The aim of the article is to show the picture of Jewish Vilnius/ Vilna created by German artists during the First World War. The research is based on an analysis of works of art published in the press of the time, or stored in institutions in Lithuania, Germany and Belgium, and also on an analysis of writings in German periodicals of that time. The media in Ober Ost during the war took an anti-semitic stance, promoted by the top military leadership, but the author of the article argues that there also existed a different attitude towards the Jews of Vilnius and their heritage. The views and origins of journalists, writers and artists taken on by the editorial boards of German newspapers published in Vilnius and Kaunas influenced the emergence of the Ostjuden discourse. This discourse was rather contradictory, and included both fascination with the traditional religious Jewish community, and its cultural heritage and spiritual values, and at the same time horror at the suffering and poverty of the community. This discourse also remained viable in postwar Germany, and influenced the identity of Jewish art in Vilnius in the interwar period.
{"title":"The Iconography of Jewish Vilna during the First World War","authors":"Laima Laučkaitė","doi":"10.51554/coll.21.48.08","DOIUrl":"https://doi.org/10.51554/coll.21.48.08","url":null,"abstract":"The aim of the article is to show the picture of Jewish Vilnius/ Vilna created by German artists during the First World War. The research is based on an analysis of works of art published in the press of the time, or stored in institutions in Lithuania, Germany and Belgium, and also on an analysis of writings in German periodicals of that time. The media in Ober Ost during the war took an anti-semitic stance, promoted by the top military leadership, but the author of the article argues that there also existed a different attitude towards the Jews of Vilnius and their heritage. The views and origins of journalists, writers and artists taken on by the editorial boards of German newspapers published in Vilnius and Kaunas influenced the emergence of the Ostjuden discourse. This discourse was rather contradictory, and included both fascination with the traditional religious Jewish community, and its cultural heritage and spiritual values, and at the same time horror at the suffering and poverty of the community. This discourse also remained viable in postwar Germany, and influenced the identity of Jewish art in Vilnius in the interwar period.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89760698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article illustrates the creative connections between the composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911) and the playwright and philosopher Vydūnas (Vilhelmas Storostas, 1868-1953) observed and described by their contemporaries and later, by scholars in a very general way. The article discusses the following elements of Čiurlionis’s and Vydūnas’s creative program: a work of art as a vision, the creative act as the creation of one’s own world, the principle of combining abstract and specific, and the positivity of worldview expressed in the direction of ascent. The image of the sea, which has become the main object of the work, expresses the creative world. In the interpretations of the legend about Jūratė and Kastytis, the significance of love between the human and the goddess alters from human humility and mutual feeling of love to the meanings of co-creation revealed by Čiurlionis and Vydūnas, depicting the reaction of the gods to the love of the goddess and man—from the punishment to blessing (Vydūnas’s Jūraitė). Interpretations of the legend vary from the “bound” Prometheus—the image of Kastytis bound to a rock to the meanings of the liberated Prometheus (looking at the corpus of Čiurlionis’s works, the painting “Rex,” the finale of Vydūnas’s Jūrų varpai and Jūraitė assert the liberation of the human-creator). Both artists affirm the strengthening of the inner powers of the individual. They consolidate the unmatched value of the power of human creativity.
