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            <title><![CDATA[New stories from the Mabinogion and Pedeir Keinc y Mabinogi: Texts, Narratives and Tradition1]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2023-0002</link>
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            <pubDate>Fri, 10 Nov 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper aims to explore the migration of narrative elements from four medieval Welsh tales known as the Four Branches of the Mabinogi into four recent Englishlanguage novels which are part of Welsh publisher Seren’s series New Stories from the Mabinogion. Russel Celyn Jones’s The Ninth Wave, Owen Sheers’s White Ravens, Lloyd Jones’s See How They Run, and Gwyneth Lewis’s The Meat Tree bear an explicit textual relationship to the Four Branches of the Mabinogi, a textual whole of unknown authorship. This affords an opportunity to examine the workings of what constitutes a textual tradition, both diachronically and synchronically. The article relies on Dutch cultural theorist Mieke Bal’s structuralist theory of narrative, on Welsh philologist Sioned Davies’s analyses of the medieval tales, and on Slovak literary scholar Anton Popovič’s view of tradition in terms of prototexts and metatexts. The methodology chosen consists of identifying textual variables and invariables in order to capture possible ways of examining relationships between related texts of different periods and languages within a corpus of linguistically encoded messages of a geographically defined community.]]></description>
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            <title><![CDATA[Arguments and Counterarguments for and against Coffee in 17th-Century English Literature]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2023-0001</link>
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            <pubDate>Fri, 10 Nov 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[Coffee was a foreign product in Britain, only introduced during the Post-Medieval period. The introduction was not smooth as it was viewed as a drink from the Moors or the Turks. Two groups emerged – one favouring coffee and one deriding it – and the conflicts were depicted in books, pamphlets, and leaflets of that era. Coffee faced opposition from other beverage sellers as it became a threat to their existing businesses. During its initial days, there was even a call for a baptism of the drink to wash out its “Satanic influence”. Coffee, seen as a medicine in its earlier days in Britain, became an essential part of everyday life in the late 17th century. Coffee houses became a place for public gatherings where social, political, and business discussions took place. This paper will explore the discussions and debates revolving around coffee in 17th-Century English Literature.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[The Loss of the Real in Kazuo Ishiguro’s Never Let Me Go, Klara and the Sun and Nocturnes]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2023-0003</link>
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            <pubDate>Fri, 10 Nov 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper addresses the issue of the loss of the real in the fiction of Kazuo Ishiguro as a contemporary author whose thought line is still in progress. His approach to this issue is anti-capitalist as he questions the so-called scientific advancement led by cash-oriented capitalists and industrialists. His writing seeks to strip the veil of the murderous nature of this kind of science. He blames it for killing the real and creating a world of simulations. He animadverts upon dystopian spaces where he holds postmodern scientific knowledge responsible for the digression of the natural course of life and lays bare the secrets behind the replacement of the real with the simulated by drawing attention to such debatable topics as human cloning, cosmetic surgeries and artificial intelligence. In terms of methodology of analysis, this paper is primarily based on a close examination of the author’s literary texts: two novels (Never Let Me Go and Klara and the Sun) and three short stories from Nocturnes (“Malvern Hills”, “Nocturne” and “Crooner”). Postmodernist concepts have been of great relevance to the analysis of these texts, for his fiction could not be approached in isolation from the realities of the postmodern era where it’s produced. Equally, bearing in mind the author’s socio-ethnic and historical background, the society where he lives and the politico-cultural transformations of the world aTher the Second World War plays an important role in the analysis of his texts.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[The Passive across Two Registers of Present-Day British English: A Corpus-Based Lexico-Grammatical Perspective]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2023-0005</link>
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            <pubDate>Fri, 10 Nov 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper explores the use of the passive in present-day British English, focusing on its register-specific lexico-grammatical patterns. The interaction of the grammatical structure, lexis, phraseology and register is examined on the basis of two sub-corpora of the British National Corpus 2014 – academic prose and informal conversation. The results have corroborated the findings of previous studies in that the pattern ‘BE / GET V-ed’ is populated by verbal participial forms which create a cline with departicipial adjectives. The communicative needs of registers have been shown to have a decisive impact on the frequency of passive patterns and the specific lexical choices associated with the patterns. In both registers, the ‘BE / GET V-ed’ patterns appear to constitute the core of larger fixed phraseological units, e.g., can’t be bothered to/with, or it should be noted that.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Stimulating the Law through Ubuntu and Nagomi in Three Japanese Short Stories]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2023-0004</link>
