Faraci, Mary

Space (topos) as one of the main categories in modem literary criticism helps to discover and study unique aspects of the narrative such as functioning of archetypes, reflection of historical reality in the text, and different types of artistic consciousness (mythological and "realistic"). This work is a first study of time and space in Tolkien's trilogy The Lord of the Rings with the help of the chronotope concept proposed by Mikhail Bakhtin. A critic and author of an original literary concept and one of the most prominent representatives of the school of Russian formalism, Mikhail Bakhtin was also a contemporary of J. R. R. Tolkien who can be ranked among the most significant experimenters in the field of modem literature.
Using Bakhtin's classification of spatio-temporal relations in the novel, I was able to identify a type of chronotope in Tolkien's major narrative as one close to mythological and epical chronotopes. In terms of this postulate, I explored methods Tolkien used to create unique time and space of fantasy to make this experimental literary genre widely popular since the middle of the twentieth century onward.

Frankenstein and "The Yellow Wallpaper," popular stories of the nineteenth
century and included on most college reading lists, have been installed into limited
chnons that take away from the art ofthe literature. Written when strict social guidelines
ddined and separated the gender spheres, these works show the changing attitudes and
resulting social problems for women, between the early nineteenth century
(Fmnkenstein) and the late nineteenth century ("The Yellow Wallpaper").
The Gothic genre claims Frankenstein, and since its revival in the 1970s, "The
Yell ow Wallpaper" has been firmly seated in the academy under feminist criticism. Each
work belongs to both categories, with elements of each attracting more and more readers.
Readers can discover that Mary Shelley creates a tale about the horrors of pregnancy and
motherhood, while Charlotte Perkins Gilman creates stunning Gothic effects in her short
story embraced by feminist criticism.

Geoffrey Chaucer's poem. The Parliament of Fowls, has been acknowledged as an
intricate dream vision of balanced contrasts of ideas, double entendre words, classical
models, and rules of courtly love. Examining the heretofore unexamined voices invented
by Chaucer's narrator, l found that the ancient grammatical term of "middle voice,"
employed in recent linguistic criticism and theory, served to place the narrator inside his
world of reading, dreaming, and writing. As critic and poet. Chaucer offers the reader
new ways to think about ancient literary themes of reading. writing, listening, and telling
stories about love. The reader remains free to enjoy the narrator's voices in Parliament
from the opening line, "The lyf so short, the craft so long to Ierne," through the roundel
and closing.

While Frankenstein has recently received criticism weighted heavily in politics,
gender, and feminist studies, what gets overlooked in these discussions is that Mary
Shelley's novel remains a story about science--not about empirical science, necessarily,
but about abstract science. As science fiction, Frankenstein incorporates fictional science
to posit truths about the human experience. Shelley's metaphor for the novel, ''my
hideous progeny," reminds readers to respect the uncertain elements in invention in the
arts and sciences. The problem for Frankenstein that I address has to do with an
uncertainty of the terms, "science'' and "science fiction ,'' which results in further
uncertainty when discussing the novel's genre and meaning. This essay defines
"science," "science fiction," and other important tenns relevant to a critical discussion of
the novel. This essay further argues that readers should not overlook the poetry of
science in Frankenstein.

Sean O’Casey’s Dublin Trilogy travels through the Irish revolutionary period and
explores how this environment created a revolutionary Dublin where armed militants
struggled to overthrow the authority and privileges of their British oppressors. Seeking to
remove the colonial authority that had oppressed the Dublin population for so long, these
revolutionaries fought, killed, and died in their quest for an independent Ireland. In this
struggle, groups of armed men can be seen employing tactics that would only lead to the
continued oppression of other sections of the Irish population. By connecting the Dublin
Trilogy to his autobiographies, in which he highlights the importance of family as a
supportive unit for the Dublin poor, I propose that O’Casey, in the Dublin Trilogy, warns
that these ideological reproductions would eventually lead to the continued subjugation
of Irish women and other members of the Irish population outside of the masculinist,
militant identity supporting the Irish independence struggle.

