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1
Zigmunde, Alīda, Ērika Lanka, Elita Stikute, and Zanda Šlegelmilha. "Former students of the Riga Polytechnicum and Riga Polytechnic Institute (1862–1919) – literary workers." History of Engineering Sciences and Institutions of Higher Education 2 (November 1, 2018): 45–60. http://dx.doi.org/10.7250/hesihe.2018.004.
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The authors of the article have gathered literary works of poets and writers – former students of Riga Polytechnicum (RP) and Riga Polytechnic institute (RPI), and have characterized them. Several Latvian and foreign literary workers have studied at the institute. Only six of them – Alfrēds Andersons, Jānis Bergs, Rihards Ērglis, Ernests Eferts, Jānis Miķelsons and Arvīds Valdmanis – received diplomas in engineering after graduating from Departments of Engineering, Commerce and Agriculture. A. Valdmanis has written course books and literary works. Latvian poet Jānis Poruks and Russian writer Mihail Prishvin (Михаил Михаилович Пришвин) have also studied at the institute, but just like few others did not become engineers and are known due to their achievements in literature. RPI graduate admiral Teodors Spāde also wrote poems.
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Laizāns, Mārtiņš. "In The Eye of the Beholder – Attitudes towards Visual Poetry in Latvian Literature." Interlitteraria 24, no. 2 (January 15, 2020): 423–35. http://dx.doi.org/10.12697/il.2019.24.2.12.
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Visual poetry in Latvian literature is still an extraordinary phenomenon. In this case, by extraordinary is meant its scarce appearance among the corpus of Latvian literary texts – only very few examples of it exist in Latvian literature even in the 21st century, though it has gained a visible presence in other literatures of the world since at least the era of Modernist poetry, and experienced in most cases a turn of critical attitude towards it from disregard or denial to acceptance and consideration. At first evaluated only as a pastime on the margins of serious literature, since Apollinaire it has evolved into a serious genre of poetry and art of its own, and is no longer considered a childish game. Given this situation in contemporary criticism, it is quite a peculiar situation that Latvian literature and literary criticism still does not pay adequate attention to it, thus visual poetry has stayed an outsider genre up to this day.
In this paper a concise historical account of Latvian visual poetry will be given and some examples of visual poetry from various decades of Latvian literature will be given, as well as quotations from Latvian literary critics and scholars regarding visual poetry will be provided, in order to illustrate the overall situation in Latvian visual poetry and the possible reasons why it is still being mostly neglected and disregarded both by poets/artists and critics, though there seems to be slight indications of a visual turn.
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Eversone, Madara. "Kampaņa pret abstrakcionismu un formālismu 1963. gadā. Latvijas Padomju rakstnieku savienības valdes nostāja." Letonica, no. 35 (2017): 43–52. http://dx.doi.org/10.35539/ltnc.2017.0035.m.e.43.52.
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Between 1962 and 1963 the First Secretary of the Communist Party of the Soviet Union Nikita Khrushchev launched several campaigns against abstractionists and formalists in Moscow, thus marking the end of the so-called Thaw throughout the Soviet Union. The Central Committee of the Communist Party of Latvia also started a campaign against national abstractionists and formalists. On the 22nd and 28th of March 1963 the works of the new poets Vizma Belševica, Monta Kroma, Ojārs Vācietis as well as writer Ēvalds Vilks came under the criticism cross-fire at the Intelligentsia Meeting of the Latvian Soviet Socialist Republic. After the criticism from the Communist Party the above mentioned authors also had to be discussed at the Board meetings of the Latvian Soviet Writers’ Union and the local organization meetings of the Party. The article examines the attitude of the Board of Soviet Writers’ Union towards the campaign initiated by the Central Committee of the Communist Party of Latvia in March 1963 by looking at the documents of the Latvian Soviet Writers’ Union and the Union’s local organization of the Communist Party that are available at the State Archives of Latvia. Crucial and artistic aspects of the works of the above-mentioned authors have not been included in the analysis. Examining the debates that evolved in the Writers’ Union within the ideological campaign, it is possible to state that the Board, which was loyal to the Communist Party, kept its official stance in line with the Party principles, hereafter paying special attention to the ideologically artistic achievements of particular authors. Generally, the position of the Board of the Latvian Soviet Writers’ Union in respect to the criticized authors can be evaluated as passive, because no repressions were carried out against the new authors and no creative activities were completely suspended by the Board. The campaign of 1963 strongly demonstrates the differences between the generations and the views of the writers. It also reveals the older generation’s struggle for keeping their position and prestige in the field of literature while the younger generation took an increasing opposition.
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Kalniņa, Ieva. "THE WAY TO LATGALIAN LITERATURE DURING THE 90s OF THE 20TH CENTURY." Via Latgalica, no. 10 (November 30, 2017): 94. http://dx.doi.org/10.17770/latg2017.10.2767.
