Anna Mik | Warsaw Public Library – Central Library of Mazovia Province (original) (raw)
Conference Presentations by Anna Mik
In two works titled Fantastic Beasts and Where to Find Them, J. K. Rowling ‘collected’ various ma... more In two works titled Fantastic Beasts and Where to Find Them, J. K. Rowling ‘collected’ various magical creatures, firstly – in the form of a bestiary (the book from 2001), then – in her Wunderkammer, as we can interpret the Newt Scamander’s case from the 2016 movie. The main idea that I would like to explore is the one concerning collecting and protecting mythical creatures by gathering them in isolated spaces, where they could not be harmed by, as Scamander calls them, ‘the most vicious creatures on the planet. Humans’ (Rowling, 2016: 113–114). I would like to compare the diegetic world of Fantastic Beasts… and the one known from the Harry Potter series in order to analyse the motif of the animal isolation and to juxtapose it with the one know from Greek mythology.
Just like in ancient times, when various extraordinary creatures (Pegasus, Sphinx, Cerberus, etc.) were supposed to be isolated from humans (either because of they were dangerous or too valuable), Rowling also created safe spaces for magical beasts. In the Harry Potter series there are – inter alia – the Forbidden Forest, the Great Lake, Romanian Dragon Sanctuary, etc., where many creatures, though not prisoned, are isolated from the wizarding society, and paradoxically used by this community as subordinate objects (like in the Triwizard Tournament). In the book Fantastic Beasts…, Rowling collected and categorized numerous beasts and, at the same time, in a way, ‘caged them’ into the human concept of the bestiary, allowing us to see and understand, and preserve (the book itself as a ‘safe place/a sanctuary’) the world of magical fauna. In the movie of the same title, animals are contained in the magical suitcase of Newt Scamander, Rowling’s Wunderkammer, that plays not a role of a menagerie, but rather a sanctuary, where those creature awaits they come back to their natural habitat.
After examining these various spaces and comparing them to the ‘safe places/places of isolation’ for mythical creatures known from the Greek mythology, I would like to show the evolution of the mythical sanctuaries for the Fantastic Beasts, as well as the way these ‘habitats’ were presented – in both the ancient and wizarding world. By analysing this case of the classical reception, I would also like to show how we can relate Rowling’s concepts to the current animal protection strategies.
• J. K. Rowling (2016), Fantastic Beasts and Where to Find Them. The Original Screenplay, London: Little, Brown.
As we all know, in Greek and Roman mythology, centaurs were described as wild and brutal creature... more As we all know, in Greek and Roman mythology, centaurs were described as wild and brutal creatures: half-men, half-horses. They ate raw meat and their customs were unusually wild: they were famous for raping and drinking, and almost every single one of them was identified as savage creature that endangered humans on their travels. However, two of them, Chiron and Pholus, were born as demi-gods and their personalities were different: they had a quiet disposition and were friendly towards humans. They could also foresee the future and read the stars.
Those definitely complicated creatures often appear in the children’s culture – books, movies, video games, and so on. Centaur characters are usually loosely based on motifs drawn from antiquity, and almost never play the role of a rapper or an aggressor. This poster presents examples of how they were depicted, and if not raping and violence, what was shown as their main character trait. I took my examples from children’s literature, movies based on books, and animation, being highly aware of the fact, that there are certainly many more examples to discuss.
The Harry Potter universe is constructed of symbols and images that have their roots in many diff... more The Harry Potter universe is constructed of symbols and images that have their roots in many different cultural traditions – among many others in Greek and Roman mythology. J.K. Rowling, as a classicist, has exploited these traditions in a consequent way to create a specific, yet still vividly mythological representation of the magical creatures. These creatures primarily are: Centaurs, Merpeople (Sirens), a Phoenix, and a Cerberus.
I analyze these figures in the context of animal studies, focusing on the matter of naming them either „beast”, „pet” or „being”. I try to show how this authoritative procedure influences the perception of magical creatures in the social and political life of the wizarding world by placing them on an artificial hierarchical scale.
