的概念交织在一起。在《血的花瓣》(1977)中，肯尼亚作家Ngũgĩ wa Thiong 'o探讨了独立后时期政治和经济发展所带来的社会变化的含义。本文试图研究个人和社区/国家历史之间的关键关系，并将其与作者对殖民主义主要遗产的看法联系起来。正如Thiong 'o所说:“我对过去感兴趣是因为现在，没有办法与过去分开讨论未来或现在”(Thiong 'o, 1975)。显然，在讨论国家发展时，对过去的把握和对过去的认同似乎是至关重要的。由于Ngũgĩ wa Thiong 'o的叙事总是处于政治和历史语境的领域，将虚构与事实相结合，本文也旨在阐述他的愿景的含义。
{"title":"Reclaiming the Past: Restoration of Personal and Communal History in Petals of Blood","authors":"Simona Klimková","doi":"10.1515/pjes-2018-0007","DOIUrl":"https://doi.org/10.1515/pjes-2018-0007","url":null,"abstract":"Abstract The implications of the colonialist discourse, which suggested that the colonized is a person “whose historical, physical, and metaphysical geography begins with European memory” (Thiong’o, 2009), urged postcolonial writers to correct these views by addressing the issues from their own perspectives. The themes of history and communal/national past thus play a prominent role in postcolonial literature as they are inevitably interwoven with the concept of communal identity. In Petals of Blood (1977), the Kenyan writer Ngũgĩ wa Thiong’o explores the implications of social change as brought about by the political and economic development during the post-independence period. This paper seeks to examine the crucial relation between personal and communal/national history and relate it to the writer’s views of principal legacies of colonialism. As Thiong’o states: “My interest in the past is because of the present and there is no way to discuss the future or present separate from the past” (Thiong’o, 1975). Clearly, the grasping of the past and one’s identification with it seems fundamental in discussing national development. As Ngũgĩ wa Thiong’o’s narratives are always situated in the realm of political and historical context, blending fiction with fact, this paper also aims to elaborate on the implications of his vision.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134448722","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}
Abstract In the 1930s W.H. Auden taught at several public schools in Britain while simultaneously embarking on his poetic career. Later in life, he lectured at various educational institutions and returned to Oxford, his alma mater, in the 1950s as Oxford Professor of Poetry. His experience of teaching allowed Auden to reflect upon the pitfalls of Britain’s interwar educational system and its social function. Therefore, this article diverts attention from the prevailing scholarly focus on Auden’s poetry to his critical prose in order to examine the poet’s concerns about the content, purpose and role of education in society, his views on the structure of the educational system and disquiet about the tension between the utilitarian and humanistic dimensions of the educational process. At a more general level, the paper points out the relation that Auden maintained existed between education, democracy, art and the “crystallizing” power of poetry.
{"title":"The Poet at the Teacher’s Desk: W.H. Auden on Education, Democracy and Humanity","authors":"Ladislav Vít","doi":"10.1515/pjes-2017-0002","DOIUrl":"https://doi.org/10.1515/pjes-2017-0002","url":null,"abstract":"Abstract In the 1930s W.H. Auden taught at several public schools in Britain while simultaneously embarking on his poetic career. Later in life, he lectured at various educational institutions and returned to Oxford, his alma mater, in the 1950s as Oxford Professor of Poetry. His experience of teaching allowed Auden to reflect upon the pitfalls of Britain’s interwar educational system and its social function. Therefore, this article diverts attention from the prevailing scholarly focus on Auden’s poetry to his critical prose in order to examine the poet’s concerns about the content, purpose and role of education in society, his views on the structure of the educational system and disquiet about the tension between the utilitarian and humanistic dimensions of the educational process. At a more general level, the paper points out the relation that Auden maintained existed between education, democracy, art and the “crystallizing” power of poetry.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127028214","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}
Abstract The theory of functional sentence perspective (FSP) and its research methods have been considered one of the prominent tools of discourse analysis and information processing. It is widely known that, combining the approaches adopted both by formalists and functionalists, the theory of FSP draws on the findings presented by the scholars of the Prague Circle. The father of FSP himself - Jan Firbas - drew on the findings of his predecessor, Vilem Mathesius, who formulated the basic principles of what was to be labelled FSP only later. Apart from the principal FSP representatives and more recent followers (as a rule associated with Prague or Brno universities), this homage paper overviews somewhat less familiar - yet significant - pioneers in the field of theories of information structure, viz. Henri Weil, Samuel Brassai, Georg von der Gabelentz and Anton Marty. It will discuss some of their writings and achievements that were forming (and inspiring) the theory of FSP.
