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Uniwersytet Warszawski Wydział Neofilologii ACTA PHILOLOGICA 45 Warszawa 2014 Komisja Wydawnicza Wydziału Neofilologii Uniwersytetu Warszawskiego: prof. dr hab. Barbara Kowalik (przewodnicząca) dr Anna Ciepielewska-Janoschka dr Anna Górajek prof. dr hab. Jacek Perlin dr Anna Pochmara dr Magdalena Roguska dr Joanna Żurowska Redaktorzy tomu: prof. dr hab. Barbara Kowalik dr Anna Pochmara Strona internetowa: http://www.acta.neofilologia.uw.edu.pl ISSN 0065–1524 © Wydział Neofilologii Uniwersytetu Warszawskiego Wydanie I, nakład: 150 egz. Łamanie: Bartosz Mierzyński Dystrybucja: CHZ Ars Polona S.A. ul. Obrońców 25 03-933 Warszawa tel. 22 509 86 43, fax 22 509 86 40 Druk i oprawa: Sowa – Druk na życzenie www.sowadruk.pl tel. 22 431 81 40 Spis treści 3 Spis treści Barry Keane Shades of Arthur: The Irish Legend of Conaire ................................... 7 Daniel Kaczyński The Influence of Dramatic Conventions on the Audience’s Perception of the Fictional Time in William Shakespeare’s The Comedy of Errors .................... 15 Olga Elsbach Divine Presence in George Herbert’s “The Sacrifice” ............................. 22 Magdalena Pypeć Literature and Science in the Nineteenth Century: The Case of Tennyson’s The Princess .................................................................. 29 Małgorzata Hołdys She “felt no fear at all”? The Virgin Mary and the Feminist Voice in Dante Gabriel Rossetti’s The Girlhood of Mary Virgin and Ecce Ancilla Domini! .......... 36 Lucyna Krawczyk-Żywko The Case of Neo-Victorian Demotions: Colonel Sebastian Moran on Screen ....... 43 Julia Fiedorczuk Radical East? Some Notes on Pound’s “Ignorant” Translations from the Chinese ... 50 Marcin Sroczyński Marriage as Hell, Sex as Salvation, and Love as Nirvana: Jeanette Winterson’s Concept of Love ............................................................. 62 Wojciech Parchem Kwestia sceniczności tłumaczeń utworów dramatycznych w wybranych badaniach nad przekładem ............................................................... 71 Joanna Chojnowska Black No More? The Recent Recognition of Mixed-Race Identity ................. 78 Nina Augustynowicz Female Food-Induced Dreams in Advertising: A Case Study of Three Polish TV Commercials .............................................................. 85 Review Richard Scoble, Raven: The Turbulent World of Baron Corvo (Mirosław Aleksander Miernik) ................................................ 93 4 Spis treści Barbara Rejmak La nascita di uno scrittore «barocco»: fortuna critica di Carlo Emilio Gadda negli anni trenta .............................................................. 96 Marta Mazurkiewicz The (Im)Possibility of Growing up in Giorgio Bassani’sIl giardino dei Finzi-Contini ..................................................................104 Tomasz Skocki Il tramonto degli imperi. Crisi dell’ideale coloniale ne La riva della vita minore di Alessandro Spina ...........................................110 Anna Porczyk Erri De Luca. W poszukiwaniu źródeł ..........................................117 Patrycja Stasiak Il paradosso della cultura giovanile. Il consumo del corpo ........................126 Recenzja Karolina Golemo, red., Włochy wielokulturowe. Regionalizmy, mniejszości, migracje (Hanna Serkowska) ..................................................134 Recensione Milena Gammaitoni, Storie di vita di artiste europee. Dal Medioevo alla contemporaneità (Hanna Serkowska) ............................................137 Joanna Augustyn Ambiwalencja płci w Roman de Silence Heldrisa de Cornouailles .................140 Monika Malinowska Krytyka ideału honnêteté na tle nowoczesnych poglądów Poulaina de la Barre ......150 Anna Opiela Poetyka muzyczności według Mallarmégo .......................................157 Jan Kaznowski L’art et l’artiste dans les Discours de Suède d’Albert Camus ........................165 Dorota Nowak-Baranowska Le voyeurisme de Pierre Jean Jouve .............................................173 Julia Łukasiak Autoportrait ouvert : de quelques analogies dans la conception de l’image de Mark Rothko et de Jean-Philippe Toussaint ...................................179 Spis treści 5 Andrzej Pilipowicz Die Bande des Bluts und des Wassers. Das Bad in Wszscinsk von Siegfried Lenz und Das schwäbische Bad von Herta Müller ................................186 Paweł Piszczatowski Przerwane opus magnum. O powieści Elfriede Jelinek Dzieci umarłych z Celanem w tle ..........................................................................195 Anna Daszkiewicz Jenseits von Atatürk: Das Gastarbeiterschicksal im Film Almanya – Willkommen in Deutschland ................................................................201 Amán Rosales Rodríguez Voces