Inga Vidugiryte | Vilnius University (original) (raw)

Book 1 by Inga Vidugiryte

This is a summary of the book published in Russian.

Articles by Inga Vidugiryte

PEIZAŽO KLOSTĖ: DĖL BAROKO NIKOLAJAUS GOGOLIO KŪRYBOJE Inga Vidugirytė S a n t r a u k a Tipol... more PEIZAŽO KLOSTĖ: DĖL BAROKO NIKOLAJAUS GOGOLIO KŪRYBOJE

Inga Vidugirytė

S a n t r a u k a

Tipologinis Nikolajaus Gogolio kūrybos bendrumas su baroko kultūros tekstais buvo nustatytas anksčiau, nei pradėti ukrainiečių baroko bei jo įtakos Gogoliui tyrinėjimai. Pastarieji atspindėjo baroko problematikos raidą per visą XX amžių. Michailo Jampolskio veikale Audėjas ir regėtojas: reprezentacijos istorijos apybraižos (2007) Gogolis pristatomas kaip klasikinės reprezentacijos kritikas baroko, kurio supratimas remiasi Michel Foucault, Gilles Deleuze ir kitų, dvasia.
Straipsnio tikslas – pademonstruoti Gogolio pasaulėžiūros ir vaizduotės artimumą Deleuze‘o atkurtam Leibnizo baroko pasauliui, remiantis stepės peizažo iš apysakos „Tarasas Bulba“ analize. Deleuze‘as yra pasiūlęs universalų baroko požymį, pagal kurį barokas gali būti atpažįstamas ir peržengiant istorines jo epochos ribas. Tai – klostės, kurias barokas suklosto ir sutvarko į du aukštus – materijos ir dvasios. Dviejų aukštų namas – tai barokinio pasaulio modelis, sujungiantis absoliučiai skirtingas esmes. Barokinės klostės nėra abstrakčios. Jas galima matyti barokinėje tapyboje, skulptūroje, architektūroje ir t.t. Svarbiausia, kad Deleuze‘as pademonstruoja, kaip artimai barokinio meno vaizdiniai yra susiję su Leibnizo pasaulio vaizdu, o interpretuodamas baroko kūrinius Leibnizo filosofijos kontekste, sukuria barokinės klostės metodologiją.
Anot Jurijaus Lotmano, peizažas, kurį matome pro langą, skiriasi nuo nutapyto ant drobės tuo, kad pirmasis suvokiamas kaip didesnės visumos dalis, o antrasis – kaip uždara struktūra, universalus objektas, pasaulio modelis. Dėl didelės vizualinių menų įtakos formuojantis Gogolio vaizduotei, bet kuris jo peizažas yra artimesnis tapybai, nei literatūrai būdingam psichologizuotam gamtos aprašymui. Todėl jo peizažai yra patogi priemonė išsiaiškinti meninio mąstymo ir vaizduotės ypatybes.
Aprašydamas stepę Gogolis nuolat kaitalioja rakursus, parodydamas ją tai iš aukštai ir iš tolo, tai priartėdamas prie mažiausių jos detalių (gėlių, vabzdžių). Stepės plotai vaizduojami nuosekliai naudojant visų gamtos gaivalų įvaizdžius, kurie metonimiškai ir metaforiškai persipina, kurdami bendrą milžiniškos judrios masės įspūdį. Nors kalbama apie sausumą, aprašyme dominuoja okeano/bangos izotopija, kurią galima aiškinti kaip barokinės klostės variaciją. Naktinės stepės reprezentacija apeliuoja regimuosius įspūdžius perpina su kitų juslių – klausos, lietimo, uoslės – informacija. Tokiu būdu artėjama prie sinestezijos, kuri buvo tiek baroko, tiek šiuolaikinių menų sintezės rezultatas. Aprašymo subjektas nėra lygus sau pačiam: viena vertus, jis – tas, kuris išgyvena gamtos harmoniją ir gieda ditirambus stepei, kita vertus, jis nepriklauso šiai harmonijai, stebi ją iš šalies ir savo susižavėjimą išreiškia, nusikeikdamas („velniai griebtų tave, stepe, kokia tu graži!“). Subjekto požiūrio sudvejinimas – pagrindinis aprašymo įvykis, perkeliantis dėmesį nuo objekto (stepės) prie ją aprašančio subjekto, t. y. požiūrio taško. Aprašymo siužetu galima laikyti požiūrio taškų kaitą, kuri išryškina subjekto virtualumą ir daugybės pasaulių viename galimybę. Tai barokinis Leibnizo pasaulis, kurio vieningumą užtikrina barokinė projekcija iš viršaus žemyn. Šios projekcijos dėka pasaulis įgyja formą ir kryptį, būdingus kūgiui, piramidei ar kupolui. Gogolio pasakojimas pasinaudoja perspektyva iš viršaus žemyn, kuri sukuria būtent tokios formos pasaulio vaizdą. Stepės peizaže panaudotų barokinių priemonių visuma paremia naujos harmonijos, paremtos kūno pojūčių harmonija, siekimą.

