Didaktinės lietuvių dainos: poetinių tradicijų sandūra XIX - XX a. pradžioje
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Lietuvių Literatūros ir Tautosakos Inst.
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Engl. Zsfassung u.d.T.: Lithuanian didactical songs: interaction of the poetic traditions in the 19th and beginning of the 20th century |
| Beschreibung: | 255 S. |
| ISBN: | 9789955698227 |
Internformat
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| 245 | 1 | 0 | |a Didaktinės lietuvių dainos |b poetinių tradicijų sandūra XIX - XX a. pradžioje |c Jurga Sadauskienė |
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| 650 | 4 | |a Folk songs, Lithuanian |x History and criticism | |
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Datensatz im Suchindex
| _version_ | 1804137766303301632 |
|---|---|
| adam_text | Turinys
Prasitarimas
7
Ivadas
11
Didaktiniu dainti
žanriné specifika
11
Tyrinèjimai
19
Problematika
ir aktualumas
26
Didaktizmas
XIX
a. literaturoje
ir
tautosakoje
34
Didaktizmas literaturoje
34
Religiniu rasty, didaktizmas
37
Poezijos didaktizmas
39
Pasaulietinés prozos didaktizmas
44
Didaktizmas tautosakoje
51
Didaktiniu dainu ištakos
ir
šaltiniai
60
Rankraštiniai dainynai
65
Spausdinti dainynai
71
Didaktinés
dainos ir populiarioji
spauda
76
Didaktinès
dainos
XIX
a. kaime
85
SodokultOrinés aplinkybés
85
Santykis
su
rastu
100
Didaktiniu dainu kuréjai,
atlikèjai ir atlikimas
109
Dainvi pasaulévaizdžio kaita
126
Dainu
erdvé
128
Laiko pajauta
141
Poetinés minties logika
149
Socialities
etikos
ir
morales kaita dainose
158
Socialinès laikysenos ir retorikos
170
Didaktiniu dainu
folkloriškumas
180
Senuju damn normatyvumo
raiška
180
Normatyvumo
raiška vélyvosiose dainose.
192
Didaktiniti dainu
sociokultürinè
reikšme
205
Šaltiniai
227
Literatura
233
Santrumpos
241
Asmenvardžiu rodyklé
242
Summary
247
LITHUANIAN DIDACTICAL SONGS
INTERACTION OF THE POETIC TRADITIONS
IN THE 19th AND BEGINNING OF THE
20™
CENTURY
Summary
The study highlights a phenomenon of the traditional Lithuanian
culture of the 19lh -beginning of the ZO 1 century, i.e. the didactical songs
of the literary origin, which had in the course of the 19th century found
their way into the oral tradition, becoming increasingly popular among
the representatives of the traditional culture. It was at this time that the
folkloric repertoire of the informants experienced intensive changes: e.g.
the
ťhematical
scope of the songs widened and the contents shifted.
Separate groups of songs formed, characterized by properties of various
literary genres and dealing with new issues, hitherto unreflected by the
traditional songs: e. g. change of the seasons, problems of the marital
life, harm brought about by excessive drinking, struggle for freedom of
the fatherland, funny and instructive events of the daily life, critique of
customs and traditions, and human vices, transience of being,
construction of churches, exile. While contents of the traditional
f olklore
comprise exclusively the range of imminent interests, like common
property, work and family relations, neighbourhood, etc., the later songs
treat the landscape, a separate event, a sensation, and a natural or social
phenomenon as individual subjects of representation. The late songs
depict the traditional rural or urban spaces from a new perspective, as
well as expressing new and relevant political, social and moral issues.
All these songs considerably differ from the old Lithuanian folksongs
belonging to the golden reserve in terms of their textual poetics,
structure, strophic, vocabulary, imagery, the subjective attitude and
247
bearing, etc. therefore representing a new stage in the development of
folklore tradition.
The study of songs was essentially based on the Lithuanian Folksongs
Catalogue compiled at the Institute of Lithuanian Literature and
Folklore, on the manuscript collections of songs from the 19lh and
20*
centuries, preserved at the Lithuanian Folklore Archives, as well as on
the published materials. The printed songbooks from the 19th century,
periodicals, and collections of poems were also used. Special attention
was paid to the historical and ethnographical texts and studies from the
19th century revealing ways of life, mentality, tastes and values typical
to various social strata.
