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Pirmas lietuviškas pamokslu rinkinys - Wolfenbüttelio postilë (1573). Rankraščio kritinio komentuoto leidimo principai ir tyrimo strategija

Author(s): Jolanta Gelumbeckaitė / Language(s): Lithuanian / Issue: 05/2003

Das handschriftliche Unikat der anonymen litauischen evangelischen Wolfenbütteler Postille von 1573 (seit 1648-49 in der Herzog August Bibliothek aufbewahrt, Sign.: Cod. Guelf. 11. 2 Aug. 2°) ist die erste bekannte litauische Predigtsammlung. Sie enthält Predigten über Sonn- und Festtagsperikopen für das gesamte Kirchenjahr. Die Postille ist einer der umfangreichsten litauischen Texte des 16. Jahrhunderts und zugleich der älteste erhaltene zusammenhängende handschriftliche Text. Das Manuskript gilt somit als eine der wichtigsten Quellen der litauischen Sprach-, Kultur- und Kirchengeschichte. Das seit Juni 2001 an der Herzog August Bibliothek Wolfenbüttel laufende und von der Fritz Thyssen Stiftung (Köln) geförderte internationale Projekt Edition und Kommentierung der litauischen Wolfenbütteler Postille von 1573 soll das Werk kritisch erschließen, so dass die weitere Forschung daran anschließen kann. Das Projekt wird von Professor Dr. Jost Gippert (Institut für Vergleichende Sprachwissenschaft, Phonetik und Slavische Philologie der Johann Wolfgang Goethe-Universität Frankfurt) betreut und von der Verf. bearbeitet. Voraussichtlicher Abschluss: Juni 2004. Die Aufgaben der Edition sind folgende: 1. Ausführliche Beschreibung der Handschrift (Äußeres, Inhaltliches, Geschichte), 2. Digitalisierung des Manuskripts, 3. Diplomatisch-dokumentarische Wiedergabe des Textes und Erstellung eines kritischen Apparats, 4. Verfassung von Kommentaren, 5. Erstellung von Registern: Erklärung der Abkürzungen, Personen- und Ortsnamen, Bibelstellen, Zitate.

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Pirmasis Simono Daukanto rašybos lūžis (1827–1828): raidė , garsas [ẹ], diakritikai ir geminatos

Author(s): Giedrius Subačius / Language(s): Lithuanian / Issue: 16/2014

It is most probable that the earliest surviving Lithuanian lines in Simonas Daukantas’s (1793–1864) hand were inscribed in 1827 in Rīga (Latvia) in his manuscript Excerpts from Books (Išrašai iš knįgų [IK]; Library of the Institute for the Lithuanian Literature and Folklore [LLTIB ], Vilnius: f. 1 – SD 31). Another almost contemporary manuscript titled Lithuanian Songs (Canticula Lithuanica [DaCL]; National Lithuanian Martynas Mažvydas’s Library, Vilnius: f. 110 – 21) originated in about 1827–1828. These two manuscripts contain quite similar orthography that Daukantas was exploiting in Vilnius (until the end of 1825) and later in Rīga (1826–1827). Its salient features were: (1) the letter to denote close vowel [ẹ] of Northwestern Lithuanian Lowland dialect; the digraph to denote [ẹi]; (2) the grapheme in word-initial position both in conjuncture ir ‘and’ and in preposition iš ‘from’ (as well as in the prefix iš‑); (3) the diacritical non-palatal <ł> [l]; (4) the absence of geminates; (5) the avoidance of all diacritics (except for the traditional “Polish” letters <ł>, and <ż>).

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Pirmieji modernizmo blykstelėjimai lietuvių prieškario teatre 1920-1929 m.