Reading as Controlling: Gogol as a Reader Summary Nikolai Gogol was a perfect reader of his work... more Reading as Controlling: Gogol as a Reader
Summary
Nikolai Gogol was a perfect reader of his works. Also, he was of opinion that the artistic reading is a way to make an audience to understand a reading work and his author. There is a lot of memoirists who remember Gogol as a reader, telling how he was doing this, what he was reading, how an audience was reacting to his reading and to his works in his vocal reproduction. The data on this subject could be divided into two groups. One of them shows Gogol as a reader of his comedies, another concerns readings of his epos Dead Souls.
Gogol was reading comedies to actors who had to perform a certain play. The writer wanted by this to give them an understanding of a play and its characters. At the same time, he was reading comedies to his friends and people of their surrounding. In this cases, memoirists remember a Homeric laughter of the public. It is obvious that Gogol was seeking for that reaction. On the other hand, friends of the writer speak about the deep dramatic misunderstanding of Gogol by the public: he was suffering from seeing a miserable being of a man he was depicted.
Telling about the reading of Dead Souls, memoirists speak about the ability of Gogol to convey by reading his ideas. Also, the memoirs on this subject render the reading which reveals the double – heroic and comic – nature of Gogol’s poem. Piotr Annenkov and Dmitrij Obolenskij mention a pathetic intonation and a harmony of the speech. However, these features of reading didn’t prevent Annenkov of laughter in certain comic fragments. Another peculiarity of Gogol’s work on the Dead Souls was the correcting of the text after listening to its reading by another person.
One can speak about two aspects of Gogol’s reading. One of them concerns the special recording of sounding in Gogol’s text. This question was explored by Boris Eichenbaum who was stating that Gogol’s skaz not only tells, not only speaks but reproduce by mimic and articulation the live speech. Obolenskij is telling that Gogol sometimes was speaking in a very unnatural way being alone in his room. He was how his written words were sounding. In the light of these facts, one can state that Gogol’s reading was a special way to return his texts to the situation of their beginning from the live speech which was reproduced by him in the process of the reading. It must be mentioned that elements of such performing of the work could be recognized not only in the dramatic works of Gogol but also in his stories and the poem Dead Souls. One can suppose, that accounting of cultural surrounding of the writer in his childhood and youth in Ukraine could help to explain why the element of performing was so useful to Gogol’s literary work.
Another aspect of Gogol’s reading is connected with its teleology. Donald Fanger and Vladislav Krivonos were exploring the question of Gogol’s relations with his reader which were founded on the misunderstanding of each other. That was the reason why Gogol was trying to explain to his reader the meaning and essence of his works. One can suppose that the reading, which was considered by the writer as a perfect canal of translating artistic information, was playing the same role. One can see an element of controlling in these Gogol’s attempts. He was controlling the reception of his works, later he was controlling the text of the second volume of Dead Souls. At last, he began to control his own inspiration. Thus controlling is one of the characteristic aspects of Gogol’s creative works which wasn’t understood by his contemporary reader.

