https://www.journals.vu.lt/literatura/gateway/plugin/WebFeedGatewayPlugin/atomLiteratūra2024-01-26T11:24:08+00:00doc. dr. Rūta Šlapkauskaitėruta.slapkauskaite@flf.vu.ltOpen Journal Systems<p>Founded in 1958 and dedicated to publishing articles on Lithuanian and World literature and cultural studies. Indexed in the <em>Scopus</em> (Q4) database since 2020.</p>https://www.journals.vu.lt/literatura/article/view/34406Editorial Board and Table of Contents2024-01-26T11:24:08+00:00Rūta Šlapkauskaitė
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2023-12-28T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/34403Editorial Board and Table of Contents2024-01-26T09:34:52+00:00Rūta Šlapkauskaitė
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2023-12-28T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33976Vilniaus universiteto Lietuvių literatūros katedra 2023 metais2023-12-29T06:33:35+00:00Jurgita Žana Raškevičiūtė
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2023-12-29T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33975Diskusija „Humanitarinės literatūros vertimai Lietuvoje: ką verčiame, ko stokojame?“2023-12-29T06:28:42+00:00Modestas BakasRadvilė BartkutėAgnietė Čepėnaitė Eimantas GaršauskasIveta IvanauskaitėJustina KatauskaitėMartynas Pumputis2023-12-29T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33886Lietuvių literatūros kanono horizontai ir peripetijos2023-12-19T09:07:43+00:00Regimantas Tamošaitis
<p><span class="NormalTextRun SCXW47223488 BCX0" style="margin: 0px; padding: 0px; user-select: text; -webkit-user-drag: none; -webkit-tap-highlight-color: transparent; color: #000000; font-family: 'Times New Roman', 'Times New Roman_EmbeddedFont', 'Times New Roman_MSFontService', serif; font-size: 16px; font-style: normal; font-variant-ligatures: none; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: pre-wrap; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Lietuvių literatūros kanono dirbtuvės (XIX a. pabaiga–XX a. pirma pusė): kolektyvinė monografija. </span><span class="NormalTextRun SCXW47223488 BCX0" style="margin: 0px; padding: 0px; user-select: text; -webkit-user-drag: none; -webkit-tap-highlight-color: transparent; color: #000000; font-family: 'Times New Roman', 'Times New Roman_EmbeddedFont', 'Times New Roman_MSFontService', serif; font-size: 16px; font-style: normal; font-variant-ligatures: none; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: pre-wrap; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Sud</span><span class="NormalTextRun SCXW47223488 BCX0" style="margin: 0px; padding: 0px; user-select: text; -webkit-user-drag: none; -webkit-tap-highlight-color: transparent; color: #000000; font-family: 'Times New Roman', 'Times New Roman_EmbeddedFont', 'Times New Roman_MSFontService', serif; font-size: 16px; font-style: normal; font-variant-ligatures: none; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: pre-wrap; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">. Viktorija </span><span class="NormalTextRun SCXW47223488 BCX0" style="margin: 0px; padding: 0px; user-select: text; -webkit-user-drag: none; -webkit-tap-highlight-color: transparent; color: #000000; font-family: 'Times New Roman', 'Times New Roman_EmbeddedFont', 'Times New Roman_MSFontService', serif; font-size: 16px; font-style: normal; font-variant-ligatures: none; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: pre-wrap; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Šeina</span><span class="NormalTextRun SCXW47223488 BCX0" style="margin: 0px; padding: 0px; user-select: text; -webkit-user-drag: none; -webkit-tap-highlight-color: transparent; color: #000000; font-family: 'Times New Roman', 'Times New Roman_EmbeddedFont', 'Times New Roman_MSFontService', serif; font-size: 16px; font-style: normal; font-variant-ligatures: none; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: pre-wrap; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">. Vilnius: Lietuvių literatūros ir tautosakos institutas, 2022, 635 p.</span></p>
2023-12-19T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33883The Short Dramatic Form in the Works of Kostas Ostrauskas and Juozas Erlickas2023-12-19T08:51:44+00:00Neringa Klišienė
<p><span lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Short dramatic forms have become theatrical objects that are not easily identifiable. They act as a symbol of questioning the foundations of the conventional drama and a reflection on the dramatic genre in general. The article focuses on its ambiguous treatment and its actualisation in the context of contemporary Lithuanian dramaturgy. </span><em lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Micro-drama</em><span lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">, </span><em lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">miniature</em><span lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">, </span><em lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">one-shot