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The river names of the Upper Pechora basin are analyzed in terms of linguistic origin. The boundaries of possible substrates are defined, links to similar names recorded in the border areas are established. The region is promising for the identification of a foreign language component. As a result of the study, a stratum has been recorded, represented by hydronyms of Finno-Permic (mainly East-Finnic) origin.
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The article explores the form and function of adverbial participles (converbs) in the Northern dialect of Udmurt. So far these forms have found insufficient coverage in scientific literature. The study demonstrates that neither the composition nor grammatical meanings of adverbial participles in these dialects differ greatly from those used in the literary language. It is established that the specificity of the adverbial forms is found in the phonetic design of some suffixes (-ку/-кы; -ччоз'/-ӵӵож/-тоз'), as well as in some peculiarities of their function. These are compared with analogous phenomena observed in other Udmurt dialects. The research is based on the author’s own field materials collected during numerous expeditions to the Northern Udmurts.
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The paper presents a verbal morphological description of one of the first written monuments in Southern Selkup, recorded by Saint Macarius. The first solid comments and handling of the script were done by Hartmut Katz. Yet until now no consistent and structural analysis of its morphology has been available. The paper deals with the description of such verbal categories as aspect, aktionsart, voice, person, number, tense, mood. There is also a discussion of non-finite verbal forms such as infinitive, participle, converb, the formation of verbal nouns and the use of verbalizers. In addition, the data obtained are analyzed in comparison with the described morphology of the Southern, Central and Northern Selkup dialects.
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Rimma Dmitrievna Kuruch (1938-2019) was the pioneer of language planning for Kildin Saami. Together with several native Saami co-workers, she worked out and described the rules defining the current orthographic standard, established teaching in primary schools and published the most comprehensive, up-to-date dictionary of Standard Written Kildin Saami.
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Review on: Benita Laumane, Zvejasrīku nosaukumi Latvijas piekrastē, Liepāja: Liepājas Universitāte, Kurzemes Humanitārais institūts, 2019
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Review on: Л. А. Абукаева, А. В. Чемышев, А. А. Митрускова, Словарь сравнений марийского языка, Йошкар-Ола, Издательский дом «Марийское книжное издательство», 2019
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Review on: Елена Воронина, Ихтионимы в марийском языке (историко-этимологический анализ), Тарту 2019 (Dissertationes Philologiae Uralicae Universitatis Tartuensis 19)
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Based on the analysis of a variety of ethnographic material – video oral interviews, recordings of rituals, research diaries and field notes – coming from fieldwork in four different places in Greece, I deal with the issue of managing the emotions/affects of both the researcher and the informants (emotions in the field), and of the implications of managing and analysing these emotions (emotions from the field) for the production of anthropological knowledge. More specifically, I analyse oral interviews in which the informants were asked to talk about “difficult” issues and ethnographic material from field researches to record rituals. The study of emotions/affects is linked to issues of fundamental importance for field research such as collection, analysis and interpretation of ethnographic material, reflexivity, positionality of the researcher, sensory learning, the agency of the body, the ethics of research, and ultimately the production of anthropological knowledge. Finally, such an approach contributes to overcoming the sharp divide between emotions and affects that is based on certain Western philosophies, for the sake of other, more encompassing approaches, that allow researchers to fully grasp the complexity of emotional experience.
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This article investigates how the issue of both public and private life, and how public events (even on the micro-level of the neighbourhood or the macro-level of the city or the country where we live) pass to the private area through social comments, i.e., daily gossip. However, apart from the dissemination of information, the article focuses on the dynamic presence of the emotions that accompany social comments. The judgments and comments of people are accompanied by emotions, either positive towards some people, which in essence promote persons or situations in a positive way, or expressing negative emotions, which accompany negative judgments and, in essence, judge and control the behaviours of people. The article investigates both the expression and the dynamic presence and the role of these emotions in combination with the speech of the narrators. The article is fully based on ethnographic fieldwork research (in the period of 2016–2017) as a part of a wider research project. It is based on participant observation, semi-structured interviews, individual, as well as group, interviews with the informants.
