Intertekst Wilna w twórczości Vaidotasa Daunysa

The Intertext of Vilnius in the Works of Vaidotas DaunysThe aim of the present article is to analyse the intertext of Vilnius in the works of the Lithuanian poet, essayist and editor Vaidotas Daunys (1958–1995) by drawing on the categories of intertextuality and intertext (J. Kristeva, R. Barthes, M. Riffaterre, M. Głowiński, S. Balbus, R. Nycz). In Daunys’ poems and essays, the reader perceives Vilnius as a mental construct, multilayered structure of meaning or a complex metaphor referring to a specific place on the map of north-eastern Europe, the political centre of the independent Republic of Lithuania since 1990. His debut collection Metų laikai [The Four Seasons, 1985] containing his early lyrics deals with urban themes, which will also become one of the recurrent motifs in his essays. This collection introduces themes, metaphors and symbols developed and recreated by the author over the following decades: the city of myth, the city of nature, the city of faith. In his poetry, Daunys illustrates how the personal and psychological city (the individualized place of the lyrical subject, where the history takes place here and now) evolves into the meta-city and philosophy of the city (Vilnius as a timeless and sacred city, with strong communal bonds). Daunys was a gifted observer, therefore, in his works (and artistic activities), at the aesthetic, ethical, philosophical and theological levels, he consequently and skilfully presented Vilnius as the central place of his homeland where multiple voices can be heard, as the Baltic cradle of Lithuanian culture and the home to many languages, cultures and nations. His source of inspiration was Lithuanian and European cultures (mainly literature oscillating between existential and ontological questions; Christian and existential philosophy; but also history, music, architecture and photography), based on the solid Christian foundation (the Bible). Translated into the language of the modern city and experience of the watershed years, these sources, displaying various forms of intertextuality, have created a multilayered web of meanings that Vilnius entails. Intertekst Wilna w twórczości Vaidotasa DaunysaCelem artykułu jest opis i analiza intertekstu Wilna w twórczości litewskiego poety, eseisty i wydawcy Vaidotasa Daunysa (1958–1995). Do realizacji zadania zostały wykorzystane kategorie intertekstualności i intertekstu (J. Kristeva, R. Barthes, M. Riffaterre, M. Głowiński, S. Balbus, R. Nycz). Dla każdego czytelnika poezji i eseistyki Daunysa, Wilno to konstrukt mentalny, wielowarstwowa struktura znaczeń, złożona metafora odnosząca się do konkretnego miejsca na mapie Europy Północno-Wschodniej, politycznego centrum niepodległej od 1990 roku Republiki Litewskiej. Już wczesna liryka Daunysa z debiutanckiego tomu Metų laikai [Pory roku, 1985] odwołuje się do tematyki miejskiej, która z czasem stanie się także ważnym motywem jego eseistyki. To tutaj po raz pierwszy pojawiły się tematy, metafory i symbole, które twórca rozwijał (przetwarzał) przez kolejne dziesięciolecie: miasta mitu, miasta natury, miasta wiary. Dorobek poetycki Daunysa ilustruje proces ewolucji od miasta osobistego i psychologicznego (zindywidualizowanego miejsca przeżyć podmiotu lirycznego, w którym historia dzieje się tu i teraz) do meta-miasta i filozofii miasta (idei Wilna ponadczasowego, wspólnotowego, sakralnego). V. Daunys był obdarzony wyjątkowym darem uważności, dlatego w swojej twórczości (i twórczej działalności) tak konsekwentnie i umiejętnie, na poziomie estetycznym, etycznym, filozoficznym i teologicznym, rozwijał ideę Wilna jako wielogłosowego centrum ojczyzny, bałtyjskiej kolebki litewskości i zarazem domu wielu języków, kultur i narodów. Źródłem inspiracji była dla niego kultura litewska i kultura europejska (głównie literatura oscylująca wokół zagadnień egzystencjalnych i ontologicznych; filozofia chrześcijańska i egzystencjalna; ale także historia, muzyka, architektura i fotografia), osadzone na mocnym fundamencie chrześcijańskim (Biblia). Przełożone na język współczesnego miasta i doświadczenia czasów przełomu, utworzyły fascynującą swoją wielorodnością intertekstualną siatkę znaczeniową Wilna.