Although the critic C. S. Lewis observes there is an allusive relationship between the final cantos of Dante‟s Purgatory and the third act of Shelley‟s Prometheus Unbound, no detailed analysis of Dante‟s language in Purgatory XXX and XXXI as a specific influence on Shelley‟s construction of imaginary realms in Acts II and III of the lyrical drama Prometheus Unbound exists. In this study, I will show how Shelley borrows from Dante‟s language in Purgatory XXX and XXXI, especially Dante‟s preoccupation with the cold as a form of punishment, to create the feeling of oppression and then liberation, in Acts II and III, respectively, of Prometheus Unbound to aid Shelley in his construction of imaginary realms. Shelley also uses Dantean allusions from Paradise, specifically Dante‟s descriptions of light and music, to help him create a feeling of joy and liberation as he creates a paradise on earth in Act IV of Prometheus Unbound.

In Richard II, Shakespeare left lessons for us on the effects of speech acts by leaders on the public stage. The "I" in Richard's speeches is always new: "Thus play I in one person many people" (5.5.31). Recent theories of pardons and promises made in the public sphere call attention to the layers of voices, heretofore hidden, in the first-person utterances of Richard as he attempts to interrupt the rush of history toward vengeance. Employing speech-act theory, we discover today that Shakespeare lets each utterance create a new voice and history for England. Shakespeare gives Richard time to begin to speak and study the world that each "I" utterance produces. The play, known for its rich language, reveals even more voices behind the public face of a king about to die: a confessor, a subject, a prisoner, a Christian, a husband, and a soldier. In every syllable spoken as first-person speaker, Richard moves the audience in images of mirrors and music through a drama of attempts to study a life.

During the composition process of Finnegans Wake, James Joyce made extensive use of notebooks in which he collected material from miscellaneous sources, crossing out entries and inserting them into his drafts, creating an encyclopedic work of a highly complex nature. Genetic criticism, approaching the literary work as a process rather than a product, examines these sources, notebooks, and drafts to gain insight into the development and meaning of the work. Joyce read and took notes from Otto Jespersen's Language, Its Nature, Development and Origin in 1923, Growth and Structure of the English Language in 1924, and An International Language in 1938. Notes from each of these sources influenced the development of his characters and their language and the construction of the language of his book. Used and unused notes alike provide information about Joyce's interests and intentions.

William Butler Yeats directed much of his poetry to the construction of the antithetical or perfect man which he defined as "being most unlike myself" (Allt 371). Yeats also wanted to see Ireland reach this condition. He presented heroes from Irish mythology his contemporaries, and imaginatively created figures who had the strength of character to accomplish a new and self identifiable culture. Yeats wanted Ireland and its citizens to become a modern day "Byzantium" of his classical reference. From his own fishing experience Yeats created the fly fisherman, an image who Yeats saw as "Climbing up to a place ... A man who does not exist ... A man who is but a dream"(Allt 348). In this figure Yeats incorporates his thoughts concerning the value of antithesis, religion, philosophy, nationalism and the concept of the mask. This thesis will propose that the fisherman and his activities are metaphorical applications of Yeats's search for antithesis whether it be for himself, mankind or his country.

Beowulf has inspired readers and listeners since the eighth century, first as a performance then as a written poem. It is an epic tale of Anglo-Saxon warriors, life, and history. Recently, studies of Beowulf have introduced questions of twentieth-century gender stereotypes that provide a new understanding of the epic's characters and themes. However, these studies have delivered too simple a reading of complex characters like Grendel's mother and have led scholarship away from the poem. To bring critics back to the poem, this study attempts to make the poem a landscape. When the total landscape, the language, style, alliteration, and violence (physical and emotional), is studied, the poem is opened up to more than just simple readings. In a landscape reading, Grendel's mother becomes a force strong enough to disrupt the structure of the language and to battle the barriers between female and male, warrior and monster, and pagan and nonpagan. A landscape that is as violent as the characters is discovered, one in which all life is celebrated.