Pub Date : 2021-12-31DOI: 10.15388/litera.2021.1.5
Aušra Jurgutienė
In the article I discuss how deconstruction (Jacques Derrida and other Yale School participants) came to Lithuanian literary criticism and how it changed habits of humanitarian thinking during the three decades after independence. The most unusual and radical deconstruction critique of essentialist metaphysical thinking, new terminology (inter-text, elimination of center, footprint, writing, difference, blinding, labyrinth narrative, guest / enemy, etc.) and new strategies for interpreting texts were very important for Lithuanian humanities liberated from Soviet ideology. Literary critics have noticed and discussed the undoubted connection between postmodernist literature and its deconstructive reading.We can find three tendencies in the deconstructive criticism of Lithuanian literature. The first tendency is the interpretation of general theoretical concepts of deconstruction, second tendency - searching the deconstructive features in literary works and the third tendency of criticism, expanding its own self-criticism and self-irony, is discussing chrestomathic and structuralist interpretations of the literary works or deconstructing icons of Soviet culture. We know very well, that many feminist, postcolonial, historiographic, anthropological, or interdisciplinary researches of literature cannot escape the effects of deconstruction.
{"title":"The Impact of Deconstruction on the Lithuanian Literary Criticism","authors":"Aušra Jurgutienė","doi":"10.15388/litera.2021.1.5","DOIUrl":"https://doi.org/10.15388/litera.2021.1.5","url":null,"abstract":" In the article I discuss how deconstruction (Jacques Derrida and other Yale School participants) came to Lithuanian literary criticism and how it changed habits of humanitarian thinking during the three decades after independence. The most unusual and radical deconstruction critique of essentialist metaphysical thinking, new terminology (inter-text, elimination of center, footprint, writing, difference, blinding, labyrinth narrative, guest / enemy, etc.) and new strategies for interpreting texts were very important for Lithuanian humanities liberated from Soviet ideology. Literary critics have noticed and discussed the undoubted connection between postmodernist literature and its deconstructive reading.We can find three tendencies in the deconstructive criticism of Lithuanian literature. The first tendency is the interpretation of general theoretical concepts of deconstruction, second tendency - searching the deconstructive features in literary works and the third tendency of criticism, expanding its own self-criticism and self-irony, is discussing chrestomathic and structuralist interpretations of the literary works or deconstructing icons of Soviet culture. We know very well, that many feminist, postcolonial, historiographic, anthropological, or interdisciplinary researches of literature cannot escape the effects of deconstruction. ","PeriodicalId":432201,"journal":{"name":"Literatūra","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114184380","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}
Pub Date : 2021-12-31DOI: 10.15388/litera.2021.1.8
Jurgita Žana Raškevičiūtė
Akvilė Rėklaitytė, Meistraujantis žmogus: poetinė Marcelijaus Martinaičio antropologija, Vilnius: Lietuvių literatūros ir tautosakos institutas, 2020, 286 p.
Akvilė Rėklaitytė, Meistraujantis žmogus: poetic anthropology of Marcelijaus Martinaitis, Vilnius: Institute of Lithuanian Literature and Folklore, 2020, 286 pp.
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Pub Date : 2021-12-31DOI: 10.15388/litera.2021.1.3
Neringa Klišienė
The cultural shift that has been taking place over the thirty years since Lithuania regained its independence is bound up with the role of a rapidly changing – in terms of both stage and text – theatre. These changes were mostly expressed through rhetorical formulations of a discourse of “crisis”. It is no exception that this word has been used as a usual descriptor of the state of Lithuanian dramaturgy. Through a discussion of the differing aspects of the relationships between the defenders of the logos theatre and the proponents of stage praxis, this article argues that during the transitionary period that changed Lithuania’s history, and which also supplied the concept of “crisis”, the world of Lithuanian theatre, afflicted with constant perturbations, revealed itself. The multifariousness of “crisis” is also elucidated: at the start of the period of independence the term was used to describe the vacuum problem of Lithuanian drama, after ten years – the lack of current relevant plays, today – the limited access to contemporary dramaturgical texts. The conclusion is thereby drawn, that the dissemination of dramatic texts is not only a prerequisite of lessening the long-lived tensions between text and stage authors, but also of deeper studies of the development of contemporary Lithuanian dramaturgy.
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Pub Date : 2021-12-30DOI: 10.15388/litera.2021.3.2
Vytautas Ališauskas
Studies of the Christian apocrypha have paid relatively little attention to the authors' self-awareness and intentions. The authors of the Apocrypha often impersonate characters of the apostolic generation or write about events that could not have been known to them. This leads to the suspicion that they are deliberately trying to manipulate the reader by directly deceiving him. In contemporary scholarship, apocryphal literature is often described as "forgery". We believe that in many cases this is not an accurate characterisation. The aim of the authors was not manipulation, creating a power relationship of authority with the reader, but the reconstruction of tradition by responding to a new Sitz im Leben. The article emphasises the secondary, derivative character of apocryphal literature. The authors of the Apocrypha were convinced of the veracity of their texts because they systematically relied on sources that were reliable from their point of view: the future canonical gospels, the oral contents, often with folkloric features, theological topoi taken over from the previous generation. This made it possible to attribute their work to the apostles or their companions, since the belief of the time was that the work of the disciples could rightly be attributed to the teacher. It is very likely that some of the works reflect the experience of altered states of consciousness.
