DOCSLIB.ORG

Pranciškus Baltrus Šivickis – Filming Fancier

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pranciškus Baltrus Šivickis – Filming Fancier EKOLOGIJA. 2013. Vol. 59. No. 1. P. 61–76 © Lietuvos mokslų akademija, 2013 Pranciškus Baltrus Šivickis – filming fancier Laima Petrauskienė* The article contains a survey of amateur documentary films covering the time frame 1928–1935 produced by the famous Lithuanian biologist P. B. Šivickis and Institute of Ecology, a description of his recording camera “Filmo”; photos of the camera and frames Nature Research Centre, from the films are included. P. B. Šivickis filmed Manila, the capital of Philippines, Akademijos Str. 2, professors from Philippines University seeing him off to Lithuania, sights on the LT-08412 Vilnius-21, Lithuania cruise from Philippines to Europe, West European cities, Lithuanian cities and lo- calities, and famous Lithuanian people. Many filmed persons have been identified. They are famous Lithuanian scientists, professors of Vytautas Magnus Universi- ty – chemist and politician Jonas Šimkus, philosopher Stasys Šalkauskis, hydrolo- gist Steponas Kolupaila, geophysicist Kazys Sleževičius, and P. B. Šivickis himself, his students, future researchers and teachers – Juozas Maniukas, Teklė Kiselytė, K. Jasiukėnaitė, S. Goldmanaitė, Irena Babuškinaitė, Natalija Kristijanovaitė (later Linkevičienė), artists – Antanas Žmuidzinavičius with his wife and daughter, vo- calist Antanas Sodeika with his family, family of visiting Italian singing-master Victorio Marini, and writer Petras Cvirka, political and public figures – lawyer Mykolas Sleževičius with his family, attorney Mečys Mackevičius, and Emilija Putvinskienė with her family. The footage also includes films of Lithuanian locali- ties – Kaunas, Palanga, Kretinga, Klaipėda, Šventoji, Šiauliai, Dotnuva, Graužikai estate, Žuvintas Lake, Plungė stud farm, etc. including means of transport of those times the most interesting of which is “konkė” (horse-drawn streetcar) captured in the Laisvės Avenue in Kaunas. Though some of the films are of poor quality they nevertheless are valuable from the historical point of view. There are unique shots of philosopher S. Šalkauskis (in the Soviet years, the filmed material about him was purposely destroyed) and three short episodes with P. B. Šivickis himself (the only filmed material about him). Key words: Pranciškus Baltrus Šivickis, recording camera “Filmo”, documentary films, Philippines University, famous Lithuanian people, Lithuanian localities INTRODUCTION ginning of the 20th century supposedly filmed by American Lithuanians. The author was intrigued For a long time following the death of the famous by the known name and initials but was not yet Lithuanian biologist academician P. B. Šivickis sure that P. B. Šivickis used to film. After a talk (1892–1968), the public of Lithuania had no idea with the older members of the staff of the Institute about his amateur films. The first article about his of Ecology who used to work with P. B. Šivickis, it documentaries appeared in 2004 (Petrauskienė, turned out that he had a fancy for filming. Then a Šeduikienė, 2004). The author of the present pa- box with film tapes was found. The author decided per by a happy chance saw some documentaries to find out the names of captured persons and lo- by P. B. Šivickis in a private company. They were calities, i. e. to decipher the films. The Lithuanian demonstrated by archivists as exotica of the be- Central State Archive (LCVA) has been storing some digitized films produced by P. B. Šivickis yet * Corresponding author. E-mail: [email protected] not nearly all. 62 Laima Petrauskienė P. B. Šivickis’ recording camera Judging by the captures, it is clear that P. B. Šivic- kis purchased a recording camera right before lea- ving Philippines, i. e. in the spring of 1928, becau- se Manila shots are few whereas the footage in the Manila port about seeing P. B. Šivickis off to the motherland is relatively long. If P. B. Šivickis had bought the camera earlier there would have been more shots of Philippines; even perhaps images of Puerto Galera. P. B. Šivickis used a recording camera “Filmo” manufactured by “Bell & Howell” company (USA). The objective was made in Germany to order of an American company. The lettering is English: Patent Dr. Rudolph Hugo, Mayer & Co-Georlitz, Nr. 293400. Kino – Plastmat, f: 1.5 Foc. 1 Inches. Made in Germany“. Using this camera, the shoo- ting distance had to be estimated visually (∞, 10, 5, 2 Feet); the diaphragm could be chosen from: 1.5; 2; 3; 4; 6; 8; 11. The date of manufacturing is Fig. 2. P. B. Šivickis’ recording camera “Filmo”. Front view not indicated; only the number; No. 22334. Accor- ding to the famous Lithuanian operator Algiman- tas Mockus, Americans started manufacturing fil- (Petrauskienė, Šeduikienė, 2004). Lithuanians only ming cameras in 1922 yet for a long time they used had wide film cameras; sometimes homemade German objectives. The “Filmo” camera is small ones. Thus, we may assume that P. B. Šivickis was (portable) and weighs 2 kg (Figs. 1 and 2). For his- the best technically equipped filming