Search results

1

Sym-bolon historii i mitu

100%

Gajewska G.

ER(R)GO: Teoria – Literatura – Kultura

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2003

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issue 6

EN

Grażyna Gajewska „Sym-bolon historii i mitu” [The Sym-bolon of history and myth] The article focuses on history and myth as two narrative forms of the representation of the past and explores differences between them.

PL

Grażyna Gajewska „Sym-bolon historii i mitu” [The Sym-bolon of history and myth] The article focuses on history and myth as two narrative forms of the representation of the past and explores differences between them.

2

„Nagie życie” w zakładach dla psychicznie i nerwowo chorych pod rządami nazistów

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Gajewska G.

Studia Europaea Gnesnensia

|

2014

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issue 10

313-332

PL

The principal hypothesis of our inquiry states that the mechanisms of power and controlling human life, practiced by the Nazis during WW 2, reflected the modern approach to the human defined in the categories of life unworthy of life. The studies conducted hitherto in the context of the above hypothesis focus on the sites which in the wake of commemorating the extermination are treated as symbols of the genocide industry, such as the Auschwitz-Birkenau death camp. In turn, this article aims to investigate the validity of the hypothesis with regards to a site which so far has not been considered in cultural studies – (for example the Hospital for the Mentally Ill “Dziekanka” in Gniezno – in addition, we treat this hospital as the exemplification of the wider ideological, political, economic phenomenon). I wish to show that the phenomena of reducing and destroying human life, which held no value for the authority, was virtually identical regardless of the place where the extermination took place. Thus, we will establish a new point on the map of memory of the victims of Nazi policies, a site where the annihilation was carried out, at the same time demonstrating the particular features associated with that particular space. The “might” of the German authority during World War 2 was founded on tremendous attention to detail; consequently, that which took place in the sites of mass extermination proceeded in much the same way in those places which are now hardly remembered.

3

Myśleć fantastyką. Przez science fiction do posthumanizmu

100%

Gajewska G.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2020

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vol. 28

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issue 37

5-19

EN

The author presents the thesis that fantastic literature and film, especially in the science fiction variant, is a privileged form of expression in posthumanist discourse. The themes, motifs and protagonists of science fiction are invoked in various contexts by Donna J. Haraway, Rosi Braidotti, Luciana Parisi, and Pramod K. Nayar. The author analyzes various areas of the involvement and usage of science fiction in posthumanist discourse: on the ontological, axiological and epistemological levels.

4

Człowiek/zwierzę/roślina/maszyna - perspektywa posthumanistyczna

100%

Gajewska G.

Studia Europaea Gnesnensia

|

2011

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issue 4

225-245

PL

The article deals with the cultural and contextual complexity of the ideas concern-ing posthumanity. The main problem is the formulation of a scope of the new subjec-tivity which is neither hierarchical, nor homogeneous

5

Cyborgi – literacko-filmowe figury dyskursu interaktywnego

100%

Gajewska G.

Przestrzenie Teorii

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2019

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issue 32

179-196

EN

Gajewska Grażyna, Cyborgi – literacko-filmowe figury dyskursu interaktywnego [Cyborgs – Literary and Film Figures of Interactive Discourse]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 179–196. ISSN 1644-6763. DOI 10.14746/pt.2019.32.9. The author analyzes the figure of the cyborg in science fiction literature and film. The text begins by showing this kind of literary work in the theoretical field and presents it as an interactive discourse. The author describes the scientific roots of constructing a human-technical hybrid, emphasizing the ideological and political context of this research. In this approach, the cyborg appears as a participant in and also a hostage of the Cold War. Next, the author finds literary and film creations of cyborgs inspired by this political and military heritage. The article also presents alternative images of cyborgs co-creating a feminist and postcolonial discourse. They were also included in specific policies and strategies aimed at deconstructing concepts such as sex and gender, sexuality, race, nation, social class. The main thesis of the article is that as fictitious and real entities, cyborgs are prone to ideologization and burdened with the obligation to politicize. Therefore, when studying cyborgs in literature, film and comics, we must ask what ideologies and politicians they serve.

6

POSTMEMORY IN POPULAR CULTURE BASED ON KRZYSZTOF GAWRONKIEWICZ AND KRYSTIAN ROSENBERG’S GRAPHIC NOVEL ACHTUNG ZEIL! DRUGA WOJNA

100%

Gajewska G.