{"title":"Reconstruction of Tradition and Religious Imagination in Early Apocryphal Writing","authors":"Vytautas Ališauskas","doi":"10.15388/litera.2021.3.2","DOIUrl":"https://doi.org/10.15388/litera.2021.3.2","url":null,"abstract":"Studies of the Christian apocrypha have paid relatively little attention to the authors' self-awareness and intentions. The authors of the Apocrypha often impersonate characters of the apostolic generation or write about events that could not have been known to them. This leads to the suspicion that they are deliberately trying to manipulate the reader by directly deceiving him. In contemporary scholarship, apocryphal literature is often described as \"forgery\". We believe that in many cases this is not an accurate characterisation. The aim of the authors was not manipulation, creating a power relationship of authority with the reader, but the reconstruction of tradition by responding to a new Sitz im Leben. The article emphasises the secondary, derivative character of apocryphal literature. The authors of the Apocrypha were convinced of the veracity of their texts because they systematically relied on sources that were reliable from their point of view: the future canonical gospels, the oral contents, often with folkloric features, theological topoi taken over from the previous generation. This made it possible to attribute their work to the apostles or their companions, since the belief of the time was that the work of the disciples could rightly be attributed to the teacher. It is very likely that some of the works reflect the experience of altered states of consciousness.","PeriodicalId":432201,"journal":{"name":"Literatūra","volume":"125 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133215831","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}
Pub Date : 2021-12-30DOI: 10.15388/litera.2021.4.4
Inga Litvinavičienė
Kate Averis, Eglė Kačkutė & Catherine Mao. 2021. Transgression(s) in Twenty-First-Century Women’s Writing in French. Boston: Brill Rodopi. ISBN 978-90-04-43569-8 (print book), ISBN 978-90-04-44271-9 (digital PDF), 276 p.
Kate Averis, Eglė Kačkutė & Catherine Mao.2021.二十一世纪法语女性写作中的越轨行为》。波士顿：Brill Rodopi.ISBN 978-90-04-43569-8 (print book), ISBN 978-90-04-44271-9 (digital PDF), 276 p.
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Pub Date : 2021-12-30DOI: 10.15388/litera.2021.4.3
Deividas Zibalas
The present paper focuses on Irvine Welsh’s novel Porno (2002), the sequel to Trainspotting (1993). Most of the events of the novel take place in Edinburgh, and the changing face of Leith, a working-class neighbourhood, becomes the central axis in the story. By drawing on Edward Relph (1976) and Harold M. Proshansky et al. (2014 [1983]), this reading of Welsh’s novel attempts to show how the main characters self-consciously reflect on the neighbourhood’s changing identity, as well as the implications these changes have for their own sense of self. Multiperspectivity becomes the mode Welsh employs to project a nuanced image of Leith, as seen from the subjective perspectives of five internal narrators. What becomes of interest in the novel is not the identity of Leith per se, but the different images of Leith that emerge through the way the narrators identify with the neighbourhood. Specifically, three images of Leith are distinguished and explored in the paper.
本文的重点是欧文·威尔士的小说《色情》(2002)，《猜火车》(1993)的续集。小说的大部分事件都发生在爱丁堡，而利斯这个工人阶级社区的面貌变化成为了故事的主轴。通过借鉴Edward Relph(1976)和Harold M. Proshansky等人(2014[1983])的观点，威尔士的小说试图展示主要人物如何自觉地反思社区身份的变化，以及这些变化对他们自己的自我意识的影响。从五位内部叙述者的主观视角来看，多重视角成为威尔士用来描绘利斯微妙形象的模式。小说中令人感兴趣的不是利斯的身份本身，而是通过叙述者对邻居的认同而出现的利斯的不同形象。具体而言，本文对利思的三种形象进行了区分和探讨。
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Pub Date : 2021-12-30DOI: 10.15388/litera.2021.4.2
Vytautas Bikulčius
In this paper, based of a geocritical approach, a journey as some path leading toward self-knowledge in the novel of Patrick Modiano, French writer and Nobel Prize winner, Voyage de noces (1990), has been analyzed. A journey is understood as a path that leads toward self-knowledge because the characters of the novel undergo changes depending on the place they find themselves in. This journey gains several forms: it can simply be a journey from one point to another, also can have the aspect of escapism and finally be understood as deportation. In all these cases the nature of the journey changes depending on how the characters perceive themselves. The narrator admits that his aim is to write the autobiography of Ingrida, the character of the novel. Thus he sets out on a journey through her inner world, that naturally will last longer than the one from one point to another. The places are generally depicted as central and peripheral, the capital of the country and its outskirts or the capital and the regions of the country. The narrator tries to understand changes in Ingrida’s life and her faith, at the same time changes in the author’s self-knowledge happen: he becomes a writer.
