<abstract xmlns="http://www.w3.org/1999/xhtml">

Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently, a growing number of feminist scholars (Alison Light, Susan Rowland, Merja Makinen) have begun to oppose this view and instead argue that Christie’s approach to the various social phenomena depicted in her novels, including gender, is more nuanced and ambiguous than previously assumed. This paper explores the role of domesticity in general, and of food, eating and cooking in particular, in constructing such ambiguous portrayal of femininity in three of Agatha Christie’s detective novels: Cards on the Table (1936), The Hollow (1946), and 4.50 from Paddington (1957). The novels depict three groups of female characters possessing varying degrees of power and independence: the salt of the earth, i.e., the conservative homemaker, the eccentric, and the murderess. It is the aim of this paper to demonstrate that, paradoxically, it is o en through these female characters’ roles within the domestic setting and their engagement with food that they are able to overcome the limitations imposed on them by patriarchal society and achieve a certain level of autonomy within it.
</abstract>

The Salt of the Earth or the Murderess? The Problem of Femininity in the Novels of Agatha Christie

<abstract xmlns="http://www.w3.org/1999/xhtml">

This paper claims that through a feminist rewriting of the Bible, Michèle Roberts’s novel The Wild Girl (1984) articulates the ambivalences and insecurities that emerged in the British Women’s Liberation movement after its initial period of great energy, hopefulness and enthusiasm of the 1970s. By rewriting the biblical insistence on female rivalry and competition, and revising biblical “gynotypes” and “fragmented women”, the novel not only exposes the patriarchal discourses of the Bible, but also critically revisits the WLM’s utopian visions of unity, and re-imagines the ways in which women can cooperate while preserving their differences. When juxtaposed with more recent women’s rewritings, often driven by (and catering to) market economy and consumer culture, Roberts’s novel is a useful remainder of the still consequential need to “look back in order to move forward” (Plate 406). The novel’s small-scale, grass-roots level sisterhood, never altogether free from tensions, is a quietly optimistic vision of women’s bonds, a “secret gospel” proclaiming the good news about the precarious and changeable relationship among women, and about the need of its incessant reworking.
</abstract>

“Passing a looped and knotted string between their hands”. The Bible, the Women’s Liberation Movement and Women’s Bonds in Michèle Roberts’s <italic>The Wild Girl</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">

In his debut novel The Final Passage, first published in 1985, Caryl Phillips (dis)connects the English and the Caribbean spaces simultaneously imposing this inbetweenness onto his continuously misplaced characters. This paper explores the novel through the lens of disrupted parenthood, demonstrating that the ties between the family members mirror the inability of the protagonists to belong or to sustain relationships. By applying a postcolonial framework and including both canonical and recent texts produced in the field, this paper analyses how racial labels and assumptions weaken fragile bonds and further displace the characters as it also attempts to fill a gap since aspects of distress and breakdown are often neglected in literary criticism. Finally, given the background of the West Indies, the paper incorporates social and anthropological works dedicated to the region and connects Phillips’s narrative to the stories of migrants in contemporary Britain.
</abstract>

Disrupted Parenthood in Caryl Phillips’s <italic>The Final Passage</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">

This paper focuses on Peter Ackroyd’s unique type of psychogeographical writing. Therefore, apart from an overall elaboration on his works about London, it addresses his historiographic metafictional novels Hawksmoor (1985) and The House of Doctor Dee (1993). These esoteric novels provide insight into Ackroyd’s writing about the city in different time periods and make it possible to delve deeper into what this paper argues is his distinctive manner of implementing the notions of psychogeography. At the same time, it draws parallels from classical and contemporary psychogeography where appropriate and highlight his utilisation of it. The main aim of this paper is to reveal the ways in which Peter Ackroyd uses walking in the city to reflect its manipulative power over his characters which results in the transformation of their identities.
</abstract>

Peter Ackroyd’s Distorted Psychogeography

<abstract xmlns="http://www.w3.org/1999/xhtml">

Arab American fiction has received great attention in the post-9/11 period. This ethnic literature has been put under a critical lens due to the aspects that shape it and the issues discussed in it. One of the main objectives of Arab American fiction is to bridge cultural differences and appeal to its readers, both Arabs and non-Arabs. This particular objective is achieved by the authors’ willingness to trigger empathetic engagement with their characters. As such, this paper looks at how Laila Halaby’s West of the Jordan (2003) functions in accordance with the poetics of empathy. In other words, the aim of this paper is to show how fiction appeals to its readers through empathy and how empathetic engagement sustains the characters-readers connection, taking West of the Jordan as a literary example. This paper suggests that empathy in fiction is multi-layered and serves different purposes. The arguments are based on a conceptual framework supported by scholarly perspectives of prominent critics and theorists such as Chielozona Eze, Heather Hoyt, and Suzanne Keen, to name just a few.
</abstract>

