{"title":"Profesoriaus Kazio Grigo 100-osioms gimimo metinėms skirta tarptautinė konferencija","authors":"Dalia Zaikauskienė","doi":"10.51554/td.24.67.12","DOIUrl":"https://doi.org/10.51554/td.24.67.12","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"23 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141646086","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}
{"title":"Greta Paskočiumaitė apgynė disertaciją ,,Lietuvos partizaninio karo pasakojimas: trijų kartų tyrimas\"","authors":"Lina Būgienė","doi":"10.51554/td.24.67.13","DOIUrl":"https://doi.org/10.51554/td.24.67.13","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"30 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141649337","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}
{"title":"Nauja knyga apie stebuklinių pasakų simbolizmą","authors":"Jūratė Šlekonytė","doi":"10.51554/td.24.67.10","DOIUrl":"https://doi.org/10.51554/td.24.67.10","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"56 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141653404","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 subject of the article is the song “Aušrinė” (Morning Star) published in Lithuanian and German by Martynas Liudvikas Rėza, and similar versions of the Latvian mythological song (LD 34043) about the hero’s blood-spattered clothes. The goal is to assess how the motif of clothes sprinkled with oak blood is related to other motifs of the heavenly wedding in Latvian mythological songs. In order to explain the meaning of this motif, the author uses the comparative material of Latvian incantations and Latvian folk songs of other genres. In addition, the aim is to specify the origin of the song “Aušrinė”. The author uses descriptive and comparative methods as well as textual analysis. It is concluded that the motif of the hero’s clothes sprinkled with oak blood was formed due to an altered original plot of the Latvian song about the hero ascending to the sky in search of his dead parents. In some variants of the song, the message that the dead parents are celebrating at the wedding could have been replaced with the motif of them celebrating at the wedding of the Sun’s daughter (a maiden). This resulted in contamination of the song’s original imagery with the motifs of the heavenly wedding. Thus, the blood splattered on the clothes was no longer attributed to the devil, but to an oak tree. It was established that the song “Aušrinė” published in Lithuanian and German in 1825 by Rėza is based in part on the German translation of the allegedly Lithuanian folksong “Es nahm der Mond die Sonnentochter” published in his article in 1818, while the content of this translation is strongly reminiscent of the lyrics of the Latvian song published in 1808 by Gustav Bergmann. This testifies to the gradual process of re-creating the folksong texts by various authors (including the possibly still unknown variants), which resulted in Rėza’s song “Aušrinė” published in Lithuanian and German.
文章的主题是 Martynas Liudvikas Rėza 用立陶宛语和德语发表的歌曲《晨星》（Aušrinė），以及拉脱维亚神话歌曲（LD 34043）中关于英雄血溅衣裳的类似版本。目的是评估洒满橡树血的衣服这一主题与拉脱维亚神话歌曲中其他天堂婚礼主题的关系。为了解释这一主题的含义，作者使用了拉脱维亚咒语和拉脱维亚其他流派民歌的比较材料。此外，其目的还在于明确歌曲《Aušrinė》的起源。作者使用了描述和比较方法以及文本分析。结论是，英雄的衣服上洒满橡树血这一主题的形成是由于拉脱维亚歌曲中关于英雄为寻找死去的父母而升天的原始情节被改变了。在歌曲的某些变体中，"死去的父母在婚礼上庆祝 "这一信息可能被 "他们在太阳的女儿（少女）的婚礼上庆祝 "这一主题所取代。这导致歌曲的原始意象被天堂婚礼的主题所污染。因此，溅在衣服上的血不再是恶魔的杰作，而是橡树的杰作。据考证，Rėza 于 1825 年用立陶宛语和德语出版的歌曲《Aušrinė》的部分内容是基于他在 1818 年发表的文章中对据称是立陶宛民谣的 "Es nahm der Mond die Sonnentochter "的德语翻译，而这一翻译的内容则很容易让人联想到古斯塔夫-伯格曼（Gustav Bergmann）于 1808 年出版的拉脱维亚歌曲的歌词。这证明了不同作者（包括可能仍然未知的变体）对民谣文本进行再创作的渐进过程，最终形成了以立陶宛语和德语出版的雷扎歌曲《Aušrinė》。
{"title":"The Motif of the Hero’s Clothes Sprinkled with Oak Blood in Latvian Songs and in Martynas Liudvikas Rėza’s Song “Aušrinė”","authors":"Rokas Sinkevičius","doi":"10.51554/td.24.67.02","DOIUrl":"https://doi.org/10.51554/td.24.67.02","url":null,"abstract":"The subject of the article is the song “Aušrinė” (Morning Star) published in Lithuanian and German by Martynas Liudvikas Rėza, and similar versions of the Latvian mythological song (LD 34043) about the hero’s blood-spattered clothes. The goal is to assess how the motif of clothes sprinkled with oak blood is related to other motifs of the heavenly wedding in Latvian mythological songs. In order to explain the meaning of this motif, the author uses the comparative material of Latvian incantations and Latvian folk songs of other genres. In addition, the aim is to specify the origin of the song “Aušrinė”. \u0000The author uses descriptive and comparative methods as well as textual analysis. It is concluded that the motif of the hero’s clothes sprinkled with oak blood was formed due to an altered original plot of the Latvian song about the hero ascending to the sky in search of his dead parents. In some variants of the song, the message that the dead parents are celebrating at the wedding could have been replaced with the motif of them celebrating at the wedding of the Sun’s daughter (a maiden). This resulted in contamination of the song’s original imagery with the motifs of the heavenly wedding. Thus, the blood splattered on the clothes was no longer attributed to the devil, but to an oak