{"title":"The Dramatic Arc of the Theory of FSP: A Tentative Diachronic Excursion","authors":"Martin T. Adam","doi":"10.1515/pjes-2017-0008","DOIUrl":"https://doi.org/10.1515/pjes-2017-0008","url":null,"abstract":"Abstract The theory of functional sentence perspective (FSP) and its research methods have been considered one of the prominent tools of discourse analysis and information processing. It is widely known that, combining the approaches adopted both by formalists and functionalists, the theory of FSP draws on the findings presented by the scholars of the Prague Circle. The father of FSP himself - Jan Firbas - drew on the findings of his predecessor, Vilem Mathesius, who formulated the basic principles of what was to be labelled FSP only later. Apart from the principal FSP representatives and more recent followers (as a rule associated with Prague or Brno universities), this homage paper overviews somewhat less familiar - yet significant - pioneers in the field of theories of information structure, viz. Henri Weil, Samuel Brassai, Georg von der Gabelentz and Anton Marty. It will discuss some of their writings and achievements that were forming (and inspiring) the theory of FSP.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129040316","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}
Abstract Occasional notes in secondary literature suggest that there is a growing tendency to use non-finite clauses in written English. It is partly attributed to the fact that during the process of historical development the English finite verb has lost much of its dynamism and the nominal elements of predication, namely infinitives, participles and gerunds have gradually become semantically more important. This paper deals with the occurrences of non-finite clauses in the tagged Brown/Frown and LOB/F-LOB corpora, which are matching corpora of American English and British English respectively. The article looks at 1) the use of noun phrases followed by -ing participles, -ed participles and to-infinitives, 2) the use of -ing/-ed clauses with/without overt subordinators and 3) the occurrences of to-infinitive clauses. When the structural patterns 1), 2) and 3) were taken as wholes there was always an increase in the frequency of occurrence of non-finite clauses demonstrated by hundreds of examples in the Frown and F-LOB corpora. This may be considered significant since there is only a 30-year difference between the Brown/Frown and LOB/F-LOB corpora. The findings thus completely support the premise that when the perspective of the research is diachronic, in written English non-finite clauses are becoming increasingly prominent.
{"title":"A Corpus-Based Diachronic Study of a Change in the Use of Non-Finite Clauses in Written English","authors":"Marcela Malá","doi":"10.1515/pjes-2017-0009","DOIUrl":"https://doi.org/10.1515/pjes-2017-0009","url":null,"abstract":"Abstract Occasional notes in secondary literature suggest that there is a growing tendency to use non-finite clauses in written English. It is partly attributed to the fact that during the process of historical development the English finite verb has lost much of its dynamism and the nominal elements of predication, namely infinitives, participles and gerunds have gradually become semantically more important. This paper deals with the occurrences of non-finite clauses in the tagged Brown/Frown and LOB/F-LOB corpora, which are matching corpora of American English and British English respectively. The article looks at 1) the use of noun phrases followed by -ing participles, -ed participles and to-infinitives, 2) the use of -ing/-ed clauses with/without overt subordinators and 3) the occurrences of to-infinitive clauses. When the structural patterns 1), 2) and 3) were taken as wholes there was always an increase in the frequency of occurrence of non-finite clauses demonstrated by hundreds of examples in the Frown and F-LOB corpora. This may be considered significant since there is only a 30-year difference between the Brown/Frown and LOB/F-LOB corpora. The findings thus completely support the premise that when the perspective of the research is diachronic, in written English non-finite clauses are becoming increasingly prominent.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121951594","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}
Abstract Emily Keene’s My Life Story (1911) is a unique travel account as it is written by an Englishwoman, which puts the travelogue in the ambit of female travel narratives. She married a Moorish notable, Sidi Al-Hadj Abd al-Salam, the Shareef of Wazzan, spending, hence, more than four decades amongst the Moors in pre-protectorate Morocco or the “Land of the Furthest West”. For more than four decades, Keene managed to live on the cusp of two starkly different cultures, civilizations, religions and societies. Keene was fascinated by the atavistic Moroccan customs and the metaphysical world of the Moors. The man she married epitomized these purely aspired elements. Keene was mesmerized and enchanted by the Moors, their culture and traditions, but at the same time she adhered to her own culture, moving, hence, between two acutely different identities. As an Englishwoman in the Moorish sanctum, Keene was virtually seen by most of the Moors as a Christian from “Bilad al-Nassara” or an “Abode of Disbelief”.