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During the 90s of the 20th century revival of Latgalian literature took place in the Republic of Latvia. It was a gradual process; in 2001 in “History of Latvian Literature" created by the Institute of Literature, Folklore and Art of the University of Latvia (ILFA) Ieva E. Kalniņa wrote about poetry of the 90s where she admitted that “it is already quite customary that poetry can be read in Latgalian written language”. Recent studies of Latvian literature in the 90s of the 20th century show that authors have different attitude towards Latgalian literature: Guntis Berelis has not included the revival of Latgalian literature in his list of the new phenomena of Latvian literature in his book “History of Latvian Literature”; among the ILFA researchers only Ieva E. Kalniņa mentions Oskars Seiksts, Anna Rancāne, Andris Vējāns, Osvalds Kravalis along with Vends and Livs among other phenomena of the 90s poetry; meanwhile in the review of prose and drama Latgalian literature is not mentioned at all. In 2007 Māris Salējs in his essay “Reflection on Latvian Literature 2000–2006” included Latgalian poets in the description of Latvian poetry, thus Valentīns Lukaševics and Juoņs Ryučāns together with Kārlis Vērdiņš and Marts Pujāts make up a characteristic trend. In the description of other genres Latgalian literature is not mentioned in this publication either. In this article the similarities and differences of Latvian and Latgalian literary revival process of the late 80s and the 90s of the 20th century are examined with special attention to the literary monthly magazine „Karogs” (Flag). The article deals with the development of literary process, cultural and historical methods are used to reach the aim of this paper – to find out what elements constitute the way to the establishment of Latgalian literature in Latvian cultural space and the importance of literary magazine „Karogs” in this process. There are several common trends of Latvian and Latgalian literary renewal in the 80s and 90s of the 20th century literary process: 1) return of repressed Latvian and Latgalian writers and their work to Latvian culture (such as Marta Skuja); 2) broad entry of exile literature into circulation for Latvian readership (Jānis Klīdzējs Marija Andžāne, etc.); 3) reprinted works, written during the 20s and 30s and unpublished in the Soviet time (Aleksandrs Adamāns); 4) in both traditions a number of exile periodicals begin to come out and some Latvian time periodicals are restored („Acta Latgalica”); 5) return of exile archives to Latvia („Latgaļu sāta”). Postmodern tendencies are observed not only in works of Aivars Ozoliņš, Jānis Vēvers or Gundega Repše, but also in creative work of O. Seiksts. Latgalian language and literature in Latvian cultural space has a special situation: there are important tasks to complete – to create a new alphabet, restore confidence in Latgalian literature in both traditions, the young and middle generation have to start writing in Latgalian tradition. Monthly magazine “Karogs” vividly reveals the new trends in Latgalian literature of the turn of the 80s and 90s, an important role is played by editor Andris Vējāns. It was „Karogs” which published one of the most influential texts of national awakening in Latgalian tradition – poem by O. Kravalis „Brōļ, pīmiņ!” (Brother, remember!). This publication is undeniably regarded as programmatic in Latvian and Latgalian literary traditions, declaring the return of Latgalian tradition and accepting the existence of both literatures. Among important publications in 1988 in the magazine about remembrance of Latgale cultural week, there was an article by Antons Stankēvičs „Atkusnī uzplaucis zieds” (A thaw flower) and Juris Pabērzs’ article „Skan joprojām” (It still sounds) where the role of the minister of culture Voldemārs Kalpiņš was emphasized. Poetry section published a poem of Antons Kūkojs „Atceroties Latgales kultūras nedēļu pirms 30 gadiem” (Remembering Latgale cultural week 30 years ago). The 1989 concept of magazine „Karogs” is obvious in publications of Latvian and Latgalian texts as a desire to respect the two literary traditions and present them to readers throughout Latvia. In 1990 and 2000 when the editor is Māra Zālīte, works of Roberts Mūks, A. Rancāne, J. Klīdzējs are published, some of them are in Latgalian, but mainly publications are in the Latvian literary language. There are two important articles in „Karogs”. Issue No.4, 1994 published Janīna Kursīte’s article „Latgaliešu literatūra – kas tu esi?” (Latgalian literature – who are you?), where the importance of dialects was emphasized and their ability to enrich the Latvian language, also this article pointed out the importance of periphery for the development of centre. Regarding recent Latgalian literature J. Kursīte’s assessment is blunt:”If one looks more carefully at what is published in the Latgalian literary language, one cannot overlook that artistically much of it is “rubbish”.” In 1997 was published Ilga Muižniece’s elegant review „Rūgtais pieradums – (ne dzīvot)” (Bitter habit – (not to live)) about O. Seiksts’ and V. Lukaševics’ novel „Valerjana dzeive i redzīni” (Valerjan’s life and opinions). The 90s mark two cultural traditions of Latgalian literature: 1) to some extent in the Latvian tradition Latgalian literature is viewed as an ethnographic tradition, which shows the possibilities of the Latvian language, diversity of traditions, complements Latvian literature with Latgalian vitality and charm, marks its catholic orientation, shows the natural beauty of Latgale; 2) Latgalian literature is considered an independent literature, writing in Latgalian is authors’ way of self-expression, it does not try to add anything to Latvian literary tradition, and it is based in Latgale and together with the Latvian literary tradition forms Latvian literature. Revival of Latgalian literature is one of the brightest features of culturally restored independent Latvia.
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Erdmane, Elīna. "Mātišķība mūsdienu latviešu dzejā: Inga Gaile, Anna Auziņa." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 135–42. http://dx.doi.org/10.37384/aplkp.2020.25.135.
