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Psalmės Lietuvos Didžiosios Kunigaikštystės giesmynuose. XVI amžius: nuo Nesvyžiaus Katekizmo iki lietuviškųjų Merkelio Petkevičiaus vertimų
Get PDFThe article aims at presenting and discussing the earliest reformed publications in the Grand Duchy of Lithuania (16 c.), featuring versified translations of Biblical psalms designed for the church repertoire. It also aspires to indicate the trends of this repertoire, adoption and authorship of the texts, as well as to describe them in relation to the most important Polish psalm books of the 16th century.The article focuses on extremely rare collections of the Lithuanian Reformed Church texts that presently exist as unique copies stored in different libraries in Sweden, Switzerland, and Poland. The books comprise: the Nesvyžius Catechism (1563), the Nesvyžius Song Book for Women (1564), Vilnius catechisms of 1581, 1594, and 1598, and Merkelis Petkevičius’ Catechism (1598), the first Lithuanian reformed publication based on the four Polish editions enumerated above.The two Hymnbooks published in 1553–1554 in Nesvyžius include the first 58 versified psalm translations in the Grand Duchy of Lithuania. The editors of the Nesvyžius Catechism (Szymon Budny, Martin Czechowicz, Tomasz Falkonius and others) used some early individual psalm translations by Polish authors. However, the bulk (43) of the psalm translations in the Nesvyžius Catechism were made by local Lithuanian authors and were published in this version in Polish for the first time. The second official collection of Reformed Church texts was published in Vilnius in 1581. It presented translations of 90 psalms. Although the publishers of the Vilnius Catechism, who from early on declared to be antitrinitarian, dissociated themselves from the Nesvyžius Catechism, they reprinted all but one psalm from that edition. The article establishes that the basis of the updated repertoire of the Vilnius Catechism of 1581 consisted of 14 of Jakub Lubelczyk’s and 8 Jan Kochanowski’s psalms. Thus, the 1581 Vilnius Catechism testifies to the fact that Kochanowski’s psalms, a collection of which had just come out in 1579, were first published in the Grand Duchy of Lithuania on the initiative of the reformers and it was not until later that they were included into Polish protestant Piotr Artomiusz’ hymnbooks published in Prussia (Toruń). In the reprinted edition of the Vilnius reformed Catechism of 1594 the corpus of the psalm book was not altered at all. The translator of the first Lithuanian psalms, Merkelis Petkevičius, who published a bilingual collection of Lithuanian church texts featuring 41 psalms, used this particular edition. He translated 40 texts from the Vilnius Catechism of 1594 in a row with a few omissions.Most of the Lithuanian psalms originate from the repertoire of the Nesvyžius period and only 13 of them can be associated with the repertoire introduced by the Vilnius Catechism of 1581. Thus, the conclusion is made that both Lithuanian and Polish psalm repertoires in the 16th century Grand Duchy of Lithuania were dominated by the local repertoire put forward by the reformers and established by the editors of the Nesvyžius Catechism. The article discusses different aspects of the psalm authorship in greater detail
Motiejaus Kazimiero Sarbievijaus Lechiada: imitacijos šaltiniai ir epinė tradicija
Get PDFThree sources of imitation can be distinctly traced in Sarbievijus’ poem Lechias. One of the sources can be ascribed to the tradition of the epic poetry, especially, to the author’s adherence to Vergil’s Aeneid. The second source of imitation can be noted in the influence produced by the poetry of the Renaissance, when the loci communes, qualifying the antique poetry, used to be replenished by the attributes typifying the new times. The third and final influence was produced by the poetics and aesthetics of the Baroque, when the forms of verbal expression, filled with unexpected transformations, paradoxes and antitheses, held sway.Though Sarbievijus entered the history of literature first of all as a creator of the lyric poetry in Latin, his Lechias, though, testifies to the fact that he had also mastered the rules of the epic art, and that he had cherished the ambitions to create a heroic epic poem based on the history of Poland.The extant fragment of Sarbievijus’ poem Lechias sheds light on the development of the tradition of the antique epic poetry in Europe as well as on the influences and changes that tradition had undergone. Those influences and changes, on the other hand, had affected the movement of the poetic expression of the genres of the literature of the Baroque in Europe as well
Taikomosios emblemos Vilniaus bažnyčiose ir jų literatūriniai šaltiniai
Get PDFThis article deals with applied emblems found in open Vilnius churches, decorated in the 16th–18th centuries. There are twenty–seven decorative emblems placed on the ceilings and arches of the churches. The verbal part of these emblems, called inscriptio or lemma, is the object of the article.In the 16th century when European literature was enriched with a new genre of emblem, the artists and craftsmen began to use these emblems as a decorative element in their works such as jewelry, armours, carpets, bells, plates, furniture etc. The same phenomenon is seen in the decoration of Vilnius churches.Our research proved that people who worked out the idea of the decoration of the church used two sources for decorative emblems – the Bible (a short quotation from the Bible was used as an inscription) and well-known literary emblems. Speaking about the latter source, some decorative emblems are exact copies of the works of famous 16th century writers, where inscription, icon and concept are taken without any changes. Others show variations on popular literary emblems of that time. Modifications could appear both in verbal and in visual part, thus entirely changing the idea of the emblem
Три Насти – современная русская литература и фолософия воскресения
No full textStraipsnyje analizuojamas apibendrintas literatūrinis paauglės Nastios vaizdas trijuose tekstuose (V. Sorokino, A. Platonovo ir S. Anufrijevo ir P. Peperšteino). Nagrinėjamas prisikėlimo konceptas ir įvairūs jo realizavimo tipai. V. Sorokino apysaka “Nastia” intertekstualiai analizuojama N. Fiodorovo prisikėlimo teorijos kontekste