Studia Europaea Gnesnensia

|

2013

|

issue 7

57-70

EN

The article addresses the issue of diverse contemporary manifestations of postmemory. Although works of literature, graphic arts, architecture and sculpture, belonging to the so-called high art culture, have already been analysed with respect to post memory and post-traumatic culture, the domain of popular culture remains practically excluded from such analyses. Meanwhile, it is precisely popular culture that has a considerable impact on the attitudes and views of the people living today. The omnipresence of pop-culture, the pressure it exerts prompts re-evaluation of entire culture, not only its entertainment-related domains. Post-traumatic culture is largely shaped within and through popular culture, which is evinced in the popularity of the graphic story entitled Achtung Zelig! Druga wojna by Krzysztof Gawronkiewicz (art) and KrystianRosenberg (story), displaying numerous traits defined as postmemory. A detailed analysis of the comic book permits the author to reveal those qualities.

7

Uwiedzeni przez manekiny, czyli o erotyce sztucznych ciał (na przykładzie opowiadania Płaszcz Józefa Olenina Eugéne’a Melchiora de Vogüégo)

100%

Gajewska G.

Przestrzenie Teorii

|

2011

|

issue 16

69-80

EN

In the article I shake a common conviction that the quasi-female mannequins fascinate us because they remind beautiful, real women in their unliving materiality they represent human bodies. Basing on psychoanalytical theories, I am proposing a thesis that in this fascination the representation of those alive (empirical) bodies is not meant, but a presentation of the aesthetic and especially erotic fantasies. The point of reference of this fascination is not a body of blood and bones, often imperfect, handicapped and ageing, but fantasies about the creation, embodiment, enlivening of the ideal woman whose symbol is the mythical Galatea sculpted by Pygmalion. The aesthetic-erotic fascination with mannequins is seen in many artworks and literary works. In this article I discover this phenomenon by analysing a fantastic story by Eugéne Melchior de Vogüé. However, the choice of this work does not mean that the fascination with the quasifeminine mannequins is exclusively a motif of fantastic prose. Just the opposite, for instance, it can be found in realistic novels like Emil Zola’s Ladies' Paradise, in which descriptions of mannequins in shop windows are saturated with erotic admiration connected with the category of luxury. However, due to the fact that fantastic literature is a particular field of play for fantasy and unconsciousness, this psychic energy being the consequence of the dramatised hallucination of displacing, my choice was Le manteau de Joseph Oléonine. Analysis of this work becomes a contribution to wider interpretations of the phenomenon of quasi-feminine mannequins in the West European culture of the turn of the 19th and 20th centuries.

PL

n the article I shake a common conviction that the quasi-female mannequins fascinate us because they remind beautiful, real women in their unliving materiality they represent human bodies. Basing on psychoanalytical theories, I am proposing a thesis that in this fascination the representation of those alive (empirical) bodies is not meant, but a presentation of the aesthetic and especially erotic fantasies. The point of reference of this fascination is not a body of blood and bones, often imperfect, handicapped and ageing, but fantasies about the creation, embodiment, enlivening of the ideal woman whose symbol is the mythical Galatea sculpted by Pygmalion. The aesthetic-erotic fascination with mannequins is seen in many artworks and literary works. In this article I discover this phenomenon by analysing a fantastic story by Eugéne Melchior de Vogüé. However, the choice of this work does not mean that the fascination with the quasifeminine mannequins is exclusively a motif of fantastic prose. Just the opposite, for instance, it can be found in realistic novels like Emil Zola’s Ladies' Paradise, in which descriptions of mannequins in shop windows are saturated with erotic admiration connected with the category of luxury. However, due to the fact that fantastic literature is a particular field of play for fantasy and unconsciousness, this psychic energy being the consequence of the dramatised hallucination of displacing, my choice was Le manteau de Joseph Oléonine. Analysis of this work becomes a contribution to wider interpretations of the phenomenon of quasi-feminine mannequins in the West European culture of the turn of the 19th and 20th centuries.

8

Słowo - obraz - pamięć w labiryntach komiksu

100%

Gajewska G.