Author(s): Irena Aleksaitė / Language(s): Lithuanian / Issue: 4(37)/2004

In pre-war Lithuania of the 20s, there were essential differences between manifestations of modernism in literature, art, and theatre. These differences were due to objective reasons having to do with the historical developments in each of these areas. What the modern and innovative manifestations in all areas of the arts had in common was the fact that they came belated compared to analogous phenomena in Western Europe (where they became the focus of avant-garde art).Lithuanian theatre's unique and exclusive developmental peculiarities as well as its evolutionary difficulties in the third decade of its existence determined the belated and overly modest manifestations of modern art. These manifestations are associated with the formation of professional theatre, the direction representing the old pre-reformist Russian school, the theatre repertoire, as well as the complicated situation of the company in the first decade of the professional national theatre's existence.Director Borisas Dauguvietis' outbursts of modernism in the third decade of the theatre involve elements of symbolism, naturalism, orientalism, "technicism", a theatrical improvisation in the "commedia dell'arte" style; these single flashes can be observed in the following plays: G. Hauptmann's "Hannele", M. Maeterlinck's "The Intruder", J. Vilkutaitis-Keturakis's "Amerika pirtyje", C. Gozzi's "Turandot", L. Pirandello's "Right You Are, If You Think You Are", and Moliere's "The Imaginary Invalid". B. Dauguvietis' searches for the origin and essence of modern stage tools and their contact with the repercussions of Eastern (A. Tairov's) and Western modern stage art are also notable. In the context of the national drama theatre's repertoire, these productions demonstrated B. Dauguvietis' creative potential as well as the company's barely noticeable slip towards scenic novelties. In that sense, the fourth decade of the theatre's development was far richer and more colourful, linked with the entrenchment of scenic innovation and modern direction (examples of the above include A. Oleka Žilinskas', Mikhail Chekhov's, and their students A. Jakševičius' and R. Juknevičius' original directions representing the scenic avant-gardism of the 1930s in Russia.)

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Pirmosios Simono Daukanto knygos Prasma lotynų kalbos (1837) raidės , ir jų rinkėjai

Author(s): Giedrius Subačius / Language(s): Lithuanian / Issue: 21/2019

The first book by Simonas Daukantas, PRASMĄ ŁOTINÛ KAŁBOS (Grammar of Latin), was published by St Petersburg publisher Christian Hintze in 1837 (in Lithuanian). Daukantas did not use the grapheme in any of his Lithuanian manuscripts, only . At that time, it was assumed that while setting the text, the typesetters would expand the single grapheme into two— and . The tactics they applied in setting (interpreting) the grapheme in Daukantas’s manuscript for Lithuanian words divides the text of the Grammar of Latin into four segments: (1) (Jwardes) pp. 1–20; (2) (Iwardes) pp. 21–87; (3) (Judum) pp. 88–94; (4) (Iungînes), and (Jungînę) pp. 95–126(117). Judging by the three different styles of rendering and transforming , there might have been at least three different typesetters involved in this work. Moreover, the typesetters not only rendered and transformed the capital into two other capital letters, sometimes they also substituted for the lowercase letters . The first and the third typesetter most probably exploited analogous tactics: the first typesetter in the first segment possibly both stayed with Daukantas’s and transformed it into the lower case letter (jems; he set neither nor ); the third typesetter in the fourth segment possibly split Daukantas’s into and interchangeably and likewise into (iems) and (jèms).

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Poetinis Jono Vaitkaus teatras

Author(s): Daiva Šabasevičienė / Language(s): Lithuanian / Issue: 2/2011

In the article, analyzing the body of works by Lithuanian theatre director Jonas Vaitkus, the poetical model of his directorial conception is distinguished.The author interprets four productions of this director (“Pilgrim of Dreams” by Eugenijus Ignatavičius and Jonas Vaitkus, “Throstle – the Green Bird” by Bronius Kutavičius and Sigitas Geda, “All Souls Day” by Adam Mickiewicz and “Migel Manara” by Oscar Milosz as well as accentuates the regularities of the directorial mode of theses productions. Their composition develops consequently, and the emotional peaks are connected with the additional dramaturgical situations. Vaitkus creates an independent poetical language, because the origin of his theatre is symbolic. With the help of set designers ( Janina Malinauskaitė, Dalia Mataitienė, Jonas Arčikauskas)he creates an exceptional symbolic space.Poetical theatre of Vaitkus is disengaged from the descriptive means and could be considered as an independent genre with the peculiar artistic language, based on the conceptual directorial approach. The elements of this model become the cells of one artistic structure. One of the directorial aims of the poetical model is to restore the artistic freedom and joy of creation of the actor.

