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Choroba i strata jako regulator tożsamości: Rok magicznego myślenia

100%
Kosman M.
Ogrody Nauk i Sztuk
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2019
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issue 9
491-498
PL
Cel badań. Celem artykułu było omówienie wpływu ekspresywnego pisania na sposób przeżywania żałoby i żalu po stracie. Analiza stanowi przyczynek do dyskusji o terapeutycznej mocy ekspresywnego pisania. Metoda. Analizie poddano książkę Rok magicznego myślenia Joan Didion (2016), w której autorka opisuje swoje zmagania z codziennością po nagłej śmierci jej męża. Pamiętnik został przeanalizowany zgodnie z koncepcją autobiografistyki Georges’a Gusdorfa (2009). W kontekście książki omówiono również koncepcje odnoszące się do psychologii zdrowia i choroby: teorię pięciu etapów przeżywania żałoby według Elisabeth Kübler-Ross (2007) oraz sposoby radzenia sobie ze stresem Normana S. Endlera i Jamesa D. A. Parkera (1990). Wyniki. Analiza wykazała, że myślenie magiczne, którym posługuje się autorka pamiętnika, służy jej za normatywny mechanizm obronny. Styl pisarski J. Didion, zakorzeniony w tzw. nowym dziennikarstwie, przeplata się z refleksjami na temat śmierci, co czyni go jeszcze bardziej ekspresywnym i szczerym. Można zauważyć, że J. Didion sukcesywnie przechodzi przez kolejne etapy przeżywania żałoby, a sposobem radzenia sobie, z którego pisarka korzysta najczęściej jest działanie. Odejście od myślenia magicznego pod koniec książki oraz ostateczne pogodzenie się ze śmiercią męża sugeruje, że ekspresywne pisanie było jednym z czynników, który pomógł autorce w zmaganiach z żalem po stracie. Wnioski. Rok magicznego myślenia stanowi przykład tanatografii oraz jest logicznym i spójnym odbiciem przeżyć osoby zmagającej się z traumą po śmierci bliskiej osoby. W celu pełniejszego zbadania wpływu ekspresywnego pisania na samopoczucie i dobrostan wskazana byłaby podobna analiza książki Blue Nights (2011), w której J. Didion zmaga się ze śmiercią córki.
EN
Aim. The aim of the paper was to investigate whether expressive writing influences the way in which people mourn and grieve. The analysis may be treated as a basis for a discussion as regards expressive writing as a form of therapy. Method. The book called A Year of Magical Thinking, written by Joan Didion (2016) was analyzed. In the book the author describes her struggle with everyday life after her husband’s sudden death. The memoir was analyzed in accordance with Georges Gusdorf’s (2009) theory of autobiography. Various theories pertaining to the sphere of psychology of health and disease were also discussed: five stages of grief by Elisabeth Kübler-Ross (2007) and styles of coping by Norman S. Endler and James D. A. Parker (1990). Results. The analysis showed that the ‘magical thinking’ implemented by the author is a normative defensive mechanism. Joan Didion’s writing style, deeply rooted in New Journalism, is mixed with reflections regarding death which only adds more sincerity to it. One can observe that Didion progressively goes through successive stages of grief. Moreover, it is clear that Didion’s preferred coping style is a task-oriented one. The fact that she ultimately turns away from ‘magical thinking’ and comes to terms with her husband’s death suggests that expressive writing was one of the factors which helped her with her struggle against grief. Conclusions. A Year of Magical Thinking represents tanatography and is a logical and coherent reflection of experience of a person struggling with trauma caused by a partner’s death. In order to investigate the impact of expressive writing on wellbeing and health in general, it may be beneficial to analyze the book Blue Nights (2011) in which Didion writes about her daughter’s death.
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Sienkiewicz w lustrze biografii

94%
Chomiuk A.
Białostockie Studia Literaturoznawcze
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2016
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vol. 8
EN
Relying on post-war biographies of Henryk Sienkiewicz, the article provides an insight into how his life as a writer was modelled through recurring similarities and differences of representation. Both factual and methodological portrayals seem uniform. In 1954 the biographical calendar presented by Julian Krzyżanowski became a point of reference for all following profiles of Sienkiewicz. Moreover, the biographers seem to utilize personal documents in a similar manner – they are to validate their stories. The resulting life writing appears to hold peculiar control over the protagonist’s life, suggesting that special-temporal distance allows us to see more than Sienkiewicz did himself.
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Uchwycić stratę, albo „kamyki cmentarne” z Melbourne