Biblioteka

|

2008

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issue 12(21)

101-115

EN

The comic book is a product of mass culture. It got deeply rooted in American and Western European popular culture in the 1970s. In France, this type of sequential art told in pictorial stories was presented in daily papers ( bande dessinee) and developed humorously-told threads o f the plot. In the UK it won juvenile audience with its simple jokes, genre scenes and shortened and abridged versions o f fables. In the United States, in turn, crude science fiction, horror or joke graphic stories were most popular. However, in the late 1990s these depictions increasingly started to develop into something of much different nature. On the one hand, popular culture embraced more and more different creative areas, wrestled with subject and themes that so far had been tackled only by more sophisticated literature (for example, war themes). On the other hand, Polish reader had a better chance to experience new titles and pictorial stories from the West or other far-away cultures that represented high artistic skills and offered original and remarkable stories. This, in turn, created a new situation in which adult readers turned to comic books. Moreover, comic books became a subject of interests for academics beyond those who were professionally involved in documenting and understanding popular culture, i.e. for methodologists of history, modern culture anthropologists, researchers in literature and art historians. Today’s status of comic books in literature is pronouncedly higher than that of several years ago. For it is not only the artistic level that has been much developed and improved, but also the thematic range of subject to be tackled by this form of literature. Additionally, the context within comics have been functioning in the space of modern discourse has also changed. A particular type of comics is the one that presents historical contents. Works of brilliant artists from different cultures such as, for example, Hiroshima 19Ą5 Barefoot Gen by Nakazawa Keij, Art Spiegelman’s Motts, or Achtung Zeligl by Krzysztof Gawronkiewicz and Krystian Rosenberg have become available 011 the Polish publishing market and have been widely reviewed and discussed academically. In the present article these comic books or graphic novels are interpreted as different types of maze: the Cretean maze, mystery-maze and maze-rhizome.

9

O władzy ludzi nad zwierzętami w kulturze zachodniej – perspektywa posthumanistyczna

100%

Gajewska G.

Studia Europaea Gnesnensia

|

2015

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issue 11

213-235

PL

In this paper, I discuss the problem of human ascendance over animals. The issue is particularly important and often addressed in contemporary intellectual current referred to as posthumanism. In this framework, the interest in humanity is not abandoned, but one departs from the anthropocentric approach. The prefix “post” denotes a shift of focus, from problems and intellectual positions which underline the privileged status of the human to non-anthropocentric attitudes. These are non-anthropocentric humanities, although the designation itself is paradoxical, and undermines the legitimacy of the humanities in general, since anthropos is the principal subject of research of the discipline and the humanistic approach. For those reasons, “non-anthropocentric humanities” and other ones as well, such as “non-humanist anthropology”, “anthropology of objects”, “anthropology of cyborgs” or finally “posthumanities” provoke reservations. Still, this is a problem which always appears when appropriate words are lacking to describe a set of new tendencies, directions of research or intellectual approaches which have not yet developed a suitable terminology. The prefix “post” suggests that new phenomena cannot be rendered by means of the former notions and categories; new methods which make it possible have to be sought. In the case of notions such as “non-anthropocentric humanities” and “posthumanities”, the important thing is that they forecast as change of the dominant in the tendencies, directions and methods of (post)humanistic studies. They do not draw upon humanism as a specific approach to the world in whose centre one finds the human being, but to the non-essentialist and non-hierarchically oriented posthumanism.

10

Estetyka technociał.

100%

Gajewska G.

Studia Europaea Gnesnensia

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2012

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issue 6

123-138

PL

The article Aesthetics of the Techno-bodies deals with the cultural and contextual complexity of the modern and postmodern figure of the cyborg, or rather the human relation to technology. The main problem is the formulation of the scope of the aesthetics of techno-bodies or aesthetic of artificial bodies. It is a contribution to a more extensive problem concerning the aesthetic, condition and possibilities of development of contemporary human who enters more and more intensively and further and further into the postbiological era. In the article I am analysing four artistic works: 1. “Das schöne Mädchen” (Beautiful Girl) by Hannah Höch; “Tête Méchanique” (Mechanical head) by Raul Hausmann; “All You Zombies: Truth before God” by Roberd Long; Cyborg by Lynn Randolph. Analysis of these artworks is used to show different ideological and aesthetic approaches towards techno-bodies.

