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Symbol — jaźń — marzenie senne. Próba psychoanalitycznej interpretacji sztuki Michaiła Wrubla

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Malej I.

Slavica Wratislaviensia

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2012

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tom 155

165-177

XX

The author of this article attempts to analyse Mikhail Vrubel’s paintings in relation to the state of the painter’s psyche, referring to Carl Jung’s and Sigmund Freud’s theory of analytical widely discussed in psychiatric literature, but also studied by art psychology. The interest in this subject has been growing significantly lately. Mikhail Vrubel’s life and his paintings are the perpsychology. The interrelation of talent and predisposition to psychical disorders was not only fect example of the coexistence of most exceptional artistic talent and serious psychopathology in one human soul. In 1890 Vrubel paints Sitting Demon — the first picture of his remarkable series, where the idea of omnipotence, grandeur and spiritual duality is expressed with utmost power. Demon is the artist himself. He devoted 12 years of his life to the series of Demons. Comparing this time to the 22 years of Vrubel’s period of active painting, we can see that this series contained his fixed idea, his obsession. The evolution of the painter’s affective conditions can be observed in the three Demons. Vrubel’s personality was frequently identified with his Demon, while the painter himself saw in Demon only subjective foreshortening of artistic invention and did not catch prophetic and general human potential of its significance. Vrubel tried to explain to his friends his interpretation of Demon as the creature not as much evil as suffering but at the same time powerful. The painter created psychologically complicated substance, intangible and exciting because of its vaguenes. For him Demon is the kernel of the soul of the world. Vrubel’s paintings of mother pearl shells (Pearl Oyster, 1904 and Shadows of the Lagoons, 1905) show how easily the artist moved from reality to the world of symbols created by himself. In these pictures the artist’s eye urges to wonder at infinity of the universe that opens up in the spiral of the shell. Populated and inhabited, it appears to be the life-giving substance of the new universe, the symbol of archetypal game played by the anima and the animus.

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Rajskie ptaki Aleksandra Błoka i Wiktora Wasniecowa

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Malej I.

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2019

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tom 170

25-40

EN

Heavenly creatures — Alkonost, Sirin and Gamajun — are mythological hybrids with the body of a bird and the head of a beautiful woman. Their origins come from the old Slavonic and Russian folklore. They are described as mythical beings that hypnotised people through singing. Russian artists, including the painter Viktor Vasnetsov and the poet-symbolist Alexander Blok, also succumbed to their charm. Blok, fascinated by Vasnetsov’s canvases (Sirin and Alkonost. The Birds of Joy and Sorrow, 1896; Gamajun, the Prophetic Bird, 1895) created poetic versions of these (in 1899). In the case of both artists, there is a reference to the semantics of these magical birds, known from the folklore. Alkonost means happiness and hopes, unlike Sirin, an inhabitant of the underground world. Therefore, alkonosts announce joy, while sirins, treating men with hostility, symbolize sadness, suffering and despair. The third bird connecting Blok and Vasnetsov is Gamajun — a bird, the messenger of the gods, their herald, who sings divine hymns to people and predicts the future of those who know how to listen and are open to mysteries. Special attention must be paid to colorful and linear symbolism, to which both creators refer to, as well as to mythical reminiscences (Cosmic Tree). Both the painted and lyrical depictions of birds of paradise are an example of creation of a new, modernist myth, the roots of which go back to the oral culture and whose essence defines the philosophical question of the dualism of the world and man’s place in it.

RU

Райские существа — Алконост, Сирин и Гамаюн, являются мифологическим гибри- дом тела птицы и головы красивой девы. Истоки их образов восходят к древнеславянскому и русскому фольклору. Они описаны как мифологические существа, которые своим пением гипнотизируют людей. Их колдовству поддались также русские художники, среди которых были живописец Виктор Васнецов и поэт-символист Александр Блок. Блок, очарованный картинами Васнецова (Сирин и Алконост. Песнь радости и печали, 1896; Гамаюн, птица вещая, 1895), создал их поэтические версии (в 1899 г). В интерепретации райских суще- ствобоих художников прослеживается отсылка к магическим птицам, представленным в фольклоре. Алконост обозначает счастье и надежду, в противовес Сирин как жительницы подземного мира. Таким образом алконосты — вестники радости, зато сирины, враждебно направленные к человеку, символизируют печаль, страдание и отчаяние. Третья птица, со- единяющая Блока и Васнецова, — это Гамаюн, птица вещая, посланник богов, их герольд, услаждающая людей пением Божественных гимнов и предвещающая будущее для тех, кто умеет слушать и открыт для тайны. Особого внимания заслуживают цветовые и линейные символы, а также мифические реминисценции (космическое дерево), к которыми оба творца прибегают. Живописные и лирические изображения райских птиц являются примером создания нового, модернистского мифа, корни которого лежат в устной культуре, зато суть помещается в философском вопросе о дуализм мира и место человека в нем.