{"title":"The Image of the Sea in Mikalojus Konstantinas Čiurlionis’s and Vydūnas’s Artistic Program of the Creation of the World","authors":"Aušra Martišiūtė-Linartienė","doi":"10.51554/coll.21.46.04","DOIUrl":"https://doi.org/10.51554/coll.21.46.04","url":null,"abstract":"The article illustrates the creative connections between the composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911) and the playwright and philosopher Vydūnas (Vilhelmas Storostas, 1868-1953) observed and described by their contemporaries and later, by scholars in a very general way. The article discusses the following elements of Čiurlionis’s and Vydūnas’s creative program: a work of art as a vision, the creative act as the creation of one’s own world, the principle of combining abstract and specific, and the positivity of worldview expressed in the direction of ascent. The image of the sea, which has become the main object of the work, expresses the creative world. In the interpretations of the legend about Jūratė and Kastytis, the significance of love between the human and the goddess alters from human humility and mutual feeling of love to the meanings of co-creation revealed by Čiurlionis and Vydūnas, depicting the reaction of the gods to the love of the goddess and man—from the punishment to blessing (Vydūnas’s Jūraitė). Interpretations of the legend vary from the “bound” Prometheus—the image of Kastytis bound to a rock to the meanings of the liberated Prometheus (looking at the corpus of Čiurlionis’s works, the painting “Rex,” the finale of Vydūnas’s Jūrų varpai and Jūraitė assert the liberation of the human-creator). Both artists affirm the strengthening of the inner powers of the individual. They consolidate the unmatched value of the power of human creativity.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"138 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73784349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The outbreak of war in August 1914 marked a new era in the history of Vilna for all of the city’s inhabitants, but perhaps for the Jews most of all. The world war accelerated the processes of political and economic modernisation, to the detriment of local Jews. These processes were not, however, immediately evident to local residents, though the more far-seeing among them feared for the worst. After all, when had Jews gained from military action? In this short paper, I will give an overview of the impact of the First World War on Vilna, and highlight two specific, very different, sources: Paul Monty’s Wanderstunden in Vilna, a guidebook for German soldiers, and Hirsz Abramowicz’s Profiles of a Lost World, a memoir published later (in Yiddish) by a long-time Vilna resident.
{"title":"Reading Vilna in the First World War","authors":"T. Weeks","doi":"10.51554/coll.21.48.09","DOIUrl":"https://doi.org/10.51554/coll.21.48.09","url":null,"abstract":"The outbreak of war in August 1914 marked a new era in the history of Vilna for all of the city’s inhabitants, but perhaps for the Jews most of all. The world war accelerated the processes of political and economic modernisation, to the detriment of local Jews. These processes were not, however, immediately evident to local residents, though the more far-seeing among them feared for the worst. After all, when had Jews gained from military action? In this short paper, I will give an overview of the impact of the First World War on Vilna, and highlight two specific, very different, sources: Paul Monty’s Wanderstunden in Vilna, a guidebook for German soldiers, and Hirsz Abramowicz’s Profiles of a Lost World, a memoir published later (in Yiddish) by a long-time Vilna resident.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78511375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper offers a philological and contextual analysis of the word decadence as it was employed in Mikalojus Konstantinas Čiurlionis’s letter to his brother Povilas dated 6 February 1902. The Lithuanian artist implored his relative not to delve into his inner self because of the risk of falling into depression. Using his brother’s confessions, his own introspection, and intellectual experience, Čiurlionis explores this issue quite extensively. In his approach he refers to the theory of nervousness, uses the concepts of self-analysis and decadence, putting the latter in quotes. The quotes mark sender’s intention to dissociate himself from the phenomenon, as well as his confusion about its ambiguous meaning. In fact, as a result of the 19th-century scientific scepticism, the word decadence discredits every attempt at defining it. A careful study of term’s history and career at the turn of 19th century shows that Čiurlionis’s position mirrors uncertainty surrounding the notion in the Western countries, since it has been associated with the contemporary culture by Charles Baudelaire and Pierre Bourget. Some major controversies over the meaning of the word are recounted in the paper. Authors in Paris and London and especially the Warsaw artistic society, which gathered around Zenon PrzesmyckiMiriam and his art magazine “Chimera,” are presented as important in understanding Čiurlionis’s views.
