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Part of Summary of articles / Polska Sztuka Ludowa - Konteksty 1993 t.47 z.3-4
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stereotypu Wł. Jagiełły; t a k ż e E. Aleksandraviciusa - Cele
polityczne Litwinów w latach 1863-1914. Z w r a c a j ą u w a g ę
odpowiedzi na a n k i e t ę : Litwa i Polska. Wspólna
przeszłość
- obecne problemy - budowanie
współpracy.
C h c i a ł b y m w t y m miejscu z a c y t o w a ć fragment wypowie
dzi Czesława M i ł o s z a , w a r t o o n i m p a m i ę t a ć : „ L e c h W a ł ę s a ,
Vaclaw Havel i Vytautas Landsbergis są postaciami, k t ó r e
przejdą do legendy i k a ż d y ich czyn będzie mieć echo
w historii przyszłych p o k o l e ń . Lech W a ł ę s a p o p e ł n i ł wielki
błąd nie c h c ą c widzieć się w Warszawie z Landsbergisem.
Ten, k t o go n a m ó w i ł do tak nierozumnego k r o k u , nie z d a w a ł
sobie sprawy że p a m i ę ć o t y m będzie t r w a ć za lat sto
i dwieście potwierdzając p o w s z e c h n ą w ś r ó d L i t w i n ó w opi
nię o polskich w i e l k o p a ń s k i c h narowach".
Z wypowiedzi M i ł o s z a jeszcze jeden cytat: „ N a s z a część
Europy weszła w okres, kiedy nie w i d m o k o m u n i z m u po niej
krąży (...), ale w i d m o nacjonalizmu. Dlatego trzeba bardzo
u w a ż a ć i na k a ż d y m k r o k u z a p y t y w a ć , co w stosunkach
z s ą s i a d a m i jest wyrazem nacjonalistycznych pokus. Najłat
wiej te pokusy r o z p o z n a ć po s k ł o n n o ś c i do wyliczania
krzywd doznanych od drugiej strony, co nie przychodzi
trudno, skoro k a ż d a strona robi błędy. P o d s t a w o w ą z a s a d ą
musi być: nie k o n c e n t r o w a ć się na t y m , co ujemne, p o d k r e ś
lać wszystko, co sprzyja w s p ó ł p r a c y . "
C h c i a ł b y m też zwrócić u w a g ę na opublikowane materiały
z I m i ę d z y n a r o d o w e j konferencji, j a k a m i a ł a miejsce w Biały
mstoku, 21 24.09.1989 r. U k a z a ł y się n a k ł a d e m Towarzyst
wa Literackiego i m . A d a m a Mickiewicza, Oddz. w Białyms
t o k u , pod red. Elżbiety Feliksiak. T o m I , k o r e s p o n d u j ą c y
z tekstami w naszym numerze, z a t y t u ł o w a n o Wilno - Wileńs-c-y:na uiko krajobraz i środowisko wielu kultur (Białystok
1992).
O Wilnie piszą, w r ó ż n y c h tonacjach, w sumie frapująco
autorzy z k t ó r y m i r o z m a w i a ł a p. Barbara H o ł u b . Jej k s i ą ż k a
Przy wileńskim stole jest przedziwnym konglomeratem prze
pisów kucharskich ze wspomnieniami. P r z e p i s ó w nie w y
p r ó b o w a ł e m , natomiast czytałem z rozbawieniem, zainter
esowaniem, z a d u m ą , ciekawe wspominki C z e s ł a w a Nieme
na, Gustawa Lutkiewicza („Jeśli k t o ś uparcie twierdzi, że
SUMMARY
Joanna Tokarska-Bakir
TED BY DEMONS
D E S E R T E D A L T A R S A R E INHABI
J a c k o w s k i A LESSON O F A LIVE
LANGUAGE
This issue of „ K o n t e k s t y " is devoted to the borderline between two culture:
Polish and Lithuanian. After (he renascence of the Lithuanian state in the
iwcntieth century, Polish-Lithuanian relations, which date back to the Middle
Ages, did not always follow a favourable course. Hence the conception of our
issue. „ O n e must know the past and its repercussions and understand the fears,
sensitivity and the feeling of a threat harboured by others. But the supreme
goal must be thought and deed oriented (owards the future".
KrzysztoTCzyżewski
VANIA
FROM T H E VIEWPOINT O F TRANSYL
Krzysztof C z y ż e w s k i is the head of the "Fundacja Pogranicze" (Borderline
196
D o d a m , że książkę o p u b l i k o w a ł a Książka
i Wiedza.
Warszawa 1993. N a z a k o ń c z e n i e tego p r z e g l ą d u informuję
0 m a ł o znanym, ale doskonale redagowanym piśmie ś r o d o
wiska olsztyńskiej inteligencji - „ B o n i s s i a " . Wydawane jest
przez W s p ó l n o t ę K u l t u r o w ą „ B o r u s s i a " . Redaktorem na
czelnym jest Kazimierz Brakoniecki (dobry poeta!). Dotych
czas u k a z a ł o się - o d 1991 r. - 6 n u m e r ó w , oczywiście
zainteresowania redakcji k o n c e n t r u j ą się przede wszystkim
na sprawach z w i ą z a n y c h z p a m i ę c i ą , przeszłością regionu,
problematyce W a r m i i i M a z u r , sytuacji zderzenia kultur
1 tradycji.
i-
P o n i e w a ż teksty zawarte w t y m numerze pisma poprzedza
m o t t o (wiersz Kazimierza W i e r z y ń s k i e g o ) , c h c i a ł b y m za
k o ń c z y ć przytoczeniem zdania, k t ó r e „daje do m y ś l e n i a " .
Cytuję w y p o w i e d ź kobiety, k t ó r a w rozmowie ze studentami
U W (pp. J a w o r s k ą i W a s z c z y ń s k ą ) p o w i e d z i a ł a : „Litwini
swoją historie piszą Polacy swoją. Ja już nie wiem, kogo
słuchać".
AJ.