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            <pubDate>Fri, 10 Nov 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[Critical engagement with and intersections of Japanese and African literatures are burgeoning. In pre-colonial African society, a lawful action was that action that took into consideration the common good expressed in the spirit of Ubuntu. Interestingly, Japanese literature and African literature share this universal character in common. Ubuntu intersects with the Japanese philosophy of Nagomi which emphasises harmony and balance thereby creating a nexus of transcultural hybridity. This paper examines Ubuntu and Nagomi as transcultural motifs in stories by Akutagawa Ryunosuke, Nagai Kafu, and Uno Koji in Akutagawa and Others: Three Japanese Short Stories to highlight ideological and law-oriented similarities. Carl Jung’s Persona-Archetype is privileged in this study because it accounts for the recurring images of Ubuntu and Nagomi in the public life of the characters. These cultural images help them to mitigate defiant conducts which violate the fundamental human rights and life purpose of other characters. In Nagai Kafu’s “Behind the Prison”, the motif of physical and psychological imprisonment is eye-catching as the narrator writes His Excellency expressing his frustration at the awful state of things in his Japanese society. Uno Koji’s “Closet LLB” interrogates the imperatives of choice and identity while Akutagawa Ryunosuke’s “General Kim” is a story based on the history of Japan and its neighbour, Korea. In the stories, the protagonists and other characters act heroically in ways that evince the tenets of Ubuntu and Nagomi. Their heroic actions allay the fears of their vulnerable compatriots and protect their fundamental human rights.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Book Review: Ladislav Vít The Landscapes of W.H. Auden’s Interwar Poetry: Roots and Routes (New York and London: Routledge, 2022). 143 pp]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0010</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Laughing with Beckett in Waiting for Godot and Endgame]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0005</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper examines the use of laughter as redemption in Samuel Beckett’s Waiting for Godot and Endgame. By acknowledging the somatic life of characters, Beckett’s humour problematises un-embodied philosophies of life. Challenging Hugh Kenner’s claim that Beckett’s humour is not redemptive because of the dryness and repetitions involved, it is argued that the foregrounding of fragility and vulnerability is a way of expressing deeply humane laughter in Waiting for Godot and Endgame. While highlighting that the dialectic of lack and excess is one source of Beckettian laughter, the main thrust of the argument emphasises the possibility of transcendence in a comic situation. The play of lack and excess, rather than suspending transcendental redemption, presents the human condition in its existential mundane realities. Accordingly, visceral and repetitive laughter are discussed in the two plays to bring to the fore the ironic and redemptive aspect of the comic, especially in the scenes where some sort of existential humour is implied.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Materialisation of “torrential languages” within the Avant-Garde: Mina Loy, James Joyce, and Aesthetic Modernism]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0004</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[Modernist literature was obsessed with a metaphysical problem regarding the word. A series of formal and material experiments started to address the word’s self-referentiality and aesthetic autonomy, against the backdrop of a new sociocultural milieu in the early twentieth century. To discover how this materialisation of language explored the interplay of literary and artistic modernisms, this paper will critically scrutinise Mina Loy’s and James Joyce’s radical reforms of writing and try to answer the following questions: how did Loy’s multifarious artisthood and poem-writing exchange, interact with, and reinforce each other? As both were closely associated with avant-garde art movements between Europe and America, how did Joyce influence Loy’s refashioning of “torrential languages” (LoLB 88) as a creative model of linguistic experimentation? How did their visual aesthetics and experimental poetics help to declare the independence of language and the shape of aesthetic modernism in a new historical epoch?]