Metafizinės patirtys Gražinos Cieškaitės lyrikoje
Get PDFThis paper analyses and discusses the signs of metaphysical experience in the work of the contemporary Lithuanian poetess Gražina Cieškaitė. The paper was inspired by Vytautas Kavolis’ provoking thought that in Cieškaitė’s poetry attempt is made to analyse and criticise the key myths of Western civilisation, and female mythology, very old and going back to pre-civilisation conscience, is recreated from the shards of the broken myth of Western civilisation. In this paper, Cieškaitė’s work is analysed in several stages that are reflected in the headlines of the sections. Recognisable are the landmarks of metaphysical thinking, mythical personages and plots; discussed are the outcomes of the interaction of eclectic metaphysical and mythical thinking; finally, an attempt is made at recognising the central idea of this metaphysical lyric and at reconstructing the version of myth so closely linked with this idea. All parts of the paper are concerned with the issue of poetic language, and the key features of Cieškaitė’s poetics are recorded. The paper asserts that in Cieškaitė’s work it is really possible to restore an extremely old version of female mythology, which is embodied in the figure of the goddess Aphrodite that had acquired Promethean creative powers. Yet here metaphysical experiences can hardly be generalised as one comprehensive metaphysical theory. In Cieškaitė’s work, metaphysical thinking based on language and logic frequently yields ground to spontaneous mystical experiences, which are not controlled by either logic or language
XX amžiaus lietuvių poezijos avangardizmo studija [Saulius Keturakis, Avangardizmas XX amžiaus lietuvių poezijoje, 2003]
No full textEuropinė semiotika šiandien
Get PDFDans le champ sémiotique, deux approches épistémologiques se distinguent : sémiotique européenne et sémiotique américaine. La sémiotique européenne, issue de la théorie du signe linguistique de Ferdinand de Saussure, dans les années 1960 voit se former deux écoles indépendantes : celle de Paris (de Greimas) et celle de Tartou-Moscou (de Lotman).La sémiotique dite « standard » de Greimas présente une théorie du discours envisagé comme un tout de signification. En comprenant la signification comme un processus, Greimas décrit les transformations des significations d’après le modèle du discours mythique élaboré par Vladimir Propp. Le monde est traité comme discontinu et composé d’oppositions. Dans les années 1980 l’école greimassienne passe de la sémiotique de faire à celle d’état, de la discontinuité à la continuité, de l’objet au sujet, de l’énoncé à l’énonciation. Dans la sémiotique des passions au centre du programme narratif se trouve une compétence modale du sujet. Ces derniers temps, parmi les héritiers de Greimas, à côté de lasémiotique tensive qui choisit un métalangage savant et des schématisations un peu arides, apparaît une sémiotique esthésique, issue de De l’imperfection de Greimas.Le concept de systèmes modelants secondaires est devenu une sorte d’emblème de l’école de Tartou. Ce terme détermine des structures communicatives différentes, organisées d’après le modèle des signes linguistiques. A la recherche d’un métalangage scientifique, commun aux diverses disciplines humaines, on s’oriente vers la linguistique structurale et la théorie de l’information. Autour de l’année 1980, dans la sémiotique de Lotman la conception du texte commeune manifestation de la langue est changée par celle du texte qui produit sa propre langue. Le texte est considéré non plus comme un systéme autonome, synchronique mais comme un énoncé, inséparable de la mémoire d’énonciation. De la description des systèmes modelants secondaires on se tourne vers lasémiotique de culture. Le bornage des frontières et la discontinuité sont traités comme des éléments essentiels de la sémiosphère, c’est-à-dire, de l’espace où se réalise la sémiosis.Dans l’article, c’est le choix épistémologique qui est considéré comme une pierre d’achoppement d’un accord entre la sémiotique européenne et celle américaine. Les uns comprennent la signification comme une certaine structure mentale (signifié) ou comme un ensemble des traits sémantiques (intension), les autres la conçoivent comme un référent non-linguistique ou comme un ensemble des objets du monde extérieur (extension). La brèche entre l’intension et l’extension peut être remplie par l’instance de l’énonciation. Entre la perception et la signification s’intercale le langage comme une visée intentionnelle du monde. En examinant le rapport entre deux sémiotiques on a recours à l’ouvrage d’Umberto EcoKant et l’ornithorynque et au roman Le secret du professeur Amfortas d’Eero Tarasti
Stilistinės transformacijos Annie Ernaux kūryboje
Get PDFDans cet article on vise à analyser les transformations stylistiques dans l’oeuvre d’Annie Ernaux, soulignant les raisons de ces changements d’écriture. Ses trois premiers romans autobiographiques se distinguent par «l’esthétique de cri» qui est censée transmettre sa vision négative des classes populaires incarnées par ses propres parents. Pourtant, avec La Place, Annie Ernaux entame une nouvelle étape de sa création, celle de l’écriture «plate», par son essence proche de l’écriture «blanche». L’article tâche de préciser les motifs de ce changement stylistique, qui apparaissent comme la nouvelle vision du monde sociale et littéraire
Istorijos ir istorijų kūrimas Grahamo Swifto romane Vandens žemė
No full textThe article focuses on the issue of history as narrative in Graham Swift’s novel Waterland, drawing on Roland Barthes’s theory of the discourse of history as well as on Hayden White’s claim that historical narratives are invented verbal fictions. The postmodernist notion of history denies the fixity of any text, of the past and of any single objective truth about the past.For Swift the creation of history means the reconstruction of the past by means of imagination. Thus in his historiographic metafiction history and imagination are subtly intertwined. History becomes story telling.The opposition between history and story telling is the focus of Swift’s novel. By telling stories its narrator recaptures the lost past, reconstructs his lifestory and by this act constructs history. History as narrative is primarily a personal rather than a factual reality