tree. \u0000It was established that the song “Aušrinė” published in Lithuanian and German in 1825 by Rėza is based in part on the German translation of the allegedly Lithuanian folksong “Es nahm der Mond die Sonnentochter” published in his article in 1818, while the content of this translation is strongly reminiscent of the lyrics of the Latvian song published in 1808 by Gustav Bergmann. This testifies to the gradual process of re-creating the folksong texts by various authors (including the possibly still unknown variants), which resulted in Rėza’s song “Aušrinė” published in Lithuanian and German.","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"47 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141654479","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}
{"title":"“Looking at the World, I Spot Small Details”: the Researcher‘s View on Folklore, Mythology, and Local Culture. A conversation with the National Jonas Basanavičius Prize Winner for 2023 Daiva Vaitkevičienė","authors":"Lina Leparskienė","doi":"10.51554/td.24.67.11","DOIUrl":"https://doi.org/10.51554/td.24.67.11","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"62 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141654681","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 focuses on the image of geese in Lithuanian phraseology, attempting to define its peculiarities and possible connections with other phenomena of the traditional culture. The research material consists of Lithuanian phraseologisms picked out from the lexicographical sources and mentioning either goose, gander, or gosling. Analysis of these phraseologisms reveals that the main peculiarities of the image are related to appearance, character, and behavior of the birds, as well as to the actions performed with them. Phraseologisms emphasize the webbed feet of the geese, their neck, blue gizzard, enlarged reproductive organs, or scabrous skin when deplumed. Geese are depicted as noisy, greedy, oat-eating birds, they waddle in a line, following each other. Their image is not without controversies: they can get wet, but their feathers do not get drenched through. In phraseology, geese are mainly characterized as angry and stupid. The depiction of geese-tending conveys significant cultural information related to the notion of the afterlife, as well as entertainment and economic activities. In general, the image of geese in Lithuanian phraseology is ascribed a negative connotation.
{"title":"The Image of Geese in Lithuanian Phraseology","authors":"Diana Plachovičiūtė","doi":"10.51554/td.24.67.03","DOIUrl":"https://doi.org/10.51554/td.24.67.03","url":null,"abstract":"The article focuses on the image of geese in Lithuanian phraseology, attempting to define its peculiarities and possible connections with other phenomena of the traditional culture. The research material consists of Lithuanian phraseologisms picked out from the lexicographical sources and mentioning either goose, gander, or gosling. Analysis of these phraseologisms reveals that the main peculiarities of the image are related to appearance, character, and behavior of the birds, as well as to the actions performed with them. Phraseologisms emphasize the webbed feet of the geese, their neck, blue gizzard, enlarged reproductive organs, or scabrous skin when deplumed. Geese are depicted as noisy, greedy, oat-eating birds, they waddle in a line, following each other. Their image is not without controversies: they can get wet, but their feathers do not get drenched through. In phraseology, geese are mainly characterized as angry and stupid. The depiction of geese-tending conveys significant cultural information related to the notion of the afterlife, as well as entertainment and economic activities. In general, the image of geese in Lithuanian phraseology is ascribed a negative connotation.","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"45 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141653947","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}
{"title":"Iš naujo apie dievą Perkūną","authors":"Asta Skujytė-Razmienė","doi":"10.51554/td.24.67.09","DOIUrl":"https://doi.org/10.51554/td.24.67.09","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"58 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141652678","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 the Middle Ages, both theological and vernacular images of the devil were formed. The theological image is rooted in the Holy Scripture, while the vernacular one, although related to the Bible, is less theological and emphasizes the “mundane” relationship between humans and the devil. Both images coexisted and did not contradict each other. The article examines the vernacular image of the devil as presented in two works from the 13th century – namely, the “Dialogues on Miracles” (Dialogus miraculorum) by Caesarius of Heisterbach, completed around 1223, and “The Great Mirror” (Speculum maius) by Vincent of Beauvais, written between 1235 and 1264. The author of the article attempts to find medieval stories (plots) regarding the devil that are similar to the ones found in the Lithuanian folklore, and to establish their differences.