The research material consists of the Harry Potter series as well as Rowling’s book, Fantastic Beasts and Where to Find Them.
Papers by Anna Mik
Our Mythical Hope. The Ancient Myths as Medicine for the Hardships of Life in Children’s and Young Adults’ Culture
Our Mythical Hope: The Ancient Myths as Medicine for the Hardships of Life in Children’s and Young Adults’ Culture, 2021
In my analysis, I address foremost the issues of exclusion and racism in "Fantasia" (dir. James A... more In my analysis, I address foremost the issues of exclusion and racism in "Fantasia" (dir. James Algar et al., 1940), specifically the episode entitled "The Pastoral Symphony”, setting it in the context of the war that took place in both the animated fantasy and the harsh reality surrounding its audience. I do this with the help of classical mythology, revealing the hidden meanings of Disney’s story.
Dzieciństwo. Literatura i Kultura, 2019
This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan... more This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan’s novel The Lightning Thief (2005), adapted in 2010 by Chris Columbus for the screen. This character in both works is presented as an excluded member of the society: in the empirical world, as a disabled person, in the mythological one, as a satyr. What is more, in the motion picture, Grover, played by a Black actor, poses as an even more marginalised character, as a representative of a community discriminated in the USA. Therefore, the images of this character reflect the various levels of exclusion and show the ideological significance of a contemporary adaptation for the young audience. The comparative analysis is performed with the use of reception studies and critical race theory perspectives.
"Łapacz snów. Studia o twórczości Neila Gaimana" ", 2018
["Unappetising Tales from the Seductive Stroryteller: Polish Literary Reviews of Neil Gaiman's Ch... more ["Unappetising Tales from the Seductive Stroryteller: Polish Literary Reviews of Neil Gaiman's Children's Works"]
![Research paper thumbnail of Disnejowski sen Alicji i rzeczy, które możemy w nim odnaleźć ["Alice's Disney Dream and Things That We Can Find There"]](https://attachments.academia-assets.com/60045498/thumbnails/1.jpg)
](O czym mówią rzeczy? Świat przedmiotów w literaturze dziecięcej i młodzieżowej, 2019
[ENG] The chapter is a comparative analysis of two canonical texts: "Alice's Adventures in Wonder... more [ENG] The chapter is a comparative analysis of two canonical texts: "Alice's Adventures in Wonderland" by Lewis Carroll and "Alice in Wonderland" produced by Walt Disney. In both I look for objects and their meanings, perceiving them as manifestations of Alice's subconscious. I also analyse those objects within the new humanities and "things studies" that proved to be popular in the last decades.
"Śmierć w literaturze dziecięcej i młodzieżowej", red. Katarzyna Slany , 2018
This article traces the motif of death in Harry Potter series and its relation to the concept of ... more This article traces the motif of death in Harry Potter series and its relation to the concept of child and childhood.
Eng. title: "The last enemy that shall be destroyed is death." The Child-Horcrux in Harry Potter series by J. K. Rowling
Maska , 2017
Published in: "Maska" 33/2017. The Harry Potter universe is constructed of symbols and images th... more Published in: "Maska" 33/2017.
The Harry Potter universe is constructed of symbols and images that have their roots in many different cultural traditions – among others in Greek and Roman mythology. J.K. Rowling, as a classicist, has exploited these traditions in a consequent way to create a specific, yet still vividly mythological representation of the magical creatures. These creatures primarily are: Centaurs, Merpeople (Sirens), a Phoenix, and a Cerberus. I analyze these figures in the context of animal studies, focusing on the matter of naming them either "beasts", "pets" or "beings". I try to show how this authoritative procedure influences the perception of magical creatures in the social and political life of the wizarding world by placing them on an artificial hierarchical scale. The research material consists of the Harry Potter series as well as Rowling’s book, "Fantastic Beasts and Where to Find Them".