OF
T h i s text offers an outline of doubts and dimnessies concerned with the
status of so called postmodernism This concept - peculiar mental movement
(or as U m b e n o E c o prelTers, recurring historical moment in every decadem
epoch), constructed against modernism, apprehended as rationalist, progres
sist and overturned with madness of sorting things out, shows distinct
similarities with its antagonist. T h e author tries to characterize the common
basis or some modern and postmodern attitudes, calling it «sting of
modernisty». Its core is fenomenon of distorted technics (in Martin Heideg
ger's understanding, originating from the Greek uxnvr.). The meaning of this
latter term is strictly connected to others ones: human world, estrangmeni,
indigenuity etc. These topics are discussed in controversy with Emmanuel
Levinas and, partially, with Zygmunt Bauman whose inspiring lectures on
posimnodern social attitudes were reason of these considerations.
Aleksander
W i l n o jest polskie, powinien też powiedzieć, że G d a ń s k jest
niemiecki, bo to przecież Niemcy przez wieki d o m i n o w a l i
w G d a ń s k u " ) , S t a n i s ł a w a Stommy, Bernarda Ł a d y s z a
(...Mozart, to jeden z największych k o m p o z y t o r ó w . A l e mnie
on nie odpowiada. Spyta pani, czemu to? A temu, że u niego
wszystko, k a ż d y gest d o k ł a d n i e wyliczony, wszystko o d - d o .
A mnie potrzebny gest szeroki, niepohamowana fraza Czaj
kowskiego.) Ryszarda K a p u ś c i ń s k i e g o , Tadeusza K o n w i c
kiego, Leona Onichimowskiego, Z y g m u n t a K ę s t o w i c z a ,
D a n u t y Szaflarskie, Stefana Bergmana (b w a ż n a relacja
Jerozolima P ó ł n o c y " o Ż y d a c h wileńskich) Melchiora
W a ń k o w i c z a Andrzeja D ą b r o w s k i e g o ( E d u ś 'co starszejesz togorszeiesz") Szczególnie z a i n i e r e s ó w a ł y mnie wspo
mnienia Izabelli Radziwiłł już nie tylko o Wilnie ale i latach
w y w ó z k i w g ł ą b Z w i ą z k u Radzieckiego M a t e r i a ł na fas
cynująca książkę W o g ó l e z tych osobistych relacji lepiej się
rozumie a t m o s f e r ę Wilna lat trzydziestych i wojennych niż
z wielu "syntetycznych t e k s t ó w .
ARTICLES
Foundation), an organization which conducts research into culture and social
relations typical for borderline regions. It is placed in Sejny - a small town in
the extreme north-western part of Poland - the meeting point of Polish,
Lithuanian, Jewish, Byelorussian, Ukrainian and G y p s y culture. The inten
tion of the Foundation is to populanze tolerance. It organizes meetings of
representatives of various cultures, and works with young people. T h e letter to
the Editor in Chief deals with related themes.
Henryk
W i s n e r T H E Y A N D W E . VOICES A N D OPINIONS
The article is conceived as a ..protocol of divergencies" in the relations
between Poland and Lithuania. It concentrates, therefore on recalling (from
a historical perspective) the accusations and opinions expressed by represen
tatives of both sides, concerning the relations between the two nations. It also
discloses many commonly held and deeply embedded opinions. F o r example,
the universal view that prior to its union with Poland Lithuania was an
insignificant country, on the threshold of annihilation, was made indelible by
the nineteenth-century prose of Henryk Sienkiewicz.
A l g i s K a l e d a LITHUANIAN L I T E R A T U R E A N D POLISHNESS
I he problem of Polish-Lithuanian relations in literature continues to be
insufficiently examined Of" course works such as " A JVlickiewicz and
Lithuania" do exist but ihev do not exhaust the issue. T h e Polish side reveals
little interest in Lithuanian literature; the same can be said of Lithuanian
scholars. Poland always appeared as the stronger partner. Both countries
shared a common history and Poland is mentioned in thirty, the ancient
Lithuanian songs. In folklore, the Pole was, as a rule, depicted as a neighbour
and partner, and his image was neither positive nor negative. Literature from
the beginning of the nineteenth century treated Poland as a culturally close
terrain, but in the 1880s this vision was transformed by a programme of
national rebirth. There appeared voices indicating the negative impact of
Poland: attempts at subjugating Lithuania, the demoralizing influence of the
Polish gentry etc.
A r u n a s B u b n y s ETHNOPOLITICAL STEREOTYPES O F POLES
A N D L I T H U A N I A N S IN T H E U N D E R G R O U N D PRESS O F T H E
1942-1944 P E R I O D
In his analysis of the underground press the author presents the question of
the Lithuanian-Polish antagonism during the German occupation. He tries to
avoid the evaluation of arguments, ..historical truth" or psychoological
determinants of both sides. U p o n the basis of quotations from the underg
round press, Bubnys illustrates how the application of deeply enrooted
stereotypes of the opponent, together with the ommission and justification of
one's own faults, legitimizes current policies. T h e proposed examination of
Polish and Lithuanian attitudes indicates that the underground press of both
communities was, despite certain strivings towards change, unable to over
come the prevalent Polish-Lithuanian antagonism, but merely intensified
animosity and reinforced negative stereotypes and accompanying atmoosphere.
Tomas
V e n c l o v a ON T H ELITHUANIAN STEREOTYPE
T h e point of departure for reflections concerning the stereotype of the
Lithuanian is an essay written in the West in 1947 by Juozas Girnius, a young
Lithuanian philosopher. T h e product of devotion and anxiety, it was supposed
to prevent hopelessness and d.sintegration; nonetheless, it remains an example
of an absolute apology, or even outright hagiographv. of a nation. Its author
construed a positive stereotvpe of the Lithuanian, and a negati ve stereotype of
the „others". The text was published once again in 1991, and became an
almost classical presentation of the national doctrine: contradictory thought
and declarations are regarded as the absence of love Tor one's homeland.
Venclova demonstrates that a national stereotvpe is, to a large degree, the
outcome of selective cultural memory. He ends his deliberations with
a comment which stresses that the question of the Lithuanian national
character remains a veritable problem. Nevertheless. Venclova is an optimist
and believes that xemophobic cliches produced by intellectuals and readily
adapted by politicians, rarely meet with a mass-scale response; hence his hope
that Lithuania will never bocome another Serbia.