Multiple Voices of the Past: (Hi)stories and Memories from the Ethnically Mixed Neighbourhoods in Pristina

Multiple Voices of the Past: (Hi)stories and Memories from the Ethnically Mixed Neighbourhoods in PristinaUsing the Bakhtinian term heteroglossia developed by Andrea L. Smith, this article analyses the multiple and sometimes internally contradictory narratives, memories and stereotypes articulated in everyday talk about the common past in Pristina that could be heard nowadays in post-war Kosovo (mostly among Kosovo Albanians) and among the people who used to live in Kosovo prior to 1999 (mostly Kosovo Serbs) and then left the country for Serbia (Belgrade, Niš, etc.) or went abroad. The study explores the existing memories, images and stereotypes shared among the current and former citizens of Pristina (Kosovo) – both Albanians and Serbs – about each other and their city. It relies on the basic tools of cultural memory studies and applies them to the analysis of existing local narratives in the present-day Albanian and Serbian communities that used to be parts of one and the same city of Pristina. The article offers a discussion of the opposition between urban and rural models of mindset in changing Pristina and its importance in understanding some of the factors of ethnic conflict in Kosovo. The basic social unit selected for analysis is ethnically mixed neighbourhood and its memory due to the fact that this social and spatial entity functioned as the primary condition and source of interaction, mutual familiarity and cooperation both during peace and war. The empirical data for the study were collected in 2010–2020 during short visits to Pristina (Kosovo) and Niš (Serbia).Множественные голоса прошлого: история и память в этнически смешанных районах ПриштиныАннотация: Используя термин гетероглоссия, предложенный М. Бахтиным и разработанный А. Смитом, в данной статье я про- анализирую многочисленные и иногда внутренне противоречивые нарративы, воспоминания и стереотипы, сформулированные в повседневных разговорах об общем прошлом в Приштине, которые сегодня можно услышать в послевоенном Косово (в среде косовских албанцев) и среди людей, живших в Косово до 1999 г. (в основном косовские сербы), а затем уехавших из страны в Сербию (Белград, Ниш и т. д.) или за границу. Моя статья направлена на изучение существующих воспоминаний, образов и стереотипов, разделяемых нынешними и бывшими гражданами Приштины – как албанцами, так и сербами – по отношению друг к другу и своему городу. В работе используются основные инструменты исследования культурной памяти, в их применении к анализу существующих местных нарративов в современных албанских и сербских общинах, которые когда-то были частью одного и того же города Приштина. В своей статье я буду обсуждать противостояние между городской и сельской моделями мышления в изменении Приштины и его важность для понимания некоторых предпосылок этнического конфликта в Косово. В качестве базовой социальной единицы для своего анализа я выбрал этнически смешанный район и его память в связи с тем, что эта социальная и пространственная сущность функционировала как основное условие и источник взаимодействия, взаимного знакомства и сотрудничества как в периоды мира, так и во время войны. Эмпирические данные были собраны в 2010-2020 годах во время моих коротких визитов в Приштину и Ниш.Różnorodne głosy przeszłości: historia i pamięć w zróżnicowanych etnicznie dzielnicach PrisztinyOdwołując się do terminu polifoniczności, zaproponowanego przez Michaiła Bachtina i opracowanego przez Anthony’ego Smitha, w niniej­szym artykule przeanalizuję liczne i czasem wewnętrznie sprzeczne narra­cje, wspomnienia i stereotypy, sformułowane w codziennych rozmowach o wspólnej przeszłości w Prisztinie, które dziś można usłyszeć w powo­jennym Kosowie (w środowisku kosowskich Albańczyków) oraz pośród ludzi mieszkających w Kosowie do 1999 roku (przede wszystkim wśród kosowskich Serbów), którzy wyjechali do Serbii (Belgrad, Nisz itd.) lub za granicę. Mój artykuł ma na celu zbadanie wspomnień, obrazów i ste­reotypów, podzielanych przez obecnych i byłych obywateli Prisztiny, za­równo Albańczyków jak i Serbów, w stosunku do siebie nawzajem oraz do samego miasta. W pracy nad analizą lokalnych narracji we współczesnych wspólnotach albańskich i serbskich, które kiedyś były częścią tego samego miasta – Prisztiny, wykorzystuję podstawowe instrumenty badawcze dla dziedziny pamięci kulturowej. W artykule będę omawiać sprzeczność mię­dzy miejskim a wiejskim modelem myślenia na temat przemian Prisztiny, akcentując jego istotną rolę w rozumieniu niektórych przesłanek konflik­tu etnicznego w Kosowie. Jako podstawową jednostkę społeczną dla mo­jej analizy przyjąłem etnicznie różnorodną dzielnicę wraz z jej pamięcią, ze względu na to, że ta społeczna i przestrzenna jednostka funkcjonowała jako podstawowe źródło wzajemnych wpływów, znajomości i współpracy, zarówno w czasie pokoju, jak i wojny. Dane empiryczne zostały zebrane w latach 2010-2020 w czasie moich krótkich wizyt w Prisztinie i Niszu.