这篇论文对Mikalojus Konstantinas Čiurlionis在1902年2月6日给他哥哥Povilas的信中使用的颓废一词进行了语言学和语境分析。这位立陶宛艺术家恳求他的亲戚不要深入研究他的内心，因为他有陷入抑郁的风险。Čiurlionis利用他哥哥的自白、他自己的自省和智力经验，对这个问题进行了广泛的探讨。在他的方法中，他提到了紧张的理论，使用了自我分析和颓废的概念，并把后者加了引号。这些引语表明发件人有意将自己与这一现象分离开来，同时也表明他对这一模棱两可的含义感到困惑。事实上，由于19世纪的科学怀疑主义，“颓废”一词使所有试图定义它的尝试都失去了信誉。对19世纪之交术语的历史和职业的仔细研究表明，Čiurlionis的地位反映了西方国家围绕这一概念的不确定性，因为它被查尔斯·波德莱尔和皮埃尔·布尔歇与当代文化联系在一起。本文叙述了关于这个词的意义的一些主要争议。巴黎和伦敦的作家，尤其是聚集在Zenon PrzesmyckiMiriam和他的艺术杂志“Chimera”周围的华沙艺术协会，被认为是理解Čiurlionis观点的重要因素。
{"title":"Why Did Čiurlionis Write the Word Decadence in Quotes? The Analysis of His February 1902 Letter to His Brother Povilas","authors":"Radosław Okulicz-Kozaryn","doi":"10.51554/coll.21.46.03","DOIUrl":"https://doi.org/10.51554/coll.21.46.03","url":null,"abstract":"The paper offers a philological and contextual analysis of the word decadence as it was employed in Mikalojus Konstantinas Čiurlionis’s letter to his brother Povilas dated 6 February 1902. The Lithuanian artist implored his relative not to delve into his inner self because of the risk of falling into depression. Using his brother’s confessions, his own introspection, and intellectual experience, Čiurlionis explores this issue quite extensively. In his approach he refers to the theory of nervousness, uses the concepts of self-analysis and decadence, putting the latter in quotes. The quotes mark sender’s intention to dissociate himself from the phenomenon, as well as his confusion about its ambiguous meaning. In fact, as a result of the 19th-century scientific scepticism, the word decadence discredits every attempt at defining it. A careful study of term’s history and career at the turn of 19th century shows that Čiurlionis’s position mirrors uncertainty surrounding the notion in the Western countries, since it has been associated with the contemporary culture by Charles Baudelaire and Pierre Bourget. Some major controversies over the meaning of the word are recounted in the paper. Authors in Paris and London and especially the Warsaw artistic society, which gathered around Zenon PrzesmyckiMiriam and his art magazine “Chimera,” are presented as important in understanding Čiurlionis’s views.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73183599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article reconsiders the idea of Philippe Lejeune’s autobiographical pact. In both Lithuanian and Western theoretical discourses, Lejeune’s ideas are usually combined with narrative and linguistic insights that reveal the position of a narrator. In this article, the concept of the autobiographical pact is revised using the concepts of Gérard Genette’s types of transtextuality (hypertext, hypotext, and paratext) and certain aspects of Lars Elleström’s model of intermedial relations. Genette’s and Elleström’s ideas highlight the intertextuality and intermediality of the autobiographical pact.These theoretical considerations are tested in the analysis of Judita Vaičiūnatė’s memoir prose collection, Mabre viešbutis [Mabre Residence Hotel]. The collection was published after the author’s death, so the book is noteworthy not for its content (most of the texts were already published before) as for its new form—a paratext prepared by the “author” of the book, the poet’s daughter, Ula Vaičiūnaitė. The collection, Mabre Residence Hotel, unfolds not only as a testimony to Judita Vaičiūnaitė’s memory but also as a document of Ula Vaičiūnaitė’s reading experience and effort to remember, which in turn becomes an invitation to recollect. The figure of the author’s name, which is essential for the autobiographical pact, appears as an interactive “monument” that becomes relevant during the reading process.The focus on intertextuality and intermediality of the text (reading) enables to see not only the spatial palimpsest of the autobiographical text but of the autobiographical pact itself. In the context of intertextuality and intermediality, the autobiographical pact reveals itself as a distinctive architecture of literary space.
