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Studia Litteraria Universitatis Iagellonicae Cracoviensis

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Volume 20, Issue 1

Landscape and Identity in Modern British and Irish Fiction

2025 Next

Publication date: 07.11.2025

Description

Excellence Initiative logotype



The publication has been supported by a grant from the Faculty of Philology under the Strategic Programme Excellence Initiative at Jagiellonian University.


Cover design: Paweł Bigos

Licence: CC BY 4.0 licence icon

Editorial team

Editor-in-Chief Katarzyna Bazarnik

Zastępca redaktor naczelnej / sekretarz Natalia Palich

Issue editor Beata Piątek, Bożena Kucała

Issue content

Bożena Kucała, Beata Piątek

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 20, Issue 1, 2025, pp. 1-3

https://doi.org/10.4467/20843933ST.25.001.222032
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Barry Keane

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 20, Issue 1, 2025, pp. 5-13

https://doi.org/10.4467/20843933ST.25.003.222034
This article will contend that Leopold Bloom is out of sorts professionally, socially and personally because of his current residence on the Northside of Dublin, where he has found himself removed from a community culture which he perhaps once took for granted, having grown up and lived independently in the district of what used to be known as Little Jerusalem, which was to be found on the Southside of Dublin: traditionally, albeit for many unfairly, thought to be the better half of the city. And so, not only is he a victim of prejudice for being a Jew, but also for being an Exiled and Wandering Jew, in search of a return to his homeland, that being the environs of Clanbrassil Street, where he was born, got married, had children, and mourned the loss of his infant boy, Rudy.
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Barbara Klonowska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 20, Issue 1, 2025, pp. 15-26

https://doi.org/10.4467/20843933ST.25.002.222033
Set in 1859 in central Ireland, barely a few years after the Famine, Emma Donoghue’s novel The Wonder (2016) inscribes its plot and characters into a doubly constructed landscape. At a more obvious level it sets the story in the landscape of rural Ireland of the time, thus offering a glimpse of its countryside shown in a particularly difficult moment in time. At another level, bringing to the fore and dramatising in the story the little-known phenomenon of “fasting girls” it examines the religious and cultural landscape of Irish Catholicism with its unique and peculiar forms of piety and British colonialism and its aftermath. Drawing on the framework of landscape studies the article analyses Donoghue’s novel as an example of a revisionist imaginary reconstruction of a natural and cultural landscape and as a voice in the discussion of Irish Catholicism and the trauma of British imperialism.
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Leszek Drong

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 20, Issue 1, 2025, pp. 27-37

https://doi.org/10.4467/20843933ST.25.004.222035
Published in 1994, Borderland by Patrick Quigley combines a historical narrative with an allegory of the lost innocence of youth and the land it is associated with. Although it is concerned with its protagonist’s maturation, the novel is primarily a toponarrative that revolves round both imaginative and actual borderscapes. The point that Quigley’s novel makes is that the two types of borderscapes (i.e., imaginative and actual ones) are indivisible, the latter borrowing sense and shape from the former, including the spiritual and cultural deposits that have accrued on the border over time. Central to this essay’s reading of the novel is its grounding in the genius loci category which ties the spirit (i.e., the genius) down to one particular location on the Irish border. The spirit – in this case a dead/buried giant emblematic of the imminent threat of violence – animates the entire place and thus becomes at least as important as the protagonist of Quigley’s novel.
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Katarzyna Biela

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 20, Issue 1, 2025, pp. 39-49

https://doi.org/10.4467/20843933ST.25.005.222036
Claire-Louise Bennett is an author of English origin, who is now settled in Ireland. Her debut short story collection, Pond (2015), may be seen as a fictional representation of her relocation and early settlement. Having quit academia and theatre, the narrator redirects her attention from people to herself and the world around her. This is not, however, done straightforwardly as readers’ knowledge of the woman is limited while narration turns out fragmented and frequently incoherent. In this paper, I suggest that elaborate landscape and setting descriptions may help to unravel the narrator’s non-obvious identity. Hence, I focus on the representations of landscape in Pond and discuss their connection to narration. I consider shifts in scale and the narrator’s distance from fellow villagers as her strategies to define her place in the new country. I read her attempts to establish a blissful connection with her surroundings, at times distorted by anxiety, as a negotiation between her past and present self. Finally, the moments when Bennett resorts to abstraction are examined as hints at the narrator’s deeper insight. The construction of narration in Pond, with its relation to the setting, prompts investigation as Bennett will resort to a female, transforming narrator also in her later works.
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Bożena Kucała

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 20, Issue 1, 2025, pp. 51-63

https://doi.org/10.4467/20843933ST.25.006.222037
This article discusses the processes of deliberate mythologisation of contemporary English landscapes as depicted in Sarah Moss’s Ghost Wall (2018) and Benjamin Myers’s The Perfect Golden Circle (2022). In the former, the characters engage in “experiential archaeology” by re-enacting ancient rituals and modes of living. The plot revolves around the constant tensions between modernity and the misguided desire for an authentic immersion in the Iron Age past. Similarly, the protagonists of Myers’s novel are dedicated to what they describe as “myth-making” (73) by secretly creating elaborate patterns in the fields of rural England and subsequently enjoying the widespread public interest and wild theories which their designs trigger. As in Moss’s novel, the myth-making activities clash with modern ways of life. However, even though in both stories the myths are exposed as fake, there are also hints that the landscapes indeed contain layers of intrinsic meaning which can be intuited in rare moments of heightened perception.
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Tymon Adamczewski

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 20, Issue 1, 2025, pp. 65-76

https://doi.org/10.4467/20843933ST.25.007.222038
The article offers a description and analysis of Justin Barton and Mark Fisher’s audio essay On Vanishing Land. It discusses the theoretical and conceptual framework proposed by Fisher in his The Weird and the Eerie (2016) and looks at their collective work from the perspective of a reversal of the “figure and background” trope associated with the tradition of artistic renderings of various landscapes. It is argued that the very format of the audio essay, together with the notion of the eerie, serve as particularly important modalities in attempting to render the material specificities of the landscapes and in recording the way in which landscape may “act” on individuals. The text further emphasises the material intricacies of the audio essay in various media formats and concludes with a recognition of the political potential of the form and content.
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Funding information

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The publication has been supported by a grant from the Faculty of Philology under the Strategic Programme Excellence Initiative at Jagiellonian University.