{"title":"Masochistic love as the game of power in Eastern Europe – Bruno Schulz","authors":"Amadeusz Citlak","doi":"10.1016/j.ijintrel.2025.102212","DOIUrl":null,"url":null,"abstract":"<div><div>Bruno Schulz is one of the most famous Polish-Jewish artists in the world. Socio-cultural circumstances and individual preferences enabled Schulz to create his expression of love, which was unique and inconsistent with the prevailing standards. The article aims to analyse the concept of masochism experienced in non-WEIRD culture, i.e., in Eastern Europe, using Bruno Schulz as an extraordinary example. The analysis will concern his erotic love expressed in the form of masochistic desires. The theoretical context will be provided to a large extent by a psychological theory originating from non-WEIRD culture, i.e., the theory of striving for power developed in Kazimierz Twardowski's School (Lvov-Warsaw School) in the first half of the 20th century. Accepting the theory developed in that region and at that time allows us to look at masochistic tendencies not as a disorder and pathology but as a potentially important source of individual power and strength. The Eastern Poland of that time was dominated by traditional family values `and a rigorous sexual ethos, which created an oppressive space for non-standard forms of erotic love. In the case of Schulz, these were sadomasochistic tendencies that could be expressed through appropriate artistic and literary means. The study of Schulz's masochism is supplemented by the analysis of his patriotic attitude, which he also could not express overtly (for political reasons, i.e., Soviet and Nazi oppression). He consciously accepted the sadomasochistic relationship with the Soviet regime to act against it. In both cases, his masochism seems to express a specific game of power and not the pathological, destructive perversion. Schulz's masochism was deeply rooted in socio-cultural circumstances of Galicia, and it needs non-WEIRD explanations to understand its nature better. It does not correspond to the psychiatric categories of the first half of the 20th century, but it is closer to the modern concept of masochism, which is understood as a dimension and not a category. Masochism can be a positive force, essential in maintaining mental balance.</div></div>","PeriodicalId":48216,"journal":{"name":"International Journal of Intercultural Relations","volume":"107 ","pages":"Article 102212"},"PeriodicalIF":2.4000,"publicationDate":"2025-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"International Journal of Intercultural Relations","FirstCategoryId":"90","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0147176725000756","RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"PSYCHOLOGY, SOCIAL","Score":null,"Total":0}
引用次数: 0
Abstract
Bruno Schulz is one of the most famous Polish-Jewish artists in the world. Socio-cultural circumstances and individual preferences enabled Schulz to create his expression of love, which was unique and inconsistent with the prevailing standards. The article aims to analyse the concept of masochism experienced in non-WEIRD culture, i.e., in Eastern Europe, using Bruno Schulz as an extraordinary example. The analysis will concern his erotic love expressed in the form of masochistic desires. The theoretical context will be provided to a large extent by a psychological theory originating from non-WEIRD culture, i.e., the theory of striving for power developed in Kazimierz Twardowski's School (Lvov-Warsaw School) in the first half of the 20th century. Accepting the theory developed in that region and at that time allows us to look at masochistic tendencies not as a disorder and pathology but as a potentially important source of individual power and strength. The Eastern Poland of that time was dominated by traditional family values `and a rigorous sexual ethos, which created an oppressive space for non-standard forms of erotic love. In the case of Schulz, these were sadomasochistic tendencies that could be expressed through appropriate artistic and literary means. The study of Schulz's masochism is supplemented by the analysis of his patriotic attitude, which he also could not express overtly (for political reasons, i.e., Soviet and Nazi oppression). He consciously accepted the sadomasochistic relationship with the Soviet regime to act against it. In both cases, his masochism seems to express a specific game of power and not the pathological, destructive perversion. Schulz's masochism was deeply rooted in socio-cultural circumstances of Galicia, and it needs non-WEIRD explanations to understand its nature better. It does not correspond to the psychiatric categories of the first half of the 20th century, but it is closer to the modern concept of masochism, which is understood as a dimension and not a category. Masochism can be a positive force, essential in maintaining mental balance.
布鲁诺·舒尔茨是世界上最著名的波兰犹太艺术家之一。社会文化环境和个人偏好使舒尔茨能够创造出独特的、与主流标准不一致的爱的表达方式。本文以布鲁诺·舒尔茨为例,分析了东欧非weird文化中所经历的受虐概念。分析将关注他以受虐欲望的形式表达的情爱。理论背景将在很大程度上由源自非怪异文化的心理学理论提供,即20世纪上半叶由Kazimierz Twardowski's School (Lvov-Warsaw School)发展起来的权力争夺理论。接受在那个地区和那个时期发展起来的理论让我们不再把受虐倾向看作一种紊乱和病理而是看作一种潜在的个人权力和力量的重要来源。当时的波兰东部被传统的家庭价值观和严格的性风气所主导,这为非标准形式的情爱创造了一个压抑的空间。在舒尔茨的例子中,这些是施虐受虐倾向,可以通过适当的艺术和文学手段来表达。在研究舒尔茨的受虐狂的同时,还对他的爱国态度进行了分析,他也不能公开表达这种爱国态度(因为政治原因,即苏联和纳粹的压迫)。他有意识地接受了与苏联政权的受虐关系,并采取行动反对它。在这两种情况下,他的受虐狂似乎表达了一种特定的权力游戏,而不是病态的、破坏性的变态。舒尔茨的受虐深深植根于加利西亚的社会文化环境中,需要非weird的解释才能更好地理解其本质。它不符合20世纪上半叶的精神病分类,但它更接近现代的受虐狂概念,它被理解为一个维度,而不是一个类别。受虐狂可以是一种积极的力量,对保持心理平衡至关重要。
期刊介绍:
IJIR is dedicated to advancing knowledge and understanding of theory, practice, and research in intergroup relations. The contents encompass theoretical developments, field-based evaluations of training techniques, empirical discussions of cultural similarities and differences, and critical descriptions of new training approaches. Papers selected for publication in IJIR are judged to increase our understanding of intergroup tensions and harmony. Issue-oriented and cross-discipline discussion is encouraged. The highest priority is given to manuscripts that join theory, practice, and field research design. By theory, we mean conceptual schemes focused on the nature of cultural differences and similarities.