{"title":"The Autobiographical Pact as an Architectural Palimpsest: Judita Vaičiūnaitė’s Mabre viešbutis","authors":"Aušra Kundrotaitė","doi":"10.51554/coll.21.46.07","DOIUrl":"https://doi.org/10.51554/coll.21.46.07","url":null,"abstract":"The article reconsiders the idea of Philippe Lejeune’s autobiographical pact. In both Lithuanian and Western theoretical discourses, Lejeune’s ideas are usually combined with narrative and linguistic insights that reveal the position of a narrator. In this article, the concept of the autobiographical pact is revised using the concepts of Gérard Genette’s types of transtextuality (hypertext, hypotext, and paratext) and certain aspects of Lars Elleström’s model of intermedial relations. Genette’s and Elleström’s ideas highlight the intertextuality and intermediality of the autobiographical pact.These theoretical considerations are tested in the analysis of Judita Vaičiūnatė’s memoir prose collection, Mabre viešbutis [Mabre Residence Hotel]. The collection was published after the author’s death, so the book is noteworthy not for its content (most of the texts were already published before) as for its new form—a paratext prepared by the “author” of the book, the poet’s daughter, Ula Vaičiūnaitė. The collection, Mabre Residence Hotel, unfolds not only as a testimony to Judita Vaičiūnaitė’s memory but also as a document of Ula Vaičiūnaitė’s reading experience and effort to remember, which in turn becomes an invitation to recollect. The figure of the author’s name, which is essential for the autobiographical pact, appears as an interactive “monument” that becomes relevant during the reading process.The focus on intertextuality and intermediality of the text (reading) enables to see not only the spatial palimpsest of the autobiographical text but of the autobiographical pact itself. In the context of intertextuality and intermediality, the autobiographical pact reveals itself as a distinctive architecture of literary space.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"174 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82958570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores changes over time in the manner in which multiculturalism in Vilnius was shown and evaluated in tourist guidebooks written between 1856 and 1939. It provides an overview of narratives which serves as a background reflecting the uniqueness of Zalmen Szyk’s Yiddish-language publication Toyznt yor Vilne (1939). From the mid-19th century on, one can detect an increasingly strident nationalist patriotism in Polish-language books of this genre, underscored by ethnocentrism and nationalistic megalomania. The city is depicted in most of these guidebooks as a bastion of Polish spirit and martyrdom, the quintessential example being a guidebook published by Juliusz Kłos in 1923. Zalmen Szyk, on the other hand, evinces a much greater readiness to incorporate various models of historical memory and interpretations of urban space: Vilnius in his work is unashamedly multicultural, without a trace of ethnocentrism. Szyk is extremely meticulous and unprejudiced in his treatment of all the ethnic groups living in the city and the heritage they left behind. He writes about each group in turn: Lithuanians, Poles, Ruthenians, Tartars, Germans and Jews, and the adherents of Catholicism, Judaism, Orthodoxy, Protestantism and Islam are all accounted for. In comparison with the Polish-language guides, Szyk’s Yiddish guide to multicultural Vilnius contains by far the most comprehensive description of the Polish cultural presence; notably, he does not shy away from incorporating elements of the romantic model of Polish martyrdom.
这篇文章探讨了维尔纽斯的多元文化在1856年至1939年间的旅游指南中被展示和评价的方式随时间的变化。它提供了一个叙事的概述，作为一个背景，反映了扎尔曼·西克的意第绪语出版物《Toyznt yor Vilne》(1939)的独特性。从19世纪中期开始，人们可以在这种类型的波兰语书籍中发现一种日益尖锐的民族主义爱国主义，突出了种族中心主义和民族主义自大狂。在大多数这些旅游手册中，这座城市被描绘成波兰精神和殉难的堡垒，最典型的例子是1923年由Juliusz Kłos出版的一本旅游手册。另一方面，Zalmen Szyk表现出更大的意愿，将各种历史记忆模型和对城市空间的解释结合起来:维尔纽斯在他的作品中是毫不掩饰的多元文化，没有一丝种族中心主义。在对待生活在这座城市的所有民族以及他们留下的遗产时，谢克极其细致，毫无偏见。他依次写了每个群体:立陶宛人、波兰人、鲁塞尼亚人、鞑靼人、德国人和犹太人，以及天主教、犹太教、东正教、新教和伊斯兰教的信徒。与波兰语指南相比，Szyk的意第绪语指南包含了迄今为止对波兰文化存在的最全面的描述;值得注意的是，他没有回避波兰殉难的浪漫主义模式的元素。
