Latvijas Universitāte Austra Celmiņa-Ķeirāne

Total Page:16

File Type:pdf, Size:1020Kb

Latvijas Universitāte Austra Celmiņa-Ķeirāne LATVIJAS UNIVERSITĀTE AUSTRA CELMIŅA-ĶEIRĀNE LATVIEŠU MITOLOĢIJA VIZUĀLĀ UN VERBĀLĀ TEKSTĀ (1880–1945) PROMOCIJAS DARBS Doktora grāda iegūšanai folkloristikā Apakšnozare: mitoloģija Darba zinātniskā vadītāja: Dr. habil. philol., LU prof. Janīna Kursīte-Pakule Rīga, 2019 SATURS IEVADS.............................................................................................................................. 3 1. TEKSTS, TĀ UZBŪVE UN KONTEKSTS............................................................. 20 1.1. Folkloras teksts kontekstuālās pieejas skatījumā............................................. 20 1.2. Mākslinieciska teksta definīcija......................................................................... 22 1.3. Strukturālās uzbūves elementi un principi vizuālā un verbālā tekstā........... 25 1.3.1. Mākslas darba siţets...................................................................................... 25 1.3.2. Laiktelpa mākslinieciska teksta kompozīcijā................................................ 29 1.3.3. Krāsa un tās simboliskā vērtība..................................................................... 38 1.3.4. Izteiksmes būtība........................................................................................... 44 1.4. Diskursu pārklāšanās mitoloģiskās tēmas kontekstā....................................... 45 Secinājumi........................................................................................................................ 46 2. MITOLOĢISKĀS TĒMAS ATTĪSTĪBA VIZUĀLĀ TEKSTĀ. LATVIJAS KULTŪRVĒSTURISKAIS FONS 1880–1945........................................ 48 2.1. Latviešu nacionālās mākslas veidošanās 19. gadsimta beigās. Mītu rekonstrukcija............................................................................................................. 49 2.2. 19. un 20. gadsimta mija. Mītu jaunradīšana un simbioze.............................. 54 2.3. Starpkaru posms – mīta vizualitātes uzplaukums............................................ 61 2.3.1. Latviskuma idejiskie pamati.......................................................................... 63 2.3.2. Dievturība un māksla..................................................................................... 67 2.3.3. Mīts un ideoloģija K. Ulmaľa autoritārajā reţīmā........................................ 73 2.4. Otrais pasaules karš un vizuālā retorika. Nacionālo vērtību saglabāšana................................................................................................................. 75 2.5. Tradīciju turpinājums Latvijā un trimdā. Folklora kā patvērums................ 77 Secinājumi........................................................................................................................ 80 3. MITOLOĢISKĀS TĒMAS INTERPRETĀCIJA MĀKSLĀ – FOLKLORAS TEKSTA REKONTEKSTUALIZĀCIJA..................................................................... 82 3.1. Vizuālā un verbālā teksta mijiedarbe. Grāmatu grafika................................. 82 3.2. Mīts kā vizuāla teksta sastāvdaļa tēlotājā un lietišķi dekoratīvajā mākslā.......................................................................................................................... 92 3.2.1. Folkloras un mākslas sastapšanās.................................................................. 92 3.2.2. Mīta ideālās formas meklējumos................................................................. 113 3.2.3. Mitoloģiskās tēmas risinājumi tēlniecībā. No amuleta līdz piemineklim.................................................................................................... 