The article deals with the allegorical meaning of "Taras Bulba" by Gogol. By multiplying the moti... more The article deals with the allegorical meaning of "Taras Bulba" by Gogol. By multiplying the motif of death Gogol creates an allegory of human life as twofold of death and love which leads to the mystery meaning of Creation as such.

Nikolai Gogol’ and Motiejus Valančius: the Baroque and comparative studies of Ukrainian and Lithu... more Nikolai Gogol’ and Motiejus Valančius: the Baroque and comparative studies of Ukrainian and Lithuanian culture
Annotation

Keywords: Nikolai Gogol’, Motiejus Valančius, Ukrainian Baroque, the Baroque in the Grand Duchy of Lithuania, Baroque after Baroque, theatricality, ritual.

The article seeks to argue that the Baroque epoch in Ukraine and in the Grand Duchy of Lithuania is one of the bases for the comparative studies of the Ukrainian and Lithuanian cultures. In 17-18th centuries, both cultures possessed a multicultural and multi-confessional character and were shaped on the border of the Orthodox and Catholic tradition. They were in the cultural periphery of the Polish culture which mediated the western influence. One of the ways to grasp common nature of the Ukrainian Baroque and the Baroque in the Grand Duchy of Lithuania is to trace further development of the Baroque after Baroque. The article analyses the Baroque features in two texts of the 19th century – Evenings on a Farm near Dikanka by Nikolai Gogol’ and Juzė from Palanga by Motiejus Valančius.
Motiejus Valančius (1801 – 1875) was a Catholic bishop, a historian, a collector of folklore, and at last – a hagiographic and a didactic writer. Gogol and Valančius were very different writers. Despite this, they possess similar poetics of the artistic space and similar strategy in their anthropography. Both authors tend to create their artistic world using the theatrical forms of expression. The space in their texts is shaped as a theatrical scene, and gestures of personages are extremely expressive and meaningful. This tendency in the work of Gogol has its roots in his great inclination to the Ukrainian low Baroque theatre (comedy and vertep). Due to the absence of folk theatre in Lithuanian culture, one can not speak of folk theatre influence in the case of Valančius. That is why we can state that the structure of space and characteristic body language of personages in texts of Valančius were under the influence of ritual forms of Lithuanian culture in the 19th century. These forms combined folk customs with the Catholic Church rite which penetrated all sides of life in Lithuania in the Baroque epoch.
Gogol discovered his closeness to the Catholic Baroque in Rome in 1838. During this period, he was open to the Western Christianity as well as to the Eastern Orthodox Church. That is why it is possible to notice the common nature of the Ukrainian culture which shaped Gogol and the Baroque culture of the Great Duchy of Lithuania that produced a phenomenon of Valančius.

The Poetic Function of the “Body Language” (The Case of Nikolai Gogol) According to Roman Jakobs... more The Poetic Function of the “Body Language”
(The Case of Nikolai Gogol)

According to Roman Jakobson, the set (Einstellung) toward the message as such, focus on the message for its own sake, is the poetic function of language. If “body language” is a language, it must possess the poetic function.
In a literary text, the “body language” is predetermined to the poetic function by artistic conventions. That is why the gesture of a literary character could be compared with a gesture in theatre or in dance. However, the intensity of the poetic function depends on the individual strategy of an author.
The article compares Gogol and Tolstoy in their using of the body language of characters. Excerpts from Dead Souls and War and Peace are related to the situation of a dancing party. Tolstoy describes his personages rather naturally, although, not all of them are natural themselves. The purpose of Tolstoy in using the body language is to reveal the personality of a character. That means that he stresses the referential function of the body language.
Gogol’s characters move their bodies and make gestures that do not illustrate or replace their speech. Their body language has its own original forms and unclear meanings. Besides this, their gestures are dramatic and expressive, although, they express only themselves. Using such characteristic body language for his characters, Gogol creates his specific artistic world that resembles the theatre, dance or painting.
That is why one can use one’s psychological experience reading Tolstoy, and the experience of a spectator of performance while reading Gogol.

