6 research outputs found
How they live is beautiful to me
No full textFotomenininką Arūną Baltėną, knygų „Šilų dzūkai“ (2009), „Žemaičiai. Gyvenimai ir šventės“ (2012), „Gervėčių Lietuva“ (2013), „Namų tyloj“ (2016), „Vietiniai. Nepaprasta kelionė į Trakų kraštą“ (2019) autorių, pirmą kartą kalbinome 2010-aisiais. Tąkart teiravomės, kaip miestų fotografija garsėjęs menininkas atsigręžė į Lietuvos etninius regionus, ką ten atrado, kuo jo kūryba artima ir kuo skiriasi nuo fotografų, kurių akimis matome XX a. pradžios ar 7-8 dešimtmečio Lietuvos kaimą. Taip užsimezgė dešimtmetį trunkanti draugystė, kuria didžiuojamės, - Arūno fotografijos pastaruosius kelerius metus puošė daugumą leidinio viršelių, prireikus - iliustravo tekstus. Bendradarbiaudami įsitikinome, kad jo sukurtame vaizdų archyve sukaupta daugybė unikalių kultūros paveldo fotografijų bei XXI a. tradicinės gyvensenos liudijimų.Interview with photographer Arūnas Baltėnas, who this year launched the website www.baltenoarchyvai.lt, which presents to the public his work spanning several decades. It publishes about 7000 photographs of Lithuania’s ethnic regions (Dzūkija, Žemaitija, Aukštaitija, Lithuania Minor, Gervėčiai, and Trakai region), presenting the people living there, their works, crafts, everyday life and celebrations, cultural landscape, interior details of their homes. There are also several new series of photographs: people’s work in Lithuania (the cycle of photographs “Esame. Dirbame” [We are. We work], over 200 photos) and abroad (“Išeivija po 1991-ųjų” [Emigration after 1991], over 100 photos, still in progress), and Lithuanian interests and hobbies (“Gyvenimo aistra” [Life passion], about 80 photos, also still in progress). The photographs are accompanied by the stories of the people recorded by the author, deserving more attention from researchers. According to the author, the aim of this archive is to “transmit as comprehensively as possible the testimony of our life for the future”, but it is equally as important for the present. Looking at these photograph galleries, it is clear that our lives and choices may be very different, but in each one we can see beauty and light
Mafoko: Structuring and Building Open Multilingual Terminologies for South African NLP
No full textThe critical lack of structured terminological data for South Africa’s official languages hampers progress in multilingual NLP, despite the existence of numerous government and academic terminology lists. These valuable assets remain fragmented and locked in non-machine-readable formats, rendering them unusable for computational research and development. Mafoko addresses this challenge by systematically aggregating, cleaning, and standardising these scattered resources into open, interoperable datasets. We introduce the foundational Mafoko dataset, released under the equitable, Africa-centered NOODL framework. To demonstrate its immediate utility, we integrate the terminology into a Retrieval-Augmented Generation (RAG) pipeline. Experiments show substantial improvements in the accuracy and domain-specific consistency of English-to-Tshivenda machine translation for large language models. Mafoko provides a scalable foundation for developing robust and equitable NLP technologies, ensuring South Africa’s rich linguistic diversity is represented in the digital age.