Hercules by Walt Disney is a fairy-tale type movie that re-tells well-known greek myth about Hera... more Hercules by Walt Disney is a fairy-tale type movie that re-tells well-known greek myth about Heracles, ancient Greek hero. In this paper I try to analyze the title character in order to prove that he is a monomythical realization of the contemporary superhero, with it’s main features, like: „the otherness”, being a celebrity and a potential lover. The movie also provides the actualization of a myth with its new American conservative values. However, many suggestions in it imply creating a distance between this new production and the classical Disney’s animations, like Snow White. Hercules also comments on the popular culture itself and reminds the viewers what does it mean to be.
[ENG version below] W artykule zostaje podjęta polemika z głosami krytycznymi dotyczącymi filmu... more [ENG version below]
W artykule zostaje podjęta polemika z głosami krytycznymi dotyczącymi filmu "Mała Syrenka" wytwórni Walta Disneya. Bohaterka tego tekstu kultury, oskarżana o zbytnie oddalenie od Andersenowskiego wzorca, nazywana jest przez badaczy „disnejowską materialistką”. W niniejszej pracy teza ta zostaje poddana rewizji. Centralnym punktem polemiki jest próba interpretacji kolekcji przedmiotów, które protagonistka gromadzi w podwodnej grocie. Nowa perspektywa pozwala odczytać jaskinię Ariel jako jaskinię Platońską, której opuszczenie przez syrenę oznacza osiągnięcie prawdziwego poznania, w tym przypadku – poznania świata ludzi, do którego dziewczyna chce przynależeć.
The article argues with critical voices regarding the film The Little Mermaid by Walt Disney Pictures. The heroine of the animation, accused of being an excessive modi- fication of Andersen’s original, is often called by scholars “the Disney’s materialist.” This paper is an effort to review said thesis. The central point of the polemics is the attempt to interpret the Ariel’s collection of items in an underwater cave in the new way. This new perspective allows to read the protagonist’s cave as the Platonic cave, the leaving of which means the achieving the true knowledge, in this case – the knowledge of human’s world to which the girl wants to belong.
[ENG] Postmodern Beasts. Transformations of the Fairy-Tale "Monster's" Image
[eng] Real City, Imaginary City. Transformations of London in Children's and Young Adult Fantasy ... more [eng] Real City, Imaginary City. Transformations of London in Children's and Young Adult Fantasy Literature
[eng] Demonical Creature inside a Beautiful Flower. Fleur Delacour as an Heiress of Veela Charms
Books by Anna Mik
This book explores how mythical monsters, present in children’s and young adult culture, become p... more This book explores how mythical monsters, present in children’s and young adult culture, become perceived as symbols for various groups that communities tend to exclude because of their lack of conformity. It also questions whether the excluded characters, once symbolically re-created as monsters, are more likely to emancipate and gain a voice or feel condemned to isolation, aware that a society, where ‘normality’ in its broadest sense is highly valued, would deny them a true integration. A thorough analysis of constructs of exclusion in children’s and young adults’ culture (literature, films, and TV-series) presented in the consecutive chapters of the book demonstrate how classical mythology and its ‘monsters’ emphasize and clarify the phenomenon of exclusion and its related concepts.
