1,720,964 research outputs found
Acute vowels a and e in Kuršaitis’ dictionaries.
No full textMost modern manuals of Lithuanian accentuation traditionally adhere to the doctrine that the vowels a and e cannot have the acute tone except in diphthongs. Yet software-assisted analysis of the digitised texts of the German-Lithuanian (1870–1874) and Lithuanian-German (1883) dictionaries of Fridrikis Kuršaitis (in German known as Friedrich Kurschat) reveals that the existence of these monophthongs with the acute tone is real and well attested, at least in the variety of Lithuanian once spoken in Lithuania Minor, as described by Kuršaitis. A considerable proportion of the words with these acute-tone vowels consists of loanwords of various origins, among them geographical names: páslas (‘envoy’), áptas (‘abbot’), telegráfas (‘telegraph’), gimnázija (‘gymnasium’, a type of secondary school), Galátija (‘Galatia’), Ázija (‘Asia’) etc
Ovid's "ex ponto" 1.1.: struggling to remain a roman poet in exile.
No full textOvid's exilic works – Tristia and Ex Ponto – aim at several goals at the same time. The poet seeks, with the help of his own poetic Muse, to survive in an alien location and to bear his solitude without his closest family members and friends, and at the same time to maintain his poetic relevance and fame in Rome; he also tries to apologise to Augustus and begs for his mercy to grant him permission to come back home. Ovid's exile poetry is multi-layered. It needs to be read both directly and between the lines at the same time. Ovid hyperbolizes his difficulties in exile and criticizes the town of Tomis, its climate, culture and its habitants, seeking to present his exilic situation as nearly unbearable. Even though, according to scholars, the exile was harsh, nevertheless, such poetic presentation is biased by the poet’s own sufferings. On the other hand, Ovid compares his fate with that of the mythical heroes, especially Odysseus, in order to find a link between mythology and his own situation, and, by using old and familiar topoi, to invert them in order to persuade the reader to wish him comfort. Also, as Ovid compares himself with Aeneas and Odysseus, he seeks to show himself more enduring than those heroes and endowed with less good-will from the gods. Ovid modifies the poetics of his work in each elegy according to the addressee of the particular poem. When addressing his poems to Augustus, he worships the emperor as a god, particularly comparing him to Jupiter, seeking to soothe the emperor's wrath and in this way to obtain permission to return to Rome. Letters dedicated to his wife seek to change his reputation at home as a poet who once did not object to, or even encouraged, adulterous behaviour. When writing to his friends, Ovid tries to make use of their influence and amicitia to spread his poetry from the exile and to forward his requests to Augustus, as well as to get much needed emotional support from his friends. In this way, when writing to relatives and friends, and foreseeing that the general public would also read these letters, he excites the reader’s curiosity and creates an illusion for the readers as if they are given a chance to glance at Ovid's personal life and sufferings
A construction grammar approach to the poetics of baltic folk songs.
No full textA Construction Grammar Approach to the Poetics of Baltic Folk Songs This thesis deals with the issues of Lithuanian and Latvian folk songs poetics, their structure and the strategies of creating poetic meaning. The thesis applies a new type of construction-based models, called Construction Poetics – a result of a synthesis between Construction Grammar and Oral Formulaic Theory. The language of oral poetry is governed by the very same cognitive principles as ordinary spoken language, therefore poetic language can be analysed within a linguistic framework. According to the theory of construction poetics, Baltic folk songs are composed using pairings of form with meaning and poetic function. This thesis analyses the types of these poetic constructions and the relations between them, as well as their function during performance and their link with semantic frames and domains. The analysis revealed 1) how poetic constructions work in poetic language and its usage, 2) what are the strategies governing the poetic performance, and how are they related to the tensions emerging between the poetic tradition and the innovation of the individual, 3) how constructions convey meaning, and 4) how poetic meaning is created and/or modified by linguistic and non-linguistic context(s). Hopefully this thesis not only will cast new light on Baltic folk song and language research, but will contribute to a new uniform cognitive theory of poetic meaning, merging the fields of linguistics and poetics once again
