ABSTRACT
Drawing on Bruno Latour, on the one hand, Piotr Swereryn Rosół regards Gombrowicz as a transmodernist who cannot rest content with the modernist paradigm of the excluded other. Rosół explores how abjection operates in Gombrowicz’s work, particularly in two of Gombrowicz’s short stories, “Lawyer Kraykowski’s Dancer” (Tancerz mecenasa Kraykowskiego) and “The Memoirs of Stefan Czarniecki” (Pamiętnik Stefana Czarnieckiego), both contained in the volume Memoirs from the Time of Immaturity (Pamiętnika z okresu dojrzewania, 1933). Since, in Rosół’s view, Gombrowicz not only reinforces but hybridizes the modernist boundary between the self and the other, Rosół sees in Gombrowicz’s “reinstatement of the abject” what he calls “the first scene of trans-subjectivity and the first moment of trans-modernity” in Gombrowicz’s work.