fancier in torians of Lithuanian cinematography the fact that the interwar Lithuania. For comparison, in those P. B. Šivickis used a narrow film (16 mm) camera is years cameraman Stasys Vainilavičius’ equipment in itself interesting. At that time (in 1928), nobody designed for professional filming weighed a few had such cameras in Lithuania except the Ameri- tens of kilograms (S. Vainilavičius is a legend of can Lithuanians who used them visiting Lithuania the Lithuanian cinematography who produced the first professional films in the interwar Lithuania; in 2005, when the author had an opportunity to interview him, he celebrated his 95 years anniver- sary; he died in 2007). It is even more interesting to compare the ca- mera “Filmo” with the “advanced” Soviet filming machinery. In 1979, i. e. more than 50 years af- ter the production of “Filmo” camera, the author had an opportunity to film using the newest Soviet amateur portable filming camera. Actually that was a precise copy of “Filmo” camera with the only difference that it had a viewfinder. What a good example of “rapid technical progress”! The P. B. Šivickis’ “Filmo” camera was presen- ted to the Lithuanian Theatre, Music and Film Museum in 2005 by his daughter Teklė Šivicky- tė-Juodienė. Today, it is the most valuable exhibit of filming machinery. It was demonstrated at the Fig. 1. P. B. Šivickis’ recording camera “Filmo”. Side view exhibition devoted to the centenary of Lithuanian Pranciškus Baltrus Šivickis – filming fancier 63 cinema „Lietuvos kinas 1909–2009“ (Lithuanian Sleževičius with family, family of Putvinskis, the cinema in 1909–2009). The exhibition ran for al- founder of the Union of Lithuanian Riflemen, etc. most two years. The P. B. Šivickis’ camera has been was rather dangerous. Yet the author of this article described in the articles devoted to the history of had to plod on before she found out what famous Lithuanian cinematography (Petrauskienė, 2010; and important for Lithuanian history people were Pilipavičienė ir kt., 2011). captured in P. B. Šivickis’ films. The second group of films found at the Institute Two groups of films of Ecology at first sight seemed to be one long film. One group of films was preserved by the P. B. Ši- Only after a thorough analysis it turned out that vickis family; in 1998, P. B. Šivickis’ daughter Te- the footage included a group of films. The find had klė Šivickytė-Juodienė presented the films to the no schedule and was put in an original “Agfa” film Lithuanian National Museum whereas in 2003 the box yet without the original label. The box had a latter transferred them to the Lithuanian Central hand-written inscription “Filmed by Prof. Šivickis” State Archive. As had been already mentioned, the made by an unknown person. With the assistance second group of films was discovered at the Ins- of the LCVA staff, the author managed to find out titute of Ecology in 2004 and also transferred to that the film under consideration was a copy of the LCVA. the negative composed of fragments. The clipping The films of the first group had been digitized technique implied that the film was made before and clipped into a video film by the staff of the -Li the war because in the Soviet years this technique thuanian National Museum before the beginning was not available even for the Lithuanian televi- of the present research. The video film had some sion. We came to a conclusion that the film was dates and notes. The composed video film and the clipped by P. B. Šivickis himself or under his su- original films used in the video film were transfer- pervision. Thus, the chronological sequence of the red to LCVA. When analysing the original films it clipped fragments caused no doubts (Petrauskie- turned out that, unfortunately, almost all the dates nė, Šeduikienė, 2004). Yet the content of the film entered by the Museum personnel were inaccurate was not clear. We watched the film together with and the sequence of episodes in the video film was the senior staff members of the Institute of Ecolo- not observed (i. e. the episodes were joined ran- gy at the film chamber of the LCVA. During the domly, not observing the chronology of the ori- run-through, in one sequence of the film Prof. Ha- ginal films); the titles often were at variance with bil. Dr. Irena Eitminavičiūtė recognized P. B. Šivic- the content; some sequences had no titles. This kis himself and in another she recognized the artist might have happened because this group of films Antanas Žmuidzinavičius. The remaining material included many short episodes, i. e. fragments (the was not identified. Museum received many short fragments of tape). Only few original films had authentic notes (made Methods and challenges of deciphering films by P. B. Šivickis) on their boxes. These were the The films were many times run through individu- sequences (images of foreign cities) of least inte- ally and together with the senior staff members rest to Lithuanian history as they were captured in of the Institute of Ecology who used to know 1928, when P.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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”.