Exceptions to de Saussure’s Law in Kuršaitis' Lithuanian dictionaries
No full textF. Kuršaičio Vokiečių-lietuvių ir Lietuvių-vokiečių kalbų žodynų analizė rodo, kad tam tikroje -a linksniuotės žodžių grupėje vienaskaitos vardininko linksnyje neveikė de Saussure’o dėsnis. Savo gramatikoje Kuršaitis buvo priskyręs šiuos žodžius Ib kirčiuotei (aprašytai jo gramatikos § 630; dabartiniais terminais tai būtų 2-osios kirčiuotės variantas -ė linksniuotei). Šios grupės žodžiai kyla iš kelių šaltinių: žodžiai, besibaigiantys -ia ar -ja, ypač su priesaga -ija, tokie kaip lapìja ar Prūsìja; substantiva mobilia porų moteriškosios giminės nariai, tokie kaip garbanuõčia; vaikų kalbos žodžiai (Lallwörter), tokie kaip mãma; skoliniai, tokie kaip lãva; taip pat ir kai kurie kiti žodžiai. Panašūs reiškiniai matyti ne tik Kuršaičio aprašytoje Mažosios Lietuvos lietuvių kalboje, bet ir kai kuriose dabartinėse lietuvių kalbos tarmėse. Dėl to būtų verta persvarstyti galimas de Saussure’o dėsnio išimtis lietuvių kalboje. Reikšminiai žodžiai: Akcentologija; De Saussure'o dėsnis; Žodynai; Kirčiavimas; Frydrichas Kuršaitis ( Friedrich Kurschat); Kalbininkai; Žodynininkai; Kultūros veikėjai; Accentuation; Vocabularies; Cultural figures; Accentology; De Saussure's Law; GlossaristsAnalysis of the German-Lithuanian and Lithuanian-German dictionaries by Fridrikis Kuršaitis (in German known as Friedrich Kurschat) reveals that in a certain group of words of the -a declension, de Saussure’s Law fails to operate in the nominative singular, contrary to what is described (or prescribed) in modern manuals of Lithuanian accentuation. In his Lithuanian Grammar, Kuršaitis himself assigned these words to the accentuation class Ib (described in the section 630 of his grammar; in modern terminology, it is a variant of accentuation class 2 applied to the -ė declension). The words in this group fall into several categories: those with the ending -ia or -ja, especially with the suffix -ija, such as lapìja ‘foliage’ or Prūsìja (‘Prussia’); feminine members of the substantiva mobilia pairs, such as garbanuõčia (‘curly-haired’); babble-words (Lallwörter) such as mãma (‘mama’); certain loanwords, such as lãva (‘lava’); as well as some other words. Similar phenomena can be observed not only in Lithuanian as it was spoken in Lithuania Minor and described by Kuršaitis, but also in modern Lithuanian dialects. This calls for a more thorough review of possible exceptions to de Saussure’s Law in Lithuanian
Influence of greek and latin accentuation on Lithuanian accent notation
No full textDaugumos dabartinių kalbų kirčio ženklai kilę iš graikiškųjų - tai vadinamoji aleksandrietiškoji kirčio notacijos sistema. Joje vartojami trys kirčio ženklai: akūtas, gravis ir cirkumfleksas. Akūtas, kaip ir dabar vartojamas sistemoje, žymėjo kirčiuoto skiemens tono kilimą. Gravio ženklas atitinkamai vaizdavo tono kritimą ir buvo vartojamas nekirčiuotam (dažnai prieškirtiniam) skiemeniui žymėti, kurio tonas buvo žemesnis nei likusių nekirčiuotų skiemenų. Cirkumfelsas vaizdavo ilgo skiemens tono pakilimą pirmojoje moroje ir kritimą antrojoje. Bizantiškoje graikų kirčio žymėjimo sistemoje gravis įgavo dabartinę paskirtį. Lietuviškų žodžių kirtį laužtinio cirkumflekso ir akūto ženklais dažnai žymėjo jau M. Daukša 1599 m. "Postilėje", tačiau aiškesnė sistema aiškiau matoma D. Kleino ir kitų autorių raštuose. Kleino veikaluose aiškiai matyti sąmoningos pastangos sekti graikiškomis taisyklėmis - korektūrose matyti, kad graikiškų taisyklių neatititinkantis lietuviško žodžio priegaidės ženklas Kleino buvo taisytas. Lietuvių kalbos priegaidės pirmą kartą buvo visiškai tiksliai pažymėtos 1737 m. "Universitas Ligvarum Litvaniae". XIX a. kilo kita lietuvių priegaidės žymėjimo tradicija, sąmoningai paremta fonetiniu atitikimu , atstovaujama S. Stanevičiaus. Dabartinę lietuvių kirčio notaciją baigė formuoti F. Kuršaitis, kuris cirkumfleksą paskelbė tvirtagalės priegaidės ženklu ir pakeitė jo išvaizdą iš laužtinės į riestinę. Kaip matyti, lietuvių kirtis imtas žymėti graikiškais ženklais netgi anksčiau, negu jais pažymėtų priegaidžių giminystė buvo parašyta indoeuropeistikos požiūriu. Reikšminiai žodžiai: Kirčio ženklas; Gravis; Akūtas; Cirkumfleksas; Diakritikas; PriegaidėThe stress marks in most modern languages come from the Greek ones, i. e. the so-called Alexandrian stress notation system, in which three stress marks are used: the acute, the grave and the circumflex. The acute, as used in the system at present, marked the raise of the tone of the stressed syllable. The sign of the grave correspondingly marked the fall of the tone and was used for marking the non-stressed (most frequently