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Tekstinių ir diskursinių ribų laužymas Johno Banville’io romane Atėnė
No full textThe article offers an intertextual analysis of John Banville’s novel Athena. Destruction of textual and discursive frames is shown a major technique most conspicuously manifested in two textual elements which do not have an identifiable function in the plot of the novel, i. e. in one of the main characters A. and in the descriptions of non-existing paintings by non-existing artists. Being at the centre of the narrative and yet having no function in the plot development, the figure of A. is shown to signal the essential significance of the principle of frame destruction at different textual layers and to manifest the impossibility of meaning in language and/or in art as signifying systems. The non-existing paintings, the names of their authors being the anagrams of ‘John Banville’ and their descriptions in various ways corresponding to John Banville’s writing, refer to Banville’s works; the way of reference calls for an intermedial interpretation which reveals the authorial reflection on (his own) art and, in connection with the analysis of the meaning of A., on the experience of the aesthetic, the immediate and self-reflective involvement of the reader being an essential part of the process. Hence the destruction of textual and discursive frames, manifested in John Banville’s Athena, is shown to be not an end in itself but rather a textual strategy of essential interpretative value
„Jie mums pasakoja mitą“: ikisokratinių filosofų portretas Platono Sofiste
No full textStraipsnyje mėginama pažvelgti į tai, kaip specifinį ikisokratinių mąstytojų rašymo ir filosofavimo būdą suvokia Platonas. Itin daug dėmesio Platonas skiria filosofinėms rašytinio teksto pobūdžio implikacijoms; Platono dialogai kaip rašymo forma atitinka tam tikrą „diskurso žanrą“, suponuojantį savitas tiesos sąlygas savo teiginiams. O ką autorius, tiek dėmesio skyręs filosofijos formai, mano apie ikisokratinių mąstytojų diskurso formą arba žanrą? Lemiamas kontekstas Platono nuostatai šiuo požiūriu suprasti pateikiamas dialoge Sofistas (242–243). Ten Platonas ne tik pateikia ikisokratinių mokyklų „doksografinį paradą“, bet ir mėgina nustatyti ikisokratinės filosofijos kaip tam tikro daugiau ar mažiau vieningo mąstymo horizonto pamatinius trūkumus. Ikisokratinis mąstymas apibūdinamas kaip „mitinis“. Šis nuosprendis liečia ne tik vaizdingas ikisokratikų vartojamas metaforas, bet ir esmines jų filosofinio diskurso prielaidas bei pobūdį. Be to, jis taikomas ne tik kosmologinėms pliuralistų spekuliacijoms ir simbolių gausiam Herakleito bei Empedoklio mąstymui, bet ir Parmenidui bei Elėjos mokyklai, kitur Platono laikomiems griežto filosofinio mąstymo pirmtakais, apibūdinti. Kruopščiau paanalizavus matyti, kad „mitas“ šiuo atveju nurodo į neargumentuotas ikisokratinės filosofijos prisiimamas prielaidas, naratyvinį (o ne argumentacinį) dėstymo būdą beigi nekritišką, nekvestionuojantį sąvokų ir terminų vartojimą.Šiuo požiūriu eleatiniai mąstytojai ne mažiau „mitiški“ negu ankstyvieji jonėnų pliuralistai, kuriuos Platonas kritikuoja kitur. Su Sofistu turinio ir žodinėmis paralelėmis susijęs kontekstas – dialogoParmenidas įžanga – patvirtina tokį Platono nuostatos ikisokratinių filosofų atžvilgiu skaitymą. Taigi galima teigti, kad Platono Sofiste ikisokratiniai filosofai pirmąsyk konstituojami kaip atskira istorinė-filosofinė kategorija
Tragedijos pėdsakai Moscho kūryboje
No full textThe article deals with the role of Classical Greek tragedies in the Hellenistic period and their influence on the poetry of that period. The importance of Hellenistic drama was much less than that of Classical drama. Old tragedies were performed, studied and edited during all the Hellenistic period. The poets of that period are known as poetae docti, they had got a good knowledge of the poetry of the past centuries. One of the Hellenistic poets Moschus lived and wrote during the second century B. C. He was grammarian, a pupil of Alexandrian philologist Aristarchus. Like many others Hellenistic poets, Moschus wrote bucolic poetry, short epic poems and epigrams. His language is very closely Homeric. The analysis of the poets’ short epic poems Megara and especially his masterpiece Europe reveals that Moschus was derivative author and used many litterary sources, not only Homer and Hellenistic poetry (Theocritus, Apollonius Rhodius), but an Attic tragedy as well. The traces of influence of Aeschylus, Sophocles and Euripides on Moschus’ poetry are analysed (Aesch. Pers. 181–187; Soph. frg. 881; Eur. frg. 820 etc.)