drama</em><span lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">, or ‘dramatized’ proverbs and sayings – these are the playwrights’ own denominations indicating a kind of tendency which emerged at the end of the 20th century, or, at least, the search for an original term or word. At the same time, however, this effort also signals the inscription of short-format dramatic texts into a certain mediatic area of literature and theatre, which is primarily seen as a sign of a certain bargain with the reader. The article does not look at short-form texts so much through the prism of theatrical evolution, but rather focuses on the mechanism of </span><em lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">short-form</em><span lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"> writing. The question is whether (and how) such ‘mutations’ of dramatic writing maintain a specific theatrical mode of operation (the plot, the character etc.) when they enter the dynamic field of the </span><em lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">short form</em><span lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">. It is concluded that its mechanism is related to maximum cost-effectiveness and economy of language, and, through the reduction of the aforementioned dramatic triad, the function of the perceiver and his/her interpretative work are radicalised</span><span lang="en-GB" style="box-sizing: border-box; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">.</span></p>
2023-12-19T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33882A Phenomenology of Closed Society in “The Drowned Girl” by Antanas Vienuolis: Anthropological Profiles2023-12-19T08:42:56+00:00Jūratė Levina
<p><span style="color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">The inquiry formulates the fundamentals of the hermeneutics of narrative against the background of the history of reception of the work under examination, “The Drowned Girl” by Antanas Vienuolis, and draws on the relevant phenomenological descriptions and resources of structural analysis to foreground the operative mechanisms of closed society. Such mechanisms are foregrounded on three planes: (1) social, of the rules of relationships between people, which in the story constitute a hierarchal system of power relations modelled on the structure of the traditional family of the agricultural holding, (2) significative, comprising sense-making discourses (traditional customs and Christianity) whereby the culture, in this story, configures the world without transcending corporeally perceivable horizons of the actually lived present, and (3) anthropological, where sociocultural praxis and self-perception are grounded in the essentially unhuman nature which the culture tries to assimilate and erase without recognising its essential otherness. This threefold configuration emerges at the crossroad of the (author’s and reader’s) Modern and (the represented) archaic cultural self-conceptions, which produces the conflict of interpretations and facilitates both the cathartic effect and the ongoing process of sense-making. All these configurations are derived from the story’s poetics, simultaneously exposing the discursive operative mechanisms of closed society.</span></p>
2023-12-19T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33821Žemininkai Literary Movement in Vilnius: Relationship with the Space of a Multinational City2023-12-13T09:20:55+00:00Mindaugas Kvietkauskas
<p>The article examines the relationship between the generation of <em>žemininkai </em>(a literary movement; its name can be roughly translated as ‘representatives of land’) and the multi-ethnic Vilnius urban space since 1940, when the young representatives of this generation moved to the regained capital of Lithuania. Previous studies of their work stated that the experience of Vilnius had a significant impact on the cultural consciousness of this generation, but they never analysed the process of development of their ‘Vilnius identity’ and urban discourse, the meanings of the city that it emphasised, and the manifestations of the relationship with the multi-ethnic urban environment and the cultural ‘other’. The article presents socio-cultural analysis of the poetic and ego-documentary texts of four <em>žemininkai</em> authors who reflected on their Vilnius experience – Pranė Aukštikalnytė-Jokimaitienė, Kazys Bradūnas, Vytautas Mačernis, and Alfonsas Nyka-Niliūnas, as well as the autobiographical testimonies of the literary scholar Vanda Zaborskaitė. Their initial attitudes seem to be similar – ethnocentric and monological, whereas the urban imagination is dominated by the axis of the Lithuanian-European cultural meanings, and the spatial images are distilled from the signs of the local cultural ‘Other’. However, as early as during the war years, and especially in the post-war period, a shift in the individual attitudes of some of the <em>žemininkai</em> is evident. The initial nationalistic schemes are loosened or questioned, and signs of the ‘Other’ are integrated, which is first of all manifested in their poetry and poetic prose about Vilnius.</p>
