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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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Językowo-kulturowa wizja dworu na Litwie

Author(s): Krystyna Rutkowska / Language(s): Polish / Issue: 42/2018

The aim of this article is to provide a description of the linguistic-cultural vision of the manor on the Baltic-Slavic border. The object of the analysis is autobiographical narratives of the oldest residents of Polish villages in the districts of Meikštai and Smalvos in north-eastern Lithuania, on the border with Belarus. The people living there have perfectly retained the memory of old manors and estates, local nobility, and the relations between the peasants and the manor. The article aims to present their memories about the manor, the impact of the manor on the formation of their personalities and attitudes towards the surrounding world, and to characterise the places important for the formation of a multi-ethnic, multicultural borderland and its unique character. The analysis of the conceptualisation of the manor and the landlord by the residents of Smalvos district is based on the general assumptions of oral history, especially those concerning the narrator’s position, his/her worldview and his/her relation with the described reality. The reconstructed vision of the manor, based on the autobiographical narratives, is clearly positive. The described behaviour of the landlord to the peasants dispels the established stereotype of the landlord as a ruthless exploiter and the myth of relations with the peasants based on exploitation. Although cognitive definitions of the concepts under consideration describe the manor as a place distinct from the countryside, at the same time, however, it was a place where peasant children were welcome, taught prayers and the basics of reading and writing. The landlord is described as an educated, tolerant and understanding person who took care about his peasants and supported them.

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Jono Mačiulio-Maironio raštų rašyba ir kalba: Jauniaus sekėjo dinamika

Author(s): Jurgita Venckiene / Language(s): Lithuanian / Issue: 14/2012

The first books of Jonas Mačiulis-Maironis were written and published in the last decades of the nineteenth century. At that time standard language norms had not yet been chosen and a few standard language models were competing: (1) that of Kazimieras Jaunius (the Catholic periodicals relied on it); (2) that of secular periodicals; and (3) that of Jonas Basanavičius. The paper discusses the linguistic attitudes of Maironis and their evolution, Maironis’ response to the emerging norms of standard language. The research was based on Maironis’ sermon manuscripts, history books, and poetry publications. While studying in The Samogitian Theological Seminary in Kaunas, Maironis attended Kazimieras Jaunius’ classes of Lithuanian. Maironis, being an ordinary seminarian, started to follow the model Jaunius delineated in his lectures. Thus, Maironis initially based himself on Jaunius’ ideas of orthography and standardization in period of 1888–1891; his first book Apsakymai apie Lietuvos praeigą (1886 [1891]) attests to this.

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Jono Mažylio prisiminimai apie savo tėvo, profesoriaus Prano Mažylio, traumą, ligą ir mirtį

Author(s): Liudas Mažylis / Language(s): Lithuanian / Issue: 16/2016

The text published is about the professor, doctor of medical sciences Pranas Mažylis (1885–1966) written by his son Jonas Mažylis. The text deals with the trauma, trouble, death and funeral of Pranas Mažylis and covers the period from January to March, 1966. It touches about 50 contemporaries such as medical people, public persons, and relatives. The publication was prepared by Prof. Dr. Liudas Mažylis, the grandson of Pranas Mažylis, and illustrated by the photos of an unknown photographer.

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JUOZAPO ARNULFO GIEDRAIČIO NAUJAS ĮSTATYMAS (1816): SANTYKIS SU EVANGELIJŲ LEIDIMAIS XIX A.

Author(s): Jurgita Venckiene / Language(s): Lithuanian / Issue: 19/2017

In the first half of the nineteenth century, the Lithuanian Catholic community still used the Gospels (in the narrow sense) or pericops translated in the seventeenth century. The book Ewangelie Polskie y litewskie by Jonas Jaknavičius, which was first published in 1647, remained popular until the middle of the nineteenth century, it had ten or eleven editions during the period of 1803–1859. The aim of the article is to discuss the relation between the New Testament, published by the Bishop Juozapas Arnulfas Giedraitis in Vilnius in 1816, and the above-mentioned editions of the Gospels, to detect whether the Gospels were based on Giedraitis’s New Testament. The edition of the Gospels printed in 1819 differed slightly from the previous edition of 1805. It was prepared on the basis of previous Gospel editions, but not on the New Testament. This was revealed by identic errors, same text lines missed. Some missed text lines in the edition of 1819 or later editions were rebuilt according to previous Gospel editions, but not according to the New Testament. Until 1856, the Gospels were reprinted without major changes without taking into account the New Testament of 1816.