Fedros ir Hipolito motyvas M. I. Cvetajevos laiškuose A. V. Bachrachui
No full textThe article deals with the antic code in letters by Marina Tsvetaeva to Alexandr Bachrach. Analyze is based on Lotmanean and his school works on intermediality. Lotmanean approach to the function and features of textual code gives firm ground to state, that characters’ structure of letters and their intra-textual links correspond to main features of theatrical code. These elements compose entities close to theatrical system of Antic theatre. Tsvetaeva does not call the roles of the participants of correspondence, but the totality of some elements of letters allows to speak about the recreation of the plot of Antic myth of “Fedra and Hippolit”
„Discors concordia“ XVII a. jėzuitų kūryboje: teorinės prielaidos ir raiška
Get PDFThe paper deals with the theory of epigrammatic style as determined by M.C. Sarbievius (Sarbiewski, 1595–1640) in terms of concors discordia seu discors concordia in his treatise De acuto et arguto, sive Seneca et Martialis. These terms are analysed in the article not as a mere concept of acute style but as a verbal definition of the universal world understanding typical to baroque age as well. The focus is on the use of definitions concors discordia, discors concordia by the classical authors (Ovide, Horace, Manilius) in the context related with the world creation and structure; the theological dimension of these terms seems to be traceable in the poetry of early Christian poet Paulin of Nola and medieval authors. The analysis of different 17th century Jesuit Latin texts, especially of those dealing with the subject-matter related with the Church Union and the problems caused by this historical phenomenon reveals theconcors discordia seu discors concordia formula as fitting to Jesuitical discourse expressing the complexities of the multiform culture of Grand Duchy of Lithuania
Neįgalaus kūno asmens tapatybės kaita XX amžiaus pirmoje pusėje: Prano Daunio Vargo keliais. Atsiminimai iš kovų dėl nepriklausomybės ir aklųjų gyvenimo
No full textThe article introduces the first autobiography of the disabled in the 20th century Lithuanian literature – the memoirs of Pranas Daunys – On the Roads of Misery / Memories from the Battles for Independence and the Life of the Blind. In the context of the disability body studies, the article discusses different levels in the formation of the corporal identity of the blind person. The study emphasizes the importance of cultural space to the identity of the blind, which is related to the Braille. The article explains the integrity dimension of the blind person’s identity, which mergers different experiences of personal life (the experience of eye trauma during the war and the memories of patriotic feelings), which are equally important to the personal identity. The research deals with the corporal and sensual self-perception of the blind, which is closely related to the social and public emancipation, changing the lines of national identity
Tautinės tapatybės suvokimo raida misterijose
Get PDFThe article deals with the unique genre of Lithuanian dramaturgy – mystery plays, the performance of which under the open sky became a significant phenomenon in the cultural life of independent Lithuania. The article introduces the genesis of the genre of mystery plays and focuses on the problems of national identity in the works of the end of the 19th century as well as outstanding pieces of the genre of mystery plays, written in the 1st and 3rd decades of the 20th century (Vydunas Shadows of the Ancestors, 1900–1908; J. A. Herbaciauskas The Hymn of Lithuania’s Ruins, 1907; V. Kreve Along the Paths of Destiny, 1921–1929, V. Mykolaitis-Putinas Uncrowned Virgin of the Fire, 1927). The content of national identity in mystery plays is made up by giving a changing prominence to the aspects of the Lithuanian language, Lithuanian history, and national culture. The search for national identity at the junction of the centuries raises the problem of historical memory, as well as the significance of cultural memory and aesthetical and philosophical reflection is actualized in the 3rd decade
Tautiniai stereotipai klasikinėje ir romėniškojoje Graikijoje: Herodotas ir Diodoras apie graikus ir kitus
