Dagny Juel o g Stanisław Przybyszewski - 'kulturarbeidere' for Norgeog Polen

The article is an attempt to present Dagny Juel and Stanisław Przybyszewski’s role in strenghtening the cultural links between Norway and Poland. The Przybyszewskis’ contacts with Edvard Munch, Gustav Vigeland and other Scandinavian artists from the “Zum schwarzen Ferkel” tavern in Berlin and the Kristiania (Oslo) circles have been portrayed. The couple, promoting links among the bohemian artists as well as through their translation work, exerted a paramount impact on shaping the cultural life of Central Europe. What is more, the life of those extraordinary personalities proved to be a source of inspiration for numerous Polish and Norwegian artists. The article includes information about paintings and sculptures presenting Dagny Juel and her husband

The brain in the humanities. The neural trends in the work of Stanislaw Przybyszewski

Wychodząc od refleksji o rozbieżnościach między humanistyką i nauką, autorka wskazuje na możliwość poszerzenia neuronauki o krytykę neurologiczną utworów literackich, opartą na kulturowej teorii kultury i koncepcji umysłu ucieleśnionego. Nową strategię stosuje wobec twórczości Stanisława Przybyszewskiego, poszerzając pole jej tradycyjnych odniesień, takich jak psychoanaliza, psychopatologia czy symbolika mistyczno-gnostyczna. Analizie poddaje listy, eseje i poematy z okresu berlińskiego, odwołując się do publicystyki z przełomu XIX i XX w. („Prawda”, „Zdrój”). Interesuje ją głównie przestrzeń wyobraźniowa i architektonika myślenia zaznaczająca się w utworze, różnicuje analizowane fragmenty pod względem stopnia referencji, dzieląc je na „neurologiczne stylizacje” (maszyna elektryczna, gangliony, węzeł syntetyczny, nici) i „neurologiczne kopie”. Ostatecznie, pisarskie refleksje na temat funkcjonowania mózgu prowadzą autorkę do wniosków o nowym obrazie podmiotu i dominacji metafor mózgowych w kulturze (kłącze).Starting from a reflection about differences between the humanities and science, the author indicates the possibility of expanding the neuroscience on neurological literature criticism, based on the cultural theory of culture and concepts of embodied mind. She applies this new strategy to the works of Stanislaw Przybyszewski, expanding its traditional fields of references such as psychoanalysis, psychopathology or mystical Gnostic symbolism. She analyzes letters, essays and poems from the Berlin period, referring to journalism at the turn of the nineteenth and twentieth century („Prawda”, „Zdroj”). She is interested mainly in imaginary space and tectonics of thinking, distinguished in the work, she distinguished the analyzed fragments in terms of the reference to „neurological styling” (an electric machine ganglia, synthetic knot, thread) and „neurological copies”. Finally, the writer’s reflections on the functioning of the brain, leads the author to the conclusion about the new image of the subject and domination of brain metaphors in culture (rhizome)

The brain in the humanities. The neural trends in the work of Stanislaw Przybyszewski

Wychodząc od refleksji o rozbieżnościach między humanistyką i nauką, autorka wskazuje na możliwość poszerzenia neuronauki o krytykę neurologiczną utworów literackich, opartą na kulturowej teorii kultury i koncepcji umysłu ucieleśnionego. Nową strategię stosuje wobec twórczości Stanisława Przybyszewskiego, poszerzając pole jej tradycyjnych odniesień, takich jak psychoanaliza, psychopatologia czy symbolika mistyczno-gnostyczna. Analizie poddaje listy, eseje i poematy z okresu berlińskiego, odwołując się do publicystyki z przełomu XIX i XX w. („Prawda”, „Zdrój”). Interesuje ją głównie przestrzeń wyobraźniowa i architektonika myślenia zaznaczająca się w utworze, różnicuje analizowane fragmenty pod względem stopnia referencji, dzieląc je na „neurologiczne stylizacje” (maszyna elektryczna, gangliony, węzeł syntetyczny, nici) i „neurologiczne kopie”. Ostatecznie, pisarskie refleksje na temat funkcjonowania mózgu prowadzą autorkę do wniosków o nowym obrazie podmiotu i dominacji metafor mózgowych w kulturze (kłącze).Starting from a reflection about differences between the humanities and science, the author indicates the possibility of expanding the neuroscience on neurological literature criticism, based on the cultural theory of culture and concepts of embodied mind. She applies this new strategy to the works of Stanislaw Przybyszewski, expanding its traditional fields of references such as psychoanalysis, psychopathology or mystical Gnostic symbolism. She analyzes letters, essays and poems from the Berlin period, referring to journalism at the turn of the nineteenth and twentieth century („Prawda”, „Zdroj”). She is interested mainly in imaginary space and tectonics of thinking, distinguished in the work, she distinguished the analyzed fragments in terms of the reference to „neurological styling” (an electric machine ganglia, synthetic knot, thread) and „neurological copies”. Finally, the writer’s reflections on the functioning of the brain, leads the author to the conclusion about the new image of the subject and domination of brain metaphors in culture (rhizome)