154 3.3. Etnogrāfiskā ornamenta simbolika – jaunas mitoloģijas aizsākumi............ 161 Secinājumi..................................................................................................................... 169 SECINĀJUMI UN NOBEIGUMS.............................................................................. 171 LITERATŪRA UN AVOTI......................................................................................... 175 PIELIKUMI 1. pielikums. Pētījumā analizēto darbu attēli 2. pielikums. Mākslinieku biogrāfiskais rādītājs IEVADS Vizuālā un verbālā teksta saskarsmes, mijiedarbības un konfliktu pētniecība nav tikai 21. gadsimta, kam raksturīga vizualitātes dominance, parādība. Vārdu un tēlu (attēlu) izteiksmes kopsakarības interesējušas jau senās Grieķijas domātājus. Mūsdienu zinātnē šī joma ieľēmusi savu noteiktu vietu, piemēram, kopš 1985. gada iznāk ţurnāls Word & Image. A Journal of Verbal/Visual Enquiry1, kas aptver plašu zinātnisko pētījumu lauku daţādās sfērās. Savukārt 1987. gadā dibinātā un Nīderlandē reģistrētā asociācija International Association of Word and Image Studies / Association Internationale pour l’Etude des Rapports entre Texte et Image (IAWIS/AIERTI) darbojas teksta un attēla mijiedarbes pētniecībā, ik pēc trim gadiem rīkojot starptautisku konferenci. Promocijas darbs turpina Latvijas kultūrtelpā aizsāktu, bet vēl aizvien maz pētītu jomu. Filoloģe Ilze Brēmere disertācijā „Tēlotājmākslas objekta verbālā reprezentācija XX gadsimta sākuma latviešu dzejā‖ analizē veidus, kādos vizuālā māksla reprezentējas dzejā, kā pētniecisko pamatkategoriju izmantojot terminu ‗ekfrāze‘ (Brēmere, 2013). Tas savā ziľā ir apvērsti pretējs pētījumu process tam, kas tiek veidots šajā promocijas darbā, – tajā tiek noskaidrotas vizuālā un verbālā teksta attiecības, izejot no verbālās reprezentācijas pozīcijām. Mākslas teorētiķa Andra Teikmaľa promocijas pētījums „Mākslas un politikas attiecību semiotika. Vizuālo un verbālo vēstījumu mijiedarbība Latvijas padomju perioda glezniecībā‖ (Teikmanis, 2010) galvenokārt pievērš uzmanību mākslas un attēlu semiotikas jautājumam, pētniecības metodoloģijai un vizuālā un verbālā teksta attiecībām politiskā kontekstā. No aktuālākajiem pētījumiem par mitoloģijas un mākslas mijiedarbību Latvijas kultūrā jāmin mākslas zinātnieces Kristīnes Ogles raksts Representation of Nature Spirits and Gods in Latvian Art in the First Half of the Twentieth Century, kurā viľa analizē tendences un teorētiskās nostādnes, kas rosināja mitoloģisku tēlu parādīšanos 20. gadsimta sākuma mākslā (Jaľa Rozentāla, Riharda Zariľa, Teodora Ūdera, Jēkaba Bīnes, Anša Cīruļa un Hildas Vīkas darbos), nedaudz pieskaroties arī mākslinieciskās izteiksmes līdzekļiem, kādi tiek izmantoti latviešu dievību atspoguļošanai, un sniedzot salīdzinošus piemērus tēlu ikonogrāfijā (Ogle, 2012). Folkloras un mitoloģijas pētnieks Toms Ķencis promocijas darbā A disciplinary history of Latvian mythology norāda uz latviešu mitoloģijas diskursa saistību ar daţādām praksēm un diskursiem, tostarp – mitoloģijas 1 Šeit un turpmāk teksts svešvalodās dots kursīvā (izľemot atsauču noformējumu). lomu nacionālās mākslas veidošanās procesā (Ķencis, 2012: 22). Savos rakstos „Folklora kā nacionālās mākslas avots‖ un The Role of Folklore in the Formation of Latvian Visual Art viľš pievēršas iespējamajiem folkloras avotiem nacionālās mākslas pamatlicēju darbu tematiskās ievirzes izvēlē (Ķencis, 2013; 2015). Promocijas darba aktualitāte – pētījums sniedz padziļinātu ieskatu latviešu mitoloģijas vizualizācijas vēsturē, skaidrojot, kā veidojušies un kādi faktori ietekmējuši vizuālos priekšstatus par mitoloģiskiem tēliem (verbāli aprakstītām mitoloģiskām būtnēm vai parādību personifikācijām) un motīviem (atsevišķām tēmas