94%
Kwapisz Williams K.
Postscriptum Polonistyczne
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2016
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issue 1(17)
81-96
EN
Migration always involves loss, which inspires potential writers and is itself often the focus of migrants’ narratives. Seen through this monodimensional attachment to things left behind and hence not particularly valued, written and unwri tten stories of migrants’ experiences are themselves prone to disappear, together with the memory of their authors. This paper exam-ines the work of a biographer and poet, Bogumiła Żongołłowicz, commited to recovering and preserving achievements of Polish post-war migrants in Australia, reclaiming forgotten or unappreciated literary works for future readers, and celebrating life and memory of those who would otherwise perish as well.
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Joe Brainard’s I Remember, Fragmentary Life Writing and the Resistance to Narrative and Identity

94%
Drąg W.
Text Matters: A Journal of Literature, Theory and Culture
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2019
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issue 9
223-236
EN
Paul Ricoeur declares that “being-entangled in stories” is an inherent property of the human condition. He introduces the notion of narrative identity-a form of identity constructed on the basis of a self-constructed life-narrative, which becomes a source of meaning and self-understanding. This article wishes to present chosen instances of life writing whose subjects resist yielding a life-story and reject the notions of narrative and identity. In line with Adam Phillips’s remarks regarding Roland Barthes by Roland Barthes (1975), such works-which I refer to as fragmentary life writing-emerge out of a profound scepticism about any form of “fixing” oneself and confining the variety and randomness of experience to one of the available autobiographical plots. The primary example of the genre is Joe Brainard’s I Remember (1975)-an inventory of approximately 1,500 memories conveyed in the form of radically short passages beginning with the words “I remember.” Despite the qualified degree of unity provided by the fact that all the recollections come from the consciousness of a single person, the book does not arrange its content in any discernible order-chronological or thematic; instead, the reader is confronted with a life-in-fragments. Although individual passages could be part of a coming-of-age, a coming-out or a portrait-of-the-artist-as-a-young-man narrative, Brainard is careful not to let any of them consolidate. An attempt at defining the characteristics of the proposed genre will be followed by an indication of more recent examples of fragmentary life writing and a reflection on its prospects for development
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Resisting (In)visible Women of Solidarity: Gender in American and Polish Oral History, Life Writing, Visual Arts and Film. Part I

83%
Klimek-Dominiak E.
Miscellanea Posttotalitariana Wratislaviensia
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2016
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vol. 5: Special Issue, vol. I: THE TROPICS OF RESISTANCE: Languages, genres, rhetoric
103-119
EN
Unlike American historians challenging the marginalization of women since the 1970s and theorizing usefulness of gender for history, the majority of Polish historians have been rather reluctant to ad­dress gender differences. The collapse of communism and transatlantic interest in retraditionalization stimulated interdisciplinary engendering of Solidarity. This article examines how significant, though strategically invisible, Solidarity women activists of the 1980s have been represented in oral history, art, and film as well as dialogical genres such as auto/biography and a relational memoir. Questioning of mythical visions of Solidarity, focused on men and class, has initially been resisted, but encouraged a debate about gender stereotypes in Poland. The early “archive fever” followed by a recent surge in transgenerational life writing on women oppositionists exploring gender along with ethnicity, class, and age has helped to construct multi-layered portraits of anti-communist resistance. The analysis of the award-winning documentary, several Solidarity women evaluate critically their complicity with the (post)totalitarian system, may also complicate ultranationalist narratives and fill gaps in postcolonial studies of Central Europe.
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Randlind ja Paabeli vang. Omaeluloolisus kahe rahvaluulekoguja saadetistes

