<abstract xmlns="http://www.w3.org/1999/xhtml"> The aim of this article is to carry out a structural-functional analysis of the formation of Old English adjectives by means of affixation. By analysing the rules and operations that produce the 3,356 adjectives which the lexical database of Old English Nerthus (www.nerthusproject.com) turns out as affixal derivatives, a total of fourteen derivational functions have been identified. Additionally, the analysis yields conclusions concerning the relationship between affixes and derivational functions, the patterns of recategorization present in adjective formation and recursive word-formation.</abstract>

OLD ENGLISH ADJECTIVAL AFFIXATION: STRUCTURE AND FUNCTION

<abstract xmlns="http://www.w3.org/1999/xhtml"> This paper takes issue with the lexicon of Old English and, more specifically, with the existence of closing suffixes in word-formation. Closing suffixes are defined as base suffixes that prevent further suffixation by word-forming suffixes (Aronoff &amp; Furhop 2002: 455). This is tantamount to saying that this is a study in recursivity, or the formation of derivatives from derived bases, as in anti-establish-ment, which requires the attachment of the prefix anti- to the derived input establishment. The present analysis comprises all major lexical categories, that is, nouns, adjectives, verbs and adverbs and concentrates on suffixes because they represent the newest and the most productive process in Old English word-formation (Kastovsky 1992, 2006), as well as the set of morphemes that has survived into Present-day English without undergoing radical changes. Given this aim, the data retrieved from the lexical database of Old English Nerthus (www.nerthusproject.com) comprise 6,073 affixed (prefixed and suffixed) derivatives, including 3,008 nouns, 1,961 adjectives, 974 adverbs and 130 verbs. All of them have been analysed in order to isolate recursive formations.</abstract>

CLOSING SUFFIXES IN OLD ENGLISH: A STUDY BASED ON RECURSIVE AFFIXATION

<abstract xmlns="http://www.w3.org/1999/xhtml"> The present article studies Cynewulf’s creative manipulation of heroic style in his hagiographic poem Juliana written around the 9th century A.D. The four poems now attributed to Cynewulf, on the strength of his runic autographs appended to each, Christ II, Elene, The Fates of the Apostles, and Juliana are written in the Anglo-Saxon tradition of heroic alliterative verse that Anglo- Saxons had inherited from their continental Germanic ancestors. In Juliana, the theme of treasure and exile reinforces the allegorical structure of Cynewulf’s poetic creation. In such poems like Beowulf and Seafarer treasure signifies the stability of bonds between people and tribes. The exchange of treasure and ritualistic treasure-giving confirms bonds between kings and their subjects. In Juliana, however, treasure is identified with heathen culture and idolatry. The traditional imagery of treasure, so central to Old English poetic lore, is inverted in the poem, as wealth and gold embody vice and corruption. The rejection of treasure and renunciation of kinship bonds indicate piety and chastity. Also, while in other Old English secular poems exile is cast in terms of deprivation of human company and material values, in Juliana the possession of and preoccupation with treasure indicates spiritual exile and damnation. This article argues that the inverted representations of treasure and exile in the poem lend additional strength to its allegorical elements and sharpen the contrast between secular world and Juliana, who is an allegorical representation of the Church.</abstract>

TREASURE AND SPIRITUAL EXILE IN OLD ENGLISH JULIANA: HEROIC DICTION AND ALLEGORY OF READING IN CYNEWULF’S ART OF ADAPTATION