sastāvdaļām), kas nav zaudējuši nozīmi arī 21. gadsimta sākumā. Analīze aptver divus mākslinieciska teksta veidus un ir saistīta ar teksta uzbūves struktūras semantikas jautājumiem. Pirmo grupu veido tēlotājas un lietišķi dekoratīvās mākslas paraugi ar mitoloģiskā ţanra iezīmēm, otro – folkloras teksta vienības (galvenokārt tautasdziesmas un pasakas). Analīze dod iespēju gan interpretēt mākslas darbus, ľemot vērā folkloras ietekmju kontekstu, un tādējādi paplašināt mākslas vēstures pētniecības metoţu piedāvātās robeţas, gan konstatēt, kā folkloras teksts rekontekstualizējies mākslas kontekstā, jeb atpazīt vizuālā tekstā kontekstuālas atsauces uz latviešu mitoloģiju. Mitoloģija pētījumā tiek saprasta kā ticējumu un mītu kopums par pārdabiskām būtnēm, dabas parādībām un aizvēsturiskiem notikumiem. Promocijas darba mērķis ir izpētīt, kā latviešu mitoloģija, būdama viena no folkloras teksta tematiskām sastāvdaļām, tiek reprezentēta 19. gadsimta beigu un 20. gadsimta pirmās puses tēlotājā un lietišķi dekoratīvajā mākslā un grāmatu grafikā, skatoties no mākslinieciska teksta uzbūves elementu viedokļa, un kādus semantiskos akcentus tā saglabājusi vai ieguvusi, kļūstot par jauna konteksta daļu. Jēdziena ‗latviešu mitoloģija‘ izpratnei pamatā tiek ľemts T. Ķenča skaidrojums, kas veidots, balstoties uz pētāmā objekta pašdefinīciju zinātniskajā diskursā, proti, latviešu mitoloģija ir mītisko priekšstatu sistēma, kas apvieno latviešu valodā un tās dialektos runājošos un kas pastāvējusi vismaz daţus gadsimtus. Tā saistīta ar reliģisku praksi un saglabājusies folklorā (Ķencis, 2012: 8). Atbilstoši izvirzītajam mērķim tiek noteikti sekojoši promocijas darba uzdevumi: 1) atlasīt un grupēt vizuālā teksta paraugus pēc noteiktiem kritērijiem; 2) atlasīt latviešu folkloras tekstus (tautasdziesmas, pasakas, teikas, ticējumus) atbilstoši izvirzītajai tēmai; 3) analizēt mākslinieku (E. Brastiľa, J. Bīnes u. c.) pētījumus par latviešu etnogrāfiskajām zīmēm un to eventuālo skaidrojumu; 4) sniegt ieskatu Latvijas kultūrvēsturiskajos notikumos 19. gadsimta beigās un 20. gadsimta pirmajā pusē, pievēršot padziļinātu uzmanību atsevišķu mākslinieku darbībai; 5) analizēt vizuālā teksta ikonogrāfiju un kompozicionālo struktūru,
Recommended publications
  • University of Latvia Baltic Studies: Courses (Bachelor Level)
    University Of Latvia Baltic Studies: Courses (Bachelor Level) Autumn semester 2014/15 [01.09.2014 – 21.12.2014] A HISTORY OF LATVIAN CULTURE on Tuesdays, (2 credits*) Wednesdays from 02.09.14 till 24.09.14 12:30 – 16:00 Code: Vēst2102 Azpazijas Bvld. 5 lect. I. Runce Room 120 LATVIAN FOLKLORE AND LITERATURE on Thursdays (2 credits*) Azpazijas Bvld. 5 from 04.09.14 till 23.10.14 10:30 – 14:00 Code: Folk4012 Room 120 dr. R. Auškāps INTRODUCTION TO HISTORY OF DIPLOMACY (1648-1918) on Fridays (2 credits*) Raiņa Blvd. 19 from 05.09.14 till 19.12.14 10:30 – 12:00 Code: Vēst2350 Room 210 Prof. A. Stranga THE HISTORY OF BALTIC (1200 till 1850-60) on Fridays (2 credits*) Raiņa Blvd.19 from 05.09.14 till 19.12.14 14:30 – 16:00 Code: Vēst1067 Room 210 Prof. A. Stranga MUSIC IN THE BALTICS on Tuesdays (2 credits*) Visvalža Str. 4a from 21.10.14 till 16.12.14 10:30. – 14:00 Code : MākZ1031 Room 305 Prof. V. Muktupāvels INTERNATIONAL HUMAN RIGHTS STANDARTS IN THE BALTIC STATES on Wednesdays (2 credits*) Raiņa Blvd. 19 from 29.10.14 till 17.12.14 10:30 – 14:00 Code: JurZ2024 Room 6 Asoc.prof. A. Kučs RECENT ECONOMIC DEVELOPMENT on Thursdays OF LATVIA Azpazijas Bvld. 5 (2 credits*) Room 320 from 06.11.14 till 18.12.14 12:30 – 16:00 Code: Ekon5069 Prof. B. Sloka Room 518 + Monday, 10.11.14 A HISTORY OF ETHNIC MINORITIES on Mondays, from 01.12.14 till 16.12.14 14:30 – 18:00 IN LATVIA Tuesdays (2 credits*) Azpazijas Bvld.
