The Europe that was Lost – Thoughts on Central and Eastern European Modernism
Essentially this book encompasses questions about nationalism, syntheticism and messianism in Eastern Central Euopean Modernism and Avant-Gardism around the turn of the last century. It ends with discussing the so-called “Jewish ques- tion” and the impact of 19th century nationalism. Cross your heart. Are we not all tarred with the same brush? How much do we actually know of the visual arts – and literature – of Central and Eastern Europe? Who were Lajos Kassák and Ljubomir Micić? Who was Witkacy, or Karel Teige? What did Jacek Malczewski and Jan Matejko do in Kraków? August Strindberg s´ most significant rival, the “Satanist” Stanisław Przybyszewski – did he really murder his mistress while one of his most ardent disciples shot his wife Dagny Juel, the famous Norwegian artist Edvard Munch s´ beloved? Who were in charge of the “subtropical soirée organized by white Negroes” in Warsaw immediately after World War I? Did Sarah Bernhard really find the Czech painter Alfons Mu- cha in an Hungarian gypsy camp? Why did Jaroslav Hašek work as a communist agitator in Samara in the Soviet Union before he was appointed commissar and chairman of the fifth Soviet army only to write his world-famous book about the brave soldier Švejk in a small godforsaken Czech village in total loneliness and gravely ill as a compulsive drinker? And who was the “barbarogenius” in Bel- grade who wished to “balkanize” the whole of Europe? Most of our common textbooks in the history of art and literature...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.