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Lithuanian Voices
CHAPTER FIVE Lithuanian Voices 1. Lithuanian Letters in the U.S. The list of American works featuring Lithuanians is short; it apparently consists of three novels. However, for such a small nation, not a “global player” in Franzen’s words, three novels authored by Americans can be seen as sufficient and even impressive. After all, three American authors found Lithuanians interesting enough to make them the main characters of their works. Two of those works, Upton Sinclair’s The Jungle and Jonathan Franzen’s The Corrections, became bestsellers and popularized the name of Lithuania in the U.S. and the world. The third work, Margaret Seebach’s That Man Donaleitis, although overlooked by critics and readers, nevertheless exists as a rare token of admiration for an obscure and oppressed people of the Russian empire. Many other small nations never made it to the pages of American texts. The best they could do was to present themselves to Americans in their own ethnic writing in English. However, the mere existence of such ethnic texts did not guarantee their success with the American audience. Ethnic groups from Eastern Europe for a long time presented little interest to Americans. As noted by Thomas Ferraro, autobiographical and biographical narratives of “immigrants from certain little-known places of Eastern Europe . did not attract much attention” (383). He mentions texts by a Czech, a Croatian, a Slovakian and a Pole written between 1904 and 1941, and explains the lack of attention to them from American public: “the groups they depict remained amorphous in the national imagination and did not seem to pose too much of a cultural threat” (383). -
Lithuanian Writers and the Establishment During Late Socialism: the Writers Union As a Place for Conformism Or Escape Vilius Ivanauskas
LITHUANIAN HISTORICAL STUDIES 15 2010 ISSN 1392-2343 PP. 51–78 LITHUANIAN WRITERS AND THE EStabLISHMENT DURING LatE SOCIALISM: THE WRITERS UNION AS A PLACE FOR CONFORMISM OR ESCAPE Vilius Ivanauskas ABSTRACT This article analyses how the changes in the dominant attitude of local Soviet writers were encouraged, screened or restricted by the Writers Union [WU] through mechanisms of planning, control and even through measures of creating a secure daily environment. The author looks at the tensions and conflicts between writers of different generations, observing less ideology in the younger generation than in their predecessors since the development and dissemination of national images among the declared values of communism were increasing. The union as a system covered both aspects – conformism and the escape (manoeuvre). Though the WU had a strong mechanism of control, it managed to ensure for the writers such a model of adaptation where even those, who were subject to restrictions, had a possibility of remaining within the official structure, through certain compromises, while actually avoiding involvement in dissident activities or samizdat publishing. Introduction In August 1940 a group of Lithuanian intellectuals, most of whom were writers, went off to Moscow “to bring back Stalin’s Sunshine”, at the same time asking for Lithuania to be incorporated into the USSR. Forty eight years later in early June 1988 a few members of the local literary elite joined the initial Sąjūdis Group and from thenceforth stood in the vanguard of the National Revival. These two historic moments, witnessing two contrary breaking points in history, when Lithuanian writers were active participants in events, naturally give rise to the question of how the status and role of writers and their relationship with the Soviet regime changed. -
Lithuanian Literature in 1918–1940: the Dynamics of Influences and Originality
340 INTERLITT ERA RIA 2018, 23/2: 340–353 VANAGAITĖ Lithuanian Literature in 1918–1940: The Dynamics of Influences and Originality GITANA VANAGAITĖ Abstract. Lithuanian independence (1918–1940), which lasted for twenty- two years, and its symbolic center, the provisional capital Kaunas, have been very important for the country’s political, social, and cultural identity. In 1918, changes in the social, economic, and political status of an individual as well as transformations in the literary field followed the change of the political system. In what ways the relationship between the center and the periphery and the spheres of literary influences were altered by the new forms of life? Lithuania, the former geographic periphery of tsarist Russia, after the change of the political system became a geographical and cultural periphery of Europe. Nevertheless, political freedom provided an opportunity to use the dichotomy of center-periphery creatively. Lithuanian writers, who suddenly found them- selves living in Europe with old cultural traditions, tried to overcome the insignificance of their own literature, its shallow themes and problems by “borrowing” ideas and ways to express them. In fact, the imitation was not mechanical, so the new influences enabled writers to expand significantly the themes and forms of Lithuanian literature. The article examines the development of new cultural centers in inde- pendent Lithuania. It also discusses the avant-garde movement which emerged under the influence of Russian futurists and German expressionists. In addition, it focuses on individual authors, such as Antanas Vaičiulaitis, Kazys Binkis and Petras Cvirka, and the influence that affected their works. Keywords: center; periphery; literary influence; host culture Center and Periphery in Literature The word periphery translated from the Latin (peripherīa) means “a circle.” In turn, this Latin word is related to two Greek words, perí, which means “around,” and pherein – “to carry”. -
