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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. -
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]. -
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. -
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. -
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. -
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 -
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. -
Singers to the Core: Folk Music from Latvia a Smithsonian Folkways Lesson Designed By: Johann Jacob Van Niekerk University of Washington
Singers to the Core: Folk Music from Latvia A Smithsonian Folkways Lesson Designed by: Johann Jacob Van Niekerk University of Washington Summary: In this series of three lessons, students will engage with Latvian folk music, culture, and history through critical listening, singing, movement, dance, and instrumental performance. They will also learn about the Baltic Singing revolution and power of music in effecting social justice. Suggested Grade Levels: 3–5; 6–8; general music or choral Country: Latvia Region: Eastern Europe/Baltic States (Estonia, Latvia, Lithuania) Culture Group: Latvian Genre: Folk music of Latvia, vocal music, children’s music Instruments: Voice, kokles, three woodwind instruments Language: Latvian Co-Curricular Areas: Social studies, history National Standards: Lesson 1: 1, 3, 4, 6, 7, 8, 9 Lesson 2: 1, 5, 6, 7, 8, 9 Lesson 3: 1, 2, 3, 6, 7, 8, 9 Prerequisites: Lesson 1: None Lesson 2: Singing, part-singing. Lesson 3: Understanding of difference between 3/4 and 4/4 meters 1 Objectives: Lesson 1: Students will: - Learn to dance and sing an unfamiliar song from Latvia in unison with the refrain in two parts. - Experience faster and slower tempi and alternating between the two in movement and in song. Lesson 2: Students will: - Learn to play and sing an unfamiliar song from Latvia in three parts. - Engage in discussion about music and social justice. Lesson 3: Students will: - Analyze and listen critically to basic polyrhythmic music (3-against-4) - Play, move, and compose their own original composition in this polyrhythm (3-against-4). Materials: Lesson 1: - Recording of “Kalabadi Galiņami (The Table),” found on the Smithsonian Folkways album The Latvian Folk Ensemble of New York Vol. -
The Unattached Intellectual in State Government Agencies: Rainis in Two Stages of Politically Relevant Activities
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 21, Issue 5, Ver. 1 (May. 2016) PP 55-70 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Unattached Intellectual In State Government Agencies: Rainis In Two Stages Of Politically Relevant Activities Inese Grumolte-Lerhe The article deals with the role of unattached intellectuals in society, and transformation of this role after their involvement in state government agencies. The case of Latvian poet, playwright and politician, Rainis, is being explored. Analysis of his intentions in two stages of politically relevant activities, i.e. stage of unattached intellectual and the politician, reveal continuity.This continuity in combination withreluctance to set a new agenda for the new career contributed to the clash of identities. Furthermore, Rainislaid claim on holding the authority of leader which is related to the symbolic power. Keywords: the political role and responsibility of intellectual, Rainis, unattached intellectual, politician. I. INTRODUCTION The subject of involvement of intellectuals,agents representing various artistic and aesthetic fields, in socially political processes of non-free societies, has earned an extensive scholarly attention in various contexts. One has to agree that fields of cultural and scholarly work provide a comparatively high degree of freedom under repressive regimes,thus their political relevance may be invokedper se(Cvijetic 1999). However, empirical studies give evidence for the fact that intellectuals who were once fighting against the repressive regime, use to change the sides of entrenchment after the regime overthrow, and turn into state government officials or politicians under the newly-established or the restoreddemocratic regime. -
Zane Jansone B. 17/01/82 and Marcis Jansons B. 23/11/85 Transcript of Interview with Judy Caine on 2Nd January 2019 (N.B