11

Postpamięć jako marzenie senne – Achtung Zelig! Druga wojna Krzysztofa Gawronkiewicza i Krystiana Rosenberga

100%

Gajewska G.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2011

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vol. 9

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issue 17-18

69-82

EN

The comic book is a product of popculture. It got deeply rooted in American and Western European popular culture in the 1970s. In France, this type of sequential art told in pictorial stories was presented in daily papers and developed humorously-told threads of the plot. In the UK it won juvenile audience with its simple jokes, genre scenes and shortened and abridged versions of fables. In the United States, in turn, crude science fiction, horror or joke graphic stories were most popular. However, in the late 1990s these depictions increasingly started to develop into something of much different nature. On the one hand, popular culture embraced more and more different creative areas, wrestled with subject and themes that so far had been tackled only by more sophisticated literature (for example, war themes). On the other hand, the Polish reader had a better chance to experience new titles and pictorial stories from the West or other far-away cultures that represented high artistic skills and offered original and remarkable stories. This, in turn, created a new situation in which adult readers turned to comic books. Moreover, comic books became a subject of interests for academics beyond those who were professionally involved in documenting and understanding popular culture, i.e. for methodologists of history, modern culture anthropologists, researchers in literature and art historians. A particular type of comics is the one that presents historical and memory contents. Works of brilliant artists from different cultures such as, for example: Maus by Art Spiegelman, Persepolis by Mariane Satrapi, Achtung Zelig! by Krzysztof Gawronkiewicz and Krystian Rosenberg or Marzi by Marzena Sowa and Sylvain Savoia have become available on the Polish publishing market and have been widely reviewed and discussed academically. In the present article I am concentrating on the phenomenon postmemory. Analysing Achtung Zelig! by Gawronkiewicz and Rosenberg I am trying to show main trademarks postmemory: borrowing another person’s stories, phenomen of secondary memory, fetishization of the past.

PL

Postmemory in the popular culture on the example of the comic novel “Achtung Zelig! The Second War” by Krzysztof Gawronkiewicz & Krystian Rosenberg The comic book is a product of popculture. It got deeply rooted in American and Western European popular culture in the 1970s. In France, this type of sequential art told in pictorial stories was presented in daily papers and developed humorously-told threads of the plot. In the UK it won juvenile audience with its simple jokes, genre scenes and shortened and abridged versions of fables. In the United States, in turn, crude science fiction, horror or joke graphic stories were most popular. However, in the late 1990s these depictions increasingly started to develop into something of much different nature. On the one hand, popular culture embraced more and more different creative areas, wrestled with subject and themes that so far had been tackled only by more sophisticated literature (for example, war themes). On the other hand, the Polish reader had a better chance to experience new titles and pictorial stories from the West or other far-away cultures that represented high artistic skills and offered original and remarkable stories. This, in turn, created a new situation in which adult readers turned to comic books. Moreover, comic books became a subject of interests for academics beyond those who were professionally involved in documenting and understanding popular culture, i.e. for methodologists of history, modern culture anthropologists, researchers in literature and art historians. A particular type of comics is the one that presents historical and memory contents. Works of brilliant artists from different cultures such as, for example: Maus by Art Spiegelman, Persepolis by Mariane Satrapi, Achtung Zelig! by Krzysztof Gawronkiewicz and Krystian Rosenberg or Marzi by Marzena Sowa and Sylvain Savoia have become available on the Polish publishing market and have been widely reviewed and discussed academically. In the present article I am concentrating on the phenomenon postmemory. Analysing Achtung Zelig! by Gawronkiewicz and Rosenberg I am trying to show main trademarks postmemory: borrowing another person’s stories, phenomen of secondary memory, fetishization of the past.

12

Przyroda(i)kultura w epoce antropocenu

100%

Gajewska G.

Przestrzenie Teorii

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2012

|

issue 17

105-115

EN

The article deals with a New Understanding of nature and culture, which is being crystallized in the intellectual current defined by the name of post-humanities. The starting point for the analysis of work of art from the area of bioart – transgenic plant named Edunia, which is a part of a larger project Natural History of the Enigma. Edunia, which does not occur in nature but was created by the artist Eduardo Kac by means of specialists in the field of genetic engineering. A new form of life defined as plantimal shows a DNA expression of the artist included into decorative flowers of petunia. Rose petals of flowers are “interspersed” by dark red vessels the feature of which is the expression of Kac’s gene; this because the artist took care of that that his DNA was found just in the venation of the flower. In the article I present two interpretation paths of this work of bioart which, however, are not a sharp counterpoint to one another, but somewhat differently place accents between nature and culture in their mutual entanglements. One of these paths may be defined as an attempt at making others realise or reminding them about our evolutional species condition, while the other one as an attempt at treating nature as an important actor of the sociopolitical activities.