Ukrainian Gogol The article is based on the idea of Edward Said on the representation of the geog... more Ukrainian Gogol
The article is based on the idea of Edward Said on the representation of the geographical other. In the memories about Gogol, authors speak about his Ukrainian origins and character as well as his Ukrainian humour. On the other hand, Gogol himself creates and supports stereotypes about specific Ukrainian other.

Tavern in the Grand Duchy of Lithuania Summary A tavern or a pub in the Grand Duchy of Lithuania... more Tavern in the Grand Duchy of Lithuania
Summary

A tavern or a pub in the Grand Duchy of Lithuania could be interpreted in two paradigms. One of them is based on the carnival culture theory of Michail Bachtin. In this case, a pub represents culture which is opposite to official culture of Church and State in the Middle Ages. Nevertheless, in West European town, a pub and a church stand on the same squire and are related by the Christian festivity. Another paradigm was formed in Ortodox culture. There, a tavern or a pub is associated with a sphere of devil and totally excluded from official culture of Church.
The article analyses representations of a tavern in texts of Polish, Lithuanian and Ukrainian authors of the 19th century – Adam Mickiewicz, Motiejus Valančius and Nikolai Gogol. All of them represent tavern and its keeper a Jew. The figure of Jew is a main common feature for that locus in the Grand Duchy of Lithuania. The only one Mickiewicz depicted in Pan Tadeusz architectural peculiarities of a tavern. The poet related them with the Jewish culture. Mickiewicz also can be distinguished for his sympathy for the keeper of the tavern.
Lithuanian writer Valančius was a Catholic bishop and treated a tavern from the moral point of view. In his opinion, a tavern is a bad place for socialization because people behave in an immoral way there. In his tale Juzė from Palanga, Valančius pointed out a confessional border between Jews and Catholics and said that if Jews don’t go to Catholics’ places to celebrate their weddings, so why Catholics should go to the place of Jews.
Gogol represents a tavern keeper as a Jew only in tales about Ukraine in the 17th century. A figure of a Jew in the same role was showed in Ukrainian vertep. In vertep, a Jew was portrayed as a comic personage and humiliated in spite of his suffering. Gogol borrowed from the vertep a comic representation of a Jew as well as his relation with a locus of a tavern. Jankel in “Taras Bulba” is the closest character to a Jew of the vertep.
The nationality of tavern keepers in Gogol’s “Ukrainian” tales on time later than 17th century is not mentioned. Nevertheless, a tavern in his texts does not lose its margin character and occurs as a border of real and fantastic spaces.
Every author represents a tavern as a place of transition. In Pan Tadeusz, it is a transition to another type of culture. In Juzė from Palanga, the locus of the tavern is represented as an opposition to Church, and as a place of transition to the amoral behaviour. In tales of Gogol, a pub is a place for the transition to the unreal fantastic world. It is interesting to note, that the attitude to the tavern of a Catholic bishop Valančius is the closest to the position of the Orthodox Church.

The Space of the Temple in Meditations on the Divine Liturgy by Nikolai Gogol The article analys... more The Space of the Temple in Meditations on the Divine Liturgy by Nikolai Gogol

The article analyses how Gogol recreates the temple space in his interpretation of the orthodox liturgy. It is quite problematic that objects and places of the temple space are referred to very briefly and have no epithets, e. g.: temple, sanctuary, icons, etc. However, Gogol finds a way to render the inner space of the temple by describing sensual impressions of participants of the liturgy. The article also shows how that primary experience makes people in the temple be here and now and go through the mystery of the Gospel at the same time.

