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Egillio Skallagrimssono poezijos naujovės
No full textStraipsnyje aptariama X a. islandų skaldo Egilio Skalagrimsono poezija, jos naujovės lyginamos su tradicine skaldų poezija. Pagrindinė skaldų žanrinė forma yra panegirika valdovui (drápa), kuri dažniausiai kuriama sudėtingu silabiniu drotkveto metru. Jos bruožai – pastovus skiemenų skaičius, aliteracijos ir vidiniai rimai. Palyginti su hipertrofuota menine forma, panegirikų turinys gana skurdus: apdainuojama valdovo drąsa ir šlovė, jo pergalės. Skalagrimsono poezija yra išsaugota Egilio sagos tekstuose. Šalia „atskirųjų posmų“ (lausavísur) išliko trys poemos, kuriose atsiskleidžia poeto talentas. Poema Galvos išpirka sukurta naujovišku metru rúnhenda, kuriam būdingas galūninis rimas, nevartotas senosios islandų poezijos. Šią panegiriką skaldas kūrė priverstinai, todėl ji skamba kaip iššūkis valdovui, jos kapotas ritmas bei tradicinių poetinių figūrų (keningų) gausa sukuria distanciją tarp poeto ir šlovinamojo. Giesmė Arinbjornui ir Skaudi sūnų netektis irgi įdiegia tam tikrų naujovių. Poetas atsisako griežtų metrikos kanonų, renkasi maksimaliai laisvą poetinę formą, kad galėtų išsakyti savo mintis ir jausmus. Skaldų poezija dažniausiai krypsta į išorinį subjektą, o Egilis šiose poemose atsigręžia į save: šlovina draugystę, aprauda savo giminės išnykimą, apmąsto nueitą gyvenimo kelią ir artėjančią mirtį. Egilis pirmasis skaldų poezijoje pavartojo lyrinius ir eleginius motyvus, atsisakė tradicinių keningų ir sukūrė savitą poetinį stilių
Motiejaus Kazimiero Sarbievijaus Akmens pašventinimas (Sacra Lithothesis): žanro problema
No full textThe article attempts to define the genre of one of the earliest creations by Sarbievijus – Consecration of the Stone. Consecration of the Stone is a collection of poems illustrated with prints. Sarbievijus included these texts into his poetry collections, and therefore these poems are to be considered a significant part of the poet’s lyric creation. Due to formal similarity with the emblem genre (the prints correspond to icons, the inscription – to lemmas, and rhymed texts – to subscriptions), Consecration of the Stone may be analyzed as an emblematic creation.Taking into consideration the circumstances of the appearance of the creation and the peculiarities of the text itself, the author of this article tries to prove that the poems included in the collection were recited during festivities. In such case Consecration of the Stone is to be considered a dramatic creation. An important circumstance is that the creation reflects festivities that were organized by the Jesuits of Kraþiai college. Theatre and the forms common to it was the important range of the cultural programme pursueted by the Jesuits order. In addition to that, there are numerous similarities betweenConsecration of the Stone and another creation by Sarbievijus – an epithalamium Hymenodora(Wedding Gifts) – that has a number of characteristics of a dramatic creation. It includes descriptions of live pictures, and references showing that rhymed texts are speeches of characters. This is a dramatic pageant with antique mythological deities and personifications of abstract concepts expressing virtues acting as characters. Consecration of the Stone is associated with Wedding Gift through the emblematic structure (a feature typical of all theatrical activity of Jesuits), and the compositions of the reflection and the text meant for the glorification of some virtue performing the role of a character. The poems ofConsecration of the Stone feature appeals to the dedicate – the audience that sees and hears the recited texts.On the basis of the existing typology of paratheatrical works, Consecration of the Stone should be attributed to the genre of declamatory dialogue: here four personified virtues are acting, but there is no conversation between them that would serve as a means of disclosing the action
Тип петиметра в русской комедии XVIII века