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Wasilij Szczukin: Mit szlacheckiego gniazda. Studium geokulturologiczne o klasycznej literaturze rosyjskiej

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Malej I.

Przegląd Rusycystyczny

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2007

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nr 3

PL

Wasilij Szczukin: Mit szlacheckiego gniazda. Studium geokulturologiczne o klasycznej literaturze rosyjskiej. Przeł. B. Żyłko. Kraków: Universitas 2006

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Gra popędów. Freud o Dostojewskim

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Malej I.

Slavica Wratislaviensia

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2018

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tom 166

81-98

EN

The game of desires. Freud about Dostoevsky The feature S. Freud, the father of psychoanalyses, has in common with Dostoevsky is the fascination with the puzzle of human being they both tried to solve by the means of the reflection over human emotions. Freud carried out the psychological analysis of Dostoevsky’s life and work in his essay Dostoevsky and parricide (1928) where he came up with his hypothesis of Dostoevsky’s impulsive character both as a man and as a writer. The way of thinking of Austrian psychiatrist starts from Dostoevsky’s works in connection to the writer’s biography, and, particularly to numerous “shocking” events in his life (the murder of his father by peasants and in this context the fact that Dostoevsky wished his father dead, the rape of a minor, allegedly commited by Dostoevsky, his passionate relationships with women, his gambling addiction). Finally Freud comes to the diagnosis — Oedipus complex. The impulse of the id, which, in Freud’s opinion, Dostoevsky was never able to tame, is the key to the puzzle of Dostoevsky’s soul. Alternately suppressed and fulfilled, not always successfully, his lust drives the author of The Adolescent towards his neurosis, the symptoms of which were his epilepsy attacks. However, according to Freud, Dostoevsky suffered not as much from epilepsy as from hysteria underlay by defective mechanism of suppression of fear. Fear of death and sexual desire are essential in this process. And the gambling addiction, according to Freud’s hypothesis, is the aftermath of Dostoevsky’s subconscious expectation of the punishment for his sins (real or imaginary).

RU

Игра влечений. Фрейд о Достоевском Отца психоанализа, З. Фрейда, тесно связывает с Ф. Достоевским увлечение загадкой человека, которую оба пытались расшифровать путем раздумий над человеческими эмоциями. Фрейд провел психологический анализ жизни и творчества великого русского писателя в эссе Достоевский и отцеубийство (1928), в котором поставил гипотезу об инстинктивной природе Достоевского как человека и писателя. Ход мысли австрийского психиатра об авторе Бесов идет от творчества и через корреляцию с биографией писателя, особенно с имеющимися в ней «потрясающими» событиями (убийство отца крестьянами и связанное с этим желание Достоевского смерти отцу; изнасилование несовершеннолетней, вменяемое в вину писателю; бурные романы с женщинами; зависимость от азартных игр), приводит к постановке диагнозa, в основе которого лежит эдипов комплекс. Влечение id, обуздать которое Достоевскому никогда не удалось, является ключом к разгадке души писателя. Вожделение, попеременно и не всегда успешно вытесняемое и реализованное автором Подростка, приводит его к неврозу, симптомами которого были приступы эпилепсии. Вместе с тем, как предполагает Фрейд, писатель страдал не столько от эпилепсии, сколько от истерии, вызванной неправильным механизмом избавления от влечений. Боязнь смерти и сексуальное влечение играют в этом процессе ведущую роль. В свою очередь, зависимость от азартных игр является, согласно Фрейду, наследием подсознательного ожидания Достоевским наказания за грехи (совершенные или мнимые).

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Piękno w anthroposie. Z rozważań Nikołaja Bierdiajewa o erotyce, sztuce i teurgii

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Malej I.

Scripta Neophilologica Posnaniensia

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2012

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nr 12

127-136

PL

Piękno w anthroposie. Z rozważań Nikołaja Bierdiajewa o erotyce, sztuce i teurgii

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Seks, edukacja i syfilis. O społecznym obliczu kultury erotycznej w Rosji na przełomie XIX i XX w.

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Malej I.