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Jurgio Baltrušaičio laiškai Giovanni’ui Papini’ui

Author(s): Ugnius Keturakis / Language(s): Lithuanian / Issue: 32 (37)/2017

The promethean program of Jurgis Baltrušaitis’ creation is especially distinctly expressed in the poet’s letters to Giovanni Papini. The world here is divided into two spheres – the earthly and the divine, and the mission of the creator is to connect them. The letters also demonstrate the motives of promethean worldview which are not so obvious in J. Baltrušaitis’ poetry: the motive of a poet-prophet, clairvoyant; self-creation of a human-creator, development into a divine, perfect individuality that can re-build the world; pursuit of absolute creativity as complete freedom of the creator; faith in the human ability to build a tower that reaches the sky – revival of the myth of tower of Babel; defiance of idealistic attitude and earthliness and pursuit of divinity; exaltation of seeing, vision as the only connection with the world of ideas. J. Baltrušaitis’ and G. Papini’s correspondence allows relating J. Baltrušaitis’ creative work not only with the Russian but also with the European tradition of symbolism. The correspondence of the two promethean minded poets – prophets was interrupted by World War I which also ruined the mythologem as a belief in the possibility of changing the world, and by the October Revolution, following the war.

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K. DONELAIČIO METŲ TIKRINIAI VARDAI KITOSE KALBOSE: VERTIMO STRATEGIJŲ PALYGINIMAS

Author(s): Adriano Cerri / Language(s): Lithuanian / Issue: 8/2015

The inventory of proper names in Kristijonas Donelaitis’ poem Metai (The Seasons) is particularly rich and uneven. This peculiarity was observed from the first editions of the poem, although the topic remains largely unexplored, especially when one takes into account its translations into other languages. In the article 10 different translations are examined. The first part of the article is devoted to a discussion of the general features of the poem’s proper names. A classification is also proposed which could help in understanding the different solutions adopted by translators. It is possible to distinguish four classes: names indicating well-known entities which belong to the common cultural background of the author and the reader; popular names for which an equivalent exists in the translation language; uncommon names whithout equivalents; surnames. In sections 2 and 3 an analysis of the translation strategies adopted by different translators is discussed, paying particular attention to the processes of adaptation, cultural substitution, loan translation, invention of new names and names exchange. The different approaches and methodologies are illustrated and compared. Such a comparison allows for classification of the examined translations from the more adaptive to the more preservative.

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Karolina Praniauskaitė: „Do młodego Poety“ („Jaunajam Poetui“). Eilėraščio istorija

Author(s): Reda Griškaite,Tomas Andriukonis / Language(s): Lithuanian / Issue: 15/2013

The name of Karolina or Karolina Anna Proniewska (Lith. Karolina Praniauskaitė, 1828–1859) today is tightly connected to the biography of another Lithuanian classical poet of the nineteenth century Antanas Baranauskas (Antoni Baranowski, 1835–1902). His acquaintance with Proniewska is considered to be one of the most important and even crucial events in Baranauskas’ biography. Proof of this is Baranauskas’ texts: both poetry and ego documents. The latter today is represented by his diary (private correspondence of the writers did not survive), and the poetry – by the literary dialogue between Proniewska and Baranauskas. Baranauskas’ diary or fragments of it were published multiple times. The fate of the poetical dialogue is different: a fragment of it (one poem of Baranauskas and one of Proniewska) was first printed in a Vilnius (Rus. Вильна, Pol. Wilno) periodical in 1857. A year later the second poem by Proniewska written to Baranauskas was included in her published collection of poems. In the following twentieth century only a few isolated pieces of this poetical conversation were published: in collections of works of both Proniewska and Baranauskas, in books of memoirs and essays, and in literary anthologies. For the first time attempts to reconstruct the complete dialog were made in 2013: two poems by Proniewska and seven poems by Baranauskas were published. But this time again they did not include Proniewska’s first work of the dialogue “Do młodego Poety” (“To the Young Poet”), which had been its impulse. Ludicrous misunderstanding ordained that this work so far was considered lost and unknown.

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KAS PAAIŠKĖJA: APIE ADOMO MICKEVIČIAUS LOZANOS LYRIKĄ

Author(s): Brigita Speicyte / Language(s): Lithuanian / Issue: 1/2015

Iš seminaro vedėjos gavau užduotį vienos duotų temų lauke – „Kas paaiškėja: vėlyvoji lyrika kaip būties išskaidrėjimas“ – sugrįžti prie Adomo Mickevičiaus Lozanos lyrikos. Antrąją temos dalį aptarė Giedrė Kazlauskaitė pagal Vinco Mykolaičio-Putino poeziją, tad sustosiu prie pirmosios ir pratęsiu svarstymą apie poetinės formos pokyčius – šiuokart vėlyvojoje A. Mickevičiaus lyrikoje.

