Įsiklausymai

LTĮ literatūros kritiką atėjau norėdamas suprasti, ką sako skaitomi tekstai. Rašiau jų parafrazes, bandydamas išversti poetinį kalbėjimą į sąvokinę kalbą. Susipažinęs su Lotmano, o vėliau Greimo semiotika, supratau, kad tai nėra patikimiausias būdas suvokti teksto prasmę. Perfrazuojant Ericą Landowskį, skaitantis subjektas išsipildo tik per skaitomo teksto išsipildymą. Šitaip suvokiamas prasmės konstravimas yra nesibaigiantis procesas. Kai kuriuose straipsniuose, įtrauktuose į šią knygą, pakartojau ankstesnius savo pastebėjimus, kurie man tebeatrodo patikimi. Jie koreguojami ir papildomi atsižvelgiant į pasikeitusį ideologinį kontekstą. „Triskart tai pasakyt turi" - mokė Mefistofelis Faustą. Dalis šios knygos pašnekovų (Marcelijus Martinaitis, Juozas Aputis, Judita Vaičiūnaitė, Jonas Juškaitis, Albinas Žukauskas) buvo bendrų literatūrinių žygių dalyviai. O Alfonsas Andriuškevičius mūsų poetinę bičiulystę patvirtino poetiška dedikacija. Prie pašnekovų atrankos prisidėjo Biržų krašto kontūrai. („Esu biržėnas", - buvau kažkada pareiškęs.) Šio krašto realijos ir ritualai paliko pėdsaką rašiniuose apie Kostą Snarskį, Vaidotą Spudą, Eugenijų Matuzevičių, Henriką Čigriejų, Vladą Braziūną. Išleidęs savo „Literatūrinę semiotiką“, maniau, kad tai bus mano gulbės giesmė. Bet po jos ir prieš ją įvairiuose leidiniuose išspausdinau pluoštą semiotinių straipsnių ir literatūrinės eseistikos. Kad šie rašiniai neužsimestų, šiek tiek paredagavęs, sudėjau juos į šią knygą. [Iš Pratarmės]Reikšminiai žodžiai: Semiotika; Literatūra; Prancūzijos lietuviai; Kalbininkai; Semiotics; Literature; Lithuanians in France; Linguists.

ENThis book is a collection of articles that appeared in various publications, but which, however, were not reprinted in my earlier books. The oldest of these articles, an afterword to Uldis Bėrzinš's poetry collection, appeared in 1997, and the latest, a semiotic analysis of the first part of Donelaitis' narrative poem Merai (The Seasons) co-authored with Heidi Toelle, was published in 2020. The book consists of three parts. The first part (Literary Horizons) presents authors who were my companions in the march of the renewal of literature: Marcelijus Martinaitis, Juozas Aputis, Judita Vaičiūnaitė, Jonas Juškaitis, Alfonsas Andriuškevičius, and Albinas Žukauskas. While writing about these authors, 1 have tried to listen to what their texts are saying. 1 adhered to the semi-otic viewpoint that the analysis of a text is at the same time a construction of its meaning. According to the French semiotician Eric Landowski, A reading subject becomes fulfilled only through the fulfilment of the text being read.' Construction of meaning thus perceived is a never-ending process. This part of the book opens with a semiotic analysis of Albinas Žukauskas' poem 'Padravos totoriukė' (A Young Tatar Girl from the Banks of the Drava). The first part of the poem recounts a story of erotic seduction. The speaker is an ageing dzūkas, a resident of the southeast ethnographic region of Lithuania. He aims to entrap a slender Tatar girl. The ternary isotopy of /drink/ - /fire/ - /sweetness/ prevails. In the second part, /sacrality/ obscures the fiery drink. Two kinds of values clash here: thymic, which are directly related to the perception of one's own body, and cultic, or duliques. In theology, this term defines the worship of angels and saints. Thymic values can be related to the natural needs of living creatures, and cultic values are linked to culture.Thymic values are exhausted and depleted, cultic values are fetishised. Two narrative programmes are developed on the dzūkas' figurative path. One of them has spring intoxication as a value object, while the lives of the saints are the value of the other programme. The young Tatar girl is the object that the dzūkas seeks, and attains, at least in his imagination. At the same time, she is an independent narrative subject. The dzūkas tempts the young girl to abandon a practical activity and find bliss in thymic values perceived through touch and smell. In the closing sestet, the lies of the actor dzūkas are judged by the speaker as an addresser-adjudicator. The double status of T makes the value of telling the truth relative. What the ageing dzūkas has presented as genuine is assessed as undisguised lies. Thus, the speaker's final stance is a lie, which transforms into the truth. This can be seen as the realisation of sacred writing, which was interrupted by spring intoxication. However, now it is the young Tatar girl from the banks of the Drava, and not sacred animals, that is the object of worship. Tomas Venclovas poetry is discussed from an intertextual point of view. I review Venclovas relationship with the poetry of Boris Pasternak and Osip Mandelstam, describe his poetic dialogue with Joseph Brodsky, and point to traces of European poetry (Antiquity, Dante, Baroque and nineteenth-twentieth-century poetry, and the Bible). As for the Lithuanian authors, connections with the poetry of Maironis, Henrikas Radauskas, and Bernardas Brazdžionis are discussed. The Estonian writer and philosopher Rein Raud called Venclova a Russian poet writing in Lithuanian. I refute this thesis and arrive at the conclusion that Tomas Venclova is a European poet writing in Lithuanian. [...]. [From the publication]