No full textDans cet article on analyse les qualités typologiques du portrait du Petit- maître d‘un des personnages principaux de la comédie russe des Lumières. On examine les particularités de son apparence, de son langage, de sa manière de vivre et de concevoir les choses. On reconnaît que ces particularités sont déterminées par le système des valeurs de la cour de Versailles et par l‘imitation servile et aveugle de moeurs de la haute société française. Petit-maître russe comme un type littéraire manifeste le point de vue satyrique et comique de la vie socio-culturelle de la Russie,basé sur le concept de la culture étrangère comme l‘exemple à suivre.Straipsnyje analizuojami tipologiniai vieno iš pagrindinių rusų švietiejiškosios komedijos personažų – petimetro (dabitos-galomano) paveikslo ypatumai, aptinkami ne tik personažo išvaizdos aprašyme bei galomano kalboje, bet ir pasireiškiantys gyvenimo būde ir jo suvokime. Šiuos ypatumus sąlygoja Versalio dvaro vertybių sistema bei vergiškai aklas buitinės prancūzų aukštuomenės kultūros kopijavimas. Rusiškasis petimetras kaip literatūrinis tipas yra ne kas kita, kaip komiška ir satyrinė sociokultūrinio Rusijos gyvenimo sampratos apraiška, atsiradusi suvokiant svetimą kultūrą kaip sektiną pavyzdį
Есенин в творческой судьбе Арсения Формакова (20-30е годы)
No full textArsenijus Formakovas (1900–1983), tarpukario metais Latvijoje gyvenęs rusų poetas, prozininkas, publicistas, memuaristas savo eilėraščiuose orientavosi į urbanistinę Igorio Severianino poeziją ir polemizavo su Nikolajaus Kliujevo bei Sergejaus Jesenino rusiškojo kaimo poetizavimu. Tačiau Formakovo publicistikoje ir prozoje aptinkamas geranoriškas dėmesys Jeseninui ir jo kūrybai. Po Jesenino mirties Formakovas paskelbė keletą straipsnių ir apybraižų, skirtų rusų poetui ir jo atminimui. Straipsnyje detaliai analizuojamos Jesenino tema, poeto eilėraščių citatos, aliuzijos į tuometinę kritiką ir memuarus Formakovo romane Faina (1938). Analizė leidžia teigti, kad romano tekste paslėpta jo autoriaus meilė Sergejui Jeseninui, kuris kartu su Aleksandru Bloku romano Faina autoriaus sąmonėje įkūnija tėvynės vaizdą
Ironija ir žaismė Oskaro Milašiaus kūryboje
Get PDFLe but de cet article est d’analyser les formes d’ironie et de jeu dans Très simple histoire d’un Monsieur Trix-Trix, pitre et le vaudeville Le Revenant malgré lui, écrit en collaboration avec Francis de Miomandre. Dans ces deux oeuvres l’auteur a recours aux moyens différents d’(auto)ironie et aux diverses formes de comisme. Ce sont des allusions ironiques des images poétiques de Milosz ou la parodie des tendances littéraires de la fin du XIXe – du début du XXe siècle. Le personnage du pitre acquiert des traits d’alter-ego ou de masque du narrateur de l’histoire. Dans les parties du vaudeville attribuées à Milosz, des situations absurdes, une large utilisation du jeu de mots et d’expressions, l’imitation des accents étrangers correspondent aux exigences du genre comique. La présence active de l’auteur dans les deux textes révèle un point de vue ironique envers sont identité de créateur et constitue un rapport avec son oeuvre sans cesse renouvelé. Le discours ludique complète les significations de l’oeuvre de Milosz.Le but de cet article est d’analyser les formes d’ironie et de jeu dans Très simple histoire d’un Monsieur Trix-Trix, pitre et le vaudeville Le Revenant malgré lui, écrit en collaboration avec Francis de Miomandre. Dans ces deux oeuvres l’auteur a recours aux moyens différents d’(auto)ironie et aux diverses formes de comisme. Ce sont des allusions ironiques des images poétiques de Milosz ou la parodie des tendances littéraires de la fin du XIXe – du début du XXe siècle. Le personnage du pitre acquiert des traits d’alter-ego ou de masque du narrateur de l’histoire. Dans les parties du vaudeville attribuées à Milosz, des situations absurdes, une large utilisation du jeu de mots et d’expressions, l’imitation des accents étrangers correspondent aux exigences du genre comique. La présence active de l’auteur dans les deux textes révèle un point de vue ironique envers sont identité de créateur et constitue un rapport avec son oeuvre sans cesse renouvelé. Le discours ludique complète les significations de l’oeuvre de Milosz.Šiame straipsnyje siekiama dvejopo tikslo: 1) išnagrinėti, kokias konfigūracijas įgyja žaidybiškumas Milašiaus kūryboje ir kokias jis generuoja reikšmes; 2) ištirti paties autoriaus dalyvavimą tekste, jo „įsitekstinimą“ pasitelkiant ironijos ir žaismės formas. Tyrimo objektu pasirinkti du ankstyvieji prancūzų poeto tekstai: Papras- čiausia tokio pono Triks-Trikso, juokdario, istorija ir Vaiduoklis per prievartą
Tarpkonfesinė sąveika ir tikybinio identiteto paieškos Lietuvos Didžiojoje Kunigaikštystėje XVI a. pab. – XVII a. I pusėje: akcentai Rapolo Korsako „Juozapo Benjamino Rutskio gyvenime“ (1640)