13

Światopoglądowa i stylistyczna katachreza Michela Foucaulta i Donny Haraway

100%

Gajewska G.

Studia Europaea Gnesnensia

|

2013

|

issue 8

159-177

PL

The article describes one of strategies of conducting and presenting interdisciplinary research based on catachresis (κατάχρησις, abusio). Catachresis understood as a figure of speech and as a model of worldview displays a potential in overcoming traditional methods of academic research practice. In the article, the thesis is elaborated and substantiated through an analysis of critical writings by two researchers: Michel Foucault and Donna Haraway.

14

Cyberpunkowe utopie miejskie w powieści "Neuromancer" Williama Gibsona

100%

Gajewska G.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2019

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vol. 106

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issue 3

93-105

EN

This article presents an analysis of the space, or rather non-space of a virtual city described by William Gibson in his cyberpunk novel Neuromancer. It is proposed that the concept of the city in the book was based on the figure of a mirror and mirror image, a play of ‘the same’ with ‘the other one’: the physically, materially and thus spatially existing city is reflected in cyberspace (non-space), with the cybercity copying but at the same time distorting the image of the material city. These distortions are further discussed in the text. The mirror model of the cybercity and its urban planning is juxtaposed with other variants based on the figures of the jungle, underground and depth.

15

Orchidea – studium o posthumanistycznej (inter)płciowości i seksualności

100%

Gajewska G.

Autobiografia. Literatura. Kultura. Media

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2019

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vol. 13

|

issue 2

131-145

EN

The author analyses the autobiographical film Orchids. My Intersex Adventure by an Australian filmmaker who was born as an intersex person. The text begins with the explanation of the symbolism of the orchid, which appears in the title and in many frames of Phoebe Hart’s movie. The film and critical texts are presented as examples of the dynamically developing concept of posthuman sexuality. The process of making this documentary film is considered in terms of an autotherapeutic journey.

PL

Autorka analizuje autobiograficzny film Orchids. My Intersex Adventure australijskiej reżyserki, która urodziła się jako osoba interpłciowa. Tekst rozpoczyna wyjaśnieniem symboliki orchidei, która pojawia się zarówno w tytule, jak i w wielu ujęciach filmu Phoebe Hart. Film i teksty krytyczne Hart przedstawiono jako przykład dynamicznie rozwijającej się koncepcji posthumanistycznej płciowości/seksualności (posthuman sexuality). Proces realizacji tego dokumentalnego filmu ujęto jako podróż autoterapeutyczną.

16

Przez fantastykę do ekokrytyki. Zwrot ku science fiction

100%

Gajewska G.

Przestrzenie Teorii

|

2021

|

issue 35

311-330

EN

The author puts forward the thesis that the challenges of the current times resulting from environmental change, the destruction of habitats and ecological disasters direct our sensibilities and aesthetics ever more tangibly towards the fantastic or ecofiction: (eco)horror, (eco)science fiction, or (eco)fantasy. However, while ecohorror mainly exposes the negative aftermath of the Anthropocene, culminating in inevitable disaster, science fiction offers leeway for a more speculative approach, enabling one to construct such visions of reality in which multispecies justice will be observed and cultivated. The author follows K.S. Robinson’s line of thinking that “science fiction is a new realism”, A. Ghosh’s analysis of the relationship between literature and ecology, and D. Haraway’s research on new ways of understanding the relationships between people and non-humans using the speculative potential of sci-fi. It is therefore suggested that there is a great need for a science fiction vision, aesthetic and narration that would be capable of guiding us out of the anthropocentric entanglement and the Anthropocene/Capitalocene into the Chthulucene (as conceived by Haraway).

17

W stronę teorii hybrydowych – między studiami o niesprawności i posthumanizmem

100%

Gajewska G.

Przestrzenie Teorii

|

2020

|

issue 34

291-306

EN

The author analyses the theoretical and empirical convergence between posthumanist studies and disability studies. She begins with an explanation of the philosophy and tasks that researchers on posthuman disability set themselves. She discusses this issue using the example of the movie Orchids. My Intersex Adventure by the Australian director Phoebe Hart and her autobiographical texts. In the last part of the article, the author focuses on the concept of hybrid theories based on intersectionality.

18

„Trzecia kultura” w dobie posthumanizmu i transhumanizmu

100%

Gajewska G.