83%
Kikas K.
Mäetagused
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2018
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vol. 71
25-54
EN
In the focus of this article are the life-writing practices of two Jakob Hurt’s folklore correspondents. Jakob Hurt’s folklore collecting campaign started in 1888 and about 1400 people stepped in to work along with him. Although collectors were aware of the scientific value of the work they were doing, there were many other reasons for them to be interested. Firstly, as collecting was considered as ‘work for homeland’, it was a possibility to assert one’s national identity. Secondly, it offered a possibility to participate actively in the public written space; as the folklore collecting campaigns were organized with the help of newspapers, participants considered their work to be part of the public sphere (or at least closely connected to it). And thirdly, it was also quite a rare possibility to use one’s writing skills in Estonian in a public setting; as the official languages at the time were German and Russian, the Estonian language was rather marginalized, yet at the same time the Estonian-language population’s literacy rates were rather high. Although folklore collecting may seem as a very restricted writing context, in reality collectors sent in widely varied sorts of texts – besides folklore texts there were letters, poems, life stories, interpretations of folklore, book reviews, texts resembling newspaper articles, and so on. Collectors really experimented with different genres and ways of addressing. In this article I have touched upon one layer in this textual field – writings in which collectors write explicitly about themselves and their lives, and where we can get a hint about how they wanted to be presented in this half-public space. The texts I have discussed are not autobiographies in the strict sense of the word; that is way I have used a more widely encompassing term – life writing. Generally collectors do not write about themselves too often; yet, in some cases they do. Some of these texts are passages of letters addressed to the organizer of the campaign, with an aim to introduce oneself (e.g. in the first letter) or to convince the organizer to help the writer (e.g. in finding a new job). Some texts are embedded in the collections and presented as folklore, or added as a personal footnote to folklore material collected from others. Most of those personal texts have quite a self-downgrading frame – collectors apologize for including those ‘irrelevant thoughts’, therewith stressing the big gap between the social standing of the organizers (Hurt was a parson with a scientific degree) and themselves (mostly ordinary people with quite minimal schooling). There are two male collectors in the centre of my article – Juhan Silbergleich (1854–?) and Paulus Paurmann (1850–1903). Both of them did quite extensive life writing in the contexts of their collecting activities, but the way they did it was rather different. Silbergleich starts writing about himself already in the first letter to Hurt; he never aims at something more coherent, all his life writing consist of bits and pieces embedded in letters and texts about cultural history. Paurmann keeps quite a humble profile for a couple of years and then sends in a long life story. Silbergleich’s texts resemble newspaper articles and deal mostly with the poor living conditions of his community; he stresses his nationality quite often. Paurmann builds his life story on the model of sentimental literature, stressing his own deeds, feelings, and inner thoughts; he barely mentions the nation. One of the communal experiences of the men was life in diaspora community: they were born in Viru County, but in their later life moved to St. Petersburg Province (Silbergleich permanently, whereas Paurmann spent his winters there as a schoolteacher for Estonian-speaking children). This move plays quite an important role in their life writing. Yet, it was also an important incentive for the decision to start collecting folklore – for them it presented a possibility to be symbolically back home again. In conclusion it can be said that, when reading the life writing texts of these two men side by side, we can see, on the one hand, two really different ways of putting one’s life on paper (ways that are closely connected to the kind of reading material that those men preferred). Yet, on the other hand, we get quite a varied picture of some keywords (nationality, publics, mobility) of the time, linked with real lives of real people.
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“I’ve been crawling up so long on your stairway to heaven”: The rise of the female rock memoir

83%
Sawczuk T.
Crossroads. A Journal of English Studies
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2016
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vol. 15
EN
Similarly to rock music, the rock memoir has long been considered a male genre by both the general public and publishers. It might well be claimed that throughout the years there have been many seminal female rock performers, yet only a few of them gained well deserved recognition and engaged the minds of wider audiences. The history of rock had been predominantly a (his)story until 2012 and the publication of Patti Smith’s Just Kids, a female rock memoir which paved the way for many other women thus far silenced by the male-oriented genre. This paper seeks to delve into some of the female rock narratives in order to analyze the ways in which their authors construct their stories and their authorial selves. It also points to those territories of the music industry and the rock memoir which female performers strive to enrich or reclaim by the acts of writing and performing.
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Narrating Resistance: Ludmilla Alexeyeva and Paul Goldberg’s „The Thaw Generation” (1990)