2023-12-13T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33815Transcending the painful boundaries...: a few additions to Vanda Zaborskaitėʼs biography2023-12-12T11:47:56+00:00Žydronė Kolevinskienė
<p><span lang="en-GB">The article presents the years of work of the literary scholar, Professor Vanda Zaborskaitė at Vilnius University and at Vilnius Pedagogical Institute from 1966 to 1994. The famous activity of Vilnius University Department of Lithuanian Literature, along with the witch-hunt which led to Zaborskaitėʼs arrival at the Pedagogical Institute, is well-documented and extensively reflected upon. The main sources of the article are the minutes of the Department of Lithuanian and Foreign Literature of Vilnius Pedagogical Institute (later renamed as Lithuanian University of Education), as well as the published ego-documents of Vanda Zaborskaitė – her correspondence published in the book </span><em lang="en-GB">This is me, I write</em><span lang="en-GB">... (2019) and her diaries presented in the book </span><em lang="en-GB">Dienoraščiai 1941–2010</em><span lang="en-GB"> (2019). The archives of the Department of Lithuanian and Foreign Literature are stored in Vilnius, at the current Academy of Education of Vytautas Magnus University. Vanda Zaborskaitėʼs personal file in this archive contains 100 pages. The years of work at Vilnius Pedagogical Institute, her knowledge of the school life, as well as her desire to reform the schools of the already independent Lithuania contributed significantly to Zaborskaitėʼs commitment to the work with teachers and schools, along with the involvement in Lithuanian education. The nearly three decades of the work of Professor Vanda Zaborskaitė at Vilnius Pedagogical Institute reflect both her personal change and Lithuaniaʼs move towards freedom. Although, of course, in spirit, she remained first and foremost a representative of Vilnius University and the department which was being dismantled at the time. However, her firm position, exceptional competence, high criteria for literary education, uncompromising opinion, encouragement of critical thinking and confidence allowed the people of the Department of Lithuanian and Foreign Literature of the Pedagogical Institute to unite for the future of the school, for the survival of the studies of the Lithuanian language because, for her, the studies of the Lithuanian language represent the consciousness of ‘Lithuanianness’. The issue raised in the article is reflected in the quote by Vanda Zaborskaitė in the title: “to go beyond the boundaries of what is painful.” The author of the article is interested in what kind of boundaries Vanda Zaborskaitė crossed, and how she did that. Are all boundaries crossed? And how does the (non-)crossing of boundaries create new boundary situations?</span></p>
2023-12-12T00:00:00+00:00Copyright (c) 2023 Authorshttps://www.journals.vu.lt/literatura/article/view/33814Professor Vanda Zaborskaitė: Why Classic?2023-12-12T11:47:56+00:00Dalia Čiočytė
<p><span lang="en-GB">Vanda Zaborskaitė (1922–2010) was a famous literary critic and the author of a fundamental monograph about the prominent Lithuanian poet Jonas Mačiulis-Maironis (</span><em lang="en-GB">Maironis</em><span lang="en-GB">, 1968, 1987). Vanda Zaborskaitė wrote during the period of Soviet occupation, when Marxist criticism was obligatory. She used the sociological method as interpreted by Marxism, but she never accepted its philosophical determinism. She considered it important to put a literary work in the contextual frame of the literary history; however, she did not accept the view according to which literature is </span><em lang="en-GB">ruled </em><span lang="en-GB">by the laws of the social and cultural history. The philosophical position of Vanda Zaborskaitė was modernisation of the classical literary criticism, which is a tradition of the literary study sourced from the times of Aristotle’s </span><em lang="en-GB">Poetics</em><span lang="en-GB">. A characteristic of this tradition is reliance on the deep ordered structures observed in literary works. Vanda Zaborskaitė investigated such deep literary structures (images and their constellations) as codes of individual artistic self-awareness. In the opinion of the researcher, the pinnacles of literary art are those works which, by employing aesthetic persuasion, interpret the classical ideas of the Western world: the ideas of the absolute value of the personality, freedom, and the primate of the spirit. Professor Vanda Zaborskaitė researched the Lithuanian classic authors during the years of Soviet occupation, and did this in such a way that her works promoted the classical literature along with the classical values</span><span lang="en-GB">.</span></p>
2023-12-12T00:00:00+00:00Copyright (c) 2023 Authors