Archiving Fragments of Time

<p><b>Beneath the urban concrete of Wellington city lies a plethora of lost stories and voices, sometimes only accessible as fragments, which should contribute to the rich polyvocal narratives of a site. Recognition of these stories, even as fragments, enables local inhabitants and a wider audience to begin to understand the significance of place.</b></p> <p>Heritage stories transform from one time period to the next, creating overlapping layers of a site’s identity evolving over time. Each layer, while potentially representing its own unique story, contributes to the meta-narrative of a place. This design-led research investigation looks at the problem that arises when important stories of a place are lost when a site has transformed over time. The true story of a site is represented by the hidden layers from previous time periods, which have often fragmented or faded over time. This thesis proposes that lost layers, fragmented stories and faded voices can be reawakened through speculative architectural representation.</p> <p>Fragments of stories can be used to stimulate the imagination. The allegorical interpretation of fragments can be used to generate dreamscapes. Within a dreamscape, the multiple voices of multiple fragments can be heard together, even when they represent stories from different times. When dreamscapes are captured as allegorical drawing fragments, these multiple voices can be heard and retained even when they have partially faded away.</p> <p>This thesis explores how an allegorical architectural project, framed within techniques found in allegorical narrative fiction, can be successfully used as a critical method to help reawaken and unveil lost voices of place and generate speculative architectural outcomes that allow these voices to be heard. This design-led research proposes to reawaken lost voices of place through mapping the field of imagination, collage and the creation of dreamscapes, and allegorical drawing fragments.</p> <p>Italo Calvino’s Invisible Cities and Alan Lightman’s Einstein’s Dreams are examples of literary approaches to the allegorical interpretation of fragments. They are used in this investigation as literary provocateurs—allegorical generators to engage the imagination to reawaken lost voices as fragments and allow them to be heard in a collection—an archive of fragments. These two novels are effectively re-presenting place and time as dreamscapes. By enabling a series of fragmented stories to be heard as one, a richly polyvocal narrative is established that allows the reader to understand the significance of a place.</p> <p>Two neighbouring urban sites along the edge of Wellington Harbour have been selected for this investigation: the Taranaki Wharf Cut-out and the Kumutoto Stream Outlet. Both have unique tales to tell. The Kumutoto Stream Outlet is the site of the first culverted stream in Wellington. This entire stream has been silenced and has disappeared forever, yet it survives deep underground; this narrow outlet along the Wellington Harbour edge is the last vestigial remnant of its tale. The Taranaki Wharf Cut-out exposes the lost shoreline of Wellington before urban expansion. This shoreline has been silenced and has disappeared forever, and the cut-out provides the last visual connection to the lost landscape below. Fragments of the urban concrete have been removed from both these sites to reveal the lost remnants of the sites tales they once concealed. These sites are engaged as allegorical portals that invite a viewer below the surface of Wellington’s urban concrete to explore the lost layers of fragmented stories that lay hidden beneath. These sites are presented as ‘characters’ that narrate ‘stories’ of Wellington waterfront’s surrounding context and the transformation of the landscape over time.</p> <p>The original heritage conditions of a place often cannot be physically returned to their sites without disrupting the contemporary urban context. In this investigation, sites are not engaged as grounds for architectural intervention. Instead, they are provocateurs for how an allegorical architectural project can dig below the urban concrete and reawaken and unveil lost voices of a place. These voices are presented as a speculative archive of fragmented artefacts that invite viewers to witness, through these allegorical artefacts, an urban environment’s rich litany of heritage stories that may have been permanently lost or displaced. These artefacts take the form of maps, collages and drawings, and they are designed to read both as individual artefacts and together as a collection within an archive, this bound codex of work—an Archive of Fragments of Time.</p> <p>This thesis asks:How can an allegorical architectural project be successfully used as a critical method to reawaken and unveil lost voices of a place, and generate speculative architectural outcomes that allow these voices to be heard?</p>

