The Potential for Subversion of the Metanarrative in Retellings of Robin Hood
Grodzieskie kroniki klasztorne was written by Hanna Paulouskaya, a researcher in Neo-Latin and reception studies at the Faculty of "Artes Liberales," University of Warsaw. Forms of Genre and Aspects of Communication, Hrodna Monastery Chronicles, Wydawnictwo DiG and Wydzia "Artes Liberales," University of Washington, 2016. She is currently working on a study titled Comrade Prometheus and Co.
Classical Mythology in Soviet Animations for Children and Young Adults as part of the Our Mythical Childhood project. She specializes in the reception of Classical Antiquity in juvenile culture in the Soviet Union, with a focus on animation and children's cinema.
Doctor Edoardo Pecchini specializes in child and adolescent neuropsychiatry. He is also pursuing a Ph.D.
Krzysztof Rybak is a Ph.D. candidate and research assistant at the Warsaw University's Faculty of "Artes Liberales." Member of the International Research Society for Children's Literature and a fellow at the International Youth Library in Munich, both of which are located in the Faculty of Polish Studies of the University of Warsaw. He has been working on a research study about children's informational books since 2021, which is supported by a PRELUDIUM Grant from Poland's National Science Centre (grant number 2020/37/N/HS2/00312). He released the book.
Senior Lecturer in Classics at Victoria University of Wellington in New Zealand is Babette Puetz. She formerly taught at universities in the UK and the USA before relocating to New Zealand. Her areas of research interest include Greek comedy, current children's literature, classical reception, and animals. Katerina Volioti is an Associate Lecturer at the University of Roehampton, London, where she convenes modules on ancient art, archaeology, and museums. She completed Before that, she studied Politics at Humboldt University, Berlin, and Management at the Saïd Business School, University of Oxford.
1998). Son of Merian C. Cooper, an American aviator who served as an officer in the Polish and US air forces and was the director and producer of the 1933 film King Kong, and Marjorie Somczyska (née Crosby), an Englishwoman who chose to live in the Russian Empire and later in reborn Poland, Maciej Somczyski chose to become a Pole.
Troilus and Criseyde by Geoffrey Chaucer, Paradise Lost by John Milton, Gulliver's Travels by Jonathan Swift, Alice's Adventures in Wonderland by Lewis Carroll, Peter Pan by J.M. Barrie, and Ulysses by James Joyce are just a few of the works he translated into Polish.
However, it is unquestionably his translation of the entire body of William Shakespeare's works that have given him prominence among translators in the history of
The fact that Somczyski is still the only person in the world to have accomplished this feat should be mentioned. Somczyski is responsible for providing Poles with a coherent and uniform Shakespearean corpus in their tongue, notwithstanding some questions about the translations' literary worth and degree of adherence to the originals.
a poet, playwright, and author. More than 140 compositions—including poems, dramas, novels, Feuille tons, reviews, etc.—are included in the whole collection of his works. But not all of them were printed or presented using his real name. Joe Alex, Kazimierz Kwasniewski, Agnes Soerssen, Male Turkey, Veronica O'Donnell, Sydney Stewart, Barbara Snow, Monica Higgins, and Nashua Gath Singh are just a few of the pen names he used to write under.
Books that fall under the category of crime fiction are particularly significant. The most well-known of them belonged to Sommeczyski's alter ego Joe Alex, who was searching for the England he knew from his mother's memories.
The Sheriff’s visit to the anchoress—a peasant woman ‘‘walled up in a tiny house near the graveyard’’ (p. 183) is a second episode that symbolizes how the forest has come to the city. Separated from her by stone, Geoffrey is offered by the woman two ‘‘glistening white twigs’’ as representing ‘‘God’s palate’’ and ‘‘God’s precious wounds’’ (p. 186). Geoffrey weeps to receive this Communion of the wood.
Robin Hood represents a more complex worldview than the Sheriff had previously imagined. The comic inversion of the Sherwood ‘feast of misrule’ serves to open the Sheriff’s perspective of the world. Cadnum further develops this notion by giving Geoffrey a shadow in the shape of his fool. Initially, Geoffrey is distrustful and even malicious in his dealings with his fool, but gradually the Sheriff comes to understand that the role is an important one in his household.
This text provides a good example of a paradox at the heart of the retellings of Robin Hood for children. Stephens and McCallum argue that such narrative domains ‘‘have the function of maintaining conformity to socially determined and approved patterns of behavior, which they do by offering positive role models, proscribing undesirable behavior, and affirming the culture’s ideologies, systems, and institutions’’ (pp. 3–4).
The complex relationship that develops between Geoffrey and his fool—between politician and satirist, suggests that things are not all black and white in ‘‘The Dark Wood’’ (the title comes from Dante’s Inferno), thus deconstructing the roles of hero and villain. This seems to me to be an important function of retellings of Robin Hood for children.
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