    [Show full text]
  • Balio Sruogos Laiškai Įvairiems Asmenims: „Sursum Corda!“
    Lietuvių katalikų mokslo akademijos metraštis, vilnius, 2020, t. 43. issN 1392-0502 BaLio sRuoGos LaiŠkai ĮvaiRiems asmeNims: „suRsum CoRda!“ NeRiNGa maRkeviČieNĖ Įvadas. straipsnio1 tikslas – pristatyti Balio sruogos laiškų įvairiems as- menims rinkinį (1911–1947), kuris rekonstruotas ištyrus Lietuvos (vilniaus, kauno, Šiaulių) ir pasaulio (jav, Rusijos) atminties institucijose saugomus rašytojo egodokumentus2. siekiant šio tikslo, naudojantis analitiniu apra- šomuoju metodu, svarbu: 1) aptarti šio sruogos laiškų rinkinio korpusą, 2) aprašyti laiškų tematiką3, 3) pabrėžti sruogos laiškų ir atsiminimų apie jį sąsajas, nurodant naujai išryškėjančias detales ir iki šiol nežinotus ar ma- žai aktualintus faktus apie rašytojo asmenybę, jo veiklą ir gyvenimą, 4) ak- centuoti laiškuose atsispindinčius sruogos grožinės kūrybos fragmentus, svarbius genezės, recepcijos aspektais, 5) įvardyti tekstologines problemas. sruogos laiškai įvairiems asmenims iki šiol nebuvo surinkti, chronologiš- kai susieti, todėl jų visuma dar nėra tapusi analizės objektu, nepublikuota. Nedaug sruogos laiškų įvairiems asmenims tirta lingvistiniu, kreipimo- si formų aspektu4. sruogos laiškų medžiaga daugiausia rėmėsi algis samu- lionis5. jis ir pradėjo registruoti Lietuvoje saugomus sruogos laiškus paties kruopščiai suplanuotiems sruogos raštams, rengė laiškų rankraščių nuora- šus – darė autografų kopijas perrašinėdamas ranka ir spausdinimo mašinė- 1 straipsnis parengtas vykdant Lietuvos mokslo tarybos fnansuojamą projektą „Balio sruogos elektroninis laiškų (1911–1947)
    [Show full text]
  • Dark Times: Art and Artists of Vilnius in 1939–1941
    326 Dark Times: Art and Artists of Vilnius in 1939–1941 Giedrė Jankevičiūtė Vilnius Academy of Arts Maironio St. 6, LT-01124 Vilnius e-mail: [email protected] The aim of this paper is to discuss and reconstruct in general fe- atures the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lithuania; two Soviet occupations: in the autumn of 1939 and June 1940, and the subsequent Nazi occupation a year later. The influence of politics on the art scene and the life of artists has been explored in institutional and other aspects by both Lithuanian and Polish art historians, but the big picture is not yet complete, and the general narrative is still under construction. A further aim of this paper is to highlight some elements that have not received sufficient atten- tion in historiography and that are necessary for the reconstruction of the whole. Some facts of cooperation or its absence among artists of various ethnicities are presented, and the question is raised on the extent to which these different groups were affected by Sovietisation, and what impact this fragmentation had on the city’s art scene.