The most popular types of the didactical songs, comprising from
dozens to several hundreds of variants and therefore doubtlessly thriving
in the traditional culture are in the focus of analysis. As the didactical
Lithuanian songs present a vivid example of penetration of the literary
discourse into folklore, their investigation allows observing ways by
which manifestations of literary didacticism were adopted from fiction
and became entrenched in folksongs; besides, this material is handy for
estimation of the openness of the folkloric tradition in the 19th -beginning
of the 20th century towards external influences, the level of its stability
and change. The processes taking place in folklore are appreciated from
the cultural, social and poetical rhetorical points of view.
The monograph also aims at demonstrating the meaning attributed
to writing and individual creativity by the scarcely literate country
people. Therefore a dive into the bulk of folklore is undertaken, in order
to determine the field of associations, images, ideas, stereotypes and
symbols that a new and original thought happened to land in. Indeed,
the oral folklore can be regarded among the most informative
reflections of folk mentality and worldviews. Its study ensures:
1)
marking more distinctive boundaries between social and cultural
roles played by the folkloric and literary traditions in the increasingly
modernized Lithuanian culture,
2)
defining circulation of values,
meanings and ideas between different verbal traditions representing
differing cultural backgrounds. Besides, the subject matter of the
monograph allows appreciating the dialogue between enlightened part
248
and the shaping majority of the Lithuanian society from the
perspective of the country culture and folkloric tradition; which is very
advisable considering the actual political and social shifts having taken
place in the
19Љ
century, including emerging of the Lithuanian national
self-conscience and generally intensive cultural development. Indeed,
the writing in Lithuanian language of the time provided shelter for
germinating historical, literary, folkloristic, civil and social thought,
increasingly addressed towards unsophisticated lower social strata.
Understanding the extent of struggle and intentions undertaken by
the educators, scientists and artists of that period is hardly possible
without adequate comprehension of thinking, worldviews, and needs
of the addressee.
The didactical songs aiming at education and both moral and public
fostering of the emerging national Lithuanian society are exclusively
normative. The author of this study maintains that normative character
(whether pronounced or not) is among the essential qualities inherent
in the traditional cultural text, transfusing most of the folklore genres
and strongly shaping the songs poetic expression. Besides, the intensity
and nature of normativeness indicates social and cultural value of a
given genre or textual group, while changes in the normative rhetoric
are regarded as manifestations of shifting traditional cultural worldview
or
socio-cultural
status of text. The appearance of didacticism in songs
is considered among the radical cases of change in the normative
character. The ideological engagement of traditional folklore is viewed
in a new light as well. The study demonstrates the strong influence of
ideological discourses experienced by the 19th century Lithuanian
folklore, which tended partly to take over their roles.
The study aims at:
1)
describing the didactical Lithuanian songs,
which became popular in the traditional Lithuanian culture of the 19th
century,
2)
revealing the sources and development of the didactical songs,
3)
naming the social and cultural factors determining the spread and
relevance of these songs in the village communities,
4)
establishing the
place of the didactical songs in the traditional repertoire of the village
communities,
5)
pointing out the aspects of the written culture most
significantly influencing the emerging didacticism in folklore,
249
6)
comparing the old and the late folksongs in terms of their outlook,
ethical attitudes and differences of the normative expression,
7)
finding
out whether the didactical songs of literary origin, asserting the new
outlook, social ethics and characterized by the literary forms of
normative expression, have become an organic part of the folklore
tradition.
In the introduction, the thematic variety and genre specifics of the
didactical songs are discussed. Earlier investigations into the late
folksongs are surveyed and the relevance of the present study in the
context of contemporary folklore research is pointed out. In the chapter
Didacticism in Literature and Folklore , features typical to the popular
Lithuanian literature of the 19th century are introduced, paying special
attention to the dogmatic character of the religious writings, the secular
poetry and the didactical educative prose, which used to be best known
to a vast majority of readers. The possibility of features of literary
didactics appearing in folklore is discussed, as well
ás
estimating the
varying degree of normativeness, syncretism and rhetorics inherent in
folklore and literature.
Sources of the didactical songs are investigated in detail (chapter
Sources of the Didactical Songs ). Roots of the tradition of Lithuanian
didactical songs are discovered in the civic poetry and theatre, as well
as in the sub-culture of Polish nobility. The manuscript collections of
songs preserved at the archives of the Institute of Lithuanian Literature
and Folklore are described as authentic reflections of the popular
repertoire of the 19th century. The printed songbooks are analysed, as
having accumulated a large part of the old traditional songs. The popular
periodicals, considerably contributing to the popularisation,
dissemination and
actualisation
of the didactical songs are discussed as
well.