C z e s l a w O k i i i c z y c STEREOTYPE O F A LITHUANIAN SEEN BY
A POLE
The author is a Pole living in Lithuania. F r o m the very beginning he was an
active participant in the renascence of the Lithuanian state (an attitude which
was by no means universal among the Polish communilv). and now acts as
a spokesman of the Polish minority in Lithuania. Okiriczyc is of the opinion
thai the stereotype of the Lithuanian is a composite phenomenon, containing
positive and negative traits. These features changed with the passage of time,
and frequently excluded each other; lor example, the traditional image of the
hadrworking and trustworthy Lithuanian has recently been supplemented by
the opinion about the wonhlessness of work performed by Lithuanians.
V y t a u t a s U r b a n a v i c i u s THE PALACE OFTHE LITHUANIAN
R U L E R S IN T H EL O W E R C A S T L E IN W1LNO
The author of this article outlines the origin and history of the Wilno Lower
Castle, also known as the palace of the grand dukes of Lithuania. Together
with the cathedral, the palace comprised a uniform architectonic complex. U p
to the beginning of the seventeenth century, the two buildi ngs were reconst rueted simultaneously Until recently, it was believed that they were raised in the
fifteenth centurv in the G o t h i c si vie. Historical and archeological inves
tigations conducted in the palace courtyard came across remnants of a wall
dating from the second half of the thirteenth century; fragments of a similar
construction, resembling a pagan temple, from the same period, were
discovered in the south wing of the Renaissance palace T h e author suggests
that already in the thirteenth century, and possibly earlier, Wilno was a sirong
centre of power and the key town in Lithuania.
W I L N O was always an international town; according lo various
statistical data pertaining to the period from the end of the nineteenth century
up lo the second world war. some 3(1-60 per cent were Jews and Poles while
Russians totalled approximately 20 per cent of the population, accompanied
by Lithuanians, Byelorussians and other communities.
W e include several texts dealing with Wilno: an interview with the historian
S t a n i s t a w S t o m m a ( W I L N O ) , focuses on the history of the town and
the reasons for such a considerable number of Poles and the relations with
Poland (the press, theatre and university). Professor Stomma emphasizes that
Wilno was always dominated by a supranational conception and even the
..Renascence" organizauon, which in Poland was of a purely nationalistic
nature, avoided such a stand.
V y t a u t a s L a n d s b e r g i s ( V I L N I U S ) does not question the presen
ce of Wilno in Polish culture, stressing, however, that it always was and will
remain the capital of Lithuania.
G r i g o n j
K a n o w i c z (A W I L N O W H I C H IS N O L O N G E R )
describes the Jewish specificity of the lown. It is his opinion that Wilno was
alwavs someiing more than a concentration of Jews, and that it constituted
a New Jerusalem, a pre-war center of spiritual and religious life. K a n o w i c z
accents the fact thai Wilno was actually more of a concept (similarly to Paris,
Rome or Jerusalem). Its grandeur was the product of a unique mosaic of
cultures, which enjoyed peaceful coexistence although thev often remained
apart. T h e assimilation ofthe local Jewish c o m m u n i s was much slowed than
in other towns. T h e text by T a m a r a G o r d o n is a precise historical
presentation of the ties between Jews and Wilno.
H a l i n a K o b e c k a i t e THE KARAIMS O F WILNO AND TROKI
The history of the K a r a i m s (a small ethnic croup of Turkish, ori&in
composed of followers of an offshoot of Judaism) in Lithuania dates back to
1398 when G r a n d D u k e Witold permitted them to settle down in T r o k i . T h e
text is a synthetic presentation of the history of the K a r a i m s who were
basically connected with T r o k i and Wilno. It recalls the main figures and
events in the cultural and religious life of this community and i.a. discusses the
foundation or a museum devoted to the K a r a i m s .
Aleksander
J a c k o w s k i WILNO - VILNIUS
The author desenbes his impressions from his first and recent visit to Wilno.
U p to now, he cherished the vision of the lown as a myth, known from various
sources, traditions and narratives, Jackowski depticts the confrontation of this
inner image with new, external reality. H e found the Ostra Brama (with which
all Poles are familiar thanks to the invocation in Mickiewicz's „ M a s t e r
Thaddeus") strikinelv intimate I n conclusion the author writes- T h e Wilno
which 1 had cultivated does not exist It belongs to the past beautiful but
discernible only in hisloncal monuments, reminiscences and memories of old
people. Wilno is no longer. There is Vilnius - the capita! of Lithuania"
Lech M r ó z THE SYNDROM O F T H E BORDERLINE. COMMENTS
ON R E S E A R C H INTO E T H N I C CONSCIOUSNESS
This is an attempt at a presentation of the religious consciousness, customs
and ethnic stereotypes prevalent on the Byelorussian-Lithuanian-Polish
borderline. The material was collected and prepared by students of ethnology
at Warsaw University. T h e author briefly discusses the method applied in the
selection of the region, and subsequently tries lo establish the reasons for Ihe
archaic way of thinking pursued by the Polish community in Lithuania. H e
draws particular attention to the Soviet occupation which conserved mutual
stereotypes, prejudices and customs that would have been probably forgotten
in the course of a natural evolution of society. T h e impact of traditional
models, cultivated consiciously or unconsciously, occurs in all milieus,
regardless of the level of education, both amongst Poles and Lithuanians
The problem of ethnic, national identification constitutes an essential issue
in investigations earned out in borderlines. T h e feeling of belonging to
a certain cultural and linguistic region, as well as religion, act as the basic
determinant of national self-definition.
Andrzej Czajkowski, Paweł
L a d y k o w s k i T H E IDEN
TITY O F T H E POLISH-SPEAKING C O M M U N I T Y IN T H E NORT
HERN REGIONS O F LAUDA
This is an attempt to present the final stage in the several decades of the
disappearance of Polishness in the eastern regions of Samogitia (Lauda), due
to the almost complete crisis of Polish national identity.
