It aims to reveal the state of Lietuvininkai musical folklore after the Second World War, focusing on the specifics and outcomes of their collection, reconstruction, and revival within the broader context of the Sovietization of culture.The division of the territory, the emptying of the region, and its rapid resettlement by newcomers from across the USSR drastically altered the area's demographic composition.As a result, musical folklore entered the final phase of its organic existence; the last authentic examples were documented through folkloristic fieldwork during this period.However, two closely related developments in the 1960s and 1970s -the ethnocultural movement and the establishment of the Klaipda Faculties of the State Conservatory -created the preconditions for a cultural revival in the region.The pioneers and key figures in this revival were the folklore ensemble Vorusn of the Klaipda faculties and the instrument maker Antanas Butkus, who laid the foundations for revitalizing the instrumental music of Lithuania Minor.The forms and methods employed in the revival of musical folklore indicate that, during the Soviet period, the musical traditions of Lithuania Minor were effectively reclassified as intangible cultural heritage. KopsavilkumsRakst tiek ptta Mazs Lietuvas mzikas folklora un ts revitalizcijas formas un metodes padomju period .Raksta mris ir atklt Prsijas lietuvieu jeb lietuvininku mzikas folkloras stvokli pc Otr pasaules kara, pievrot uzmanbu ts vkanas,

ations be called the most significant cultural phenomenon of early 20th-century Estonia, comprising a number of eminent authors, among whom

Aspazija's historical drama Vaidelote (Pagan Priestess; 1894), based on Lithuania's early history, was translated into Lithuanian in 1908 and staged several times by diaspora Lithuanian theatre amateurs in Riga and Mitau (now Jelgava).This paper aims to determine how the Lithuanian audience perceived it.The translation and staging of Vaidelote is a good opportunity to consider the tradition of Lithuanian dramaturgy in the context of evaluating this Neo-romanticist drama by Aspazija, and the influence it may have had on the Lithuanian historical drama of the time.The methodological approaches used here include the notion of the horizon of expectation, which comes from literary hermeneutics, and the model of theatrical communication by Susan Bennett, who has adapted the active reader response to the theatrical situation.These theoretical tools are discussed in the first part of the paper.The second part presents the situation of early Lithuanian theatre and its dramaturgy at the end of the 19th century and the beginning of the 20th century.The third part is devoted to the translation of Aspazija's drama Vaidelote and its reception by Lithuanian audience.This paper concludes that Aspazija's drama entered the Lithuanian theatre scene after having been simplified and adapted to the limited possibilities of the amateur theatre of that time.Therefore, its influence on Lithuanian historical dramaturgy was limited. KopsavilkumsAspazijas vsturisk drma "Vaidelote" (1894), kas balstta Lietuvas senvstures notikumos, tika prtulkota lietuviski 1908.gad, un to vairkkrt iestudja Rg un Jelgav dzvojoo diasporas lietuvieu amatiertetri. ptjuma mris ir izzint, k o lugu uztvra lietuvieu auditorija."Vaidelotes" tulkojums un iestudjumi sniedz iespju izvrtt lietuvieu dramaturijas tradciju saistb ar Aspazijas neoromantisma lugas izpratni, k ar ts iespjamo ietekmi uz tlaika lietuvieu vsturisks drmas anra attstbu.Ptjum izmantot metodoloija ietver gaidu horizonta jdzienu, kas aizgts no literrs hermeneitikas, k

No lksmbas ldz mlestbai: sievietes emancipcijas formas atrijas Raganas

In fin-de-sicle Latvian literature we observe an increasingly active dialogue with the most significant phenomena in European writing, testifying to a need and desire for creating an elite culture.Goethe and Nietzsche were among the most respected German authors, often mentioned in Latvian culture of the period.Sometimes they have been considered as opposites, directly or indirectly using the Apollonian and Dionysian concepts as developed in Nietzsche's The Birth of Tragedy from the Spirit of Music (1872).However, the mentioned juxtaposition is not so pronounced in the modern-day assessment of both authors.The creative quests of Goethe's oeuvre, including his late works, reveal an innovative approach to writing, while Nietzsche's radical ideas were shaped by his productive dialogue with classical culture.The opinions of the turn-of-the-century Latvian authors display a great (though not yet sufficiently apprehended) diversity in their evaluation of the both German writers.For example, Rainis's notes from the 1880s and 1890s onwards contain references not only to Goethe's but also to Nietzsche's poetics and ideas. This article delves into the reception of these two German authors in fin-de-sicleLatvian cultural milieu, considering the literary texts and essays as well as personal correspondence of Latvian writers (among them Rainis, Aspazija, Jnis Poruks, and Rdolfs Blaumanis). Kopsavilkums19. un 20.gadsimta mijas latvieu literatr vrojams arvien aktvks dialogs ar nozmgkajm pardbm Eiropas rakstniecb, apliecinot nepiecieambu un vlmi veidot elitru kultru.Gte un Ne ir vcu autori, kuri tlaika latvieu kultrvid ir ievroti un biei pieminti.Dakrt vii uzlkoti k pretstati, tiei vai netiei izmantojot Nes darb "Tradijas dzimana no mzikas gara" (1872) iztirztos apollonisk un dionsisk konceptus. tma ir izptes vrta,

Spanishness, the imagined perception of Spain, played a major role in interwar Latvian ballet.We located forty-five Spanish-themed ballets, divertissements, and concert miniatures performed between 1923 and 1941.Dancing bodies act as cross-cultural archives that enable us to comprehend the identities projected through inherited gestures.This article proposes that Spanishness, perceived as an exotic and distant Other, may have enhanced the identity of the prewar Republic of Latvia.We examined the ballets Paquita, Jota Aragonesa, Don Quixote, Bolro, and Laurencia through primary visual sources supported by Latvian press data.These case studies depicted a polyhedric image of Spain firmly based on Andalusian archetypes, intertwined with Orientalist motifs, and the jota of Aragon.Spanishness can be seen as an integral aspect of the multicultural manifestation of Latvian interwar society.The outbreak of the Spanish Civil War in 1936 marked a turning point that increased interest in this multilayered mirror.In late 1930s with increasing political and military pressure of the Soviet Union, Spanishness evolved into a soft power strategy and, ultimately, became a Soviet propaganda tool. Kopsavilkums