Dr Piotr Spyra specjalizuje się w angielskiej literaturze późnośredniowiecznej oraz renesansowej. Jego rozprawa doktorska poświęcona była utworom z tzw. rękopisu Perły, zaś obecne badania skupiają się na związkach folkloru i literatury w kontekście średniowiecznych romansów rycerskich, ballad ludowych oraz komedii Williama Shakespeare'a. Dr Piotr Spyra pełni funkcję opiekuna naukowego Studenckiego Koła Naukowego im. Geoffreya Chaucera.
Dr Piotr Spyra jest członkiem Pracowni Badań nad Średniowieczną i Renesansową Literaturą Angielską.
Wypromowane prace dyplomowe (m.in):
"The Concept of the Green World and the Image of the Forest in As You Like It and A Midsummer Night's Dream"
"The Figure of the Vice and its Development in Renaissance English Drama"
"Manipulation as a Path to Success: the Character of the Duke in Shakespeare's Measure for Measure"
"The Female Predicament in the Carnivalesque Space of Restoration Theatre: The Portrayal of Gender Dynamics in Aphra Behn's The Rover"
"Looking Acutely, Dancing Passionately, and Experiencing a Sense of Otherness: the Visual, the Body and the Other in Brian Friel's Dancing at Lughnasa"
"'Neither at things nor at people should one look': the Gaze Chain in Oscar Wilde's Salome"
"Nightmarish Elements in the Dream Vision of Pearl"
Original and engaging, this study presents the four anonymous poems found in the Cotton Nero MS - Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight - as a composite text with a continuous narrative. While it is widely accepted that the poems attributed to the Pearl-Poet ought to be read together, this book demonstrates that instead of being analyzed as four distinct, though interconnected, textual entities, they ought to be studied as a single literary unit that produces meaning through its own intricate internal structure. Piotr Spyra defines the epistemological thought of Saint Augustine as an interpretive key which, when applied to the composite text of the manuscript, reveals a fabric of thematic continuity. This book ultimately provides the reader with a clear sense of the poet's perspective on the nature of human knowledge as well as its moral implications and with a deeper understanding of how the poems bring the theological and philosophical problems of the Middle Ages to bear on the individual human experience.
"Agents of Narrative Magic: A Review of James Wade's Fairies in Medieval Romance (New York: Palgrave-Macmillan, 2011)." Studia Anglica Posnaniensia 48.4 (2013): 79-82.
"A Review of Emma Wilby's The Visions of Isobel Gowdie: Magic, Witchcraft and Dark Shamanism in Seventeenth-Century Scotland (Sussex University Press, 2010)." Analyses / Rereadings / Theories Journal 3 (1) 2015: 29-31.
- A/R/T: Analyses/Rereadings/Theories
- Studia Anglica Posnaniensia
Dr Piotr Spyra
Study questions for Tennyson's "Enoch Arden"
Edwin Morgan's "Warning Poem"
Ezra Pound's "In a Station of the Metro"
Craig Raine's "A Martian Sends a Postcard Home"
William Wordsworth's "Daffodils"
Emily Dickinson's "I heard a fly buzz"
Stanley Fish - How to Recognize a Poem When You See One
L4B Tuesdays 3:15 pm
Topics for presentations (the ones already taken):
- 21.03 > The Universe's Shape (about the creation of the universe)
- 28.03 > Salem Witchcraft Trials
- 16.05 > The Devil
Materials for download:
Presentation Skills: short biography of Nikola Tesla
Conversation: Girlfriend Thief
Death (gap filling)
For 'Writing Component 1': Plagiarism
Conversation: Dave Barry on college
Conversation & gap-filling: Charity
Gap-filling: Demonic possession
Conversation: Role of universities
Vocabulary: The Language of Mathematics
For 26 April please read two poems by Alfred Lord Tennyson:
Reformation in England (for 22.03.2017)
Daniel Defoe's Journal of the Plague Year (for 29.03.2017)
[read the following fragments: from page 17 ("But I must go back...") to the beginning of p. 24 "... so knew nothing of the matter" and from p. 31 (from "About June the Lord Mayor...") to p. 40 (including this page)]
British philosophy - selections with study questions (for 12.04.2017)
Potraits of British royalty:
1 - young Henry VIII (unknown artist)
2 - Henry VIII (unknown artist)
3 - Henry's family portrait (unknown artist, after an earlier version by Lucas de Heere), c. 1590
(what is the symbolism here, who are the people to the left and to the right?)
4 - Edward VI and the Pope (unknown artist), c. 1575
5 - Elizabeth - the Armada portrait (unknown artist), c. 1588
6 - Elizabeth - the Ditchley portrait (by Marcus Gheeraerts the Younger), c. 1592
7 - Elizabeth - the Rainbow portrait (by Isaac Oliver), c. 1600
8 - King James - portrait (by Paul van Somer), c. 1620
9 - Raphael's portrait of Pope Julius, c. 1511 - model for no. 10
10 - portrait of King James (by Daniel Mytens), c. 1621
Sample works by two key figures in British Renaissance art:
11 - Hans Holbein - The Ambassadors (1533)
12 - Nicholas Hilliard - have a look at the portrait miniatures