Theme of love in lyrics by B. Sruoga
No full textŠio straipsnio tikslas - apžvelgti Balio Sruogos lyriką aktualizuojant meilės temą kūrėjo poetinių prasmių kontekste. Eilėraščiai apie meilę - tai asmeniškiausi ir intymiausi B.Sruogos poetiniai kalbėjimai, sudarantys žymią jo lyrikos dalį. Meilės tema rutuliojama jau ankstyvajame rinkinyje "Saulė ir smiltys" susimbolintais tautosakos įvaizdžiais, sudvasintais simboliais. Rinkinys "Dievų takais" beveik ištisai sudarytas iš gaivališkos, aistringos, erotiškos meilės lyrikos. Ekspresionistinėje poemėlėje "Miestas" matome moters paveikslą, kupiną dionisiškų jaudulių. Paskutinįjį B.Sruogos eilėraščių ciklą "Giesmės Viešnelei Žydriajai" sudaro šešiolika giesmių, kurių visuma tampa prasminiu tašku, aktualizuojančiu visos poeto meilės lyrikos variantiškumą. Reikia pabrėžti, kad meilės pajauta eilėraščiuose suponuoja ne tik specifinį kalbančiojo, adresanto, bet ir ypatingą adresato, moters pozicijų raišką, kitokį pasaulio matymo bei vertinimo rakursą. Kalbėjimas apie jausmus moteriai inspiruoja ir atitinkamą tematinį spektrą, tam tikras motyvų, įvaizdžių, simbolių variacijas, besigrupuojančias ties atskirais meilės jausmo raiškos aspektais. Su moteriškumo reprezentacija susiję specifiniai kūrėjo savimonės ir meninio vaizdavimo būdai, ryškėjantys pasitelkus nyčiškąją poetinio modelio prasmių opoziciją - apoloniškojo ir dionisiškojo pradų sąveiką. Reikšminiai žodžiai: Balys Sruoga; Meilė moteriai; Meilės lyrika; Meilės tema; Moters įvaizdis; Sruoga; Tautosakos motyvai, urbanistiniai motyvai; Tautosakos įtaka; Balys Sruoga; Femininity causes; Folklore influence; Folklore motives; Image of the woman; Love lyrics; Love theme; Sruoga; Town motivesThe theme of love has been discussed for centuries. It was the potential object of discussions, superstitions, preliminary opinions, contempt and admiration, derision and respect for a long time. It's still analysed in many different ways. This work is an attemption to look exhaustively over the lyrics by Balys Sruoga in order to urgent the theme of love in the context of creator's poetical senses. One of the most important tasks of this work is to emphasize that a deep sensation of femininity causes not only an expression of love object positions in the artistic text, but also a different way of author's world outlook and appreciation. The theme of love is touched as the main principal of humanity or cultural values. The author of this work insists to witness that the speech about love, feelings towards the woman inspires the spectrum of corresponding subjects, a special variation of different motives, tropes and symbols
Knyga apie XIX amžiaus lietuvišką knygą : recenzija
No full textA. Navickienės knygos "Besikeičianti knyga XIX amžiaus pirmosios pusės Lietuvoje" recenzijoje be kita ko pateikta lietuviškos knygos leidybos XIX a. pirmojoje pusėje mokslinė apžvalga, teikianti vertingos medžiagos minimo laikotarpio knygos istorijos Lietuvoje tyrinėjimams. Monografija vertinama kaip ypač vertingas knygotyros darbas, kuriame siekiama atspindėti kone visą įmanomą XIX a. lietuviškos knygos pasaulį, pirmą kartą ją matome kaip procesą – nuo genezės, t. y. nuo pirminio sumanymo, rašymo ir leidimo (su visomis cenzūros peripetijomis), nuo spaudos, nuo platinimo – iki pat recepcijos visuomenėje. Knyga nėra ištraukiama iš bendro kultūrinio konteksto – ji siejama ir su socialiniu, ekonominiu bei politiniu procesu. Recenzijoje pateikta recenzuojamos knygos struktūra, cituojamos vertingiausios detalės. Pastebėta, kad istoriografinė knygos dalis – viena stipriausių. A. Navickienė ne tik siekia rekonstruoti to laikotarpio lietuviškos knygos pasaulį, pateikti kiek įmanoma išsamesnį jo vaizdą, bet ir pristatyti knygą kaip procesą. Recenzijoje išryškinamas knygos kompleksiškumas, panorama, novatoriškumas, pagavus rašymo stilius, ir autorės gebėjimas polemizuoti, kritiškai vertinti pateiktus kitų tyrėjų duomenis. Reikšminiai žodžiai: Kelionės; Knygos; Knygos nuosavybės ženklai; Lietuvos Didžioji Kunigaikštystė (LDK; Grand Duchy of Lithuania; GDL); Lietuvos nacionalinė Martyno Mažvydo biblioteka; Recenzijos; Senosios knygos; Book ownership marks; Books; Itineraries; Martynas Mažvydas National Library of Lithuania; Old books; Review; The Great Duchy of LithuaniaA review of the book “Besikeičianti knyga XIX amžiaus pirmosios pusės Lietuvoje” [Changes of books in Lithuania in the first half of the 19th century] by A. Navickienė presents a scientific review of the Lithuanian book publishing in the first half of the 19th century, providing a