    [Show full text]
  • Latviešu-Lībiešu-Angļu Sarunvārdnīca Leţkīel-Līvõkīel-Engliškīel Rõksõnārōntõz Latvian-Livonian-English Phrase Book
    Valda Šuvcāne Ieva Ernštreite Latviešu-lībiešu-angļu sarunvārdnīca Leţkīel-līvõkīel-engliškīel rõksõnārōntõz Latvian-Livonian-English Phrase Book © Valda Šuvcāne 1999 © Ieva Ernštreite 1999 © Eraksti 2005 ISBN-9984-771-74-1 68 lpp. / ~ 0.36 MB SATURS SIŽALI CONTENTS I. IEVADS ĪEVAD INTRODUCTION __________________________________________________________________ I.1. PRIEKŠVĀRDS 5 EĆĆISÕNĀ 6 FOREWORD 6 I.2. LĪBIEŠI, VIŅU VALODA UN RAKSTĪBA 7 LĪVLIST, NÄNT KĒĻ JA KĒRAVĪŢ LIVONIANS, THEIR LANGUAGE AND ORTOGRAPHY 12 I.3. NELIELS IESKATS LĪBIEŠU VALODAS GRAMATIKĀ 9 LĪTÕ IĻ LĪVÕ GRAMĀTIK EXPLANATORY NOTES ON THE MAIN FEATURES OF THE LIVONIAN SPELLING AND PRONUNCIATION 14 _____________________________________________________________________________ II. BIEŽĀK LIETOTĀS FRĀZES SAGGÕLD KȬLBATÕT FRĀZÕD COMMON USED PHRASES __________________________________________________________________ II.1. SASVEICINĀŠANĀS UN ATVADĪŠANĀS 16 TĒRIŅTÕMI JA JUMĀLÕKS JETĀMI GREETINGS II.2. IEPAZĪŠANĀS UN CIEMOŠANĀS 16 TUNDIMI JA KILĀSTIMI INTRODUCING PEOPLE, VISITING PEOPLE II.3. BIOGRĀFIJAS ZIŅAS 17 BIOGRĀFIJ TEUTÕD PERSON'S BIOGRAPHY II.4. PATEICĪBAS, LĪDZJŪTĪBAS UN PIEKLĀJĪBAS IZTEICIENI 18 TIENĀNDÕKST, ĪŅÕZTŪNDIMI JA ANDÕKS ĀNDAMI SÕNĀD EXPRESSING GRATITUDE, POLITE PHRASES II.5. LŪGUMS 19 PÕLAMI REQUEST II.6. APSVEIKUMI, NOVĒLĒJUMI 19 2 VȮNTARMÕMI CONGRATULATIONS, WISHES II.7. DIENAS, MĒNEŠI, GADALAIKI 20 PǞVAD, KŪD, ĀIGASTĀIGAD WEEKDAYS, MONTHS, SEASONS II.8. LAIKA APSTĀKĻI 23 ĀIGA WEATHER II.9. PULKSTENIS 24 KĪELA TIME, TELLING THE TIME _____________________________________________________________________________ III. VĀRDU KRĀJUMS SÕNA VŌLA VOCABULARY __________________________________________________________________ III.1. CILVĒKS 25 RIŠTĪNG PERSON III.2. ĢIMENE 27 AIM FAMILY III.3. MĀJOKLIS 28 KUOD HOME III.4. MĀJLIETAS, APĢĒRBS 29 KUODAŽĀD, ŌRÕND HOUSEHOLD THINGS, CLOTHING III.5. ĒDIENI, DZĒRIENI 31 SĪEMNAIGĀD, JŪOMNAIGĀD MEALS, FOOD, DRINKS III.6. JŪRA, UPE, EZERS 32 MER, JOUG, JŌRA SEA, LAKE, RIVER III.7.
