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The paper reviews personal letters and lyrics written by Lithuanian writer Balys Sruoga (1896–1947). The poet is distinguished for his unique writing style; his personal letters expose outstanding linguistic expression. It is not easy “to kill the author” in his poetry, to separate his lyrical subject from the poet himself. We can retrace the author’s friendship, the contrasts of his mood, and the same poetical images as well as symbols in Sruoga’s personal letters to his wife Vanda Daugirdaitė. Sruoga transmitted his own life situation of ethical value from reality into the aesthetic form, and individualized it. The valuable poetic relationship with reality and poetic thinking was expressed through the composition of the lyric confession poem. The Dionysian and Apollonian motifs in Sruoga’s poetic and epistolary texts were examined to show that the same motifs and even the same formulations appear in both. Consequently the study of parallels in Balys Sruoga’s personal letters and poetry opens a number of interesting research opportunities of fictive and non-fictive links: the construction of the individual linguistic world view, the manifestations of personal identity, and the search of creative identity forms.

У статті розглядаються особисті листи та лірична поезія литовського письменника Баліса Сруоги (1896–1947). Поет вирізняється своїм унікальним стилем письма; його особисті листи розкривають видатне мовне вираження. У його поезії не вдається «вбити автора», відокремити його ліричний сюжет від самого поета.Ми можемо простежити дружбу автора, контрасти його настрою, ті ж поетичні образи в творах, як і символи в особистих листах Сруоги до його дружини Ванди Даугірдайте. Сруога передав власну життєву ситуацію етичної цінності з реальності в естетичну форму та індивідуалізував її. Цінний поетичний зв’язок із дійсністю та поетичним мисленням виражався через композицію віршованої ліричної сповіді. Діонісійські та Аполлонські мотиви в поетичних та епістолярних текстах Сруоги були досліджені, щоб показати, що схожі мотиви і навіть однакові формулювання з'являються в обох жанрових варіаціях.Отже, дослідження паралелей в особистих листах і поезії Баліса Сруоги відкриває ряд цікавих дослідницьких можливостей вигаданих та невигаданих зв’язків: побудова індивідуального мовного світогляду, прояви особистої ідентичності та пошук форм творчої ідентичності.У самому базовому сенсі, писемність можна визначити як спосіб передачі інформації. Коли і письменник, і читач існують, цей процес можна розглядати і як засіб спілкування. Написання листів — один із найдавніших методів спілкування. Цей жанр не обмежений передачею конкретної інформації, оскільки часто включає обмін досвідом, емоціями та настроями. Завдяки цьому цей жанр часто наближається до пое­зії.Баліс Сруога був литовським класиком, визначним письменником завдяки тому, що його бібліографія відрізнялася насамперед різноманітністю жанрів. Він писав вірші, поеми, п’єси, займався критикою, а також перекладом. Сруога переклав на литовську мову твори Йохана Вольфганга Гете, Генріха Гейне, Оскара Вайлда, Генріка Ібсена, Поля Верлена, Шарля Бодлера, Олександра Блока, Олександра Бальмонта, Анни Ахматової, Самуеля Бенеллі та інших письменників., The paper reviews personal letters and lyrics written by Lithuanian writer Balys Sruoga (1896–1947). The poet is distinguished for his unique writing style; his personal letters expose outstanding linguistic expression. It is not easy “to kill the author” in his poetry, to separate his lyrical subject from the poet himself.We can retrace the author’s friendship, the contrasts of his mood, and the same poetical images as well as symbols in Sruoga’s personal letters to his wife Vanda Daugirdaitė. Sruoga transmitted his own life situation of ethical value from reality into the aesthetic form, and individualized it. The valuable poetic relationship with reality and poetic thinking was expressed through the composition of the lyric confession poem. The Dionysian and Apollonian motifs in Sruoga’s poetic and epistolary texts were examined to show that the same motifs and even the same formulations appear in both.Consequently the study of parallels in Balys Sruoga’s personal letters and poetry opens a number of interesting research opportunities of fictive and non-fictive links: the construction of the individual linguistic world view, the manifestations of personal identity, and the search of creative identity forms.