Образ храма, его представление на основе эстетического и религиозного переживания, в творчестве Г... more Образ храма, его представление на основе эстетического и религиозного переживания, в творчестве Гоголя позволяет рассмотреть соотношение католической и православной традиций в их отношении к эстетическому опыту человека. В Вечерах на хуторе близ Диканьки и в Миргороде появляется образ православного храма, который или амбивалентен, или открыто враждебен в отношении человека, что соответствовало детским впечатлениям Гоголя от богослужения, высказанным в письме к матери. К этому времени относятся и статьи Гоголя об архитектуре (Арабески, 1835), работа над которыми подготовила непосредственное восприятие писателем архитектурного искусства Запада. Здесь интересно отметить несовпадение умозрительных заключений Гоголя о готических храмах с реальными впечатлениями от них, отразившихся в письмах к родным.
Другой период освоения храма Гоголем связан с его жизнью в Риме в 1837 — 1841 гг. Гоголевские впечатления от римских храмов двоякие: с одной стороны, он как мастер изучал эффекты художественных приемов, с другой, отдавался непосредственному переживанию религиозного искусства, выводившему его к молитвенному состоянию души. По мнению И. Сермана, контакт с католическими церквями Рима доказал Гоголю совместимость искусства и религии, и эта идея была положена писателем в основу его новой эстетики.
В период 1840-х годов в творчестве Гоголя появляются образы православных церквей, венчающих описания пейзажа (II том Мертвых душ), а с другой стороны, уникальное описание православного священнодействия в Размышлениях о Божественной Литургии, буквально пронизанное опытом переживания пространства храма в римский период жизни. Таким образом, Гоголь, задолго до сочинения о. П. Флоренского Литургия как синтез искусств, раскрывает эстетическое ядро православного богослужения.

Meditations on the Divine Liturgy: Boundaries of the Theatricality in the Creative Work of Nikol... more Meditations on the Divine Liturgy: Boundaries
of the Theatricality in the Creative Work of Nikolay Gogol

The purpose of the present article is to demonstrate the theatricality of Gogol’s Meditations on the Divine Liturgy. Theatricality is “the language of theatre as art”, as Jurij Lotman has stated. Phillis Hartnoll points out three aspects, viz. an actor, a dialogue, and a spectator, that separate theatre from its origins – the ritual. The birth of the spectator seems to Lotman and to Boris Uspenskij to be the decisive factor to establish a situation of the performance. The visuality of the performance is the main feature of theatre as an art.
There are three presumptions Gogol has about liturgy: (1) liturgy is a dramatic form of the evangelical plot, (2) the forms of worship in liturgy are so perfect that watching them is enough to understand the meaning of the ritual, (3) in liturgy, it is possible to achieve the unity of souls and feelings of all participants of the ritual.
Gogol presents liturgy as performance. The narrative is based on separate scenes with clearly marked beginnings and ends. Gogol even renders intonations of dialogues between a priest and a deacon. The motif of performing distinguishes Gogol’s work from his predecessors.
The only point of view in the text is from the outside. The narrator is one of the spectators of liturgical performance. On the other hand, the narrator is also a participator of the worship. Gogol shows the effect the performance makes on people and also renders their praying. Taking the sacrament is described as catharsis and in the same terms as Aristotle has done, viz. the horror and the purging. So even at this moment, the theatrical nature of liturgy is retained.
In the context of the Gogol’s discourse of theatre, liturgy seems to be the ideal performance. One can presuppose that the writer’s wish to explain the role of the theatre has ended with describing the most spectacular performance of the orthodox ritual. In doing this the writer was most likely influenced by the Ukrainian baroque tradition which shaped Gogol’s artistic imagination. The theatricality of the baroque aesthetics found its place in the visual nature of Gogol’s texts.
In his search for new creative forms, Gogol was not alone. In 1842–1843 Adam Mickiewicz pointed to the Greek tragedy and to the mysteries of the Middle Ages as possible examples to follow in the future Slavonic theatre. By demonstrating the theatrical possibilities of the Christian ritual Gogol was close to these ideas.

