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Modernistinės istorijos traktuotės XX a. lietuvių literatūroje

Modernistinės istorijos traktuotės XX a. lietuvių literatūroje

Author(s): Giedrius Viliūnas / Language(s): Lithuanian Issue: 2(27)/2002

Nearly up to the end of the 20th century, Lithuanian literature was focused mainly on historical themes and myths inherited from romanticism. The author argues that alternative versions of the treatment of history became apparent in the modernistic literature of the period and distinguishes two trends: ironic demystification and vitalist-mythological viewpoint. The first approach is characteristic of the representatives of high-modernism and existentialism of the mid-20th century and later period (Antanas Škėma, Juozas Aputis, Bronius Radzevičius, and Vytautas P. Bložė). The traditional historic themes in the works of these authors are employed as parables to convey the catastrophic individual's state and used as Aesopian formulas to address the themes prohibited by the Soviet censure (Holocaust, totalitarism, etc.). The other trend took its roots in the avant-garde literature of the 1930s (Petras Tarulis, Juozas Žlabys-Žengė); the tradition was later continued in the poetry and prose of the mid- (Kazys Bradūnas) and late 20th century (Sigitas Geda, Romualdas Granauskas). Mythological experience of the pre-historic times and nature here makes opposition to the destructiveness of the modern historic experience and deterministic Soviet ideology. Already in the late 1970s, Saulius Tomas Kondrotas started the postmodernistic "game" by experimenting with various historic versions, falsificates, literary allusions, although the modernistic demystifying-catastrophistic treatment of history still survived in the literature of the 20th-century last decade (Ričardas Gavelis, Vanda Juknaitė, Sigitas Geda).

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"Aukso amžiaus" pabaiga: Antano Baranausko versija

"Aukso amžiaus" pabaiga: Antano Baranausko versija

Author(s): Paulius Subačius / Language(s): Lithuanian Issue: 2(27)/2002

The works of the poet Antanas Baranauskas represent a shift from the cyclic interpretation of time, which belongs to the paradigm of natural and mythical consciousness, towards the linear historical time. This observation, which has already been discussed in the articles of the same author, here is developed in two aspects. On the one hand, it shows that the historical conceptualization of experience in Baranauskas' poetry is sanctioned by the figure of God. On the other hand, it raises the hypothesis that the linearity coming into force can be considered as the factor bringing about the Christianization of the Lithuanian consciousness. The mental reform introduced by Baranauskas is analyzed in the broad context of the paradigmatic alternatives of the perception of time that is characteristic of the European civilization.

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Lietuviškas Liudviko Rëzos eilëraštis "Prasta giesmele" (1816)

Lietuviškas Liudviko Rëzos eilëraštis "Prasta giesmele" (1816)

Author(s): Domas Kaunas / Language(s): Lithuanian Issue: 03/2001

Karaliaučiaus universiteto profesoriaus ir Lietuviu kalbos seminaro vedëjo Martyno Liudviko Rëzos (Martin Ludwig Rhesa, 1776-1840) lietuviška poetinë kûryba negausi, veikiausiai dël to ir gana gerai žinoma. Á jà atkreipë dëmesá jau autoriaus amžininkai: Karaliaučiaus istorikas Ludwigas von Baczko , nežinomas Leipcigo literatûrinio laikraðèio bendradarbis , Vilniaus lietuvišku knygu cenzorius Juozapas Volodzka  ir kiti istoriografai. Ðiais laikais gilesnës analizës bei vertinimu Rëzos kûryba susilaukë prieš keletà dešimtmeèiu pasirodþiusioje Albino Jovaišo monografijoje Liudvikas Rëza . Deja, tyrëjas tuo metu dar negalëjo aptarti dvieju vieno proginio eilërašèio publikaciju, pasirodþiusiu 1816 ir 1818 metais. Jas tik neseniai pavyko rasti ir dël to glaustai pakomentavus dabar paskelbti

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Emilijos Beniovskytės-Vrublevskienės (Emilia z Beniowskich Wróblewska, 1830-10-05–1886-12-23) dienoraščiai (1850-08-05–1886-09)

Emilijos Beniovskytės-Vrublevskienės (Emilia z Beniowskich Wróblewska, 1830-10-05–1886-12-23) dienoraščiai (1850-08-05–1886-09)