Publikacijoje nagrinėjama Vinco Kisarausko kūryba ir kai kurie dailininko gyvenimo faktai, svarbūs siekiant permąstyti Lietuvos sovietmečio istoriografijoje vyraujančią šio dailininko kūrybos, kaip nonkonformistinės, interpretaciją, pagal kurią, atskaitos taškais pasirinkus ekspresionistinę raišką, dailininko kūriniai traktuojami kaip pasipriešinimas sovietų režimui ir socialistiniam realizmui. Siekiama atsakyti į klausimą, kodėl dailininko kūryba, potencialiai galėjusi keisti to laiko meninį mąstymą, nedarė didesnio poveikio nei jo amžininkams, nei jaunesnei dailininkų kartai. Straipsnyje nonkonformistinė V. Kisarausko pozicija susiejama su jo biografijos faktais, su konceptualiu mąstymu, kurio apraiškos išryškėja autoriaus tapyboje, knygose ir kt. Šia kūryba dailininkas orientavosi į Vakarų dailės kontekstą. Teigiama, kad ta V. Kisarausko kūrybos dalis, kuri galėjo provokuoti žiūrovą keisti mąstymą bei matymą, kuri galėjo daryti įtaką Lietuvos modernistinės dailės raidai, veikiant vidiniams dailininko savicenzūros mechanizmams nebuvo viešinama ir neperžengė jo dirbtuvės slenksčio. Dėl šios priežasties pažangios V. Kisarausko idėjos, turėjusios potencijos pakeisti ano laikmečio kultūrinėje terpėse vyravusį meninį mąstymą ir estetinį skonį, dailininko gyvenamuoju laikotarpiu šios misijos neatliko. On the 28th of April - the 14th of June 2015, exhibition ‘A Retrospective of Vincas Kisarauskas Work (1938-1988). Greetings to the Time’ was displayed in the National Gallery of Art (branch of the Lithuanian Art Museum). Preparing the exhibition widely known artist s creative legacy was revised. Special attention was drawn to the creative works that were not seen in public while artist was alive, even though it embodies conceptual thinking transcending the period, and would have been able to change artistic thinking of the era and the development of Lithuanian modernism. This publication attempts to ascertain what were the reasons Kisarauskas’ ideas had not influenced the art, younger generation artists and development of modernism in general. The article attempts to reject the prevailing discourse of non-conformism in the Soviet Lithuanian studies, in which creative work of Kisarauskas was perceived and valued as a resistance to the Soviet regime and social realism in Soviet Lithuania. Reconsidering the artist s biographical facts is the main objective of this publication. After Lithuania gained independence, the only reference points for a non-conformism discourse was Julius Janonis illustrated book for children ‘Poklius lurking every day’ (1960) and his first solo exhibition held in LSSR Writers’ Union Club in 1962. This article draws attention to the fact that V. Kisarauskas stylistic choice in early creative work did not exceed the formal stylistic canons of art and ‘fitted’ into the Soviet tolerated modernism frames. By that it was sought to modernize (social) realism. Hence, it is incorrect emphasize the expressionist creative concept as the author’s manifestation of a non-conformist position. Therefore, examples of his non-conformist activities are elsewhere. Nevertheless, V. Kisarauskas had a critacal position towards political ideology, which is evident from his biography: relations with intelectuals returned from the Soviet camps, deportations to Siberia and executions of the family members, as well as the artist’s participation in the political protest, anti-Soviet campaigns. Another example of V. Kisarauskas non-conformist position - he initiated sending ex-librises of Lithuanian artists to international exhibtions bypassing the control of Moscow. V. Kisarauskas fostered a historical consciousness, was in a side of resistance to the Soviet falsification of the old and the 20th c. history of Lithuania, for him it was important to preserve the Lithuanian national identity. However, such artworks (mostly graphic technique) remained hidden in the artist’s workshop during all Soviet era - it could be said artist’s self-censorship mechanism was always on. Even in the beginning of his creative work V. Kisarauskas deliberately made a divide between the public and private collections. During Soviet times, the artwork, which could affect the viewer’s mind, which was about to destroy the boundary between art and life, insinuated that things really are not like we see, were not pulled out into daylight. After 1965, Kisarauskas strived to demonstrate the internal structure of the image and use visionary forms. [...]

