Heavymetalowy „Krzyk” a głębia podmiotu nowoczesnego
Heavy metal “Krzyk” and the profundity of the modern self

Summary/Abstract: The article tries to combine Charles Taylor’s theory of the “profundity” of the modern self fromhis book Sources of the self: The making of modern identity with Stanisław Przybyszewski’spostulates, presented in his article “For the new art” (mare tenebrarum, the kinship theory).The author, referring to Taylor’s and Przybyszewski’s ideas, analyses a literary text (“Krzyk”by Przybyszewski) and the lyrics (Zwierzenia kontestatora and Heavy Metal Świat by TSA), inorder to present the searching for (Taylor), as well as such forms of expression which couldbe equivalent to the processes happening in the profundity, i.e. in that part of the soul which isinaccessible for human senses, and its indications may be noticed only by an individual/artist/genius. During the analysis process, the author points to the diary forms of Przybyszewski(Moi współcześni), in which the writer has a premonition that the “fatherland sounds” area kind of ancient tune, an atavistic roar coming from the depth. The question remains: how toillustrate this part of the soul through art? Is Chopin’s music the only chance? It does not seemto be, but Przybyszewski can’t have realised that. It was only a few decades after his deaththat the music of scream and atavistic reactions appeared. This music of a screaming soulmost willingly penetrates what is hidden inside, i.e. commonly misunderstood behaviours, insome circles considered to be immoral and unethical.

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