Prior to World W a r I I , this area was populated by a closely knit
Polish-speaking community whose members had learnt the Polish language ai
home and in ihe environment in which they grew up. Patterns of this attractive
and nobilitaung model of life were created by the landowners. T h e L i t huanization of the inhabitants of manorhouses and villages, inaugurated
dunne the interwar period (i a under the influence of pressure exerted bv the
Lithuanian administration).' grew stronger after the war, when the so
cio-economic and national 'structure of I .:.ii.;.; was totally destroyed. A l
nresem the onenlv declared Polishness of the few educated individuals is
based above all on cultivated reminiscences Those persons who remained
outside the entr'v ^ O n ^ e ^ b e d t o ^ u u d t t t k o O n the other hand
thosewho/r^
E
fhet
" P o ^
Ł u k a s z S m y r s k i T H E BAPTISM O F L I T H U A N I A IN T H E CONS
CIOUSNESS O FT H E POLISH R U R A L C O M M U N I T Y IN T H E WILNO
REGION
The region of Wilno is characterised by a very vivid ethnic diversity. This
feature imposes upon particular groups certain schemes of perceiving others
and introducing order into reality. Present-day stories about the ancient
history and baptism of Lithuania (gathered in the Wilno region) are an
attempt to achieve this goal. They have a deeply concealed content - history
can be interpreted as an element which legitimized Polish possession of land in
the reeion Tales about ancient times emphasize the paaan beliefs of the
Lithuanians (holy groves bonfires etc ) d a ń n g from an ahistorical mythical
period The Lithuanian dukes of old (Vytautas Giedymin) play more a role of
legendary heroes than real rulers. T h e situation changes with the appearance
of Jagiełło, the duke of Lithuania: from the very beginning, however, he is
197
accompanied by Jadwiga, the Polish queen who married and "civilized" him.
This was a transition from mythical pagan times to the historical Christian era.
According to the interlocutors, it also provided a basis for the Poles to speak
about the Wilno region as their own.
A g n i e s z k a H a l e m b a L I T H U A N I A N C A T H O L I C I S M AS SEEN
BY POLES IN T H E W I L N O R E G I O N
This material, collected recently among Poles residing in the Wilno area,
indicates the strongly embedded image of the pagan Lithuanian. T h e
examined opinions frequently contain the term "pagan" used in a Lithuanian
context. It is also connected with features regarded by the Lithuanians as
negative. Pagan beliefs were supposed to have left many traces in the lives of
Lithuanians; just as frequent are views that contemporary Lithuanians also
include pagans, sometimes concealed under the guise of Catholicism. T h e
return of Lithuania
beliefs is another recurring motif. The baptism of
the country is described as an event which had not embraced the whole
population, and which was not fully legitimate. Lithuanian Catholicism is
perceived as inferior to its Polish counterpart, and remains one of the
components of the image of the Lithuanian as an alien.
B e a t a C z e c h , A n n a W r ó b l e w s k a D I F F E R E N C E S IN T H E
RITUALS A N D CUSTOMS O F BYELORUSSIANS, POLES A N D LITHUANIANS IN E A S T E R N LITHUANIA
T h e article focusses on traditional family rituals and magic rites retained in
the memories of Poles, Byelorussians and Lithuanians. I l also considers the
cri teria provided by the interlocutors, which make it possible to distinguish the
two groups. T h e most important criterion is language.
A n analysis of three basic family ntuals and certain magic rites entitles us to
say that this multi-ethnic region is the scene of an unconscious intermingling of
elements from neighbouring cultures. Only to a slight degree can customs and
rites indicate national affiliation. A considerable impact was exerted by
Russification (joint language, atheization). In the more receni years, one
observes the slow Lithuanization of the Polish community (mixed marriages,
the Lithuanian character of towns, Lithuanian as the official language, comaci
with Lithuanians in schools and places of work). T h e emergence of Lithuanian
national consciousness is accomoanied bv a similar process among the Poles
It has produced attempts at distinguishing the Lithuanian or Polish nature of
nluals.bestvisibleintheexampleoflhewedding.Twoelemenlsare seen by the
Poles are alien: the burning of the bride's wreath, and the "hanging of the
• null hmalcer" I hi' creation of the I ilhirinrin •itite ent-tik nalinnalktir
™den™rA>ee^
reason for its aUempted s e l f X i i n ^ i o n ! C p r l i ^ S r i e l ^
R e n a t a H r y c i u k , E w a M o r o z T H E MEMORY OF TRADITION AMONG LITHUANIANS O F JEWISH DESCENT
It is said that Jews are the natioin of the Book which created them. Thanks
to the tradition connected with it, the Jews were capable of retaining their
national and cultural identity during the diaspora. In their research into
Jewish holidays and religious customs, the authors wished to demonstrate the
attitude of contemporary Lithuanians of Jewish descent to tradition. T h e
ga ihered material distinctly reveals the disappearance of tradition, which is the
consequence of the annihilation of the Jewish Orthodox environment. All
attempts at ihe renascence of national and cultural consciousness concentrate
on the cultivation of the memory of the victims of war and the Holocaust. Il is
this memory which consolidates the national group, shattered after the war;
dales oomitifmorai!Fii7 Trfleic event* in rhr nasi are the sole nmtwnn fn-r
n^n^Mut^Zai
^^Zi^enX^traditio^Jewish
holioavs T t e a * a « n e » of iomt descent
exclusively to the Holocaust
andMv£ is res ncted
restnueo
almost
almost
In T H E I M A G E O F T H E J E W I N T H E E Y E S O F T H E P O L E S I N
L I T H U A N I A the auhors posed a question concerning the alterationis or the
image of the Jew harboured by the average inhabitant of Lithuania, following
Ihe almost complete physical and cultural extermination of the Jewish
community. The functioning image of the Jew does not differ from the
traditional descriptions of the "alien", well known from literature. Emphasis
is still placed on certain physical features and "national character": cleverness
and dishonestv accomoanied bv inborn intelligence industnousness the
drive towards education Stories about "ritual m u r d e r ' s t i l l abound. Evidentlv the era of the Holocaust had for all Dractical nurnoses little imnact unon
the functioning of (he traditional stereotype of the Jew. '
Magdalena
Z o w c z a k WHY APOCRYPHS?
This is an introduction to a series of articles written upon the basis of
research, supervised by the author, and conducted by students amongst the
Poles in Lithuania. The term „ a p o c r y p h s " is, in her estimation, an excellent
point of departure for the description of folk religion. Such tales provide
information concerning the spiritual reality of the community, and are
connected with ihe concept of the local homeland in an interpretation of
universal symbols and evaluations. It is precisely this type of ..home faith"
which is the goal of reconstruction.