本文运用地理批判的方法，分析了法国作家、诺贝尔文学奖得主帕特里克·莫迪亚诺(Patrick Modiano)的小说《旅行》(Voyage de noces, 1990)中通往自我认识的一段旅程。旅行被理解为通往自我认识的道路，因为小说中的人物会根据他们所处的地方而发生变化。这种旅程有几种形式:它可以简单地从一个地方到另一个地方，也可以有逃避现实的一面，最终被理解为驱逐出境。在所有这些情况下，旅程的性质都取决于角色如何看待自己。叙述者承认他的目的是为小说中的人物英格里达写自传。因此，他开始了一段穿越她内心世界的旅程，这自然会比从一个地方到另一个地方持续的时间更长。这些地方通常被描述为中心和外围，国家的首都和郊区或首都和国家的地区。叙述者试图理解英格丽达的生活和信仰的变化，同时作者的自我认识也发生了变化:他成为了一名作家。
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Pub Date : 2021-12-30DOI: 10.15388/litera.2021.3.6
Justinas Ambrazas
This paper presents a translation of Tertullian’s Ad Martyras into Lithuanian language and a brief introduction, which contains a short survey of Tertullian’s life, his audience, i.e., Christians of Africa, selection and motivation of provided examples in Ad Martyras.
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Pub Date : 2021-12-30DOI: 10.15388/litera.2021.4.1
Samuel Bidaud
This article focuses on the six short stories that the Czech writer Jan Čep wrote during his exile in France, when he fled the new Czechoslovak communist regime after 1948. These texts are as follows: Les Tziganes [The Gypsies], which was written in French and published in the journal Terre humaine in 1952, Tajemství Kláry Bendové [The Secret of Klára Benda], Před zavřenými dveřmi [In Front of the Closed Door], Ostrov Ré [Ré Island], Květnové dni [Days of May], and Tři pocestní [Three Pilgrims]. These short stories are interesting for several reasons. First of all, they present a changing point in Čep’s themes, for they take place during the more recent events – the Second World War and the arrival to power of the communist regime, – and evoke a humanity who has been destroyed. The existential drama of the individual, which had previously been predominant in Čep’s work, is now extended to the entire human community. Fear has separated people from each other, and every genuine personal relation has become impossible. What’s more, language is incapable of bringing together human beings. True communication implies a form of silence, in which God can speak to the heart of man, and where the possibility of communion with the others still exists. At the same time, Čep’s characters have to face this recent history, which obliges them to make a choice, in particular as far as exile is concerned. As a consequence, a new form of anguish appears, and is superimposed on Čep’s original one. It gives rise to a feeling of guilt over those who stayed in Czechoslovakia, especially his mother, but also confronts Čep with the inability to write, since he doesn’t manage to find a publisher in France and can no longer write in Czech. As a “pilgrim on the earth”, he endures his suffering and the suffering of the world united to Christ, in communion with Him. Eventually, these later short stories represent a transition for Čep, and reveal that he accepts, as painful as this decision can be, to abandon fiction and to engage in the genre of essay, above all for Radio Free Europe. He will thus manage to give hope to people who suffer behind the Iron Curtain in Czechoslovakia, while expressing his intimate concerns in a very personal way.
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Pub Date : 2021-12-30DOI: 10.15388/litera.2021.3.5
Nijolė Juchnevičienė
The present article gives a survey of R. Mironas academic career based upon archive material kept in the Vilnius university library and in the Martynas Mažvydas National Library. R. Mironas’ egodocuments are published for the first time. They help to understand the contemporary situation in the institutions of high education and the constant ideological constraint felt by the academic staff.R. Mironas is the only one among the Lithuanian classicists whose name is rarely spoken, according to the dictum nil, nisi bene. It is not much written about him untill the present day, in spite of the fact that Mironas was one of of the most gifted and colourful personalities. He is regarded as one of the beginners of the Oriental studies in Lithuania. R. Mironas was born to an outstanding family; none of his colleagues could make a similar boast. After the Russian occupation he did not leave Lithuania like most of the Lithuanian intellectuals and in 1944 started teaching at Kaunas university. He made his choice to become a social climber from the very beginning of the occupation. He made a spectacular academic caree due to his ability to adapt to the ideological requirements and to easily change his creed on demand.
本文根据维尔纽斯大学图书馆和Martynas Mažvydas国家图书馆保存的档案资料，对R. Mironas的学术生涯进行了调查。R. Mironas的个人文件首次出版。它们有助于理解高等教育机构的当代状况以及学术人员所感受到的持续的思想约束。米洛纳斯是立陶宛古典主义者中唯一一个名字很少被提及的人，根据这句格言nil, nisi bene。尽管米洛纳斯是最具天赋和丰富多彩的人物之一，但直到今天，关于他的描写还不多。他被认为是立陶宛东方研究的初学者之一。R. Mironas出生在一个杰出的家庭;他的同事中没有人能说出类似的话。苏联占领后，他没有像大多数立陶宛知识分子那样离开立陶宛，并于1944年开始在考纳斯大学教书。从职业生涯的一开始，他就决定要成为一个向上爬的人。由于他能够适应思想要求，并能根据需要轻易改变自己的信条，他在学术生涯中取得了辉煌的成就。
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