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The play of nerves. Chopin in the era of mental disorder

100%
Okulicz-Kozaryn R.
Interdisciplinary Studies in Musicology
|
2010
|
issue 9
177-194
PL
This article concerns the neurotic image of Chopin that took shape in the 1880s and became popular during the Young Poland period. At that time, features highlighted from earlier descriptions of the composer’s character - over-sensitivity, over-sentimentality, excessive delicacy, emotional instability and inner complexity - were most spectacularly portrayed in the works of painters and sculptors such as Władysław Podkowiński, Wojciech Weiss, Bolesław Biegas and the designer of the monument in the Łazienki Royal Baths Park in Warsaw - Wacław Szymanowski. Critics and writers also helped to form the new portrait of the composer: Stanisław Przybyszewski, Cezary Jellenta, Wacław Nałkowski and Antoni Potocki. Their utterances allow us to grasp the dependency of the new picture on the theory of neuroses, advanced in 1881 by George Miller Beard and then developed and popularised during the last quarter of the nineteenth century by Richard Kraff-Ebing and Paolo Mantegazza, among others. Nervousness was considered to be the dominated feature of modern civilisation. These concepts were also influential in music criticism. Representatives of nervousness in music proved to be the Richards - Wagner and Strauss - and also Juliusz Zarębski and Ignacy Jan Paderewski. The latter, in a speech from 1911, depicted Chopin implicitly in terms of nervousness, which was also becoming a feature of the Polish national character. However, theories of neuroses were applied first and foremost to the individual psyche. The fundamental inner conflict of modern man, exposed to a surfeit of external stimuli, supposedly arose between the over-developed brain and the rest of the nervous system, as the centre of feelings and will. And it was the paresis of emotions and volition that brought a growth in the role of music, which, depending on a particular author’s assessment, either was itself the result and expression of nervous disturbance and contributed to the further deepening of the process of destruction (the stance of Antoni Sygietyński) or else filled the space left by subordinated emotions and enabled them to rebuild (the opinion of the novelist Eliza Orzeszkowa). The view of Chopin as a eulogist of new sensitivity was made manifest in Maurice Rollinat’s volume of poetry Les Nervoses, which caused quite a stir in the mid 1880s, and it was represented in Poland by Zenon Przesmycki’s Życie, and a philosophical treatise by Jean-Marie Guyau published in that periodical in 1887.
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„Odgadnąć i uzewnętrznić wielką tajemnicę […] Chopinowskiej muzyki” – Dusze niektórych melodii. Chopin Cezarego Jellenty

100%
Orłowska K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2021
|
issue 41
265-299
EN
The article constitutes a detailed analysis and interpretation of one of the most important texts written at the turn of the twentieth century, which was devoted to the reception and interpretation of Frédéric Chopin’s compositions in the Young Poland period. In his work, Cezary Jellenta presents the nervous perception of the Polish composer’s music typical of the era and refers in his reflections to numerous works of painting and both Polish and world literature, which perfectly illustrates the fascination with the idea of the correspondence of arts. It is also a testimony to the foundations of the emerging music criticism and evidence of the undying adoration for Frédéric Chopin’s works.
3
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Chopinowski impuls. Dzienniki Stefana Żeromskiego wobec twórczości Fryderyka Chopina

87%
Karpińska K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2016
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issue 27
87-101
EN
The article Chopin’s impulse. Stefan Żeromski’s „Diaries” versus Fryderyk Chopin’s output shows writer’s fascination for Fryderyk Chopin and his work. The main emphasis is put on the strength of influence of particular elements of composition on the neurotic system of Stefan Żeromski. Besides, it touches upon the synthesis of arts which the artist often referred to in his Diaries.
4
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Twórcze echa neurotycznej młodości Żeromskiego, czyli pisarstwo wywiedzione z Dzienników

87%
Okulicz-Kozaryn R.
Poznańskie Studia Polonistyczne. Seria Literacka
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2016
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issue 27
67-85
EN
Until now, Stanisław Żeromski’s writings have not been viewed with regard to literature common to the age of anxiety from the turn of the eighties and nineties of the 19th century, though there are numerous common aspects shared by both. These are clearly discernible in the early works of the writer, written in his youthful days, and shaped among others by J. Ochorowicz’s literary piece Z dziennika psychologa (“From a psychologist’s diary”) concerning the latter’s views on the neuropsychological system of man, the acquired habitual self-analysis and autobiographism rooted in the practical activities of a diarist; all of which surface both in the subject matter, the singularity of style, narration, as well as the composition of later works by the author. By devoting the majority of space and attention to identifying and tracing literary awareness in his intimate notes from 1882 to 1891 – of which one volume carries the title Dziennik człowieka nerwowego (“Diary of the anxious man”) – R. Okulicz-Kozaryn portrays its role in Siłaczka (“The Strongwoman”), Mogiła (“The Grave”) and Źródło (“The Source”), also in Ludzie bezdomni (“The Homeless”). He further claims that Żeromski’s Dzienniki (“Diaries”) should be presented as its laboratory sample, whereas the entire literary output of the writer ought to be interpreted as more advanced consequences of the then initiated experiment.
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Eine Leidensgeschichte in angstvollen Zeiten. Die Frau zwischen „Neu“ und „Alt“ in Gabriele Reuters Roman „Aus guter Familie. Leidensgeschichte eines Mädchens“

84%
Redlich J.
Germanica Wratislaviensia
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2013
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vol. 137
35 - 45
EN
Referring to Gabriele Reuter’s Novel From a good family, the article discusses the problems which had to be faced by the society of the German Empire. The main character, Agathe Heidling, can be considered as a mirror of this era in German history: On the one hand it was an economically powerful state, very progressive. On the other hand it totally ignored the need for modernization in the social structures. Agathe is an example of the societies’ struggle, being caught between two mental bases: the conservative and the modern one. Agathe’s lack of self-confidence, her mistrust towards both of those mentalities, as well as her cowardice to choose her own way and a childhood trauma that affects her sexual consciousness – all this results in her illness: Hysteria.
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