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PREKĖ, PREKYBA IR PARDUOTUVĖ ŠIUOLAIKINĖJE LIETUVIŲ LITERATŪROJE

Author(s): Saulius Keturakis / Language(s): Lithuanian / Issue: 27(32)/2015

The paper analyses how the discourses of a commodity, trade, and shop become, on the one hand, the subjects of literary reflection and, on the other hand, the certain structures of meaning that form the existential and cultural practices moulding the commodity into a form of reality, trade as a relationship with reality, and shop as a kind of a reality genre in the modern Lithuanian literature. Although the history of a commodity, trademark, or other related subjects in the Lithuanian literature have not been traced on the paper, it is claimed, more out of the feeling, that a commodity and the phenomena related to it are more likely to appear in the modern literary texts. The feeling is based on the theory of a commodity and the trade as a model of a certain culture; the theory, starting with the works of Karl Marx, explains the transformations of the art creation and reception in accordance with the demand / supply forces that started to determine the processes of the art in the Western culture from the middle of the nineteenth century. The theoretical core of cultural commodification enables to speak about a commodity as a literary top not as a coincidence, but as a process, which came to be discussed and reflected long before the market economy in the last decade of the XXth century, in the “non-commodity” Soviet political system, as the documents of the Lithuanian Association for Writers suggest. The combination of the archival data, the facts of the modern literature, and the theory of cultural commodification detects the evolving discourse of commodification reflection and its character in the Lithuanian literature.

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Przełom w tradycji Maironis a polska poezja romantyczna

Author(s): Brigita Speičytė / Language(s): Polish / Issue: 1/2017

The article discusses the relationship of Lithuanian poetry with the Polish literary Romanticism in the context of the Lithuanian national movement and the emancipation of Lithuanian culture in the last decades of the 19th century. This link is usually seen as motivated by the resistance of the Lithuanian society against the oppressive Russian imperial politics and by the rise of Lithuanian modern nationalism. These forces caused the later split of the heterogeneous and multilingual Lithuanian-Polish cultural tradition. The article focuses on the process of literary communication in the field of post-romantic poetry, which was characterized by the notion of poets’ “belatedness”and the attempt to find the chance for originality in the shadow of the great Romantic forerunners. The case of the main Lithuanian poet of the period – Jonas Mačiulis-Maironis (1862–1932) shows that the break with the Polish literary tradition was also caused by one other need – the will of the “strong poet” to find his own voice. This turn was not culturally radical in the beginning: it implied the vision of the equal dialogue between Polish and Lithuanian cultural and social fields. Tis vision, however, attained little resonance in the Lithuanian society, and the departure from the Polish literary and cultural models became obvious in the Maironis’ poetry a decade later.

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Pукописная книга и ее рецепция в Великом княжестве Литовском XIV–середины XVI вв.

Author(s): Rima Cicėnienė / Language(s): Russian / Issue: -/2013

The article aims to analyze changes in society’s view of the manuscript book and its reception. The author investigates the ways in which society manifested its reception of the book and how it is reflected in the sources of that time. Manuscript books, archival sources, and objects of art were used as the sources for the research. It has been established that the book satisfied official, social, and personal needs of society and individuals of the time. As books and collections became increasingly numerous and the relationship with books diversified, the idea of the book in the GDL’s society also underwent a significant change. While during the early stage of the period under study a book was understood as a static and uniform sacral object little influenced by an individual, since the 15th century it was considered to be a mobile, mutable object strongly affected by the persons directly connected with the book. Codices migrated both in the geographical and living space. In the early 16th century, the concept of a book as a unit item also underwent a significant change. The concept of a codex as an object that physically joins separate works (books, liber) was replaced by the idea of a codex as an integral unit (a new work) which possesses both internal and external unifying elements of a book.