Poetry on the Crossing of Eastern and Western Christianity (The tradition of the ideal landscape ... more Poetry on the Crossing of Eastern and Western Christianity
(The tradition of the ideal landscape in N.Gumilev's creation work)
The article deals with the issue of religious motives and images in Nikolay Gumilev’s poetry. J.Zobnin states that Gumilev is “the poet of the Orthodoxy”. The poet himself insisted that his personality was formed by the Orthodoxy, and sometimes used orthodoxical images in his poems. However, the Western Christianity is also reflected in his work due to the fact that Gumilev's poetry was strongly influenced by the European poetry tradition.
One of the western features of Russian poetry is a topic of the ideal landscape generating from ancient pastoral tradition.At the beginning of 20th century, this topic was almost forgotten in Russian poetry. Gumilev renewed it by depicting his African Paradise, on the one hand, and by reflecting a tradition of pictorial landscape, on the other. Gumilev’s interpretation of “the Lake School of the poets” shows that he was carrying on the tradition of the European poetry. A poem “Andrey Rublev” also could be discussed as an interesting example of the ideal landscape. The sensuality of the description of the icon here is similar to that in the pastoral tradition. On the other hand, the poem includes the orthodox cal motifs. This fact lets one speak that the poem was created on the crossing of Eastern and Western traditions.

The article offers a reading of the first 'African' poem by N. Gumiliov. The interpretation is ba... more The article offers a reading of the first 'African' poem by N. Gumiliov. The interpretation is based on concepts of croire, savoir, confiance, and parabolic speech outlined in A. J. Greimas' semiotic works. In this perspective, Africa emerges as a theme and language of fideistic discourse of Gumilev, thus gaining a status of the symbol of belief. Due to its exceptional importance, the image of Africa departs from its parent contexts and becomes an allegory of other reality. One of the core features of this image is its symbolic meaning. It manifests itself in references to God, in outlining the Christian world-view and in depicting Africa as a Biblical land and 'a heaven on earth'. The article suggests that the works of Gumilev can be seen as a part of the allegorical Baroque poetry.

Te concept of heterotopias, which was introduced by Michel Foucault almost 50 years ago to define... more Te concept of heterotopias, which was introduced by Michel Foucault almost 50 years ago to define and to understand the heterogenic nature of space, was recently actualized by the spatial turn in social sciences and humanities. The notion of heterotopias and their principles that were defined by Foucault in his famous lecture “On Other Spaces: Utopias and Heterotopias”, became an analytic device that helps to recover alternative and specific regimes of functioning of certain places in space. At the same time, the weakness of the borderline between the “objective” (“real”) and the “subjective” (fictive) in the postmodern thinking and imagination led to the considering of heterotopias of inner space of a text (artistic space) or heterotypic spaces of literary field. In literature, heterotopias function as a bridge between physical world and a text, in which such heterotopias as a labyrinth, a mirror, a theatre, or a castle are represented. Heterotopias are places of transgression of a subject that is grounded in specific heterotypical condition of a space. So, like utopias, heterotopias suggest a way of thinking about a man and his world as well as about their representations.
The book "Heterotopias: Worlds, Borders, Narratives" consists of four parts. Te division between them is based on the thematic ground and on the focus (the size) of space in question as well as on the relation between reality and fiction – if a text presupposes links to the outer world. Te First Part of the book is devoted to the discussion of the big units of the Earth (World, Russia, Ural, Ukraine) and to their representations in historical, mythological, and cartographic discourses as well as to the spatial structures of human mind that enable thinking of non-spatial phenomenon in spatial terms (dreams, alternative life, death). Te Second Part focuses on cities and their heterotopias in literary texts, which could be representations of certain real places as well as a result of certain strategies to make a place a kind of heterotopia. The Third Part analyses the heterotopia of border regions where languages and cultures meet and converge on different levels. The representations of such heterotopias could be found on the level of every-day life and communication as well as on the level of political and cultural discussion in a magazine or on the level of the peculiar rhyme structure of one poem. In this part, three articles on Vilnius’ heterotopias are presented. The Fourth Part of the book discusses heterotopias that are invented and supported only by a literary text. Some of them have referents in the outer world; however, their heterogenic character is a result of textual strategies. Te whole book leads to the conclusion that interdisciplinary research of heterotopias as well as of other places in the World and in texts is a productive trend for investigating the postmodern world and a man, because the questions of spaces and places, and also the language based on spatial categories, enable various connections between worlds, minds and disciplines.