83%
Jüttner C., Lecke M.
Miscellanea Posttotalitariana Wratislaviensia
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2016
|
vol. 5: Special Issue, vol. I: THE TROPICS OF RESISTANCE: Languages, genres, rhetoric
55-66
EN
The production and circulation of literary, documentary, and political texts were among the main activities of dissenters in the Soviet Union. Many of them also kept diaries or notebooks, wrote memoirs or engaged in other forms of life writing. While these texts more or less explicitly claim to authentically represent reality, they nonetheless arise as a construction based on literary strategies. The analysis of the latter in Ludmilla Alexeyeva and Paul Goldberg’s The Thaw Generation is the subject of this article. We discuss the rhetoric of these memoirs focusing particularly on stylistic features and argumentative structures that are meant to grant the text credibility among American and Russian readers.
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The Concept of the Self in Come Walk with Me: A Memoir by Beatrice Mosionier

83%
Rzepa A.
Studia Anglica Posnaniensia
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2015
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vol. 50
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issue 2-3
81-94
EN
Beatrice (Culleton) Mosionier is a Canadian Métis writer, whose first strongly autobiographical novel In Search of April Raintree (1983) has been recognized as a classic of contemporary Native Canadian literatures. Her memoir, Come Walk with Me (2009), describes her life story from 1949 till 1987, covering also the period between 1987 and 2001 in a brief epilogue. In the memoir, Mosionier uses fragments of the transcript of an interview conducted with her mother in 1984 by Alanis Obomsawin to preface the three parts of her book. Apart from constructing the two lives as parallel and in dialogue with one another, Mosionier frames and dialogises her story also through references to the process of writing, publication and the success of her novel; and reaches out to readers to induce them to “walk” with her. The aim of the present article is to examine the narrative presentation of the process of self-discovery focusing in particular on the relational aspects of the life story. Mosionier’s memoir demonstrates her growing into the realisation of the fact that her identity is relational-she recognizes herself as part of a larger ethnic and social group, and later also as shaped by familial relations. While depicting “the self [that] is dynamic, changing, and plural” (Eakin 1999: 98), she conceptualises it in reference to what she believes to be an essentially static core identity, and as “channelled” through a life that largely follows a predetermined pattern.
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Addicted to the Holocaust – Bernice Eisenstein’s Ways of Coping with Troublesome Memories in I Was a Child of Holocaust Survivors

71%
Drewniak D.
Studia Anglica Posnaniensia
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2015
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vol. 50
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issue 2-3
39-50
EN
In her I Was a Child of Holocaust Survivors published in Canada in 2006, Bernice Eistenstein undertakes an attempt to cope with the inherited memories of the Holocaust. As a child of the Holocaust survivors, she tries to deal with the trauma her parents kept experiencing years after WWII had finished. Eisenstein became infected with the suffering and felt it inescapable. Eisenstein’s text, which is one of the first Jewish-Canadian graphic memoirs, appears to represent the voice of the children of Holocaust survivors not only owing to its verbal dimension, but also due to the drawings incorporated into the text. Therefore, the text becomes a combination of a memoir, a family story, a philosophical treatise and a comic strip, which all prove unique and enrich the discussion on the Holocaust in literature. For these reasons, the aim of this article is to analyze the ways in which Eisenstein deals with her postmemory, to use Marianne Hirsch’s term (1997 [2002]), as well as her addiction to the Holocaust memories. As a result of this addiction, the legacy of her postmemory is both unwanted and desired and constitutes Bernice Eisenstein’s identity as the eponymous child of Holocaust survivors.
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Life Fictions: Radicalization of Life-Writing in Leslie Scalapino’s Zither & Autobiography and Dahlia’s Iris: Secret Autobiography & Fiction