Darius Staliūnas HISTORIOGRAPHY of the LITHUANIAN NATIONAL
Darius Staliūnas HISTORIOGRAPHY OF THE LITHUANIAN NATIONAL MOVEMENT CHANGING PARADIGMS The beginning of Lithuanian national historiography and the topic of ‘National Revival’ The Lithuanian historical narrative was formed during the nineteenth century as a component part of a newly developing Lithuanian national discourse. One of the most important and most difficult tasks facing the construction of a modern Lithuanian identity was how to separate it from the Polish identity (as well as from its Russian counterpart, even though Russianness was not regarded as being so parlous for the ‘purification’ of national identity). It therefore comes as no surprise that Lithuanians construed their concept of history as an alternative to the Polish construction (and to a lesser degree to the Russian version). Most nineteenth-century Polish political movements, including schools of history, did not regard the Lithuanians as having any independent political future and so it is not surprising that they were inclined first and foremost to stress the benefits of Polish culture and civilisation in Lithuania’s past. The Lithuanians had no other option than using their authentic ethnic culture as a counterweight to Polish civilisation. Conceiving Lithuanian identity as primarily ethno-cultural values, a concept of Lithuanian history was construed accordingly. The history of Lithuania was considered to be Darius Staliūnas, ‘Historiography of the Lithuanian national movement. Changing paradigms’, in: Studies on National Movements, 1 (2013) pp. 160-182. http://snm.nise.eu Studies on National Movements, 1 (2013) | ARTICLES the history of (ethnic) Lithuanians. Topics connected with ‘national revival’ have clearly dominated in texts devoted to nineteenth-century history. -
Klaipedos Kr Dainos.Indd
Singing tradition of the Klaipėda region preserved in Lithuania and in the émigré communities In the eighteenth and nineteenth centuries it was the Lithuanian songs of East Prussia that opened the way for Lithuanian language and culture into Western Europe. The elegiac folk poetry, with characteristically straightforward structure and plain subject matter, fascinated the enlightened minds of artists and scholars, kindling their imagination and providing inspiration for their own creative work. Certain ideas that originated in the Age of Enlightenment and gained currency in Western Europe, coupled with the nascent concern about the newly discovered yet already vanishing layer of traditional culture, lent an important impetus for preservation of that obsolescent culture. It was then that the Lithuanian songs were first recorded, published and researched. The network of Prussian clergymen who were the first collectors of folklore formed around Liudvikas Rėza (Ludwig Rhesa) (1776‒1840), a professor at the University of Königsberg, amassed a priceless repository of Lithuanian non-material culture, which kept growing by the effort of countless devout enthusiasts during the coming two hundred years. The present collection of Songs and Music from the Klaipėda Region is yet another contribution to this ever expanding repository. At long last we will have an opportunity to hear the real sound of what many of us have only known in the form of written down verses, notated melodies, and interpretations thereof. As a matter of fact, no sound recordings of authentic Prussian Lithuanian songs or instrumental music have been published in Lithuania in the course of the 20th century. On the other hand, there was no apparent lack of valuable materials preserved at folklore archives and informants who could have sung Lithuanian folk songs for the compilers of sound anthologies in the middle of 26 the 20th century. -
The Revival of Lithuanian Polyphonic Sutartinės Songs in the Late 20Th and Early 21St Century Daiva Račiūnaitė-Vyčinienė
The Revival of Lithuanian Polyphonic Sutartinės Songs in the Late 20th and Early 21st Century Daiva Račiūnaitė-Vyčinienė Introduction The ‘Neo-Folklore movement’ (in Lithuania, In contemporary ethnomusicology, attention is folkloro judėjimas, folkloro ansamblių judėjimas; increasingly paid to the defi nition of the terms in Latvia, folkloras absambļu kustība; in Estonia, ‘tradition’ and ‘innovation’. These defi nitions folklooriliikumine) is the term used in the Baltic include stability and mobility; repetition and contries (Estonia, Latvia and Lithuania) to denote creativity; ‘fi rst’ and ‘second existence’1 and similar the increased interest in folklore tradition during concepts, and how these phenomena relate the 1970s and 80s. The term also ‘describes the to folklore traditions. Most of today’s musical practical forms of actualizing folklore in daily traditions can be described as ‘revival’. This term life and in the expressions of amateur art that is used widely yet ambiguously in research in have accompanied the spiritual awakening of the English language.2 The word is applied to the people and their fi ght for the restoration of the phenomena of revitalisation, recreation, independence at beginning of the 1990s’ (Klotiņš innovation, and transformation, these terms often 2002: 107). In Soviet times, the Lithuanian folklore being used synonymously and interchangeably.3 ensemble movement,5 one among thousands of its Nevertheless, there are some ethnomusicologists kind, was a form of resistance to denationalisation who take a purist approach, adhering to the and to other Soviet ideologies. Without this original meanings of these terms. The Swedish ethnic, cultural union there would not have been ethnomusicologist Ingrid Åkesson describes a Singing Revolution.6 three basic concepts that apply to the processes This movement encompassed a variety of of change in folklore, each with its own shade of folklore genres and styles, refl ecting the general meaning: ‘recreation’, ‘reshaping’/‘transformation’, revival and reinvigoration of folklore. -