<abstract xmlns="http://www.w3.org/1999/xhtml"> The poem of St Erkenwald and his encounter with the body of a pagan judge preserved in a tomb underneath St Paul's Cathedral has never provoked an intense scholarly discussion. During the past two decades, however, the poem has altogether lost the scarce attention it used to receive. This is surprising in regards to its outstanding quality but also because of a number of peculiar characteristics the text has in comparison with other works written during the Middle Ages. Arguing for the importance of the historical details provided by the poem, my article takes a number of these peculiarities into account and suggests a new reading of the poem. In this approach, I do not dismiss the major topics of the earlier scholarly discussions, mostly focused on the poem's theological and stylistic topics or its presumed sources. My article rather presents an additional reading from the perspective of a literary history, thus arguing that the poem of St Erkenwald can be placed within a discourse tradition to which a number of earlier authors contributed, the most famous among them being the Venerable Bede. While the poem addresses a variety of theological and stylistic topics and is of course influenced by its contemporary religious and social developments, it also contributes to one of the fundamental problems of English identity in the Middle Ages: coming to terms with a pagan origin.</abstract>

COMING TO TERMS WITH A PAGAN PAST: THE STORY OF ST ERKENWALD

<abstract xmlns="http://www.w3.org/1999/xhtml"> This article analyses John Banville’s novel Shroud as the protagonist’s autobiography which both follows and resists the confessional mode. Axel Vander, an ageing famous academic and champion of deconstruction, faces the necessity to confront his real self, although he spent his entire academic life contesting the concept of authentic selfhood. Alluding to the infamous case of Paul de Man, whose deconstructionist theories have been reinterpreted in the light of the revelation of his disgraceful wartime past, Banville’s novel presents a man who veers between the temptation to fall back on his theories in order to uphold a lifelong deception, and the impulse to reveal the truth and achieve belated absolution. The article examines Vander’s narrative as an attempt at a truthful account of his life, combined with the conflicting tendency to resist self-exposure. Despite the protagonist’s ambivalent and selfcontradictory motivations, his account of his life belongs to the category of confessional writing, with its accompanying religious connotations. It is argued that the protagonist’s public denial of authentic selfhood is linked to his private evasion of moral culpability.</abstract>

JOHN BANVILLE’S SHROUD: A DECONSTRUCTIONIST’S CONFESSION

<abstract xmlns="http://www.w3.org/1999/xhtml"> Drawing on Allan Edgar Poe’s provocative statement that “The death ... of a beautiful woman is, unquestionably, the most poetic topic in the world” (1951: 369), I will focus on the pivotal role of Shakespeare’s Ophelia in attesting to this assertion. Ophelia’s drowning is probably the most recognizable female death depicted by Shakespeare. Dating back to Gertrude’s “reported version” of the drowning, representations of Ophelia’s eroticized death have occupied the minds of Western artists and writers. Their necrOphelian fantasies materialized as numerous paintings, photographs and literary texts. It seems that Ophelia’s floating dead body is also at the core of postmodern thanatophiliac imagination, taking shape in the form of conventionalized representations, such as: video scenes available on YouTube, amateur photographs in bathtubs posted on photo sharing sites, reproductions and remakes of classical paintings (e.g. John Everett Millais), and contemporary art exhibitions in museums. These references will demonstrate that new cyber story - digital afterlife - is being built around the figure of Shakespearean Ophelia, unearthing the sexual attraction of the lifeless female body.</abstract>

NECROPHELIA AND THE STRANGE CASE OF AFTERLIFE

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Studia Anglica Posnaniensia

 Studia Anglica Posnaniensia: An international Review of English Studies, was established in 1968 by the eminent Polish anglicist Jacek Fisiak and has been published continuously ever since by Adam Mickiewicz University Poznañ (Faculty of English). It is devoted to publishing high-quality research in English linguistics, literatures in English, and broadly understood culture of anglophone countries. It carries original studies in all the above areas, both devoted solely to English and those of a comparative natures, as well as book reviews and thematic issues. New contributions appear continuously throughout the year on the online-first basis, while the yearbook is closed and printed in late December. The primary mode of publication is on-line, with printed copies reserved in principle for the authors alone. The journal welcomes contributions on all aspects on English studies as defined above, theoretical as well as applied. The language of the journal is English. Studia Anglica Posnaniensia is a Gold Open Access journal and as such it does not have any article processing charges (APCs) nor article submission charges. Rejection Rate   65%   Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 