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Identitetens Etablering Og Opløsning I Stig Dalagers Romanbiografi Det Blå Lys

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Cymbrykiewicz J.
Folia Scandinavica Posnaniensia
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2014
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vol. 16
EN
The article features the issue of identity building and disintegration as it appears in Stig Dalager’s biographical novel on Marie Curie, Det blå lys (The Blue Light) from 2012. It also discusses the problem of the narrator’s (and hence the author’s) presence in the text, which makes one dwell on the biography’s actual role in contemporary literary practice. The article’s stance is that biographies, including biographical novels, are typically produced with the contemporary reader and his expectations in mind. That is the reason why they focus on these issues in the protagonist’s life that may be of universal interest and not necessarily reflect the depicted person’s actual experience. As the novel communicates a postmodern view on human life, it is identity and problems with its establishment and disintegration that seem to be central for the work’s expression. In order to illustrate the process of identity building and deconstruction three key aspects in the protagonist’s life have been chosen for a closer inspection: the national, the feminine and the professional. The analysis shows that identity, as described in the novel, is a volatile and changeable phenomenon which is constantly transformed and redefined and thus can never be preserved and seen as a monolith. In order to discuss the above mentioned issues some ideas of Hayden White and Zygmunt Bauman have been used.
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Den Danske Litterære Biografis Identitet – Med Udgangspunkt i Peer Hultbergs Biografiske Roman Præludier

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Cymbrykiewicz J.
Folia Scandinavica Posnaniensia
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2012
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vol. 14
EN
The paper discusses the issue of the contemporary Danish biographical novel, its identity and condition on the example of Peer Hultberg’s work on Chopin’s childhood, Preludes. The author of the article argues that the novel diverts to a large extent from the traditionally formulated principles which govern the genre of a biographical novel. In order to demonstrate it, the author analyses the text using the following criteria as a sort of a litmus test of the work’s “biographical provenance”: chronologically structured plot, objectivity and the protagonist’s development. As expected, the Preludes does not meet any of the above expectations towards a biographical novel, which proves that the work can be recognized as a postmodernist literary biography. The structure consisting of fragments, narration in the form of stream-of-consciousness and lack of milestones in the protagonist’s life are the primary features of the new genre which is seen as inherent in postmodernist tendencies, in particular those formulated by Jean-Francois Lyotard and Zygmunt Bauman.
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BIRGITTE POSSING: Ind i biografien, 2015, Gyldendal. ss. 301

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Cymbrykiewicz J.
Folia Scandinavica Posnaniensia
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2015
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vol. 18
67-69
4
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Fravær som et kompositionsprincip i Helle Helles novellesamling Rester (1996)

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Cymbrykiewicz J.
Folia Scandinavica Posnaniensia
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2009
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vol. 10
91-98
EN
The paper analyses the short story collection titled Remnants written by the notable Danish author, Helle Helle. This work is characteristic of the contemporary minimalist movement, and is one of the most significant works of the 1990’s in Danish literature. The main point of the paper is the notion of absence and loss, which is treated as the work’s dominating principle. The paper attempts to prove that this governing principle of “absence and loss” both applies to the collection’s plot and its composition. Accordingly, several examples from the text are included to demonstrate the principle’s relevance.
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Narracyjny portret Marie Grubbe w powieści Lone Hørslev "Dyrets år" (Rok bestii)

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Cymbrykiewicz J.
Folia Scandinavica Posnaniensia
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2016
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vol. 19
43-55
EN
The article A narrative portrait of Marie Grubbe in Lone Hørslev’s novel Dyrets år (The Year of the Beast) discusses the latest biographical novel on the controversial Danish aristocrat from the 17th century. In order to address the issue in closer detail, a brief biography of Marie Grubbe is given in the article’s introduction which is followed by a presentation of all the Danish works of fiction on the person that have been published so far. The analysis shows that the authors’ approach to their protagonist varies from disgust to fascination, depending on the period that the work originates from. Lone Hørslev’s Dyrets år may not be a genuine masterpiece, but it definitely adds new, contemporary aspects to the overall understanding of Marie Grubbe’s conduct and enriches her portrait with some traits which have not yet been discussed.
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Kroppen som hovedtema i Pia Tafdrups forfatterskab

