Res Humanitariae

This article examines the impact of the historiographical work of Simonas Daukantas (1793–1864) on the dramas by Vydūnas (real name Vilhelmas Storostas, 1868–1953). From 1900 onwards, Vydūnas’ published works increasingly featured mentions of Daukantas and excerpts from the historian’s writings. A number of Daukantas’ intertexts are found in the drama Probočių šešėliai (Shadows of the Ancestors), written in 1900. This article, based on a comparative analysis of the writings by Daukantas and Vydūnas, raises the hypothesis that the author of the dramas was the ideal reader of the historian’s writings, and took various concepts, motifs and images from them. Vydūnas was inspired by Daukantas, and used the historian’s phrase ‘bočių probočių’ (ancestors of ancestors) and the concept of ‘tautos būdas’ (national identity) as a description of the essence of the nation, which is prevalent in his work published in 1845, and other concepts. He was the first to objectify the world created by Daukantas, and allowed Lithuanians to play the role of the ancient Lithuanian on the stage, and choose what was relevant in establishing modern Lithuanian society. The analysis reveals that Vydūnas saw the ancient Lithuanian world created by the historical writings by Daukantas as an archetype, and transposed it to a philosophical level. He also created a universal model for the link between the individual and the homeland; and in dramas, he presented simulation models for testing the proposed axiology.

Acting is inseparable from the art of improvisation; it is an all-encompassing and holistic context that requires not only acting skills, but also relevant personality traits, a virtuoso mastery of techniques of expression, psychosocial resilience, and most importantly, unique and authentic expression. It is useful for an actor to be able to choose the necessary vocal techniques and apply them in performances of various kinds, to various roles, including musical roles and improvisation. It is important to be able to integrate the most progressive vocal techniques in the work, and to understand the perspective of using methods and experimenting without losing one’s individuality, which includes all styles. The article presents the Complete Vocal Technique (CVT), which covers all styles from Classical singing to hard rock, provides the opportunity to experiment with timbres and vocal effects, and allows for the application of voice techniques in speech, based on physiology and anatomy. The study and its results are presented in order to integrate this method into theatrical activities.

A settlement was established by English merchants in Šventoji in the second half of the 17th century. The rich collection of artefacts and historic documents distinctly suggests the daily life of merchants. In this paper, the artefacts are assessed as indicators of the cultural and personal identity. Most of the finds were imported, and not locally produced. Their provenance, if possible, was identified and associated with manufacturing centres by using a comparative method. Ceramic dishes, glass vessels and cutlery represent merchants’ dining traditions and habits, while personal belongings can be associated with the presentation of social status or individual expression.

The article explores the musical culture of East Prussia of the 18th c. in different forms of its expression. The epoch of Enlightenment provided a new impetus for the development of the culture in the region. The Protestant Lutheran hymnody was developing, and the tradition of Evangelical surinkimai (prayer hours held in private homes by lay preachers (German: Stundenhalters)) was progressing. Königsberg University was of great significance for the promotion of the regional culture. In the 18th c., the East Prussian school of composition was born, different techniques of instrumental ensemble and solo music making started developing, the house music making traditions were gaining popularity, and big cities had the first musical theatres. It was in that context that the personality of Donelaitis and the character of his cultural activity was maturing and developing.

Since its origins, archaeoastronomy has been influenced by nationalist traditions in archaeology. This paper addresses the consequences of these political influences, considering several important questions: To what extent is this quest for past astronomies influenced by nationalist political agendas? How should those of us studying past astronomies respond to these external pressures? To what extent is comparatively recent ethnographic and folkloric evidence suitable for the recovery of past astronomies? The author considers that awareness of these influences and limitations is essential for any scholarly attempt to recover past astronomies.