    [Show full text]
  • The Cases of the Litterateurs Tomas Venclova and Zviad Gamsakhurdia in Soviet Lithuania and Soviet Georgia
    From Establishment to Dissent: The Cases of the Litterateurs Tomas Venclova and Zviad Gamsakhurdia in Soviet Lithuania and Soviet Georgia Vilius Ivanauskas The author Vilius Ivanauskas holds a PhD degree in history. He is a senior research fellow at the Lithuanian institute of history. In 2012-2013 he was a Fulbright scholar at UC Berkeley (US). His newest book on nationalism and soviet writers (Framed Identity: Lithuanian writers in “friendship of nations” empire) was published in 2015. His first book (“Lithuanian nomenklatura in bureaucratic system: between stagnation and dynamic (1969-1988)”) was published in 2011. One of his articles on writers was also published in the major international journal Europe-Asia” studies (66, 2014). His research interests are soviet intellectuals, ethno-particularism in soviet peripheries, party and cultural elites in Lithuania. Abstract Soviet intellectuals were closely related with indoctrination practices and the legitimisation of the regime. During post-Stalinism Soviet intellectuals experienced the impact of destalinization by opening more room for the dynamic exchange of ideas and expressions. It is important to explore the Soviet peripheries, which were important for the demise of USSR, and to track down similar manifestations in them. This article pays special attention to those controversial situations in Soviet Lithuania and Soviet Georgia, that showed the shift in ideologies, conflicts in cultural establishment and the lines of cleavage that have emerged within the dissident movements. By embracing the Cold war atmosphere in Soviet peripheries, this article analyses the trajectories of two intellectuals - the poet Tomas Venclova and the literary critic Zviad Gamsakhurdia, who came from the families of cultural nomenclatura in Soviet periphery, but who in the 70’s increasingly moved to the position of dissidents and human rights activists.
    [Show full text]
  • An Investigation Into the Effects of Cultural Policies on National Identity
    Cultural Policy in Lithuania since the 1980s: An Investigation into the Effects of Cultural Policies on National Identity MA Thesis in European Studies Graduate School for Humanities Universiteit van Amsterdam Author Laisvė Linkutė Student number 10394192 Main Supervisor Dhr. Dr. G.J.A. Snel Second Supervisor Dhr. Dr. M.E. Spiering August, 2013 1 Laisve Linkute 10394192 In memory of my father Algirdas 2 Laisve Linkute 10394192 Contents: Abstract: ............................................................................................................................................................ 4 Introduction: ...................................................................................................................................................... 5 First chapter: Lithuania in the Soviet Union ...................................................................................................... 9 Second Chapter: Transition to democracy ...................................................................................................... 22 Third Chapter: Lithuania in the EU .................................................................................................................. 33 Conclusions: ..................................................................................................................................................... 47 Bibliography: .................................................................................................................................................... 49 3
    [Show full text]
  • Confronting Muted Memories Reading Silences, Entangling Histories
    BALTIC WORLDSBALTIC A scholarly journal and news magazine. December 2020. Vol. XIII:4. From the Centre for Baltic and East European Studies (CBEES), Södertörn University. Special Issue: 92 pages of memory studies December 2020. Vol. XIII:4 XIII:4 Vol. 2020. December Breaking BALTIC the silence through art Visualizing WORLDSbalticworlds.com traumatic events Sites and places for remembrance Bringing generations together Special issue: issue: Special Confronting Reading Silences, Entangling Histries Entangling Silences, Reading muted memories Reading Silences, Entangling Histories also in this issue Sunvisson Karin Illustration: ARCHIVES IN TALLINN / HOLOCAUST IN BELARUS / HOLODOMOR IN UKRAINE/ OBLIVION IN POLAND Sponsored by the Foundation BALTIC for Baltic and East European Studies WORLDSbalticworlds.com editorial in this issue Dealing with the demons of the past here are many aspects of the past even after generations. An in- that we talk little about, if at all. The dividual take is often the case, dark past casts shadows and when and the own family history is silenced for a long time, it will not drawn into this exploring artistic Tleave the bearer at peace. Nations, minorities, process. By facing the demons of families, and individuals suffer the trauma of the past through art, we may be the past over generations. The untold doesn’t able to create new conversations go away and can even tear us apart if not dealt and learn about our history with Visual with. Those are the topics explored in this Spe- less fear and prejudice, runs the representation cial Issue of Baltic Worlds “Reading Silences, argument. Film-makers, artists Entangling Histories”, guest edited by Margaret and researchers share their un- of the Holodomor Tali and Ieva Astahovska.