71%
Myk M.
Studia Anglica Posnaniensia
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2015
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vol. 50
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issue 2-3
127-140
EN
The paper discusses radicalized aesthetics and politics of structure and form in the experimental autobiographical writing of American avant-garde author Leslie Scalapino. Associated with the innovative protocols of the “Language School” poetry movement, Scalapino’s oeuvre emerges as simultaneously a poststructuralist and phenomenologically oriented poetics in which writing performs a thoroughgoing scrutiny of how one’s implication in linguistic and cultural matrices determines one’s being in the world. Scalapino’s Autobiography, framed by Paul de Man’s remarks on autobiographical writing as always controlled by the external expectations of self-fashioning, sets out to examine and deconstruct the autobiographical project as in itself constructive of one’s life. In Zither the poet complicates her take on life-writing by interrogating and reconceptualizing hidden mechanisms of the genre and confronting it with its own fictional status, while in Dahlia’s iris Scalapino juxtaposes detective fiction with a Tibetan form of written “secret autobiography”, based on a radical departure from the chronology of one’s biography toward a phenomenological horizon of what she refers to as “one’s life seeing”, a practice of attempting to see one’s mind’s constructions as they are formed by the outside as well as by one’s internalization of the outside.
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Noukogude aeg elulugudes – ‘katkestus’ või ‘jarjepidevus’

71%
Jaago T.
Mäetagused
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2014
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vol. 57
7-28
ET
The article springs from the discussion on the depiction of Estonian history in autobiographical writing, in which researchers have pointed out either the cultural continuity or cultural rupture. The author deals with ‘rupture’ and ‘continuity’ as interrelated, mutually conditioning phenomena, asking how this relation is disclosed in life writing. For research the author selected autobiographies narrated in the period from 1989 to 1998 from the life writing collection of the Estonian Cultural History Archives. The 18 analysed stories depict life in Stalinist prison camps. It is assumed that in the life narratives that are concerned with prison experiences, the cultural, everyday and political disruptions are particularly clearly outlined. The thematic analysis of the stories reveals that narrators concentrate on prison experiences related to food, work and death. The axis supporting the narratives comes to the fore through linguistic images: the narrators, former prisoners of the Stalinist camps, perceive themselves as being outside the borders of civilisation, deprived of human treatment. It is significant that the stories do not present much information about the development of the authors’ relationships with their families after the prison camp. How the prison camp period influenced later personal lives was told by only one of the authors of the studied narratives. The stories were narrated at the end of the Soviet period (during Perestroika), or in Estonia after the restitution of independence. By that time, approximately 40 years had passed since the events, and aspects of personal life had been solved and discussed. On the public level, an open discussion on these topics started namely at the end of the 1980s. Then, at the end of the Soviet period, also the rehabilitation of the repressed people started, opening a dialogue between the individual and the state institutions on the topic of repression. The studied life stories also belong to this period: it was the period when my story became our nation’s story. Ruptures in these stories are primarily associated with political upheavals, which also broke the expected sequence of personal life events. Yet, at the same time, the rupture did not interrupt the historical or cultural process, but rather, by describing self-image and situations, brought out the aspect more meaningfully. As a result of the analysis of the texts, the author came to the conclusion that in these stories the topic of humanity rather than the problem of political and cultural rupture and continuity is in the foreground.
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Służba i milczenie

67%
Steedman C.
Praktyka Teoretyczna
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2017
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vol. 23
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issue 1
64-83
EN
A translated chapter of Carolyn Steedman’s book Master and Servant. Love and Labour in the English Industrial Age. This text reconstructs the experience of a 18th-century servant, Phoebe Beatson, on the basis of a diary of John Murgatroyd, her employer. Confronting this testimony with other documents of social life, Steedman constructs a history of a class overlooked by traditional Marxist historiography – female domestic servants.
PL
Tekst jest wstępnym rozdziałem z książki Carolyn Steedman „Służąca i jej pan. Miłość i praca w Anglii wieku industrialnego” (Master and Servant. Love and Labour in the English Industrial Age). Tytułowa służąca to Phoebe Beatson, której losy Steedman rekonstruuje na podstawie dziennika jej pracodawcy – pastora Johna Murgatroyda. Zestawiając to świadectwo z innymi dokumentami życia społecznego epoki, Steedman pisze historię klasy pominiętą w tradycyjnych marksistowskich historiografiach – historię kobiecej służby domowej.
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Perpetuum Mobile. Non-places in Blixa Bargeld’s journals

