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Vestuvių menės koncepcija valentininėse inskripcijose
Get PDFThis article investigates the Valentinian ritual, called “bridal chamber”, in the only surviving Valentinian funeral epitaphs, Flavia Sophe and NCE 156. These inscriptions stand out from the context of other Valentinian sources because they are extant in the Ancient Greek, not the Coptic language. Bridal chamber is a polysemous concept in the Nag Hammadi texts, and therefore begs the question, what does it mean in the Valentinian funeral epitaphs? Furthermore, this article is an attempt to elucidate the connections between the two inscriptions by interpreting the concept of bridal chamber.Straipsnyje tiriama valentininio ritualo, vadinamo vestuvių mene, koncepcija vienintelėse mūsų laikus pasiekusiose valentininėse laidotuvių epitafijose Flavija Sofija ir NCE 156. Šios inskripcijos išsiskiria iš bendro valentininių šaltinių konteksto, nes išliko senovės graikų, o ne koptų kalba.Vestuvių menė Nag Hammadi bibliotekos tekstuose yra gana daugiareikšmė sąvoka, todėl kyla klausimas, ką ji žymi minėtose valentininėse laidotuvių epitafijose. Taip pat straipsnyje siekiama išsiaiškinti, kokie ryšiai sieja abi inskripcijas ir ar galima jose įžvelgti interpretuojamą vestuvių menės sampratą
(Ne)ambivalentiškas požiūris į Michelangelą Federico Borromeo traktatuose De pictura sacra ir Musaeum
Get PDFThis article discusses the role of Michelangelo Buonarroti in the Seventeenth-century art theory treatises of Cardinal Federico Borromeo De pictura sacra and Musaeum. In the referred text we can notice an ambivalent approach to the artistic genius of Buonarroti. In several cases Borromeo mentions Michelangelo as an artistic example who equalled or even exceled the great artists of Antiquity, albeit in other paragraphs the author criticises the artist for his aesthetic fallacy. A close reading of De pictura sacra and Musaeum, as well as an analysis of Borromeo’s didactic programme in the newly established Accademia del disegno in Milan allows to heed that Cardinal was rather an admirer of Michelangelo’s personality and talent. In De pictura sacra Buonarroti and other Renaissance Masters serve a rhetoric function and allow to conceptualise the theological and aesthetic framework for a post-Tridentine Catholic religious art.Straipsnyje aptariamas Renesanso kūrėjo Michelangelo Buonarroti vaidmuo XVII a. Federico Borromeo meno teorijos traktatuose De pictura sacra ir Musaeum. Šiuose veikaluose pastebimas ambivalentiškas menininko vertinimas: vienose teksto dalyse Buonarroti giriamas už techniką ir prilyginamas Antikos kūrėjams, kitur peikiamas už tam tikras istorinio vaizdavimo klaidas. Vis dėlto, detaliau išanalizavus Borromeo traktatus ir juos lyginant su kardinolo formuota didaktine sistema Milane naujai įkurtoje Accademia del disegno, galima matyti, kad Borromeo požiūris į Michelangelą yra nuoseklus, o vertinimas palankus. Buonarroti, kaip ir kiti žymūs Renesanso menininkai, De pictura sacra ir Musaeum tekstuose įgyvendina retorinę funkciją ir padeda apibrėžti teologinius bei estetinius reikalavimus pavyzdiniam potridentinio katalikų religinio meno kūrėjui
Parmenidas ir M. Karagatsis (mito atspindys literatūroje)
Get PDFThe paper aims to show some structural parallels between the concept of motion as developed by Parmenides (5th c. BC) and the expression of the phenomena of motion in the story A Solitary Voyage to the Island Cythera by the Greek writer M. Karagatsis (1908–1960). The novelette of M. Karagatsis is interpreted as a parmenidean “motionless motion” reflexion. It is argued that M. Karagatsis’s story is structurally and essentially related to the Parmenidean poem On Nature, treating the consideration of motion as one of the impossible properties of being; and more obviously refers to certain poems by Constantine Cavafy (1863–1993), which also contain the idea of the meaninglessness of the difference between κίνησις and ἀκινησία. Thus, the concepts of κίνησις and ἀκινησία in the story by M. Karagatsis echo both the Parmenidean ideas and the Cavafy’s images of movement
Международный Балтийский семинар «Георгий Адамович и ... (к проблеме изучения культуры русской диаспоры)»
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Žemaitės kūrybos sklaida 1905–1914 metų švietimo sistemoje