Papers by Inga Vidugiryte

Semiotika, Dec 30, 2022

Leibnitz and the Baroque and supposes a link, which could be established between the Baroque as a... more Leibnitz and the Baroque and supposes a link, which could be established between the Baroque as a type of art, imagery, and a philosophical concept, as it was described by Deleuze, on the one hand, and the culture, its inner structure, and mechanisms (workings), as they were defined by Juri Lotman in his conception of the semiosphere, on the other. The article shows that the main concepts introduced by Leibniz and Deleuze find their counterparts in the semiotic space described by Lotman. Starting with the concept of a monad that both thinkers are concerned with, following conceptual pairs could be identified in their systems: a border-a fold, meaning-making-folding, semiosphere-total art, Deleuzian principle of cone-the hierarchy of monads in the semiosphere of Lotman. In the article, when placed side by side, both systems reveal their proximity as well as new aspects. The analysis leads to a conclusion that Lotman, who started his career as a strict structuralist, in the end, became a post-structural thinker revealing in his works the folded (Baroque) boundary between these two intellectual trends.

The Cartographic Journal, 2019

This paper presents a data model developed during the project of mapping the literature of Vilniu... more This paper presents a data model developed during the project of mapping the literature of Vilnius, capital of Lithuania. The city has for centuries been an important place for Lithuanian, Polish, Jewish and Russian culture. Various literary texts reflect different spatial conceptualizations. The diversity of spatial references in the literature of Vilnius calls for a comprehensive literary database that would store the different types of spatial references: locations, zones, routes, spatial links and events, related both to literary spaces and to authors' biographies. For this purpose, a data model proposed by previous researchers has been modified and enhanced. A Web GIS application was designed for the input of geographic data. The elaborated conceptual model is not limited to Vilnius literature. It can readily be applied to any work of fiction or biography depending on the academic interests of the researcher.

This is a summary of the book published in Russian.

PEIZAŽO KLOSTĖ: DĖL BAROKO NIKOLAJAUS GOGOLIO KŪRYBOJE Inga Vidugirytė S a n t r a u k a Tipol... more PEIZAŽO KLOSTĖ: DĖL BAROKO NIKOLAJAUS GOGOLIO KŪRYBOJE

Inga Vidugirytė

S a n t r a u k a

Keywords: Nikolai Gogol’, Motiejus Valančius, Ukrainian Baroque, the Baroque in the Grand Duchy of Lithuania, Baroque after Baroque, theatricality, ritual.

The Poetic Function of the “Body Language” (The Case of Nikolai Gogol) According to Roman Jakobs... more The Poetic Function of the “Body Language”
(The Case of Nikolai Gogol)

Tavern in the Grand Duchy of Lithuania Summary A tavern or a pub in the Grand Duchy of Lithuania... more Tavern in the Grand Duchy of Lithuania
Summary

The Space of the Temple in Meditations on the Divine Liturgy by Nikolai Gogol The article analys... more The Space of the Temple in Meditations on the Divine Liturgy by Nikolai Gogol

