Transformations of Lithuanian Historical Discourse

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Transformations of Lithuanian Historical Discourse Algis Kalėda The Present of Past Things: Transformations of Lithuanian Historical Discourse ŁifnwaniaM Akfoncaf dkcowrse wai lAaped 6/ naffonaf rracfifio»^ frenda m wor/d/ifera(wre, antf oko, wMcfowbWfy, concrefe coMfffffoMiprevafenf m me focfefy of fAe (mie. TTiis arfkfe aim* fo prwenf a diac/ironic f/McnroMic ana/yik o/UfAwanicn Akforfcaf Mferafwre (/ir*ffy, fAe , ana" fo «fkcwn fAe primary yeafwre* 0/ fAk arfkfk paradigm. TTie LifAwanfan geopofifkaf iffwaffon befweem fAe Eaif (RwMia»^ ofAer Eaffem Sfaw) and fAe VW»f fPo/ef, GermaMi^ k a conafanf focwf 0/ LffAwanfan ffferafwre, wi'rA a mwffłfwde 0/ variation; fo fA» day. 7» fiferafwre wnffe» befween fAe fwo Wbr/d War; (19:8-1940^ fAere was aM empAafk on nafionaf origins, wAicA spurred fAe pwbfic fo fakepndg iM fAefr Akfory mfAowf aM/ reiervafiom; fAk waf greaffy :n/7wenced by fAe ce/ebrafiOM 0/ fAe goo year aMMiversary 0/ V^fawfa$, fAe Grand Dw&e o/L(fAwan(a. m 19jo and fAe /ifemry confeff aMMoimced/br fAe occasion. Temporaf peopecfive aid* in fAe recognffion and revefafion 0/ many new modi/icafions 0/ Akforkkm, cAaracferkfic 0/ fiferafwre creafed offer ipgo. The cAaracferkffc* 0/ confemporary Akforickm ore: m'sfon'osopAic origins fa confiderafion o/what might have been^, gwasi-archeological documeMfad'on, witness (pfay/wf) coffage, and ironic dkfance. TAe arfkfe di'scwsses woriü by wrifers fwcA a$ Vinca* Piefark, Anfanas Wenwofk, /woz« KrafitaiwW, Pefra* Dirgė/a, Gfnfara* BeresneviYiws, and ofAe». 116 Algis Kalėda 77me, o» (Ae o(ker/wW, » nevgroffprwMf a( once. T&epaü k afwayj «fnv o» by f/ie/wrure, (Ae/w(wre a/wa/f/öffoiw on (Ag Wk o/(Aepa;(, and bo(/i hep<w( OM(f (fie/w(wrr fiave (heir kginnfng on«f (fzeir end in (Af ekrmaf pre*en(. Tfonfy men) miwf* cow W be seized awf heW jd'ff/ Tkey wowM *ee Aow e(enn'(/ m w/uch (fierg w M«i(figrf<w( nor/ufwre, JefermiM« bo(7ip<w( and/wlwre (:'me St. Augustine' I The topic of history in Lithuanian literature has been permanently established as a constituent part of our cultural consciousness, more intensive during some periods of our nation's existence and rather trivial, schematicandaßectedbydistortingideologiesduringothers. Undoubtedly, it is one of the most essential layers of ideas and topics intertwined with the nation's existence, often facing the threat of destruction. Literary (but not only) interpretations of history are well determined by various circumstances of political and social life. On the other hand, manifestation of historical topics in fiction is probably the most suggestive implication and expression of national and patriotic ideas. The historical discourse has been much exposed to the permanent tension between collective and individual consciousness, factual objectivity and literary Action, the aspiration of having an ot/ecfive reconstruction of the past and its unavoidable fwb/ecMve projection, one's ów» and the/breign, and societies expectation and creative freedom. For many years the Lithuanian geopolitical situation encouraged resistant and contesting statements against military danger to its statehood and the imposition of values by other civilisations on cultural trends. The existence between the East (Russians and other Eastern Slavs) and the West (Poles and Germans) has been (irmly embedded in the Lithuanian consciousness since the Middle Ages and has remained there almost permanently (though with great variation) into the present day. We have come a long way, through many manifestations and transformations, to reach the present stage, the beginning of which can be marked by the restoration of Lithuania's independence in 1990. THE MtEUKT Of PAH THINGS 117 The experience of historical discourse has accumulated throughout a long period of time, starting from folklore and Lithuanian chronicles. When professional literature began developing, the Vilnius school of Romanticism (Adam Mickiewicz, Juliusz Słowacki, Władysław Sy- rokomla, Józef Ignacy Kraszewski, and others) had a significant role to play. During this period of up swell of a new wave of National Rebirth, and renewal of the goal of restoration of statehood to Lithuania (undermined and subdued by Russia and Prussia since 1795), Lithuanian cultural consciousness was filled with a nostalgic myth about our heroic past and the noble deeds of our ancestors. The manifest of patriotism coming from this period refers to Lithuania as a land of heroes, and calls on its sons to draw their strength from the past (a paraphrase of Vincas Kudirka's National Song, which later became our National Anthem). The purpose of the first Lithuanian historical novel Apmauk» (1904) written by Vincas Pietaris is also to depict the heroic past, and the fierce and treacherous battles fought by the Lithuanians against the Slavs in the 13* century. Prominent Lithuanian writer and critic Balys Sruoga wrote in 1935: "The task of history and its auxiliary sciences is to turn a fairy-tale into a real story. Yet making it our own and making it loved is a matter and duty of fine literature."