Understanding the Function of Empathy through Laila Halaby’s <italic>West of the Jordan</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">

The objective of this paper is to examine in which way the use of the oral and written discourse in Julian Barnes’s novel The Sense of an Ending (2011) reflects, on the one hand, a social hierarchy based on classificatory cultural, intellectual, and educational competencies and resources and, on the other, dominance strategies and power relations developed among the principal actors. It will be investigated how trivial discussions and letters exchanged between friends are deployed in order to sustain or eliminate control over the other(s) and indicate status positions. The proposed methodological framework of analysis is founded on Bourdieu’s approach to cultural capital, according to which cultural preferences are markers of social stratification, while highbrow aesthetic judgment is both a means to, and a stake in, upward social mobility. Foucault’s theory of a “decentralised” and ubiquitous power, dispersed at all levels and defined as an action directed to other people’s actions, will also be applied.
</abstract>

Discourse, Cultural Capital and Power Relations in Julian Barnes’s <italic>The Sense of an Ending</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">

This paper seeks to analyse the strategies of cognitive estrangement employed by the science fiction writer and literary scholar Kim Stanley Robinson in his New York 2140 (2017). I argue that the novel was written as a call to action to mitigate the effects of climate change, and rather than being merely a description of a particular vision of the future, provides a comment on the current ecological crisis, mechanisms of history, and human agency. Robinson’s unusual position at the intersection of the field of literary production and literature studies allowed him to apply the ideas developed for the analysis of the genre of science fiction in his creative work. The three main thematic areas in the novel are ecology, politics, and history. In each of these, allusions to the present, the past, and literary tradition, characterisation, and narrative structure are used as a means to convey the author’s message and sensitise the reader to issues connected with ecology and social justice, painting a realistic, yet hopeful vision where human civilisation carries on despite the consequences of global warming.
</abstract>

Strategies of Cognitive Estrangement in Kim Stanley Robinson’s <italic>New York 2140</italic>

AHEAD OF PRINT

Volume 12 (2023): Issue 1 (July 2023)

Volume 11 (2022): Issue 1 (July 2022)

Volume 10 (2021): Issue 1 (July 2021)

Volume 9 (2020): Issue 1 (July 2020)

Volume 8 (2019): Issue 1 (July 2019)

Volume 7 (2018): Issue 1 (July 2018)

Volume 6 (2017): Issue 1 (July 2017)

Volume 5 (2016): Issue 1 (July 2016)

Volume 4 (2015): Issue 1 (July 2015)

Volume 3 (2014): Issue 1 (September 2014)

Volume 2 (2013): Issue 1 (December 2013)

Volume 1 (2012): Issue 1 (December 2012)

Prague Journal of English Studies

 The Prague Journal of English Studies is an annual peer-reviewed academic journal that invites international contributions, but also aims to be a forum for Czech scholars working in the fields of literary studies, cultural studies and linguistics concerning the English-speaking world. We are seeking submissions of articles on English, American and other English written literatures ranging from Chaucer to the present, that reflect the wide spectrum of current critical and theoretical approaches, including interdisciplinary ones. Cultural studies articles relevant to English language and English written literature are also welcome. The linguistics section of the journal is also receptive to a variety of perspectives in linguistic theory and linguistic description of English, with special attention given to corpus linguistics, stylistics, text and discourse analysis.Priority is given to synchronically designed empirical research. The views expressed in the research articles and reviews are the authorsʾ views exclusively and need not be shared by the editorial panel.  The journal was founded in September 2011, the first issue released in June 2012. The printed version is published by Charles University, Prague (Karolinum Publishing House). The journal is enlisted in ERIH PLUS database.  The journal does not have article processing charges (APCs) nor article submission charges.  Rejection Rate   30-40 %   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. 

Prague Journal of English Studies

Volume 10 (2021): Issue 1 (July 2021)

The Salt of the Earth or the Murderess? The Problem of Femininity in the Novels of Agatha Christie

“Passing a looped and knotted string between their hands”. The Bible, the Women’s Liberation Movement and Women’s Bonds in Michèle Roberts’s The Wild Girl

Disrupted Parenthood in Caryl Phillips’s The Final Passage

Peter Ackroyd’s Distorted Psychogeography

Understanding the Function of Empathy through Laila Halaby’s West of the Jordan

Discourse, Cultural Capital and Power Relations in Julian Barnes’s The Sense of an Ending

Strategies of Cognitive Estrangement in Kim Stanley Robinson’s New York 2140

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