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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”. -
Vincas Kudirka, Martynas Jankus, Jonas Šliūpas and the Making of Modern Lithuania Charles C
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Summer 2013 Lithuanians in the Shadow of Three Eagles: Vincas Kudirka, Martynas Jankus, Jonas Šliūpas and the Making of Modern Lithuania Charles C. Perrin Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Perrin, Charles C., "Lithuanians in the Shadow of Three Eagles: Vincas Kudirka, Martynas Jankus, Jonas Šliūpas and the Making of Modern Lithuania." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/history_diss/35 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. LITHUANIANS IN THE SHADOW OF THREE EAGLES: VINCAS KUDIRKA, MARTYNAS JANKUS, JONAS ŠLIŪPAS AND THE MAKING OF MODERN LITHUANIA by CHARLES PERRIN Under the Direction of Hugh Hudson ABSTRACT The Lithuanian national movement in the late nineteenth and early twentieth centuries was an international phenomenon involving Lithuanian communities in three countries: Russia, Germany and the United States. To capture the international dimension of the Lithuanian na- tional movement this study offers biographies of three activists in the movement, each of whom spent a significant amount of time living in one of -
Politics, Feasts, Festivals SZEGEDI VALLÁSI NÉPRAJZI KÖNYVTÁR BIBLIOTHECA RELIGIONIS POPULARIS SZEGEDIENSIS 36
POLITICS, FEASTS, FESTIVALS SZEGEDI VALLÁSI NÉPRAJZI KÖNYVTÁR BIBLIOTHECA RELIGIONIS POPULARIS SZEGEDIENSIS 36. SZERKESZTI/REDIGIT: BARNA, GÁBOR MTA-SZTE RESEARCH GROUP FOR THE STUDY OF RELIGIOUS CULTURE A VALLÁSI KULTÚRAKUTATÁS KÖNYVEI 4. YEARBOOK OF THE SIEF WORKING GROUP ON THE RITUAL YEAR 9. MTA-SZTEMTA-SZTE VALLÁSIRESEARCH GROUP KULTÚRAKUTATÓ FOR THE STUDY OF RELIGIOUS CSOPORT CULTURE POLITICS, FEASTS, FESTIVALS YEARBOOK OF THE SIEF WORKING GROUP ON THE RITUAL YEAR Edited by Gábor BARNA and István POVEDÁK Department of Ethnology and Cultural Anthropology Szeged, 2014 Published with the support of the Hungarian National Research Fund (OTKA) Grant Nk 81502 in co-operation with the MTA-SZTE Research Group for the Study of Religious Culture. Cover: Painting by István Demeter All the language proofreading were made by Cozette Griffin-Kremer, Nancy Cassel McEntire and David Stanley ISBN 978-963-306-254-8 ISSN 1419-1288 (Szegedi Vallási Néprajzi Könyvtár) ISSN 2064-4825 (A Vallási Kultúrakutatás Könyvei ) ISSN 2228-1347 (Yearbook of the SIEF Working Group on the Ritual Year) © The Authors © The Editors All rights reserved Printed in Hungary Innovariant Nyomdaipari Kft., Algyő General manager: György Drágán www.innovariant.hu https://www.facebook.com/Innovariant CONTENTS Foreword .......................................................................................................................... 7 POLITICS AND THE REMEMBraNCE OF THE Past Emily Lyle Modifications to the Festival Calendar in 1600 and 1605 during the Reign of James VI and -
USHMM Finding
http://collections.ushmm.org Contact [email protected] for further information about this collection RG‐50.473*0075 08/21/2000 1 KIRVELAITYTĖ, Justina Lithuania Documentation Project Lithuanian RG-50.473*0075 In this interview Justina Kirvelaitytė, born in 1931 in Pilviškiai, describes a massacre of Jewish women, children and the elderly which took place in Pilviškiai in August 1941 and which she witnessed as a child. She lists and describes in detail several locals who participated in the execution; names the local organizers of the massacre, and notes that the chief of the village, Ambrasas, was one of them. She claims having seen Antanas Baltūsis, a famous Lithuanian anti- Soviet partisan, taking part in the execution. She talks about Jews, who managed to escape and people who rescued them. She also mentions a man, who was among those, who were marching the Jews, but who let one Jew escape on the way to the execution site. She references the executions of Jewish men of Pilviškiai, but explains that she has not witnessed it herself and is only sharing stories she had heard from other people. She talks about looting and mentions that the only payment for the collaborators was the clothes of the Jews, who were made to undress before being massacred. File 1 of 3 [01:] 00:41:22 - [01:] 02:33:00 00:00:53 – 00:02:48 [The setting is outside, at the place of the massacre of Pilviškiai Jews.] Q: So now, Madam, first of all, please tell me your first name and surname. A: Justina Kirvelaitytė. -
Performance of Musical Scale in Traditional Vocal Homophony: Lithuanian Examples
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Serbian Academy of Science and Arts Digital Archive (DAIS) Rytis Ambrazevičius Performance of Musical Scale in Traditional... DOI: 10.2298/MUZ1417045A UDK: 784.4(474.5) Performance of Musical Scale in Traditional Vocal Homophony: Lithuanian Examples Rytis Ambrazevičius1 Lithuanian Academy of Music and Theatre (Vilnius) Kaunas University of Technology (Kaunas) Abstract Acoustical measurements of pitches in a dozen songs exemplifying the Lithuanian traditional vocal homophony were carried out. Several phenomena were revealed. First, the entire scales experience gradual transposition (rise) from the beginning to the end of the song performances. Second, the transposition is supplemented with the gradual shrinking of the musical scales (the intervals become narrower). Third, the intonations of the scale degrees are dynamic, i.e. they depend on the musical (both melodic and harmonic) contexts. Fourth, the versions of musical scales work as certain markers for the idiolects (further studies could show if this might be extrapolated to the realm of dialects). All these insights raise issues about the per- ceptual qualities of the musical scales and their manifestations in the performance. Keywords Musical scale, vocal performance, homophony, Lithuanian traditional singing, acoustical measurements, pitch perception. Issue of musical scale Before we proceed to the elaboration of the methods and tech- niques of the acoustical measurements, and the analysis of their re- sults, let’s discuss the concept of the ‘musical scale’. Most probably, this concept seems to be entirely transparent to us. Yet, upon closer inspection we encounter several obstacles. -