Studia Europaea Gnesnensia

|

2018

|

issue 17

99-115

EN

Since the mid-twentieth century, there has been a discussion in the academy about “two cultures”: humanities and sciences and the so-called third culture. In this article I outline the history of this debate. I also present new trends in contemporary humanistic reflection: posthumanism and transhumanism, which are based on interdisciplinary research. I am also describing the projects and the output of several currents of contemporary art: robotic art, bio art and bio-robotic art.

19

Kobiecy komiks autobiograficzny

100%

Gajewska G.

Studia Europaea Gnesnensia

|

2017

|

issue 15

193-212

EN

The article is concerned with the works of Polish female comic book artists. I advance the thesis that in their artistic work harbours autobiographical elements which constitute an important element of the whole. I begin the article by clarifying certain notions, namely women's, feminist and autobiography as they may be ambiguously construed. Also, the works in which such autobiographical themes are present are divided into three focus groups: 1. Revisionist representation of history, 2. Emotions, sex life, motherhood, 3. Relations of women with the world, the family, and oneself.

20

Polymorphic perversion of human and other-than-human bodies

100%

Gajewska G.

|

2022

|

vol. 31

|

issue 1

277-294

PL

Autorka przedstawia różne sposoby prezentacji relacji flory z człowiekiem. Tekst rozpoczyna omówieniem mocno utwierdzonej w kulturze zachodniej antropomorfizacji roślin, by następnie pokazać, że postawa ta znajduje przeciwwagę w refleksji nie-antropocentrycznej, głównie w posthumanizmie i nowym materializmie. Wskazuje, że w badaniach akcentujących „roślinną stronę człowieka” wydobywane są zarówno ewolucyjne, jak i kulturowe relacje, współistnienie oraz współdziałanie tego, co ludzkie i nie-ludzkie. Następnie autorka pokazuje jak dużą rolę odgrywają rośliny w kształtowaniu fantazmatów na temat ludzkiej płciowości i seksualności.

EN

The author examines a range of modes in which the relationship between flora and the human are portrayed. The paper begins with an inquiry into anthropomorphization of plants-a phenomenon firmly established in Western culture-only to show subsequently that such a notional approach has its counterpoise in non-anthropocentric reflection, primarily in post-humanism and new materialism. It is further demonstrated that the studies which emphasize the “vegetal facet of the human” manage to pinpoint both evolutionary and cultural relationships where the human and the non-human are seen to co-exist and cooperate. Then, the author draws attention to the very considerable role that plants play in creating phantasms relating to human gender and sexuality.

Refine search results

Sym-bolon historii i mitu

„Nagie życie” w zakładach dla psychicznie i nerwowo chorych pod rządami nazistów

Myśleć fantastyką. Przez science fiction do posthumanizmu

Człowiek/zwierzę/roślina/maszyna - perspektywa posthumanistyczna

Cyborgi – literacko-filmowe figury dyskursu interaktywnego

POSTMEMORY IN POPULAR CULTURE BASED ON KRZYSZTOF GAWRONKIEWICZ AND KRYSTIAN ROSENBERG’S GRAPHIC NOVEL ACHTUNG ZEIL! DRUGA WOJNA

Uwiedzeni przez manekiny, czyli o erotyce sztucznych ciał (na przykładzie opowiadania Płaszcz Józefa Olenina Eugéne’a Melchiora de Vogüégo)

Słowo - obraz - pamięć w labiryntach komiksu

O władzy ludzi nad zwierzętami w kulturze zachodniej – perspektywa posthumanistyczna

Estetyka technociał.

Postpamięć jako marzenie senne – Achtung Zelig! Druga wojna Krzysztofa Gawronkiewicza i Krystiana Rosenberga

Przyroda(i)kultura w epoce antropocenu

Światopoglądowa i stylistyczna katachreza Michela Foucaulta i Donny Haraway

Cyberpunkowe utopie miejskie w powieści "Neuromancer" Williama Gibsona

Orchidea – studium o posthumanistycznej (inter)płciowości i seksualności

Przez fantastykę do ekokrytyki. Zwrot ku science fiction

W stronę teorii hybrydowych – między studiami o niesprawności i posthumanizmem

„Trzecia kultura” w dobie posthumanizmu i transhumanizmu

Kobiecy komiks autobiograficzny

Polymorphic perversion of human and other-than-human bodies