{"title":"Between Ethnocentrism and Multiculturalism: The Cultural Landscape in Polish Guidebooks to Vilnius (1856–1939) and Zalmen Szyk's Toyznt yor Vilne","authors":"Joanna Degler (Lisek)","doi":"10.51554/coll.21.48.06","DOIUrl":"https://doi.org/10.51554/coll.21.48.06","url":null,"abstract":"This article explores changes over time in the manner in which multiculturalism in Vilnius was shown and evaluated in tourist guidebooks written between 1856 and 1939. It provides an overview of narratives which serves as a background reflecting the uniqueness of Zalmen Szyk’s Yiddish-language publication Toyznt yor Vilne (1939). From the mid-19th century on, one can detect an increasingly strident nationalist patriotism in Polish-language books of this genre, underscored by ethnocentrism and nationalistic megalomania. The city is depicted in most of these guidebooks as a bastion of Polish spirit and martyrdom, the quintessential example being a guidebook published by Juliusz Kłos in 1923. Zalmen Szyk, on the other hand, evinces a much greater readiness to incorporate various models of historical memory and interpretations of urban space: Vilnius in his work is unashamedly multicultural, without a trace of ethnocentrism. Szyk is extremely meticulous and unprejudiced in his treatment of all the ethnic groups living in the city and the heritage they left behind. He writes about each group in turn: Lithuanians, Poles, Ruthenians, Tartars, Germans and Jews, and the adherents of Catholicism, Judaism, Orthodoxy, Protestantism and Islam are all accounted for. In comparison with the Polish-language guides, Szyk’s Yiddish guide to multicultural Vilnius contains by far the most comprehensive description of the Polish cultural presence; notably, he does not shy away from incorporating elements of the romantic model of Polish martyrdom.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82360879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Viktorija Daujotytė, Žemaitė: gyvenimo gramatika, Vilnius: Odilė, 2019, 373 p., ISBN 978-609-8222-10-4
{"title":"It Is Worth Returning to Žemaitė","authors":"Ramunė Bleizgienė","doi":"10.51554/coll.21.46.09","DOIUrl":"https://doi.org/10.51554/coll.21.46.09","url":null,"abstract":"Viktorija Daujotytė, Žemaitė: gyvenimo gramatika, Vilnius: Odilė, 2019, 373 p., ISBN 978-609-8222-10-4","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78520608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A specific vision of Vilna as the model of an East European Jewish civil society crystallised in the years during and just after the First World War, and Vilna’s professional elites and journalists played a critical role in the crafting and shaping of this idea. This paper shows how Zalmen Reyzen, a leading Vilna Yiddishist intellectual who edited Vilna’s most important Yiddish daily between the wars, Der tog (1919–1939), tirelessly sought to convince others that Vilna had a special role to play as a model for the entire Jewish Diaspora, as a city uniquely suited to build a Jewish civil society based on a shared language, Yiddish. Reyzen told his readers in articles and editorials that the collapse of the tsarist regime gave Jews an unprecedented chance to build a new secular school system, create a new democratic communal board (kehile), and break the stranglehold of old communal elites.
{"title":"The Mother City of Jewish Public Life: Zalmen Reyzen's Image of Interwar Vilna","authors":"S. Kassow","doi":"10.51554/coll.21.48.10","DOIUrl":"https://doi.org/10.51554/coll.21.48.10","url":null,"abstract":"A specific vision of Vilna as the model of an East European Jewish civil society crystallised in the years during and just after the First World War, and Vilna’s professional elites and journalists played a critical role in the crafting and shaping of this idea. This paper shows how Zalmen Reyzen, a leading Vilna Yiddishist intellectual who edited Vilna’s most important Yiddish daily between the wars, Der tog (1919–1939), tirelessly sought to convince others that Vilna had a special role to play as a model for the entire Jewish Diaspora, as a city uniquely suited to build a Jewish civil society based on a shared language, Yiddish. Reyzen told his readers in articles and editorials that the collapse of the tsarist regime gave Jews an unprecedented chance to build a new secular school system, create a new democratic communal board (kehile), and break the stranglehold of old communal elites.