    [Show full text]
  • Gidas EN.Pdf
    MAP OF THE LEFT AND RIGHT BANKS OF NEMUNAS 1 Kaunas Cathedral 8 Gelgaudiškis 2 Kaunas Vytautas Magnus Church 9 Kiduliai 3 Raudondvaris 10 Kulautuva 4 Kačerginė 11 Paštuva 5 Zapyškis 12 Vilkija 6 Ilguva 14 Seredžius 7 Plokščiai 15 Veliuona 1 2 3 THE ROAD OF THE SAMOGITIAN BAPTISM A GUIDE FOR PILGRIMS AND TRAVELERS LITHUANIAN CATHOLIC AcADEMY OF SCIENCE, 2013 4 5 UDK 23/28(474.5)(091)(036) CONTENTS Ro-01 Funded by the State according Presenting Guide to the Pilgrimage of the Baptism to the Programme for Commemoration of the Baptism of Samogitia of Samogitia to the Hearts and Hands of Dear and the Founding of the Samogitian Diocese 2009-2017 Readers Foreword by the Bishop of Telšiai 7 The project is partly funded Kaunas Cathedral 15 by THE FOUNDATION FOR THE SUPPORT OF CULTURE Kaunas Vytautas Magnus Church 20 Raudondvaris 23 Kačerginė 27 Zapyškis 30 Texts by mons. RImantas Gudlinkis and Vladas LIePUoNIUS Ilguva 33 Project manager and Special editor Vytautas Ališauskas Plokščiai 36 Assistant editor GIeDRė oLSeVIčIūTė Gelgaudiškis 39 Translator JUSTINAS ŠULIoKAS Kiduliai 42 editor GABRIeLė GAILIūTė Kulautuva 45 Layout by VIoLeta BoSKAITė Paštuva 47 Photographs by Vytautas RAzmA, KeRNIUS PAULIUKoNIS, Vilkija 50 TOMAS PILIPONIS, Arrest Site of Priest Antanas Mackevičius 52 also by ARūNAS BaltėNAS (p. 119), VIoLeTA BoSKAITė (front cover, Seredžius 54 p. – 105, 109 top, 112 top, 113 bottom, 114, 125, 128, 129, 130, 133 bottom, 134 top, 141), Klaudijus Driskius (p. 85 bottom), Veliuona 57 PAULIUS SPūDyS (p. 48 bottom), AntanAS ŠNeIDeRIS (p. 37), Gėluva. Birutkalnis 60 SigitAS VarnAS (p.
    [Show full text]
  • 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.
    [Show full text]
  • 0X0a I Don't Know Gregor Weichbrodt FROHMANN
    0x0a I Don’t Know Gregor Weichbrodt FROHMANN I Don’t Know Gregor Weichbrodt 0x0a Contents I Don’t Know .................................................................4 About This Book .......................................................353 Imprint ........................................................................354 I Don’t Know I’m not well-versed in Literature. Sensibility – what is that? What in God’s name is An Afterword? I haven’t the faintest idea. And concerning Book design, I am fully ignorant. What is ‘A Slipcase’ supposed to mean again, and what the heck is Boriswood? The Canons of page construction – I don’t know what that is. I haven’t got a clue. How am I supposed to make sense of Traditional Chinese bookbinding, and what the hell is an Initial? Containers are a mystery to me. And what about A Post box, and what on earth is The Hollow Nickel Case? An Ammunition box – dunno. Couldn’t tell you. I’m not well-versed in Postal systems. And I don’t know what Bulk mail is or what is supposed to be special about A Catcher pouch. I don’t know what people mean by ‘Bags’. What’s the deal with The Arhuaca mochila, and what is the mystery about A Bin bag? Am I supposed to be familiar with A Carpet bag? How should I know? Cradleboard? Come again? Never heard of it. I have no idea. A Changing bag – never heard of it. I’ve never heard of Carriages. A Dogcart – what does that mean? A Ralli car? Doesn’t ring a bell. I have absolutely no idea. And what the hell is Tandem, and what is the deal with the Mail coach? 4 I don’t know the first thing about Postal system of the United Kingdom.