The didactical songs mostly reflect peculiarities of the religious
discourse. Because of its influence, the didacticism and moralization
used to be regarded as poetical norm of a literary text, including late
folksongs too. Straightforward exhortation or assertion of definite views
was the kind of literary rhetoric most easily perceived by unsophisticated
readers of the didactical literature, therefore didacticism became the best
250
rhetoric for expressing and conveying the new truths. According to the
author, although these sources comprise a considerable portion of
didactical texts, they alone cannot be accounted for such immense
popularity of the didactical songs during the period in question.
Further examination of the social and cultural factors influencing
the spread of the didactical songs is undertaken in the chapter Didactical
Songs in the 19th Century Countryside . Such processes as the growing
proximity of different social strata taking place in the 19th century, the
increasing
démocratisation
and educational activities of the Church, the
spread of literacy and the increasing number of publications in the
Lithuanian language are taken into account. Along with these
prerequisites of folklore modernization, the impact of the Tsarist
oppression and the banning of press in Latin alphabet on the rising status
of Lithuanian folklore are discussed. The author speculates upon the
possible influence of the shifting structural patterns of power and its
activities on the popularity of didactical texts.
The attitude of representatives of traditional culture towards writing,
the significance and function attributed to books, literacy, and text is
given special consideration. The didacticism is seen among the most
inherent, necessary and easily recognizable literary aspects of the
traditional culture. Composers and performances of didactical songs
are discussed as well. The ways by which songs characterized by
different style and problematic became established in folklore tradition,
found their place in the village repertoire and started to be performed
at family festivals are revealed. Besides, these songs used to fulfil special
functions: they were meant for public performances on official occasions,
at meetings of various societies and during all kinds of civic actions.
Concrete illustrations are given to prove the shifting meaning of these
songs in the process of their adaptation in the traditional culture and
their becoming multifunctional.
The literary songs adapted by the folklore tradition integrated poetic
features of the literary and the
f
olkloric tradition, their respective outlook,
normativeness and rhetoric. In the chapter Changes in Folksong
Worldview the author demonstrates the extent in which the didactical
songs widened the geographical and historical horizons of folklore, as
251
well as establishing reflection of hitherto irrelevant social themes and
problems and argumentation of social norms. The historical discourse
and hierarchic notion of the world s structure that they conveyed, as
well as the mode of depiction itself made it possible for didacticism to
penetrate into the poetical folksong text and to become actualised.
Further, the shifting ethics of folksongs is scrutinized. The author
highlights the peculiar way by which the religious dogma and
educational purposes become entwined in the popular didactical
folksongs: i.e. the truth of God and the rationality of enlightenment stand
side by side here, supporting each other, yet the songs do not particularly
boast neither in individual introspection, brought about by Christianity
and aiming at cultivation of spirit and getting ready for the eternity, nor
in the main educational efforts, including promotion of civic activity,
consciousness, and social self-sufficiency. As the most popular topics of
the didactical songs, criticism of the excessive drinking and adoration
of virginity could be named. Another distinctive trait of these songs not
only includes a more active reflection of values, but also a new kind of
social bearing. Along with the forms of benevolent expression typical
for the old songs, instances of authoritative and heroic bearing can be
pointed out here.
The normative rhetoric of the songs experienced rather intensive
changes in the course of the IS 1 century. Numerous features of literary
style and speech can be pointed out in the didactical songs, following,
as a rule, the typical structure of the literary genres. Moreover, the
contents and expression of the social ethics and bearing are decisively
influenced by the already existing canon of the traditional folklore and
the stereotypes inherited from earlier times.
The didactics typical to the late folksongs of the 19th century and
recognized in the straightforward statements, outspoken norms,
instructions and appeals, testifies to the interaction between two
worldviews, two normative systems of values, i.e. the traditional folklore
and the popular literature of the time. These two folksong traditions
merge together in the end of the 19th century, producing a layer of folk
literary songs characterized by the folklorically adapted literary
didacticism.
252
Didactical songs are characterized by the following literary features
of normative expression:
1)
emphasis on authority and the distance
between the addresser and the addressee,
2)
moralization and
straightforward emphatic statements of value,
3)
epic nature, when norm
is asserted through the story,
4)
descriptive character, when description
is combined with evaluation according to certain normative criteria, and
5)
new structural patterns of the poetical text, e.g.: a) anecdotic story,
b) framing of text with generalization, c)
contrastive
description, when
positive and negative examples are compared, and d) parody, when
effect of normative reflection is achieved by using structure, images and
style of literary genres, but along with preservation of the main features
of the literary composition, the subject of description is changed.