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The article “Motherhood in contemporary Latvian poetry: Inga Gaile, Anna Auziņa” brings attention to and analyses a woman’s specific experience – motherhood, the mother’s role and identity in the works of Inga Gaile and Anna Auziņa, two bright Latvian poets, revealing the characteristics of a woman in contemporary social reality. The different experiences of women, intimate and other, reflection about the topical societal and cultural problems, which influence women’s lives, as well as protests against the inherited societal stereotypes regarding different women’s roles, including the many layers of a mother’s role, are all brightly depicted by both poets. The study looks for answers to topical, meaningful questions – what is motherhood, and how is it constructed? Can motherhood be only experienced by a woman? How does the experience of motherhood in real and literary terms differ from the cultural and societal view, in which mother is a symbol of selflessness and gentle care? What are the specific criteria for a mother’s role and how does reaching or failing to reach such criteria affect a woman? The analysis of poetry works is based on the theoretical and methodological field of feministic literature and criticism. The experience of motherhood reflected by the poets is divided and reviewed in four gradations: a woman’s attitudes towards the role of the mother, the fulfillment of her duties and her relationship with that experience; bodily experience (pregnancy, process of childbirth); the mother-child relationship (upbringing, a child’s role in women’s lives); motherhood and different familial models (the experience of a single mother, etc.).
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Ozoliņš, Gatis. "CREATIVITY OF CONTEMPORARY DIEVTURI GROUPS AS A CULTURAL POLITICAL DISCOURSE." Via Latgalica, no. 2 (December 31, 2009): 39. http://dx.doi.org/10.17770/latg2009.2.1609.
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Dievturība (dievturi - "God keepers", "people who live in harmony with God") is a newly created religious tradition having appeared in the second part of the 1920s – 1930s, its most essential source includes materials of Latvian folklore and folk traditions. These are interpreted by construing a religious ethical theory and creating a religion which is alternative to Christianity, with its own doctrine and rituals, and the conception of Latvianness in culture and politics. Latvianness is the most essential concept of cultural politics to which all activities of the dievturi are subjected (exaltation, family celebrations (krustabas, vedības (marriage), bedības (funeral)) as well as seasonal rituals, cultural historical excursions, tidying and spiritual restoration of the sacral sites (sacred places, castle mounds), folklore activities, article publications in mass media, summer thematic camps in the countryside marked by intensive mastering and cultivation of history and culture, celebration of Latvian public holidays and the most important remembrance days. Contemporary dievturi groups are seeking for new ideas in order to develop and popularize their conceptions, which can partly be characterized as a cultural political programme for theoretical (doctrine) and practical (exaltations, ceremonies, seasonal rituals) realization of Latvianness and its components. Within this publication, creativity means the system of ideas and values that promotes the development and perspectives of dievturi groups as well as includes them into a wider cultural political environment thus performing a culture-creating job. A special attention is paid to the essential ideas and values guiding the creativity of contemporary Latvian dievturi groups, making ample use of storyteller habitus, thus intentionally allowing the domination of group participant discourse. The two main directions of dievturi group participant creativity are the development of their doctrine (teaching) and the ritual practice (exaltations). These directions allow to attract wide attention of the society and mass media, new participants and supporters, to influence the political and cultural processes in Latvia. An important part in the doctrinal reflections of the dievturi, especially in the ritual practice (exaltations), has always been taken by Latvian literature writings. A selective choice of these supplement the textual canon of the dievturi continuing the tradition in line with “the mood of Latvian folk songs” and attributing a more modern shape and world outlook concepts to dievturi undertakings. The aim of an exaltation is always associated with the main cultural political concept of the dievturi – Latvianness, namely, to make Latvianness more active, to offer an opportunity to approach Latvianness, make efforts for deeper comprehension of it, being aware and living through it, although thematically it may be dedicated to separate components of Latvianness (people, land, language, God, Māra, Laima, work, virtues, human life, and the like). Also, the most essential ideas and values of dievturība – gender equality, domesticity, antiglobalism, ecology, traditional marriage formula, life style and appearance, environment (for example, use of Latvian language), music, art and literature priorities (classical and/or national music, use of local building materials and ornaments (all ornaments have been observed in Latvia’s nature), writers, poets and playwrights who most precisely depict the “Latvian spirit” – derive from folk songs and the cultural concepts deriving thereof. Activity in the field of Latvianness (ethnicity conception) is in accord with the activity in favour of the future of the Latvian people, symbolical non-forgetting of culture correspond to generating of culture. This attributes a political and social dimension to the cultural activity of dievturi. Dievturība does not perform an official cultural politics of cultural values, heritage, traditions etc., this is a task for politicians; however, it is at least a marginal participant of the cultural political sphere. Placing ethnicity, or the Latvian discourse, at the centre of cultural politics encompasses the range of further impact when the seeming encapsulation within the margins of culture are replaced by reflections on Latvian economy, guidelines in education and science, health care system, axiological juxtaposition of the countryside and city. Also, the evaluation and criticism of the activity of the Christian Church by the dievturi is connected with the conception of Latvianness. Dievturi strongly disclaim Christianity and any chance of mutual cooperation (and also vice versa), protest against its monopoly position in Latvian society, consider Christianity a historically alien religion having been forced upon Latvians and demanding the status of a traditional religion in Latvia also for dievturība including, for example, the right to wed, to celebrate religious festivals. The results of field research do not allow to speak about dievturība today as a strong and united manifestation of Latvian religious experience and way of life. Rather, it is possible to register (after the decline of the movement at the end of the 1990s and at the beginning of the 2000s) a quite consistent and sufficiently active revival which is connected with the appearance of new persons and creative ideas among Latvian dievturi. The future events depend on the fact whether dievturi themselves would be able to solve the protracted inner inconsistencies and find a uniting grounds for further development of the movement. The article is based on the study results obtained during the 2006–2008 field research carried out in dievturi groups (interviews with group leaders, participants and individual representatives, transcripts of audio and video materials). The study was carried out with the financial support of the project “Society and lifestyles” and using its accepted methods – ethnographic description, semi-structured interviews and methods of visual anthropology (photography, filming) and instructions by the Ethical Commission (for example use of assumed names for storytellers).