On the Paths of the Soul: Stanisław Przybyszewski and the Russian Stage. The Cases of Vera Komissarzhevskaia and Vsevolod Meierkhol'd (1900-1910)

Author contact information: [email protected] dissertation inquires into the impact of the controversial Polish dramatist, essayist, and novelist Stanisław Przybyszewski on the theatrical innovations of two great Russian actor-directors of the early 20th century, Vera Komissarzhevskaia and Vsevolod Meierkhol'd. An erudite and prolific writer almost forgotten today, Przybyszewski has long been regarded as a major figure of Młoda Polska. His unique synthesis of metaphysics, occultism, eroticism, and aestheticism created great controversy in the fin-de-siècle Russian Empire, as the changing Russian theatrical landscape moved from realism and naturalism to less representational forms. My argument for a significant reception in the Russian theater rests on Przybyszewski's aesthetic theories, and particularly, his concept of the "path of the soul." I propose that this concept acted as a catalyst for change in the artistic and professional development of both Russian theatre figures. This dissertation is divided into three sections. The first section, Chapter I, provides a background on the state of Russian theatre at the end of the 19th century and reviews the early reception of Przybyszewski in the Russian press. The second section, Chapters II-IV, examines Komissarzhevskaia's reception of Przybyszewski within a historical-descriptive framework. After examining the possible origins of her affinity for Przybyszewski, Chapter II offers an analysis of textual parallels between Komissarzhevskaia's correspondence and a Russian translation of On the Paths of the Soul (1900). Chapter III draws on Austro-Romanian psychiatrist Jacob L. Moreno's theory of the "psychodrama" to speculate as to why Kommissarzhevskaia was drawn to Przybyszewski's dramas. It explores the hypothesis that Komissarzhevskaia experienced catharsis as she performed her psychologically demanding Przybyszewski roles. Chapter IV examines thematic parallels between Przybyszewski's 1902 theoretical essay On Drama and the Stage and comments that Komissarzhevskaia made in defense of her production of Przybyszewski's drama, Life's Banquet, in 1909. The third section, Chapters V and VI, examines Przybyszewski's reception in Meierkhol'd's writings and productions during his formative years as a member of the Association of New Drama (Tovarishchestvo Novoi Dramy). Chapter V sets forth the possible reasons for Meierkhol'd's affinity for Przybyszewski. Chapter VI argues that Przybyszewski's "path of the soul," with its focus on the soul as a reflection of the eternal, prescribed particular methods, such as synthesis and symbolization, which Meierkhol'd used to break from the confining traditions of naturalism. Chapter VI argues that Meierkhol'd's 1903 production of Snow represents one of his earliest experiments with non-representational (uslovnyi) forms. In support of this claim, this chapter provides an interpretive analysis of two articles by Aleksei Remizov and the production's combination of music, drama, and lighting

Василь Стефаник і Станіслав Пшибишевський: на перехресті життєвих і творчих доріг