Especially obvious influence of the folklore tradition can be felt in
those popular didactical songs, which have undergone considerable
folkloric adaptation. The popular didactical types have numerous
features typical to the old folksongs. They are related to the old folksongs
by:
1)
popular themes and motives (primarily those regarding
drunkenness and virginity),
2)
use of traditional symbols (the rue crown,
the rue garden),
3)
the
stereotypie
appreciation and presentation of
individuals,
4)
the folk style comics, characterized by traditional
humiliation poetic and rhetoric,
5)
certain structural patterns of the texts,
especially the normative argumentation with an anticipation motive
included, and the replacing of the literary textual structure with the
folkloric one,
6)
appellative nature, so typical for the old folksongs,
7)
function, purpose and performance intention.
This allows drawing a conclusion, that folkloric tradition of the
19*
century functioned as a normative mechanism: only texts of special
thematic and problematic were selected and adapted, acquiring in the
course of adaptation features and functions typical for the traditional
songs. Such tendency prompts an idea, that even during the dynamic
periods of change in the traditional culture, norms of textual content
and expression were not so much dictated by the culture or cultural
norm, but rather by the community s consciousness and normative
images along with verbal formulations inherent to it. Thus, every case
of the song perf ormance contains an expression of relationship not only
253
to the norm of traditional culture, but also to that of folklore tradition.
Folklore tradition as a certain canon of description, thinking and
expression becomes important whenever a new statement, attitude or
approach is asserted, denied or ignored.
Besides, these features also indicate that the late songs of the 19th
century functioned against the background of traditional culture as
ideological rather than entertaining texts, and therefore they should not
be considered mere manifestations of popular culture. Contents,
performance and function of these didactical and other late folksongs
clearly indicate the mass culture still having existed in close proximity
with the traditional rituals, both folk and church ones. However, in the
context of Lithuanian culture, these didactical songs in spite of their
considerable conservatism meant a huge push forward both in poetic
tradition and in social consciousness, as every performer of a new song
received a possibility of civic voice and chance of breaking free from the
grip of folklore tradition, thus expressing new values, new forms of
consciousness and bearing.
The examined materials allow maintaining that:
1.
The didacticism embodies the most vivid representation of the
literary discourse in the Lithuanian folksongs of the second half of the
19th
-
the beginning of the 20th century,
2.
The multitude of didactical literary features in the songs is partly
determined by the specifics of the popular literature of the 19th century,
and partly, by the needs of the traditional culture itself and the
peculiarities of the development of folklore tradition.
3.
The decisive influence on the entrenchment of didacticism in the
songs resulted from the principles of artistic expression of the didactical
literature being
easñy
comprehensible and clear for the scarcely literate
public, and from the established pattern of the didactical literature being
capable of conveying new and relevant ideas.
4.
The regular patterns of selection,
actualisation
and adaptation of
features from the literary didactical texts allow defining the mechanism
by which the folklore tradition keeps functioning. Its basic principles
include:
1)
while adapting the texts, folklore tradition affects their form,
meaning and application,
2)
variation in the late texts is determined by
254
the performers memory and the possibilities of textual application,
3)
selection of the new texts is determined by the existence of analogical
themes, motives and means of expression in the folklore tradition,
4)
actualisation
of the new themes is shaped by the stereotypes of
thinking, description and evaluation, as well as by the audience s
expectations in regard to the individual text, and the logic and structure
according to which the thought in the ancient texts habitually unfolds.
5.
The specific of didacticism in the popular didactical songs indicates
the organic inclusion of the didactical songs of the literary origin into
the folklore tradition.
6.
The didacticism of texts attests to the openness to innovations of
the folklore tradition of the period in question, to its capacity of
conveying relevant issues and introducing different styles, genres and
new rhetoric.
7.
The didacticism in the folksongs indicates the strengthened
normative function of songs and the rise of their
socio-cultural
status
during the period in question.
Bayerische
Staatsbibliothek
München
255
|
| adam_txt |
Turinys
Prasitarimas
7
Ivadas
11
Didaktiniu dainti
žanriné specifika
11
Tyrinèjimai
19
Problematika
ir aktualumas
26
Didaktizmas
XIX
a. literaturoje
ir
tautosakoje
34
Didaktizmas literaturoje
34
Religiniu rasty, didaktizmas
37
Poezijos didaktizmas
39
Pasaulietinés prozos didaktizmas
44
Didaktizmas tautosakoje
51
Didaktiniu dainu ištakos
ir
šaltiniai
60
Rankraštiniai dainynai
65
Spausdinti dainynai
71
Didaktinés
dainos ir populiarioji
spauda
76
Didaktinès
dainos
XIX
a. kaime
85
SodokultOrinés aplinkybés
85
Santykis
su
rastu
100
Didaktiniu dainu kuréjai,
atlikèjai ir atlikimas
109
Dainvi pasaulévaizdžio kaita
126
Dainu
erdvé
128
Laiko pajauta
141
Poetinés minties logika
149
Socialities
etikos
ir
morales kaita dainose
158
Socialinès laikysenos ir retorikos
170
Didaktiniu dainu
folkloriškumas
180
Senuju damn normatyvumo
raiška
180
Normatyvumo
raiška vélyvosiose dainose.