{"title":"A Woman Traveller in the Moorish Sanctum: A Look at Emily Keene, Shareefa of Wazzan’s My Life Story","authors":"Lahoucine Aammari","doi":"10.1515/pjes-2017-0001","DOIUrl":"https://doi.org/10.1515/pjes-2017-0001","url":null,"abstract":"Abstract Emily Keene’s My Life Story (1911) is a unique travel account as it is written by an Englishwoman, which puts the travelogue in the ambit of female travel narratives. She married a Moorish notable, Sidi Al-Hadj Abd al-Salam, the Shareef of Wazzan, spending, hence, more than four decades amongst the Moors in pre-protectorate Morocco or the “Land of the Furthest West”. For more than four decades, Keene managed to live on the cusp of two starkly different cultures, civilizations, religions and societies. Keene was fascinated by the atavistic Moroccan customs and the metaphysical world of the Moors. The man she married epitomized these purely aspired elements. Keene was mesmerized and enchanted by the Moors, their culture and traditions, but at the same time she adhered to her own culture, moving, hence, between two acutely different identities. As an Englishwoman in the Moorish sanctum, Keene was virtually seen by most of the Moors as a Christian from “Bilad al-Nassara” or an “Abode of Disbelief”.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127464837","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}
Abstract Hanif Kureishi’s 2014 novel, The Last Word, involves most of the author’s idiosyncratic themes, such as ethnicity, racism, sexual identity, examination of interpersonal relationships and the crucial role of the creative imagination in human life. Its focal concern, however, is to explore the process of writing a literary biography of a living person and the character and dynamics of the relationship between the biographer and his subject - a writer. As such, the novel can be taken as being representative of biographic metafiction, a subcategory of historiographic metafiction, which, following the postmodernist questioning of our ability to know and textually represent historical truth, presents biographic writing critically or even mockingly, rendering its enthusiastic practitioners’ efforts with ironic scepticism. The aim of this article is to present The Last Word as a particular example of biographic metafiction that has all the crucial features of this genre, yet which differs from its predecessors through the complexity and thoroughness of its portrayal of the biographer-biographee relationship.
哈尼夫·库雷什(Hanif Kureishi) 2014年出版的小说《最后的话》(The Last Word)涉及了作者的大部分特殊主题，如种族、种族主义、性别认同、对人际关系的审视以及创造性想象力在人类生活中的关键作用。然而，它的重点是探索为一个活着的人写传记的过程，以及传记作者和他的主题——作家——之间的特征和动态关系。因此，这部小说可以被视为传记元小说的代表，传记元小说是历史元小说的一个子类，它遵循后现代主义对我们认识和文本表现历史真相的能力的质疑，批判甚至嘲弄地呈现传记写作，使其热情的实践者的努力具有讽刺的怀疑主义。本文的目的是将《最后的话语》作为传记元小说的一个特殊例子来呈现，它具有传记元小说的所有重要特征，但它不同于以往的传记元小说，因为它对传记作者与传记作者之间关系的刻画复杂而彻底。
{"title":"Dodging the Literary Undertaker – Biographic Metafiction in Hanif Kureishi’s The Last Word","authors":"P. Chalupský","doi":"10.1515/pjes-2017-0007","DOIUrl":"https://doi.org/10.1515/pjes-2017-0007","url":null,"abstract":"Abstract Hanif Kureishi’s 2014 novel, The Last Word, involves most of the author’s idiosyncratic themes, such as ethnicity, racism, sexual identity, examination of interpersonal relationships and the crucial role of the creative imagination in human life. Its focal concern, however, is to explore the process of writing a literary biography of a living person and the character and dynamics of the relationship between the biographer and his subject - a writer. As such, the novel can be taken as being representative of biographic metafiction, a subcategory of historiographic metafiction, which, following the postmodernist questioning of our ability to know and textually represent historical truth, presents biographic writing critically or even mockingly, rendering its enthusiastic practitioners’ efforts with ironic scepticism. The aim of this article is to present The Last Word as a particular example of biographic metafiction that has all the crucial features of this genre, yet which differs from its predecessors through the complexity and thoroughness of its portrayal of the biographer-biographee relationship.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126488906","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}
Abstract Described as one of the leading voices of her generation, Nigerian writer Chimamanda Ngozi Adichie has become one of the many African authors who through their narratives have succeeded in challenging the literary canon both in Europe and North America while redefining African literature from the diaspora. Her specific use of the English language as well as transcultural writing strategies allow Adichie to skilfully represent what it means to live as a “translated being”. In her collection of short stories, The Thing Around Your Neck (2009), and her latest novel, Americanah (2013), which were greatly influenced by her own experiences as what she has referred to as “an inhabitant of the periphery”, Adichie depicts the way in which different Nigerian characters live in-between Nigeria and America. In this regard, her characters’ transatlantic journeys imply a constant movement between several languages and cultural backgrounds which result in cultural and linguistic translation.