Author(s): Reda Griškaitė / Language(s): Lithuanian Issue: 14/2012

Emilia Wróblewska (or Emilia z Beniowskich Wróblewska) is known mostly as the mother of the famous Vilnius (Rus. Вильна, Pol. Wilno) lawyer and political activist Tadeusz Stanisław Wróblewski (1858–1925). Her name and that of her husband Eustachy Wróblewski (1826–1891) – are immortalized in the name of the library which they founded in Vilnius in 1912, viz. the Eustachy and Emilia Wróblewski Library (originally “Biblioteka im. Eustachego i Emilii Wróblewskich w Wilnie”; now – the Wróblewski Library of the Lithuanian Academy of Sciences; abbreviated here as – LMAVB ). Therefore this woman is usually mentioned only in publications devoted to the library or to her son Tadeusz Stanisław Wróblewski, and more recently to her son Augustyn Wróblewski (1866 – after 1913) in biographical sketches or biographies. Rather more rarely is Wróblewska named as the daughter of Bartłomiej Beniowski (~1800–1867), a participant in the 1830–1831 insurrection or a person with close ties to her husband’s nephew and ward Eustachy Wróblewski, one of the leaders of the 1863–1864 uprising and later with Walery Wróblewski (1836–1908) a general of the Paris Commune.

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Jānis Endzelīns’ Letter of March 28, 1960

Jānis Endzelīns’ Letter of March 28, 1960

Author(s): William Schmalstieg / Language(s): English Issue: 14/2012

Soon after I received my doctorate at the University of Pennsylvania in 1956 my former teacher, Prof. Antanas Salys, lamenting the lack of English language text-books for his courses, suggested that we translate Jānis Endzelīns’ Baltu valodu skaņas un formas into English. Since Lithuanian has always been easier for me than Latvian I began to translate his work from the Lithuanian translation Baltų kalbų garsai ir formos (Vilnius, 1957).1 Actually I could have translated the book from Latvian, but I would have had to spend more time on that. For the Lithuanian I merely had to put the typewriter (how archaic!) and book in front of me and type. Prof. Salys soon became too busy to help and I was fortunate enough to be able to recruit the Latvian linguist Prof. Benjamiņš Jēgers from Northern Illinois University to compare my English translation with the Latvian original. In one way or another numerous other people contributed also to the translation.

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Rotunda, švabachas, fraktûra, antikva ir kursyvas lietuviškuose XVI amþiaus spaudiniuose

Rotunda, švabachas, fraktûra, antikva ir kursyvas lietuviškuose XVI amþiaus spaudiniuose

Author(s): Ona Aleknavičienė / Language(s): Lithuanian Issue: 07/2005

The article covers the development and delineates the main stages of the black-letter or gothic types in printed Lithuanian texts of the sixteenth century in East Prussia (Lithuania Minor) and in Grand Duchy of Lithuania (Lithuania Major). Three kinds of the gothic types were used in Lithuanian prints of the sixteenth century in East Prussia: Rotunda, Schwabacher, and Fraktur. Hans Weinreich used Rotunda in his print shop for the first two Lithuanian printed books: Martynas Maþvydas' Catechism (1547) and Hymn of St. Ambrose (1549); still the major typeface used for both books was Schwabacher. We can find Rotunda in Lithuanian, Polish, and Old Prussian early sixteenth century prints; however, from the middle of the sixteenth century it begins to disappear from the Königsberg printers' books. The first Lithuanian text to contain a Fraktur typeface was Maþvydas' The Form of Christening (1559) from Johann Daubmann printshop. Still the main text of the book was set in Schwabacher (like in the other important book by Maþvydas - Christian Hymns, Part 1, 1566); Fraktur along with the Latin Antiqua typeface were used only for certain emphasizing.