M a g d a l e n a Z o w c z a k T H E FALL OF THE WORLD. BETWEEN
LOCAL MYTHOLOGY AND THE BIBLE
The article deals with the assimilation or Biblical motifs in local tradition,
using the example of the fall of the world. Analysed material comes from
Lithuania and Poland, and dates from the 1989-1992 period. In Lithuania the
198
restricted activity of the C h u r c h contributed to an unconscious reinterprelation of Biblical themes in accordance with the local traditions of the
interlocutors, mainly Polish fanners from the Wilno region. Certain tales,
however, reveal some similarity with the Judeo-Christian apocryphic traditions and the Midrash Jewish legends. T h e author discusses i.a. the vision of
history. Successive worlds are separated by cataclysms, people grow smaller,
and are known as the people of G o d ihe Father, G o d the Son and G o d the
Spirit. T h e reason for such degeneration is sin. G o d cleanses the Earth by
sending cataclysms Time is also shortened. This cyclical process can be
illustrated by a spiral whose coils are increasingly closer. A mechanism typical
for the reinterpretation of the Bible consists of the contamination of its
structurally similar motifs, and the combination or events and figures. T h e
biblical storv of the flood for example is associated with the fall of Sodom and
G o m o r a h and local l e g e n d ' ^
B ^ e t h e ^
produced M o r m o u *
attnoutes
raraaise.
instance, grain
The author also examines two types of e t i o l o g i c a l currents; the first
concerns the saving of the arc, which the devil tried lo destroy, and the second
- the survival of certain animals outside the are, accompanied by stories about
birds which Noah used as scouts (numerous folk tales about the raven and the
cuckoo).
P a w e l K o w a l s k i PARADISE LOST AND PARADISE R E G A I N E D
- VISIONS O F P E R F E C T W O R L D S
The reality of Paradise is connected with the beginning and end of mankind.
Such tales are distant from precision and unambiguity. The author concentrates on the location of heavenly reality within the universe (Paradise lost and
regained are not always identical and the latter can be divided into Paradise
proper and heaven), the description of celestial reality and the reasons for the
expulsion of A d a m and Eve (most frequently connected with the initiation
- sometimes unconscious - of sexual life). One could say that dychotomies
functioning on Earth are split: positive aspects are ascribed to Paradise,
negauve to Hell. The author also accents the mlroduction ofcertain elements
of earthly life into the image of Paradise (for example, the necessity lo work).
Agnieszka
P o k r o p e k SLEEP
THEBROTHER O F DEATH
In traditional folk beliefs sleep and death are comprehended as states
divided by a fluid border. In Ihe story about the Dormition and Ascension of
ihe Holy Virgin, sleep is a more lenienl furm of death. It is connected wiih the
function of the patron of good death and the protectress of (he souls or the
dead, assigned to the Madonna. T h e connection between the two slates is also
testified by the symbolics ol'awakening from sleep, perceived as a return to life,
and the protection against death Just as at the time of death the spirit can
depart from (he slumbering body, and wander in the netherworls. Another
aspect or (hus union is (he d i s t i n c t i o n of an intermediate category between
sleep and death
the so-called lethargu. when the soul can also roam in the
netherworls. Sleep and death are linked with the different tcmpralily of the
"other world" This belief is demonstrated bv the tales descrihino the uniaue
passage of time as well as by the visionary and prophetic imemretaiions of
dreams Both dreams and death make possible contact with the dead and
^ n a t u r a l ! creatures
A n n a K o w a l c z v k ABOUT GOD, T H E DEVIL
TRICKS. OR WHO STEERS DESTINY
AND
MAGIC
A n analysis of popular beliefs, fairy tales and magic tricks shows that
human fate is shaped by independent forces other than G o d Happiness,
health and talent depend on the moment, day and phase of the moon on
a person's birthday which also determine his longevity and ihe hour and lype
of death. People try lo alter divine decisions, assure success and reverse
unhappy events wiih ihe aid of unclean forces and magic.
Mikolaj
O l s z e w s k i THEDEVIL ANDSEX
The author deals with the relation between the devil, woman and sex. using
for ihis purpose predominantly folk tales (gathered basically in the Wilno
region). These slories emphasize that the devil is ignorant of female anatomy.
The author connects this opinion wiih ihe indeterminate sex of the devil, or its
complete lack, other tales, however, see the devil as a male, in accordance with
the Biblical apocryph which claims that C a i n was the son of Satan. T h e author
seeks a solution to this divergence in the myth of the fall and expulsion of (he
first parents from Paradise; it was then lha( (he an(agonism between Eve and
ihe devil determined (he male nalure of the latter.
J o a n n a D o m a n s k a THE RITUAL AND THE IMAGE
A B O U T SAINTS IN L I T H U A N I A
LEGENDS
The key role in the depiction of the saints in the Wilno region is plaved by
(radilional rituals and iconography. Offiacial hagiographie legends are oflittle
importance; they are transformed under (he impact or (he images or the saints
and the customs connected with feast days. St. George, for example, is
envisaged as a mounted knight and the patron of tame and wild animals, St.
Agatha is a healer ot people and a protectress against lire, and candles blessed
on the day of St. Blaise are thought to have health-giving properties.
Norbenas Vélius
MYTHOLOGY
ANCIENT LITHUANIAN
RELIGION
AND
The formation of the Lithuanian state coincided with an influx of
Christianity from Western Europe. The new situation demanded that the
rulers of Lithuania show great prudence in shaping political realtions F r o m
the very outset, Lithuania demonstrated understanding and tolerance for
various creeds Although old religions and mythology survived in many
domains of life i.a. in art, folklore and language, their reconstruction is
hampered by inadequate source material. „ A s long as there is no satisfactory
reconstruction of the Lithuanian pantheon', writes the author, "the names or
the most important dieties and lesser mythical figures and their functions
remain undetermined and the ancient religious customs and rituals are
unexamined, it will be difficult to engage in reflections concerning the
philosophical aspects of Lithuanian religion, its views about the world, human
existence, life and death, and the metamorphosis of the world and man". T h e
article is an attempt at a reconstruction of the ancient rites.