{"title":"New Transatlantic African Writing: Translation, Transculturation and Diasporic Images in Chimamanda Ngozi Adichie’s The Thing Around Your Neck and Americanah","authors":"Elena Rodríguez Murphy","doi":"10.1515/pjes-2017-0006","DOIUrl":"https://doi.org/10.1515/pjes-2017-0006","url":null,"abstract":"Abstract Described as one of the leading voices of her generation, Nigerian writer Chimamanda Ngozi Adichie has become one of the many African authors who through their narratives have succeeded in challenging the literary canon both in Europe and North America while redefining African literature from the diaspora. Her specific use of the English language as well as transcultural writing strategies allow Adichie to skilfully represent what it means to live as a “translated being”. In her collection of short stories, The Thing Around Your Neck (2009), and her latest novel, Americanah (2013), which were greatly influenced by her own experiences as what she has referred to as “an inhabitant of the periphery”, Adichie depicts the way in which different Nigerian characters live in-between Nigeria and America. In this regard, her characters’ transatlantic journeys imply a constant movement between several languages and cultural backgrounds which result in cultural and linguistic translation.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134632101","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}
Abstract Humanity has long been haunted by the notions of Armageddon and the coming of a Golden Age. While the English Romantic poets like Shelley saw hopes of a new millennium in poems like “Queen Mab” and “The Revolt of Islam”, others like Blake developed their own unique “cosmology” in their longer poems that were nevertheless coloured with their vision of redemption and damnation. Even Hollywood movies, like The Book of Eli (2010), rehearse this theme of salvation in the face of imminent annihilation time and again. Keeping with such trends, this paper would like to trace this line of apocalyptic vision and subsequent hopes of renewal with reference to William Golding’s debut novel Lord of the Flies (1954) and his Pincher Martin (1956). While in the former, a group of young school boys indulge in violence, firstly for survival, and then for its own sake, in the latter, a lonely, shipwrecked survivor of a torpedoed destroyer clings to his own hard, rock-like ego that subsequently is a hurdle for his salvation and redemption, as he is motivated by a lust for life that makes him exist in a different moral and physical dimension. In Lord of the Flies, the entire action takes place with nuclear warfare presumably as its backdrop, while Pincher Martin has long been interpreted as an allegory of the Cold War and the resultant fear of annihilation from nuclear fallout (this applies to Golding’s debut novel as well). Thus, this paper would argue how Golding weaves his own vision of social, spiritual, and metaphysical dissolution, and hopes for redemption, if any, through these two novels.
长期以来，人类一直被世界末日和黄金时代到来的观念所困扰。雪莱等英国浪漫主义诗人在《麦布女王》和《伊斯兰教的反抗》等诗中看到了新千年的希望，而布莱克等人则在他们的长诗中发展出了自己独特的“宇宙观”，这些长诗中充满了他们对救赎和诅咒的憧憬。就连好莱坞电影，比如《以利之书》(The Book of Eli, 2010)，也一次又一次地排练了在即将到来的毁灭面前救赎的主题。与这种趋势保持一致，本文想通过参考威廉·戈尔丁的处女作《蝇王》(1954)和他的《品彻·马丁》(1956)来追溯这种末世的愿景和随后的复兴希望。在前者中，一群年轻的学生沉迷于暴力，首先是为了生存，然后是为了暴力本身;在后者中，一个孤独的，在鱼雷驱逐舰中遇难的幸存者，坚持自己坚硬的，岩石般的自我，这后来成为他救赎和救赎的障碍，因为他的动机是对生命的渴望，这使他存在于一个不同的道德和物理维度。在《蝇王》中，整个故事发生的背景大概是核战争，而《平彻·马丁》一直被解读为冷战的寓言，以及由此产生的对核尘降物毁灭的恐惧(这也适用于戈尔丁的处女作)。因此，本文将讨论戈尔丁如何通过这两部小说编织他自己对社会、精神和形而上学解体的看法，以及对救赎的希望(如果有的话)。
{"title":"William Golding’s Apocalyptic Vision in Lord of the Flies and Pincher Martin","authors":"Arnab Chatterjee","doi":"10.1515/pjes-2017-0003","DOIUrl":"https://doi.org/10.1515/pjes-2017-0003","url":null,"abstract":"Abstract Humanity has long been haunted by the notions of Armageddon and the coming of a Golden Age. While the English Romantic poets like Shelley saw hopes of a new millennium in poems like “Queen Mab” and “The Revolt of Islam”, others like Blake developed their own unique “cosmology” in their longer poems that were nevertheless coloured with their vision of redemption and damnation. Even Hollywood movies, like The Book of Eli (2010), rehearse this theme of salvation in the face of imminent annihilation time and again. Keeping with such trends, this paper would like to trace this line of apocalyptic vision and subsequent hopes of renewal with reference to William Golding’s debut novel Lord of the Flies (1954) and his Pincher Martin (1956). While in the former, a group of young school boys indulge in violence, firstly for survival, and then for its own sake, in the latter, a lonely, shipwrecked survivor of a torpedoed destroyer clings to his own hard, rock-like ego that subsequently is a hurdle for his salvation and redemption, as he is motivated by a lust for life that makes him exist in a different moral and physical dimension. In Lord of the Flies, the entire action takes place with nuclear warfare presumably as its backdrop, while Pincher Martin has long been interpreted as an allegory of the Cold War and the resultant fear of annihilation from nuclear fallout (this applies to Golding’s debut novel as well). Thus, this paper would argue how Golding weaves his own vision of social, spiritual, and metaphysical dissolution, and hopes for redemption, if any, through these two novels.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134363174","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}
