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This article re-evaluates the merits of Shakespeare's Sonnet 145 and explores its critical legacy over the past half-century. While the sonnet has typically been seen as inferior due to its use of tetrameter rather than pentameter, one article from 1971 made a case for it being the first poem Shakespeare ever wrote. Rather than prompt critical debate, the theory presented in the article gained nearly universal acceptance and has been amplified ever since. The problem I identify is that the theory itself has been adopted without due scrutiny, and that when we approach Sonnet 145 from the standpoint that it is neither inferior nor juvenilia, we can then see how the supposed aberrations are potentially deliberate choices made by Shakespeare to underscore the poem's content. [ABSTRACT FROM AUTHOR]

As a solitary mention within her juvenilia tale 'Tales of the Islanders' (1829), Charlotte Brontë's fictitious reference to air balloon flight suggests a wider social and literary context for its author's understanding of this new scientific phenomenon. This article examines the wider textual presence of this awe-inspiring invention and how her seemingly simple reference to balloons ultimately aligns her from an early age to a wider, Romantic female discourse, particularly to the writing of Mary Shelley. The prevalent references to balloon flight in newspapers, magazines and books available to Brontë at the time, imply a familiarity with these dialogues, which is ultimately suggestive of the material she read and was subsequently inspired by to include in her own writing. Brontë's reference to balloons associates her work with a Romantic discourse contemporary to her, specifically a female one, which situates her as a young writer alert to the literary dialogue of the time, hinting at a style she would later use in her novels, one which juxtaposed scientific invention in the Industrial Age beside an emotive poetic voice. [ABSTRACT FROM AUTHOR]

Arno Schmidt is one of the most thoroughly researched German post-war authors. However, there is a significant gap with regard to his stationing in Øverås, Norway, as part of the German occupation troops during the Second World War. This applies not only to Schmidt's experiences in Norway, but also to the influence of this period on his literary work. Accordingly, I will pursue the question of how Schmidt used his 'Norwegian years' in his literary work. In particular, I will consider the influence of Nordic mythology on the group of the so-called "Juvenilia", four of which originated in Norway. [ABSTRACT FROM AUTHOR]

Copyright of Śląskie Studia Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Reymont's unpublished letters noted down in a special notebook of his called Marzenia (Dreams) are his juvenilia that lack much literary value, yet witness the future Nobel Prize laureate's struggles with poetry which would never become part of his work as he would find himself most skilled in writing prose. What is important in Reymont's letters, however, are the signatures of his personality, his characteristic style of expression and traces of his readings. The early lyrical texts reflect his emotional experiences from the time of writing and contain traces of the people he met, especially Wiktoria Słupska, the love of his youth, to whom the volume of poems was dedicated. Recalling these poems became a chance to reconstruct Reymont's biography from his stay in Warsaw at the time of his fascination with theatre and spending time with the Woliński family. [ABSTRACT FROM AUTHOR]

Jane Austen is celebrated for her wit and wittiness. She famously defended novels in Northanger Abbey, for example, on the basis that they display 'the liveliest effusions of wit'. Critics have long been occupied with detailing the implications of Austen's wit, but without due attention to Austen's own explicit deployment of the word within her writing. Offering a re-evaluation of Austen's use of 'wit', this article provides a much-needed examination of how the term is implemented by Austen in her fiction (from her juvenilia, and through her six major novels), contextualises wit's meaning through its seventeenth-, eighteenth-, and nineteenth-century senses, and reveals that 'wit' did not necessarily have the positive connotations often presumed in modern suppositions. It transpires that, seemingly paradoxically, Austen routinely adopts the label 'wit' ironically to expose an absence of true wit, whilst concurrently avoiding the application of the word in moments displaying true wit. This article argues for the need to understand the crucial distinction between wit and true wit in Austen's fiction. [ABSTRACT FROM AUTHOR]

Sylvia Plath's unpublished poems and short stories from her high school years (1947 – 50) have received little sustained scholarly attention. Yet they offer surprising clues of the writer Plath would become, and reveal the strong influence that modernist poetry and progressive politics had on her aesthetic development. They also suggest the crucial role Plath's high school English teacher played in guiding her aesthetic and political instincts. The archive shows how Plath's adolescent literary apprenticeship laid the foundation for two of the most important works of the twentieth century , The Bell Jar and Ariel. [ABSTRACT FROM AUTHOR]

