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1

Beyond the limits of genre. Witold Gombrowicz’s Diary

100%

Chmielewska K.

Nauka

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2008

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issue 4

EN

The paper describes the crucial significance of Witold Gombrowicz’s Diary in history of the intimate diary genre. The Diary violates the fundamental elements of the genre, introduces literary fiction, and forms complex identity of the speaking subject, which may be called the post-traditional identity. Therefore, the Gombrowicz’s work breaks the autobiographical pact, identified by Philippe Lejeune – author of classical works on autobiographical writing, as an essence of the genre.

2

Comment le rapport au texte biblique transforme le rapport au texte littéraire au XVIIIe siècle : le cas Rousseau

89%

Di Rosa G.

Quêtes littéraires

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2013

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issue 3

40-47

EN

In the 18th century, the Bible felt the full force of criticism by radical Enlightenment thinkers who read it piece by piece and denounced the process of its creation as an imposture – thus extending the break initiated by moral and historical critiques of the previous century. In doing so, they nevertheless failed to grant it the literary status of a “profane work”. Yet, Rousseau, who produced a literary rewriting of the Book of Judges with his Levite of Ephraim, pondered over the violence inflicted on biblical intertextuality during his exile in Môtiers: in his Letters Written from the Mountain, he compared it to the violence caused to his own literary works. By draw-ing this parallel, he opened a reflection on the different manners of reading a text, as well as the possibility of regulating the reader’s violence through proposing an ethics of literary reception. Analogy might not work as a substitute; however, it enabled Rousseau to go beyond the mistreatment which anti-philosophers or philosophers inflicted on his works, by giving, among other things, an autobiographical orienta-tion to his writing: one in which the author is ready to take responsibility for giving himself to the reader. The ambivalence of the sacred and the profane, the perception of a common essence of religion – defined either by sacrifice or gift – were thus what helped Rousseau invent the autobiographical pact.

3

“Autobiographical in Feeling But Not in Fact”: the Finale of Alice Munro’s Dear Life

88%

Ładuniuk M.

Studia Anglica Posnaniensia

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2015

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vol. 50

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issue 2-3

141-153

EN

Alice Munro has always been known for reworking personal material in her stories. On numerous occasions she openly admitted to adopting some of her real experiences into her fiction, yet at the same time she declared that her writing remains fictional, not autobiographical. However, the writer’s attitude seems to have changed with the publication of Dear Life (2012), supposedly the last book in her career. In the note preceding the last four stories in the collection, she suggests that they might constitute her autobiography. This article discusses “The Eye,” “Night,” “Voices” and “Dear Life” in relation to Munro’s biography. It reflects on the narrative techniques the author uses to create the impression of authenticity and autobiographicality in the stories. It also aims to answer the question whether they should be indeed classified as Munro’s autobiography.

4

Alterity, First-Person Narratives and Memory in Paul Auster’s Works

75%

Kochbati M.

Lublin Studies in Modern Languages and Literature

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2016

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vol. 40

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issue 2

DE

Der Band enthält die Abstracts ausschließlich in englischer Sprache.

EN

If the presence of extracts from the life of the author (Paul Auster) allows us to postulate the “autobiographical” project of the memorial writing, others on the contrary confer it with a fictive project. The use of a stratagem of increased self-distancing and the multiple “mise en abyme” of identities leaves us puzzled as to the existence of an autobiographical scheme specific to Auster’s creation. Through the many forms of auctorial disguises, games of duplication, selfreflective mirroring, identity usurpation and handwritten possession, memorial writing integrates the different autobiographies of others. These are transformed into a functionalized or “real” autobiography of a subject who is a narrator, a character and an author.

FR

Le numéro contient uniquement les résumés en anglais.

RU

Том не содержит аннотаций на английском языке.

5

А Вісла дале плыне Петра Мурянкы – автобіоґрафія як реінвенцийний міф

75%

Дуць-Файфер О.

Rocznik Ruskiej Bursy

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2017

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vol. 13: Akcja

149-167

EN

The article attempts to symptomatically read one of the most important texts in Lemko literature of the last decades – the literary autobiography of Petr Murianka entitled And the Vistula Flows On. A large textual machine working for a reinvented myth has been presented, which after the resettlement is to create a new narrative of the community. The Lemko myth works in defiance of the flowing Vistula River, that is, symbolically saving the order of the world with the homeland still remaining in the mountains and foreign lands where Lemkos were resettled. The autobiography was created 60 years after the destructive dislocation of Lemko population and is a testimony of persistent opposition to Polonisation highly determined by displacement. Dedicated to Polish neighbours and written in Lemko Polish, it contains a number of strategic elements acting in a myth-making way and at the same time performatively. What is characteristic for the autobiography - when establishing a pact with the reader it refers to his own people (the myth making pact) and to the neighbours (the pact of understanding). What was published with the aim of ‘describing life’ as an autobiography of a sixty-year-old is, first and foremost, an (auto)biography of a community which for sixty years has been drowning in the dominant trend of disenchanted history.

6

Autobiografie: žánr a jeho hranice

63%

Soukupová K.

Česká literatura (Czech Literature)

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2015

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vol. 63

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issue 1

49-72

EN

This study presents a theoretical definition and delimitation of the autobiography genre, which traditionally lies on the borderline between fiction and non-fiction. the work of Philippe Lejeune and his concept of the „autobiographical pact“, which id analysed aďn detail is taken as the starting point. the individual criteria for autobiographies as defined by Lejeune are progressively examined and the permeability of the boundaries between autobiography and other generes is shown, based on examples from Czech and world literature. The opportunities to experiment with genre conventions and the consequences that ensue for literary theory are presented onm the basis of Gertrude Stein's Autobiography of Alice B. Toklas.

CS

Studie se věnuje teoretickému vymezení a definici žánru autobiografie, který tradičně stojí na pomezí mezi fikční a faktuální literaturou. Za výchozí si bere práci Philippa Lejeuna a jeho koncept tzv. autobiografického paktu, který blíže rozebírá. Postupně analyzuje jednotlivá kritéria, kterými Lejeue autobiografii vymezuje, a na příkladech z české i světové literatury ukazuje propustnost hranic mezi autobiografií a dalšími žánry. Na textu Gertrude Steinové Vlastní životopis Alice B. Toklasové jsou v závěru prezentovány možnosti experimentování s žánrovými konvencemi a důsledky, které z toho plynou pro literární teorii.

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