WHAT PRICE LITHUANIAN INDEPENDENCE? By
NOT FOR WITHOUT WRITER'SPUBLICATIOICONSENT INSTITUTE OF CURRENT WORLD ILN AFEAIRS Vilnius Lithuania April ii, 1990 WHAT PRICE LITHUANIAN INDEPENDENCE? by Ina Navazelskis Saturday, March 31, was a beautiful spring day in Vilnius. The sun shone; a gusty, warm breeze blew. People were out shopping or strolling along Gediminas Prospect, Vilnius' central boulevard. Life looked normal. It was, however,-far from that. It was on this balmy spring day that Mikhail Gorbachev delivered his most stinging written rebuke yet to the Lithuanian leadership. Almost three weeks to the day after the Lithuanians declared independence, Gorbachev warned of "grave consequences" if the Lithuanian parliament refused to revoke all the laws, declarations, resolutions and appeals that it had passed in the interim. Gorbachev's primary target, of course, was the declaration of independence itself, or as the Lithuanians call it, the "reestablishment" of the independent statehood of Lithuania. The Lithuanians have been calling for negotiations with Moscow ever since they passed this act on March ii. Gorbachev now stipulated he would sit down at the negotiating table only if the Lithuanians [evoked it. "The current Lithuanian leadership is not listening to the voice of reason, Gorbachev' s ultimatum to the Lithuanian Parliament began. It was totally ignoring the decisions of the extraordinary third session of the Soviet People's Congress held in mid-March (which condemned all the Lithuanian moves) and was "carrying out actions which conflict with the Constitution of the Soviet Union, and which, in the view of the entire Union, are openly provocational and insulting." Ins Navszelskis, a journalist, hes written extensively about East European and Soviet ffairs. -
Country Profile Lithuania
Country Profile Lithuania Last updated: February 2020 This profile was prepared and updated by Audronė Rimkutė (Vilnius University). The opinions expressed in this profile are those of the author and are not official statements of the government or of the Compendium editors. It is based on official and non-official sources addressing current cultural policy issues. Additional national cultural policy profiles are available on: http://www.culturalpolicies.net If the entire profile or relevant parts of it are reproduced in print or in electronic form including in a translated version, for whatever purpose, a specific request has to be addressed to the Association of the Compendium of Cultural Policies and Trends. Such reproduction must be accompanied by the standard reference below, as well as by the name of the author of the profile. Standard Reference: Association of the Compendium of Cultural Policies and Trends, "Compendium of Cultural Policies and Trends," 20th edition 2020. Available under:<https://www.culturalpolicies.net>>. ISSN: 2222-7334. 1 1. Cultural policy system ..................................................................................................................................... 4 1.1. Objectives, main features and background ....................................................................................... 4 1.2. Domestic governance system .............................................................................................................. 7 1.2.1. Organisational organigram .............................................................................................................. -
Baltic Literary and Cultural History, 7,5 Hp, an BAL 740: Baltisk Litteratur- Och Kulturhistoria, 7,5 Högskolepoäng, SC
STOCKHOLMS UNIVERSITET Institutionen för slaviska och baltiska språk, finska, nederländska och tyska Avdelningen för baltiska språk Spring term 2019 Course Information and Literature List BAL 740: Baltic Literary and Cultural History, 7,5 hp, AN BAL 740: Baltisk litteratur- och kulturhistoria, 7,5 högskolepoäng, SC Welcome to the course Baltic Literary and Cultural History, 7,5 hp! This handout provides information about course content and structure, as well as a literature list. The last page contains an excerpt from the Swedish Higher Education Act, where you can read about the general learning goals that are relevant for higher education. Course Content and Structure The Course Baltic Literary and Cultural History consists of a detailed review of Baltic history of literature, cultural history and ancient Baltic religions, and an advanced analysis of significant cultural manifestations and major contemporary authors. The course consists of a general obligatory part and an elective part, where the student chooses a specific topic within the field of Baltic history and literature and cultural history in cooperation with the examiner. Learning Outcomes Having completed the course the student has demonstrated an ability to: - Acquire advanced knowledge about Baltic history of literature and cultural history - Formulate a theoretical discussion on the development and conditions pertaining to Baltic history of literature and cultural history Grades and Forms of Examination Grades are given according to a criterion referenced seven-point scale: A-E are passing grades, and Fx-F are failing grades. A student who has received a grade of E or higher may not take the test again in order to get a higher grade. -