["The Wind in the Things? The World of Objects in Children's and Young Adult Literature"] + ed. ... more ["The Wind in the Things? The World of Objects in Children's and Young Adult Literature"]
+ ed. Grzegorz Leszczyński (not on Academia)
Łapacz snów. Studia o twórczości Neila Gaimana, red. W. Kostecka, A. Mik, M. Skowera, Wydawnictwo SBP, Warszawa 2018, 2018
Czytanie menażerii. Zwierzęta w literaturze dziecięcej, młodzieżowej i fantastycznej, red. A. Mik, P. Pokora, M. Skowera, Wydawnictwo SBP, Warszawa 2016, 2016
Recenzje [reviews]: K. Kowalczyk, W szponach dyskursu?, "Literatura i Kultura Popularna" 2016,... more Recenzje [reviews]:
K. Kowalczyk, W szponach dyskursu?, "Literatura i Kultura Popularna" 2016, t. 22, online:
http://lkp.sjol.eu/download.php?id=4714490355e7f9161e63cae2366a484091208b8d
A. Korczak, W świecie zwierząt literackich. Recenzja książki "Czytanie menażerii. Zwierzęta w literaturze dziecięcej, młodzieżowej i fantastycznej", "Czy/Tam/Czy/Tu. Literatura Dziecięca i Jej Konteksty" 2017, nr 1, online: http://www.ctct.polonistyka.uj.edu.pl/documents/122190295/135839310/CTCT1_2017.pdf/b925f25b-2be6-4c7d-a82e-1d0d62d5e275
P. Rydz, Fantastyczne zwierzęta / niezwykli nie-ludzie, "Zoophilologica. Polish Journal of Animal Studies" 2017, nr 3, online: http://wydawnictwo.us.edu.pl/sites/wydawnictwo.us.edu.pl/files/zoophilologia._2017._nr_3_-_do_druku_errata_art_jagt_z_okl.pdf
Publications in journals by Anna Mik
Dzieciństwo. Literatura i Kultura, 2020
While the majority of the 'wild' children's literature presents male human characters , in the 21... more While the majority of the 'wild' children's literature presents male human characters , in the 21 st century, there is an increasing tendency to publish texts showing a different kind of wildness. In this article, the author analyses three picturebooks published in the 21 st century that feature protagonists other than male and/or human: a wild girl (Wild by Emily Hughes, 2012), a pet dog (Such a Good Boy by Mari-anna Coppo, 2020), and a wild tiger (Mr Tiger Goes Wild by Peter Brown, 2013). She investigates to what extent (if any) non-male and/or non-human wildness in these works differs from the most popular one in children's literature. The author analyses the concept of wildness in the context of a famous children's picturebook featuring a wild protagonist, Where the Wild Things Are by Maurice Sendak (1963), and other cultural texts using this motif.
In two works titled Fantastic Beasts and Where to Find Them, J. K. Rowling ‘collected’ various ma... more In two works titled Fantastic Beasts and Where to Find Them, J. K. Rowling ‘collected’ various magical creatures, firstly – in the form of a bestiary (the book from 2001), then – in her Wunderkammer, as we can interpret the Newt Scamander’s case from the 2016 movie. The main idea that I would like to explore is the one concerning collecting and protecting mythical creatures by gathering them in isolated spaces, where they could not be harmed by, as Scamander calls them, ‘the most vicious creatures on the planet. Humans’ (Rowling, 2016: 113–114). I would like to compare the diegetic world of Fantastic Beasts… and the one known from the Harry Potter series in order to analyse the motif of the animal isolation and to juxtapose it with the one know from Greek mythology.
Just like in ancient times, when various extraordinary creatures (Pegasus, Sphinx, Cerberus, etc.) were supposed to be isolated from humans (either because of they were dangerous or too valuable), Rowling also created safe spaces for magical beasts. In the Harry Potter series there are – inter alia – the Forbidden Forest, the Great Lake, Romanian Dragon Sanctuary, etc., where many creatures, though not prisoned, are isolated from the wizarding society, and paradoxically used by this community as subordinate objects (like in the Triwizard Tournament). In the book Fantastic Beasts…, Rowling collected and categorized numerous beasts and, at the same time, in a way, ‘caged them’ into the human concept of the bestiary, allowing us to see and understand, and preserve (the book itself as a ‘safe place/a sanctuary’) the world of magical fauna. In the movie of the same title, animals are contained in the magical suitcase of Newt Scamander, Rowling’s Wunderkammer, that plays not a role of a menagerie, but rather a sanctuary, where those creature awaits they come back to their natural habitat.
After examining these various spaces and comparing them to the ‘safe places/places of isolation’ for mythical creatures known from the Greek mythology, I would like to show the evolution of the mythical sanctuaries for the Fantastic Beasts, as well as the way these ‘habitats’ were presented – in both the ancient and wizarding world. By analysing this case of the classical reception, I would also like to show how we can relate Rowling’s concepts to the current animal protection strategies.