192
Didaktiniti dainu
sociokultürinè
reikšme
205
Šaltiniai
227
Literatura
233
Santrumpos
241
Asmenvardžiu rodyklé
242
Summary
247
LITHUANIAN DIDACTICAL SONGS
INTERACTION OF THE POETIC TRADITIONS
IN THE 19th AND BEGINNING OF THE
20™
CENTURY
Summary
The study highlights a phenomenon of the traditional Lithuanian
culture of the 19lh -beginning of the ZO"1 century, i.e. the didactical songs
of the literary origin, which had in the course of the 19th century found
their way into the oral tradition, becoming increasingly popular among
the representatives of the traditional culture. It was at this time that the
folkloric repertoire of the informants experienced intensive changes: e.g.
the
ťhematical
scope of the songs widened and the contents shifted.
Separate groups of songs formed, characterized by properties of various
literary genres and dealing with new issues, hitherto unreflected by the
traditional songs: e. g. change of the seasons, problems of the marital
life, harm brought about by excessive drinking, struggle for freedom of
the fatherland, funny and instructive events of the daily life, critique of
customs and traditions, and human vices, transience of being,
construction of churches, exile. While contents of the traditional
f olklore
comprise exclusively the range of imminent interests, like common
property, work and family relations, neighbourhood, etc., the later songs
treat the landscape, a separate event, a sensation, and a natural or social
phenomenon as individual subjects of representation. The late songs
depict the traditional rural or urban spaces from a new perspective, as
well as expressing new and relevant political, social and moral issues.
All these songs considerably differ from the old Lithuanian folksongs
belonging to the "golden reserve" in terms of their textual poetics,
structure, strophic, vocabulary, imagery, the subjective attitude and
247
bearing, etc. therefore representing a new stage in the development of
folklore tradition.
The study of songs was essentially based on the Lithuanian Folksongs
Catalogue compiled at the Institute of Lithuanian Literature and
Folklore, on the manuscript collections of songs from the 19lh and
20*
centuries, preserved at the Lithuanian Folklore Archives, as well as on
the published materials. The printed songbooks from the 19th century,
periodicals, and collections of poems were also used. Special attention
was paid to the historical and ethnographical texts and studies from the
19th century revealing ways of life, mentality, tastes and values typical
to various social strata.
The most popular types of the didactical songs, comprising from
dozens to several hundreds of variants and therefore doubtlessly thriving
in the traditional culture are in the focus of analysis. As the didactical
Lithuanian songs present a vivid example of penetration of the literary
discourse into folklore, their investigation allows observing ways by
which manifestations of literary didacticism were adopted from fiction
and became entrenched in folksongs; besides, this material is handy for
estimation of the openness of the folkloric tradition in the 19th -beginning
of the 20th century towards external influences, the level of its stability
and change. The processes taking place in folklore are appreciated from
the cultural, social and poetical rhetorical points of view.
The monograph also aims at demonstrating the meaning attributed
to writing and individual creativity by the scarcely literate country
people. Therefore a dive into the bulk of folklore is undertaken, in order
to determine the field of associations, images, ideas, stereotypes and
symbols that a new and original thought happened to land in. Indeed,
the oral folklore can be regarded among the most informative
reflections of folk mentality and worldviews. Its study ensures:
1)
marking more distinctive boundaries between social and cultural
roles played by the folkloric and literary traditions in the increasingly
modernized Lithuanian culture,
2)
defining circulation of values,
meanings and ideas between different verbal traditions representing
differing cultural backgrounds. Besides, the subject matter of the
monograph allows appreciating the dialogue between enlightened part
248
and the shaping majority of the Lithuanian society from the
perspective of the country culture and folkloric tradition; which is very
advisable considering the actual political and social shifts having taken
place in the
19Љ
century, including emerging of the Lithuanian national
self-conscience and generally intensive cultural development. Indeed,
the writing in Lithuanian language of the time provided shelter for
germinating historical, literary, folkloristic, civil and social thought,
increasingly addressed towards unsophisticated lower social strata.
Understanding the extent of struggle and intentions undertaken by
the educators, scientists and artists of that period is hardly possible
without adequate comprehension of thinking, worldviews, and needs
of the addressee.
