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Witkacy and His Doppelgängers

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Dybel P.

Eidos. A Journal for Philosophy of Culture

2019

vol. 3

issue 4(10)

55-66

The literary work of Stanisław I. Witkiewicz (Witkacy), whose world career began in the fifties of the last century, is considered today in many aspects as precursory to postmodernism. In his dramas and novels, this is manifested in the creation of characters who are internally broken up, who act like deregulated human machines and who are unable to control their own drives. These motifs are also reflected in the writer’s broken identity, which is torn apart by contradictions (“knots”) and which constantly doubles itself. In my article, I demonstrate to what extent this obsession with his own double is rooted in the instrumental treatment of Witkacy by his father, who wanted to see in his son a perfect artistic embodiment of himself. The whole of Witkacy’s work, considered from this perspective, is a rebellion against his father, expressed in the (futile) desperate attempts to break away from being his better copy, his double.

Witkacy nie istnieje. Uwagi na temat motywu sobowtóra w pisarstwie Stanisława Ignacego Witkiewicza

94%

Dybel P.

Rana. Literatura - Doświadczenie - Tożsamość

2020

issue 1

45-67

The literary work of Stanisław I. Witkiewicz (Witkacy), whose world career began in the 1950s, is treated today in many aspects as a precursory in relation to postmodernism. In his dramas and novels, this is manifested in the creation of characters who are internally broken up, act like human machines full of glitches and are unable to control their own drives. These motifs are also reflected in the writer’s broken identity, which is torn apart by contradictions (“knots”) and constantly doubles itself. In my article I demonstrate to what extent this obsession with his own double is rooted in the instrumental treatment of Witkacy by his father, who wanted to see in him a perfect artistic embodiment of himself. The whole of Witkacy’s work, considered from this perspective, is a rebellion against his father, expressed in the (futile) desperate attempts to break away from being his better copy, his double.

Pisarstwo Stanisława I. Witkiewicza, którego światowa kariera zaczęła się w latach 50. minionego stulecia, traktowane jest dzisiaj w wielu aspektach jako prekursorskie w stosunku do postmodernizmu. W jego dramatach i powieściach znalazło to swój wyraz w kreowaniu postaci bohaterów rozbitych wewnętrznie, działających niczym rozregulowane maszyny ludzkie i niebędących w stanie panować nad własnymi popędami. Z tymi motywami korespondowała równie rozbita, targana przez różnego rodzaju sprzeczności („węzłowiska”) i nieustannie się podwajająca tożsamość pisarza, co znajdowało swój wyraz w jego obsesji sobowtóra. W artykule autor chce pokazać, jak dalece obsesja ta miała swoje źródło w instrumentalnym traktowaniu go przez ojca, który chciał w nim widzieć doskonalsze artystyczne wcielenie samego siebie. Rozpatrywana z tej perspektywy cała twórczość Witkacego jest buntem przeciwko ojcu, wyrażającym się w (nadaremnym) dążeniu do wyłamania się z bycia jego lepszą kopią, sobowtórem.

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1 Eidos. A Journal for Philosophy of Culture

1 Rana. Literatura - Doświadczenie - Tożsamość

2 Dybel P.

1 2020

1 2019

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Witkacy and His Doppelgängers

Witkacy nie istnieje. Uwagi na temat motywu sobowtóra w pisarstwie Stanisława Ignacego Witkiewicza