67%
Burzyńska A. R.
Forum Poetyki
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2023
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issue 33-34
EN
The article analyzes life writing strategies of the German composer, musician and performer Blixa Bargeld, who has been documenting his life on tour since the 1990s. The experience of moving between successive identical, impersonal, as Marc Augé puts it, non-places, such as hotels and airports, turns out to be the opposite of traveling. As a result, Bargeld’s travelogue takes unusual forms: from a series of photographs showing hotel bathrooms (serialbathroomdummyrun), through experimental prose (Europa kreuzweise. Eine Litanei), to concrete music (the album Perpetuum Mobile).
PL
Tematem artykułu są strategie life writing niemieckiego kompozytora, muzyka i performera Blixy Bargelda, który od lat 90. dokumentuje swoje życie jako artysty uczestniczącego w kolejnych tournées. Doświadczenie przemieszczania się pomiędzy kolejnymi identycznymi, bezosobowymi nie-miejscami (wg terminologii Marca Augé), takimi jak hotele i lotniska, okazuje się przeciwieństwem idei podróżowania. W konsekwencji dziennik podróży Bargelda przyjmuje nietypowe formy: od serii fotografii ukazujących hotelowe łazienki (serialbathroomdummyrun), przez eksperymentalną prozę (Europa kreuzweise. Eine Litanei), po osadzone w tradycji muzyki konkretnej kompozycje (album Perpetuum Mobile).
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Avant-garde in earnest! Stern’s biographical experiments with Apollinaire

67%
Baron-Milian M.
Forum Poetyki
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2023
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issue 33-34
EN
The article is devoted to a genealogical investigation, undertaken by Anatol Stern, in his attempt to reconstruct the origin story of Guillaume Apollinaire. The effect of his research is a book entitled Dom Apollinaire’a. Rzecz o polskości i rodzinie poety, published in 1973, which is a collection of essays, previously published in Polish and European journals, prepared for publication after the author’s death by his wife, Alicja Stern. The subject of analyses in the paper are not only the published texts but first and foremost an extensive archival collection of materials devoted to Apollinaire, collected by Stern, as well as different forms of literary practices, within which Stern carried out artistic biographical modifications of his findings concerning the author of Alcools. The theoretical perspective adopted for the analysis a wide range of auto/biographical texts here is the concept of life writing. In the course of the study the value of Alicja Stern’s commentary, found in her unpublished memoir, comes centre stage, as it indicates the possibility of a “pseudo-auto-biographical” reading of some of Stern’s texts devoted to Apollinaire. This line of interpretation – exposing the situation of “the other” – opens up the possibility of looking for a ”Maroon-like subject” and places in which Stern’s own situation of “the other” along with various forms of masking his own “interrupted”, “unstable” identity.
PL
Artykuł poświęcony jest genealogicznemu śledztwu, jakie podejmuje Anatol Stern, próbując zrekonstruować pochodzenie Guillaume’a Apollinaire’a. Efektem badawczego postępowania staje się książka zatytułowana Dom Apollinaire’a. Rzecz o polskości i rodzinie poety, opublikowana w 1973 roku, będąca zbiorem szkiców, które ukazywały się wcześniej w krajowych i europejskich czasopismach, przygotowana do druku już po śmierci pisarza przez jego żonę, Alicję Stern. Przedmiot zawartych w artykule analiz stanowią nie tylko teksty opublikowane, ale przede wszystkim obszerny archiwalny zbiór materiałów poświęconych Apollinaire’owi, gromadzonych przez Sterna, a także różne formy literackich praktyk, w ramach których Stern dokonywał artystycznych przetworzeń biograficznych rozpoznań dotyczących autora Alkoholi. Perspektywę teoretyczną dla ujęcia szerokiego spektrum tekstów auto/biograficznych wyznacza pojęcie life writing. W toku analiz na plan pierwszy wysuwa się wartość komentarza Alicji Stern, zawartego w jej niepublikowanym pamiętniku, sugerującego możliwość „kryptoautobiograficznej” lektury niektórych poświęconych Apollinaire’owi tekstów Sterna. Taka linia interpretacji – eksponująca sytuację „obcego” – otwiera możliwość poszukiwania „marańskiego podmiotu” i miejsc, w których ujawnia się przemilczana przez Sterna własna sytuacja „obcego” wraz z różnymi formami maskowania własnej „zakłóconej”, „niestabilnej” tożsamości.
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Activism and Assimilation: The Political Memoirs of Olivia Chow and Adrienne Clarkson

