Timeless Radcliffe: A Review of Ann Radcliffe, Romanticism and the Gothic - Tomasz Fisiak Yeats’s Genres and Tensions: A Review of Charles I. Armstrong’s Reframing Yeats: Genre, Allusion and History - Wit Pietrzak Review of Anna Pochmara’s The Making of the New Negro: Black Authorship, Masculinity, and Sexuality in the Harlem Renaissance - Antoni Górny “Artful Exaggeration” - Krzysztof Majer Interviews Bill Gaston Transcultural Theatre in the UK - Uilleam Blacker Talks to Joanna Kosmalska.

Timeless Radcliffe: A Review of Ann Radcliffe, Romanticism and the Gothic - Tomasz Fisiak Yeats’s Genres and Tensions: A Review of Charles I. Armstrong’s Reframing Yeats: Genre, Allusion and History - Wit Pietrzak Review of Anna Pochmara’s The Making of the New Negro: Black Authorship, Masculinity, and Sexuality in the Harlem Renaissance - Antoni Górny “Artful Exaggeration” - Krzysztof Majer Interviews Bill Gaston Transcultural Theatre in the UK - Uilleam Blacker Talks to Joanna Kosmalska.

Reviews/interviews Capital Ellowen Deeowen: A Review of The Making of London: London in Contemporary Literature by Sebastian Groes - Adam Sumera Deconstruction and Liberation: A Review of Simon Glendinning’s Derrida - Wit Pietrzak Authenticity, Transdifference, Survivance: Native American Identity Masked: A Review of Native Authenticity: Transnational Perspectives on Native American Literary Studies, ed. Deborah L. Madsen - Monika Kocot Literature, the Arab Diaspora, Gender and Politics - Fadia Faqir Speaks with Maria Assif Absent Fathers, Outsider Perspectives and Yiddish Typewriters - (...) Norman Ravvin Talks to Krzysztof Majer. (shrink)

While it has been omitted by numerous critics in their otherwise comprehensive readings of Yeats’s oeuvre, “Beautiful Lofty Things” has been placed among the mythical poems, partly in accordance with Yeats’s own intention; in a letter to his wife, he suggested that “Lapis Lazuli, the poem called ‘To D. W.’ ‘Beautiful Lofty Things,’ ‘Imitated from the Japanese’ & ‘Gyres’... would go well together in a bunch.” The poem has been inscribed in the Yeats canon as registering a series of fleeting (...) epiphanies of the mythical in the mundane. However, “Beautiful Lofty Things,” evocative of a characteristically Yeatsian employment of myth though it certainly is, seems at the same time to fuse Yeats’s quite earthly preoccupations. It is here argued that the poem is organized around a tightly woven matrix of figures that comprise Yeats’s idea of the Irish nation as a “poetical culture.” Thus the position of the lyric in the poet’s oeuvre deserves to be shifted from periphery towards an inner part of his cultural and political ideas of the time. Indeed, the poem can be viewed as one of Yeats’s central late comments on the state of the nation and, significantly, one in which he is able to proffer a humanist strategy for developing a culturally modern state rather than miring his argument in occasionally over-reckless display of abhorrence of modernity. (shrink)

The essay explores Paul Muldoon’s elegy for the fellow Northern Irish poet Ciaran Carson with a view to showing that “The Triumph” seeks to evoke a ground where political, cultural and religious polarities are destabilized. As the various intertextual allusions in the poem are traced, it is argued that Muldoon seeks to revise the notion of the Irish shibboleths that, as the poem puts it, “are meant to trip you up.” In lieu of this linguistic and political slipperiness, “The Triumph” (...) situates Carson’s protean invocations of Belfast and traditional Irish music as the new shibboleths of collectivity. (shrink)

In the essay an attempt is made to investigate the processes of construction and reconstruction of meaning in the later books of the Cambridge poet J.H. Prynne. It has been argued that his poetry disturbs the act of meaning-making in a ceaseless experimental reconnection of words taken from multifarious discourses, ranging from economics to theology. Yet, what appears striking in this poetry is the fact that these lyrics take their force from figurative meaning with which the words are endowed in (...) the process of a poem’s unfolding. Prynne appears to compose his lyrics by juxtaposing words that in themselves do yield a meaning but together exude an aura of unintelligibility. We may see this process as aiming at the destruction of what might be posited as the centre of signification of the modern language by constantly dispersing the meaning to the fringes of understanding. The poems force the reader to look to the margins of their meaning in the sense that the signification of the entire lyric is an unstable composite of figurative meanings of this lyric’s individual words and phrases. To approach this poetry a need arises to read along the lines of what is here termed “fleeting assertion”; it is not that Prynne’s poems debar centre in favour of, for instance, Derridean freeplay but rather that they seek to ever attempt to erect a centre through the influx from the margins of signification. Therefore they call for strong interpretive assertions without which they veer close to an absurdity of incomprehension; however, those assertions must always be geared to accepting disparate significatory influxes. Indeed, interpretation becomes a desperate chase after “seeing anew” with language but, at the same time, a chase that must a priori come to terms with the fact that this new vision will forever remain in the making. (shrink)