Straipsnyje analizuojama Balio Sruogos kūrybos samprata, formuluojama įo kritikoje. Pateikiama B. Sruogos psichologinė trijų pakopų (realizmo, romantizmo ir simbolizmo) meno įrakinote bei simbolizmo, kaip universalaus ir kartu modernistinio kūrybinio metodo, interpretacija. Kūrybos sampratą, literatūros istoriją bei metodus B. Sruoga aiškina psichologiniu, istoriniu bei estetiniu aspektais. Šis autorius artimas klasikinei idealistinei, hermeneiilinei ir formalistinei vokiečiu estetikai (L Kantas, W. Dilthev 'us, J. W. Goethe, Fr. Schilleris, H. Wölfflinas, H. Brunno, per P. Merkelį perimtas A. Boeckha.s). Balys Sruoga emphasised the correlation between literary movements, continuity and development, their contradictory character, the variety of the forms, a continuous shifting of the borders, which was provoked and united by the constant character of human nature. He treated the literary self-awareness as a permanent and at the same time historical phenomenon that was manifested at different times in the creative works of different writers in the folowing three main forms: Realism, Romanticism and Symbolism. Symbolism is treated as a synthesis of Realism and Romanticism and is identified with Modernism. Sruoga connected the Realistic level of creation to mimesis, the Romantic level with the strengthening of the expression of an individuality, the breakaway from mimesis and the Symbolic level with the manifestation of the combination of the intuition of the creator-genius and the creative experience through symbols. The psychological theory of the three levels of art could penetrate Sruoga's criticism via the German Romantic aesthetics. J. W. Goethe grounded the theory of creative style on the threefold scheme of creative thinking (mimesis, idealism and their synthesis); he singled out three art forms (imitation of nature, manner and style). Friedrich Schiller distinguished between the naive and the sentimental poet who interpreted creation as the play and synthesis of matter and form. Later on this idea was picked up by Wilhelm Dilthey and the so-called Spiritual Historical School. In Sruoga's theory of Modernist Art, a naive subconscious creator is the Realist and the sentimental conscious creator is the Symbolist who is also a modern synthesising creator. The origination of the creative forms from the level of the psychological spirit and intellect of man in Sruoga's criticism is close to Heinrich Wölfflin's conception of the development of literature. The latter understood art forms as historic and dynamic, inspired by a concrete historical period and its psychological structures. Moreover, Sruoga adopted Wölfflin's conception of the organic relationship between content and form. Sruoga's method of literary research was adopted from P. Merkelis and August Boeckh. It comprises an exegesis of the text, a search for the artistic and generic immanence of a creative work, an analysis of the intentions of the author of the work and its historical-cultural context.

Straipsnio tema yra tautinės ir integracinės lietuvių modernizmo ypatybės bei galimybė keisti tikrovės suvokimą, plėsti mąstymo ribas. Tyrinėjama, kaip tai atsispindi kūrybos formose idėjinių apsisprendimų prasme, todėl pažvelgiama tik į kai kurių, autorės nuomone, su muzikos idėjine misija susijusių autorių kūrybą. Straipsnio tikslas - iškelti dar nematomus visuotinos kultūros raidos „mažuosius" procesus ir parodyti kartais lemiamą jų poveikį, nes tai aktualu Lietuvai tampant šiuolaikiškai pažangaus integruoto pasaulio dalimi. With modernism’s emergence in the 1920s, there was considerable debate in Lithuania about the value, distinctive-ness and prospects of Lithuanian music within the global context. Here the views of two Lithuanian modernist composers, Vladas Jakubėnas (1904-1976) and Vytautas Bacevičius (1905-1970), clashed: the first one brought to the fore the lag and lyricism of the periphery and contrasted the "rustic" national identity to the clamour of cosmopolitan cities, while the other placed more emphasis on dramatic tension; he viewed nationalism as spirituality and highlighted the universal nature of creation. Temporal tension would later become one of the most characteristic features of Lithuanian modernism. The universality of modernism reveals itself in Bacevičius’ works created in exile as a connection of Lithuanianism with the world and with the music of cosmic spirit. Meanwhile in Lithuania, under the shell of the compulsory soviet ideology, the images of the universal global structure which was gradually reproduced by modernism were forming. In Osvaldas Balakauskas (*1937) works they crystallize into an atonal system of harmonic scales. Bronius Kutavičius’ (*1932) modernism allows to have a look at the beginnings, restoring the temporal process and ringing the bells of historicism. The role of the time as the pulse in a musical form assumes a totally different character: the time becomes a "clock", an object, mythology and the carrier of a new history. In contact with totalitarianism, art becomes the tension of destruction; this was later developed in avant-garde musical forms. The power of destruction and the negative meaning of the "field beyond time" are declared in the works of the conceptual avant-gardist Šarūnas Nakas (*1962), who overtly shoots sermons in his texts thus strangely realising the idea of the "national mission". Lithuanian modernism of the late 20th century is characterized by the following features: "national mission" -openness towards the world, concern with history; dialectic balance of temporal cycles; "the psychology of insecurity" - the creative drive behind negative experience, energy from tension, and threat of destabilization, as well as the positivism of mysticism, vision and structures of the universe against the fatalistic abyss of time.