pre-stressed) syllable, whose tone was lower than that of the remaining non-stressed syllables. The circumflex marked the raise of the tone of the long syllable in the first pitch and the fall in the second one. In the Byzantine Greek stress marking system the grave acquired its present-day purpose. M. Daukša marked the stressing of Lithuanian words with circumflex and acute marks already in 1599 in his "Postilė" however a more clear system is more clearly seen in the writings by D. Klein and other authors. In Klein’s works one can clearly see the conscious attempts to follow the Greek rules – the corrections show that Klein corrected the mark of intonation of Lithuanian words, which did not comply with the Greek rules. For the first time the intonations of the Lithuanian language were completely accurately marked in "Universitas Ligvarum Litvaniae", published in 1737. The 19th century saw another tradition of marking of Lithuanian intonation, consciously based by a phonetic correspondence, represented by S. Stanevičius. The present-day notation of Lithuanian stress was finalized by F. Kuršaitis, who announced the circumflex the mark of hard-end intonation and changed its appearance from bracket into the brace one. As it can be seen, the Lithuanian stress was started to be marked by Greek signs even earlier than the relation between the marked intonations was described in terms of Indo-European language studies
Latin-Lithuanian glossary in the 1673 Lithuanian grammar by Sapūnas and Schultz.
No full text1673 m. išleistoje Kristupo Sapūno ir Teofilio Šulco lietuvių kalbos gramatikoje Compendium Grammaticae Lituanicae, sutrumpintai vadinamoje Compendium, beveik visi lietuviški žodžiai išversti į lotynų kalbą, taigi joje de facto slypi 1380 vienetų lietuvių–lotynų kalbų žodynėlis. Iš šio faktinio žodynėlio ypatumų matyti, kad lietuviškus žodžius į lotynų kalbą vertė žmogus, kurio gimtoji kalba buvo vokiečių. Galima daryti išvadą, kad Sapūno rankraštyje lietuviški žodžiai buvo palikti be vertimų, o juos vėliau pridėjo Šulcas. Nepaisant smulkių vertimo netikslumų, šis žodynėlis pateikia vertingų XVII a. Mažosios Lietuvos lietuvių kalbos faktų. Reikšminiai žodžiai: Sapūnas; Šulcas; „Compendium“; Žodynėlis; Vertimas; Lotynų kalba; Sapūnas; Šulcas (Schultz); “Compendium”; Glossary; Translation; LatinIn the 1673 Lithuanian grammar Compendium Grammaticae Lituanicae written by Sapūnas and published by Schultz, almost all Lithuanian words are accompanied with Latin translations; thus we have a de facto Lithuanian-Latin glossary consisting of 1380 entries. Certain peculiarities of this glossary reveal that the Latin translations were added to the original text by someone who knew Lithuanian well but whose native language was German. From this a conclusion can be drawn that in the original manuscript by Sapūnas the Lithuanian words had no accompanying Latin translations, and that these were added by Schultz. Yet, despite these minor shortcomings, the glossary furnishes valuable information on Lithuanian as it was spoken in Lithuania Minor in the 17th century
Accentuation of Jonas Rėza's Psalter of 1625
No full textStraipsnyje trumpai apžvelgiama dabartinių kalbų kirčio ženklų istorija – nuo Antikos kalbininko Aristofano Bizantiečio žymėtų akūto, gravio ir cirkumflekso iki Mažvydo Katekizme pažymėto į riestinį cirkumfleksą panašaus ženklo, Baltramiejaus Vilento raštų, D. Kleino gramatikos, J. Rėzos psalmyno ,,Psalteras Dowido“ kirčio ženklų. Išsamiau straipsnyje analizuojamas 1625 m. J. Rėzos psalmyno kirčiavimas, iš graikų perimti kirčio ženklai, paties autoriaus įsivestas kirčio ženklas. Straipsnyje taip pat aptariama Rėzos psalmyne vartotų kirčio ženklų funkcijos, kirčio ženklų vartojimo įvairavimas, sąsajos tarp psalmyno kirčiavimo ir D. Kleino gramatikos Reikšminiai žodžiai: Akūtas; Gravis; Cirkumfleksas; Psalmynas; Lietuvių kalbos istorija; KirčiavimasThis article gives a brief overview of the history of the accent marks of languages from Antiquity linguist Aristophanes of Byzantium marked the acute accent, grave accent and circumflex accent until the sign similar to a tilde-shaped circumflex marked in Mažvydas’ Catechism, and accent signs of Baltramiejus Vilentas’ writings, Daniel Klein‘s grammer, and Jonas Rhesa’s Psalter of David. The article gives a comprehensive analysis of the accentuation made by Jonas Rhesa in the psalter, accent marks taken from Greek, and an accent mark developed by the author himself. The article also discusses the functions of the accent marks used in Rhesa’s psalter, the variation of the usage of accent marks and the interaction between the accentuation of the psalter and D. Klein’s grammer
The influence of Greek and Latin accentuation on Lithuanian accent notation.