Charlotte Brontë's juvenilia, unlike her mature novels with their independent plain heroines, is dominated by female beauties who represent her imaginary aristocratic world. The desire for beauty that dominated Brontë's early writings is abandoned in the tale 'Henry Hastings' (1839) and the heroine's plainness comes to create a substitute for the image of female beauty. In considering Elizabeth Hasting's plainness as a form of self-representation, this article challenges the perception of plainness as merely an indication of the heroine's invisibility or more profoundly a reflection her interiority and morality. Instead, this paper explores the exteriority and subversiveness of Elizabeth's plainness in the narrative. Plainness in 'Henry Hastings' is not only related to homeliness but also goes into the realm of plainness as a self-imposition, particularly through dress. The heroine's beauty or on the other hand, her plainness, as I will argue, comes to offer different positions of making the self visible to the dominant male gaze in the late juvenilia. [ABSTRACT FROM AUTHOR]

Transhistorical accounts of fanfiction often refer to the Brontës' juvenilia, but such references are largely cursory even as they make a claim about the siblings' Angria and Gondal writings that needs more careful consideration. This essay offers a more thorough examination of what it means to claim "the Brontës wrote fanfic", analyzing their family- and site-specific mode of creative production and consumption in relation both to established definitions of contemporary fanfiction and to their own sources and environment. Archival research has enabled me to situate some of the Brontës' earliest texts in their original tiny, hand-produced format alongside the print periodicals and physical books that the young authors read and transformed. I analyze how the siblings' books mimic the multiplicity and flexibility of authorship modeled in their local newspaper and how their drawing, marginalia, and corrections accentuate the interactive nature of the printed book. Viewing the Brontë siblings as a family fandom enthusiastically devoted to the creation and appreciation of transformative works helps make visible a model of authorship they share with contemporary fanfiction: authorship not just as collaboration but as play and exchange among diverse materials, sources, activities, media, writers, and readers. Then, as now, this mode exists simultaneously with commercial authorship but is distinct from it, as the siblings recognized, altering their plots, practice, and presentation for their novels. [ABSTRACT FROM AUTHOR]

This article is an answer to Victoria Ford Smith's invitation that scholars 'find ways to talk about real children, despite a critical tradition that insists we conceive of the child as other, alien, or inescapably tied to adult desire' (256). It concerns the web and print comics series Axe Cop (2009–2017), created by two brothers, Malachai and Ethan Nicolle, and the first volume of Riad Sattouf and 'Esther's' comic book series Les Cahiers d'Esther (Esther's Notebooks) (2016). Each comic followed a similar process: a child related a story, either autobiographical in the case of Esther's Notebooks or the result of practice play in the case of Axe Cop, to an adult artist who then rendered that story in comic book form. Both texts manifest a, to borrow Rick Iadonisi's term, 'narrative wrestling match' (52); the adult collaborators construct the child as a figure of adult desire while, at the same time, the child author remains a palpable presence in the text and engages in a reciprocal construction of adulthood. In the case of Esther's Notebooks, Sattouf further uses his collaborator's lack of knowledge to critique adult assumptions of children, suggesting a more equitable partnership between children and adults. [ABSTRACT FROM AUTHOR]

The thesis by Jan Baudouin de Courtenay published here is probably the oldest of the texts by the Polish linguist. The text was submitted in 1864 as a part of the logic and philosophy course taught at the Warsaw Main School by Henryk Struve. It clearly shows an attempt by the young researcher to embark on a scholarly path, which turns out to be far from the one Baudouin de Courtenay took later in his academic activity. The future linguist argues here in defence of linguistics as a so-called physical science (a natural skill, as he often calls it in his dissertation), thus contrasting it with philology and history. [ABSTRACT FROM AUTHOR]

Can History and Philology Competently Address Their Tasks without a Close Connection with Philosophy, Namely Philosophy of History and Philosophy of Language? The thesis by Jan Baudouin de Courtenay published here is probably the oldest of the texts by the Polish linguist. The text was submitted in 1864 as a part of the logic and philosophy course taught at the Warsaw Main School by Henryk Struve. It clearly shows an attempt by the young researcher to embark on a scholarly path, which turns out to be far from the one Baudouin de Courtenay took later in his academic activity. The future linguist argues here in defence of linguistics as a so-called physical science (a natural skill, as he often calls it in his dissertation), thus contrasting it with philology and history.

Copyright of Ruch Literacki is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The thesis by Jan Baudouin de Courtenay published here is probably the oldest of the texts by the Polish linguist. The text was submitted in 1864 as a part of the logic and philosophy course taught at the Warsaw Main School by Henryk Struve. It clearly shows an attempt by the young researcher to embark on a scholarly path, which turns out to be far from the one Baudouin de Courtenay took later in his academic activity. The future linguist argues here in defence of linguistics as a so-called physical science (a natural skill, as he often calls it in his dissertation), thus contrasting it with philology and history. [ABSTRACT FROM AUTHOR]

Maria Edgeworth is well known for her didactic tales and her production of regionally accurate narratives. Much less is known, however, about her juvenilia and the influence this writing had on her adult work. In the following article, I examine numerous words identifiable in Maria Edgeworth’s juvenilia drama, The Double Disguise (1786), which antedate the Oxford English Dictionary (OED) quotations attributed to her adult work. Through examining the similarities in word choices and vocabulary between The Double Disguise and her later work, this article argues for the importance of juvenilia on the development of Edgeworth’s adult authorship.