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Kristijono Donelaièio raštu rengimo ir redagavimo principai: ankstesnieji ir 1977 bei 1994 metu leidimai

Kristijono Donelaièio raštu rengimo ir redagavimo principai: ankstesnieji ir 1977 bei 1994 metu leidimai

Author(s): Daiva Krištopaitienė / Language(s): Lithuanian Issue: 07/2005

Kristijono Donelaièio fenomenas - iki galo neáminta máslë lietuviu kalbos ir literatûros tyrinëtojams. Monumentali poeto kûryba, ypaè jo poema Metai, "tartum milžiniškas kalnas iškyla XVIII amþiaus lietuviu literatûroje". Panašiai bûru daini u apibûdina ir lietuviu išeivijos rašytojas Antanas Musteikis: "Donelaitis yra vienišas milžinas, neturëjæs sau lygiu lietuviu literatûros pirmtaku, kuriais jis bûtu galëjæs sekti". Donelaitis, pradëjæs naujà epochà lietuviu literatûros istorijoje, tapo pirmuoju lietuviu groþinës literatûros klasiku. Didelis jo indëlis á lietuviu rašomosios kalbos raidà.

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Rankraštinis 1861-1864 metu pamokslu rinkinys

Rankraštinis 1861-1864 metu pamokslu rinkinys

Author(s): Janina Švambarytė-Valužienė / Language(s): Lithuanian Issue: 06/2004

Mokytojo Jurgio Lapienio, gimusio 1910 metu rugsëjo 28 dienà Ðimoniu valsèiuje, Ðilagaliu kaime (dab. Anykšèiu r.), mirusio 1993-iuju gruodžio 30 dienà Pasvalio r., archyve beveik penkiasdešimt metu saugotas rankraštinis pamokslu rinkinys. Žmonos Eugenijos ir dukros Violetos liudijimu, šá rinkiná Lapieniui apie 1941-uosius ádavæs saugoti kunigas, traukdamasis nuo sovietu represiju iš Lietuvos. Tas kunigas, kaip spëja artimieji, galëjo dirbti Anykšèiu ar Rokiškio parapijose, kuriose Lapieniui teko mokytojauti.

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Tikrovėje ir vaizduotėje išsuptas miestas. Skaitant Kazio Bradūno „Vilniaus varpus“

Tikrovėje ir vaizduotėje išsuptas miestas. Skaitant Kazio Bradūno „Vilniaus varpus“

Author(s): Algis Kaleda / Language(s): Lithuanian Issue: 2/2017

The article aims at describing and interpreting the first collection Vilniaus varpai (The Bells of Vilnius, 1943) by Kazys Bradūnas (1917–2009), one of the founders of the “Žemė” literary movement and the laureate of the Lithuanian National Prize for Culture and Arts (1992), and showing the significance of this book in author’s creative biography, in which Vilnius theme occupied a unique place. After the restoration of independence, Vilnius was the palace where the poet returned to live in 1994. It is important to note that the book was soon published for a second time in 1947 by “Patria Publishers” in a large volume of 3,300 copies. At the time, two other his collections, Pėdos arimuos (Footmarks in Plough) ir Svetimoji duona (Alien Bread), were already published. The Bells of Vilnius consists of seventeen sonnets, representing an emotional personal and national relationship of the whole generation with the recently regained capital of Lithuania. The symbolic leitmotiv, the bells, as well as the majestic beauty of Vilnius churches and the animated state of lyrical “I” create a sacred aura (poems “Cathedral,” “Gothic,” “Baroque,” “To Eternity,” and “In Rasos Cemetery”). The collection marks the beginning of Bradūnas’s poetic road, an individual interpretation of the city’s topicality, and a testimony to lasting links with the space. The goal of the article is to briefly discuss how the book coexists with the wider visual landscape of the city and its cultural artefacts, interpreted by various artists of different nationalities.

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TRADICINIO IR MODERNAUS TIKĖJIMO SANDŪRA
IKIEGZILINĖJE BERNARDO BRAZDŽIONIO KŪRYBOJE

