Studia Anglica Posnaniensia

Journal Information
ISSN / EISSN : 0081-6272 / 2082-5102
Published by: Walter de Gruyter GmbH (10.2478)
Total articles ≅ 279
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Jacek Olesiejko
Studia Anglica Posnaniensia, Volume 57, pp 5-32;

The present article offers a critical reading of the Old English Exodus, a poem that is an Old English versified adaptation of an episode from the biblical story of Exodus that narrates Israelites’ passage across the Red Sea and the destruction of Pharaoh’s army. The aim of this article is to analyse the poem’s urban and exilic imagery that strongly relies on the metaphorical representation of the Israelites as a city, as they are actually in exile and on the way to Canaan, and of the metaphorical representation of the walls of the Red Sea as the walls of a hall that is destroyed along with the Egyptian army. The argument of the present article is that in Exodus the poet uses the imagery of a hall and exile, derived from heroic and secular verse, as a hermeneutic key to read the biblical exodus typologically, tropologically, and anagogically. The metaphor of the key that opens the Scripture, which the poet uses in Exodus, encourages the reader to unveil the hidden meaning of the narrative. The poet inverts the conventional imagery of the hall and exile in the poem to emphasise narrative moments that require the reader to explore the letter of the poem for additional layers or signification.
Studia Anglica Posnaniensia, Volume 56, pp 251-274;

In Tom Perrotta’s novel, The Leftovers (2011), and the TV series (2014–2017) based on the novel, 2% (140 million) of the world’s population vanish into thin air. The event constitutes a temporal rift that divides history into Before and After and inaugurates a new mode of temporality, marked by a break with a clock-time-based economy and a yearning for the ultimate end. This new mode of temporality is accompanied by the shattering of the individual sense of being-in-time. The essay focuses on the altered experience of time both on individual and collective levels, a condition that constitutes a kind of post-apocalyptic stress disorder. The characters’ reactions to the traumatic experience demonstrate that the inexplicability of the apocalyptic event and duration without closure are psychologically intolerable. As closure is impossible, they cannot work through the trauma, remaining trapped in the past event and the present anticipation of the ultimate annihilation while the future horizon becomes obliterated.
Studia Anglica Posnaniensia, Volume 56, pp 181-207;

Scant attention has been paid by critics to the formulaic diction that pervades the Gothic genre. This article continues an extended experiment aiming to analyse formulaicity in one of the less-known Gothic novels. Peter Teuthold’s 1794 The Necromancer exhibits massive co-occurrence: textual units (lexemes, sounds, and both phrase and clause formations) regularly gravitate around other textual units, effectively clustering into fields. A field is defined as an open paradigm of items related by functional equivalence; the novel handles its components not as independent units but only in accordance with a ‘fielding’ principle, that is, only as paradigmatic elements which can be exchanged for or combined with other elements. Previous work has established a distinction between the formula properly so called and the formulaic pattern, defined as a construct that attracts lexical, phonological, syntactic, and connotative fields into its orbit. The article argues that ‘fielding’ operates on at least one ‘higher’ level, the level where formulaic patterns combine to shape a charged moment in the narrative – a tableau. After selecting a fragment of text and illustrating the structure of a single formulaic pattern, the article isolates each phrase or clause segment in the fragment, outlines the pattern it belongs in, and shows that over seventy-five per cent of its textual matter is demonstrably formulaic. Analysis of several other excerpts suggests that formulaic density is not homogeneous but decreases or rises at different points in the novel. A rationale for high-density segments is then sought in the ritualising nature of the tableau itself.
Studia Anglica Posnaniensia, Volume 56, pp 5-38;