^ This statement became an imperative for many Lithuanian authors seeking to rafore past events in the most suggestive manner, introducing them in thepr«en( context. The quasi-mythological vision of Lithuanian history developed in literature during the 19^-20"' century became the richest, and almost imperative, repertoire of topics, motives and images, the impact of which could not and cannot be avoided by the authors to follow. Therefore, it is essential to have at least a quick look at how historical genres developed. If we were to limit the rich and multi-branched material to just the essential sections, we could draw a somewhat simplified diachronic trajectory of the transformation of historical discourse in the 20* century. It is rather closely intertwined with the general trends of the social- political process and reflects the peripatetic nature of the destiny of the nation and the state. Bearing in mind the propaedeutic-methodological considerations, we will outline what we think are the key trends of development of Lithuanian historical discourse, underlining the overall us Algis Kakda context of paraliterary factors and enlarging upon some characteristic manifestations in the section to follow. 7&e iMferwar period. After 1918, (when Lithuania's statehood was restored), the previously dominant Romantic and apotheotic historicism was eventually replaced by a more penetrating and analytical reflection of the past, makingattemptsat dismantling the patriotic myths. Incidentally, creators of the Lithuanian avant-garde, futurists and expressionists, who gathered around the publication Kefwrf vė/af (Four Winds, 1924-28) and their banner-bearer Kazys Binkis, first of all sought vigorously to distance themselves from sentimental traditions of romantic patriotism and declared their denial of creative statements made by Maironis, a representative of these traditions. On the other hand, the paradigm of historical thinking seems to diversify; this is expressed in a wider repertoire of rhetoric and ideologies, using the means of almost all genres and discourses, mostly employing the language of drama and epic. That period produced over 30 historical novels, the most prolific were the years 1936-38, when 8 works of such genre were published.' The works usually followed a straightforward discourse strategy, providing little room for the target audience to express their opinion or make assessment. Moreover, they showed a rather bright axiological change. According to a famous emigrant Lithuanian literaturologist Bronius Vaškelis, Before the restoration of independence [in 1918, A.K.], the country's past was the main source of creation and patriotism in Lithuania, fighting against the Russians for the nations freedom, therefore, it is not surprising that the genre of drama was almost exclusively dominated by historical drama. After the country's independence was restored, the role of the dramaturge changed: the earlier motto "to fight" was replaced by "to create," i.e. "to create national culture," a national drama and a national theatre. The press of those times started contemplating what constituted nationality, what the features of the Lithuanian character and spirit were and what the guiding stars and sources of inspiration for a free Lithuanian should be/ THE PKESENT Of PAST THINGS 119 Driven by these tasks of creation, new Lithuanian intellectuals (the publishers of the magazine Naw/q/i RoMiwva, 1931-1940) sought to inte- grate the issues of nationalism into modern Western culture. Along with these statements, new mythical visions about the heroic past, the national distinction and character were actively developed and established. First and foremost they were certainly instilled in educational establishment, and printed in journalistic and historical publications. However, importance was still placed on literature and art. Seeking to elevate the noble history of the nation, various opportunities, pretexts and occasions were used, among them opportunities at the state level. Various literary competitions and projects were launched to glorify the grandeur of the Grand Duchy of Lithuania, to mobilise the national movement in order to regain the capital occupied by the Poles, and to celebrate the cultural contribution of Lithuanian historical rulers. The most prominent example was the cult of Vytautas the Great; the climax was reached in 1930 with the commemoration of the 500* anniversary of his death. The historical discourse during World War II and the years of re- sistance righting was treated as utilitarian almost across the board: it was a means of political struggle. The most significant dividing line in imagining the past in the present was that between one's own and the enemy. Writers supporting the Sovietisation of Lithuania and communisation used patriotic myths and images created by Romanticists as the primary means to bring the nation together against their eternal enemy: the Germans. Fighters for the country's independence, and forest brothers in particular, sought to increase freedom of national spirit and renew the tradition of fighting against the Russians.
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