TRADICINIO IR MODERNAUS TIKĖJIMO SANDŪRA IKIEGZILINĖJE BERNARDO BRAZDŽIONIO KŪRYBOJE

Author(s): Silvija Rakutienė / Language(s): Lithuanian Issue: 1/2018

Looking back at the first half of the 20th century reveals the subjective conception of religiosity in Lithuanian poetry. During the interwar period, the works of Fr. P. Jakas and the philosophers S. Šalkauskis and A. Maceina, who examined the social aspects of Catholicism, helped ideas of Catholic modernism to emerge in Lithuania. The concept of Lithuanian neo-Catholicism is based on the validation of the search for personal faith and for a middle ground between Thomistic transcendentalism and modernistic immanentism. This concept changes the usual religious poetry, the essence of which is the interpretation of the truths of faith and the glorification of the Lord. Modern poetry reveals a more personal, deeper relationship with faith and religion, determined by the deliberate self-determination of a mind-conscious person. This impulse is particularly evident in the pre-exile creations (1924-1944) of one of the most famous Lithuanian poets, Bernardas Brazdžionis. Publications of his early poems drew on the tone of prayer, the relation with God was rather traditional and even acting as a kind of template – it is a poetry of praise, thanksgiving and sacrifice. However, the modern human being of the early 20th century was no longer able to experience the Deity immanently. Natural, rustic, agricultural religiosity through which a person could perceive the Creator in manifestations of creation was lost. Thus, in later texts, the disturbed and restless man in the poems of Brazdžionis feels existential loneliness and begins to seek dialogue with the Lord, longing for unity with the Transcendent. This unity is perceived as the only way to realise the meaning of human existence. The poet enables his subject to become a seeker of God, giving him the right to doubt and question, reject or accept, and attempt to rewrite the biblical story. He views religion as a sign of culture and strives to restore the original essence of faith, to experience the catharsis of the believer. The modern understanding of the relationship between belief and being religious helps Brazdžionis to observe some sort of separation between society and God, the hypocrisy of people, inability and unwillingness to live according to God’s laws. He considers the issue of true and figurative religiosity, confronting sincere prayer and cold religious rituals. The poems of Bernard Brazdžionis, steeped in ideas of neo-Catholicism, enrich Lithuanian religious poetry. The existential interpretation of Christianity allows this poet to be regarded as a representative of Catholic existentialism in Lithuanian literature.

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ŠIUOLAIKINĖ LIETUVIŲ PROBLEMINĖ-PSICHOLOGINĖ PAAUGLIŲ LITERATŪRA LITERATŪROS TEOLOGIJOS POŽIŪRIU

ŠIUOLAIKINĖ LIETUVIŲ PROBLEMINĖ-PSICHOLOGINĖ PAAUGLIŲ LITERATŪRA LITERATŪROS TEOLOGIJOS POŽIŪRIU

Author(s): Asta Gustaitienė / Language(s): Lithuanian Issue: 1/2018

This article analyses contemporary Lithuanian literature for adolescents from the perspective of theology. In recent years, the religious theme has become fairly popular in such literature. Examples that can be used to illustrate this include outstanding books of Lithuanian contemporary realistic literature for adolescents, including “Verksnių klubas” by Ilona Ežerinytė, “Mirties vandenynas” by Nijolė Kepenienė, and “Nebaigtas dienoraštis” and “Baltos durys” by Vytautas Račickas. The research is mainly focused on a psychological realistic novel written by Rebeka Una, “Šiandien, aštuntą valandą”, because this book is strong in artistic terms and strongly reveals the Christian context. The aim is to reveal how a teenager’s relationship with God is portrayed in some of the best Lithuanian writing for adolescents, and how their Christian faith helps them get through their most difficult life experiences. The interpretive-descriptive method of data analysis is used in the research.

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Ekspresionistinis kalbos vaizdumas Almio Grybausko „Atklydimuose“

Ekspresionistinis kalbos vaizdumas Almio Grybausko „Atklydimuose“

Author(s): Neringa Butnoriūtė / Language(s): Lithuanian Issue: 70/2018

The article aims to actualize the unresearched intrinsic features of expressionism and rectify the peculiarities of poet’s writing style by analyzing the poetry of Almis Grybauskas’s, a poet and translator, from his collection “Atklydimai” (1983). It presents expressionism in the context of a more extensive phenomenon, i.e. literay imagism. This article also takes into consideration the principle of defamiliarization that is typical to Grybauskas’s poetic language. By analyzing 3 texts of his more closely, it exposes the function of expressionist stylistic devices (the creation of integrity of form and content, perspective (motifs of road and journey), the effect of ‘vision’ and awkwardness, the delay of understanding). In the course of analysis it becomes clear that Grybauskas’s expressionism is set up not so much on visuality that is based on external effects (i.e., exogenous graphic form), as on the picturesqueness of language that is oriented towards the structure and the dynamic act of communication (i.e., its intrinsic features). And this allows one to associate Grybauskas’s texts with the German expressionism tradition. The article also reveals that the articulation of expressionism in the texts written by the poet who made his debut in the late Soviet period essentially contradicts the aim of the socialist realism discourse to represent reality in a biased way. Grybauskas’s poetry establishes an autonomous perception of reality, which enables the reader to see the structure that is made from language as a species of spiritual culture.