Transhistorical accounts of fanfiction often refer to the Brontës’ juvenilia, but such references are largely cursory even as they make a claim about the siblings’ Angria and Gondal writings that needs more careful consideration. This essay offers a more thorough examination of what it means to claim “the Brontës wrote fanfic”, analyzing their family- and site-specific mode of creative production and consumption in relation both to established definitions of contemporary fanfiction and to their own sources and environment. Archival research has enabled me to situate some of the Brontës’ earliest texts in their original tiny, hand-produced format alongside the print periodicals and physical books that the young authors read and transformed. I analyze how the siblings’ books mimic the multiplicity and flexibility of authorship modeled in their local newspaper and how their drawing, marginalia, and corrections accentuate the interactive nature of the printed book. Viewing the Brontë siblings as a family fandom enthusiastically devoted to the creation and appreciation of transformative works helps make visible a model of authorship they share with contemporary fanfiction: authorship not just as collaboration but as play and exchange among diverse materials, sources, activities, media, writers, and readers. Then, as now, this mode exists simultaneously with commercial authorship but is distinct from it, as the siblings recognized, altering their plots, practice, and presentation for their novels.

The study of child writers is a recently emerging branch of scholarly study. It is known by the name of 'juvenilia studies' in academia. The works of child writers grant the reader and the critic a privileged access into the thought process of children. This paper does a brief analysis to reveal the post human elements in the thought process of two child writers as revealed through their works. Opal Whiteley and Kavya Kompella, two child writers, the former speaking to us from the 20th century and the latter speaking to us in the 21st, have as the common thread of their works, the blurring of boundaries between the human and the non-human. Whiteley's work is a semi-fictional diary titled The Story of Opal: The Journal of An Understanding Heart where she recounts her days in an Oregon lumber camp - her days at school, the journeys she makes to her school, her home and other places near the settlement during the course of which she establishes a deep bond with all the living and nonliving things in and around the woods that surround the settlement. Kompella a nine-year old Indian published 110-pages book titled The Three Adventurers at Fungalore, which rose to the best-selling list of Amazon, India. The book is about two children, Neel and Nina who are excited to go to their new school, Fungalore, and the adventures that they have there. [ABSTRACT FROM AUTHOR]

This article was prompted by a joint declaration made on 28 September 2015 by the Archbishops of Cracow and Warsaw and the state authorities of the two cities that they would provide means for publishing project 'A Critical Edition of the Literary Works of Karol Wojtyła - John Paul II'. This decision, marking the 100th anniversary of the birth of Karol Wojtyła in May 2020, signalizes the importance of the project which goes beyond a standard publication of an author's complete works. The series was inaugurated by the publication in 2018 of Volume One (Juvenilia, 1938-1946), whose editors are expected to continue working on the following volumes. The author of this article takes a look at the first collected works edition of The Poetry and Dramas of Karol Wojtyła - John Paul II, published in 1979 (it actually went to press in 1980) under the directorship of Jacek Woźniakowski and authorized by John Paul II himself. It was in fact a complete edition as its editors succeeded in collecting all of Karol Wojtyła literary works from the moment he enrolled at the Seminary until his election as Pope in 1978. All the texts used for that edition were collected at source and in that respect can hardly be surpassed. For over forty years it offered a reliable store of Karol Wojtyła's poems and plays to ordinary readers, translators, producers of plays and public ceremonies. In this article we can find a first-hand account of the story of that first edition from its inception, the role of the editors of the weekly Tygodnik Powszechny, the decisions taken at the Znak head office and the author's own contribution as editor. It is at this point that he explains the decision to exclude from their edition Karol Wojtyła's juvenila from his student years. [ABSTRACT FROM AUTHOR]

Austen camp has become prevalent, even omnipresent, today, in visions and versions of her and her fiction, using them as a canvas for zombies, porn, or roller derby. Some of it may be kitsch, but it’s arguably camp. Investigating Austen as camp is a valuable way to understand her humor and her social criticism, as we now understand camp as a positive literary and social practice. But rather than asking if and when camp is “there,” for Austen or for her past readers, we might instead investigate what aspects or elements of her reputation or her writing we notice differently when we elect to see her as campy. What do we miss out on by doing that sort of noticing? Finally, once you start to see Austen camp, can you, or how can you, un-see it?