The didactical songs aiming at education and both moral and public
fostering of the emerging national Lithuanian society are exclusively
normative. The author of this study maintains that normative character
(whether pronounced or not) is among the essential qualities inherent
in the traditional cultural text, transfusing most of the folklore genres
and strongly shaping the songs' poetic expression. Besides, the intensity
and nature of normativeness indicates social and cultural value of a
given genre or textual group, while changes in the normative rhetoric
are regarded as manifestations of shifting traditional cultural worldview
or
socio-cultural
status of text. The appearance of didacticism in songs
is considered among the radical cases of change in the normative
character. The ideological engagement of traditional folklore is viewed
in a new light as well. The study demonstrates the strong influence of
ideological discourses experienced by the 19th century Lithuanian
folklore, which tended partly to take over their roles.
The study aims at:
1)
describing the didactical Lithuanian songs,
which became popular in the traditional Lithuanian culture of the 19th
century,
2)
revealing the sources and development of the didactical songs,
3)
naming the social and cultural factors determining the spread and
relevance of these songs in the village communities,
4)
establishing the
place of the didactical songs in the traditional repertoire of the village
communities,
5)
pointing out the aspects of the written culture most
significantly influencing the emerging didacticism in folklore,
249
6)
comparing the old and the late folksongs in terms of their outlook,
ethical attitudes and differences of the normative expression,
7)
finding
out whether the didactical songs of literary origin, asserting the new
outlook, social ethics and characterized by the literary forms of
normative expression, have become an organic part of the folklore
tradition.
In the introduction, the thematic variety and genre specifics of the
didactical songs are discussed. Earlier investigations into the late
folksongs are surveyed and the relevance of the present study in the
context of contemporary folklore research is pointed out. In the chapter
"Didacticism in Literature and Folklore", features typical to the popular
Lithuanian literature of the 19th century are introduced, paying special
attention to the dogmatic character of the religious writings, the secular
poetry and the didactical educative prose, which used to be best known
to a vast majority of readers. The possibility of features of literary
didactics appearing in folklore is discussed, as well
ás
estimating the
varying degree of normativeness, syncretism and rhetorics inherent in
folklore and literature.
Sources of the didactical songs are investigated in detail (chapter
"Sources of the Didactical Songs"). Roots of the tradition of Lithuanian
didactical songs are discovered in the civic poetry and theatre, as well
as in the sub-culture of Polish nobility. The manuscript collections of
songs preserved at the archives of the Institute of Lithuanian Literature
and Folklore are described as authentic reflections of the popular
repertoire of the 19th century. The printed songbooks are analysed, as
having accumulated a large part of the old traditional songs. The popular
periodicals, considerably contributing to the popularisation,
dissemination and
actualisation
of the didactical songs are discussed as
well.
The didactical songs mostly reflect peculiarities of the religious
discourse. Because of its influence, the didacticism and moralization
used to be regarded as poetical norm of a literary text, including late
folksongs too. Straightforward exhortation or assertion of definite views
was the kind of literary rhetoric most easily perceived by unsophisticated
readers of the didactical literature, therefore didacticism became the best
250
rhetoric for expressing and conveying the new truths. According to the
author, although these sources comprise a considerable portion of
didactical texts, they alone cannot be accounted for such immense
popularity of the didactical songs during the period in question.
Further examination of the social and cultural factors influencing
the spread of the didactical songs is undertaken in the chapter "Didactical
Songs in the 19th Century Countryside". Such processes as the growing
proximity of different social strata taking place in the 19th century, the
increasing
démocratisation
and educational activities of the Church, the
spread of literacy and the increasing number of publications in the
Lithuanian language are taken into account. Along with these
prerequisites of folklore modernization, the impact of the Tsarist
oppression and the banning of press in Latin alphabet on the rising status
of Lithuanian folklore are discussed. The author speculates upon the
possible influence of the shifting structural patterns of power and its
activities on the popularity of didactical texts.
The attitude of representatives of traditional culture towards writing,
the significance and function attributed to books, literacy, and text is
given special consideration. The didacticism is seen among the most
inherent, necessary and easily recognizable literary aspects of the
traditional culture. Composers and performances of didactical songs
are discussed as well. The ways by which songs characterized by
different style and problematic became established in folklore tradition,
found their place in the village repertoire and started to be performed
at family festivals are revealed. Besides, these songs used to fulfil special
functions: they were meant for public performances on official occasions,
at meetings of various societies and during all kinds of civic actions.
Concrete illustrations are given to prove the shifting meaning of these
songs in the process of their adaptation in the traditional culture and
their becoming multifunctional.
