The next constellation to be dealt with encompasses those Cavalier poets that wrote brief and "neat" poems that deliberately eschew intellectualism or semantic obscurity. This will lead to an indispensable consideration of religious poetry, a variety that also merits close reading, as there is a significant array of writers who devoted their efforts to devotional introspection, sincere confessionalism and the dissemination of the Christian faith. For the sake of the contrast, we also examine libertine poetry, well surpassing the Cavalier "carpe diem" theme in order to embrace an often cruder morality. Finally, we intend to illustrate the achievement and social triumph, of a sort, of several women writers, to the effect of ending our tour with the poetry that more effectively blends landscape with politics and society ("country-house poems").
The next constellation to be dealt with encompasses those Cavalier poets that wrote brief and "neat" poems that deliberately eschew intellectualism or semantic obscurity. This will lead to an indispensable consideration of religious poetry, a variety that also merits close reading, as there is a significant array of writers who devoted their efforts to devotional introspection, sincere confessionalism and the dissemination of the Christian faith. For the sake of the contrast, we also examine libertine poetry, well surpassing the Cavalier "carpe diem" theme in order to embrace an often cruder morality. Finally, we intend to illustrate the achievement and social triumph, of a sort, of several women writers, to the effect of ending our tour with the poetry that more effectively blends landscape with politics and society ("country-house poems").
Thesis Poetry of Teodoras Bujnickis contains four parts: 1. Biography of Teodoras Bujnickis. 2. Regional motives in Teodoras Bujnickis's poetry. 3. Catastrophic motives in Teodoras Bujnickis's poetry. 4. Other important motives in Teodoras Bujnickis's poetry. Main objective of the thesis is get to know Teodoras Bujnickis's life and his works. Main tasks of the work: • To find as more as possible information about Teodoras Bujnickis's life and his works. • To determinate essential characteristics of his poetics. The work contains of Teodoras Bujnickis's life description and analysis and analysis and interpretation of his selected works. Two methods are used in this work: description and interpretation. The analysis of T. Bujnickis's works has confirmed that not only catastrophic motives, strongly empathized in critics up till now, take important place in his poetry, regional motives also do. The authotematic stream was intimate to the poet; he discussed the subjects of love, joy and the purpose of life. He did not forsake describing political and social problems. Bujnickis's poetics reaches from traditional and vanguard treasures. Romantic stream in his literature fascinates the most. In lyrics of the poet, there is longing, subtlety and ecstasy. Bujnickis's poetry sometimes reaches from the tradition of Adomas Mickevičius works. The conclusion can be made that Teodoras Bujnickis is worth our attention and his works may also inspire new generations of poets.
Thesis Poetry of Teodoras Bujnickis contains four parts: 1. Biography of Teodoras Bujnickis. 2. Regional motives in Teodoras Bujnickis's poetry. 3. Catastrophic motives in Teodoras Bujnickis's poetry. 4. Other important motives in Teodoras Bujnickis's poetry. Main objective of the thesis is get to know Teodoras Bujnickis's life and his works. Main tasks of the work: • To find as more as possible information about Teodoras Bujnickis's life and his works. • To determinate essential characteristics of his poetics. The work contains of Teodoras Bujnickis's life description and analysis and analysis and interpretation of his selected works. Two methods are used in this work: description and interpretation. The analysis of T. Bujnickis's works has confirmed that not only catastrophic motives, strongly empathized in critics up till now, take important place in his poetry, regional motives also do. The authotematic stream was intimate to the poet; he discussed the subjects of love, joy and the purpose of life. He did not forsake describing political and social problems. Bujnickis's poetics reaches from traditional and vanguard treasures. Romantic stream in his literature fascinates the most. In lyrics of the poet, there is longing, subtlety and ecstasy. Bujnickis's poetry sometimes reaches from the tradition of Adomas Mickevičius works. The conclusion can be made that Teodoras Bujnickis is worth our attention and his works may also inspire new generations of poets.