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Šuplinska, Ilga. "FUNCTIONS OF PERSONAL NAMES IN LATEST LATVIAN POETRY." Via Latgalica, no. 1 (December 31, 2008): 130. http://dx.doi.org/10.17770/latg2008.1.1596.
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In the period of postmodern culture, a lot of importance is attributed to mythological thinking and to the decoding of myths and current cultural signs. Therefore, the use of „talking” personal names which are perceived symbolically becomes relevant. As semiotic research points out: „For the mythological conscience it is common to see the world as a book, where cognition equals reading, which is based on the mechanisms of decoding and identification”. (Lotmans, Uspenskis 1993: 35) That means that for a better comprehension of prose, also in postmodern texts one has to pay attention to the choice of personal names, their frequency, and the presence and characteristics of cultural connotations. Bearing in mind that features of postmodern texts are the disregard of genre borders and marginalism, it can hypothetically be assumed that similar attitudes towards the use of personal names can be found in poetry. However, considering both recent studies of personal names and of poetry, it is possible to conclude that poetry pays little attention to the studies of personal names. Personal names are not very common in poetic texts, and poets use them quite precautiously (unless they link it to the tendencies within postmodernism as mentioned above). The objective of this article is to describe the functionality of personal names in latest Latvian poetry. The methodological basis of the work was obtained by studying the works of semioticians (R. Jakobson, Y. Lotman, B. Uspenskiy, Y. Levin, etc,), using the practical experience of philological text analysis (O. Nikolina, J. Kazarin), as well as by studying the attitudes of particular authors towards personal names (V. Rudnev, P. Florensky, A. Losev, G. Frege). The sources for the research for this article were anthologies of four young poetesses who were born in the 1970s and made their debut at the turn of the century, from which anthroponyms where taken for description: Inga Gaile’s „Laiks bija iemīlējies” (Time was in love, 1999) and „Kūku Marija” (Pastry Maria, 2007), Andra Menfelde’s „tranšejas dievi rok” (Gods dig trenches, 2005), Liga Rundane’s „Leluos atlaidys” (Great absolution, 2004), and Agita Draguna’s „prāts” (Mind, 2004). When analyzing the expressions of personal name in these anthologies, and thereby looking for mutual interconnections both within one anthology and from a comparative angle, a cultural sight of the generation born in the 70s (or at least of the „reading” intellectual part of that generation) could be identified. It turns out that the frequency and the uniformity/diversity of the usage of personal names can reveal tendencies of a particular trend. Clear spatial and associative semantic borders are revealed in the poetry of Agita Draguna and Liga Rundane, although it should be mentioned that personal names are very rarely used in the poetry. In contrast, the poetry of Inga Gaile and Andra Manfelde features a diversity of personal names, a tendency of appellativization, and a variety of interpretations of personal names. In the poetry of L. Rundane and A. Draguna it is possible to distinguish groups of personal names which unequivocally reveal the existence of their worlds, and mark the values of the lyrics. In the poetry of these authors two groups of personal names can be distinguished: 1) Poets: Andryvs Yurdzhs, Rainis, Oskars Seiksts (in the poetry of L. Rundane), Anthony McCann, Fjodor Tjutchev, Omar Hayam, Arseny Tarkovsky (in the poetry of A. Draguna) 2) Mythical characters: Shiva, Isida, Zuhra, Djemshid (in the poetry of A. Draguna), Virgin Mary (Jumprova Marija, in the poetry of L. Rundane). In the poetry of L. Rundane, one’s world has a Latgalian identity. In contrast, in the poetry of A. Draguna the world is more sought for, whereas one’s values seem to come from Eastern concepts of the mind and the meaning of a human life. In the poetry of I. Gaile and A. Manfelde the use of a personal name is aimed at: - marking one’s space, but unlike in the poetry of the authors mentioned above, it is full of doubts and controversies not only on the emotional level, but also regarding the values that one is looking for. Therefore personal names serve to reveal these controversies, not just to acknowledge one’s space; - a self-extinguishment of personal names and their change into simulacra, - or the process of mythologization of everyday life. It can be concluded that the limited use of personal names, of separate names, and of phrases which start with a capital letter, such as the lack of persistence in changing pronouns and generic names into the status of personal names (Miracle, You, Father of Noise, etc), proves the intensity of the perception of the mythical world, an expression paradigm common for postmodernism. (L. Rundane, A. Draguna). The relatively free and manifold use of personal names, their changes into generic names (contextual appellativization), the quest for general notions (lexical meanings), and the desire to create them (Barbie, harlequin, Aivazovsky, Lennon, Tanya, etc.) on the one hand create sumulacra, and on the other hand emphasize a mythologization of everyday life and the possibilities of its use in literary texts (through the use of figures or palimpsests).
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Gusāns, Ingars. "CULTURAL SIGNS IN TEXTS OF LATGALIAN BANDS." Via Latgalica, no. 8 (March 2, 2017): 139. http://dx.doi.org/10.17770/latg2016.8.2236.
