Volume 14 (2022): Issue 2 (December 2022)

On the basis of a discursive reflection on postmodern approaches, the author of the study discusses the nature of the relationship between (artistic) text and reality, as well as the basic categories related to this issue. He formulates a (hypo)thesis about the homologous relationship between text and reality, which, however, according to the author, has an intertextual essence unlike traditional mimetic solutions.

Aphra Behn, a Restoration playwright of unprecedented success, lived by her pen and therefore was obliged to conform to the other literary production of that time (written mostly by men): comedies featuring libertines, coarse morals, debauchery and fortune-hunting protagonists. Behn wrote in this manner, yet adding a satirical spin to her work, by presenting the character of Angellica Bianca, a prostitute (actually a very ladylike companion to older wealthy men). Paradoxically, Angellica is presented as the most upright and generous person among the cast; lamentably, she believes in oaths, of which Wilmore, the double-dealing eponymous rover of the play, cures her mercilessly and swiftly, as soon as he meets a virgin, who comes with a large fortune attached. By this, Behn introduces a dark undercurrent to an ostensibly comic play. This paper pays homage to the elaborate ways Aphra Behn employed to present a prostitute as the most intriguing character of the play.

Canadian children’s literature has a relatively short history, which is not surprising because Canadian literature itself is a recent and problematic category, struggling for a definition and identity of its own. The lack of national homogeneity is reflected in both CanLit and its counterpart for children, and rather than being a weakness, the multitude of voices that inhabit the Canadian territory has become its essence and strength. Lately, we have noticed a growing interest and market demand for picture books by Indigenous voices. Melanie Florence is one such voice, and she honours her past by bringing to the fore the inescapable dark weight of collective tragedies such as the residential school system and the disappearance and murder of Aboriginal women and girls, a hidden national crisis. In this article, we aim at getting to know and help readers discover Missing Nimâmâ and Stolen Words by this new picture book writer, who is speaking up and voicing First Nations’ concerns, bringing back memories, but also forging a space for dialogue and negotiation, a space where text and illustration are combined and provide a harmonious whole. In this space, difference and binarisms do not result in dualism, but in highly synergistic relationships.

This article examines Tariq Ali’s novels The Stone Woman (2000) and A Sultan in Palermo (2005) to critique the question of identity discourse by drawing inspiration from various cultures rooted in a distinctively Islamic landscape and culture. Muslim identity, like any other, is separately constructed and determined by language, religion, sect, and various other roles. It examines the creation of Muslim identity and strives to comprehend the segregation they have demonstrated in the postcolonial context. This identity discourse emerged in colonial discursive practices that positioned Muslims as “Other” under colonial rule. This paper draws upon theoretical concepts of postcolonial theory to challenge the stereotypical representation of Islam often circulated in Eurocentric discourses. We do this by focusing on Tariq Ali’s ways of constructing Muslim identities through fictional representations. Through this discussion, we critique stereotypical tropes evident in Eurocentric discourses, which too often conflate professions of Muslim identity with religious fundamentalism.

Taking an interpersonal pragmatics approach, this paper aims to view literary text as social discourse where conversational exchanges convey more than the content of talk. Applying the method of interpersonal pragmatic analysis, centred around the notions of implicatures and the concept of face in pragmatics, the social status of speakers is revealed via expressing their personal desires, preferences and professional ambitions. Combining the models of pragmatic stylistics analysis and the conception of interpersonal rhetoric (Leech, 1983) enables effective exploration of the interplay between characters, their efforts to comply with the cooperative and politeness principles, following particular communicative goals in conversations, making inferences and understanding implicatures. Focusing on the above-stated aims of research, the historical thriller The Interpretation of Murder by Jed Rubenfeld (2006) was chosen as the subject of analysis. In this novel, psychoanalysis and interpretation of a patient’s/victim’s responses, the unique application of professional expertise in psychoanalysis, palpable rivalry between scholars, as well as a desire for international recognition provide rich material for analysis. The presented research contributes new insights into the scholarly debate on interpersonal pragmatics, showing that approaching literary discourse analysis via a pragmatic stylistics approach is relevant and beneficial.

The paper presents the contemporary phenomenon of synthetic textual media that write poetry. It describes the several stages of preparation, conceptualization and building of a neural network that generates poetry. The neural network introduced in this article, called Liza Gennart, is the author of the book Výsledky vzniku (‘Outcomes of Origin’, 2020) and of several other projects, among them an interactive multimedia installation. The author of this article uses a practice-led research method to write about her own collaborative project that was conducted in collaboration with the programmer Ľubomír Panák.