• J. K. Rowling (2016), Fantastic Beasts and Where to Find Them. The Original Screenplay, London: Little, Brown.
As we all know, in Greek and Roman mythology, centaurs were described as wild and brutal creature... more As we all know, in Greek and Roman mythology, centaurs were described as wild and brutal creatures: half-men, half-horses. They ate raw meat and their customs were unusually wild: they were famous for raping and drinking, and almost every single one of them was identified as savage creature that endangered humans on their travels. However, two of them, Chiron and Pholus, were born as demi-gods and their personalities were different: they had a quiet disposition and were friendly towards humans. They could also foresee the future and read the stars.
Those definitely complicated creatures often appear in the children’s culture – books, movies, video games, and so on. Centaur characters are usually loosely based on motifs drawn from antiquity, and almost never play the role of a rapper or an aggressor. This poster presents examples of how they were depicted, and if not raping and violence, what was shown as their main character trait. I took my examples from children’s literature, movies based on books, and animation, being highly aware of the fact, that there are certainly many more examples to discuss.
The Harry Potter universe is constructed of symbols and images that have their roots in many diff... more The Harry Potter universe is constructed of symbols and images that have their roots in many different cultural traditions – among many others in Greek and Roman mythology. J.K. Rowling, as a classicist, has exploited these traditions in a consequent way to create a specific, yet still vividly mythological representation of the magical creatures. These creatures primarily are: Centaurs, Merpeople (Sirens), a Phoenix, and a Cerberus.
I analyze these figures in the context of animal studies, focusing on the matter of naming them either „beast”, „pet” or „being”. I try to show how this authoritative procedure influences the perception of magical creatures in the social and political life of the wizarding world by placing them on an artificial hierarchical scale.
The research material consists of the Harry Potter series as well as Rowling’s book, Fantastic Beasts and Where to Find Them.
Our Mythical Hope. The Ancient Myths as Medicine for the Hardships of Life in Children’s and Young Adults’ Culture
Our Mythical Hope: The Ancient Myths as Medicine for the Hardships of Life in Children’s and Young Adults’ Culture, 2021
In my analysis, I address foremost the issues of exclusion and racism in "Fantasia" (dir. James A... more In my analysis, I address foremost the issues of exclusion and racism in "Fantasia" (dir. James Algar et al., 1940), specifically the episode entitled "The Pastoral Symphony”, setting it in the context of the war that took place in both the animated fantasy and the harsh reality surrounding its audience. I do this with the help of classical mythology, revealing the hidden meanings of Disney’s story.
Dzieciństwo. Literatura i Kultura, 2019
This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan... more This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan’s novel The Lightning Thief (2005), adapted in 2010 by Chris Columbus for the screen. This character in both works is presented as an excluded member of the society: in the empirical world, as a disabled person, in the mythological one, as a satyr. What is more, in the motion picture, Grover, played by a Black actor, poses as an even more marginalised character, as a representative of a community discriminated in the USA. Therefore, the images of this character reflect the various levels of exclusion and show the ideological significance of a contemporary adaptation for the young audience. The comparative analysis is performed with the use of reception studies and critical race theory perspectives.
"Łapacz snów. Studia o twórczości Neila Gaimana" ", 2018
["Unappetising Tales from the Seductive Stroryteller: Polish Literary Reviews of Neil Gaiman's Ch... more ["Unappetising Tales from the Seductive Stroryteller: Polish Literary Reviews of Neil Gaiman's Children's Works"]
O czym mówią rzeczy? Świat przedmiotów w literaturze dziecięcej i młodzieżowej, 2019
[ENG] The chapter is a comparative analysis of two canonical texts: "Alice's Adventures in Wonder... more [ENG] The chapter is a comparative analysis of two canonical texts: "Alice's Adventures in Wonderland" by Lewis Carroll and "Alice in Wonderland" produced by Walt Disney. In both I look for objects and their meanings, perceiving them as manifestations of Alice's subconscious. I also analyse those objects within the new humanities and "things studies" that proved to be popular in the last decades.