    [Show full text]
  • Akka/Laa Pārstāvēto Latvijas Autoru Saraksts 4.Septembris, 2015
    AKKA/LAA PĀRSTĀVĒTO LATVIJAS AUTORU SARAKSTS 4.SEPTEMBRIS, 2015 `Ali A.J. A.M.Fors A.R.T. A.T. Inguna Aare Narimans Abdulovs Israel Abers Kristīne Abika Andris Abiļevs Māris Abiļevs Jurijs Abizovs Jurijs Abizovs Sergejs Abramovs Antons Abrosimovs Anna Abzalone Elīna Adamova Ieva Adāviča Adelly Adrija Dace Adviljone Artūrs Afanasjevs Aggy99 Rustams Ahatovs Bruno Aide AIIPozitīvs Aijassmaids Aisha Jānis Aišpurs Eduards Aivars Valdis Aivars Aiwink Ina Aizgale Armands Aizgalis Inta Aizkalniete Edmunds Aizkalns Jānis Aizkalns Amanda Aizpuriete Vija Aizpuriete Andis Aizpurietis Jānis Aizpurietis Māris Aizpurietis Konstantīns Aizpurs Velta Anna Aizupe Daina Aizupiete Ilvija Aizupiete Guntars Aizupietis Akash Akela Ilze Akerberga Aigars Akmens 1 AKKA/LAA PĀRSTĀVĒTO LATVIJAS AUTORU SARAKSTS 4.SEPTEMBRIS, 2015 Daiga Akmentiņa Andris Akmentiņš Arnis Akmeņlauks Leontīne Akula Kārlis Akupers Ieva Akuratere Matīss Akuraters Sergejs Akuraters Līvija Akurātere Kārlis Alainis Alana Ulvis Alberts Diāna Albina Roberts Albrehts Dace Aleksandraviča Armands Aleksandravičus Mikus Aleksandrovs Valdis Aleksandrovs Jevgeņijs Aleksejenko Surskis Aleksejs Ģirts Aleksis Aleksis Aleksys Aleksņins Liene Alencika Alenčika Alessandro AV Alex Alex Alisa Alisija AliVahlina Andra Alksne Sandra Alksne Armands Alksnis Artis Alksnis All Fee Vitauts Almanis Jānis Aleksandrs Alsbergs Inga Alsiņa Ģirts Alsters Aigars Altenbergs Uldis Altens Alvils Altmanis Valentīns Altmanis Aleksandr Altuhov Aleksandrs Altuhovs Laimons Alutis Andris Alviķis Kārlis Alviķis Linda Amantova Lauris
    [Show full text]
  • CLASS Notes Arts and Humanities College Publications
    Georgia Southern University Digital Commons@Georgia Southern CLASS Notes Arts and Humanities College Publications 4-30-2012 CLASS Notes Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/class-notes Part of the Arts and Humanities Commons, and the Higher Education Commons Recommended Citation Georgia Southern University, "CLASS Notes" (2012). CLASS Notes. 33. https://digitalcommons.georgiasouthern.edu/class-notes/33 This newsletter is brought to you for free and open access by the Arts and Humanities College Publications at Digital Commons@Georgia Southern. It has been accepted for inclusion in CLASS Notes by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. April 30, 2012 Welcome to Georgia Southern University / College of Liberal Arts & Social Sciences Greetings! Time is running out to bid on an eagle in the inaugural flock of the Eagle Nation on Parade public art project. The auction of the first flock of eagles closes May 4; make sure you don't miss out on this opportunity to own one of the three inaugural eagles ­ "Stateboro Blues," "Farmer's Market," or "GATA." You can show your support for the project by making a bid for an eagle at EagleNationOnParade.com. We will install the eagles at the winning bidders' locations of choice where they will stand for many years as beautiful works of art and a testament to Georgia Southern pride. The second flock of eagles will be available for purchase in fall 2013. We will soon issue another statewide call for artists and will be seeking commissioning and seed sponsors for the next round of sculptures.