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Naomi Alderman’s The Power: A Speculative Feminist Dystopian Fiction Mirroring the Here and Now]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0008</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[Speculative fiction, containing speculative elements based on supposition and imagination, changes the dynamics of what is real or possible as we perceive them in our current world and then surmises the likely consequences. Litterateurs have employed speculative fiction as a means of suggesting the latent possibilities and promises for our immediate reality which are not yet enacted or materialised. Accordingly, female writers of feminist speculative fiction, particularly from the 1970s onwards, have used this genre as an effective tool both to expose and to interrogate the oppressive status quo and the normative ethos of the conventional power relation between the sexes prevailing at present. In keeping with this, Naomi Alderman, in her Bailey’s Women’s Prize for Fiction 2017 winning novel The Power, strategically flips the current power structure between the sexes on its head by investing the women, primarily adolescent girls, with the unforeseen yet inherent power of electrocuting men which ultimately results in a Cataclysm initiating a new world order ruled and dominated by empowered women some time in the future. This paper aims at exploring how Alderman, a staunch feminist, purposefully demonstrates in The Power that her novel’s fictional dystopia, though macabre and gruesome, is, in essence, a fairly accurate representation as well as a critique of the hierarchical gender relationship as it is prevalent in our present reality.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“Her tears fell with the dews at even”: The Ekphrastic and Intertextual Dialogue between Victorian Poetry and Pre-Raphaelite Painting]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0002</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper seeks to carry out an analysis of the ekphrastic and intertextual dialogue in the character of Mariana in both Alfred Lord Tennyson’s homonymous poem and its subsequent pictorial representation in a painting by John Everett Millais. The character of Mariana is taken from Shakespeare’s comedy, Measure for Measure, which was published in the First Folio in 1623. By contrast, in 1832, Lord Tennyson introduces the character in his homonymous poem, “Mariana”, as a woman who continuously laments her lack of connection to society. Through interfigurality, Tennyson opts to present her as a “tragic” heroine and she is depicted from a pessimistic perspective. The process of interfigurality entails a conversion stage of reverse ekphrasis through which Shakespeare’s source text is turned into another text, Tennyson’s poem. This interaction between both texts is later turned into two visual expressions. In doing so, both texts are later transferred into John Everett Millais’s painting. Millais’s intertextual dialogue with Tennyson’s poem and Shakespeare’s play involves a process of reverse ekphrasis. Taking this approach, this paper will analyse the ekphrastic and intertextual dialogue between the poem “Mariana” and its visual representation in Millais’s artistic manifestations.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Commodified Happiness: The Only Established Source of Meaning in Oscar Wilde’s The Happy Prince and The Nightingale and the Rose]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0003</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[Oscar Wilde’s fairy tales are not as well-recognised as his novel or his dramatic works. This paper circles around two of his tales, The Happy Prince and The Nightingale and the Rose. Through a postmodernist outlook, this study postulates the vigorous diatribe of Wilde against the consumer culture which was dominant within Victorian society. Wilde asserts that the Victorian mind-set claims that happiness is attainable through accumulating signs of affluence and he ironically mocks this notion of happiness which is entitled to commodified objects. To him, happiness is defined through a strict sense of Christian morality and Christ-like love and kindness. His aesthetic views are entangled with morality and he fails to celebrate art for art’s sake. Moreover, this study asserts that Wilde is aware of the dominant language games, and his application of the technical language game for the Prince, the Nightingale, and the Swallow is in debt to his monolithic morality or his opportunistic character. At last, Wilde refuses to celebrate beauty if morality is absent and in this way, his aesthetic concerns become rather contradictory.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Nathaniel Hawthorne’s Ecophilosophy in “Rappaccini’s Daughter”]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0001</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper examines Nathaniel Hawthorne’s ecophilosophy in “Rappaccini’s Daughter” by focusing on his various representations of the natural environment and the human relationship to it. It suggests that the story reflects his belief that nature is divinely arranged and that humanity should protect rather than manipulate its systems. From his perspective, the disruption of natural systems would not only cause the extinction of many animal species but also endanger human life and existence on earth. The paper further suggests that Hawthorne promotes a view of nature as a living organism whose entities possess souls and spirits. Their capacity to have feelings and emotions makes them entitled to moral respect and consideration. In its study of the author’s environmental values and ethics, the essay claims that Hawthorne advocates the idea that human beings do not occupy a privileged position in the universe and that they are not superior or more important than nonhumans. In contrast to the Biblical vision of humankind, he portrays humans as weak and flawed creatures that cannot attain divine perfection. For these reasons, the paper asserts that “Rappaccini’s Daughter” exhibits Hawthorne’s deep ecological awareness and underlines his stature as a pioneer of American literary environmentalism.