http://hdl.handle.net/11089/53961 Sat, 04 Apr 2026 17:43:45 GMT 2026-04-04T17:43:45Z http://hdl.handle.net/11089/53988 International Language Poetry: Radical Poetics in Charles Bernstein and Andrzej Sosnowski Cieślak-Sokołowski, Tomasz The article discusses two linguistic poetry projects—that of the American poet Charles Bernstein and that of the Polish poet Andrzej Sosnowski. The main focus is on those poems by both poets which draw inspiration from the early modernist tradition of avant-garde and experimental literature. At the same time, the keystone of both works reveals itself to be—in reference to Ezra Pound’s poetic project—the belief that a poem is not so much a record of the poet’s experiences and emotions, but rather a distinct field capable of effectively assimilating and absorbing various elements (such as vocabularies, language styles, discourses). In this light, when closely examined, Bernstein’s and Sosnowski’s poems emerge as a late-modern attempt to contain the oversimplified, ideologized images of contemporary reality within an effectively polyphonic poetic text. This is because the author attempts to demonstrate that a difficult poem, employing avant-garde techniques, does not have to be merely a sterile formalist exercise. Instead, innovative poetic practices continue to have an important role, particularly if we shift our focus from political and journalistic declarations to the politicization of form. Poetry that still seeks stylistic and formal innovations can suggest alternative approaches to readers regarding the oversimplified methods of shaping social formations. Thu, 28 Nov 2024 00:00:00 GMT http://hdl.handle.net/11089/53988 2024-11-28T00:00:00Z http://hdl.handle.net/11089/53987 The Disnarrated and Denarrated in Eugene O’Neill’s The Iceman Cometh Pirnajmuddin, Hossein; Mousavi, Maryamossadat Drawing on the notions of “disnarration” (telling what did/does not occur) and “denarration” (cancelling or negating what has occurred) as theorized by, respectively, Gerald Prince and Brian Richardson, this paper examines the narrative structure of Eugene O’Neill’s The Iceman Cometh (1939). We focus on textual details to explain how the disnarrated and the denarrated in O’Neill’s play are mostly manipulated as narrative as well as thematic devices to mark the consoling and soothing illusions of the “pipe dreams” which give meaning to the lives of the bar’s regulars. Central to our analysis is how the self-deluded tavern loafers, of whom Hickey is a paragon, resort to a whole spectrum of narrative negations because to them truth is too painful to bear. We argue that the use of disnarration and denarration by Hickey and the other characters in the play helps to create an all-protective world of non-being furnished with an illusion of safety and a false sense of contentment masking feelings of fragility and meaninglessness. These narrative features are central, whether we take Hickey to be a character who is genuinely suffering from mental illness or a cunning criminal who has killed his wife in cold blood. Thu, 28 Nov 2024 00:00:00 GMT http://hdl.handle.net/11089/53987 2024-11-28T00:00:00Z http://hdl.handle.net/11089/53986 Unearthly Nature: The Strangeness of Arbospaces in Thomas Hardy’s The Woodlanders Pigoń, Zofia Commonly acknowledged as one of Thomas Hardy’s most environmentally-conscious literary accomplishments, The Woodlanders (1887) provides fertile ground for a stimulating and topical ecocritical debate. The intricate correlation between the natural and the human—indicated by the very title—undergirds the structure of the text and creates unique narrative collisions while simultaneously propelling the development of the plot. The multiple references to the sphere of the paranormal—realized in the passages pertaining to local lore and, most significantly, in the descriptions of the setting—reflect the conflation of superstition and uncanniness, which adds otherworldly overtones to the novel. The article analyzes these qualities insofar as they shape the portrayed landscape—specifically, the woodscape—as a realm whose essence continually balances between the fantastical and the real. It also examines how the natural and human elements are reciprocally subsumed by means of anthropomorphic language and how this occurrence can be interpreted through the lens of intertextuality. By focusing on these rather antithetical concepts, I wish to demonstrate how the boundaries between them are elided, thus preserving an aura of ambivalence that pervades the novel. Thu, 28 Nov 2024 00:00:00 GMT http://hdl.handle.net/11089/53986 2024-11-28T00:00:00Z http://hdl.handle.net/11089/53983 A Study of Transgressed Boundaries in The Gate to Women’s Country by Sheri S. Tepper Wiśniewska, Ewa This paper endeavours to delineate the gender dynamics and ethical quandaries arising from the repercussions of war and the decisions undertaken to preserve societal norms, as depicted in the 1988 science-fiction novel entitled The Gate to Women’s Country, written by American author Sheri S. Tepper. Serving as a critique, the narrative provides insight into inquiries surrounding the supposed genetic determinants of violence. It interrogates established paradigms pertaining to gender, introducing a society meticulously crafted through scientific design. Thu, 28 Nov 2024 00:00:00 GMT http://hdl.handle.net/11089/53983 2024-11-28T00:00:00Z