Modernistyczne ujęcie dobra i zła w trzech koncepcjach: – Antoniego Langego – Tadeusza Micińskiego – Stanisława Przybyszewskiego

• Authors: Ella Hyciek

Abstracts

EN

Most prominent representatives of Polish modernism: Antoni Lange, Tadeusz Miciński, Stanisław Przybyszewski assimilated various philosophies for their needs, including Hindu philosophy with nirvana and reincarnation. In their search for the meaning of existence, truth about the world and man they preferred their own hierarchy of values. They considered art, the work of the artist coming from the subconscious depths of psyche, as the highest value and an individual soul as a treasury of those values. Presenting human conflict with fate they played a Luciferic game against life and the world. Evil was treated as an impulse to selfcreation of a complete human being. The artist was granted the right to freedom of the soul and the liberty to individually express the soul. Przybyszewski placed the artist beyond good and evil. He loathed the rules of social life and bourgeois morality. He undermined the faith in any social utopia. In 1918 he fought for the Polish cause in Gdańsk – he besame a community man. Lange thought that an artist cannot stroll outside the society and nature. He created a utopian Słońcogrod (Sun-city) with no egoism, suffering or evil – a spiritual community of astrals. Miciński wanted to combine the authority of art with a social, moral and patriotic transformation program. He created a garden-city of material and spiritual transformation with a pattern of a „new human” – he strived to bring together in practice the conflicting values of good and evil. Even though none of them created an organized philosophical synthesis that would answer metaphysical questions, still they were setting out ethical instructions for a full redefinition of the knowledge on man and the world. They created theories of cognition, esthetic concepts based on individual morality. They became symbols of original style of thinking, writing and philosophy, attributable only to them. They dreamed of a universal artwork (gesamtkunstwerk) „opus magnum” that would be the sum of knowledge, values, experiences and reflections of the period – a synthesis of the arts in the cognitive and axiological aspect. This was expressed by A. Lange in his essay Modernity, „Tygodnik Ilustrowany” 1890. „Modernism wants an artwork that would become universal, that would include past, future and present, that would be atchitecture, painting, music and poetry, epic, lyric and drama; that would combine the Bible and Zend Avesta, the Iliad and the Divine Comedy, the history of don Juan and don Quixote, Faust and Hamlet, legend of the ages, human comedy and the history of the Rougon-Macquart family; in which sacra profanis mix; that would be a religion and cosmogony, philosophy and psychology, sociology and technology, mysticism and poetry, analysis and synthesis all at once; that would not only be a copy of nature but nature itself; that would merge so perfectly that the border between art and nature would disappear”.

• Publisher: Wydawnictwo Adam Marszałek
• Journal: Krakowskie Studia Małopolskie
• Year: 2010
• Volume: 14
• Pages: 57-71

Dates

published

2010

Contributors

author

Ella Hyciek

Identifiers

DOI

10.15804/ksm201005

Biblioteka Nauki

2035840