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Tom 2 Numer 1 Volume 2 Issue 1 2020 tom 2 numer 1 volume 2 issue 1 Wydział Polonistyki Uniwersytetu Warszawskiego 2020 tom 2 numer 1 volume 2 issue 1 Horror(y) dzieciństwa i dojrzewania Horror(s) of Childhood and Adolescence Redakcja / Editors Weronika Kostecka (Uniwersytet Warszawski, PL) – redaktor naczelna / editor-in-chief Maciej Skowera (Uniwersytet Warszawski, Biblioteka Publiczna m.st. Warszawy – Biblioteka Główna Województwa Mazowieckiego, PL) – zastępca redaktor naczelnej / managing editor Marta Niewieczerzał (Uniwersytet Warszawski, Biblioteka Publiczna m.st. Warszawy – Biblioteka Główna Województwa Mazowieckiego, PL) – sekretarz redakcji / editorial assistant Karolina Stępień (Uniwersytet Warszawski, Uniwersytet Pedagogiczny w Krakowie, PL) Anita Wincencjusz-Patyna (Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu, PL) Rada redakcyjna / Editorial board Cristina Bacchilega (University of Hawai‘i at Mānoa, US) Susan Deacy (University of Roehampton, UK) Donald Haase (Wayne State University, US) Grzegorz Leszczyński (Uniwersytet Warszawski, PL) Katarzyna Marciniak (Uniwersytet Warszawski, PL) Kimberly J. McFall (Marshall University, US) Dorota Michułka (Uniwersytet Wrocławski, PL) Xavier Mínguez-López (Universitat de València, ES) Melek Ortabasi (Simon Fraser University, CA) Veronica Schanoes (Queens College, City University of New York, US) Violetta Wróblewska (Uniwersytet Mikołaja Kopernika w Toruniu, PL) Krystyna Zabawa (Akademia Ignatianum w Krakowie, PL) Redakcja językowa / Language editors Zespół DLK (PL), Agnieszka Zerka-Rosik (EN) Projekt okładki i skład / Cover design and DTP Grafini DTP Czasopismo finansowane przez Wydział Polonistyki Uniwersytetu Wydawca / Publisher Warszawskiego i afiliowane przy Wydział Polonistyki Uniwersytetu Warszawskiego Wydziale Polonistyki Uniwersytetu Warszawa 2020 Warszawskiego ISSN 2657-9510 Wersja elektroniczna jest referencyjna i publikowana na stronie https://www.journals.polon.uw.edu.pl/index.php/dlk Adres / Address Redakcja czasopisma „Dzieciństwo. Literatura i Kultura” Instytut Literatury Polskiej, Wydział Polonistyki Uniwersytet Warszawski ul. Krakowskie Przedmieście 26/28 00-927 Warszawa e-mail: [email protected] Teksty w czasopiśmie (jeśli nie zaznaczono inaczej) dostępne są na licencji Creative Commons: Uznanie autorstwa 4.0 międzynarodowe (CC BY 4.0). Spis treści / Contents Od redakcji . 6 From the Editors STUDIA / STUDIES Pauline Greenhill, Steven Kohm . .. 11 “Hansel and Gretel” Films: Crimes, Harms, and Children Filmy o Jasiu i Małgosi. Zbrodnie, krzywdy i dzieci Karolina Kostyra . 35 Uwaga, pułapki na dzieci! Topografia nawiedzonego domu w Duchu Stevena Spielberga i Tobe’a Hoopera Beware the Traps for Children! The Topography of the Haunted House in Poltergeist by Steven Spielberg and Tobe Hooper Auba Llompart Pons . 61 Beware the White Rabbit: Tim Burton’s Alice in Wonderland and A. G. Howard’s Splintered as Gothic Cautionary Tales for Young Girls Uwaga na Białego Królika. Alicja w Krainie Czarów Tima Burtona oraz Alyssa i czary A. G. Howard jako gotyckie opowieści ku przestrodze dla dziewcząt Alexander Casey . 