hispánicas sobre la relación entre ensayismo y modernidad .................209 Michał Fijałkowski Rusałki – słowiańskie ondyny ...................................................219 Maciej Sagata W poszukiwaniu straconej tożsamości. Bowaryzm i melancholia w Postrzyżynach Bohumila Hrabala .............................................................228 6 Spis treści Shades of Arthur: The Irish Legend of Conaire 7 Barry Keane Shades of Arthur: The Irish Legend of Conaire The tale of the Érainn king, Conaire Mór, is related principally in the 11th century text Togail Bruidne Da Derga (The Destruction of Da Derga’s Hostel), but there is also a second briefer and earlier account entitled De Shíl Chonairi Móir (Of the Race of Conaire Mór), which is mostly taken up with the listing of Conaire’s antecedents, thereby giving us some sense of the tribal entanglements behind the episode (Gwynn 130–143). Unquestionably, the most intriguing element of the Conaire story is his accession to the high kingship, which is likely to be an estimable account of the actual ceremony of inauguration, and which ushered in what Yeats described as “the brief and politic lives” of the High Kings of Ireland (iii). From the narrative standpoint, the story of Conaire as it is told in The Destruction of Da Derga’s Hostel is perplexing as its mythical elements do not fit within what seems to be a historical account of some great upheaval. And what is more, very often the mythi- cal elements and motifs presented in the saga lead to a narrative dead-end, suggesting that the whole pulls together different strands and waifs of literary and oral tradition in order to provide some semblance of a unified account. What I propose here is to illustrate how the external elements of what may be regarded as the historical event not only amplify the narrative but also illustrate the imaginative voice of the work’s oral provenance. I would also like to consider the nature of the “Arthurian betrayal” here in a story that is strewn with treacherous deeds; and which also begs the question as to who and what lies behind this unprecedented failure of high kingship? Certainly we may say that Conaire is primarily an agent of his own destruction, in particular by his not having possessed the decisiveness and ruthlessness required of a king who must rule over a fractious power base. On the other hand, the story also possesses the dimensions of Greek tragedy in that the course of events is shown as a reflection of the intrigues of divine will which drive the protagonist, and as a con- sequence, his innocent subjects, to the limits of despair and suffering. That the Conaire saga contains classical dimensions is also evidenced by the fact that the story does seem to contain reworkings of the orphan myth, in particular of the Greek variety. Bolstered by the intertextual evidence yielded by the 12th century Merugud Uilix Maic Leirtis (The Wanderings of Ulysses, Son of Laertes),1 we may discern the imaginative way in which classical mythology informed the narrative scribal retelling of Irish myths. 1 See Robert T. Meyer, ed. Merugud Uilix Maic Leirtis (1958). The classical dimensions of Irish myth are discussed in inter alia: Barbara Hillers, “The Odyssey of a Folktale: Merugud Uilix Meic Leirtis” (1992) and William Bedell Stanford, “Towards a History of Classical Influences in Ireland” (1970). 8 Barry Keane It would not be hard to imagine that the account of Conaire’s reign must have been recited in earnest detail to all incumbent kings with the flush of youth still upon them as a cautionary tale of how not to proceed. The discordance of the story is first apparent in the circumstances of Conaire’s origins and birth. According to the genealogy provided at the beginning of The Destruction of Da Derga’s Hostel, Conaire was the great grandson of Eochaidh, king of Tara, and Étaín, whose coupling is told in the story of The Wooing of Étaín. Their own daughter, Étaín, is married to the Ulster king, Cormaic, who is displeased that the one child that she has borne him is an issue of fairyland. He orders this girl to be killed, but the hearts of the two thralls charged with carrying out this deed are softened by the sweetness of the infant’s smile, and they leave her in the care of herders of the High King, Eterscéle. She is named Meas Buachalla and is raised in happy and benign circumstances, all the while being kept hidden in a cow shed with only a skylight for an opening. When Meas Buachalla comes of age, Eterscéle, who is childless, sees her one day and later sends “forward a man of his people to detain her” (The Destruction of Da Derga’s Hostel 17). But the night before the ransack, Meas Buachalla is visited by an otherworldly birdman who impregnates her and states that their issue shall be named Conaire,