    [Show full text]
  • Lithuanian Paths to Modernity
    Lithuanian Paths to Modernity VYTAUTAS MAGNUS UNIVERSITY EGIDIJUS ALEKSANDRAVIČIUS Lithuanian Paths to Modernity UDK 94 Al-79 ISBN 978-609-467-236-1 (Online) © Egidijus Aleksandravičius, 2016 ISBN 978-9955-34-637-1 (Online) © Vytautas Magnus University, 2016 ISBN 978-609-467-237-8 (Print) © “Versus aureus” Publishers, 2016 ISBN 978-9955-34-638-8 (Print) To Leonidas Donskis 7 Table of Contents Preface / Krzysztof Czyżewski. MODERNITY AND HISTORIAN’S LITHUANIA / 9 Acknowledgements / 21 Part I: Before Down A Lost Vision: The Grand Duchy of Lithuania in the Political Imagination of the 19th Century / 25 Hebrew studies at Vilnius University and Lithuanian Ethnopolitical tendencies in the First part of the 19th century / 39 The double Fate of the Lithuanian gentry / 57 Political goals of Lithuanians, 1863–1918 / 69 Associational Culture and Civil Society in Lithuania under Tsarist Rule / 87 The Union’s Shadow, or Federalism in the Lithuanian Political Imagination of the late 19th and early 20th centuries / 105 Part II: The Turns of Historiography The Challenge of the Past: a survey of Lithuanian historiography / 137 Jews in Lithuanian Historiography / 155 Lost in Freedom: Competing historical grand narratives in post-Soviet Lithuania / 167 8 LITHUANIAN PATHS TO MODERNITY Part III: The Fall, Sovietization and After Lithuanian collaboration with the Nazis and the Soviets / 195 Conspiracy theories in traumatized societies: The Lithuanian case / 227 Lithuanian routes, stories, and memories / 237 Post-Communist Transition: The Case of Two Lithuanian Capital Cities / 249 Emigration and the goals of Lithuania’s foreign policy / 267 Guilt as Europe’s Borderline / 281 9 Preface Krzysztof Czyżewski MODERNITY AND HISTORIAN’S LITHUANIA I worry about ‘progressive’ history teaching… The task of the historian is to supply the dimension of knowledge and narrative without which we cannot be a civic whole..
    [Show full text]
  • Stadtgeschichte Des Baltikums Oder Baltische Stadtgeschichte? Annäherungen an Ein Neues Forschungsfeld Zur Baltischen Geschichte
    Aus rechtlichen Gründen wurden die Bilder entfernt TAGUNGEN zur Ostmitteleuropaforschung 33 Stadtgeschichte des Baltikums oder baltische Stadtgeschichte? Annäherungen an ein neues Forschungsfeld zur baltischen Geschichte Herausgegeben von Heidi Hein-Kircher und Ilgvars Misāns Stadtgeschichte des Baltikums oder baltische Stadtgeschichte? Annäherungen an ein neues Forschungsfeld zur baltischen Geschichte TAGUNGEN ZUR OSTMITTELEUROPAFORSCHUNG Herausgegeben vom Herder-Institut für historische Ostmitteleuropaforschung – Institut der Leibniz-Gemeinschaft 33 Stadtgeschichte des Baltikums oder baltische Stadtgeschichte? Annäherungen an ein neues Forschungsfeld zur baltischen Geschichte Herausgegeben von HEIDI HEIN-KIRCHER und ILGVARS MISĀNS VERLAG HERDER-INSTITUT · MARBURG · 2016 Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über <http://dnb.ddb.de> abrufbar © 2016 – 2., überarbeitete und erweiterte Aufl age © 2015 by Herder-Institut für historische Ostmitteleuropaforschung – Institut der Leibniz-Gemeinschaft, 35037 Marburg, Gisonenweg 5-7 Printed in Germany Alle Rechte vorbehalten Satz: Herder-Institut für historische Ostmitteleuropaforschung – Institut der Leibniz-Gemeinschaft, 35037 Marburg Druck: KN Digital Printforce GmbH, Ferdinand-Jühlke-Straße 7, 99095 Erfurt Umschlagbilder: links: Postkarte: Gruss aus Riga (um das Jahr 1900). Im unteren Teil – das Schwarzhäupterhaus (rechts)
    [Show full text]