The article focuses on the beginning of the Singing Revolution in Lithuanian culture and tries to identify the most significant dominant features in order to understand the entirety of the new changes in literature. In the face of political upheaval, such a dominant feature was the question of truth; however, the well-established poetry tradition – romantic, neo-romantic, modern neo-romantic, which coexisted with social realism in Soviet times, and experimental – did not raise such questions of truth but only reflected the nation's collective expectations. The evolution of Lithuanian literature, which was highly fragmented during all the decades of the Soviet occupation, united the country through the expatriate poet Bernardas Brazdžionis while he was visiting Lithuania in the summer of 1989. Poetic texts predominated during the first demonstrations of Sąjūdis (the Reform Movement), but while trying to understand their position in the general Lithuanian culture and literature discourse, one needs to acknowledge the leading nature of poetry throughout the Soviet times: having its niche in the cultural system, poetry posed a large number of vexed questions, sought philosophical profundity, and was able to constantly address the deepest metaphysical questions even in strict censorship conditions. Lithuanian prose, which evaded the requirement by the doctrine of social realism to portray the world and characters engaged in class struggles, also found support in the poetry system and created a non-linear but coherent narrative where metaphors prevail. Lithuanian prose poetry became a sign of esthetic quality in independent Lithuania too, where the question of truth, which was important for achieving independence, found a way similar to that of poetry – through memoirs and essays to esthetics and little prose. At the beginning of independence, poetry, which had fed Lithuanian prose with its ideas, themes, conception of the world and esthetic solutions, also merged with memoirs and essays, thus being part of the discourse of telling the truth.
The article focuses on the beginning of the Singing Revolution in Lithuanian culture and tries to identify the most significant dominant features in order to understand the entirety of the new changes in literature. In the face of political upheaval, such a dominant feature was the question of truth; however, the well-established poetry tradition – romantic, neo-romantic, modern neo-romantic, which coexisted with social realism in Soviet times, and experimental – did not raise such questions of truth but only reflected the nation's collective expectations. The evolution of Lithuanian literature, which was highly fragmented during all the decades of the Soviet occupation, united the country through the expatriate poet Bernardas Brazdžionis while he was visiting Lithuania in the summer of 1989. Poetic texts predominated during the first demonstrations of Sąjūdis (the Reform Movement), but while trying to understand their position in the general Lithuanian culture and literature discourse, one needs to acknowledge the leading nature of poetry throughout the Soviet times: having its niche in the cultural system, poetry posed a large number of vexed questions, sought philosophical profundity, and was able to constantly address the deepest metaphysical questions even in strict censorship conditions. Lithuanian prose, which evaded the requirement by the doctrine of social realism to portray the world and characters engaged in class struggles, also found support in the poetry system and created a non-linear but coherent narrative where metaphors prevail. Lithuanian prose poetry became a sign of esthetic quality in independent Lithuania too, where the question of truth, which was important for achieving independence, found a way similar to that of poetry – through memoirs and essays to esthetics and little prose. At the beginning of independence, poetry, which had fed Lithuanian prose with its ideas, themes, conception of the world and esthetic solutions, also merged with memoirs and essays, thus being part of the discourse of telling the truth.
The war found J. Kekstas in Vilnius. In March 1940, the Soviet authorities arrested him and deported to hard labors in Kirov region. Having been released as a Polish citizen in a year and a half, J. Kekstas joined the army led by gen. V. Anders and moved to Persia. Subsequently he reached Iran, Iraq, Palestine, and Egypt, took part in the military campaigns and battles, and composed poems overflowing with nostalgia for his homeland. Having been injured, he was cured in South Italy. Afterwards he experienced hardships of emigration to Argentina. In 1957, the poet became seriously ill and was half-paralyzed. Thanks to the efforts of Polish writers, he moved to Poland in 1959. J. Kekstas died in April 16, 1981 and was buried in Warsaw.