This paper is devoted to a comparative study of some aspects of the life and creative paths of two outstanding modernist writers: Vasyl Stefanyk and Stanisław Przybyszewski. On the basis of selected scientific works dedicated to the Ukrainian novelist and the Polish writer, poet and playwright, an attempt is made to find common life, worldview and creative features between them. One of the reasons for the origin of this connection was Stefanyk’s trip to Krakow and his acquaint- ance with Przybyszewski, respectively. That was the time when Przybyszewski had a considerable influence on Stefanyk’s work and vice versa. In other words, in the course of the research, a search is made for “common roads” between these Ukrainian and Polish writers, as well as specific parallels in the worldviews reflected in their work.Artykuł poświęcony jest komparatystycznemu badaniu wybranych aspektów życia i twórczości dwóch słynnych pisarzy okresu modernizmu: ukraińskiego nowelisty Wasyla Stefanyka i polskiego poety, prozaika oraz dramaturga Stanisława Przybyszewskiego. Autorka próbuje odnaleźć cechy wspólne w biografii, światopoglądzie i aktywności twórczej obu pisarzy. Łącząca tych artystów przyjaźń dotyczy okresu krakowskiego. Stefanyk przez dziewięć lat studiował w Krakowie, natomiast Przybyszewski właśnie w tym czasie zostaje jednym z liderów ruchu artystycznego Młodej Polski. Dowiedziono, iż Przybyszewski wywarł znaczny wpływ na aktywność literacką ukraińskiego nowelisty w zakresie światopoglądu, a także psychologii twórczości

The "Naked Soul" of Dionysus : Nietzsche reception by Stanislaw Przybyszewski

The author of the article attempts at re-reading the work of Stanisław Przybyszewki from the perspective of the analogy, and partially thecause-and-effect-relationship, between Nietzsche’s concept of ‘the Dionysian’ and Przybyszewski’s theory of ‘the naked soul’. The author of the paper proposes that the basic element of the reception of German philosopher’s thought in the works of the genius Pole is ‘the Dionysus’ from Nietzsche’s early writings understood as a universal cosmic force connected with sexual desire, and not a voluntary concept of ‘the overman’

‘Mirages and visions in the air’: Tyra Kleen and the paradoxes of esoteric art

Around the year 1900, European discourse on art was becoming increasingly ‘esotericized’. The 1890s saw esoteric art salons create a sensation in Paris, and art critics and theorists painted a picture of the true artist and the esotericist as overlapping figures. There was also at the time a conflict regarding mediumistic art, a phenomenon initially made popular through Spiritualist mediums. This debate, as we shall see, had interesting gendered dimensions. In what follows, I will discuss how the Swedish female esotericist and artist Tyra Kleen (1874–1951) attempted to situate herself in connection to the concept of the artist as a magus, and the tensions between the positive view of mediumism in Spiritualism and the more negative or cautious approach to it in Theosophy, as well as in relation to the attendant gender issues

Die „nackte Seele“ des Dionysos. Zur Nietzsche-Rezeption bei Stanisław Przybyszewski

The „Naked Soul” of Dionysus. Nietzsche Reception by Stanislaw Przybyszewski The author of the article attempts at re-reading the work of Stanisław Przybyszewki from the perspective of the analogy, and partially thecause-and-effect-relationship, between Nietzsche’s concept of ‘the Dionysian’ and Przybyszewski’s theory of ‘the naked soul’. The author of the paper proposes that the basic element of the reception of German philosopher’s thought in the works of the genius Pole is ‘the Dionysus’ from Nietzsche’s early writings understood as a universal cosmic force connected with sexual desire, and not a voluntary concept of ‘the overman’

Decadence and occulture Oscar Parviainen's art

This article contributes to the understanding of relations between occulture and Decadence in Finnish art at the turn of the twentieth century, focussing on occulture and Decadence in the works of the Finnish artist Oscar Parviainen (1880-1938). The aim is to understand what are the relations between Parviainen's art, the Decadent art movement and occulture, and what are the aspects and cultural phenomena of his time that share similar lines of thought as Parviainen? In which ways did Parviainen address questions of higher truths about human existence, and what kind of role did they play in his thinking?Peer reviewe