Archiving Fragments of Time

<p><b>Beneath the urban concrete of Wellington city lies a plethora of lost stories and voices, sometimes only accessible as fragments, which should contribute to the rich polyvocal narratives of a site. Recognition of these stories, even as fragments, enables local inhabitants and a wider audience to begin to understand the significance of place.</b></p> <p>Heritage stories transform from one time period to the next, creating overlapping layers of a site’s identity evolving over time. Each layer, while potentially representing its own unique story, contributes to the meta-narrative of a place. This design-led research investigation looks at the problem that arises when important stories of a place are lost when a site has transformed over time. The true story of a site is represented by the hidden layers from previous time periods, which have often fragmented or faded over time. This thesis proposes that lost layers, fragmented stories and faded voices can be reawakened through speculative architectural representation.</p> <p>Fragments of stories can be used to stimulate the imagination. The allegorical interpretation of fragments can be used to generate dreamscapes. Within a dreamscape, the multiple voices of multiple fragments can be heard together, even when they represent stories from different times. When dreamscapes are captured as allegorical drawing fragments, these multiple voices can be heard and retained even when they have partially faded away.</p> <p>This thesis explores how an allegorical architectural project, framed within techniques found in allegorical narrative fiction, can be successfully used as a critical method to help reawaken and unveil lost voices of place and generate speculative architectural outcomes that allow these voices to be heard. This design-led research proposes to reawaken lost voices of place through mapping the field of imagination, collage and the creation of dreamscapes, and allegorical drawing fragments.</p> <p>Italo Calvino’s Invisible Cities and Alan Lightman’s Einstein’s Dreams are examples of literary approaches to the allegorical interpretation of fragments. They are used in this investigation as literary provocateurs—allegorical generators to engage the imagination to reawaken lost voices as fragments and allow them to be heard in a collection—an archive of fragments. These two novels are effectively re-presenting place and time as dreamscapes. By enabling a series of fragmented stories to be heard as one, a richly polyvocal narrative is established that allows the reader to understand the significance of a place.</p> <p>Two neighbouring urban sites along the edge of Wellington Harbour have been selected for this investigation: the Taranaki Wharf Cut-out and the Kumutoto Stream Outlet. Both have unique tales to tell. The Kumutoto Stream Outlet is the site of the first culverted stream in Wellington. This entire stream has been silenced and has disappeared forever, yet it survives deep underground; this narrow outlet along the Wellington Harbour edge is the last vestigial remnant of its tale. The Taranaki Wharf Cut-out exposes the lost shoreline of Wellington before urban expansion. This shoreline has been silenced and has disappeared forever, and the cut-out provides the last visual connection to the lost landscape below. Fragments of the urban concrete have been removed from both these sites to reveal the lost remnants of the sites tales they once concealed. These sites are engaged as allegorical portals that invite a viewer below the surface of Wellington’s urban concrete to explore the lost layers of fragmented stories that lay hidden beneath. These sites are presented as ‘characters’ that narrate ‘stories’ of Wellington waterfront’s surrounding context and the transformation of the landscape over time.</p> <p>The original heritage conditions of a place often cannot be physically returned to their sites without disrupting the contemporary urban context. In this investigation, sites are not engaged as grounds for architectural intervention. Instead, they are provocateurs for how an allegorical architectural project can dig below the urban concrete and reawaken and unveil lost voices of a place. These voices are presented as a speculative archive of fragmented artefacts that invite viewers to witness, through these allegorical artefacts, an urban environment’s rich litany of heritage stories that may have been permanently lost or displaced. These artefacts take the form of maps, collages and drawings, and they are designed to read both as individual artefacts and together as a collection within an archive, this bound codex of work—an Archive of Fragments of Time.</p> <p>This thesis asks:How can an allegorical architectural project be successfully used as a critical method to reawaken and unveil lost voices of a place, and generate speculative architectural outcomes that allow these voices to be heard?</p>