T R A D I T I O N A N D C O N T E M P O R A N E I T Y . A n Interview with V y t a u t a s L a n d s b e r g i s conducted by Aleksander Jackowski
Vytautas Landsbergis - politician and art critic - talks about tendencies
present in contemporary Lithuanian art. T h e interview deals with the values of
art, which protects national identity, and with spiritual freedom realized by
a n , including folk art and tradition. A return to pagan relics could be, in the
opinion of Landsbergis, regarded as the enhancement of Christian values. This
process was particularly significant for strivings towards a clearly accented
cultural identity.
Norbertas
V e l i u s PROFESSIONAL A R T AND MYTHOLOGY
Mythology is one of the oldest forms or the comprehension of man and the
world. T h e author mentions the equivalence of macro and micro-cosmos,
particular cycles of time and relations between space and time, known i.a. from
the works by M . Eliade Many authors opt for such a reference to mythology.
Norbertas Velius discusses „ M e t a i " (Seasons), a poem by K . Donelaitis.
a series or frescos in the Wilno University by P. Rapsys, under the same title,
and „ I m u jusu duona" (I T a k e Y o u r Bread), a film by H . Sablevicius. T h e
frescos depict i.a. a cycle or annual holiday rituals and the cycle of human life.
Select moments in human life are thus correlated with the annual cycle and
parts of the world. F o r instance, the eastern wall features annual rites
connected with spring and the summer, which in human life correspond to
a christening and a wedding. The seasons are additionally correlated with the
time or day. T h e floor symbolizes the netherworld (and shows the extinct Bait
tribes), the walls - the Earth, and the ceiling - the celestial world.
Jacek Antoni Zieliński
TIME AND SPACE
ĆIURLIONIS A N D HIS VISION O F
Mikalojus Konstantinas Ciurlionis (1875-1911) was a composer and
painter who originally trained to be a musician. In 1902 he began studying at
the Academy of Fine Arts in Warsaw. His talent as a painter erupted in 1904,
and in (he course of the next few years progressed rapidly. Ciurlionis started
with expressive symbolism which ultimately developed into a radical transfor
mation of the very sense of symbolism. T h e artist demonslrated that the space
of a painting could become the symbol of man's inner state and the expression
of an inner perception of the outside world. I n a highly original way, Ciurlionis
showed the relations between our psyche and visions of space. H e made us
aware or the fact thai all visions of space are symbols or our internal world. He
also indicated the unity between the structures of micro- and micro-cosmos.
By referring to reactions between music and painting, he introduced the notion
of space which develops in time. Ciurlionis built the space of his compositions
according to muscial cadenzas, and produced something which could be
described as the melodic lines of space, transferring variations of the musical
motif from lime into space.
Pokwitowanie dla wpłacającego
V y t a u t a s L a n d s b e r g i s T H ESYMBOLICS O F S O U N D IN T H E
W O R K S O F M.K. CIURLIONIS
The author proposes a detailed analysis of the musical languange of M . K
Ciurlionis (painter and composer) upon the basis of two compositions for an
orchestra: ..Forest" and „ S e a " The works of Ciurlionis are outstandingly
psychological and often connected with symbolism.
K r z y s z t o f D r o b a FROM CIURLIONIS UP T O T H E PRESENT
DAY. AN O U T L I N E O F T H E HISTORY O F PROFESSIONAL MUSIC
COMPOSITION IN LITHUANIA
T h e Lithuanian nation survived to a considerable measure thanks to its art;
in this context, the history of Lithuanian music is one of endurance. It was
inaugurated by M . K . Ciurlionis, an outstanding composer and painter at the
beginning of the twentieth century, whose works refered to Lithuanian folk
songs, making it imperative for Lithuanian art to pursue universalization
(alongside the cultivation of local or national traditions). T h e period of
independence (1918-1940) was a time for the development of local musical
education, opera and symphony orchestras. T h e fundamental idea was the
creation or a national style upon the basis of folklore (Gruodis). T h e
occupation of Lithuania in 1940. and the war subjugated musical life lo
patterns imposed by Moscow in the spirit of socialist realism. Permissible
interest in folklore provided an asylum for authors who cultivated national
tradition. T h e ominous Stalinist period witnessed the debut of Julius
Juzeliunas, the most celebrated composer of the older generation. The 1970s
and 1980s in Lithuanian music were dominated by the highly independent
works of Bronius Kutavicius, who construed national ..high" a n using the
material of folk culture.
A T R E E W H I C H G R O W S F R O M A T I N Y S E E D - an Interview with the
Composer Bronius Kutavicius held by the poet Sigitas G e d a
Bronius Kutavicius is an outstanding contemporary Lithuanian composer,
born prior to World War I I . He was brought up in the countryside and his first
contact wilh music were religious songs and a harmonica. Not until the war.
did he begin normal musical education and studied in the Wilno conservatory.
Kutavicius did not imitate Western trends in modem music. H e resolved lo
exploit the richness of folklore although not by copying certain motifs but by
referring to the very essence of music. He also opted for pagan tradition which
was reflected in his oratorios: ..Pantheistic Oratory". „ L a s t Pagan Rites" and
„ F r o m the Stone of the Sudovians".
K r z y s z t o f D r o b a IN T H E M Y T H O F LITHUANIA
ORATORIOS OF BRONIUS KUTAVICIUS
Krzysztof Droba presents a detailed analysis of the compostitions which,
regardless of the date of their origin, comprise a continuum of ..historical"
chronology. The author claims that the composers very soul plays „archaic-folk-pagan notes".
The ..Pantheistic Oratorio" is a sui generis instrumental theatre in ihe form of
wild, primeval rituals, inspired by the poetry ofSigitas Geda. . . F r o m the Stone
or the Sudovians" is intended for a choir and folk instruments. Nostalgic songs
conceal the bellicose rhythms of the Sudovians.
"Last Pagan Rites" constitute the key to a whole series of compositions
written to texts by Sigitas Geda. Their force is contained in the reconstruction
of a sacral situation. T h e contrast between the pagan and Christian sacrum
produces a profound conflict, but it also gives rise to additional meanings,
including histonosophic ones. The last oratorio entitled „ T h e Magic Circle or
the Sanscrit" composed in 1990, has not been performed in Poland
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VIII Oddział PKO W-wa
nrr.