Abstract Literature and learning play an important role in Marilynne Robinson’s Pulitzer Prize-winning novel Gilead (2004). By focusing on the author’s many references to books, literature and learning, the present paper attempts to study their individual contextual occurrences and explores how they saturate the discursive substratum of the novel’s major themes. The paper claims that a special role attributed to books and learning, and particularly to the Greek New Testament, The Trail of the Lonesome Pine and The Essence of Christianity, sheds significant light on the philosophical and spiritual aspects of the meaning of life, one of the novel’s central concerns.
{"title":"Literature and Learning in Marilynne Robinson’s Novel Gilead","authors":"Mária Hricková","doi":"10.1515/pjes-2017-0004","DOIUrl":"https://doi.org/10.1515/pjes-2017-0004","url":null,"abstract":"Abstract Literature and learning play an important role in Marilynne Robinson’s Pulitzer Prize-winning novel Gilead (2004). By focusing on the author’s many references to books, literature and learning, the present paper attempts to study their individual contextual occurrences and explores how they saturate the discursive substratum of the novel’s major themes. The paper claims that a special role attributed to books and learning, and particularly to the Greek New Testament, The Trail of the Lonesome Pine and The Essence of Christianity, sheds significant light on the philosophical and spiritual aspects of the meaning of life, one of the novel’s central concerns.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122615160","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}
Abstract The aim of this article is to analyse the role of memory in generating, transmitting and coming to terms with trauma, and the importance of exploring history, and talking about and sharing traumatic events in the process of healing in Joan Fedler’s The Dreamcloth (2005). In the novel, Maya’s memories of her unrequited lesbian relationship with her beloved Rochel, oppression by the traditional structures of her family and Jewish community, her forced marriage with Yankel, and her being raped by him are responsible for her trauma on a personal level, whereas her forced relocation to South Africa in order to flee from the Holocaust is responsible for her trauma on a communal level. Mia, the protagonist and the grand-daughter of Maya, suffers from the transgenerational trauma of her grandmother, is haunted by her ghost, and also symbolically represents the traumatized Jewish community. She cannot relate to her own Jewish South African identity and thus tries to avoid being reminded of her historical background. Mia recovers from her trauma by exploring her history, solving the riddles of the past and sharing the traumatic memories of the past.
{"title":"Healing Trauma and Reasserting Identity through Remembrance in Joanne Fedler’s The Dreamcloth","authors":"Md Abu Shahid Abdullah","doi":"10.1515/pjes-2017-0005","DOIUrl":"https://doi.org/10.1515/pjes-2017-0005","url":null,"abstract":"Abstract The aim of this article is to analyse the role of memory in generating, transmitting and coming to terms with trauma, and the importance of exploring history, and talking about and sharing traumatic events in the process of healing in Joan Fedler’s The Dreamcloth (2005). In the novel, Maya’s memories of her unrequited lesbian relationship with her beloved Rochel, oppression by the traditional structures of her family and Jewish community, her forced marriage with Yankel, and her being raped by him are responsible for her trauma on a personal level, whereas her forced relocation to South Africa in order to flee from the Holocaust is responsible for her trauma on a communal level. Mia, the protagonist and the grand-daughter of Maya, suffers from the transgenerational trauma of her grandmother, is haunted by her ghost, and also symbolically represents the traumatized Jewish community. She cannot relate to her own Jewish South African identity and thus tries to avoid being reminded of her historical background. Mia recovers from her trauma by exploring her history, solving the riddles of the past and sharing the traumatic memories of the past.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114420142","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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