Get PDFThough Diodorus, who lived in politically and economically decayed Greece, dominated by Romans, is separated from Herodotus, the historian of independent and victorious Greece, by the interval of four centuries, the conception of Greekness as reflected in Herodotus’ History is a fulcrum to perceive the selfawareness of Greeks in the I century B.C. nevertheless. It is obvious that Diodorus knew Herodotus’History well. Herodotus, living in times, that were deeply affected by the ta Mēdica, was compelled to think over the idea of national identity and the relation of traditional Greek values to the culture, or cultures, of dominant political power. His approach to explain political history is to perceive the culture of nations, involved in the political process. This way to understand history was not invented by Herodotus, but was inherited and handed down by him to the subsequent historians, yet Herodotus can be put before the others because of his capability to see self in the other; self and other form an indissoluble unity in his History. Other cultures are described in analogy and / or contrast with Greek culture, and Greek is not always the best. Barbarian in his text indicates belonging to a different, but by no means to the inferior civilization. Barbaroi are usually referred to as cultural predecessors of Greece, which is often presented only as a successor of very old barbarian traditions. Opposition inside the Greek culture is sometimes stressed by Herodotus more emphatically than opposition between Greeks and the others. In my opinion, he tries to show that the idea of panhellenism, upon which the Athenian ideology was based in Herodotus’ times, is a political fiction, that was not and could not be true to life. Diodorus sticks to comparative methods describing the history of human civilization, but his objectivity is imaginary: it is rather a matter of the traditional ethics of scientific discourse for him. He is deeply convinced that barbarians are inferior compared to Greeks and Greece is the moral and intellectual leader of the oikoumenē. The glorious history of Greece and the preservation of its traditional values is not only an intrinsic, but universal cultural factor as well. This is his historiosophic idea, which can be applied to explain his attitude to Rome. Romans are not ascribed to barbarians by him, but at the same time they are not Greeks. Rome belongs to the third cultural category. Roman history is a history of an advance of the expansive political power, which can be compared to the history of the Persian empire at the end of the VI century B.C. Therefore Diodorus pays so much attention to the Thermopylean episode in his History. This episode is symbolic in Diodorus’ History, signifying to his contemporaries the opportunities that are lost, but ought to have been taken, and the decline of the aretē, which once undamaged would have saved Greece
Egipto recepcija Herodoto Istorijoje
Get PDFThe article focuses on some of Herodotus’s achievements and failures in his account of Egypt and its history presented in Books II–III of his Histories. It is argued that Herodotus describes, not only Egyptian geography, geology, meteorology, botany, and zoology, but also Egyptian religion and culture, for the most part as a naturalist, similar to his Ionian predecessors, in particular Milesian logographs and first philosophers of „nature“ (phusis), or, to say the least, as an historian with very strong leanings of a naturalist. He achieves his best results when he observes those areas of Egypt’s nature and civilization that can be described in spatial, not in temporal, terms. In particular, this is true with respect to Herodotus’s descriptions of Egypt’s natural world and ancient Egyptian architecture of the Late Period, especially the monuments of the Lower Egypt. As we can judge from his text, Herodotus is very keen to deal with all kinds of spatial patterns. He is especially eager to describe the structural complexity of Egyptian temples and other buildings, such as the Labyrinth. In fact, Herodotus is an empiricist who likes to deal with pure facts, with phenomenal particulars that can be analyzed extensionally, without recourse to the search for the inner meaning of any kind. But he is at his worst when he comes to grips with intentional, especially symbolical, sophistication of Egyptian civilization. For example, Herodotus’s failure to understand the symbolism of cyclical time that is evident in his description of the Phoenix proves his inability to understand the essence behind the surface of cultural phenomena. Yet Herodotus notices the merging of natural and cultural spheres that is specific to ancient Egyptian worldview. Quite paradoxically, this observational result is very significant not only empirically, but also theoretically. Rather unexpectedly, Herodotus who satisfactorily deals only with pure empirical data, came to realize this theoretically important cultural fact. To sum up, Herodotus’s results are mixed. In positive terms, he gets some important observational results. And in negative terms, when he fails to understand some aspects of Egyptian civilization, he unintentionally spells out and makes us notice those features of Greek mentality that are hindering his intellectual encounter with a radically different culture