60%
Law H. K. T.
Anglica Wratislaviensia
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2019
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issue 57
49-60
EN
While the history of Chinese settlement in Canada is touted as an example of perseverance despite racist opposition and of socio-economic success under Canada’s immigration and multiculturalism policies, it is important to remember the very active role that Chinese Canadians played in their own trajectory. Throughout its history, the Chinese Canadian community has engaged in civic and political activism, on the one hand, and the promotion of positive stereotypes associated with assimilation into Euro-Canadian society on the other. Both of these approaches can be seen in the political memoirs of two prominent Chinese Canadian women: My Journey by Olivia Chow, a Member of Parliament who focused her career on a plethora of social justice initiatives; and Heart Matters by Adrienne Clarkson, a former Governor General who deemphasizes her Chinese heritage in order to mould herself into the ideal Canadian citizen. Despite these clear differences in political ideology and personal identity, both Chow and Clarkson’s memoirs reveal the ways in which Chinese Canadians can not only claim full belonging as Canadian citizens, but also interrogate systemic forms of racism and inequality.
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Women’s narratives of displacement and their afterlife

60%
Mitriou S., Adam E.
Miscellanea Posttotalitariana Wratislaviensia
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2017
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vol. 6: TRAUMA KULTUROWA JAKO PALIMPSEST: (post)komunizm w kontekście porównawczym nowoczesności, totalitaryzmów i (post)kolonializmów
233-243
EN
This paper focuses on the connection between life writ­ing and postmemory. The case of Anița Nandriș-Cudla’s life writing is presented based on its unique status: women’s testimonies are rare in Romanian memory discourse, and when present, they are lim­ited to known intellectual figures. Moreover, the displacement narratives occupy a small place in Ro­mania’s post-1989 collective memory discourse and, as survivors of deportation inexorably pass away, life writing becomes increasingly important in the transmission of memory. This paper argues that increasing attention to the narratives of the past traumas can develop the intergenerational transmission of memory and knowledge. The process of coming to terms with the past must offer space to alternative memories and narratives with which, the research shows, second or third generations can relate, based on similarities and resemblance, and in this way develop an empathic understanding of current events.
RU
В данной статье основное внима­ние уделяется связи между биографическими писаниями и записями о прошедших событиях (postmemory). Писания о жизни Аниты Нандрис Кудла представлены здесь благодаря иx уни­кальному статусу, так как женские свидетельские показания очень редки в румынских произ­ведениях и записях, связанных с историческими событиями и, даже если они присутсвуют, они ограничиваются показаниями известных интеллектуальных личностей. Кроме того, записи о переселениях занимают небольшое место в писаниях коллективной памяти Румынии после 1989-го года и, вместе со смертью тех, кто остался в живых после депортаций, писание о их жизни становится все более важным в процессе передачи памяти. В данной работе утверждается, что повышенное внимание к прошлым травмам способствует передаче воспоминаний и знаний следующим поколениям. Восприятие прошлого должно также оставить место для альтернативных воспоминаний и записей, в которых, как показывают исследования, вторые и третьи поколения могут найти много общего и таким образом развивать в себе способность эмпатически понимать текущие события.
18

Narrating Motherhood as Experience and Institution: Experimental Life-Writing in Mary Kelly’s Post-Partum Document (1973–79)

60%
Wierzchowska J.
Studia Anglica Posnaniensia
|
2015
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vol. 50
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issue 2-3
111-125
EN
This article explores American visual artist Mary Kelly’s autobiographical work Post-partum document in reference to the politics of life writing. Resorting to Lacanian psychoanalysis, a pastiche of scientific narratives and other (auto-)narrative strategies, in her work Kelly documented the first five years of her son’s life from his weaning from the breast until the day when he wrote his name. By documenting her child’s development, the artist also recorded the process of her own formation as a maternal subject, a formation gradually worked out through an evolving relationship with her son. In her work, the artist made vivid the incompatibility and limitations of various narrative frameworks in retelling a fundamentally relational experience that verges on the mental and bodily, and which is necessarily mediated by the patriarchal ideology. This article analyses Kelly’s conflicting narrative strategies that fail to successfully represent the mother-child formative relationship and which demonstrate the mother’s ideological alienation. It reads Kelly’s work politically, exploring the ways in which Post-partum document’s (auto-)narrative voices address questions and dilemmas of the feminine/maternal subject, the subject’s formation, and the limits of its (self-) representation within patriarchy. The article argues that Kelly challenges the traditional autobiographic genre by attending to her lived experience as a mother and the culturally repressed maternal desire.
19
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Content available