    [Show full text]
  • Representations of Holiness and the Sacred in Latvian Folklore and Folk Belief1
    No 6 FORUM FOR ANTHROPOLOGY AND CULTURE 144 Svetlana Ryzhakova Representations of Holiness and the Sacred in Latvian Folklore and Folk Belief1 In fond memory of my teacher, Vladimir Nikolaevich Toporov The term svēts, meaning ‘holy, sacred’ and its derivatives svētums (‘holiness’, ‘shrine/sacred place’), svētība (‘blessing’, ‘paradise’), svētlaime (‘bliss’), svētīt (‘to bless’, ‘to celebrate’), and svētīgs (‘blessed’, ‘sacred’) comprise an im- portant lexical and semantic field in the Latvian language. These lexemes are regularly en- countered in even the earliest Latvian texts, beginning in the 16th century,2 and are no less frequent in Baltic hydronomy and toponymy, as well as in folklore and colloquial speech. According to fairly widespread opinion, the lexeme svēts in Latvian is a loanword from the Svetlana Ryzhakova 13th-century Old Church Slavonic word svyat Institute of Ethnology [holy] (OCS — *svēts, svyatoi in middle Russian, and Anthropology from the reconstructible Indo-European of the Russian Academy 3 of Sciences, Moscow *ђ&en-) [Endzeīns, Hauzenberga 1934–46]. 1 This article is based on the work for the research project ‘A Historical Recreation of the Structures of Latvian Ethnic Culture’, supported by grant no. 06-06-80278 from the Russian Foundation for Basic Research, as well as the Programme for Basic Research of the Presidium of the Russian Academy of Sci- ences ‘The Adaptation of Nations and Cultures to Environmental Changes and Social and Anthropo- genic Transformations’ on the theme ‘The Evolution of the Ethnic and Cultural Image of Europe under the Infl uence of Migrational Processes and the Modernisation of Society’. 2 See [CC 1585: 248]; [Enchiridon 1586: 11]; [Mancelius 1638: 90]; [Fürecher II: 469].
    [Show full text]
  • Between National and Academic Agendas Ethnic Policies and ‘National Disciplines’ at the University of Latvia, 1919–1940
    BETWEEN NATIONAL AND ACADEMIC AGENDAS Ethnic Policies and ‘National Disciplines’ at the University of Latvia, 1919–1940 PER BOLIN Other titles in the same series Södertörn Studies in History Git Claesson Pipping & Tom Olsson, Dyrkan och spektakel: Selma Lagerlöfs framträdanden i offentligheten i Sverige 1909 och Finland 1912, 2010. Heiko Droste (ed.), Connecting the Baltic Area: The Swedish Postal System in the Seventeenth Century, 2011. Susanna Sjödin Lindenskoug, Manlighetens bortre gräns: tidelagsrättegångar i Livland åren 1685–1709, 2011. Anna Rosengren, Åldrandet och språket: En språkhistorisk analys av hög ålder och åldrande i Sverige cirka 1875–1975, 2011. Steffen Werther, SS-Vision und Grenzland-Realität: Vom Umgang dänischer und „volksdeutscher” Nationalsozialisten in Sønderjylland mit der „großgermanischen“ Ideologie der SS, 2012. Södertörn Academic Studies Leif Dahlberg och Hans Ruin (red.), Fenomenologi, teknik och medialitet, 2012. Samuel Edquist, I Ruriks fotspår: Om forntida svenska österledsfärder i modern historieskrivning, 2012. Jonna Bornemark (ed.), Phenomenology of Eros, 2012. Jonna Bornemark och Hans Ruin (eds), Ambiguity of the Sacred, 2012. Håkan Nilsson (ed.), Placing Art in the Public Realm, 2012. Lars Kleberg and Aleksei Semenenko (eds), Aksenov and the Environs/Aksenov i okrestnosti, 2012. BETWEEN NATIONAL AND ACADEMIC AGENDAS Ethnic Policies and ‘National Disciplines’ at the University of Latvia, 1919–1940 PER BOLIN Södertörns högskola Södertörns högskola SE-141 89 Huddinge www.sh.se/publications Cover Image, taken from Latvijas Universitāte Illūstrācijās, p. 10. Gulbis, Riga, 1929. Cover: Jonathan Robson Layout: Jonathan Robson and Per Lindblom Printed by E-print, Stockholm 2012 Södertörn Studies in History 13 ISSN 1653-2147 Södertörn Academic Studies 51 ISSN 1650-6162 ISBN 978-91-86069-52-0 Contents Foreword ......................................................................................................................................
