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Being reborn into the new family

100%
Ciaś K.
Folia Scandinavica Posnaniensia
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2020
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vol. 28
17-26
EN
Every child brought up outside the biological family suffered a loss, some of them were lucky to be “born again" for another family who accepted them with love. The experiences of children in this situation often remain secretive and emotions suppressed. In this case, literature can become a way of therapy, both for the author and the reader who perceive through the novel their emotions that were not previously named. After many years, two Finnish writers Anu Mylläri and Riitta Jalonen decided to reveal their stories. Anu Mylläri, born in Bangladesh, was adopted by a family of Finnish farmers, while Riitta Jalonen included in her novel autobiographical plots related to the admission of a new child to her family. I will present the image of the “second birth” and the associated emotions from the perspective of the child on the basis of the autobiography of Anu Mylläri Adoptoitu (Adopted, 2006) and the autobiographical novel Kuka sinut omistaa (Who Owns You, 2013) by Riitta Jalonen. The aim of the article is thus to present these perspectives with relation to the bibliotherapeutic values of the mentioned literary works.
2
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Voices emerging from the border. A reading of the autobiographies by Najat El Hachmi and Saïd El Kadaoui as political interventions

100%
MIQUEL P.-A.
Planeta Literatur. Journal of Global Literary Studies
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2014
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issue 1. Europe - Maghreb: exchanged glances / L'Europe et le Maghreb: les regards croisés
33-52
EN
In the early 2000s, several studies anticipated that a generation of diasporic writers would emerge in the Spanish context. This prediction has been definitely fulfilled during the last decade with the publication of the works by Laila Karrouch, Najat El Hachmi and Saïd El Kadaoui, all of them based in Catalonia. These new diasporic writers, who left Morocco being kids, set a contrast with the previous representations of immigration. The process of border-crossing is lived and incorporated by them, and not only imagined and recreated as it is the case for the writers on either side of the border. Hence, the current paper proposes a reading of Jo també sóc catalana by Najat El Hachmi and Cartes al meu fill. Un català de soca-rel, gairebé by Saïd El Kadaoui, focusing particularly on how these authors position themselves at the border as a mediating space. For this purpose, I will firstly draw a brief outline of the social and historical context in which these two autobiographies are published and the literary trajectories of both El Hachmi and El Kadaoui. In this regard, it is crucial to explore the specifics of Catalonia because these may explain why this first generation of diasporic authors occurs there and not somewhere else in Spain. Secondly, I will discuss how the formal aspects of the two autobiographies contribute to conveying a message with political implications. Finally, I will analyse how El Hachmi and El Kadaoui position themselves at the border and use their intimacy as a political tool to set themselves up as referents for the next generation. From the border, they create a space of enunciation from which they can tell their story and warn their own children of the typifications that they may experience as diasporic subjects. The border becomes not just a space for public intervention but the legacy they hand over to the forthcoming generation.
3
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„To” Magdaleny Tulli

99%
Wiegandt E.
Poznańskie Studia Polonistyczne. Seria Literacka
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2013
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issue 22
143-156
EN
The article analyses and interprets Włoskie szpilki [Italian High Heels] in the context of autobiographic writing, which is a new phenomenon in Tulli’s creative development. The analysis of autobiographical writing consists in a description of subject-construction. The construction is determined by combination of roles: the real author, the literary author, and the narrator-character. The style of the novel is characterized by the use of Holocaust topoi, and “March talk”, which leads the writer to the discovery that Polish post-war antisemitism castigates Jews for concealing their extraction. The aesthetic of postmemory, manifested in the novel, is interpreted as a transition from the modern rhetoric of inexpressibility and unutterableness, to the postmodern aesthetic of expression of what is absent.
4
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Czesław Miłosz „o sobie samym jako (o) innym”: Miłosz - Ricoeur

99%
Rydz A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2012
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issue 20
71-88
EN
The article is thematically related to the fundamental essay by the French hermeneutic philosopher, On Oneself as Another, which discussed with reference to Miłosz’s later writings (poetry and essays). The autobiographical quality of Miłosz’s expression is discussed through the concept of “otherness” as presented by Ricoeur. The discussion is con­ducted in the framework of triple relation of a subjective “I”: to one’s body, to the Other, and to one’s conscience. Miłosz, in his later works, responds to the ailings of the body with understanding, or even a sort of tenderness. Similar emotions are evoked by his contact with the Other, embodied by his ancestors and contemporaries. The responsibility for another person, however, and the communion with fellow people, are related, in his work, with the category of conscience. An attempt to narrate “oneself as another” allowed the Polish poet to reduce the seemingly irremovable rift between an artist and “the human family”; that rift was for Miłosz a troublesome legacy of modernism.
5
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Głowiński: tożsamość prozą (od początku)