Understanding expressive ensemble singing through acoustics

A valuable body of research utilizes the study of acoustics to explore the combined sonic output of vocal ensembles and the processes and vocal contributions of individual voices within an ensemble. This chapter focuses on specific acoustic features that can be measured in the acoustic signal and contribute to expressive ensemble performance, including: intonation, vibrato, intensity, and timbre. The different methodological approaches to acoustics research for singing ensemble performance are discussed, alongside their context and relevance in understanding the importance of these features from a more holistic perspective. In light of the development of digital technologies, new approaches arise that address the complexities of analyzing multiple voices, spanning from synthesis-based studies to more ecological experiments. The implications for this corpus of research to influence practice and decision-making in performance are highlighted alongside the opportunities for more performers to lead research in this area, facilitated through increasingly accessible technology.

Penal Slavery in Early Modern Scandinavia

In Scandinavia, a penal institution known as “slavery” existed from the sixteenth to the nineteenth centuries. Penal slaves laboured in the creation and maintenance of military infrastructure. They were chained and often stigmatized, sometimes by branding. Their punishment was likened and, on a few occasions, linked to Atlantic slavery. Still, in reality, it was a wholly distinct form of enslavement that produced different experiences of coercion than those of the Atlantic. Such forms of penal slavery sit uneasily in historiographies of punishment but also offers a challenge for the dominant models of global labour history and its attempts to create comparative frameworks for coerced labour. This article argues for the need for contextual approaches to what such coercion meant to both coercers and coerced. Therefore, it offers an analysis of the meaning of early modern penal slavery based on an exceptional set of sources from 1723. In these sources, the status of the punished was negotiated and practiced by guards and slaves themselves. Court appearances by slaves were usually brief—typically revolving around escapes as authorities attempted to identify security breaches. The documents explored in this article are different: They present multiple voices speaking at length, negotiating their very status as voices. From that negotiation and its failures emerge a set of practiced meanings of penal “slavery” in eighteenth-century Copenhagen tied to competing yet intertwined notions of dishonour.

Asociacionismo inmigrante y nuevas formas de acción política. Facebook y la participación online de inmigrantes mexicanos en Estados Unidos.