1586-77578-136
VIII Oddział PKO W-wa
n r r k u 1586-77578-136
VIII Oddział PKO W-wa
nrr-ku 1586-77578-136
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199
Vytautas Kubilius
TOWARDS FREEDOM
LITHUANIAN L I T E R A T U R E - THE PATH
The question posed by the author of the article concerns the role played bv
Lithuanian belles lettres in die changeable history of the Lithuanian nation.
He begins his analysis with the publication of the first book in Lithuanian in
1547. examines the era of the first significant literary work in Lithuanian by
reverend Kristionas Doneljtis (1760-1770) who defined the nature and
mission of the emergent Lithuanian belles lettres, and the age of Romanticism,
up to 1918, the year when Lithuania regained independence. At that time.
Lithuanian literature produced an emblematic image of the country, evolving
around the question of land. After 1918. boundaries of provincial isolation
started to collapse, but the Soviet occupation and Nazi camps interrupted the
natural course of the development of literary life. The most important task was
Ihe protection of the historical memory of the nation, its language and
consciousness.
When on 11 March 1990 Lithuania proclaimed its independence, the
situation of literature changed radically. T h e subsequent period witnessed the
emergence of dramatic aesthetics, a return of the formerly forbidden e m ig r é
literature and a rich and varied poetry of inmates and exiles.
V i c t o r a s L i u t k u s THE WORKS AND ACTIVITY OF VYTAUTAS
K A J R U K S T I S I N W I L N O I N T H E Y E A R S 1921-1931
The author analyses the Wilno period of the artist who spent many years in
Russia where he studies. He was the only Lithuanian painter to develop
artistic, theoretical and critical interests simultaneously with the avantgarde
milieus of other countnes. V . Kajrukstis was also a member of the
C omructivists, and together with W . Strzemiński organized an exhibition of
New A n , held in 1923. M u c h criticised, he did not exhibit his works frequently,
although the impact he exerted upon students was considerable. T h e author
corrects certain facts from the life of the artist, and suggests that he was the
author of a typographical catalogue of the exhibition, an outstanding
achievement of the era of Suprematism and Constructivism.
Laima
Laućkaite
MODERN
LINKS WITH TRADITION
LITHUANIAN
A R T A N D ITS
In Lithuania art was always more restricted by the control exerted bv the
Partv than in Poland; thus, its supreme task was to counteract ihe policy of
Russificauon. Already from the nineteenth century, the Lithuanian national
character (whose prime feature was language) was associated with the
peasantry; it is not suprising. therefore, that folklore and village culture were
perceived as the basic source of national culture and a protection against the
deprivation of national identity. At the beginning of the twentieth centurv.
artists referred directly to folk motifs; then,they returned to the "philosophy"
of folklore. I n the 1980s they reached for the prehistorical stratum of
Lithuanian culture - the mythology of the Baits (e.g. P. R a p ś y s . the frescos
adorning the University of Wilno). In the 1990s there appeared a new tendency
lo exploit archaic forms of objects-relics, which constitute ihe quintessence of
life and concentrate (he spiritual energy of the people who use them (e.g. M .
Snipas).
S l a s y s E i d r i g e v i i i u s FAMILY HOME, CHILDHOOD, YOUTH
Eidrigievicius is one of the most eminent Lithuanian artists. In a conver
sation with A l e k s a n d e r J a c k o w s k i he discusses i.a. his schooling
and creative progress. Stasys Eidrigevicius began with small forms i.a. ex libris.
Na wszystkich częściach blankietu należy wpi
and became acquainted with Western art relatively late; even books which
Western collectors sent hm - . return for these works were, as a rule,
confiscated Although somep . his compositions could be associated with
surrealism, the artist emphasizes that their premises are quite different. They
reflect man's loneliness and one of their most important symbols is the mask.
" F o r me, it signifies simply theatrical faces, which seemed to leap out from my
paintings sketchbook and frames They are trulv free" T h e interview is
supplemented by a part of a text by Vittorio Sgarbi and fragments of the
artist's statements and diary.
Ale
Poiiulpaite
STANISLOVAS RIAUB
Stanislovas Riaub (1904-1982). was a sculptor discovered at the end of the
1960s. F r o m childhood he lived in the same place, surrounded by the same
people. He sculpted only in the winter, and spent his summers working on (he
land. Riaub depicted that what he saw around him or what was dictated by
inspiration; it is this world created by him which is the yardstick of his talent
and creativitv Contradictions in the life and personality of the artist produced
variegaled works full of contrasts Initially Riaub executed traditional
figurines of saints, but his later accomplishments include items intended for
dailv use (Dirjes frames boxes) humourous and erotesaue sculptures
philosophical compositions and copies of Nature His works albeit close to
folklore are distant from the traditional art of masters of sacra fieure! and
Z i t a Ż e m a i t y t e DO Y O U K N O W W H Y I L O V E WOOD?
T H E S C U L P T U R E S O F 1POLITAS U Z K U R N Y S
lpolitas U ż k u r n y s , one of the most celebrated contemporary artists who
cultivate folk art, lives and works in Wilno He sculpts statues, individualized
portraits, small figuriens of Christ Meditating and saints, showing implicit
trust in wood and his own intuition.
Z i i a Ź e m a i t y t e T H E WOODEN SONG O FT H E SCU LPTU RES O F
LONGINAS SEPKA
Lionginas Sepka (d. 1956) is the best known Lithuanian naive folk artist.
Following his own imagination and intuition, he sculpted large human figures,
stylized trees and bushes, commemorative plaques with the word of his own
songs or the Holy Scripture, as well as figures of Christ, the Virgin Mary and
saints. His works concentrated primarily on religious themese. Sepka executed
his sculptures without any knowledge of principles or canons He was also
a „ p o e t " who wrote poetry and accompanying melodies.
A l e k s a n d e r J a c k o w s k i „AND TALENT APPEARED". ABOUT
STANISŁAW SUCHOCKI
Stanisław Suchocki was born in Lithuania and lived in K o w n o . During
World W a r II he was deported by the Germans to the Suwałki region, and
after the war moved to Lower Silesia. Suchocki began sculpting late in life and
declared that; ,.1 found my talent shortly before death". He never copied
anyone and sculpted in his own, original way, flatly, with the frequent
application of filigree T h e greatest importance was attached lo heads and
gestures All the sculptures are cheerful often humourous and dynamic They
are rare examples of a beauliful art pursued by a Lithuanian who lived in
Poland.