The literary songs adapted by the folklore tradition integrated poetic
features of the literary and the
f
olkloric tradition, their respective outlook,
normativeness and rhetoric. In the chapter "Changes in Folksong
Worldview" the author demonstrates the extent in which the didactical
songs widened the geographical and historical horizons of folklore, as
251
well as establishing reflection of hitherto irrelevant social themes and
problems and argumentation of social norms. The historical discourse
and hierarchic notion of the world's structure that they conveyed, as
well as the mode of depiction itself made it possible for didacticism to
penetrate into the poetical folksong text and to become actualised.
Further, the shifting ethics of folksongs is scrutinized. The author
highlights the peculiar way by which the religious dogma and
educational purposes become entwined in the popular didactical
folksongs: i.e. the truth of God and the rationality of enlightenment stand
side by side here, supporting each other, yet the songs do not particularly
boast neither in individual introspection, brought about by Christianity
and aiming at cultivation of spirit and getting ready for the eternity, nor
in the main educational efforts, including promotion of civic activity,
consciousness, and social self-sufficiency. As the most popular topics of
the didactical songs, criticism of the excessive drinking and adoration
of virginity could be named. Another distinctive trait of these songs not
only includes a more active reflection of values, but also a new kind of
social bearing. Along with the forms of benevolent expression typical
for the old songs, instances of authoritative and heroic bearing can be
pointed out here.
The normative rhetoric of the songs experienced rather intensive
changes in the course of the IS"1 century. Numerous features of literary
style and speech can be pointed out in the didactical songs, following,
as a rule, the typical structure of the literary genres. Moreover, the
contents and expression of the social ethics and bearing are decisively
influenced by the already existing canon of the traditional folklore and
the stereotypes inherited from earlier times.
The didactics typical to the late folksongs of the 19th century and
recognized in the straightforward statements, outspoken norms,
instructions and appeals, testifies to the interaction between two
worldviews, two normative systems of values, i.e. the traditional folklore
and the popular literature of the time. These two folksong traditions
merge together in the end of the 19th century, producing a layer of folk
literary songs characterized by the folklorically adapted literary
didacticism.
252
Didactical songs are characterized by the following literary features
of normative expression:
1)
emphasis on authority and the distance
between the addresser and the addressee,
2)
moralization and
straightforward emphatic statements of value,
3)
epic nature, when norm
is asserted through the story,
4)
descriptive character, when description
is combined with evaluation according to certain normative criteria, and
5)
new structural patterns of the poetical text, e.g.: a) anecdotic story,
b) framing of text with generalization, c)
contrastive
description, when
positive and negative examples are compared, and d) parody, when
effect of normative reflection is achieved by using structure, images and
style of literary genres, but along with preservation of the main features
of the literary composition, the subject of description is changed.
Especially obvious influence of the folklore tradition can be felt in
those popular didactical songs, which have undergone considerable
folkloric adaptation. The popular didactical types have numerous
features typical to the old folksongs. They are related to the old folksongs
by:
1)
popular themes and motives (primarily those regarding
drunkenness and virginity),
2)
use of traditional symbols (the rue crown,
the rue garden),
3)
the
stereotypie
appreciation and presentation of
individuals,
4)
the folk style comics, characterized by traditional
humiliation poetic and rhetoric,
5)
certain structural patterns of the texts,
especially the normative argumentation with an anticipation motive
included, and the replacing of the literary textual structure with the
folkloric one,
6)
appellative nature, so typical for the old folksongs,
7)
function, purpose and performance intention.
This allows drawing a conclusion, that folkloric tradition of the
19*
century functioned as a normative mechanism: only texts of special
thematic and problematic were selected and adapted, acquiring in the
course of adaptation features and functions typical for the traditional
songs. Such tendency prompts an idea, that even during the dynamic
periods of change in the traditional culture, norms of textual content
and expression were not so much dictated by the culture or cultural
norm, but rather by the community's consciousness and normative
images along with verbal formulations inherent to it. Thus, every case
of the song perf ormance contains an expression of relationship not only
253
to the norm of traditional culture, but also to that of folklore tradition.
Folklore tradition as a certain canon of description, thinking and
expression becomes important whenever a new statement, attitude or
approach is asserted, denied or ignored.
Besides, these features also indicate that the late songs of the 19th
century functioned against the background of traditional culture as
ideological rather than entertaining texts, and therefore they should not
be considered mere manifestations of popular culture. Contents,
performance and function of these didactical and other late folksongs
clearly indicate the mass culture still having existed in close proximity
with the traditional rituals, both folk and church ones. However, in the
context of Lithuanian culture, these didactical songs in spite of their
considerable conservatism meant a huge push forward both in poetic
tradition and in social consciousness, as every performer of a new song
received a possibility of civic voice and chance of breaking free from the
grip of folklore tradition, thus expressing new values, new forms of
consciousness and bearing.