Get PDFThe article describes the syllabi of Lithuanian language subject for public and private schools prepared in 1905-1914 for the developing modern Lithuanian education system with the aim to determine the extent of representation of Žemaitė’s literary fiction. Referring to previous works by V. Pupšys, V. Pukienė, M. Karčiauskienė, A. Piročkinas and analysis of their sources, 9 syllabi of Lithuanian language and their recommended textbooks have been described in this article. The analysis has shown that Žemaitė first established herself in the Lithuanian education system as the author of the textbook Rinkinėlis vaikams, first published in 1904 and intended for primary schools. Žemaitė emerges as the author of short stories and a co-author of dramas for the first time in 1912 in the syllabus published by J. Kairiūkštis. The attention allocated to her and the list of her works is the same as for the majority of other fiction authors of the time. In 1912 M. Biržiška’s project of the Lithuanian language syllabus Žemaitė is referred to as one of the four women prose writers of the end of the 19th century among G. Petkevičaitė-Bitė, Šatrijos Ragana, and Lazdynų Pelėda.Straipsnyje siekiama išsiaiškinti, kiek Žemaitės kūryba pateko į valdinių ir privačių mokyklų lietuvių kalbos programas, kokiu mastu ji reprezentuota šių programų rekomenduotuose vadovėliuose po 1905 metų iki Pirmojo pasaulinio karo pradžios. Kadangi iki šiol nėra nuosekliai aprašytos 1905–1914 metais parengtos lietuvių kalbos programos, pirmasis šio darbo uždavinys buvo sudaryti chronologinį programų sąrašą ir aprašyti jų turinį. Išsamiau aptariamos gimnazijų, mokytojų seminarijų programos, nes jose literatūra tampa atskiru mokymo objektu. Atliktas tyrimas atskleidžia, kad Žemaitė Jono Jablonskio dėka pradžios mokyklų programose figūruoja kaip pradžiamokslio Rinkinėlis vaikams autorė. Į gimnazijų programas ji pateko kartu su diduma XIX a. paskutinio ketvirčio autorių, dažnai kaip moterų ketverto, kuriam priklausė G. Petkevičaitė-Bitė, Šatrijos Ragana, Lazdynų Pelėda, dalis
Пауль Целан и Осип Мандельштам: поэзия в условиях критики языка
Get PDFThe dialogue of Paul Celan, a reader and translator, with the poetry and the whole complex poetic views of Osip Mandelstam demonstrates an important general condition: both poets worked in the context of the modernist language crisis and language critique. Mandelstam takes on the task of creating a pure language of poetry in the struggle against the symbolist “code,” in the “resurrection” of words (V. Shklovsky) by means of a “defamiliarizated” intermixture of meanings and contexts, in intentional semantic oblivion and, among other things, by immersing himself in foreign languages (“An alien speech will be my warming ear husk”). Paul Celan’s work, under the conditions of “poetry after Auschwitz” (T. Adorno), aiming at clearing up the German language of the terror of history, was influenced, among other things, by his strategy of creating a non-figurative, hermetic poetry language comparable to the so-called “absolute music” (K. Dahlhaus). This paper identifies the common poetic motifs in the works of Celan and Mandelstam, as well as individual solutions for overcoming the lingual crisis.Диалог Пауля Целана – читателя и переводчика – с поэзией и всем комплексом поэтологических воззрений Осипа Мандельштама демонстрирует важное общее условие: оба поэта творили в контексте модернистского кризиса и критики языка. Мандельштам решал задачу создания чистого языка поэзии в борьбе с символистским «шифром», в «воскрешении» слов (В. Шкловский) с помощью остраненного смешения значений и контекстов, в преднамеренном семантическом беспамятстве и, в том числе, погружаясь в чужие языки («Чужая речь мне будет оболочкой»). Творчество Пауля Целана в условиях «поэзии после Освенцима» (Т. Адорно), нацеленное на очищение немецкой речи от ужаса истории, подверглось, помимо прочего, влиянию его стратегии по созданию беспредметной, герметичной речи, сопоставимой с так называемой «абсолютной музыкой» (К. Дальхаус). В статье выявляются общие поэтологические мотивы Целана и Мандельштама, а также индивидуальные пути выхода из кризиса языка
Осип Мандельштам во французских антологиях русской поэзии (1925–1970)
Get PDFThe fates and fortunes of any national literature in a foreign culture is a multifaceted subject. And this is where the perception of Russian culture in France belongs. In France, the general public became aware of the life and works of Osip Mandelstam in the early seventies, when Nadezhda Mandelstam’s memoirs were published. Before 1970, only some translations of Mandelstam’s poems, the first one made by Chuzeville back in 1925, found their way to periodicals and anthologies. Information about the poet was spread to a great degree thanks to anthologies, as befits this genre of reading matter. During that period, the publishers of anthologies could either collaborate with translators (Slonim, Reavey), or translate the poetry themselves (Rais, Granoff). Journal articles and translations chime in and resonate with anthological publications.Cудьба национальной литературы в иноязычной культуре – тема многогранная. К этой теме относится восприятие русской культуры во Франции. О жизни и творчестве Осипа Мандельштама массовый французский читатель узнал в начале 1970-х годов после публикации мемуаров Надежды Мандельштам. До 1970 г. в периодической печати и в антологиях вышли переводы приблизительно сорока стихотворений, первый из них принадлежит Жану Шюзевилю и датируется 1925 г. В распространении сведений о поэте значительную роль сыграли антологии, выполняющие таким образом одно из своих предназначений. С 1925 по 1970 г. составители антологий могли сотрудничать или сотрудничали с переводчиками (Марк Слоним и Джордж Риви, Эльза Триоле), или переводили сами (Катя Гранофф, Эммануил Райс). С антологическими публикациями перекрещиваются и перекликаются журнальные cтатьи и переводы
