The First Representatives of Bohemia

One of the advantages of our decadent society is that we (or some of us) do not want to link our contemporary culture with such analogies. In an effort to go beyond Alexandrianism part of Western bourgeois society has created something hitherto unheard of – the avant-garde culture. This was made possible thanks to a broader understanding of the history of – or perhaps more accurately, a new critical understanding of society, historical criticism. This criticism is not opposed to our modern society timeless utopias, but subjected to sober historical analysis of cause-and-effect underlying any society background, justification and function. So, it became apparent that our present bourgeois social order – not eternal, “natural” condition of life, but only the last in a series of successive social orders. Arisen due to these discoveries, prospects, becoming part of the advanced consciousness of intellectuals 50 – 60-ies of the XIX century, it was soon learned – though mostly unconsciously – artists and poets. It is no accident that the birth of the avant-garde chronologically – and geographically – in Europe coincided with the first revolutionary breakthrough scientific thought.

The first representatives of Bohemia – and it is the essence of the future avant-garde – were quick to demonstrate a lack of interest in politics. However, if in the surrounding atmosphere is not soared revolutionary ideas, they would never have been able to highlight the concept of the “bourgeois” in order to determine what they are not. Without the moral support provided to them by revolutionary political views, they would not have the courage to so aggressively assert themselves by challenging the prevailing social norms. For this really required courage, because emigration from bourgeois society garde bohemia meant also to emigrate to capitalist markets, which were thrown artists and writers who have lost the patronage of the aristocracy. (Obviously, this situation doomed artists and writers to the hungry vegetation in attics, although, as will be shown later, the avant-garde remained attached to bourgeois society because it needed its money.)

Yet the reality is that, as soon as the vanguard managed to “escape” from the company, he immediately turned back, renouncing politics – and the revolutionary and bourgeois. The revolution also remained within a society, as a part of the chaos of ideological struggle which art and poetry is considered irrelevant, as she was beginning to affect the “precious” axiomatic beliefs, lying in the hitherto cultural basis. It follows that the true and most important function of the avant-garde was not to “experimenting”, and to find ways in which you can ensure the development of culture in the ideological confusion and violence. Completely away from the public, the poet-garde or avant-garde artist sought to raise high level of his art, while narrowing and elevating him to the realization of the absolute in which all relativities and contradictions would find any permission or lost their meaning. Thus was born the “art for art’s sake” and “pure poetry”, while the subject or content becomes something that should be shunned like the plague.