Eduardo Mieželaičio kūrybos lūžiai, arba kaip kontekstas sovietmečiu naikino ir kūrė tekstą

Mokslo publikacijos / Scientific publications
Document Type:
Knygos dalis / Part of the book
Lietuvių kalba / Lithuanian
Eduardo Mieželaičio kūrybos lūžiai, arba kaip kontekstas sovietmečiu naikino ir kūrė tekstą
Alternative Title:
Breaks in Eduardas Mieželaitis’s creative work, or how context destroyed and created text during the Soviet period
Tarp estetikos ir politikos: lietuvių literatūra sovietmečiu / sudarytoja ir mokslinė redaktorė Dalia Satkauskytė Vilnius: Lietuvių literatūros ir tautosakos institutas, 2015. P. 259-286, 498-499.
Poezija; Poetai; Sovietmetis; Kūryba; Literatūrinės premijos
Summary / Abstract:

ENThe author of this chapter analyses the work of Soviet-era writer Eduardas Mieželaitis (1919-1997), focusing in particular on how his poetry evolved as a result of social and political circumstances. Baltutytė explores how socio-cultural context destroyed and created text and how the poet felt within this “creative” process, and the repercussions this had on Lithuanian poetry. The main objects of Baliutytė’s attention are two distinct breaks in the writer’s poetics and how these were determined by ideological factors. The first resulted from a forced post-war reorientation from song-like lyricism (the books of poetry Lyrika/Lyrics, 1943, and Tėviškės vėjas/Fatherly Wind, 1946) to Stalinist “classicism” (Pakilusi žemė/The Risen Land, 1951; Dainų išausiu margą raštą/1 Will Weave a Colorful Pattern from Song, 1952; Broliška poema/ Brotherly Poem, 1954). The second break, related to the emergence of Socialist Realist Modernism in the Soviet Union at the beginning of the Khrushchev Thaw (the poetry collection Žmogus/Man, published in Russian in 1961 and Lithuanian in 1962; Autoportretas. Aziaeskizai/Self-Portrait. Aerial Sketches, 1962; Atogrąžos panorama/Tropical panorama, 1963).Drawing on archival documents and literary criticism as well as other public forms of the era, the author demonstrates how, in the case of the first break, ideological coercion destroyed the neoromantic, lyrical poetic tradition, while in the second case the Soviet Union’s system of ideological support contributed to the canonization of Mieželaitis’s book of Modernist poetry Žmogus, which was awarded the Lenin Prize in 1962, In this study the author also notes key points related to Mieželaitis’s further creative development, in particular his essay-writing decade (six books published 1964-1973) and his period of classic meditative lyricism (the books Postskriptumai/Postscripts, 1986; Gnomos, 1987; Laidai/Conductors, 1992; Consonetai Helenai/ Consonnets for Helena, 1994; and Saulės vėjas/The Sun’s Wind, 1995). [From the publication]

2020-06-02 17:12:50
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