78 Surrounded by Spirits: Hauntings of Identity in Waimea Summer by John Dominis Holt W otoczeniu duchów. Nawiedzona tożsamość w powieści Waimea Summer Johna Dominisa Holta Dzieciństwo. Literatura i Kultura 2(1) 2020 3 Spis treści / Contents Katarzyna Mazur-Lejman . 92 Groza doświadczania. Sytuacja graniczna jako obrzęd przejścia w inicjacji dojrzałościowej na przykładzie sztuki dla młodzieży Pacamambo Wajdiego Mouawada The Horror of Experiencing: A Limit Situation as a Rite of Passage in Adolescent Initiation on the Example of Wajdi Mouawad’s Young Adult Play Pacamambo Małgorzata Wójcik-Dudek . 105 Horror i troska. Narracje antropocenu dla dzieci na przykładzie Miasta Złotej Daniela Chmielewskiego i Magdy Rucińskiej Horror and Concern: Anthropocene Narratives for Children on the Example of Miasto Złotej by Daniel Chmielewski and Magda Rucińska Anita Wincencjusz-Patyna . 125 Pierwszy pitawal wegetariański, czyli o ilustracjach Emilii Dziubak do Horroru Madleny Szeligi The First Vegetarian Pitaval – Emilia Dziubak’s Illustrations to Horror by Madlena Szeliga Piotr Prósinowski, Piotr Krzywdziński . 142 W nieznane. Zaświaty i tanatyczne katharsis w serialu animowanym Po drugiej stronie muru Patricka McHale’a Into the Unknown: The Underworld and Thanatic Catharsis in the Animated Series Over the Garden Wall by Patrick McHale VARIA Anna Pekaniec . 170 Jak przerobić baśnie na zaangażowane utopie? Twórczość prozatorska Angeli Carter How to Change Fairy Tales into Utopias? Novels and Stories Written by Angela Carter ARTYKUŁY RECENZYJNE / REVIEW ARTICLES Kamila Kowalczyk . 193 Nieznane losy znanej książki. O ponownym odkrywaniu klasycznego utworu Heinricha Hoffmanna The Unknown Fate of a Well-Known Book: About Rediscovering Heinrich Hoffmann’s Classic Work Dybiec-Gajer, J. (2017). Złota różdżka – od książki dla dzieci po dreszczowiec raczej dla dorosłych. Kraków: Tertium. 4 Dzieciństwo. Literatura i Kultura 2(1) 2020 Spis treści / Contents Ewelina Rąbkowska . 208 Horror przemocy wobec dzieci wczoraj i dziś Horror of Violence Against Children Yesterday and Today Golus, A. (2019). Dzieciństwo w cieniu rózgi. Historia i oblicza przemocy wobec dzieci. Gliwice: Helion. Kendra Reynolds . 217 Fairy Tale Futures: Critical Reflections Baśniowe przyszłości. Krytyczne refleksje Praet, S., & Kérchy, A. (Eds.). (2019). The fairy tale vanguard: Literary self-consciousness in a marvelous genre. Newcastle upon Tyne: Cambridge Scholars. Dzieciństwo. Literatura i Kultura 2(1) 2020 5 Od redakcji https://doi.org/10.32798/dlk.596 ojęcie horroru stosowane jest w literaturoznawstwie i filmoznawstwie P jako kategoria genologiczna. Jako kategoria estetyczna bywa z kolei odno- szone do rozmaitych tekstów kultury: utworów literackich, komiksów, filmów i seriali, ale też spektakli teatralnych czy gier wideo. Anita Has-Tokarz w mo- nografii Horror w literaturze współczesnej i filmie z 2010 roku uznaje tytułowe zjawisko za uczucie przerażenia, które staje się udziałem odbiorcy w wyniku obcowania z danym dziełem. Związki dzieciństwa i dojrzewania z horrorem – pojmowanym we wszystkich wskazanych znaczeniach – można przyporząd- kować do trzech obszarów problemowych. Pierwszy z nich to dziecko w horrorze. Kultura, zwłaszcza popularna, z upodobaniem obsadza postaci dziecięce w roli