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Existential Dualism and Absurdity: Modernist Theatricality in Wole Soyinka’s Death and the King’s Horseman and Samuel Beckett’s Endgame]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0007</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[Wole Soyinka and Samuel Beckett apparently occupy distinct places in the literary space, in all ramifications. Specifically, while the former’s dramaturgy is definable within the context of the traditional convention of playwriting, otherwise known as well-made plays, the latter is inherently non-conformist in this regard. Hence, the effort in this paper was to locate a nexus in their writings, using two of their plays, Death and the King’s Horseman and Endgame, respectively. Theatre of the Absurd, as an offshoot of existentialism, provided the ground for the critical intersection of philosophical and ideological geometry of the two plays. The critical paradigm essentially relied on the interconnectivity of absurdist writings and existentialist thoughts, as the holistic context which fundamentally defines modernism, to assess what is conceived as modernist theatricality in the two plays. Building on the modernists’ interrogation of man’s existence and essence in the world in which existential meaning is presumably lost, the paper concluded that the two texts are largely intoned with modernist thoughts, regardless of their formal or structural distinction. It arrived at this by placing particular emphasis on the playwrights’ attempts, in these works, at demanding a more spontaneous response to the question of the essence of the individual and his/her place in the universe in which meaning in existence, in the modernist sense, is believed to have been lost.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[The “bull goose looney” as a Totem Guide for Chief’s Writing Himself to Freedom]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0006</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper examines the institutionalisation of psychiatric treatment in Ken Kesey’s One Flew Over the Cuckoo’s Nest. Taking up the work of Michel Foucault, the paper examines how those suffering from mental illness were classified as disruptive and unfit for society, subsequently labelled mad and institutionalised in facilities more akin to semi-judicial structures than medical facilities. McMurphy, having manipulated a transfer for himself from a state work farm to what he perceives will be the less rigorous confines of a mental institution, epitomises the disruptive presence of the madmen, bringing a world of disorder and chaos to the staff and patients of the mental ward. Self-proclaimed as the head “bull goose looney”, McMurphy reflects the counter-culture movements of the 1960s in the United States in his rejection of the rules and regulations imposed upon him by what amounts to a totalitarian system of control. A wild indomitable force of nature, McMurphy becomes a totem for Chief and the other patients, an embodiment of the human spirit the patients have forfeited inside the institutional system.]]></description>
            <category>ARTICLE</category>
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            <title><![CDATA[The Mitford Voice: A Diachronic Inquiry into the “Upper-Crust” Accent of the Mitford Sisters]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2022-0009</link>
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            <pubDate>Tue, 13 Sep 2022 00:00:00 GMT</pubDate>
            <description><![CDATA[The present paper sets out to investigate whether the conservative or upper RP accent of selected elderly speakers, namely three of the Mitford sisters, all members of the English aristocracy, manifests change or diachronic stability and uniformity over time. The typical conservative RP features looked for were: the LOT-CLOTH split, absence of the CURE-FORCE merger, SQUARE vowel realised as diphthong /εə/, SMOOTHING, KIT vowel in unstressed ending syllables and TRAP vowel realised as /æ/ instead of /a/. The procedure of the study consisted in the identification of the presence or absence of these specific features in the speech of three selected speakers in recordings made over, at least, a 15-year time span. The individuals studied were: Lady Mosley (née Diana Freeman-Mitford), Jessica Lucy Freeman-Mitford and Deborah Cavendish, Duchess of Devonshire (née Deborah Vivien Freeman-Mitford). The results of these comparisons suggest that elderly upper RP speakers are not highly influenced by changes in pronunciation taking place around them and mostly maintain the preferred pronunciation of their youth. In some cases, however, a general uncertainty amongst speakers of the accent, here detected in the presence of the CURE-FORCE merger, does affect the speech of individuals over the course of time.]]></description>
            <category>ARTICLE</category>
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            <title><![CDATA[Rychter, Ewa, 2021. “Passing a looped and knotted string between their hands”. The Bible, the Women’s Liberation Movement and Women’s Bonds in Michèle Roberts’s The Wild Girl. Prague Journal of English Studies, Volume 10, Number 1, pages 23-41. doi: 10.2478/pjes-2021-0002]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2021-0008</link>
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            <pubDate>Mon, 02 May 2022 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Discourse, Cultural Capital and Power Relations in Julian Barnes’s The Sense of an Ending]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2021-0006</link>