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Klaida Daukšos Postilės (1599) klaidų atitaisyme

Author(s): Birutė Kabašinskaitė / Language(s): Lithuanian Issue: 20/2018

In discussing the issue of the authorship of Daukša’s Postilė, some scholars raise the question of the unevenness of the language of this work and the ambiguity of some corrigenda. One of such corrigenda to give rise to various linguistic hypotheses – aimieus to łáimieus – should be considered simply a mistake of the person who corrected the mistake. In fact, the correction had to be done in the opposite direction – łaimiaus to aimieus, but pages were mixed up due to an oversight, and page 88 was indicated instead of page 78. This mistake was very likely made by Daukša himself and not by the typesetter at the printer’s. If the latter were the case, the old and not matching indication of the line (38) would have remained next to the wrong page number. However, the corrigendum indicates line 33 of page 88: presumably, when Daukša was revising the corrigendum, he found one of the two given forms and made corresponding corrections without giving much thought to them.

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Raidės <î> [ẹ] atsiradimas Simono Daukanto tekstuose

Author(s): Giedrius Subačius / Language(s): Lithuanian Issue: 20/2018

Simonas Daukantas (1793–1864) introduced the letter for his Lowland Lithuanian dialectal vowel [ẹ] first in gen. sg. m. flexion—from page 44 of his manuscript Historya Justina (HJ; 1834 and / or later); cf. brolî ‘(of) brother’. Approximately from page 142, the grapheme in that particular flexion began dominating (as a morphological signifier). Then, approximately on page 242, Daukantas started to denote more intensely in other endings as well: in instr. sg. f., iness., nom., and acc. sg. This way he began altering the morphological signifier into a phonetic one (wilontî; kapusî; essantî; diedî). Such phonetic marking of flexions became preponderant (in gen. sg. m., iness., and instr. sg. f.) in the latest written part of HJ (in prefaces on pages 1–12) and the layer of later corrections. Further Daukantas started introducing the phonetic [ẹ] more frequently into the stems of the words as well (cf. gîr; kîmiù). Daukantas decided to place the circumflex on the letter in the open flexion most probably due to the influence of the Lithuanian texts in East Prussia that contained this diacritic in closed gen. sg. f. flexions on other letters (cf. Daukantas’s HJ: isz baimês ‘because of fear’; Grecijôs ‘[of] Greece’; weczôs ukês ‘[of] old state [country]’). Sermons (Postilla) by Mikalojus Daukša (1599) could have also had some secondary influence on Daukantas’s decision to select, but Daukša was mostly using in the stem position, while Daukantas began introducing in the endings. The initial usage of the grapheme by Daukantas presupposes such approximate sequence of three manuscripts: (1) HJ pp. 13–400; (2) HJ corrections and writing of HJ prefaces on pp. 1–12; (3) Jstoriję Justinaus (JJ); and (4) Pasakas Pdraus (PaP). Most probably Daukantas chose the letter at the beginning of his stay in St. Petersburg (the end of 1834 and somewhat later). The grapheme is absent from his manuscripts of the Rīga period (before the summer of 1834).

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Alfonso Maldonio eilėraščio „Pabudimas iš miego“ genezė