"Śmierć w literaturze dziecięcej i młodzieżowej", red. Katarzyna Slany , 2018
This article traces the motif of death in Harry Potter series and its relation to the concept of ... more This article traces the motif of death in Harry Potter series and its relation to the concept of child and childhood.
Eng. title: "The last enemy that shall be destroyed is death." The Child-Horcrux in Harry Potter series by J. K. Rowling
Maska , 2017
Published in: "Maska" 33/2017. The Harry Potter universe is constructed of symbols and images th... more Published in: "Maska" 33/2017.
The Harry Potter universe is constructed of symbols and images that have their roots in many different cultural traditions – among others in Greek and Roman mythology. J.K. Rowling, as a classicist, has exploited these traditions in a consequent way to create a specific, yet still vividly mythological representation of the magical creatures. These creatures primarily are: Centaurs, Merpeople (Sirens), a Phoenix, and a Cerberus. I analyze these figures in the context of animal studies, focusing on the matter of naming them either "beasts", "pets" or "beings". I try to show how this authoritative procedure influences the perception of magical creatures in the social and political life of the wizarding world by placing them on an artificial hierarchical scale. The research material consists of the Harry Potter series as well as Rowling’s book, "Fantastic Beasts and Where to Find Them".
Hercules by Walt Disney is a fairy-tale type movie that re-tells well-known greek myth about Hera... more Hercules by Walt Disney is a fairy-tale type movie that re-tells well-known greek myth about Heracles, ancient Greek hero. In this paper I try to analyze the title character in order to prove that he is a monomythical realization of the contemporary superhero, with it’s main features, like: „the otherness”, being a celebrity and a potential lover. The movie also provides the actualization of a myth with its new American conservative values. However, many suggestions in it imply creating a distance between this new production and the classical Disney’s animations, like Snow White. Hercules also comments on the popular culture itself and reminds the viewers what does it mean to be.
[ENG version below] W artykule zostaje podjęta polemika z głosami krytycznymi dotyczącymi filmu... more [ENG version below]
W artykule zostaje podjęta polemika z głosami krytycznymi dotyczącymi filmu "Mała Syrenka" wytwórni Walta Disneya. Bohaterka tego tekstu kultury, oskarżana o zbytnie oddalenie od Andersenowskiego wzorca, nazywana jest przez badaczy „disnejowską materialistką”. W niniejszej pracy teza ta zostaje poddana rewizji. Centralnym punktem polemiki jest próba interpretacji kolekcji przedmiotów, które protagonistka gromadzi w podwodnej grocie. Nowa perspektywa pozwala odczytać jaskinię Ariel jako jaskinię Platońską, której opuszczenie przez syrenę oznacza osiągnięcie prawdziwego poznania, w tym przypadku – poznania świata ludzi, do którego dziewczyna chce przynależeć.
The article argues with critical voices regarding the film The Little Mermaid by Walt Disney Pictures. The heroine of the animation, accused of being an excessive modi- fication of Andersen’s original, is often called by scholars “the Disney’s materialist.” This paper is an effort to review said thesis. The central point of the polemics is the attempt to interpret the Ariel’s collection of items in an underwater cave in the new way. This new perspective allows to read the protagonist’s cave as the Platonic cave, the leaving of which means the achieving the true knowledge, in this case – the knowledge of human’s world to which the girl wants to belong.
[ENG] Postmodern Beasts. Transformations of the Fairy-Tale "Monster's" Image
[eng] Real City, Imaginary City. Transformations of London in Children's and Young Adult Fantasy ... more [eng] Real City, Imaginary City. Transformations of London in Children's and Young Adult Fantasy Literature
[eng] Demonical Creature inside a Beautiful Flower. Fleur Delacour as an Heiress of Veela Charms
This book explores how mythical monsters, present in children’s and young adult culture, become p... more This book explores how mythical monsters, present in children’s and young adult culture, become perceived as symbols for various groups that communities tend to exclude because of their lack of conformity. It also questions whether the excluded characters, once symbolically re-created as monsters, are more likely to emancipate and gain a voice or feel condemned to isolation, aware that a society, where ‘normality’ in its broadest sense is highly valued, would deny them a true integration. A thorough analysis of constructs of exclusion in children’s and young adults’ culture (literature, films, and TV-series) presented in the consecutive chapters of the book demonstrate how classical mythology and its ‘monsters’ emphasize and clarify the phenomenon of exclusion and its related concepts.