Get PDFThis article focuses on the biography of the metropolitan of the Ruthenian Uniats Joseph Velamin Rutski, written in Latin by his successor Raphael Korsak. This interesting biographical work remained unfinished and unpublished till 20th century. Not only detailed analysis of this work is presented in the article, the biography is also taken as the source and the basis for some broader conclusions in the field of formation of the religious identity in the Grand Duchy of Lithuania, mainly in the first part of the 17th century. Such approach is allowed by several circumstances related with this work – close personal relation between the described person and the author, the similarity of their biographies. The high education and ecclesiastical position of the author allowed to make many important remarks about the described times. The accuracy representing details and attention to the life of the spirit of the described person (which were elements taken from the tradition of Jesuit biography) preserved very much authentic material from the early history of the Uniat Church and vividly reveal difficulties in the life of the citizen of GDL in the way toward Uniat Church and Eastern-Rite Catholicism as one’s own religious identity. On the basis of this work and also of some other biographical and historical writings related with Uniat Church we can distinguish some events as common sites of memory, which became significant signs for this identity (an attempt on the life of the metropolitan of uniats in Vilnius, the martyrdom of archbishop of Pollock Jozafat Kuncewicz and the conversion of Meletius Smotrycki, which took place afterwards)
Dėmesys sakytinei tradicijai kaip kūrybiškas tapatinimasis. Antano Juškos ir Jono Basanavičiaus etnografinės veiklos motyvų apmąstymas
No full textThe article focuses on how the attention to an oral tradition is related to the formation of the national identity. Many educated men in the 19th century Lithuania started to collect various elements of oral tradition. In spite of similar cultural situation all over Europe, the situation in Lithuania was quite unusual because of two reasons. Firstly, this meant to focus one’s attention to (or even to identify oneself with) the lowest class of society. The second reason was that the oral tradition was fully alive and rich in that time, it wasn’t transformed to stable symbols, and the value of it wasn’t clear. The focus to this kind of ordinary life details was socially and aesthetically new. The main characters of the article are two important historic actors of the end of XIX century and the beginning of XX century – Antanas Juška and Jonas Basanavičius. They (among the others) where creating new patterns for identification with social level, with professional group, with Lithuanian language speakers and, finally, with nation. The article makes presupposition that the passive identity is of the same relevance in these processes as an active identity (the division between passive and active identities is made according G. Devereux). Basanavičius and Juška had the interest in all details of all branches of the daily life. Their interest was essentially different from the scientific interest in Lithuanian language showed usually by German linguists since the XVIII century. The article makes a hypothesis that the passive identity, which did not receive scholarly attention, can be thematized and fixed in the conscious acts of noticing of oral tradition, and in the acts of recording and declaring it. For the oral tradition, it is transmitting of way how to make, or how to behave, or how to relate to something, rather than transmitting of concrete data to remember that in the verbal form. This is why the focus on the oral tradition could be called an attention to the passive identity as to the specific national way of creating senses of everyday life
Religinė ir tautinė tapatybė Antano Baranausko poetinėje autorefleksijoje
No full textThe article seeks to investigate Antanas Baranauskas’s self-conception from the theoretical perspective of phenomenology and theology of literature. The focus of attention are the poet’s early poems, as they demonstrate intensity of the poetical self-consciousness. Baranauskas interprets both religious and patriotic sense of the poetical writing. He contemplates the transcendental meaning of poetry, creates the link between romantic / Biblical prophet and himself as a poet, between the Christian concept of neighbour and national feelings. Baranauskas’s literary thought is ingenious and attentive to semantic undertones
Petrarca ir Ariosto: nuo Lauros iki Andželikos arba metaforos nuvainikavimas