istot niepokojąco zagad- kowych, mediumicznych, budzących grozę, demonicznych, a nawet opraw- ców – choć i w roli ofiar, jednostek otaczanych szczególną ochroną, obiek- tów zainteresowania rozmaicie postaciowanego zła, jak również bohaterów i bohaterek, którzy jako jedyni potrafią owo zło pokonać. Z przykładów dziś już klasycznych dość przypomnieć nastoletnią Regan z Egzorcysty Williama Friedkina, młodego antychrysta z serii Omen, dziecięce postaci z prozy Ste- phena Kinga – jak Lśnienie, Dzieci kukurydzy, Smętarz dla zwierzaków, To – i ze słynnych ekranizacji tych utworów. Takie figury – dziecięce demony, ale i dziecięcy wybawcy – pojawiły się także w ostatnich latach w wielu fil- mach (np. Ciche miejsce, reż. John Krasinski; Babadook, reż. Jennifer Kent; Dziedzictwo. Hereditary, reż. Ari Aster), serialach (jak American Horror Story Ryana Murphy’ego i Brada Falchuka; Stranger Things braci Dufferów; Nawiedzony dom na wzgórzu Mike’a Flanagana, luźno oparty na powieści Shirley Jackson), grach wideo (np. dylogia The Last of Us studia Naughty Dog; seria Americana McGee o Alicji), wreszcie – w literaturze (jak powieść Nie otwieraj oczu Josha Malermana). Warto też wspomnieć o ujęciach in- nych niż ang losaskie: o dziecku grozy, jakie prezentują klasyki japońskie- go horroru (np. The Ring. Krąg oraz Dark Water, reż. Hideo Nakata; Klątwa Ju-on, reż. Takashi Shimizu); o iberyjskich i iberoamerykańskich reprezen- tacjach powiązanych z folklorem, podaniami wierzeniowymi, baśniowością (jak Labirynt fauna, reż. Guillermo del Toro; Sierociniec, reż. J. A. Bayona); 6 Dzieciństwo. Literatura i Kultura 2(1) 2020, 6–9 Od redakcji o okrutnych dzieciach z dzieł niemieckich i austriackich (np. Widzę, widzę, reż. Veronika Franz i Severin Fiala). Drugi obszar problemowy można by określić hasłem: horror dla dzieci i młodzieży. W ostatnich kilkunastu latach mamy do czynienia z renesansem literatury grozy dla młodych odbiorców. Literackie korzenie tego typu utwo- rów sięgają tradycji XIX-wiecznej i, inter alia, tzw. pedagogiki strachu, ale też baśni braci Grimmów i Hansa Christiana Andersena, a w XX wieku klasyczne anglojęzyczne przykłady wyszły spod piór m.in. Johna Bellairsa (serie o Lewi- sie Barnavelcie i Johnnym Dixonie) i Zilphy Keatley Snyder (np. Kupidyn bez głowy). Dziś zaś wielu twórców eksponuje zarówno ludyczny, jak i refleksyjny wymiar grozy – to np. Lemony Snicket, czyli Daniel Handler (Seria niefortun- nych zdarzeń), Ian Ogilvy (cykl o Lichotku Stubbsie), Chris Priestley (Opowieści grozy wuja Mortimera), Ransom Riggs (wieloksiąg o pani Peregrine i jej pod- opiecznych) czy Neil Gaiman (Koralina, Księga cmentarna), a w Polsce Marcin Szczygielski (np. Czarny młyn, Za niebieskimi drzwiami), Grzegorz Gortat (m.in. Ewelina i Czarny Ptak, Nie budź mnie jeszcze) i Katarzyna Ryrych (np. Siódma piszczałka, Maneki-neko). Dostępnych jest także wiele książek obrazkowych wpisujących się w horrorystyczny nurt literatury dziecięcej, np. te z serii Skrzyn- ka potworów Enrica Llucha czy też Wilki w ścianach Gaimana i Dave’a McKeana. Wreszcie, dzieciństwo i dojrzewanie jako horror wyznaczają trzecie – najbardziej złożone – zagadnienie. Tego typu wątki i motywy
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