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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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Rankraštinės Purpuros chronologiniai santykiai su 1759 metų Žyvatu

Author(s): Aleksas Girdenis / Language(s): Lithuanian / Issue: 07/2005

This article deals with the manuscript Purpura iszganima mukos Jezusa, which was compiled in the North-Western Lowland Lithuanian dialect. The title page bears the year 1707, but basing myself on the linguistic data I attempt to prove that the text was composed (or reedited) only after the middle of the nineteenth century or even slightly later. Along with the salient graphic peculiarities that show such a late origin of the manuscript, certain linguistic features which are different in the other Lowland Lithuanian book (based on the same dialect) Ziwatas Pona yr Diewa musu Jezusa Christusa (1759) prove this to be a comparatively late version of the manuscript Purpura: 1. The morphological alternation of [t], [d] : [è], [dþ] is almost totally absent in Purpura; in Zywatas this process was still in the embryonic stage of development. 2. In Zywatas the sound [e] was consistently used in unstressed word-stem and inflectional positions. In Purpura the shift can be traced as it progresses very clearly: -e- ´ -¼-, -e ´ -¼. 3. In certain cases the cluster [nî] was more than just nasalized, it was actually turned into [nán] in Purpura. Yet the same cluster [nî] in Zywatas was always kept unaltered. 4. Certain archaic morphological features were absent from the manuscript; yet they were present in Zywatas. Note for instance, the loc. pl. ending -su and also such archaic forms of the consonantal declension as the instr. sg. sesermi '(with) sister', instr. pl. sesermis '(with) sisters'h, etc. At the end of the article certain strong arguments are advanced to demonstrate that the linguistic basis of Purpura was the subdialect of Kretinga of the so-called littoral Lowland Lithuanian dialect.

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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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Rankraštinis Lauryno Ivinskio nomenklatūrinių pavadinimų sąrašėlis

Author(s): Albina Auksoriūtė / Language(s): Lithuanian / Issue: 20/2013

The article deals with nomenclature names of botany and zoology presented in a three page list included in Laurynas Ivinskis’ manuscript Filologinė medžiaga iš botanikos srities (Philological material from the field of botany) (fund Nr. FI–645). This manuscript is kept at the Manuscript Department of the Library of the Institute of Lithuanian Literature and Folklore. At the top of three pages of the manuscript there is an abbreviation Krasz which was used by Ivinskis to shorten the surname of his contemporary Polish cultural figure and a historian Józef Ignacy Kraszewski (1812–1887). The comparison between Ivinskis’ list and the list of animals, birds and plants (Przypiski. Nazwania zwiérząt, ptaków, drzew i kwiatów znanych Litwie (Remarks. Names of animals, birds, trees and flowers known in Lithuania)) (p. 274–283) presented in Kraszewski’s book Litwa. Starożytne dzieje, ustawy, język, wiara, obyczaje, pieśni, przysłowia, podania i t. d. (Lithuania. Ancient events, laws, language, beliefs, customs, songs, sayings, legends, etc.) (1847) shows that Ivinskis rewrote the names from Kraszewski.