87%
Kuczyńska-Koschany K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2013
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issue 22
119-129
EN
The article is an attempt to reach the first statements and texts by Michał Głowiński, relating to Jewish identity in Poland, the condition of a child of the Holocaust, the trauma of a Holocaust survivor, and the situation of an intelectual. The author of the article tries to demonstrate continuity of all creative gestures, from the frist writings and statements, signed with pseudonyms, through Czarne sezony [The Black Seasons] and their continuations, to the autobiographical Kręgi obcości [Circles of strangeness]; the continuity is seen in the perspective of identity. The author is also interested, in the given subject scope, in Głowiński’s spatial obsessions (especially claustrophobia and phantasmagoria). The stake of literary “self-therapy” is in the most crucial things: truth of oneself, memory, self-identification.
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Socjolog „kreślący znaki wieczne”. Jana Szczepańskiego autoportret rozproszony

72%
Szkaradnik K.
Zagadnienia Rodzajów Literackich
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2015
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vol. 58/115 z. 1
41-55
EN
The subject of this article are the strategies as well as paradoxes of creating by Jan Szczepański his self-portrait in various genres of texts. The authoress displays how the sociologist gives a signature to his articles and essays, generalizing his personal experience (peasant roots, the Protestant primacy of a duty), and also how complex relations appear between his publications and diary. In that scattered self-portrait a key issue turns out to be the repetitions and transformations of several leitmotifs, and moreover their involving in rhetoric, which, like autocreation, both disturbs and helps with recounting “who I am”. With reference to the conceptions of i.a. Lejeune, Beaujour and Ricoeur, the authoress analyses how Szczepański arranges the project of his life and how in his works he contends with frustration resulted from (apparent) not carrying that project out. The destination of this article is to show that despite evident dissonance between the word and life in the sociologist’s writings, the imperative of creation of “work” remains his biography’s axis and the creating of self-portrait does not mean imposing an artificial order on life.
PL
Przedmiotem artykułu są strategie oraz paradoksy tworzenia przez Jana Szczepańskiego swojego autoportretu w tekstach o różnej przynależności gatunkowej. Autorka pokazuje, jak nadaje on sygnaturę artykułom i esejom, uogólniając osobiste doświadczenie (chłopskie korzenie, protestancki prymat obowiązku), a także w jak złożone relacje wchodzą publikacje socjologa z jego dziennikiem. W tym autoportrecie rozproszonym kluczowe okazują się nawroty i transformacje kilku lejtmotywów oraz ich uwikłanie w retorykę, która wraz z autokreacją tyleż przeszkadza, co pomaga w o(d)powiedzeniu „kim jestem”. W nawiązaniu do koncepcji m.in. Lejeune’a, Beaujoura i Ricoeura autorka analizuje, jak Szczepański układa projekt własnego życia i jak w tekstach przepracowuje frustrację z powodu jego (pozornego) niewykonania. Punktem dojścia artykułu jest ukazanie, że mimo wyraźnego w pismach socjologa rozdźwięku między słowem a życiem i działaniem imperatyw stworzenia „dzieła” pozostaje dla niego osią biografii, a tworzenie autoportretu nie jest narzuceniem życiu sztucznego porządku.
7
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Rola pisarstwa autobiograficznego w kształceniu logopedycznym. Przykłady

72%
Chłosta-Zielonka J.
Logopedia
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2019
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vol. 48
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issue 1
373-385
PL
Celem artykułu jest wskazanie, jak ważną rolę w praktycznym i pełnym poznaniu najpoważniejszych schorzeń, z którymi spotkają się przyszli logopedzi – zespołu Downa, autyzmu i afazji, pełni pisarstwo autobiograficzne. Wykorzystując swoje immanentne cechy, autentyczność i wiarygodność przekazu, będzie w naturalny sposób wprowadzało w trudne problemy psychiczne, psychologiczne, a nawet medyczne. Dlatego też w kształceniu logopedycznym pisarstwo autobiograficzne dotyczące wymienionych chorób powinno być lekturą obowiązkową.
EN
The article focuses on the issue of autobiographical writing and the role it plays in the practical and full understanding of the most serious diseases that future speech therapists will encounter – Down syndrome, autism and aphasia. Using its immanent features, authenticity and credibility of the message, it will naturally introduce into difficult mental, psychological, and even medical problems. Therefore, in the speech therapy training, autobiographical writing concerning these diseases should be obligatory reading.
8
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Complicidades kafkianas en la obra de Julio Ramón Ribeyro