Author(s): Donata Mitaitė / Language(s): Lithuanian Issue: 2/2018

Critics ranked poem “Pabudimas iš miego” (Waking Up from Sleep) as one of the best Alfonsas Maldonis’s poems in his collection Rytas vakaras (Morning Evening) (1978). The first manuscript of the poem written in 1970 can be found in poet’s archive. Poem’s text and the exact date of the document indicate that the poem was inspired by the death of a famous Lithuanian linguist Jonas Kazlauskas. It is believed that the Soviet KGB which persecuted Kazlauskas is to blame for the linguist’s death. By comparing the manuscript and the printed version of the poem, we can see how the poet eliminates the details of a particular event from the text. However, the foreboding of danger and violence that is very strongly felt from the very beginning remains in the final version. The inner turmoil of the lyric subject also stays. The subject is trying but is unable to understand what kind of behavior would be suitable in that specific situation. It can be assumed that Maldonis had two goals when editing the manuscript. First, he wanted the poem to be published. The poet knew that censors would have removed the poem from the book because of the references to Kazlauskas’s death. Second, Maldonis’s aim was to write a poem which would have carried a universal meaning. From the poet’s manuscripts one can conclude that it is precisely the move from the mundanely concrete to the more general image is characteristic to the genesis of Maldonis’s poems.

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Jono Juškaičio poezijos intertekstai

Author(s): Virginija Balsevičiūtė-Šlekienė / Language(s): Lithuanian Issue: 2/2018

The nature of Jonas Juškaitis’s poetry is heterogeneous. His poems are inhabited by texts written by other authors. Intertextuality is understood as an interaction between one’s own and someone else’s word. For this analysis, I have chosen the concepts of lexemic and textual interpretant. Lexemic interpretant can be a word play, a quibble, or a foreign word. It can also be the names of characters, borrowed from other works. Textual interpretant is a larger fragment used without quotes. The article analyses secular and religious intertexts and their functions in Juškaitis’s poems. It discusses direct and indirect citation, paying most of the attention to quoting without indicating the quotes. The analysis of specific texts reveals that the insertions of extraneous texts in Juškaitis’s poetry disrupt the integrity and linearity of the text, creating tension and provoking a dialogue. They distort syntax and increase the semantic activity of words. Intertexts determine the nature of the poetic world, making it unique. In the conclusions, I state that the abundance of citations in Juškaitis’s poetry creates a very specific poetic world, determines the complex way of looking at the world, and provides a nuanced view of the most important themes in poet’s work. The variety of intertexts gives Juškaitis’s poetry, based on peasant culture, intellectual strain. Citation without quotes has become his exceptional poetic tool.

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BALTŲ IR KRIKŠČIONIŠKŲJŲ SIMBOLIŲ ESTETINĖ TRANSFORMACIJA PETRO DIRGĖLOS „KARALYSTĖJE“

BALTŲ IR KRIKŠČIONIŠKŲJŲ SIMBOLIŲ ESTETINĖ TRANSFORMACIJA PETRO DIRGĖLOS „KARALYSTĖJE“

Author(s): Vytautas Martinkus / Language(s): Lithuanian Issue: 2/2018

This article deals with the epic “The Kingdom” by Petras Dirgėla, a historical work of literature in 14 parts (books) as a subject of multivariable senses of faith (esteem). The significance of these symbols as religious aesthetic (literary) values is analysed. The aim of the article is to discuss the relationship between religious symbols from different epochs (pre-Christian and Christian) and their transformation into aesthetic values in the historical novel. The research seeks to examine the change in symbolic values of religion in the historical Lithuanian novel as a subject of different cultural symbols.The research seeks to address the questions: 1) Can symbols of a Baltic religion changed to Christian ones essentially affect the form of epic work? 2) Which symbols of the Baltic religion in the epic “The Kingdom” are most important to the narrator in establishing the kingdom’s literary world? 3) How does the novel transform the religious symbols into aesthetic (literary) values? Answering the questions raised is an important aesthetic issue of Lithuanian philosopher Juozas Mureika (the theory of aesthesis). The article proposes the following conclusions. The Baltic and Christian symbols in the novel “The Kingdom” are equally important to its literary form. The structure of the work (form) and the traits of narrative poetics are determined by the fundamental value of any faith – the connection between the road of earthly human life and the kingdom of heaven (the spiritual). The historical interrelationships between the symbols of different religions increase the multiplicity of poetic means (such as symbols, metonymy and metaphors) and their aesthetic effect in literary works. One of the most important symbols that actively determines the structure of an epoch`s boundaries is water and a path. Their variables are sea and lake, road and passenger. The last most significant element in the novel is the symbol of the tree (or forest). From an aesthetic perspective, it is not only the significance of these (and all other) symbolic signs that is important, but also their “architectonics”, through which the reader experiences the whole set of symbols of a work and establishes new archetypal meanings.