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Regimybė ir realybė

Author(s): Vosylius Sezemanas / Language(s): Lithuanian / Issue: 95/2019

Tai Vosyliaus Sezemano rankraštis, kuris saugomas Vilniaus universiteto bibliotekos Rankraščių skyriuje (F122-89). Rankraštis rašytas ant A4 formato popieriaus lapų. Iš viso 12 lapų, kuriuose užrašai yra abiejose pusėse. Parašymo data nežinoma. Tai specialiojo kurso ar platesnės apimties darbo paruošiamoji medžiaga. Todėl ji nėra visur nuosekli. Rankraščio kalba netaisyta, išskyrus paprastas korektūros klaidas (praleistas raides, svarbiausias rašybos ir skyrybos klaidas). Neįskaitytos teksto vietos žymimos trumpiniu neįsk. Tik ten, kur būtina dėl teksto aiškumo ar tikslumo, laužtiniuose skliaustuose įterptas žodis ar žodžio pabaiga.

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Religinė ir tautinė tapatybė Antano Baranausko poetinėje autorefleksijoje

Author(s): Dalia Čiočytė / Language(s): Lithuanian / Issue: 5/2006

The article seeks to investigate Antanas Baranauskas’s self-conception from the theoretical perspective of phenomenology and theology of literature. The focus of attention are the poet’s early poems, as they demonstrate intensity of the poetical self-consciousness. Baranauskas interprets both religious and patriotic sense of the poetical writing. He contemplates the transcendental meaning of poetry, creates the link between romantic / Biblical prophet and himself as a poet, between the Christian concept of neighbour and national feelings. Baranauskas’s literary thought is ingenious and attentive to semantic undertones.

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Renesansinis Jono Bretkûno Postilës (1591) árišimas: Vlado Daumanto ir LMAB egzemplioriai

Author(s): Ona Aleknavičienė / Language(s): Lithuanian / Issue: 06/2004

In this article I analyze the bindings of two copies of Jonas Bretkûnas' Postilla (1591), which are kept in the Library of Lithuanian Academy of Sciences in Vilnius (LMAB) and in Kaunas Art Gallery of Mykolas Žilinskas. The provenance of both copies proves previous ownership by Königsberg libraries. Neither of the copies is rebound nor are the edges recut. The binding of the LMAB copy may have been repaired - the front paste down may have been pasted down at a later date. The bindings of both copies belong to the tradition of the German bookbinders of the end of the sixteenth and beginning of the seventeenth century. They are sewn onto thick double cords with thread. The wooden boards are covered in light brown bleached calf, and the books have metal clasps. Both covers are decorated with the same blind stamps: at the center, a small rectangular field is formed with a single plate and surrounded by two roulette borders (i.e. probably stamped from a wheel) and a single fillet. This pattern of a central rectangle surrounded by roundel borders corresponds to the decorative binding style that was most often used by the bookbinders who worked for the Castle Library in Königsberg from the fourth decade of the sixteenth century onwards.

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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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Rytietybiu redagavimas Jono Jaknavičiaus Ewangelie polskie y litewskie 1674 metu leidime

Author(s): Milda Luèinskienë / Language(s): Lithuanian / Issue: 03/2001

Die 1647 in Vilnius verlegten Ewangelie polskie y litewskie von Jonas Jaknavièius gelten als die älteste bis jetzt erhaltene Ausgabe dieser Evangelien. Die Ausgabe vom Jahre 1674 (JE74), so wie diejenige vom Jahre 1647 (JE47), stützt sich auf eine ostlitauische Mundart. Aus einem Vergleich der beiden Ausgaben geht hervor, daß der Text der Ausgabe JE74 gründlich und zielbewußt bearbeitet worden ist. Man beobachtet das Bestreben, die in JE47 verwendeten ostlitauischen Wörter durch allgemein übliche zu ersetzen (vgl. etwa pateisiai ´ uþ tiesà, suversti ´ ataduoti, dangtis ´ stogas, iðkuopti ´ iðkandaþyti), von einigen nebeneinander auftretenden Synonymen nur die westliche Variante stehenzulassen (vgl. ðakelë (aba ataþala) ´ ðakelë, pjûmenis (pjûklë, pjûtis) ´ pjûtis, pasavintinë (aba sukalbëtoji pana) ´ sukalbëtoji pana.