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During ten years, since Latgalian popular music has returned to the mainstream Latvian music stage, 44 Latgalian music albums have been released. The lyrics of these songs are written by musicians, Latgalian and Latvian poets and as a result of teamwork of poets and music authors. The subject of the present research is represented by cultural signs in the song texts of Latgalian bands; the research object is song lyrics of Latgalian bands. Sources selected for the research are the song texts of Latgalian bands and performers: "Borowa MC", "Bez PVN", "Dabasu Durovys", "Green Novice", Laura Bicāne, "Kapļi". Some musicians and bands use Latvian and Latgalian folk songs in their music, yet they are not discussed in the present research. Other musicians use works of Latgalian poets, which are mentioned here only for comparison. Therefore, the key focus is on texts written by musicians themselves, collected from the released music album brochures and from correspondence with band members. The texts of schlager music bands are not examined here either, as they are worth making a separate research.It must be admitted that cultural signs in the examined texts do not occur particularly often, although the feature of the post-modernist culture is related to reassessment and mock of previous culture, the song lyrics are still rather romantic, traditional and compliant with the requirements of mass culture. The use of cultural signs is not characteristic of bands "Green Novice", "Bez PVN" and performer Laura Bicāne, therefore, the song texts of bands "Borowa MC", "Dabasu Durovys" and "Kapļi" are analysed the most. The research has been carried out based on the method of structural semiotics (J. Lotmans, R. Veidemane) by analysing cultural signs found in the selected texts.The signs related to cultural history are rather traditional: Latgale, Latgalians, rarely, some specific natural or geographical objects relevant to cultural historical events or associated exactly with the Latgale region. However, the search for territorial and ethnic identity and its construction for oneself and others (mostly, neighbours of other regions) is one of the main questions in the lyrics. As the mentioned bands "Borowa Mc", "Dabasu Durovys" and "Bez PVN" play popular, mass-oriented music, their texts are mostly intended for broad public, therefore, the first features that characterize the song lyrics of Latgalian bands are the cultivation and preservation of stereotypes. These stereotypes are divided into two groups:1) favourable, emotionally uplifting, sometimes even rousing self-confidence; 2) critical, prejudiced, causing negative atmosphere and emotions.The poetical rock band "Kapļi", which belongs to an alternative direction of Latgalian music and has ironic, sarcastic texts, sing about cultural signs related to Latgale in a completely different way. Their lyrics show a different view of things that are holy, inviolable, and indisputable to many Latgalians.Regarding cultural signs representing the folkloristic level, it must be noted that in this research ‘folkloristic’ is meant in the broadest sense of this word (not only folk compositions, but also events, objects, things that have become a part of folklore over time, often becoming subjects of literary tales), for instance, Pinocchio, the main character combines several characters: a fool, a body-builder, and even a lyrical ego seeking for its own identity. All character appearances, which are reflected in other songs about the modern hero, suggest that the character avoids activity or makes the new world unstable by drawing, making it from plasticine, using the phone, and consequently, creates a virtual world which is modern and transitory. "Dabasu Durovys" reveals their life philosophy and search for meaning with the help of historical cultural signs, for instance, the river Rubicon, known from ancient times, meaning the breaking of links to the past and not returning to previous situation, or the royal court of the Sun King, that symbolizes absolute monarchy, or Napoleon, etc.“Little man” and his daily life are related to another group of cultural signs. Depiction of daily life in poetry shows on the one hand that the author values the place and time of his life; on the other hand it demonstrates an artistic approach to everyday reality. These texts usually convey tragically ironical feeling and show modern typical dramas right beside us. Such characters most frequently appear in the texts of the bands "Kapļi" and "Dabasu Durovys".Even though cultural signs do not appear in the texts of Latgalian bands frequently, they are diverse. Cultural historical signs, which appear in patriotic and ironic lyrics, reveal authors’ homeland Latgale and Latgalians with their typical positive and negative stereotypes. Cultural signs related to Latvia and Europe highlight ironically sharp reality of emigration and infrequent visits to Latvia and are bound to several historical periods, which are mostly related to domestic, rarely social political situations.
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Gusāns, Ingars. "CONCEPT OF LATGALE IN LYRICS OF LATGALIAN SCHLAGER MUSIC BANDS." Via Latgalica, no. 11 (February 20, 2018): 66. http://dx.doi.org/10.17770/latg2018.11.3069.