    [Show full text]
  • Country Walkers Itinerary
    countrywalkers.com 800.234.6900 Lithuania & Latvia: Vilnius to Riga Flight + Tour Combo Itinerary Sea, sky, and sand: the universe is reduced to three elements as you survey the Bay of Amber and the 60-mile sweep of dunes at Curonian Spit. Whistling winds, waving grasses, and a boardwalk that leads to what feels like the world’s edge—a landscape you never imagined. Then again, you’re learning to expect the unexpected in Lithuania. Fascinating folk traditions and indelible sights fill each day’s walk, from the legend-inspired woodcarvings on Witches’ Hill to Trakai’s red-sandstone island castle. Yesterday a farm-to-table lunch near a Bronze Age hillfort, today the chance to craft your own amulet from native amber at a local jeweler’s gallery. Across the border, Latvia awaits: scenic wetlands, country palaces, and Saturday’s chef-led tour through the converted zeppelin hangars of Riga’s food market. When you’re hiking in the Baltics, every step reveals new horizons. Highlights Take in sights straight out of the pages of a fairy-tale as you visit magnificent Baltic castles and grand, historic palaces, nestled in beautiful settings Follow scenic trails into the national parks of Trakai, Curonian Spit, Žemaitija, Gauja, and Kemeri Pay a visit to an amber museum to learn about the traditions surrounding this treasured gem and craft your own keepsake in the workshop Tour one of Europe’s largest markets guided by a Latvian chef, sampling fresh bread, cheese, and more, treating your senses as you explore 1 / 12 countrywalkers.com 800.234.6900 Activity Level This tour is one of our Guided Walking Adventures, rated easy, with an average of 3 to 6 miles per day.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • Castle of Light: a Snapshot of Latvian Choral Music Asas Thethe Nationnation Turnsturns 100100
    CCastleastle ooff LLight:ight: A SSnapshotnapshot ooff LLatvianatvian CChoralhoral MMusicusic aass tthehe NNationation TTurnsurns 110000 bbyy MMarkark GGrizzardrizzard On a warm Saturday afternoon and days full of choral music. litical narrative with their neighbors in July of 2018, the trams in Riga, The 2018 celebration is slated to and a tradition of song festivals that Latvia, are all packed. A tram ap- be the most highly attended song UNESCO recognized in 2003 in its proaches a stop, but when it be- festival in history, partly because the Second Proclamation of Masterpieces of comes clear that no one is getting celebration is two-fold: 2018 marks the Oral and Intangible Heritage of Hu- off , the driver doesn’t bother to open the centennial year for Latvia, and manity. the doors, and the dozens of hope- the small nation has been marking ful riders on the street corner merely the anniversary with events around smile and wave. the world starting in 2017 and con- The Festival Begins On the tram, air is not circulating tinuing through 2021. Latvia shares One of the fi rst events of the 26th and the temperature is rising above its centennial year, and its song festi- Latvian Song Festival took place on 100°F, yet the crowded riders are all val heritage, with its neighbors, Es- Saturday, June 30, 2018: the high- smiles. As the tram zips through tidy, tonia and Lithuania; the choral cul- ly anticipated choir competition bustling urban districts, the entire ture and political inspiration of these known as Dziesmu Kari [Song Wars]. tram breaks out into song, “rum-ta, Baltic states have gained global rec- Throughout a long sixteen-hour rum-ta, rum-ta-ri-di-dee”: cheery lines ognition through James Tusty’s 2006 day, choirs met in the great hall of from a children’s folk song.