中世纪形成了神学和白话两种魔鬼形象。神学形象植根于《圣经》，而白话形象虽然与《圣经》有关，但神学色彩较淡，强调的是人类与魔鬼之间的 "世俗 "关系。两种形象共存，互不矛盾。文章研究了 13 世纪两部作品中的白话魔鬼形象，即海斯特巴赫的凯撒里乌斯（Caesarius of Heisterbach）于 1223 年左右完成的《奇迹对话》（Dialogus miraculorum）和博韦的文森特（Vincent of Beauvais）于 1235 至 1264 年间创作的《大镜子》（Speculum maius）。文章作者试图找到与立陶宛民间传说中有关魔鬼的故事（情节）相似之处，并确定它们之间的差异。
{"title":"Liaudiškasis velnio vaizdinys XIII a. raštijoje ir lietuvių folklore: panašumai ir skirtumai","authors":"Marius Ščavinskas","doi":"10.51554/td.24.67.04","DOIUrl":"https://doi.org/10.51554/td.24.67.04","url":null,"abstract":"In the Middle Ages, both theological and vernacular images of the devil were formed. The theological image is rooted in the Holy Scripture, while the vernacular one, although related to the Bible, is less theological and emphasizes the “mundane” relationship between humans and the devil. Both images coexisted and did not contradict each other. The article examines the vernacular image of the devil as presented in two works from the 13th century – namely, the “Dialogues on Miracles” (Dialogus miraculorum) by Caesarius of Heisterbach, completed around 1223, and “The Great Mirror” (Speculum maius) by Vincent of Beauvais, written between 1235 and 1264. The author of the article attempts to find medieval stories (plots) regarding the devil that are similar to the ones found in the Lithuanian folklore, and to establish their differences.","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"44 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141653952","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 discusses seven melodies of the Christian Orthodox church hymns, which have counterparts in Uniate, Catholic and Protestant church music since the first influences in the 17th century until the 21st century. The Lithuanian Orthodox, Catholic, Uniate and Protestant church singing has been widely researched; the author has discussed the parallels between Orthodox and Uniate singing in her previous publications, yet paleographic data of the musical text of the Uniate and Orthodox hymnals (irmologions) dating from the 17th–18th centuries allows supplementing and clarifying the data regarding “Vilnius” Uniate and Orthodox hymns of the 17th–18th centuries as well as presenting transcriptions of the melodies carried out by the author. Correspondences between the Orthodox church melodies of the 18th–21st centuries in the Catholic and Protestant church singing in Lithuania have never been studied. The comparative analysis of the melodies of the Christian church hymns from Vilnius reveals that the related Orthodox and Uniate and Orthodox and Catholic melodies were connected by the common historical sources, namely, the “Greek” and “Bulgarian” melodies of the post-Byzantine singing style that was common on the territory of the Grand Duchy of Lithuania in the 17th–18th centuries, while current interconnections between the Vilnius Protestant and Orthodox church singing are reflected in the church music created by composers.
{"title":"Vilniaus krikščionių bažnytinių giesmių melodijų sąsajos: nuo pirmųjų įtakų XVII a. iki XXI a.","authors":"Margarita Moisejeva","doi":"10.51554/td.24.67.05","DOIUrl":"https://doi.org/10.51554/td.24.67.05","url":null,"abstract":"The article discusses seven melodies of the Christian Orthodox church hymns, which have counterparts in Uniate, Catholic and Protestant church music since the first influences in the 17th century until the 21st century. The Lithuanian Orthodox, Catholic, Uniate and Protestant church singing has been widely researched; the author has discussed the parallels between Orthodox and Uniate singing in her previous publications, yet paleographic data of the musical text of the Uniate and Orthodox hymnals (irmologions) dating from the 17th–18th centuries allows supplementing and clarifying the data regarding “Vilnius” Uniate and Orthodox hymns of the 17th–18th centuries as well as presenting transcriptions of the melodies carried out by the author. Correspondences between the Orthodox church melodies of the 18th–21st centuries in the Catholic and Protestant church singing in Lithuania have never been studied. The comparative analysis of the melodies of the Christian church hymns from Vilnius reveals that the related Orthodox and Uniate and Orthodox and Catholic melodies were connected by the common historical sources, namely, the “Greek” and “Bulgarian” melodies of the post-Byzantine singing style that was common on the territory of the Grand Duchy of Lithuania in the 17th–18th centuries, while current interconnections between the Vilnius Protestant and Orthodox church singing are reflected in the church music created by composers.","PeriodicalId":518360,"journal":{"name":"Tautosakos darbai","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141654506","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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