["The Wind in the Things? The World of Objects in Children's and Young Adult Literature"] + ed. ... more ["The Wind in the Things? The World of Objects in Children's and Young Adult Literature"]
+ ed. Grzegorz Leszczyński (not on Academia)
Łapacz snów. Studia o twórczości Neila Gaimana, red. W. Kostecka, A. Mik, M. Skowera, Wydawnictwo SBP, Warszawa 2018, 2018
Czytanie menażerii. Zwierzęta w literaturze dziecięcej, młodzieżowej i fantastycznej, red. A. Mik, P. Pokora, M. Skowera, Wydawnictwo SBP, Warszawa 2016, 2016
Recenzje [reviews]: K. Kowalczyk, W szponach dyskursu?, "Literatura i Kultura Popularna" 2016,... more Recenzje [reviews]:
K. Kowalczyk, W szponach dyskursu?, "Literatura i Kultura Popularna" 2016, t. 22, online:
http://lkp.sjol.eu/download.php?id=4714490355e7f9161e63cae2366a484091208b8d
A. Korczak, W świecie zwierząt literackich. Recenzja książki "Czytanie menażerii. Zwierzęta w literaturze dziecięcej, młodzieżowej i fantastycznej", "Czy/Tam/Czy/Tu. Literatura Dziecięca i Jej Konteksty" 2017, nr 1, online: http://www.ctct.polonistyka.uj.edu.pl/documents/122190295/135839310/CTCT1_2017.pdf/b925f25b-2be6-4c7d-a82e-1d0d62d5e275
P. Rydz, Fantastyczne zwierzęta / niezwykli nie-ludzie, "Zoophilologica. Polish Journal of Animal Studies" 2017, nr 3, online: http://wydawnictwo.us.edu.pl/sites/wydawnictwo.us.edu.pl/files/zoophilologia._2017._nr_3_-_do_druku_errata_art_jagt_z_okl.pdf
Dzieciństwo. Literatura i Kultura, 2020
While the majority of the 'wild' children's literature presents male human characters , in the 21... more While the majority of the 'wild' children's literature presents male human characters , in the 21 st century, there is an increasing tendency to publish texts showing a different kind of wildness. In this article, the author analyses three picturebooks published in the 21 st century that feature protagonists other than male and/or human: a wild girl (Wild by Emily Hughes, 2012), a pet dog (Such a Good Boy by Mari-anna Coppo, 2020), and a wild tiger (Mr Tiger Goes Wild by Peter Brown, 2013). She investigates to what extent (if any) non-male and/or non-human wildness in these works differs from the most popular one in children's literature. The author analyses the concept of wildness in the context of a famous children's picturebook featuring a wild protagonist, Where the Wild Things Are by Maurice Sendak (1963), and other cultural texts using this motif.
"Dzieciństwo. Literatura i Kultura", 2019
This article aims to present the book-to-film metamorphosis of Grover Under-wood from Rick Riorda... more This article aims to present the book-to-film metamorphosis of Grover Under-wood from Rick Riordan's novel The Lightning Thief (2005), adapted in 2010 by Chris Columbus for the screen. This character in both works is presented as an excluded member of the society: in the empirical world, as a disabled person, in the mythological one, as a satyr. What is more, in the motion picture, Grover, played by a Black actor, poses as an even more marginalised character, as a representative of a com munity discriminated in the USA. Therefore, the images of this character reflect the various levels of exclusion and show the ideological significance of a contemporary adaptation for the young audience. The comparative analysis is performed with the use of reception studies and critical race theory perspectives.
Czy/Tam/Czy/Tu. Literatura Dziecięca i Jej Konteksty, 2017