The examined materials allow maintaining that:
1.
The didacticism embodies the most vivid representation of the
literary discourse in the Lithuanian folksongs of the second half of the
19th
-
the beginning of the 20th century,
2.
The multitude of didactical literary features in the songs is partly
determined by the specifics of the popular literature of the 19th century,
and partly, by the needs of the traditional culture itself and the
peculiarities of the development of folklore tradition.
3.
The decisive influence on the entrenchment of didacticism in the
songs resulted from the principles of artistic expression of the didactical
literature being
easñy
comprehensible and clear for the scarcely literate
public, and from the established pattern of the didactical literature being
capable of conveying new and relevant ideas.
4.
The regular patterns of selection,
actualisation
and adaptation of
features from the literary didactical texts allow defining the mechanism
by which the folklore tradition keeps functioning. Its basic principles
include:
1)
while adapting the texts, folklore tradition affects their form,
meaning and application,
2)
variation in the late texts is determined by
254
the performers' memory and the possibilities of textual application,
3)
selection of the new texts is determined by the existence of analogical
themes, motives and means of expression in the folklore tradition,
4)
actualisation
of the new themes is shaped by the stereotypes of
thinking, description and evaluation, as well as by the audience's
expectations in regard to the individual text, and the logic and structure
according to which the thought in the ancient texts habitually unfolds.
5.
The specific of didacticism in the popular didactical songs indicates
the organic inclusion of the didactical songs of the literary origin into
the folklore tradition.
6.
The didacticism of texts attests to the openness to innovations of
the folklore tradition of the period in question, to its capacity of
conveying relevant issues and introducing different styles, genres and
new rhetoric.
7.
The didacticism in the folksongs indicates the strengthened
normative function of songs and the rise of their
socio-cultural
status
during the period in question.
Bayerische
Staatsbibliothek
München
255 |
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| id | DE-604.BV023389735 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T21:19:21Z |
| indexdate | 2024-07-09T21:17:30Z |
| institution | BVB |
| isbn | 9789955698227 |
| language | Lithuanian |
| lccn | 2008376192 |
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| physical | 255 S. |
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| publisher | Lietuvių Literatūros ir Tautosakos Inst. |
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| spelling | Sadauskienė, Jurga Verfasser aut Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje Jurga Sadauskienė Vilnius Lietuvių Literatūros ir Tautosakos Inst. 2006 255 S. txt rdacontent n rdamedia nc rdacarrier Engl. Zsfassung u.d.T.: Lithuanian didactical songs: interaction of the poetic traditions in the 19th and beginning of the 20th century Geschichte 1800-1918 gnd rswk-swf Folk songs, Lithuanian History and criticism Litauisch (DE-588)4133373-1 gnd rswk-swf Volkslied (DE-588)4063852-2 gnd rswk-swf Erziehung (DE-588)4015482-8 gnd rswk-swf Litauisch (DE-588)4133373-1 s Volkslied (DE-588)4063852-2 s Erziehung (DE-588)4015482-8 s Geschichte 1800-1918 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016572692&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016572692&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Sadauskienė, Jurga Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje Folk songs, Lithuanian History and criticism Litauisch (DE-588)4133373-1 gnd Volkslied (DE-588)4063852-2 gnd Erziehung (DE-588)4015482-8 gnd |
| subject_GND | (DE-588)4133373-1 (DE-588)4063852-2 (DE-588)4015482-8 |
| title | Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje |
| title_auth | Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje |
| title_exact_search | Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje |
| title_exact_search_txtP | Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje |
| title_full | Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje Jurga Sadauskienė |
| title_fullStr | Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje Jurga Sadauskienė |
| title_full_unstemmed | Didaktinės lietuvių dainos poetinių tradicijų sandūra XIX - XX a. pradžioje Jurga Sadauskienė |
| title_short | Didaktinės lietuvių dainos |
| title_sort | didaktines lietuviu dainos poetiniu tradiciju sandura xix xx a pradzioje |
| title_sub | poetinių tradicijų sandūra XIX - XX a. pradžioje |
| topic | Folk songs, Lithuanian History and criticism Litauisch (DE-588)4133373-1 gnd Volkslied (DE-588)4063852-2 gnd Erziehung (DE-588)4015482-8 gnd |
| topic_facet | Folk songs, Lithuanian History and criticism Litauisch Volkslied Erziehung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016572692&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016572692&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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