Zane Jansone b. 17/01/82 and Marcis Jansons b. 23/11/85 Transcript of Interview with Judy Caine on 2nd January 2019 (N.B. – timecode numbers refer to the audio recording) Judy Caine: [00:00:01] We can just ignore this (recorder). Okay. This is Judy Caine, and I am in Corby. How do I say your name correctly? Marcis Jansons: [00:00:12] Martis. Judy Caine: [00:00:13] Martis, OK, Yansons (silent 's')? Marcis Jansons: [00:00:17] Jansons. Judy Caine: [00:00:17] OK so it's a ‘Jay’ not a ‘Yay’. Jansons. I'm with Martis Jansons and Zani Jansons? Zane Jansone: [00:00:24] Jansone (pronounced with ‘ey’ on the end). Judy Caine: [00:00:25] Jansone - masculine and feminine, and it's the 2nd of January 2019. They're both from Latvia and they've kindly agreed to talk to me about Latvian dance and music and all things Latvian. OK just to start ...I'm having great difficulty hearing myself here so bear with me when I find out what is going on ... I'm sounding like I'm down a drain .... I'm just going to ... JUDY SORTS TECHNICAL ISSUE WITH RECORDER … Judy Caine: [00:00:02] OK. Let's go again. Marcis Jansons: [00:00:05] Zane, in that time was living in London. And we both are, we was dancing in different pub dance groups. Zane was dancing in London. I was dancing in Leeds/ Bradford folk dance group. And we met in Brussels on the like final day of that time and we was performing as a big festival in Brussels. -
Mūzikas Akadēmijas Raksti XI
Mūzikas akadēmijas raksti Jāzepa Vītola Latvijas Mūzikas akadēmija, 2014 XI Mūzikas akadēmijas raksti, 11 Rīga: Jāzepa Vītola Latvijas Mūzikas akadēmija, 2014, 180 lpp. ISSN 978–9984–588–38–4 Sastādītāja un redaktore Baiba Jaunslaviete Konsultants Jānis Torgāns Angļu valodas tekstu tulkotājs un redaktors Egils Kaljo Makets: Kristīna Bondare Dizains: Dita Pence Redakcijas kolēģija: Boriss Avramecs (Rīgas Pedagoģijas un izglītības vadības akadēmija) Anda Beitāne (Jāzepa Vītola Latvijas Mūzikas akadēmija) Tamāra Bogdanova (Rīgas Pedagoģijas un izglītības vadības akadēmija) Mārtiņš Boiko (Jāzepa Vītola Latvijas Mūzikas akadēmija) Jons Brūveris (Jonas Bruveris; Lietuvas mūzikas un teātra akadēmija) Ēvalds Daugulis (Daugavpils Universitāte) Lolita Fūrmane (Jāzepa Vītola Latvijas Mūzikas akadēmija) Ilma Grauzdiņa (Jāzepa Vītola Latvijas Mūzikas akadēmija) Ingrīda Gūtberga (Bostonas Universitāte) Baiba Jaunslaviete (Jāzepa Vītola Latvijas Mūzikas akadēmija) Jefims Jofe (Efim Yoffe; Levinska Izglītības koledža, Telaviva) Kevins K. Kārnss (Kevin C. Karnes; Emorija Universitāte, Atlanta) Arnolds Klotiņš (Latvijas Universitātes Literatūras, folkloras un mākslas institūts) Jānis Kudiņš (Jāzepa Vītola Latvijas Mūzikas akadēmija) Tatjana Kuriševa (Tatjana Kurysheva; P. Čaikovska Maskavas Valsts konservatorija) Jeļena Ļebedeva (Jāzepa Vītola Latvijas Mūzikas akadēmija) Georgs Pelēcis (Jāzepa Vītola Latvijas Mūzikas akadēmija) Ilze Šarkovska-Liepiņa (Latvijas Universitātes Literatūras, folkloras un mākslas institūts) Jānis Torgāns (Jāzepa Vītola Latvijas -
Gunars Saliņš U.C.)
i VOL. LVI, No 3, ISSUE 262 56. GADAGĀJUMS, RUDENS 2010 AUTUMN 2010 3. (262) NUMURS Jaunā Gaita is a Latvian quarterly S A T U R S devoted to literature, the arts, and the discussion of ideas. 1 Māris Melgalvs 2 DZEJA – Juris Helds Editor-In-Chief: Rolfs Ekmanis 5 Maija Meirāne. Mēs atnākam aizmirstībā Phone/Fax: 928-204-9247 6 Juris Helds. Ko darīt? [email protected] [email protected] 11 Laima Bikše. Meteorologs darbā. 12 Uldis Briedis. Dziesmotā revolūcija 1990 Associate Editor: Juris Žagariņš 24 Eva Eglāja-Kristsone. Latvija un trimda [email protected] 31 Almantas Samalavičius. Proza Lietuvā Contributing Editors: Voldemārs Avens, 33 Vija Celmiņa. Skolas tāfelītes #3 Vita Gaiķe, Anita Liepiņa, Juris Silenieks, 34 Uldis Grasis. Kružių kalnas Juris Šlesers, Biruta Sūrmane, Linda Treija, 36 Lāsma Ģibiete. Laupītājs Kaupēns Lilita Zaļkalne 41 Aigars Bikše. Kapitālisma krīze Business Manager: Ingrīda Bulmane 43 Gunārs Janaitis. Dziesmotā revolūcija 23 Markland Drive 44 Sigita Daugule. Baltā grāmata Toronto, ON M9C 1M8 Canada Phone: 416-621-0898 45 Uldis Bērziņš. Nešķindiniet zeltu! Fax: 416-621-9717 VĒSTURE [email protected] 46 Rolfs Ekmanis. Radio Brīvā Eiropa – II JG home page: MŪZIKA http://zagarins.net/JG 50 Helēna Gintere. Pianists Streļājevs MĀKSLA 52 Linda Treija. Vijas Celmiņas izstāde Subscription rates Canada 53 Linda Treija. Par Sigitu Dauguli 1 year Can $39.- 54 Linda Treija. Par Laimu Bikši 2 years Can $76.- 55 KIBERKAMBARIS – Imigrācija Single issues $10.- 56 DAŽOS VĀRDOS – vg,bs,mb,jk,re Other countries 65 Gunārs Janaitis. Dziesmotā revolūcija 1 year US $39.- 66 Sigita Daugule.