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Rzeczy osierocone, czyli autobiografizm przemilczany Rzeczy, których nie wyrzuciłem

100%
Michalski M. A.
Autobiografia. Literatura. Kultura. Media
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2021
|
vol. 16
195-205
EN
The article is an analysis and interpretation of Marcin Wicha’s Things I Didn’t Throw Out in terms of their autobiographical character. It focuses on the autobiographical challenge, that dominates work, which manifests itself in gaps and understatements. In addition, it addresses mourning, loss, absence, memory and what remains of us – things.
PL
Artykuł jest analizą i interpretacją Rzeczy, których nie wyrzuciłem Marcina Wichy pod kątem ich autobiograficznego charakteru. Skupia się na dominującej w dziele autobiograficznej postawie wyzwania, które objawia się w lukach i niedopowiedzeniach. Ponadto porusza problematykę żałoby, utraty, nieobecności, pamięci oraz tego, co po nas pozostanie – rzeczy.
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Ekowidmontologia jako strategia lektury. Studium przypadku „Kości, które nosisz w kieszeni” Łukasza Barysa

100%
Michalski M. A.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2022
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issue 15
51-63
EN
The article is an attempt to reflect on the relationship between the subject and the environment in a state of crisis on example of the novel by Łukasz Barys entitled The Bones You Carry in Your Pocket. The author proposes a psychoanalytic reading strategy, the main theme of which are ‘spectres’ (Derrida) associated with the traumogenic relationship between the ‘I’ and nature. Be text analyses climate catastrophe in the context of hyperobject theory (Morton) and their entanglement in local structure.
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Widma i kości. Pandemiczna lektura „Kości, które nosisz w kieszeni” Łukasza Barysa

100%
Michalski M. A.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2022
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issue 14
96-108
EN
This article presents a pandemic interpretation of Łukasz Barys 2021 debut, The bones you carry in your pocket. It aims to analyze the impact of the virus as a „spectrum” (Derrida) on the life of the individual and to look at the „assamblage” (Žižek) effect of the pandemic. It encompasses the „human and the non-human” (Žižek), bringing together a constellation of „postmemory” (Hirsh) spectres, traumas, bones, death and past that begins to dominate reality. The narrative is thus the testimony of an individual living in a world of blight. However, it is a latent and silent testimony. It can be found in the descriptions underlined between family traumas and the grime of everyday life, in which death, love and illness are constantly mixed together.
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