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The visibility and success of Latgalian schlager groups in Latvia are of interest not only due to music composed by these groups, but even more regarding lyrics created by these musical associations, and especially concerning their relation to Latgale. The aim of the research is to describe the manifestations of the concept of Latgale in the lyrics of Latgalian schlager groups. The object of the research is the concept of Latgale, the subject of the study consists of the texts of Latgalian schlager groups (“Patrioti.lg”, “Galaktika”, “Ginc un Es”, etc.). The source of the study is 12 albums that have come out over the period of ten years (2008–2017). Both Latgalian (the Latvian language of Latgale) and Latvian texts are discussed. Latgalian groups sing about the same themes that are covered around the world – love, everyday life, reflection, quest for the sense of life, etc. The concept of Latgale is among them too. Taking into account that the term concept is often used in different linguistic and cultural spheres and its limits of understanding are quite extensive, in this study it is used in the linguacultural sense, i.e., concept is a unit of collective consciousness guiding towards higher spiritual values, which is linguistically expressive and which possesses ethno cultural features (Аngelova 2004). The first discoverer of the concept of Latgale is language. In this research it is the Latgalian language consistently used by some groups, for example, “Patrioti.lg”; also the last album of duet Inga and Normunds (2015) is completely in Latgalian, while other artists (“Galaktika”, “Ginc un Es”) use Latgalian lyrics only in separate songs written either by musicians themselves or by poets. In any case, at least some songs in Latgalian included in an album are positive examples of the liveliness and functionality of language. Geographical names are rather widely represented in the lyrics and serve as a confirmation of the territorial identity of Latgale. Several titles directly include an indication to Latgale, for example, the titles of the following albums – “Munai Latgolai”, “Latgaleite”, or the names of songs – “Latgale”, “Munai Latgolai”, etc. Latgale’s most famous geographical objects associated with our region in the rest of Latvia are mentioned in schlager songs. For example, Latgale’s largest lakes Rāzna and Lubāns, the river Daugava, the hills – Liepukalns, Mākoņkalns. The naming of geographic objects is inextricably linked with the sense of homeland. The lyrics of these songs acknowledge patriotism and pride about our land or region, partly attributable to the mentioned geographical objects; however, the manifestation of the concept of Latgale is often expressed in descriptive terms. Several authors successfully use the symbols of Latgale, thus influencing the listener’s awareness even more, for example, Latgale as the land of blue lakes – a traditional and positive stereotype of the region. Latgale is closely associated with Latgalians’ belief in God due to the strong Catholic traditions. Authors of lyrics include religious motifs truly believing in their hearts or emphasizing religious themes on purpose in order to particularly impress people of middle and older generation who make up one of the main parts of target audience. The song lyrics written by poets (Ineta Atpile-Jugane, Leontīne Apšeniece, etc.) stand out for their artistic and ideological qualities in contrast to texts created by musicians themselves. In their poetry too there is a call to stay, live and work in Latgale. It should be considered a positive trait that Latgale is not shown as a wictim, but it is a place that symbolizes hope and patriotism. As the main function of schlager music is entertaining the listeners, a number of texts depict cheerful social and party situations where beer belongs as one of the unwritten symbols of Latgale and Latvia. Also a significant part of Latgale is song, which gives strength and unites people. The portrayal of Latgale in lyrics mostly invokes nostalgic and positive emotions, confirming Latgalian values and objects that are known to common listeners.
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Dreiblathens, Aldis. "Pašvaldību tiesību realizācijas problemātika Latvijas ostu tiesiskās aizsardzības jomā." SOCRATES. Rīgas Stradiņa universitātes Juridiskās fakultātes elektroniskais juridisko zinātnisko rakstu žurnāls / SOCRATES. Rīga Stradiņš University Faculty of Law Electronic Scientific Journal of Law 2, no. 8 (2017): 95–101. http://dx.doi.org/10.25143/socr.08.2017.2.95-101.
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Latvijas tiesību zinātnē līdz šim nav pietiekoši pētīta ostu tematika. Aldis Dreiblathens savā rakstā analizē pašvaldību tiesības Latvijas ostu tiesiskās aizsardzības jomā. Nozīmīgākie problēmas aspekti ir saistīti ar valsts institūciju un pašvaldību kompetences noteikšanu. Little research so far has been done in Latvian jurisprudence regarding the subject matter of ports and harbours. Aldis Dreiblathens analyses municipality rights for legal protection of Latvian ports in his article. The most problem areas concern defining the competencies of the state and local municipalities.
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Dreiblathens, Aldis. "LEGAL SPECIFICITIES AND PROBLEMS IN LATVIAN PORTS` REGULATIONS." Administrative and Criminal Justice 1, no. 70 (March 31, 2015): 51. http://dx.doi.org/10.17770/acj.v1i70.4321.
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The importance and the great potential for improvements for Latvian ports are directly linked to its geographic position, being located between Europe and Asia. This is why due to the essential role it plays in maritime, Latvian ports cannot be excluded from the international law of the Sea. A prerequisite for maritime safety insurance in ports is the development of maritime security and port legal acts in accordance with the modern international law and regulations. Operations of the major ports in Latvia as well as the maritime safety in ports are controlled and regulated by binding rules issued by municipalities. This study focuses on examining the norms included in the port regulations as well as to what extent ports are capable of ensuring navigation safety in ports according to the legal framework. The study also compares and analyses the differences in legal frameworks in the major Latvian ports, their solution in improving the regulations as well as suggesting a possible way on how the port rulemaking body should be structured.
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Dreiblathens, Aldis. "THE LEGAL PROBLEMS OF ENVIRONMENTAL POLLUTION PREVENTION IN LATVIAN PORTS." Administrative and Criminal Justice 1, no. 78 (March 31, 2017): 55. http://dx.doi.org/10.17770/acj.v1i78.2797.
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Still more are issued in Latvia legislation in pollution prevention and are increasingly made environmental protection measures and pollution prevention procedures, documentation and training the staff responsible. The ports of Latvia, as an essential component of maritime shipping must take a definite position on the prevention of marine pollution. The port authorities, as the United Unions and IMO Member State, in accordance with THE recommendations of the ingredients, should be laid down for the regulations, which not only to facilitate, but also to contribute to the work of the authorities responsible for the investigation of maritime accidents and pollution reduction. Work examines how the local governments of Latvian big ports in process of issue of port rules, account shall be taken of the HELCOM recommendations, as well as the improvement of the knowledge of the regulatory framework is provided and how to improve the fight against environmental pollution and development of Latvian ports.