Sãva ir svẽtima. Latinitas Lietuvos Didžiosios Kunigaikštystės tyrimuose
Get PDFThis paper analyses the reception of Latin language and culture in the research of the Grand Duchy of Lithuania. It focuses on the works of various disciplines – social and cultural history, literary research, art criticism, etc. – and seeks to identify the recurring themes, symbols and topics that comprise homogenous narratives and interpretations. They consolidate the findings of different fields of study and thus allow to analyse the Latinitas of the Grand Duchy of Lithuania as an integral part of the political community’s identity.The symbols of Latin language and culture can be identified as a basis for a Shift from oral to written culture. It conveys the ideas of order and organisation, as it transforms customary law into a codified one, a natural religion into that based on Scripture, etc. It alters the society as well, mainly because writing and written culture marks a shift in identity and behaviour. Also, by focusing on social and educational aspects, the Shift marks an institutional change, which permeates the developments of the state and society as a whole.The multipolar cultural field of the Grand Duchy of Lithuania is described by four cultural models – Polish, Lithuanian, Ruthenian, and Latin. The metaphor of Interaction shows how Latin culture and language is seen as one of the four ideological alternatives that legitimize the state, dynasty and sovereignty.Thirdly, the metaphor of Tension depicts Latinitas as part of the dichotomy between Eastern and Western civilizations by expressing the symbolical content of the latter. This narrative also emphasizes the internal confessional disputes inside the Western Church, and by exploiting the specific understanding of the Renaissance humanism, it becomes a means to understand sociocultural conflicts of the Early Modern state.The interpretation of Latinitas as a communication channel is nested under the metaphor of Medium. Works in this category usually portray Latin language as an expression of a social, economic, political, etc. status quo, which differs in each European state. Latin culture thus helps to articulate national interests and identity, and enables the cultural exchange among the Western countries as well.Finally, by emphasizing the poor literacy of the society and only limited possibilities to learn Latin and acknowledge its cultural code, researchers portray Latinitas as a Secret. The speakers and writers of Latin form a hermetic group, possessing the knowledge of a cultural matrix inaccessible to others. The dignity of Latin language also strengthens the status of vernacular languages, and thus accumulates the process of identity formation.These five narratives exemplify how Latinitas is embedded within the economic, political, and cultural activities of the society. It also depicts the different ways by which it becomes an integrating principle of the identity of the intellectual and political classes in the Grand Duchy of Lithuania. It provides an account of Roman descent, sustains the claim for political sovereignty, and indicates the civilizing process. By adopting those five different narratives, researchers may further analyse Latinitas not only as a separate cultural layer, but as a part of social identity as well.Straipsnyje analizuojami Lietuvos Didžiosios Kunigaikštystės lotyniškajai kultūrai skirti literatūros, kultūros ir socialinės istorijos bei kitų sričių tyrimai. Metaanalize siekiama išskirti įvairių disciplinų darbuose aptariamas Latinitas ir lotyniškosios kultūros sampratas ir pateikti sisteminę šių sampratų apžvalgą. Skiriamos penkios interpretacijos, kurias įprasmina Virsmo, Sąveikos, Įtampos, Išraiškos ir Paslapties metaforos. Lotynų kultūra suprantama kaip: visuomenę ir valstybę civilizuojantis veiksnys; vienas iš ideologinių politinio tapatumo modelių; vienas iš civilizacinio konflikto tarp Rytų ir Vakarų polių; visuomenės sanklodos išraiškos priemonė; uždara, tik visuomenės elitui prieinama kultūrinių simbolių sistema. Šios skirtingos prieigos padeda atskleisti lotyniškosios kultūros universalumą ir vertinti ją kaip ankstyvųjų Naujųjų laikų politinės bendruomenės tapatumo dėmenį
Svarus krikščionybės ir šiuolaikinės lietuvių literatūros dialogo tyrinėjimas
Get PDFDalia Čiočytė, Asta Gustaitienė, Dalia Jakaitė, Marijus Šidlauskas, Krikščionybė ir šiuolaikinė lietuvių literatūra / Kolektyvinė monografija / Sudarė Dalia Čiočytė, Vilnius: Vilniaus universiteto leidykla, 2018, ISBN 978-609-07-0070-9 (spausdinta knyga), ISBN 978-609-07-0069-3 (skaitmeninis PDF), 592 p. Monografija parengta ir išleista kaip Lietuvos mokslo tarybos projektas, sutarties Nr. LIP-16363