72%
Esteban Á.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2023
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vol. 33
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issue Special Issue
74-84
EN
On several occasions the influence of Kafka on Ribeyro has been studied around eight or ten stories written by Julio Ramón between the late forties and early fifties, due to their subject matter or their approach to the absurd, to some fantastic elements, to the strange or to ironic pessimism, that is to say, the work conceived until a realistic stage opened new horizons to his short story production. However, a deeper study of Julio Ramón’s work can relate it in a more accurate and useful way with the diaries, where there is a kind of spiritual brotherhood with Kafka confessed by Ribeyro himself. From this new perspective, it is possible to analyze some mature stories such as “Silvio en El Rosedal”, “Ausente por tiempo indefinido” or “Surf ” from the perspective of the writer’s status as an artist in contemporary society, which emphasizes the relevance of the creative subject more than the perfection of the created work, in the reflections on literature and art and in the presence of the writer in the family and social spheres.
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Fantazmaty dziecięce w prozie autobiograficznej José Mauro de Vasconcelosa

72%
Slany K.
Autobiografia. Literatura. Kultura. Media
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2016
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issue 2(7)
57–73
PL
W artykule omawiam trylogię autobiograficzną José Mauro de Vasconcelosa: Moje drzewko pomarańczowe, Rozpalmy słońce i Na rozstajach. Utwory te postrzegane mogą być jako powieści fantazmatyczne dla dzieci i młodzieży, gdzie wspomnienia z dzieciństwa zostały przez pisarza obudowane fantazmatami, które kreował jako dziecko. Istotny jest tu sposób prezentowania dzieciństwa z perspektywy dziecka jako podmiotu wyobrażającego, stającego się dzieciństwem bogatym w obrazy o proweniencji baśniowej. Odczytanie znaczenia tych wyobrażeń pozwala podkreślić ich katartyczny charakter. Dziecięce przeżywanie momentów granicznych osadzone jest tutaj celowo w sferze kompensacyjnych projekcji. W swej prozie autobiograficznej Vasconcelos odtwarza zatem nie tylko zdarzenia, które go ukształtowały, ale przede wszystkim sferę dziecięcych fantazmatów jako przykład magicznego myślenia dziecka o sobie i świecie, skłaniającego go do ważnych, czasami jednak tragicznych refleksji.
EN
The article discusses a trilogy of the author’s autobiographical works encompassing My sweet orange tree, Let’s light the sun up and At the crossroads. These works can be seen as phantasmal stories for children and youth, which are based on author’s memories from childhood, significantly embedded in phantasmata that he has created as a child. An important feature is presenting childhood from the perspective of a child who becomes the imagining subject. This image of a childhood thus becomes rich in depictions stemming from fairy tales. Deciphering meanings of these depictions allows to underscore their cathartic character. The child’s experiences of transitional moments is here purposefully embedded in the sphere of compensatory projections. It is in his autobiographical prose that Vasconcelos therefore not only recreates the events that has shaped them, but first and foremost explores the sphere of children’s phantasm as an example of child’s magical thinking about the world and the self. These thoughts direct a child towards significant, though often tragic reflections.
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Authoring War Memories: War Memoir Writing and Testimonial Theatre Performances

72%
Bellot A. R.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2020
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vol. 6
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issue 1
18-27
EN
This paper will discuss aspects concerning authorship, memory, and war representation, as well as trauma and healing. In order to do so, I will explore the writing of war memoirs and/or the re-enactment of war experiences on the stage as two ways of expressing and coping with war trauma. In both cases, the concept of the author, a war veteran as first-person narrator or self-performer, is central to the representation of the traumatic memories of war. It is precisely through this interaction between the author, as a legitimate witness, and source of authentic and reliable information, that the readership/audience connects emotionally with the experience of the combatants and can empathise with their situation. A theoretical conceptualisation of war memoir writing, and testimonial theatre will be illustrated with specific examples of texts connected with the Falklands War (UK-Argentina, 1982). The dominant perspective of the reflection are veterans’ stories.
11
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„Trzy punkty podparcia”. O poznaniu, doświadczeniu i zaangażowaniu w mountain studies (na podstawie prekursorskich prac Jacka Woźniakowskiego, Jacka Kolbuszewskiego i Michała Jagiełły)

58%
Dutka E.
Świat i Słowo
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2023
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vol. 41
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issue 2
461-476
EN
The article analyses the works of Polish researchers dealing with mountain issues in culture in the second half of the 20th century. The author demonstrates that the work of Jacek Woźniakowski, Jacek Kolbuszewski, and Michał Jagiełło are the precursors to contemporary mountain studies. Based on the analysis of the achievements of these researchers, it is possible to indicate the characteristics of mountain studies, such as combining scientific knowledge with personal experience and ecological commitment. In the article, these features were called „three points of contact,” referring to basic climbing technique. They are also visible in the works of other Polish (Tomasz Stępień) and foreign (Robert MacFarlane) researchers. On this basis, one can conclude that mountain studies have many features in common with scientific autobiographical writing. One of them is the critical potential, bringing mountain studies closer to ecocriticism and environmental humanities.
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