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Katechizm Martynasa Mažvydasa – o narodzinach litewskiego słowa drukowanego

Author(s): Marcin Niemojewski / Language(s): Polish / Issue: 3/2018

Literature of the Grand Duchy of Lithuania from its beginnings until the middle of the XVI century was not created in Lithuanian, but in other languages: Latin, Slavonic Office, German and Polish. When they began to form a powerful state, Lithuanians did not have their own written language. In its associations with neighboring countries, Lithuania received their written languages and patterns of scribal culture. A substantial turnabout in the evolution of Lithuanian writing occurred in relation to the factors, which spread throughout Europe and redefined its cultural and social shape: humanism, Reformation and printing. One of the forerunners of the changes was Martynas Mažvydas, student of Königsberg University, Protestant clergyman and a man of the Renaissance. He prepared the first Lithuanian book, titled The Simple Words of the Catechism (in original: Catechismusa prasty Szadei) and published in Königsberg in 1547. The Catechism, surpassing the framework of religious literary genre, proved and predicted essential processes in the history of Lithuanian culture. It marked the start of struggle for primacy between the Catholicism and Protestantism. It also linked the Lithuania Proper with Lithuania Minor (later Prussia‘s Lithuania), the region of great significance for development of Lithuanian literature. However, most of all, the work of Mažvydas contributed to rising the status of Lithuanian language.

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Kazimiero Lelio ir Ipolito Liutostanskio lietuviškos kirilikos modeliai, 1887–1891

Author(s): Giedrius Subacius / Language(s): Lithuanian / Issue: 08/2006

Both Kazimieras Lelys and Ipolitas Liutostanskis were the authors of individual models of Lithuanian Cyrillic script. They were original in the sense that Lelys and Liutostanskis never followed other known patterns. Originality is observed also in the novelty of the topics selected—their books were respectively advice for tailors and translations of fiction. Lelys and Liutostanskis were the first to prepare and to publish books of this sort in Lithuanian Cyrillic. All four books were published in the period 1887–1891; Kazimieras Lelys’ Лѣтувосъ кряучѣмъ драпану сукирпима моксласъ (1887; The Art of Cutting Cloth for Lithuanian Tailors); Ipolitas Liutostanskis’ translations of Leo Tolstoy’s short stories: Ишлайденсъ угни, не бе ужгясинси (1888; Put Out the Fire Or It Will Spread), Кауказа невальникасъ (1891; A Prisoner in the Caucasus) and Куръ мяйле, тенъ и Девасъ (1891; Where Love Is, God Is). Thus, we can speak about the period when the new untypical models emerged (the unique model of Eduardas Volteris could also be included here—in 1887 he published Девiшка лiтургijа Швэто Jно Aксобрнiо (The Divine Liturgy of St. John Chrysostom). Lelys was an Eastern Highlander from the Panevėžys district and he wrote his book in his native dialect. Liutostanskis was most probably a Southern Lowlander, but along with the forms of his native dialect he also used certain Highland Lithuanian features. On the other hand, Zacharijas Liackis (the reviewer [editor] of Liutostanskis’ translations) was from the Panevėžys district. Thus, some Highland Lithuanian dialectal features might occur in Liutostanskis’ translations due to the intervention of Liackis. Besides, Andrius Poidėnas, who was the meticulous proofreader of A Prisoner in the Caucasus, might have been responsible for certain orthographical decisions in the final pamphlet as well.

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KELIONĖS RETORIKA: PERSVAZIJOS INSTRUMENTAI LIETUVIŲ KELIONIŲ LITERATŪROJE

Author(s): Gabriele Gibaviciene / Language(s): Lithuanian / Issue: 33(38)/2018

Rhetoric which in the context of this research is seen not only as a structure of text but also as a structure of thought is presented in the article as a new universal way of researching Lithuanian travel literature discourse. Three popular Lithuanian travel books are chosen for this research – Kelionė į Jeruzalę (Journey to Jerusalem, 1601) by Mikalojus Kristupas Radvila Našlaitėlis, Svečiuose pas 40 tautų (At the Company of 40 Nations, 1935–1936) by Matas Šalčius, and Sapnuoju, kad einu (Dreaming the Path, 2014) by Jokūbas Vilius Tūras. The article presents the research of three persuasion tools ethos, logos and pathos in Lithuanian travel literature and how they are involved in successful communication process. The article reveals exactly how trusting the author and presenting actual traveller’s experience is connected with stimulating audience’s emotions and what part in this process is taken by the journey itself. The article also analyses how the enthymeme is involved in achieving persuasion and how it captures traveller’s views, communication guidelines and common features of different travel texts.