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            <pubDate>Tue, 05 Oct 2021 00:00:00 GMT</pubDate>
            <description><![CDATA[The objective of this paper is to examine in which way the use of the oral and written discourse in Julian Barnes’s novel The Sense of an Ending (2011) reflects, on the one hand, a social hierarchy based on classificatory cultural, intellectual, and educational competencies and resources and, on the other, dominance strategies and power relations developed among the principal actors. It will be investigated how trivial discussions and letters exchanged between friends are deployed in order to sustain or eliminate control over the other(s) and indicate status positions. The proposed methodological framework of analysis is founded on Bourdieu’s approach to cultural capital, according to which cultural preferences are markers of social stratification, while highbrow aesthetic judgment is both a means to, and a stake in, upward social mobility. Foucault’s theory of a “decentralised” and ubiquitous power, dispersed at all levels and defined as an action directed to other people’s actions, will also be applied.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[“Passing a looped and knotted string between their hands”. The Bible, the Women’s Liberation Movement and Women’s Bonds in Michèle Roberts’s The Wild Girl]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2021-0002</link>
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            <pubDate>Tue, 05 Oct 2021 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper claims that through a feminist rewriting of the Bible, Michèle Roberts’s novel The Wild Girl (1984) articulates the ambivalences and insecurities that emerged in the British Women’s Liberation movement after its initial period of great energy, hopefulness and enthusiasm of the 1970s. By rewriting the biblical insistence on female rivalry and competition, and revising biblical “gynotypes” and “fragmented women”, the novel not only exposes the patriarchal discourses of the Bible, but also critically revisits the WLM’s utopian visions of unity, and re-imagines the ways in which women can cooperate while preserving their differences. When juxtaposed with more recent women’s rewritings, often driven by (and catering to) market economy and consumer culture, Roberts’s novel is a useful remainder of the still consequential need to “look back in order to move forward” (Plate 406). The novel’s small-scale, grass-roots level sisterhood, never altogether free from tensions, is a quietly optimistic vision of women’s bonds, a “secret gospel” proclaiming the good news about the precarious and changeable relationship among women, and about the need of its incessant reworking.]]></description>
            <category>ARTICLE</category>
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            <title><![CDATA[Peter Ackroyd’s Distorted Psychogeography]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2021-0004</link>
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            <pubDate>Tue, 05 Oct 2021 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper focuses on Peter Ackroyd’s unique type of psychogeographical writing. Therefore, apart from an overall elaboration on his works about London, it addresses his historiographic metafictional novels Hawksmoor (1985) and The House of Doctor Dee (1993). These esoteric novels provide insight into Ackroyd’s writing about the city in different time periods and make it possible to delve deeper into what this paper argues is his distinctive manner of implementing the notions of psychogeography. At the same time, it draws parallels from classical and contemporary psychogeography where appropriate and highlight his utilisation of it. The main aim of this paper is to reveal the ways in which Peter Ackroyd uses walking in the city to reflect its manipulative power over his characters which results in the transformation of their identities.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Strategies of Cognitive Estrangement in Kim Stanley Robinson’s New York 2140]]></title>
            <link>https://reference-global.com/article/10.2478/pjes-2021-0007</link>
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            <pubDate>Tue, 05 Oct 2021 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper seeks to analyse the strategies of cognitive estrangement employed by the science fiction writer and literary scholar Kim Stanley Robinson in his New York 2140 (2017). I argue that the novel was written as a call to action to mitigate the effects of climate change, and rather than being merely a description of a particular vision of the future, provides a comment on the current ecological crisis, mechanisms of history, and human agency. Robinson’s unusual position at the intersection of the field of literary production and literature studies allowed him to apply the ideas developed for the analysis of the genre of science fiction in his creative work. The three main thematic areas in the novel are ecology, politics, and history. In each of these, allusions to the present, the past, and literary tradition, characterisation, and narrative structure are used as a means to convey the author’s message and sensitise the reader to issues connected with ecology and social justice, painting a realistic, yet hopeful vision where human civilisation carries on despite the consequences of global warming.]]></description>
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