valuable material for studies of the history of books of the mentioned period in Lithuania. The monograph is considered to be a very important work in the field of book science, which reflects the whole world of Lithuanian books in the 19th century. It is the first time we see it as a process – from the genesis, i.e. from the first concept, writing and publication (with all censorship-related peripeteias), printing and dissemination to the very reception of the public. The book is not taken from the common cultural context – it is linked to the social, economic and political process. The review presents the structure of the book, useful thoughts are quoted. The author of the review notes that the historiographical part of the book is one of the strongest. A. Navickeinė aspires to reconstruct the world of the then Lithuanian book, to present it as comprehensively as possible and to present the book as a process. The review highlights the complexity, panorama, innovation and the writing style of the book as well as the author’s ability to critically dispute and evaluate the data submitted by other researchers
Liudas Truikys. Theatrical integration of the costume
No full textStraipsnio autorė apžvelgia išskirtinio lietuvių teatro menininko Liudo Truikio sukurtus sceninius kostiumus. Teatro kostiumas – reikšminga, iki šiol netyrinėta L. Truikio kūrybos sritis. Šio darbo tikslas – pasiaiškinti, kaip ryški individualybė suprato kolektyvinio meno reikalavimus ir formavo naują požiūrį į pasyvų teatro komponentą – scenos kostiumą. Liudas Truikys pasižymėjo novatorišku požiūriu į teatro meną. Dailininko biografija pateikia nemažai faktų, rodančių išskirtines scenografo charakterio savybes, kurios neabejotinai lėmė savitą meninį braižą, idealistinius kūrybos vertinimus ir išskirtinį likimą. L. Truikio savitas požiūris į kostiumą ėmė formuotis XX a. 4 dešimtmetyje. Analitinės dailininko savybės išryškėjo jo požiūryje į dramos ir operos spektaklio atlikėją. Tyrinėdami dailininko kostiumų eskizus matome, kaip įdėmiai jis analizavo vaidmenis, siekė spektaklio kūrėjams padėti maksimaliai atskleisti herojų. Tikėtina, kad L. Truikys buvo gerai išstudijavęs Europos dailės ir teatro novatorių kūrybą, kurioje dominavo siekis pakeisti nusistovėjusias meno taisykles, išvaduoti teatro aktorių iš psichologinės vaidybos, sukurti monumentalią, išgrynintą meninę kalbą, atskleisti įvairiapusį atlikėjo talentą. Liudo Truikio idealizmas padėjo teatre atrasti aktyvųjį vaizdinės spektaklio kalbos pradą, sukurti vizualinio teatro modelį, tačiau dailininkui tai kainavo brangiai. Jis liko vienišas, teatre taip ir netapęs savu. Reikšminiai žodžiai: Teatras; Scenografija; Teatro kostiumai; Theatre; Stage design; Theatre costumeThe author of the article discusses stage costumes designed by an outstanding Lithuanian artist Liudas Truikys. Stage costumes constitute an important, yet previously unexplored part of L.Truikys’ creative work. The goal of this research is to explain, how this bright person understood requirements of collective art and shaped new attitudes towards a passive component of the theater – stage costume. Liudas Truikys stood out for his innovative approach to theater arts. Within the biography of the artist, one finds many facts demonstrating exceptional character traits, which – without a doubt – determined specific artistic style, idealistic assessments of creative work, and exceptional fate. L.Truikys’ distinctive approach to costume began to emerge in 1930ies. Artist’s analytical traits came to light in his view on a drama and opera play performer. By exploring the artist’s costume sketches, we notice how meticulously he analyzed roles, aimed to help directors of a play to reveal fully a character on stage. It is likely that L. Truikys was well versed in works of European art and theater innovators, which were dominated by aspiration to change established art rules, to liberate theater actors from psychological acting, to create a monumental, purified artistic language, to reveal multifaceted talent of a performer. The idealism of Liudas Truikys helped us to find in the theater an active element of visual language of a play, to create a theater model, though the artist has paid a high price for that. He remained lonely, unable to find his place in the theater
Pegonyakišišo ya kgopolo ya balade ya Sepedi
No full textThesis (PhD)--University of Pretoria, 2019.This study aims to investigate two Sepedi ballads, Moganedi’s ‘Maletsoge’ (1985) and Matome Fela’s ‘Sebilwane’ (1961) to consider their style and genre.