No full textThe accent signs of most alphabetic languages ultimately derive from Greek signs devised in the 3rd century BC. This 'Alexandrine' system of accemt notation was transformed into the now current 'Byzantine' system for Greek around 400 AD. The Greek circumflex, originally written in the form of an arc like an inverted breve, was graphically transformed into its present wavy shape..
Greek accentuation and versification in use at the university of Vilnius in the 17th century. The "Odarion" of Grigalius Sventickis
No full textApie Vilniaus universitete XVII amžiuje vartotas graikų kalbos tarimo ir kirčiavimo sistemas galima sužinoti tiriant tuometinių universiteto auklėtinių graikiškos poezijos eilėdarą. Įdomių faktų atskleidžia Grigaliaus Sventickio eilėraščio „Odarion“ (1604) analizė. Tyrimas parodė, kad „Odarion“ autoriui buvo žinomos visos tos pačios sistemos, kaip ir mūsų laikų tyrinėtojui: klasikinis kvantitatyvinės eilėdaros skandavimas, kirčiavimas pagal kirčio ženklus, Heninijaus kirčiavimas; bizantiškasis tarimas, Erasmo tarimas. Šios sistemos, kaip rodo Drerupo veikalas, Europos universitetuose buvo įvairiai derinamos. Dėl to nėra visiškai aišku, kaip iš tiesų Sventickio eilėraštis buvo skirtas skaityti. Skaitomas bizantiškuoju tarimu ir Heninijaus kirčiavimu, Sventickio rimai yra tikslūs; Erasmo tarimo sistema jie tikrai skambėtų „keistai ir netikusiai“, o deklamuojant sapfinę strofą „secundum metri legem“, jie visai išnyktų. Galimas dalykas, kad „Odarion“ buvo skirtas ne tiek deklamuoti pagal kurią nors sistemą, kiek tyloje kontempliuoti meistrišką eilėdaros žaidimą. Galima spėti, kad Sventickio eilėdara yra tam tikras iššūkis Heninijaus sistemos priešininkams. Tai eilėraštis, vienu metu parašytas dviem skirtingomis eilėdaros sistemomis, kvantitatyvine ir rimuota silabine – tarsi du skirtingus eilėraščius, slypinčius viename. Sventickio eilėdara atskleidžia, kad graikų kalbos kirčiavimo sistema, nuo XVII amžiaus pabaigos paplitusi Europos universitetuose ir vėliau pavadinta Heninijaus vardu, Vilniaus universitete buvo žinoma jau XVII amžiaus pradžioje. Reikšminiai žodžiai: Eilėdara; Graikų k. kirčiavimas ir eilėdara; Grigaliaus Sventickio odė "Odarion"; Grigalius Sventickis; Kirčiavimas; Literatūra (graikų); Vilniaus universitetas (VU; Vilnius University); Vilniaus universitetas (VU; Vilnius University); Šv. Kazimieras; 16th century Vilnius University; Accentuation, versification; Greek versification; Grigalius Sventickis; Lithuanian literature (Greek); Saint Casimir; The ode "Odarion" by Gregorius SwieciciusThe Greek poetry written in the 17th century by the alumni of Vilnius University reveals the system of Greek pronunciation and accentuation used in the University at that time. An analysis of the Odarion by Grigalius Sventickis (Gregorius Swiecicius, 1577-1617), published in the anthology Theatrum S. Casimiri (Vilnius, 1604), provides interesting revelations. The critical text of the Odarion is appended to the article. Each stanza of the poem reads as a correct quantitative Sapphic. However, when pronounced in the Henninian accentuation system, which was widespread during the 17th and 18th centuries in European universities, and assumed the Byzantine, or Reuchlinian, pronunciation of Greek (which was universally used before the Erasmus' reform), each stanza reads as a perfectly rhymed verse in a quite different rhythm. A transcribed sample is presented in the article. In other words, here we have a uniquely intricate piece of poetic technique - a poem written in two different versification systems at the same time. It is also remarkable that the Henninian accentuation system was used at the University of Vilnius 80 years before the appearance of the treatise by Henninius, after whom the accentuation system is named. The Odarion was written to celebrate the canonisation of Prince Casimir (1458-1484) as a Catholic saint (feast day March 4). The details of St Casimir's life mentioned in the poem are officially recognised in the Catholic liturgy. A literal translation into English is appended
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