The starting point for this essay is an observation that new conceptualisations of Polish modernism that have been appearing since the late 1990s (Nycz, Bolecki, and others) usually tend to neglect, or at best clearly marginalise, the output of Stanislaw Wyspianski - otherwise, the central figure of the Young Poland (i.e. Polish modernist) literature. The authoress attempts to find an answer to the question 'why', by disclosing an inner dynamism of two concurrent facets of Polish modernism: the strictly modernist(ic) and the neo-romanticist ones, positioning Wyspianski at their point of contact, knot-tying spot.
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