Semiotika, Dec 30, 2022

The Cartographic Journal, 2019

Lietuvos kultūros tyrimų institutas eBooks, 2016

Literatūra, 2009

Tyrimas susieja Gogolio straipsnį „Mintys apie geografiją“ (I redakcija 1830) bei kitus jo rinkin... more Tyrimas susieja Gogolio straipsnį „Mintys apie geografiją“ (I redakcija 1830) bei kitus jo rinkinioArabeskos (1835) straipsnius su jo laikmečio geografijos mokslo kontekstu. Analizė leidžia teigti, kas rašytojas buvo susipažinęs su naujausiomis šios srities idėjomis, išskleistomis moderniosios geografijos pradininkų, Aleksandro Humboldto ir Karlo Ritterio, darbuose, kurie iš naujo apibrėžė geografijos objektą – žemės erdvę, suvokiamą kaip gamtos ir žmogaus santykių rezultatas. Gogolio straipsniai rodo, kad jis buvo susipažinęs su išverstais į rusų kalbą Humboldto ir Ritterio darbais ir, priešingai, nei įprasta rusų geografijos tyrinėjimams, nesupriešino abiejų mokslininkų idėjų, bet siekė sintetinio, estetinio ir mokslinio jų derinimo. Rašytojo straipsniai buvo moderniosios geografijos sklaidos priemonė. Ypatingą dėmesį Gogolis skyrė geografinės vaizduotės vaidmeniui. Paragrafo apie geologiją palyginimas su to meto mineralogijos moksliniais straipsniais rodo, kad mokslą jis s...

Semiotika

The title of this article refers to Gilles Deleuze’s work titled The Fold: Leibnitz and the Baroq... more The title of this article refers to Gilles Deleuze’s work titled The Fold: Leibnitz and the Baroque and supposes a link, which could be established between the Baroque as a type of art, imagery, and a philosophical concept, as it was described by Deleuze, on the one hand, and the culture, its inner structure, and mechanisms (workings), as they were defined by Juri Lotman in his conception of the semiosphere, on the other. The article shows that the main concepts introduced by Leibniz and Deleuze find their counterparts in the semiotic space described by Lotman. Starting with the concept of a monad that both thinkers are concerned with, following conceptual pairs could be identified in their systems: a border – a fold, meaning-making – folding, semiosphere – total art, Deleuzian principle of cone – the hierarchy of monads in the semiosphere of Lotman. In the article, when placed side by side, both systems reveal their proximity as well as new aspects. The analysis leads to a conclusi...

Literatūra (Vilnius), 2013

The Petersburg text of Russian literature and the Vilnius text of Lithuanian literature: once aga... more The Petersburg text of Russian literature and the Vilnius text of Lithuanian literature: once again on the analytical visa of Vladimir Toporov's concept Inga Vidugiryte Summary The concept Petersburg text by Toporov is criticized for its mythological essence, for the confusion of the languages of the object and the analysis in its description, and for the very attempt to create a mental space in which one can escape politics and ideology. The point of such critique is that the concept of Petersburg text is a product of the Soviet era and its highly ideologized atmosphere, as well as of the wish of the intellectuals not to participate in it. Nevertheles, there is a range of texts of cities or regions made by analogy with the Petersburg text (e.g., Moscow, Permj, Siberian, Crimean texts) in the recent Russian humanities. In this article, the author makes an attempt to show the actuality of the Toporov's concept by comparing it with the modern geocritical theory that does not m...

Literatūra

Tipologinis Nikolajaus Gogolio kūrybos bendrumas su baroko kultūros tekstais buvo nustatytas anks... more Tipologinis Nikolajaus Gogolio kūrybos bendrumas su baroko kultūros tekstais buvo nustatytas anksčiau, nei pradėti ukrainiečių baroko bei jo įtakos Gogoliui tyrinėjimai. Pastarieji atspindėjo baroko problematikos raidą per visą XX amžių. Michailo Jampolskio veikale Audėjas ir regėtojas: reprezentacijos istorijos apybraižos (2007) Gogolis pristatomas kaip klasikinės reprezentacijos kritikas baroko, kurio supratimas remiasi Michel Foucault, Gilles Deleuze ir kitų, dvasia.Straipsnio tikslas – pademonstruoti Gogolio pasaulėžiūros ir vaizduotės artimumą Deleuze’o atkurtam Leibnizo baroko pasauliui, remiantis stepės peizažo iš apysakos „Tarasas Bulba“ analize. Deleuze’as yra pasiūlęs universalų baroko požymį, pagal kurį barokas gali būti atpažįstamas ir peržengiant istorines jo epochos ribas. Tai – klostės, kurias barokas suklosto ir sutvarko į du aukštus – materijos ir dvasios. Dviejų aukštų namas – tai barokinio pasaulio modelis, sujungiantis absoliučiai skirtingas esmes. Barokinės...