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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.