The investigation starts with a review of prior studies of the Sepedi ballad, notably by Groenewald, Serudu, Mojalefa, Kruger and Lentsoane. Three research methods are used, namely explanation, description and comparison of the structure of a ballad. In exploring the Sepedi ballad form and whether there are ballads in Sepedi, the study is informed by narratology, which explains three aspects of the structure of a text (whether it is a narrative poem or a novel, short story or drama). This is relevant because ballads contain all the elements relevant to a narratological study, namely contents, a deliberate arrangement of the material, and style, as expressed in language.
Scrutiny of prior studies on the Sepedi ballad reveals some disagreement about the genre. This study attempts to address the resultant difficulties around the categorisation of the ballad vs the epic in Sepedi literature. Serudu groups the Sepedi ballad, epic and praise poem together. This implies that these genres share some characteristics, even though there are important differences between the three types of poems. Groenewald admits that the central characteristic of the ballad is its narrative character, but he claims that there are no ballads in Sepedi. He categorises the ballad as a type of poem that narrates events of a poem, but states that its aim is not to praise the bravery of the main character, unlike in an epic or praise poem.
These scholars, especially Serudu, do not engage with Kayser’s explanation of a ballad – he said that a ballad focuses on events as the biggest section of the narration. Kayser’s argument suggests that the main difference between the epic and the ballad is the focus of the poem: an epic is about a character, while the ballad emphasises actions. Thus character and action as the two pillars of the arrangement are very important in differentiating a ballad from other types of poems, such as narrative poems or praise poems. In a ballad, action builds until the conflict reaches a climax, which usually involves the meeting of the main opposing characters in a moment of panic and danger.
To illustrate this contention, a ballad by Moganedi, ‘Maletsoge’, is analysed, relying on arrangement theory, focusing on the core of the matter and exposition only (this was all the scope of this investigation permitted).
The concept of a ballad is explained by looking at six aspects: the origin, actions, characters, atmosphere and types of ballad. Ballads emphasise a feeling of sound and rhythm. Actions that take place in them are not as important as the spirit of song and rhythm. Hence, the actions in the ballad are not explained in full and the action often starts abruptly, in the middle of things, without any lengthy introduction. This often makes the listener curious and impatient to know what led to the action that opens the poem.
Matome Fela’s ballad ‘Sebilwane’ (1961) is analysed with the focus on the arrangement of the writing style, as the third layer of a ballad. The text is shown to centre around the author’s point of view. That means that through the author’s language readers can understand the text and intention of the author. Readers are able to recognise the style as they read the text. That means the author’s language is very important when it comes to style, because it is what builds a relationship between the author and the readers, connecting them through dialogue and language. The language as an element of style has three functions: to call (to hear what is spoken), to focus on something (to see what is spoken) and to reveal feelings or emotions (those of the speaker about what he/she speaks of). This study emphasises the difference among content, plot structure and style of narratology. The concept of emotions was analysed by explaining the techniques that stand out in the stylistic arrangement in the ballad.African LanguagesPhDUnrestricte