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Kirilikos Evangelijų (1865) rašyba: Laurynas Ivinskis ir Jonas Krečinskis

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

The Evangelijos (1865) is a Lithuanian book compiled in the Cyrillic alphabet. It is based on an earlier Lithuanian book by Juozapas Arnulfas Giedraitis (1757-1838) Naujas Istatimas (1816), which was printed in Latin letters. Laurynas Ivinskis (1810-1881) was thought to be a compiler of the Evangelijos. However, a comparison of its orthography with the spelling of the autonomously written Kalendorius of Ivinskis of 1865 demonstrates that the concept of Cyrillic orthography diverges greatly in those two Lithuanian texts. Still the orthography of the Evangelijos is analogous to Ivinskis' Kalendorius of 1866 that was compiled in collaboration a year later with Jonas Kreèinskis (ca. 1820 after 1884). The most frequent words found in the Cyrillic based Lithuanian works by Ivinskis and Kreèinskis have clearly demonstrated that the orthography of the Evangelijos was very similar to Kreèinskis' model of that orthography. Philological analysis has shown that Ivinskis and Kreèinskis might have worked together on the text of the Lithuanian Evangelijos in Cyrillic.

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Klaida Daukšos Postilės (1599) klaidų atitaisyme

Author(s): Birute Kabašinskaite / 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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Konfesinis Antano Baranausko lietuviškosios kûrybos ištaku aspektas

Author(s): Ieva Šenaviciene / Language(s): Lithuanian / Issue: 06/2004

Antanas Baranauskas (Antoni Baranowski, 1835-1902) was a Catholic priest, a Lithuanian poet, a specialist in Lithuanian philology, a professor of the Catholic seminary of the Samogitian (Lowland Lithuanian) diocese, and the bishop of the Seinai diocese. Generally scholars and critics have underlined two aspects of Baranauskas' personality and his creative activity in Lithuanian: national and social. This article deals with the third "confessional" aspect of his creativity and with the religious inducement to write in Lithuanian. The status of the Catholic Church in the Russian Empire and in the Samogitian diocese, and the analysis of Baranauskas' works lead us to think that his poetry and philology in Lithuanian was influenced by the process of revival of the Catholic Church, which began in Western Europe after the Napoleonic wars and the Congress of Vienna (1814-1815).

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Konstantino Sirvydo Punktų sakymų spaudmenys ir rašyba

Author(s): Virginija Vasiliauskiene / Language(s): Lithuanian / Issue: 69/2013

This article describes the usage of typefaces as well as the basic principles of orthography in Konstantinas Sirvydas’ book of sermons Gospel Points (SP). Orthography of SP was mostly influenced by Latin and Polish. Most of the different diacritics are seldom used, but in most cases they are used consistently. In certain cases these diacritics are used to mark a stressed syllable or were a means of differentiation in homographs and homoforms. Variations in marking fricative consonants and affricates can be determined both by technical reasons in printing and by reflecting changes in the speech of Vilnius’ residents. Typefaces used for marking abbreviations and omissions followed Latin traditions. Three different typefaces were used during printing for marking both the capital letters and in those parts of the text that were in antique cursive. No special letters were used to differentiate long vowels from short vowels. Variations are evident in marking: (1) [e] and [ai] that follow a soft consonant; (2) voiced consonants before voiceless, and voiceless consonants before voiced; (3) the prefix iš-. Principles of combining adjacent words or writing them separately were influenced by prosodical features as well as by basic standards of other languages and also technical features of the printing process and language competence of editors and typesetters. Usage of capital letters is based on Latin and Polish or is taken from quotable sources.