The war found J. Kekstas in Vilnius. In March 1940, the Soviet authorities arrested him and deported to hard labors in Kirov region. Having been released as a Polish citizen in a year and a half, J. Kekstas joined the army led by gen. V. Anders and moved to Persia. Subsequently he reached Iran, Iraq, Palestine, and Egypt, took part in the military campaigns and battles, and composed poems overflowing with nostalgia for his homeland. Having been injured, he was cured in South Italy. Afterwards he experienced hardships of emigration to Argentina. In 1957, the poet became seriously ill and was half-paralyzed. Thanks to the efforts of Polish writers, he moved to Poland in 1959. J. Kekstas died in April 16, 1981 and was buried in Warsaw.
The war found J. Kekstas in Vilnius. In March 1940, the Soviet authorities arrested him and deported to hard labors in Kirov region. Having been released as a Polish citizen in a year and a half, J. Kekstas joined the army led by gen. V. Anders and moved to Persia. Subsequently he reached Iran, Iraq, Palestine, and Egypt, took part in the military campaigns and battles, and composed poems overflowing with nostalgia for his homeland. Having been injured, he was cured in South Italy. Afterwards he experienced hardships of emigration to Argentina. In 1957, the poet became seriously ill and was half-paralyzed. Thanks to the efforts of Polish writers, he moved to Poland in 1959. J. Kekstas died in April 16, 1981 and was buried in Warsaw.
The war found J. Kekstas in Vilnius. In March 1940, the Soviet authorities arrested him and deported to hard labors in Kirov region. Having been released as a Polish citizen in a year and a half, J. Kekstas joined the army led by gen. V. Anders and moved to Persia. Subsequently he reached Iran, Iraq, Palestine, and Egypt, took part in the military campaigns and battles, and composed poems overflowing with nostalgia for his homeland. Having been injured, he was cured in South Italy. Afterwards he experienced hardships of emigration to Argentina. In 1957, the poet became seriously ill and was half-paralyzed. Thanks to the efforts of Polish writers, he moved to Poland in 1959. J. Kekstas died in April 16, 1981 and was buried in Warsaw.
The Lithuanian poetry changes with the changing political, social and economical conditions. Especially the young generation of poets tries to speak in the new style, the new language. Quite often the young poet reaches for a fast effect, trying to get the attention, to shock, or only to scream: I am. A member of the young generation often tries to deny the traditions and stereotypes of the generation before him. The contemporary Lithuanian poetry of the young generation develops in various directions. Some young authors seeks for the new inserting in the text of a poem conversational style, writes about the daily living needs, uses even curse words. In the poems of the young Lithuanian poets it is impossible to find a fluent story. The poems are short fragmentary texts in the new virtual cyber space. Irony, sarcasm and eroticism are dominant in the poems of the young. The young Lithuanian poet most often uses not the lyrical, but the intellectual natural sources. While trying to renew, the author also tries to shock the system of the traditional values. Other young Lithuanian poets lean on the Lithuanian poetic tradition, reflecting contemporarily romantic ideas, using traditional rhyme. Both the efforts of the young poets' for a fast effect, and the modification of traditions are necessary, because it certifies the living stream of the Lithuanian poetry.
The Lithuanian poetry changes with the changing political, social and economical conditions. Especially the young generation of poets tries to speak in the new style, the new language. Quite often the young poet reaches for a fast effect, trying to get the attention, to shock, or only to scream: I am. A member of the young generation often tries to deny the traditions and stereotypes of the generation before him. The contemporary Lithuanian poetry of the young generation develops in various directions. Some young authors seeks for the new inserting in the text of a poem conversational style, writes about the daily living needs, uses even curse words. In the poems of the young Lithuanian poets it is impossible to find a fluent story. The poems are short fragmentary texts in the new virtual cyber space. Irony, sarcasm and eroticism are dominant in the poems of the young. The young Lithuanian poet most often uses not the lyrical, but the intellectual natural sources. While trying to renew, the author also tries to shock the system of the traditional values. Other young Lithuanian poets lean on the Lithuanian poetic tradition, reflecting contemporarily romantic ideas, using traditional rhyme. Both the efforts of the young poets' for a fast effect, and the modification of traditions are necessary, because it certifies the living stream of the Lithuanian poetry.