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Using the concept of Eagleton’s ideology, the article is focused on the conflict between the State Theatre and the magazine Naujoji Romuva, which from 1931 represented the ideological policy of the state based on the idea of national unity and independence of national culture. One of the doctrines of this idea was the ethnic purity of Lithuanian culture, including theatre. The criticism voiced by the magazine was directed at the Russian artists working in the theatre (for instance, Michael Chekhov) and at the influence of Russian theatre on Lithuanian creators. The highest expression of the conflict between the theatre and its opponents was the public outburst in two magazines, Naujoji Romuva and Skynimai. Summarizing this conflict, the Marxist-oriented magazine Kultūra argued that the conflict essentially took place within a single ideological discourse in which the ideas “art for art” and “art for the nation” encountered. The conclusion drawn in the article is that the ongoing 1931–1933 conflict between the State Theatre (represented by the theatre critic and theatre “ideologue” Balys Sruoga in the public sphere ), and the society / nation / political ideology (represented by the Naujoji Romuva) was doomed from the outset. The conflict was essentially between the proponents of bourgeois ideology, controlled by the discourse of the dominant power and based on the idea of an independent nation-state.
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The subject of this study is the work of the Belarusian theatre studio in Moscow from 1921 to 1926. It traces the various periods of the studio’s activities, the process of educational programme design, the attitude of students to study, and the attitude of the Belarusian authorities to the studio. The author had the opportunity to collect valuable material and reconstruct the work of the studio by virtue of the National Archives of the Republic of Belarus, the Academy of Sciences of Belarus, and the Belarusian State Archive-Museum of Literature archival materials, as well as memories of the artists themselves. The studio is the most important event in the history of Belarusian theatre: without the reconstruction of its activities, the picture of the work of the Yakub Kolas National Academic Drama Theatre in Vitebsk would be far from complete. Within five years, the studio raised actors and directors who later began their activities in Belarus. The programme proposed by the actors-pedagogues of the Moscow Art Theatre was innovative for them. An important part of the article is dedicated to Valentin Smyshlyaev, the director of the studio. It is worth remembering that there was no acting school in Belarus at the time and the first Professional theatre was not opened until 1920.
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The repertoire and interpretative dynamics of Shakespeare’s dramaturgy in the twentieth-century Lithuanian theatre have shown that despite the fact that the first premiere on a professional theatre stage in Lithuanian took place only in 1924 (Othello), the main European tendencies of the playwright’s directorial narrative (from Romantic rhetoric and retrospectivism to deconstruction or postcolonial practices) were repeated over the course of the century. The author of the article observes that the general turn towards Shakespeare by many Lithuanian theatre artists, not just one director or repertory theatre, reflects and connects various phenomena of major social changes and new beginnings: the creation of an independent state and a professional national theatre in the interwar period; the creation of a more modern theatre and a more relaxed society during the thaw of the 1960s in the wake of the Stalinist regime and its terror; the transformation of the role of theatre in society in the 1990s following the restoration of the country’s independence; the challenges brought about by the new century and the changing generations of artists. This hypothetical parallel between changes in history and in the theatrical discourses distinguishes Shakespeare as a prominent factor of theatre development and puts the Lithuanian professional theatre in the context of the traditions of European Shakespearean theatre repertory choices formed throughout the centuries.
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In this article, the author focuses on the solo performance “Words in the Sand” (Žodžiai smėlyje, based on Samuel Beckett’s play Happy Days, premiere in 1998) by Birutė Mar, one of the most prominent creators of solo performances in Lithuania, with the aim of tracing the originality in the interpretation of this representative drama of the absurd, produced by the actor. The creative principles of the Japanese theatre noh and butoh are observed in this performance, which makes it possible to talk about an original intersection of the ideas of Western existentialism and Eastern philosophy and aesthetics. Emphasis is placed on the specific performativity of the solo performer. The author suggests that while creating her personal “holy” theatre (a notion introduced by Peter Brook), Birutė Mar renews the “traditional” metaphysical thinking in Lithuanian theatre, which she combines with original and contemporary ways of artistic expression.