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Cymbrykiewicz J.
Folia Scandinavica Posnaniensia
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2004
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vol. 8
69-82
EN
The article presents the category of the body as a thematic motif in the poetry of one of the most notable contemporary Danish poets, Pia Tafdrup. In her poetry the human body is perceived from the specific perspective of a woman writer, whose sensuality, female sexuality and physiology constitute a source of inspiration and a starting point for spontaneous artistic creativity. In the article two subcategories are mentioned with reference to the body motif. The first one focuses on the celebration of human sensuality in all its respects, whilst the other presents the woman’s body and its physiology as an immanent part of nature and proof of the so-called “universal memory”. This creation of a specific “body philosophy”, deeply rooted in the conditions of a woman artist and highly subjective in its perception of the world becomes the culminating principle of the article.
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How new is the new biography? Some remarks on the misleading term’s past and present

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Cymbrykiewicz J.
Studia Europaea Gnesnensia
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2018
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issue 18
129-149
EN
The aim of the paper is to outline the phenomena which tend to be subsumed under the term of “new biography”, especially in the English-speaking discourse in the British Isles and the USA. This is due to the fact that, as it turns out, theorists and practitioners of biographical writing apply the designation to several different phenomena. In order to characterize the tenets of new biographical writing, the paper introduces the essence of the classical biography, which constitute a natural point of reference for the “new biography”. The latter emerged in 1918 with the English modernist Lytton Strachey, who opposed the fossilized Victorian tradition and its flagship model of panegyrical biography. Strachey effected a breakthrough in European biographical writing, by creating biographies which demythicized their protagonists, approaching them with an ironic distance and highlighting the biographer within the narrative. His model would soon become a new standard in  biographical writing. Another “new biography” discussed in the paper is the set of biography rules presented by Leon Edel in 1984, to which the originator refers as “New Biography”, a term he also applies to the biographies he authored. Still, Edel drew to a large extent on Strachey, attaching particular importance to the predisposition and talent of the biographer themselves. The latter’s contribution to a “new biography” consists chiefly in identifying and relating the “most profound” truths about the life of the protagonists, which provide a key to the understanding and narrative portrayal of their character and personality. The last of the biographical scholars discussed in the paper, Jo Burr Margadant, does not continue in the Stracheyan or Edelian spirit in her 2000 The New Biography but unfolds a novel, feminist perspective on biography, founded on the concept of multiple selves. She argues that that one’s identity is a kind of performance, and seeks that “new biography” in the narratives of life of eight eminent French female figures of the 18th century. Still,  in the contemporary scholarly discourse relating to biographical writing, “new biography” is most often used as reference to the Stracheyan model, even though  a century has passed since it was conceived. At the same, time, biofiction gains ever greater popularity in biographical writing today, being in my opinion the “new biography” of the postmodern era, which I demonstrate using a number of examples.
PL
The article discusses the issue of the so-called “new biography” by underscoring ambiguity of the term and presenting the different variants of “new biography” it encompasses. In order to do that, an introduction is made where the tenets of  the classical biography are outlined. The inquiry focuses chiefly on England and the USA, although remarks are also made with respect to biographical writing in other countries. It appears that the term is contemporarily mainly associated with Lytton Strachey’s model of biography which, having been formulated in 1918, proved  a breakthrough in life writing, since it operated with ironic detachment from the protagonist. Strachey perceived biography as an art and was determined to speak openly about all spheres of the biographee’s life. The article proves that although other  attempts at creating a “new biography” were made after Strachey (by Leon Edel and Jo Burr Margadant), their newness is either derivative and supplementary to Strachey’s achievement, or advances a wholly new notion of biography, with the concept of multiplicity of the protagonist’s self. As the Stracheyan biographical model is almost a century old, one can assume that what is understood as “new biography” is not  so new after all. In the meantime, though, biographical practice has taken a turn and  a novelistic mode of writing, i.e. biofiction, has become the current paradigm. The author therefore suggests that the present-day understanding of “new biography” be reconsidered by recognizing biofiction as one of the figures of biographical “newness”.
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REVIEWS

63%
Cymbrykiewicz J., Mrozewicz B.
Folia Scandinavica Posnaniensia
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2009
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vol. 10
256-262
9
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Front matter

63%
Cymbrykiewicz J., Schab S. I.
Folia Scandinavica Posnaniensia
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2016
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vol. 19
1-9
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