Si bien el despliegue de acciones políticas ha sido una de las diversas funciones de las asociaciones de inmigrantes, en tiempos recientes muchos de estos grupos han incursionado en el uso de herramientas digitales para hacer política en favor de sus miembros y connacionales frente a los gobiernos de los países de llegada y de origen. En este artículo documentamos la creciente presencia de las asociaciones de inmigrantes mexicanos en Estados Unidos en las plataformas de Internet y explicamos su importancia al permitir un contacto directo, horizontal e inmediato entre dichas asociaciones, sus miembros y otros actores sociales y políticos, tanto de México como de Estados Unidos. Para ello, analizamos las acciones políticas de diversas asociaciones de inmigrantes mexicanos radicados en dicho país en la plataforma Facebook, con el fin de evidenciar los alcances de esta participación en lo que denominamos la “arena política glocaline”. Concluimos que el uso de espacios digitales amplía las dimensiones de la esfera pública, al abrir el acceso a múltiples voces desde la multi localidad, aunque en términos de efectos políticos directos los resultados pueden ser contingentes. Although the deployment of political actions has been one of the various functions of immigrant associations, in recent times, many of these groups have been increasingly using digital tools to make politics in favor of their members and fellow compatriots vis-à-vis the governments. of the countries of arrival and origin. In this article we document the growing presence of Mexican immigrant associations in the United States on Internet platforms, and we explain their importance by facilitating direct, horizontal and immediate contact between associations, their memberships, and other social and political actors, both from Mexico and the United States. For this purpose, we analyze the political actions of various associations of Mexican immigrants based on the Facebook platform, in order to demonstrate the scope of this participation in what we call the "glocaline political arena”. We conclude that the use of digital spaces broadens the dimensions of the public sphere, by opening access to multiple voices from multiple locations. However, their direct political effects may be contingent.

Between Lines and Beyond Boundaries: Alootook Ipellie’s Entanglements of Space

Manifold representations of the dwelling are expressed in the work of artist, poet, writer, editor, and activist Alootook Ipellie in the bi-monthly publication Inuit Today in the 1970s and 1980s, as a cross-section through key moments in Inuit Nunangat history. This essay thus examines Ipellie’s representations of space—not as an attempt to theorize Inuit space but rather to offer reflections on how these representations challenged ways of knowing and interpreting Arctic communities. We first address the Arctic representation in Ipellie’s work, which emphasizes the existing richness of the land according to Inuit perspectives as opposed to Qallunaat (non-Inuit) interpretations. His drawings also offer political comments on land disputes and the exploitation of territory. We then explore the representation of buildings, as Ipellie witnessed the transition from traditional to government housing. Ipellie’s humour-based approach constituted a strong social and political critique of housing issues and settler-colonial building practices. This artist acknowledged Inuit ingenuity when speaking of traditional housing, thus advocating for Inuit knowledge, invention, and built heritage. Lastly, we discuss the representation of multiple voices in the struggles over space, including Inuit communities and non-human agents, such as animals and land. Dwelling on the notion of “lines” and “the in-between”, we consider the thickness of Ipellie’s drawn lines and attend to the multiple entanglements between the artist’s political cartoons and the many lines of settler-colonialism, such as boundaries, frontiers, roads, pipelines, spatial construction, buildings, and planning.

Stories the mangroves hold: reflections on Indo-Caribbean feminist community archiving

This article invites the reader into conversation about silenced stories, intergenerational connection and what it means to reimagine Indo-Caribbean feminist histories. The authors of this article are coauthors of a digital archive, Ro(u)ted by Our Stories, which centres the stories of Indo-Caribbean women and those of marginalised genders in the US across generations. In this piece, we draw from historical material, our lived experiences as descendants of indenture, and a recorded conversation we had between members of our collective about our experiences working to create a community-owned digital archive. We share our visions for creating the archive and questions we have grappled with throughout the process, including our own limitations and reflections on archives as always unfinished and incomplete. Furthermore, we discuss the ways in which we see storytelling as a healing practice, our efforts to remain grounded in the needs and desires of community members and our hopes for the future of the archive. By including multiple voices in this piece, we hope to lift up the collaboration, interdependence and ‘weaving together’ of stories that informs the lens we bring to this work.