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Līduma, Diāna, Aija Kairēna, and Māris Priedens. "COMPARATIVE ANALYSIS OF LEADING PORTS OF LATVIA: COMPETITIVENESS OF LIEPAJA PORT." Problems of Management in the 21st Century 10, no. 1 (June 25, 2015): 26–36. http://dx.doi.org/10.33225/pmc/15.10.26.
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There are 10 operating ports in Latvia and 3 of them – Liepaja, Ventspils and Riga ports are regarded as the leading commercial ports. Role of port operation in the economics of region and country is essential from the point of view of employment and entrepreneurship. This is based with data on investment of operation of Latvian ports in GDP, on average it is assessed to be 5-7% annually. In the context of employment, Liepaja Port gives work to 6.9% of human resources of the city. However, concern about the competitiveness of Liepaja Port influenced by the proximity of more developed competitive ports, technical possibilities of the port and dynamics of freight turnover has occurred in recent years. Therewith in framework of this article in the context of such criteria as location of ports and their technical parameters, volumes of freight, specialization and costs of ports, the operation of leading ports of Latvia is intercompared and analyzed by clarifying whether Liepaja Port is competitive among other ports of Latvia. Opinions of port experts on perspectives of port development and statistical data of ports from 2011-2013 are analyzed within the framework of the article. The aim of the research is to clarify the comparative advantages of ports of Latvia. The research revealed that the provision of competitiveness of Liepaja Port is to be related with application of the available free territories, advantages of location in relation to the Scandinavian market, and the necessity to develop the cooperation among ports of Latvia to offer joint freight acquisition, distributions and unified logistics solution and strengthen the position of ports in the circumstances of international competition. Key words: competitiveness of ports, freight turnover, port parameters.
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Dreiblathens, Aldis. "Kapteiņdienestu loma kuģošanas tiesiskās aizsardzības nodrošināšanā Latvijas ostās." SOCRATES. Rīgas Stradiņa universitātes Juridiskās fakultātes elektroniskais juridisko zinātnisko rakstu žurnāls / SOCRATES. Rīga Stradiņš University Faculty of Law Electronic Scientific Journal of Law 2, no. 5 (2016): 86–97. http://dx.doi.org/10.25143/socr.05.2016.2.86-97.
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Darbā tiek pētīta kuģošanas drošības un kuģošanas aizsardzības problemātika Latvijas ostās un kapteiņdienestu loma šajos procesos. Darbā secināts, ka kapteiņdienestu loma kuģošanas aizsardzības nodrošināšanas procesā ir nepietiekama. The article analyses the safety of navigation and maritime protection problems in Latvian ports and Harbourmaster’s role in these processes. It leads to the conclusion that Harbourmaster’s role in maritime protection assurance process is insufficient.
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Avotiņa, Laura. "MYTHICAL TIME AND SPACE IN THE POETRY OF ULDIS BĒRZIŅŠ." Via Latgalica, no. 1 (December 31, 2008): 118. http://dx.doi.org/10.17770/latg2008.1.1602.
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One article describes the writings of Uldis Bērziņš, one of the most prominent Latvian poets and translators (and also a dissident) who made his debut in the 1960s. It focuses on the aspect of time and space. The 20th century is a time of re-evaluation of values and of a search for new ways of self-expression. Entrenched mythical notions experience transformation and renaissance. Hystorical myths as a source of instigation for Latvian literature (also in folklore) reach their climax in the 1920-40s and 1960-80s, i.e. in a period when problems of ethnic identity were emphasized more than ever. Uldis Bērziņš in his poetry successfully blends trends of modernism (and some of postmodernism) with mythical reality. He thereby refreshes the message of Latvian life, as well as reinforces particular trends common for whole humankind, which the author accomplishes with the help of cultural signs densely introduced into the texts. The objective of the paper is therefore to identify and emphasize dominant details of mythical time and space in the following anthologies by the Uldis Bērziņš: „Piemineklis kazai” („A Goat’s Monument”, 1980), „Poētisms baltkrievs” („The Poetism Belarussian”, 1984), „Nenotikuši atentāti” („Assassinations which never took place”, 1990), „Laiks” („Time”, together with Juris Kronbergs, 1994) and „Nozagti velosipēdi” („Stolen bicycles”, 1999). For the more detailed description of the peculiarities of the author’s works and for understanding the connection between the linguistic elements and the ethnical specifics of thinking, it was decided to use methods which are new to Latvian literary theory and are not so commonly referred to. Namely, a philological method was used for the in-depth text analysis (Николина 2007), and a linguo-culturological one for researching the connection of language and culture (Хороленко 2006). Speaking about U. Bērziņš’ notion of mythical time and space, it is referred to as an „eternal now” situation, which also includes details of historical and psychological time and space. However, mythical time and space is dominant: texts of the poems contain a very dense layer of mythologems (Odin, Odysseus, Thor), images (trees, mountains, wheels) and mythical concepts. This layer very often merges with the layers of folklore and religion which are introduced into the texts by means of stylization and reminiscences or allusions. The paper is organized according to the three dominant features of myths in the texts of Uldis Bērziņš – dichotomy, cyclicity, and syncretism. These are revealed with the help of particularly rich micro details and cultural signs and the transformation of folklore motives. Dichotomy as a disclosure of two aspects of one whole is carried out in the artistic space within the oppositions here and there, on the top and on the bottom, center