Unstructured, unprocessed, unused. Witold Wirpsza’s journals

59%
Bogalecki P.
Forum Poetyki
|
2023
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issue 33-34
EN
The paper explores the question of autobiographism of the neo-avant-garde literary works by Witold Wirpsza, trying to determine the significance of journal as a genre to it. Wirpsza’s meta-literary comments present him as an author who rejected biographism in favor of experimenting. It is simultaneously shown that some of his poems (especially from Granica wytrzymałości and Przypomnienie Hioba) and novels (Pomarańcze na drutach, Sama niewinność) can be read as results of experimenting with life writing. The analysis of Wirpsza’s unpublished journals, especially the notebook entitled Zapiski datowane, bez porządku confirms the poet’s disdain for intimate writing and consolidating psychological states.
PL
Artykuł zadaje pytanie o autobiografizm neoawangardowej twórczości literackiej Witolda Wirpszy, próbując określić znaczenie, jakie zajmuje w niej gatunek dziennika. Wychodząc od analizy jego wypowiedzi metaliterackich, autor kreśli portret Wirpszy jako twórcy odrzucającego biografizm na rzecz eksperymentu, pokazując jednocześnie, że część jego wierszy (zwłaszcza z tomów Granica wytrzymałości i Przypomnienie Hioba) oraz powieści (Pomarańcze na drutach, Sama niewinność) czytać można jako efekt podjęcia eksperymentalnej gry z gatunkami life writing. Z kolei analiza niepublikowanych dzienników Wirpszy zachowanych w jego archiwum, zwłaszcza zeszytu zatytułowanego Zapiski datowane, bez porządku, potwierdza niechęć poety do intymistyki i utrwalania stanów psychicznych.
20
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Autopatografia jako przestrzeń „spotkania troski”. O realizacji postulatów medycyny narracyjnej w Mięchu Anety Żukowskiej

36%
Świątkowska M.
Autobiografia. Literatura. Kultura. Media
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2022
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vol. 18
161-172
EN
This article presents autopathography as a genre in which patients can reclaim their voices to articulate their experiences of the medical system, drawing on Arthur Frank’s theory in The Wounded Storyteller. Illness narratives can be understood not only as means of expressing a largely negative experience by way of monologue, but also as platforms for dialogue between patients and their caregivers. Such encounters, albeit seemingly impossible under the conditions of contemporary medical system, have been postulated, among others, by Rita Charon, the founder of narrative medicine. In the text, autobiographical works of Anatole Broyard and Aneta Żukowska are given as examples of patients expressing the need for a sustained, mutual relationship between doctors and their patients. As such, autopathographies can play their part in bringing to life the ideals of narrative medicine, as well as of what S. L. Jain called “elegiaic politics”.
PL
Niniejszy tekst dotyczy autopatografii jako upodmiatawiającej praktyki, która – zgodnie z rozpoznaniami Arthura Franka o przejściu od nowoczesnego do ponowoczesnego doświadczenia choroby – pozwala pacjentom przejąć kontrolę nad narracją o własnym doświadczeniu. Opowieści chorych jawią się nie tylko jako artykulacja negatywnego doświadczenia maladycznego, lecz również jako przestrzeń nawiązywania dialogu między pacjentem a lekarzem. W artykule zostają przywołane autopatografie Anatole’a Broyarda oraz Anety Żukowskiej jako teksty, w których potrzeba takiego dialogu zostaje zasygnalizowana oraz spełniona. Książka Żukowskiej jest analizowana jako przykład realizacji sformułowanych przez Ritę Charon postulatów medycyny narracyjnej oraz zaproponowanej przez Sarah L. Jain polityki elegijnej, które to koncepcje niosą potencjał zreformowania systemu opieki medycznej oraz detabuizacji doświadczenia maladycznego.
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