    [Show full text]
  • Couronians | Semigallians | Selonians
    BALTS’ ROAD, THE COURONIAN ROUTE SEGMENT Route: Rucava – Liepāja – Grobiņa – Jūrkalne – Alsunga – Kuldīga – Ventspils – Talsi – Valdemārpils – Sabile – Saldus – Embūte – Mosėdis – Plateliai – Kretinga – Klaipėda – Palanga – Rucava Duration: 3–4 days. Length about 790 km In ancient times, Couronians lived on the coast of the Baltic Sea. At that time, the sea and rivers were an important waterway that inuenced their way of life and interaction with neighbouring nations. You will nd out about this by taking the circular Couronian Route Segment. Peaceful deals were made during trading. Merchants from faraway lands Macaitis, Tērvete Tourism Information Centre, Zemgale Planning Region. Planning Zemgale Centre, Information Tourism Tērvete Macaitis, were tempted to visit the shores of the Baltic Sea looking for the northern gold – Photos: Līva Dāvidsone, Artis Gustovskis, Arvydas Gurkšnis, Denisas Nikitenka, Mindaugas Mindaugas Nikitenka, Denisas Gurkšnis, Arvydas Gustovskis, Artis Dāvidsone, Līva Photos: Publisher: Kurzeme Planning Region, Zemgale Planning Region 2019 Region Planning Zemgale Region, Planning Kurzeme Publisher: amber. To nd out more about amber, visit the Palanga Amber Museum (40) Centre, National Regional Development Agency in Lithuania. in Agency Development Regional National Centre, and the Liepāja Crafts House (6). Ancient Couronian boats, the barges, are Authors: Kurzeme Planning Region, Zemgale Planning Region, Šiauliai Tourism Information Information Tourism Šiauliai Region, Planning Zemgale Region, Planning Kurzeme Authors:
    [Show full text]
  • JŪRMALA Your MICE Destination 10 REASONS to CHOOSE JŪRMALA AS YOUR MICE DESTINATION
    JŪRMALA your MICE destination 10 REASONS TO CHOOSE JŪRMALA AS YOUR MICE DESTINATION UNDISCOVERED 1. GEM According to the MICE global trends, the corporate clients are looking for the uncommon, distinguished destinations and experience to make the delegates feel the exclusiveness of the event. Jūrmala is a European resort “off the beaten track” with a great MICE destination potential – safe, green, sustainable, conveniently accessible, affordable, with well- designed infrastructure. Still undiscovered enough, still special, still unique. INTERNATIONAL 2. ACCESSIBILITY Jūrmala is located just 25 km away from the Latvian capital of Riga and only in 15-minute drive from Riga International Airport that offers more than 60 direct flights. In low season, the traffic to/from Jūrmala is always light and predictable that helps to manage the time efficiently and avoid wasting precious minutes in traffic. SIZE 3. MATTERS Although Jūrmala population is just a bit more than 55 000, it is the second largest city in Latvia after Riga. Thus, population density figures are very inviting for the visitors who are looking for the privacy and their own special snug place on the beach after the day’s hard work. When it comes to event planning, the advantage of the small well-planned city infrastructure is obvious. As the main hotels, restaurants and special venues are concentrated in the city center within walking distance, there is no need to worry about the transfers. Another advantage for the organizers, as A penny saved is a penny gained. SOCIAL PROGRAM 4. AND TEAM-BUILDING ACTIVITIES Be it a workshop for the narrow-field professionals or international conference, the delegates are always looking forward to the unofficial networking opportunities and exciting team building activities to get more personal with their colleagues.
    [Show full text]
  • Dress Code: Latvian
    Dress Code: Latvian 1 Cover photo: National dress is an integral part of Latvia’s heritage. If you have ever looked at one, you must have noticed Contemporary remake that more attention was paid to beauty than practicality. The many colourful layers, ornaments, brooches of a Rucava region folk and embroideries probably did not make life easier for Latvians of the past. Yet even today, when you spot dress made out of 9 belts, someone in such a costume, you will sense the elegance and grace radiating from both the wearer and 4 trousers, 3 crocheted garments. blankets, a jacket, shirt, sweater and a bicycle Of course, garments that have survived up to the present are costumes worn on festive occasions. They gearwheel. Recycled.lv have been handed down from generation to generation as treasured heirlooms. Nowadays, you are most collection Etnography, likely to come across people dressed in these timeless jewels during the Nationwide Song and Dance cel- 2014. ebration. All participants of choirs and dance ensembles are likely to wear costumes from their respective region of ancestry. Upper right: Contemporary At its essence, a traditional Latvian costume was the dress worn by the indigenous inhabitants of Latvia – accessories with the Balts and Livs. It includes everything that its owner hand-made for the various seasons and occasions. traditional Latvian graphic In contemporary Latvia, artists and designers still draw inspiration from the countless ornaments, symbols, symbols. Each sign has colour combinations and designs, the knowledge of which has been kept alive throughout the centuries. its own meaning and was The oldest models date back to as early as the 13th century.
    [Show full text]