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Draudžiamų jausmų kūlgrinda ir pelkės salų šventumas

Draudžiamų jausmų kūlgrinda ir pelkės salų šventumas

Author(s): Gintautas Mažeikis / Language(s): Lithuanian Issue: 72/2019

The article uses methods of literary criticism, critical theory, and genealogy to discuss feelings and actions of resistance in a culture of swamps. It analyzes actions of ejecting and resisting cultural phenomena, transgression, and recognition, and how underground resistance differs from that carried out on a swamp island. The topic of swamp islands is tied to the phenomena of underwater stone roads and that of a holy site. The first part reviews depictions of a swamp by Juozas Tumas-Vaižgantas, Kazys Boruta, Juozas Baltušis, Petras Dirgėla, Jolita Skablauskaitė, Romas Treinys, and Stasys Jonauskas. This review shows how the swamp‘s freedom increased and how its sacredness and resistance opened up in Lithuanian literature; how it liberated itself from hegemonies, how it made common cause with the devil and Nothingness, and with myths; and how it is tied to the physical and psychological phenomena of bogs, mires, sloughs opening the way for and enabling forbidden emotions and freeing the witches (in an evolution from blind feeling to a rush and finally witch).The second part is a comparative analysis of pedagogical metaphors: Homer‘s nymph grotto, Plato‘s cave, desert oasis (Zerzura), and swamp island. Each separate metaphor defines a different way of educating a human being. A swamp island teaches us the sanctity of resistance, even though this is incompatible with the hegemonic Enlightenment or the dominant Church. The last part is devoted to an analysis of life’s path as an existential paradigm by comparing and opposing Heidegger’s forest paths (Holzwege), roaming about in the desert, and walking on underwater stone roads. The analysis shows that the motifs of rambling about and opening up do not explain underwater stone roads, which represent a hidden severity and the discipline and practice of resistance.

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Leono Gudaičio ir Rimvydo Šilbajorio dienos ir darbai (1995–2000)

Leono Gudaičio ir Rimvydo Šilbajorio dienos ir darbai (1995–2000)

Author(s): Laima Bucevičiūtė / Language(s): Lithuanian Issue: 72/2019

This paper discusses the correspondence that took place from 1995 to 2000 between Professor Leonas Fliorentas Gudaitis, for many years the chairman of the department of Lithuanian literature at Vytautas Magnus University as well as a journalist and editor of the scholarly journal “Darbai ir dienos” (“Deeds and Days”), and Professor Rimvydas Pranas Šilbajoris, a Lithuanian literary scholar active in the United States. Their letters touch on various topics: the university’s environment for scholarship and studies, especially doctoral studies, the subtelties of editing “Darbai ir dienos”, and thoughts about the journal’s scholarly format and contents. There are 39 letters overall, 18 of them authored by Gudaitis, while the rest come from Šilbajoris’s pen. The nearly identical quantity of letters sent and received allows us to speak of the dialogical nature of these texts, which becomes evident if these letters are published chronologically, as we have done here. This publication lets us get a better view of certain fragments of Gudaitis’s academic life. The published letters reveal different though mutually connecting perspectives, bringing out one more way of looking at Vytautas Magnus University’s past, the people who worked and studied there, and their academic environment.

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The Gabija Almanac: The Cracow Origins of Lithuanian Modernism, or Some Remarks on National Literature

Author(s): Marcin Niemojewski / Language(s): English Issue: 41/2019

The article is an attempt to answer the question whether Lithuanian modernist literature of the first decade of the twentieth century falls within the category of national literature, and if so, what model of such defined literature it represents or shapes. In accordance with the assumption that this category takes on meaning only in the context of the place and time in which it is invoked, the understanding of the tasks of literature characteristic of Lithuanian modernists is reconstructed here in comparison with the concepts of literature dominating in the Lithuanian intellectual life of that period. The search for an answer to this question is also a pretext for reflection on the role of modernism in the history of Lithuanian culture and the process of the formation of Lithuanian modernity. The subject of analysis in this search is the first Lithuanian literary almanac Gabija, published in Cracow in 1907, and above all the texts of its editor, bilingual writer Józef Albin Herbaczewski.

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