The Archaeology of the Prussian Crusade
Downloaded by [University of Wisconsin - Madison] at 05:00 18 January 2017 THE ARCHAEOLOGY OF THE PRUSSIAN CRUSADE The Archaeology of the Prussian Crusade explores the archaeology and material culture of the Crusade against the Prussian tribes in the thirteenth century, and the subsequent society created by the Teutonic Order that lasted into the six- teenth century. It provides the first synthesis of the material culture of a unique crusading society created in the south-eastern Baltic region over the course of the thirteenth century. It encompasses the full range of archaeological data, from standing buildings through to artefacts and ecofacts, integrated with writ- ten and artistic sources. The work is sub-divided into broadly chronological themes, beginning with a historical outline, exploring the settlements, castles, towns and landscapes of the Teutonic Order’s theocratic state and concluding with the role of the reconstructed and ruined monuments of medieval Prussia in the modern world in the context of modern Polish culture. This is the first work on the archaeology of medieval Prussia in any lan- guage, and is intended as a comprehensive introduction to a period and area of growing interest. This book represents an important contribution to promot- ing international awareness of the cultural heritage of the Baltic region, which has been rapidly increasing over the last few decades. Aleksander Pluskowski is a lecturer in Medieval Archaeology at the University of Reading. Downloaded by [University of Wisconsin - Madison] at 05:00 -
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. -
C)Specimen of Folk Memorial Small Scale Architecture, Generally Called Crosses, Are No Doubt Related by Their Plastic Forms to T
CROSS-CRAFTING IN LITHUANIA 1.IDENTIFICATION a) Lithuania. b) Cross-crafting in Lithuania. c) Local communities, public organizations. d) The territory of the Republic of Lithuania. e) Lithuanian ethnographic regions: Aukštaitija, Žemaitija, Dzūkija, Suvalkija, Lithuania Minor. f) An uninterrupted tradition which has been passed on for centuries. g) The Ministry of Culture of the Republic of Lithuania, the Lithuanian Folk Culture Center. 2. JUSTIFICATION OF THE CANDIDATURE a) Cross- crafting is a craft exceptionally valuable from the historic, artistic, ethnological and sociological points of view. b) Presently, it is primarily folk artists who are the bearers of the tradition and who maintain and pass on the plastic characteristics of cross-crafting. There are now around one hundred actively performing cross-crafting masters in Lithuania (those having made over 20 crosses) and about 200 craftsmen who have made 10-20 crosses. There is no statistical information on craftsmen who have created only one or two crosses (these are usually folk artists who make wooden sculptures or other woodwork and who, if circumstances arise, can make wooden crosses, too). A list of the most actively practicing cross-crafting craftsmen is attached. The traditions of cross-crafting are primarily cherished by religious and local communities of all five ethnographic regions of Lithuania. A community as an organizational unit can commission crosses, but under certain circumstances the crosses can also be commissioned by private individuals. The majority of Lithuanians are Roman Catholics (some, however, only in the formal sense) and so are committed (at least partially) to traditional worship practices related to wooden crosses. -
1 the Objectives of the Course Is to Study the Lithuanian Musical
STUDY SUBJECT PROGRAMME Subject Subject group Credits Subject Subject Reg. No. code certified certification valid until C (No., as ETN4003 Main group of 4 ECTS recorded in a study program register of study subjects). Title LIETUVI Ų ETNIN Ė MUZIKA Title in English LITHUANIAN ETHNIC MUSIC Subject annotation in English (up to 500 symbols) The objectives of the course is to study the Lithuanian musical, spreading and using traditions in the context of the ethnic history of the Lithuanians. Spreading of two main styles of ethnic music not coincides with the boundaries of current ethnographical regions – theses areas reflects ancient cultural territories. Area of polyphony more or less show the territory of former culture of ancient Western, and the monody – the culture of Eastern Balts. Using traditions of the monody reflect the customs and works of the autumn, winter and early spring period, and shows a very strong agriculture heritage, while the polyphony – coincide with the spring and summer period and connects with the heritage of cattle – breading. Necessary background knowledge for the study of the subject The courses of Narrative folklore , Basics of Ethnology and Meloflolkloristics must be studied. Study results of the subject (up to 600 symbols) Students competences are follows: • apply the knowledge, theories and methods for working position • organize researches of ethnic music and ethnic culture • research and evaluate ethnic music as the feature of culture heritage • work in the scientific, education and art institutions • prepare and work with the national and international projects and do the evaluation of these projects • prepare the programs for researching ethnic music and ethnic culture • make the support and consultations for the performers of ethnic music • make the scientific and methodical support for the government education, art and other institutions Subject contents (up to 1200 symbols) Monody and polyphony in Lithuanian ethnic music. -
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.