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"284 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76615105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1907–1909, Mikalojus Konstantinas Čiurlionis worked with seven national societies active in Lithuania: Lithuanian Art Society, Amateur Music and Theatre Society “Vilniaus Kanklės”, Lithuanian Association “Rūta” in Vilnius, Music and Theatre Society “Daina” in Kaunas, Lithuanian Scientific Society, Lithuanian Mutual Aid Society of Vilnius, and Charitable Society for Pupils and Students “Žiburėlis”. He was a member of the formerthree organizations. The Lithuanian Art Society was the main platform for Čiurlionis’s professional and social self-realisation. He served as its vice-chair and from September 1907 to September 1909 stood in for its chair, Antanas Žmuidzinavičius. He organised the Second Lithuanian Art Exhibition. On Čiurlionis initiative, the music section was established at the Society. Together with his colleagues, he organized a competition for Lithuanian composers; he also envisaged a periodical of music, art, and literature.The article discusses the question of the affiliation with the Lithuanian Vilnius Choir led by Čiurlionis. The research has revealed that Čiurlionis conducted a united choir consisting of the singers from the Lithuanian Mutual Aid Society of Vilnius and “Vilniaus Kanklės”. His participation in two soirees organised by “Žiburėlis”, quite favourable reviews of his artworks written by the liberals, and the principled criticism by the conservative cleric Aleksandras Dambrauskas (nom de plume Adomas Jakštas) demonstrate that Čiurlionis found it easier to work with democratic left-wing cultural figures. In June of 1909, Čiurlionis’s concert and the design of the curtain on the premises of the Lithuanian Association “Rūta” were associated with Andrius Domaševičius and Kipras Petrauskas. In his letter, Čiurlionis called himself “progressive.” It was uncharacteristic to indicate one’s party affiliation; in Čiurlionis’s case, it meant to be of liberal orientation. However, it was precisely because of his “leftist” views that the Educational Society “Aušra” deemed his membership unreliable. On July 11, 1909, Čiurlionis was nominated to the commission to collect songs for the Lithuanian Scientific Society. Unfortunately, the illness that manifested itself in December of 1909 prevented the composer from carrying out the work.
{"title":"Mikalojus Konstantinas Čiurlionis’s Socio-Cultural Connections and Professional Self-Realisation in Lithuania","authors":"Nida Gaidauskienė","doi":"10.51554/coll.21.46.02","DOIUrl":"https://doi.org/10.51554/coll.21.46.02","url":null,"abstract":"In 1907–1909, Mikalojus Konstantinas Čiurlionis worked with seven national societies active in Lithuania: Lithuanian Art Society, Amateur Music and Theatre Society “Vilniaus Kanklės”, Lithuanian Association “Rūta” in Vilnius, Music and Theatre Society “Daina” in Kaunas, Lithuanian Scientific Society, Lithuanian Mutual Aid Society of Vilnius, and Charitable Society for Pupils and Students “Žiburėlis”. He was a member of the formerthree organizations. The Lithuanian Art Society was the main platform for Čiurlionis’s professional and social self-realisation. He served as its vice-chair and from September 1907 to September 1909 stood in for its chair, Antanas Žmuidzinavičius. He organised the Second Lithuanian Art Exhibition. On Čiurlionis initiative, the music section was established at the Society. Together with his colleagues, he organized a competition for Lithuanian composers; he also envisaged a periodical of music, art, and literature.The article discusses the question of the affiliation with the Lithuanian Vilnius Choir led by Čiurlionis. The research has revealed that Čiurlionis conducted a united choir consisting of the singers from the Lithuanian Mutual Aid Society of Vilnius and “Vilniaus Kanklės”. His participation in two soirees organised by “Žiburėlis”, quite favourable reviews of his artworks written by the liberals, and the principled criticism by the conservative cleric Aleksandras Dambrauskas (nom de plume Adomas Jakštas) demonstrate that Čiurlionis found it easier to work with democratic left-wing cultural figures. In June of 1909, Čiurlionis’s concert and the design of the curtain on the premises of the Lithuanian Association “Rūta” were associated with Andrius Domaševičius and Kipras Petrauskas. In his letter, Čiurlionis called himself “progressive.” It was uncharacteristic to indicate one’s party affiliation; in Čiurlionis’s case, it meant to be of liberal orientation. However, it was precisely because of his “leftist” views that the Educational Society “Aušra” deemed his membership unreliable. On July 11, 1909, Čiurlionis was nominated to the commission to collect songs for the Lithuanian Scientific Society. Unfortunately, the illness that manifested itself in December of 1909 prevented the composer from carrying out the work.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83097272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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