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This article analyses one of the many directions of change in online autobiographical practices, i.e. the decrease in the importance of autobiographical content preservation and archiving with the simultaneous increased popularity of ephemeral contents, e.g. that which is automatically deleted after a single display (self-destructive messages). This trend in autobiographical digital practices is illustrated with significant examples of new media formats such as homepages, blogs as well as entries on the social media platform Facebook and the application Snapchat. The article enumerates stages of change with reference to various communication tools, but it should be noted that the evolutionary process is continuous, and its stages overlap. The indicated direction of change in online autobiographical practices, determined by developmental realities of new media, is analysed in connection with processual media theory, as well as the concept of an ephemeral turn in a digital environment.

The article attempts to investigate Julian Kornhauser’s autobiographical strategies in his writings. The author endeavors to interpret the fragments of the poet’s biography, focusing on his typical manner of intimate addressing himself (narrative distance, discrepancy between the narrator and the persona, concealing characters under the veil of the cipher). The starting point for these considerations, as well as the main object of this paper, is Kornhauser’s autobiographical prose entitled A Home, a Dream, and Child’s Plays [Dom, sen i gry dziecięce]. Its reading is juxtaposed with the autobiographical notes published in literary periodicals by Jakub Kornhauser, the poet’s son. The whole project is also possible due to the examination of the critical reception and the reconstruction of the truth about Kornhauser’s life.

The text refers to painting, literary, auto-photographic and spatial creation by Ewa Kuryluk. The author interprets the autonomous and idiomatic, almost auto-telic project by Kuryluk which operates as a testament of past time and falls into the international trends of modern art, but most of all shapes and represents the experience of the artist, encompassed the modal frames of various fields of art. The prefix “auto-” binds, shapes and transposes creative activities and biographical processes which transform into Kuryluk’s consistently implemented artistic activities in the autobiographical field. Within the field one can single out three most important areas: self-portrait and auto-photography, auto-narrative, self-commentary.

The curriculum vitae has become a central feature of modern academic life. It can be understood as a form of autobiographical practice, one centrally involved with the construction and presentation of a self in a particular occupational context. This paper explores these themes and seeks to show how the insights of Goffman might contribute to an understanding of the nature and significance of these practices. [ABSTRACT FROM AUTHOR]

This article presents an analysis of Lukas Avendaño’s Réquiem para un alcaraván, presented at Centro Cultural Rojas of Universidad de Buenos Aires in 2012. As the play occurred during the last release presentation of El Teje. Primer periódico travesti latinoamericano, the crossings and turnings of a sector of the transvestite/ trans movement in the city of Buenos Aires and the muxe zapoteca community that Avendaño represents. On the other side, on May 10th 2018 his brother Bruño Avendaño was disappeared, joining his name to a long list of Mexican people which are victims of state and non-state violence. As a way to denounce the lack of answers from the legal system and the government, Lukas Avendaño made the performance Buscando a Bruno. In both plays the performer establishes a political gesture through which he turns his autobiographical experience into a collective act, to subscribe to Emilio Santiesteban’s (2008) frequently mentioned phrase that echoes in the Mexican activism of today and its’ art practices: “What place does an art of the body have in a country of disappeared bodies?”