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Kontekstualizavimo „čia ir dabar“ eksperimentai: M. Gorkio pjesės „Dugne“ pastatymai Oslo National Theatret ir Vilniaus miesto teatre OKT

Author(s): Ramune Marcinkeviciute / Language(s): Lithuanian / Issue: 2/2011

The article compares and analyses two productions of the director Oskaras Koršunovas, basedon the play of Maxim Gorky “Lower Depths”, produced in Oslo National Theatret (2009) andOKT-Vilnius City Theatre (2010). This director tends to come back to the same play in differentcontexts of artistic and socio-cultural praxis (“Way to Damascus” by August Strindberg in OsloNational Theatret (2006) and in Klaipėda Drama Theatre (2007); “The Taming of the Shrewd”by William Shakespeare in Comédie-Française, (2007) and in the State Alexandra Theatre inSaint Petersburg (2010).The Norwegian and Lithuanian versions of “Lower Depths” are similar to the experience,when in 2003 Koršunovas produced “Winter” by Jon Fosse in Oslo National Theatret, and after three years created a chamber opera by Gintaras Sodeika “Vinter” (OKT-Vilnius City Theatre).The texts of Fosse and Gorky were repeated providing the productions with a new and bright discourse of the artistic experiment, as well as producing them in different spaces: “Vinter” was transformed to the Saint Catherine Church in Vilnius, and “Lower Depths” in a small studio of OKT. The drama of Fosse assumed the form of a chamber opera, and the four acts play of Gorky – the performance in one part.The Norwegian interpretation of Gorky is closer to the traditional theatrical model, and shows the aim of the director to reveal the cultural universality of the classical text. The Lithuanian interpretation was encouraged by the social situation of the contemporary Lithuania, as well as by the actors and the audience: Gorky is presented as the contemporary playwright; the director introduces fragments of “Hamlet” by William Shakespeare, re-crating and dissolving the artistic identities of his earlier performances.
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Korespondencja Jana Karłowicza z polskimi i litewskimi literatami oraz działaczami kulturalnymi

Author(s): Irena Fedorovic / Language(s): Polish / Issue: 57 (2)/2012

The collection of the Lithuanian State Historical Archives in Vilnius possesses the legacy (mainly letters) of prof. Jan Karłowicz (1836–1903), a famous Polish historian, ethnographer, musicologist and translator. The research of that legacy shows that professor’s correspondence with other writers, mainly Polish, were extensive. While living in Warsaw, he was friends with all of the most famous writers of the era of positivism (E. Orzeszkowa, M. Konopnicka, H. Sienkiewicz), he was interested in their works and encouraged them to cooperate with the monthly magazine “Wisła”. He also brought other Lithuanian writers into cooperation with this valued magazine. The letters of M. Davainis-Silvestraitis and A. Baranauskas, a connoisseur of the classicist Lithuanian literature, prove that the affairs of Lithuania were important to Karłowicz, as it was his historic homeland.
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Kosto Ostrausko draminiai istorijos perrašymai

Author(s): Reda Pabarciene / Language(s): Lithuanian / Issue: 2/2018

The article analyses the plays, conditionally called historical plays, of Kostas Ostrauskas (1926-2012), the most prominent Lithuanian émigré playwright and avant-garde writer. It discusses the principles of selection and interpretation of historical material, as well as stylistic and genre rewriting. An assumption is made about the links between Ostrauskas’s plays and postmodern historiography and the ideas of New Historicism. Ostrauskas significantly revived the Lithuanian historical drama, although he did not cut off ties with tradition (a play Stasiukas). His works cover world politics (Temptations and Emperor and His Empire) and the 18th-20th c. events of Lithuanian history. He puts a satirical spin on the destructiveness of various regimes (Tsar and Soviet), points to the recurrence of situations in art, music, Christian myths, and Lithuanian folklore. The playwright adjusts the understanding of a historical subject by putting forward ordinary people and losers. He also demonstrates the capabilities of the micro-history by skillfully using the genre of microdrama (The Welder, Napoleon, A Crow and A Chicken, A Loge and An Ax). Ostrauskas explores the intersection of literary and historical discourse, also the importance of myths, sagas, and legends in history. By drawing reader’s attention to (tragic)comic moments of history, the playwright portraits history as an odd and anecdotal event, as a play and a ritual with elements of absurd, grotesque, mask and marionette theater. He focuses on historical truth, memory, and history (Čičinskas and Stasiukas), and highlights the plurality and the paradox of truth.
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Kristijono Donelaičio reikšmės

Author(s): Brigita Speicyte / Language(s): Lithuanian / Issue: 20/2018

Kad ir kaip nevienaprasmiškai vertintume sukakčių minėjimus kaip kultūrinio gyvenimo formą, tai yra gera proga pasitikrinti savo kultūros centrų, pavyzdžiui, literatūros klasikų kūrybos, būklę. Pasitikrinti, kiek toks centras yra archajiškas, patvirtinamas ritualine reikšmių ir gestų kartote, žadinantis pagarbą ir saugojimo pastangas, kiek modernus – kritikos ir plėtimosi židinys, „kuris ir pats kinta istorijoje, į save absorbuodamas jo išbandymų praktinę patirtį“
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