Przegląd Rusycystyczny

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2008

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nr 2

PL

СЕКС, ВОСПИТАНИЕ И СИФИЛИС.О СОЦИАЛЬНЫХ АСПЕКТАХ ЭРОТИЧЕСКОЙ КУЛЬТУРЫ В РОССИИ НА РУБЕЖЕ XIX И XX ВЕКОВ Резюме Автор статьи предпринимает попытку описать сексуальную жизнь русского общества рубежа столетий. В конце XIX в. в массовое употребление входит многозначное понятие «половой вопрос», обозначающее в первую очередь социальные отношения мужчин и женщин. Поскольку главными субъектами этого дискурса были мужчины, половой вопрос следует подразумевать как «женский вопрос», включающий социальное положение и права женщин, в том числе тоже брачно-семейные, любовные и сексуальные отношения. Проблематизация сексуальности совершалась на нескольких тематических уровнях, среди которых самыми главными являлись сексуальность и брак, сексуальность и способы ре-гулирования рождаемости, сексуальность и преступность, сексуальность и общественное здоровье, сексуальность и половое воспитание молодежи, сексуальность и проституция, сексуальность и венерические заболевания. Представителей разных профессий (врачей, демографов, гигиенистов, педагогов, криминалистов) особенно волновал «тайный порок» онанизма, который считался источником практически всех болезней и пороков. Однако проблематизация сексуальности не означала ее приятия: общество спорило о том, как эффективнее осуществлять социальный контроль над сексуальной жизнью, исходя из традиционных морально-религиозных ценностей. SEX, EDUCATION AND SYPHILIS.SOCIAL TYPE OF EROTIC CULTURE IN RUSSIA AT THE TURN OF 19/20TH CENTURY Summary The author of this article makes an attempt to describe sexual life of Russian community at the turn of 19th/20th Century. In the fi nal years of 19th Century the ambiguous term gender issue (polovoj vopros) came into use. It meant mainly social relationships of men and women. The main subjects of this discourse were men, so gender issue should be seen as female issue, including social status and rights of the women, such as marital and family rights, love and sexual relationships. The issue of sexuality was discussed in several aspects, such as: sexuality and marriage, sexuality and birth control, sexuality and crime, sexuality and public health, sexuality and sexual education of young generation, sexuality and prostitution, sexuality and venereal diseases. The representatives of different professions (medical doctors, demographers, hygienists, educators and educationalists, criminologists) were particularly concerned with the secret sin of onanism, for masturbation was seen as the source of all illnesses and ailments. However, including sexuality into public discourse did not mean acceptance: the main issue of the discussion was how to control sexual life effectively. It was agreed, that such social control should be based on traditional religious and moral standards and values.

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Ikonografia ogrodów symbolizmu rosyjskiego. Bez

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Malej I.

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nr 1(4)

135-155

EN

Lilac has been the symbol of Russian gardens for ages, gradually becoming their inseparable attribute. The Russian word ‘’ (lilac) is derived from Greek ‘syrinx’ meaning a pipe (musical instrument). This name has also its own mythic explanation of double i.e. Greek and Scandinavian origin. Since the 19th century lilac has been attracting attention of many Russian poets and painters, becoming the source of their inspiration. The most eminent painter of lilac is Mikhail Vrubel, whose “portraits” of lilac: Lilac bush () , 1900) and Lilac (, 1900 and 1901) are magical, ambiguous and stunning with their enchanting, iridescent colours and the atmosphere of mystery. Vrubel gives his paintings a profound philosophical meaning playing with the ambivalence of his subject. This subject is the transformation of Chaos into Cosmos. The same attitude can be observed in the poems of A. Blok, K. Balmont, I. Annenski. In each of the iconic representations of lilac analysed by the author of this article, lilac obtains the status of a symbol as an artistic sign with a complex semantic structure and definite, melancholically sensual emotional quality. In this way lilac becomes an iconic announcement with a multi-level structure for Russian symbolists. The process of perception of poetry and paintings becomes the way a realibus ad realiora, from matter to feeling. It leads to the conclusion that Russian artists of the turn of the 19th and 20th centuries saw in lilac the sign of a higher, better world, where all its elements (real, mystic, mythic and fantastic) coexist, the sign of yearning for the idea of harmony.

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Apetyt na ciało. O archetypie kanibalizmu seksualnego w symbolizmie rosyjskim

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Malej I.

Slavica Wratislaviensia

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2011

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tom 153

301-308

EN

In the literature of Russian symbolism (from F. Sologub, W. Briusow and K. Balmont through A. Biely and A. Blok) one can find numerous instances of interpreting sexual desires as a hearty appetite for the body. The sources of the sexual cannibalism are located, on the one hand, in the world subordinated to the laws of biology, and on the other hand, they are in the mythical, archaic cultural conscience of the epoch of the modernist ferment. In the works of Symbolists, the appetite for the body is connected with the experience of the duality of the bodily structure. A man accepts his sexuality only when it is a way of seizing and taming a foreign nature. However, in this peculiar rivalry of the two sexes, which are antagonistic to one another, the man is usually defeated: and is either eaten during the act of love by the female-praying mantis, or, letting the woman rape his body and identity, dies as consciousness. In such a man, humiliated and abused by the powers of Nature, there is the growing sense of defeat and revenge. It is then, when the roles are swapped; the man turns into the executioner and by means of the act of biting, consumes the female sex, at the same time committing rape in the vampire fashion. The man considers himself a fallen god, that is why he is so rebellious against his corporeality; it is unbearable for him to live with the knowledge that he has fallen from the heights of LOGOS into the dark chaos of sexual desires. The sexual cannibalism becoming an accomplished act, symbolizes the final victory of the spiritual EROS, incarnated into a man, which leads at the same time towards the renewal of his sexual self.