PRENUMERATA
„KONTEKSTÓW"
sać czytelnie atramentem, długopisem lub pis
PRENUMERATA
„KONTEKSTÓW"
mem maszynowym jednakowo k w o t ę cyframi,
imię i nazwisko wpłacającego, jego adres,
I półrocze
I półrocze
I I półrocze
I I półrocze
roczna
roczna
ilość egz.
ilość egz.
siedzibę oddziału banku w którym prowadzo
ny jest rachunek oraz numer i nazwę tego
rachunku.
Za skutki wynikłe z mylnego w y p e ł n i ł
blankietu ponosi o d p o w i e d z i a l n o ś ć wytjj
wpłacający.
200
* .WARUNKI P R E N U M E R A T Y
1. Wpłaty na prenumeratę p r o w a d z o n ą przez „ R u c h " przyjmowane są na okresy kwartalne.
2. Cena prenumeraty krajowej i-a pojedynczy numer w 1994 roku wynosi 20000 zł. Prenumerata ze
zleceniem dostawy za granicę jest o 100% droższa.
3. Wpłaty na prenumeratę przyjmują:
- na teren kraju - jednostki k o l p o r t a ż o w e „ R u c h " ; istnieje również m o ż l i w o ś ć prenumeraty „ p o d
opaską". Wpłaty od o s ó b i instytucji z miejscowości, w których nie ma jednostek
kolportażu „ R u c h " należy wnosić do Ruch S A Oddz. W-wa, ul. Towarowa 28,
konto jak niżej.
- na zagranicę
- Zakład Kolportażu Prasy i Wydawnictw 00-958 Warszawa, konto P B K , X I I I
Oddział W-wa 370044-1195-139-11
4. Dostawa z a m ó w i o n e j prasy następuje:
- przez jednostki kolportażowe ..Ruch" - w s p o s ó b uzgodniony z zamawiającym.
- przez urzędy pocztowe - pocztą zwykłą na wskazany adres, w ramach opłaconej prenumeraty
z wyjątkiem zlecenia dostawy na zagranicę pocztą lotniczą do odbiorcy zagranicznego, której koszt
w pełni pokrywa prenumerator.
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- na II kwarta!, do 20 V na I I I kwartał, do 20 V I I I na I V kwartał.
Prenumeratę naszego pisma prowadzi także firma A M O S , Warszawa, ul. Szenwalda I. W p ł a t y na okresy
półroczne (2 numery), roczne przyjmowane są non-stop, a dokonane na miesiąc przed ukazaniem się
kolejnego numeru gwarantują jego otrzymanie z d o s t a w ą do domu. miejsca pracy.
Obecna cena półrocznej prenumeraty krajowej wynosi 40000 zł. Prenumerata zagraniczna jest o 100%
droższa.
Wpłat należy d o k o n y w a ć na konto: A M O S . P K O VIII Oddział Warszawa, nr 1586-77578-136.
Sprzedaż prowadzi również Dział Wydawnictw Instytutu Sztuki P A N , 00-950 Warszawa, ul. D ł u g a 28,
Alicja Trojanowicz, tel. 31-32-71 w. 258. Sprzedaż na rachunek, za zaliczeniem pocztowym lub za g o t ó w k ę
w Dziale Wydawnictw oraz w kiosku Instytutu Sztuki. R ó w n i e ż numery archiwalne.
*
Prenumerata zapewnia otrzymanie pisma w cenie wyżej podanej, niezależnie od tego, o ile droższy będzie
w sprzedaży numer.
W 1994 r. ukażą »ie dwa p o d w ó j n e zeszyty
monograficzne:
1/2 etnologia wobec współczesności
3/4natura-kultura
spis zawartości rocznika I W zamieścimy w numerze 1/2 - 1994
Wydawnictwo Instytutu Sztuki Polskiej Akademii Nauk publikuje książki i czasopisma z zakresu
sztuki, teatru, filmu, muzyki, folkloru
Stalą, sprzedaż książek i czasopism Wydawnictwa IS PAN prowadzą następujące księgarnie:
-
Warszawa
Główna Księgarnia Naukowa im. Bolesława Prusa,
Krakowskie Przedmieście 7
Księgarnia ORPAN, Pałac Kultury i Nauki
Księgarnia Fundacji Pomocy Bibliotekom Polskim,
Marszałkowska 74
Księgarnia Ossolineum, Jaworzyńska 4
Księgarnia „Artystyczna", Mazowiecka U
Księgarnia .Leksykon", Nowy Świat41
Księgarnia .Odcon", Hoża 19
Księgarnia Zamku Warszawskiego, Świętojańska 2
Białystok
Księgarnia akcent", Kościuszki 4
Gdańsk
Księgarnia Ossolineum, Łagiewniki 56
Ciągłą sprzedaż hurtową, detaliczną i wysyłkową publi
kacji Wydawnictwa IS PAN prowadzi
Ośrodek Upowszechn ian la Fi I mów i Książki
„HareFilm", ul. Piłsudskiego 38
30-960 Kraków
Kraków
Antykwariat „Bibliofil". Szpitalna 19
Księgarnia "Helmanska", Rynek Główny 17
Księgarnia "Orlundo", Sławkowska 10
Księgarnia ORPAN, Św. Marka 22
Lublin
Księgarnia ORPAN, PI. Marii Curie-Skłodowsldej 5
Łódź
Księgarnia Ossolineum. Piotrkowska 181
Poznań
Księgarnia "Jedynka". Al. Marcinkowskiego 21
Wrocław
Księgarnia Ossolineum, Rynek 6
Ciągłą sprzedaż hurtową publikacji
IS PAN prowadzi
Skład Księgarski „EWA"
ul, Rodziewiczówny 4,45-951 Opole
tel, 374-28
Numer liczy 25 ark. drukarskich.
Fotoskład: „Iskra".
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ul. Niska 18/6, teł. 39-90-83
Druk: mgr inż. Piotr Włodarski,
ul. K s a w e r ó w 21; tel. 43-14-71 w. 240
N a k ł a d 2000 egz.
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