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SCENINĖS KOSTO OSTRAUSKO NUORODOS, ARBA TEATRINIŲ KONVENCIJŲ LAUŽYMAS

Author(s): Neringa Klišienė / Language(s): Lithuanian / Issue: 1/2014

Cet article concerne la problématique des didascalies et de leur rôle, qui a été jusqu’ici très peu, voire pas du tout analysée dans la critique dramaturgique lituanienne. L’analyse est fondée sur les textes dra principe de collage, l’auteur donne plus de poids aux didascalies. Les couches textuelles différentes insérées dans les didascalies, telles que des citations, des notes bibliographiques, des commentaires, dévoilent l’originalité de la stratégie que choisit K. Ostrauskas pour créer son texte dramatique, où les didascalies dépassent le cadre d’un simple « texte de service ». La présence d’auteur qu’on n’essaie pas de dissimuler (voire qu’on manifeste expressément parfois) aide à créer une relation de tension, de provocation ou même d’opposition avec le texte énoncé (le dia maturgiques de K. Ostrauskas. En rejetant le cadre d’un seul genre et d’une seule composition, en abandonnant le registre soutenu et rhétorique, en remplaçant un enchaînement cohérent d’événements par unl ogue). Les didascalies de K. Ostrauskas sont destinées aussi bien à la visualisation sur scène du texte dramatique qu’à la lecture, car elles gardent des signes de théâtralité qu’il est difficile de transférer sur scène. Elles revèlent une stratégie spécifique de création de signification qui est inséparablement liée à la polémique dialectique entre le texte et la scène. En élargissant les fonctions des didascalies, le dramaturge met en question l’idée propre au théâtre traditionnel selon laquelle les didascalies ont pour rôle essentiel de servir la mimesis théâtrale.

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Senuju Lietuvos knygu antraštës

Author(s): Eglë Patiejûnienë / Language(s): Lithuanian / Issue: 03/2001

Der Begriff "Titel" wird sogar von Literaturtheoretikern häufig axiomatisch verwendet; in den zugänglichsten litauischen, polnischen und englischen Lexiken sind keine entsprechenden Definitionen zu finden. Fachleute der Bücherkunde und Bibliographen widmen dem Buchtitel mehr Aufmerksamkeit, der Titel wird von ihnen jedoch oft mit dem Titelblatt identifiziert oder als ein bestimmtes Kennzeichen verstanden, das bei der Identifizierung eines Schritftstückes helfen soll. Die in unseren Zeiten gewöhnliche Zusammenstellungsweise der Titel, wobei der Name des Autors, Titel des Schriftstücks, Ort der Ausgabe, Verlag und Datum der Ausgabe nacheinander aufgeführt werden, gibt keinen Anlaß zur wissenschaftlichen Analyse. Diese Tradition ist jedoch verhältnißmäßig neu: Sie ist im 3. Viertel des 18. Jh. entstanden.

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Septyneri emigranto metai: Arkadijus Buchovas Kaune

Author(s): Marius Vyšniauskas / Language(s): Lithuanian / Issue: 16/2016

The article analyses the life of Arcady Buchov (1889–1937) in Kaunas. This man was a satirist and the editor of the political newspaper “Echo”. A. Buchov reveals the diversity of Imperial/Soviet Russian politics and rival activities. Moreover, not only he helps to understand changing roles of Russian, Lithuanian, and Western Europe states but also presents general structure of culture, socialization and politics in the first decade of the 20th century. The aim of this article is to analyse the life and works of A. Buchov, his work experience in the period of the first Republic of Lithuania, and take a look into the environment he matured and the ideas he expressed. In addition, to reveal close contacts with Lithuanian politics, press, and family of L. Gira. Editorial office of “Echo” named “Spy nest” and problematic political reactions of A. Buchov are analysed as well.

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