This article explores child-authored texts, both real and fictional, and the adult discourse surrounding or commenting on such texts. It focuses on the example of young Marcel's writing in Proust's In Search of Lost Time, and on the critical commentary on the juvenilia of child authors of the nineteenth and early twentieth century. I argue, using Peter Hollindale's concept of childness, that adult texts written about and around child-authored texts have a tendency to perform, themselves, the kind of childly characteristics that they hope to see in the children's texts. The childness of child-authored texts is an all-but-illusory characteristic if it is envisaged as an intrinsic or essential feature of the texts; however, the adult awareness of the existence of a child-authored text shapes and deforms adult discourse around it in ways that are attributable, at least in part, to the characteristics of childness expected of young writers in a given place and time. Thus, I conclude, the adult text ends up more childly than the child's; and, by conditioning the reader's approach to the child's text as childly, it is the adult's text, paradoxically, that contaminates it with childness. [ABSTRACT FROM AUTHOR]

The present article examines the imitation of the bibliographic codes and peritexts of printed books in numerous Finnish juvenilia manuscript books from the late nineteenth century to the 1920s. These meticulously crafted books by Helka Hiisku (1912-1962), Elina Vaara (1903-1980), Katri Vala (1901-1944) and Yrjö Koskelainen (1885-1951) were probably not intended to be printed or published in the traditional sense but have most likely circulated among an extremely limited readership of friends and family. An investigation of the imitation of printed books in relation to content, pseudonyms and the publisher's peritext, such as illustration, book covers, title pages and typography, shows how thoroughly the concept of the book determined writing in the first half of the 20th century. Handmade books might have been a hobby activity but they also demonstrate how aware budding writers were of the bibliographical code and peritexts of the printed book. [ABSTRACT FROM AUTHOR]

Austen camp has become prevalent, even omnipresent, today, in visions and versions of her and her fiction, using them as a canvas for zombies, porn, or roller derby. Some of it may be kitsch, but it's arguably camp. Investigating Austen as camp is a valuable way to understand her humor and her social criticism, as we now understand camp as a positive literary and social practice. But rather than asking if and when camp is "there," for Austen or for her past readers, we might instead investigate what aspects or elements of her reputation or her writing we notice differently when we elect to see her as campy. What do we miss out on by doing that sort of noticing? Finally, once you start to see Austen camp, can you, or how can you, un-see it? [ABSTRACT FROM AUTHOR]

Wuthering Heights is a northern writers rebuttal of the colonizing tendencies of the south-east's metropolitan elite. Casting Wuthering Heights as the center and Thrushcross Grange the periphery, Emily Bronte presents the North as solid and without artifice, while the South represents imported and suspect values. Lockwood personifies all that is malign in the colonizing nexus, a subject Bronte had explored in her Gondal poems. But she was also a realist: Wuthering Heights both elegizes a way of life that is passing and unites the best of both worlds. Themselves the products of North / South parents, Hareton and Cathy, in their impending union, herald a new and stronger future, where Yorkshire values are invigorated by the influx of southern capital. [ABSTRACT FROM AUTHOR]

This biographical paper describes Stanisław Barańczak's first attempts at translating poetry as a high school student in 1964. The aim of the paper is to present the birth of his philological passion, and to answer the question of how Barańczak emerges a translator. The presentation is based on six unpublished translations of Russian and English language poems found in the correspondence of Barañczak and in the hitherto unknown memories of his school friends. The analysis focuses on the technique of Barańczak's translation work, on reconstructing his motivations, selection of texts for translation, self-assessment of the results, opinions on the authors of the original and evaluation of pop-culture. In addition, the paper offers several facts from the private life of the teenage translator, among others the decision to study Polish philology, as well as his relations with his high school colleagues and teachers. [ABSTRACT FROM AUTHOR]

Copyright of Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During and after the Napoleonic Wars, there was an outpouring of military-based biographical writing never before seen in British history. Over 200 military memoirs were published either as standalone entities or in periodicals such asBlackwood’s Edinburgh MagazineandThe United Service Journal.As a result, the experiences of ordinary soldiers were brought to the forefront of Britain’s public consciousness. Although many of these memoirs glorified war, a number revealed the psychological damage war inflicted on the British male population and explicitly exposed the horrors of combat to a domestic readership. Furthermore, this explosion of life writing also exposed a connection between suffering and alcoholism, consolidating trauma as a post-war, national problem. The Brontës, typically recognized as canonical, Victorian authors, first participated in this military-based literary movement. This article attempts to reposition and establish two of the siblings – Charlotte and Branwell – as significant post-war commentators. By focussing on their military reading, it will become clear how they vicariously processed and reimagined war trauma and addiction through their Glass Town and Angrian sagas. Not only will this article argue that the introduction of military biography into British society generated wide-scale recognition of war trauma, despite its absence within contemporary medical discourse, but it will also argue that the young Brontës’ literature is an important historical source for understanding and re-evaluating the public response to post-war military masculinity. [ABSTRACT FROM PUBLISHER]