National Identity and the Teaching of History
NATIONAL IDENTITY AND THE TEACHING OF HISTORY: TH TH THE REFLECTION OF LITHUANIA’S 16 -18 CENTURIES COMMONWEALTH WITH POLAND IN LITHUANIAN SCHOOLS By Irma Budginaitė Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfillment of the requirements for the degree of Master of Arts Supervisors: Professor, Dan Rabinowitz Professor, Prem Kumar Rajaram CEU eTD Collection Budapest, Hungary 2010 Abstract This thesis focuses on how history is taught and learnt in contemporary Lithuania. It is written from the constructivist approach. Lithuanian national history teaching is analyzed dividing it in three periods: the interwar period (Lithuanian independence); 1945-1990 (the Soviet period) and contemporary (post 1990) Lithuania. Data on the first two periods is premised on an analysis of textbooks, while for contemporary Lithuania textbook analysis is complemented by interviews with history teachers and observations in classrooms. This thesis particularly focuses on the Polish-Lithuanian Commonwealth period, which was difficult to fit elegantly in the national history because of its multinational character. Thus it was either dismissed or portrayed negatively in Lithuanian curricula. Witnessing some attempts to revise the Polish-Lithuanian Commonwealth period in the last decade, it is interesting to analyze if the recent textbooks also include different accounts and if teachers are following the changes. CEU eTD Collection ii Table of Contents Introduction .......................................................................................................................................... -
Folklore in the Modern Culture of Lithuania and Latvia
Ethnologia Polona, 2012-2013, 33-34, s. 185-195 Ethnologia Polona, vol. 33–34: 2012–2013, 185 – 195 PL ISSN 0137 - 4079 FOLKLORE IN THE MODERN CULTURE OF LITHUANIA AND LATVIA GUSTAW JUZALA INSTITUTE OF ARCHAEOLOGY AND ETHNOLOGY, CRACOW POLISH ACADEMY OF SCIENCES Abstract The present article focuses on the issue of references to folklore and mythology present in contemporary art in Latvia and Lithuania. Any scholar analysing Baltic cultures or even a person visiting Lithuania or Latvia for the first time and wishing to learn something about the culture of these countries will quickly notice that it contains a kind of a ‘folklore paradigm’ present in all aspects of everyday life, as well as in modern literature, music and visual arts. Folklore and the old world-views connected with it infiltrate professional art through various channels: (1) Subconsciously, as a part of spiritual experience, ancient beliefs still present in everyday life; (2) Consciously or subconsciously through traditional culture, which includes mythology as a ‘cultural relic’; (3) Consciously, if the artist makes deliberate references to mythol- ogy, studies it to find the answer to the eternal question of the meaning of life and conveying this meaning through works of art. Each day takes us further away from the times when mythology and folklore were the only means of conveying thoughts on the world and humankind as a whole. Nonetheless, folklore still inspires Lithuanian and Latvian artists. The ‘high culture’ of these countries, created by educated people, repeatedly returns to the motif of the lost Baltic paradise, the archetypical pagan community. -
From Lithuania Books from Lithuania 2016—2019
FROM LITHUANIA 2016—2019 FICTION and NON-FICTION BOOKS FROM LITHUANIA 2016—2019 © Lithuanian Culture Institute, 2019 BOOKS FROM LITHUANIA 2016—2019 FICTION and NON-FICTION It is often said that in the age of globalisation everything is becoming uniform and that na- tional literatures are beginning to lose their significance. You can decide for yourselves if that is really the case. In this publication we present to you a panorama of Lithuanian fic- tion and nonfiction books published in the last few years, selected from the most exciting, provocative and controversial texts. Yes, this list does reflect global and classical literary trends, such as genre fiction or fashionable autofiction — often chosen as the genre for writing about the 1990s. But equally, alongside these, you will find books that recognisably belong to Lithuanian literature, which evince a melancholic and deep contemplation of in- ner life, a search for causal links, exceptional style, and a ceaseless aim to perfect the sense of language and to push the boundaries of its use. Most important, this panorama includes unique Lithuanian stories that the world has not yet heard — but should. FICTION FICTION Kristina sabaliausKaitė | Petro imperatorė PETER’S EMPRESS Vilnius: Baltos lankos, “Peter's Empress” explores the story of Lithuanian Marta 2019, 334 pp. Skowrońska: an impoverished noblewoman turned laun- A novel dress, a sex-slave and prisoner of the Great Northern War, who became the second wife of Peter the Great - the first ever Empress of Russia, Catherine I. Voltaire called her incredible ascent 'the Cinderella of the 18th century' but in this novel Catherine's I and Peter's I story is a cultural clash of the East and the West in one toxic royal marriage, with a good measure of a Greek tragedy.