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The analysis of the opera-performance Sun and Sea (Marina), the winner of Venice Biennale 2019, shows how the contradictory traditions of opera and performance enrich each other and break numerous canons of the art world. Opera, which at the very birth of the genre was titled the most conventional and unnatural art, earned the top position in the social pyramid amongst the arts. Performance art represented counter-culture due to its naturalness and liveness. In their work, Lapelytė, Grainytė, and Barzdžiukaitė suggest playing with different contexts and different social aspects and questioning traditions of the arts. Opera changes due to a performative turn, interdisciplinarity, and revolutions in the opera world (Wilson and Glass Einstein on the Beach); due to the society of sharing economy, participatory theatre, social networks, and an experiential turn.
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Among the discourses on the art of music performance, both in the verbal communication of the performers and the analyses and critical evaluations of their art, a recurrent concept is that of the “authentic performance.” Functioning in musical contexts in several interrelated senses, this concept and the ideology behind it can undoubtedly be considered an influential current which, by the end of the twentieth century, had a significant impact on the whole industry of classical music in its broadest sense. Hence, it deserves to be introduced as a distinctive type of a performance-related issue and analysed as such.Since the final decades of the twentieth century, the most common use of this concept has referred to the type of performance that synonymously is termed “historically informed” or “historically aware.” An important aspect of such a performance, besides the study of treatises and manuscripts from the period, is the employment of “period”, “original”, or, indeed, “authentic” instruments and playing techniques from the times when the interpreted music was first performed. Thorough studies have been devoted to the issue where, along with the arguments in favour of and motives for an authentic performance, a great deal of criticism has been levelled against the idea. What, then, lies behind the concept of being “authentic”?The present article draws on the existing discussion of the meaning(s) and (im)possibility of an authentic performance, placing particular interest in the semiotic approach to the issue of authenticity in music and, in particular, in musical performance. Two main sources are relied on here: Eero Tarasti’s Existential Semiotics (2000) and Dario Martinelli’s Authenticity, Performance and Other Double-Edged Words (2010), which are at the same time part of a continuum (Martinelli’s reflections are inspired by Tarasti, and both refer to Greimas and Eco) as well as displays of different conclusions (starting from the fact that Tarasti, generally speaking, defends the concept, while Martinelli shows signs of scepticism towards a certain (ab)use of the idea). Adding her reflections on the matter, the author offers a new perspective on how to analyse the idea of authenticity in art music performance.
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In the second part of the 20th century, the “Bellu” Catholic Cemetery in Bucharest became the stage of a folk religion ritual. Several graves in there are revered as miraculous, and a whole ritual has evolved around them. Many people (mostly Orthodox Christians) perform it by the graves, leaving written wishes in order to see their wishes fulfilled. My research project consisted of participative observation, interviews (all with women) and analysis of the written wishes. I wanted to examine people’s feelings towards this ritual, which they conceive as wish fulfilling and soul liberating. I also discuss the dark side of this ritual, that is sorcery and cursing, since some of the papers left by the graves contain maledictions and curses. I also discuss the implications of the ritual from the point of view of the people’s affects, as a folk religion phenomenon functioning both as wish fulfiller and soul reliever.
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Christian Giordano (1945–2018). In Memoriam. Died in Vilnius, Lithuania, on December 28, 2018 at the age of 73. – Joel Martin Halpern. 1929–2019. Joel Martin Halpern, cultural anthropologist and professor emeritus at the University of Massachusetts (UMass), died in Greenfield, Massachusetts, on July 4th, 2019 at the age of 90.
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International Conference “(Re)thinking Socialism: Knowledge, Memory and Oblivion of the Socialist Past”, Sofia, November 7–9, 2019.
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Caroline Hornstein Tomić, Robert Pichler, Sarah Scholl-Schneider (eds.): Remigration to Post-Socialist Europe: Hopes and Realities of Return (ERSTE Foundation Series, Volume 3), Vienna: Lit 2018. – Lozanka Peycheva: “Narodnijat duh” v avtorskite pesni ot Bălgarija [“The folk spirit” in author’s songs from Bulgaria]. Sofia: Sofia University press 2019. – Claudia-Florentina Dobre: Ni victime ni héroïne. Les anciennes détenues politiques et les mémoires du communisme en Roumanie. Bucharest: Electra, 2019. – Alexandra Ion: Regi, sfinți și anonimi. Cercetători și oseminte umane în arheologia din România [Kings, saints and the anonymous dead. Researchers and human remains in the archaeology of Romania]. Târgoviște: Cetatea de Scaun 2019.
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