Get PDFL’obiettivo è di prendere in esame uno dei motivi centrali del Canzoniere, quello dell’erranza, per mettere in evidenza le trasformazioni che subisce nell’ Orlando Furioso di Ludovico Ariosto. Per Petrarca si tratta di un tema legato alla memoria, all’ansia con cui percepisce lo scorrere del tempo: il motivo, dunque, si sviluppa sul piano temporale come metafora della vita intera del poeta, della sua condizione esistenziale.Nell’Orlando Furioso, invece, l’erranza, pur conservando valenze simboliche, si trova risemantizzata e collocata in una dimensione prevalentemente spaziale: infatti, gli eroi, mossi dai propri desideri, illusioni o speranze, vagano attraverso gli spazi del mondo rappresentato. Infine, il motivo tematico dell’erranzadiventa anche principio fondatore delle particolarità strutturali del poema stesso, della “spazialità” delle sue strutture narrative.La diversità dell’Ariosto dal Petrarca è spiegabile, certo, con la differenza tra il genere lirico e quello narrativo, con il passaggio dallo stile tragico del Canzoniere al “tono medio” dell’Orlando Furioso. Tuttavia, è altrettanto importante anche l’aspetto storico- culturale, la diversità del sentire dei due poeti: l’umanesimo dell’ Ariosto, infatti, non è più quello del Petrarca
Graikiško Odarion’o (1604) šv. Kazimiero garbei autorystės problema
Get PDFThe present article focuses on the question of the authorship of the Greek Odarion to St. Casimirus, one of the most outstanding pieces of Greek poetry in Early Modern Lithuania, recently famed for its dual versification. This amusing piece of work, located in the collection of the panegyrical texts to the same saint, carrying the title THEATRVM S. CASIMIRI, IN QVO IPSIVS PROSAPIA, VITA, MIRACVLA, & illustris pompa in solemni eiusdem apotheoseos instauratione, Vilnae Lithuaniae Metropoli V. Id. Maij, Anno D[omi]ni M. DC. IV. instituta graphice proponuntur. […] Editum ibidem [sc. Vilnae], eodem anno [sc. 1604], operis Typographicis Academiae SOCIETATIS IESV, was performed orally during the solemnities that took place 10–12 May in 1604 in Vilnius due to the recent canonization of this saint. The true author of this collection is actually unknown and the same is applicable to the Odarion. Gregorius Swięcicki, the member of Vilnius chapter, whose name appears in several parts of the convolute (especially, under the short introductory letter Author Lectori), is generally being taken as an author’s name for the whole printed collection (including Odarion). This position was recently questioned due to the detection of one more important part of the convolute, the so-called Pompa Casimiriana written by certain Quirinus Cnoglerus Austrius. The main idea of this article is to reveal the complicated cultural, educational and confessional surroundings of such a litterary composition as Odarion and give several suggestions concerning the personalities who might be called its authors. First of them is Austrian “philhelenic” humanist and probably convertite Quirinus Cnogler, the author of the panegyrical oration (sermo panegyricus) Pompa Casimiriana (s. l., s. a. [=Vilnae 1604?]) and a number of occasional, publicistical, polemical writings of different scope. Another “candidate” is Swedish poet Laurentius Boierus (1561–1619), the author of Carolomachia (Vilnae, 1606) and meanwhile unknown, not-extant poem Pompa Casimiriana (Brunsbergae, 1604), mentioned by various Jesuit bibliographies. Finally, the third of the „candidates“ is Ioannes Kraykowski of Polish/Lithuanian origin, the student of rhetoric at Vilnius Jesuit college, the author of various occasional Latin and Greek verses and one larger poem, Epos de S. Casimiro (Vilnae, 1604), composed for the mentioned solemnities of S. Casimirus and dedicated to his patron Fabian Plemięcki. The article doesn’t solve the problem of the authorship of Odarion completely and leaves the question open. Nevertheless, a certain strand of tentative conclusions is to be drawn. First of all, the authorship of Gregorius Swięcicki is to be reduced, reserving him only the name of the organizer or co-author of the whole collection (Theatrum S. Casimiri). The role of all the professors and students (especially the members of pious congregations and rhetorical/poetical ‘academies’) of Vilnius Jesuit academy is to be stated more firmly, too. Certain lexical and methodological affinities between Odarion and a couple of Greek compositions of Ioannes Kraykowski (including his Greek Odarion, written in dactylic tetrameters) enable us to state the hypothesis that he was its actual author. Nevertheless, the outstanding “philhelenism” of Quirinus Cnoglerus and the intricate manner of the self-camouflage (writing suppresso nomine) of Laurentius Boierus still remain as a serious claim for the name of the author of Odarion