The theme of the article is a research into the issue of translation of children’s speech. The analysis will be conducted based on three excerpts from a novel – Portofino – written by a contemporary American writer Frank Schaeffer and translated into Polish by the author of the article, early in her career as a translator. First, the results of text typology investigation by Anna Trosborg (1997b), Paul Kussmaul (1995, 1997) and Christiane Nord (2018) regarding cognitive structuring, text structures, and general style conventions will be highlighted. Then the outcomes of the translation process research (TPR) on cohesive aspects and structuring by Michael Carl, Srinivas Bangalore & Moritz Schaeffer (2016) will be summarised. This will be followed by the discussion of findings of Paul Thompson & Alison Sealey (2007), Gillian Lathey (2011), and Anna Čermáková (2018) regarding the issue of repetition and the aspects of point of view. Subsequently, the notion of style in a work of fiction will be introduced and followed by the description of stylistic and linguistic means used to achieve it. This will include the discussion of speech and thought presentation (STP) scales proposed first by Geoffrey Leech & Mick Short (2007) and then developed by Mick Short in cooperation with Elena Semino (2004). Next, the stylistic features of children’s speech and its linguistic exponents will be outlined. The translation analysis will focus on stylistic and linguistic devices used by the author to imitate children’s speech in the source text and their rendering by the translator in the target text. The achieved effect and translation equivalence will be evaluated, possible reasons behind any loss in meaning will become identified and some final recommendations for translators will get defined.
Anna Rogos-Hebda
Studia Anglica Posnaniensia, Volume 56, pp 749-753;

Dominika Buchowska
Studia Anglica Posnaniensia, Volume 56, pp 735-748;

Studia Anglica Posnaniensia, Volume 56, pp 235-248;

This article examines two brief travelogues by the American writer and visual artist Joe Brainard (1942–1994) as formally unique fusions of the travel journal and literary collage, in which the experience of travel becomes a catalyst for introspection. “Wednesday, July 7th, 1971 (A Greyhound Bus Trip)” is a record of a bus journey that Brainard made in the summer of 1971, from the Port Authority Bus Terminal in New York City to Montpelier, Vermont, while “Washington D.C. Journal 1972” is a diary of a three-day car trip to the capital, taken with Brainard’s oldest friend (and future biographer), the New York School poet Ron Padgett and his wife and son. In both texts, a description of the particulars of the trip is combined with meditation about the author’s life and career. After introducing the structure of the travelogues, the article demonstrates their formal indebtedness to literary collage, which relies on fragmentation, heterogeneity, parataxis, and the use of appropriated content. What follows is an analysis of the texts’ oscillation between an account of external stimuli and a record of Brainard’s train of thought. It is argued that, gradually, the inward journey becomes more important than the outward, leading the author towards pushing the boundaries of his candour (in “Wednesday”) and towards an artistic self-assessment (in “Washington”). The article interprets those works as a manifestation of twentieth-century travel writing’s turn towards self-reflectiveness and concludes by considering the relationship between fragmentary, collage-like form and introspective content in the texts at hand, as well as in Brainard’s entire artistic output.
Undefined Pawelczyk
Studia Anglica Posnaniensia, Volume 56, pp 551-557;

A quasi-idiomatic expression ‘women have to prove themselves’ reflects various performance pressures and heightened visibility of women functioning in gendered professional spaces as advocated by tokenism theory. It is an example of how discriminatory practice – according to which competent and qualified women entering the culturally masculine professions are explicitly and implicitly expected to work harder for any recognition – gets discoursed in language and becomes a “rhetorically powerful form of talk” (Kitzinger 2000: 124). This paper explores the question: what is it that U.S. servicewomen functioning in the culturally hypermasculine space need to do to prove themselves? To this end, qualitative semi-structured interviews with women veterans of the recent Iraq and Afghanistan conflicts are qualitatively scrutinized with the methods of discourse analysis and conversation analysis to 1) identify practices that U.S. servicewomen engage in to symbolically (re-)claim their place and status in the military, i.e., to prove they belong; 2) find out how the talk around proving emerged in the course of the conversation and how it was further interactionally sustained and/or dealt with in talk-in-interaction. The findings of the micro-level analysis – interpreted through the lenses of tokenism and the category of the ‘honorary man’ – reveal women’s complex and nuanced struggle to fit and find acceptance in the military culture of hypermasculinity. They also re-engage with the ideas of tokenism by demonstrating that various acts of proving, reflecting women’s token status, may concurrently and paradoxically be a means to earn honorary man status.
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