English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

In the early 1990s, the transplanted American genre of hip hop took shape in a newly democratic Poland. Polish rappers grounded themselves within their cultural context and figured themselves as spiritual successors of Poland’s Romantic bards. Not only did Polish hip hop respond to the nation’s new sociopolitical realities, it also produced a neoromantic poetics to assert an authentic Polish identity and music. This paper analyzes how the Polish rapper Filip Szcześniak, also known as Taco Hemingway, self-reflexively critiques Polish hip hop’s macho, patriotic identity by mirroring Witold Gombrowicz’s critical engagement with Polish Romanticism’s cultural legacy. By intertextually evoking Gombrowicz’s critiques of Form, masculinity, and community, Szcześniak indicts Polish hip hop’s neoromantic poetics. Szcześniak’s lyrics identify a  filistria , a virtualized community whose double-edged disenchantment potentializes a subversion of hegemonic Form as well as its destructive reinvigoration. By expressing Gombrowicz’s theories through hip hop, Szcześniak formulates a new poetics that disengages from the genre’s neoromanticism and hegemonic masculinity while providing a sustained critique of Poland’s revived nationalist myths. Polish hip hop’s neoromantic poetics and Szcześniak’s Gombrowiczean turn exemplify how transplanted genres can re-imagine cultural canons for new demographics.

Neoromantic myths, modernist irreverence, and the Gombrowiczean turn in Polish hip hop