and periphery, or insider and alien. These are characterized by symbolic notions of a mountain or a bridge, images of Riga and the Daugava, as well as the introduction of a mediator (a goat, bird or a ghost), which reach over the borders of time and space. Thereby the poet emphasizes fundamental ontological aspects which are concentrated in the semantic meanings of the notions of time, eternity and lifetime. In turn, by means of linguistic elements (not only semes, but also syntactical structure and pragmatic elements) Uldis Bērziņš pays attention to the multifunctionality and uniqueness of a language, and is trying to reach the level of a parent language. Within these dichotomies, the images, motives and signs also actualize a historic time and space. Thereby, a background for the disclosure of subtextual layers is organized, and simultaneously a point of view for several artistic chronotopes is expressed, which is interpreted as a symbiotic process in the poetry of Uldis Bērziņš. The search of oneself in the context of eternity is expressed with the help of the cyclicity principle. This is at the same time a tool for the illustration of different time spaces, which creates a synthesized model of an artistic world with a polyphony of linguistic elements. The cyclicity indicators in the poetry of Uldis Bērziņš are the images of a wheel, mill, and ball, as well as the interaction of the change of cycles of nature and human life. Special attention is paid to the points of intersection of time, thereby marking the Latvian year and the course of human life. In addition, the acknowledgment that the cycle is never-ending and repetitive, makes us look for interconnections with the philosophy of existentialism and a possible fulfillment of the meaning of life. Syncretism, on the contrary, as a combination of several different traditions, allows Uldis Bērziņš to emphasize features of cultural, linguistic and ethnic identity. In the united whole, i.e. in the interpretations of a sign, motive, image or myth, there is an accumulation of a few notions that create a peculiar effect of surrealism in a poetic text. For Bērziņš, syncretism is discovered in an image of a city, a sound, personal names (Peteris, Juris), religious characters (Jesus Christ, Krishna), and myths of the creation of the world. To find features of syncretism in a text, a reader does not only have to have some knowledge of mythology, religion, or culturology, but also needs associative thinking, since the poet often plays with phonemes and facts by linking them in rhythmically symbolic combinations. To sum up Uldis Bērziņš’ notions of mythical time and space, it can be concluded that the poet successfully uses the means of language, its meanings, its peculiar functions and associative nets in order to create a synthesized model of the mythical, historical, and psychological time space. This requires additional attention from a reader, because each poem is a subtextually dense discloser of a cultural heritage and an indicator of the search of oneself.
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Veršiņina, Nataļja. "A. N. YAKHONTOV IN LATVIA." Via Latgalica, no. 6 (December 31, 2014): 182. http://dx.doi.org/10.17770/latg2014.6.1667.
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The aim of this article’s research is the recovering of facts about visits of a Pskov poet Alexander Nikolayevich Yakhontov in 1850–1889 to Latvia. Yakhontov’s life was associated with Latvia for forty years, not only in terms of biography, culture and education, but also in the aspect of creativity. However, until now diverse Yakhontov’s connections with Latvia were not systematized and literary studied by local history; archival materials, stored in the Manuscript Department of Pushkin House, and a manuscript of poems by Yakhontov, located in the Pskov museum-reserve, were not introduced in the scientific process. This article releases the first Latvian text in poetry by Yakhontov, who was predisposed to assimilate the cultural environment by the features of his upbringing and education character: translation activities, that began in Tsarskoye Selo Lyceum and entrenched during his European travels in 50–80s, by the interest in culture and life of other people, their history and modernity (books for popular reading “Journey to the Northern Territory of Russia”, “People’s War in 1812” et al.). Being the translator of European literature (J. W. Goethe, F. Schiller, H. Heine, G. E. Lessing, A. Mickiewicz et al.) and the educator in the broadest sense, Yakhontov perceived Latvia as a special area, that combines elements of Russian and European mentalities, aesthetic influence of Slavic and Western cultures. At the same time, the analysis of poetic texts reveals, that he was quite aware of the unique nature of Latvia and the special aesthetics inherent in its discreet seascapes. Yakhontov’s position – as a poet and translator, as well as the specifics of his life circumstances (the need for mud therapy in the resorts of the Baltic states) – was the basis of the scientific methodology, used in the article: biographical, historical and literary, cultural and historical, textual research methods. The study shows, that the main place for Yakhontov’s visits in Courland was Libau (Liepāja – since 1918). Oversea routes of Yakhontov took him through Libau, where he (and later – his wife and son) had the treatment for several times. In the poetic world of Yakhontov Libau held a special place, symbolizing the pristine, wild nature, opposed to the orderly, resort, recreational space. The analysis of previously unpublished epistolary heritage of Yakhontov, compared with the text of the poem “Libau”, helps to clarify its dating, the story of creation and further processing in the book “Poems by Alexander Yakhontov”, edited in 1884. It has been found out that “Libau” opens a lyrical cycle – “On the seaboard”, “By the sea again” and “Calm”, created in 1857 and 1860. It can be concluded, that Yakhontov’s poems inspired by stas in Liepāja and other places of Kurland, can not only identify new, previously unexplored facts of his biography and poetry, but also provide an opportunity to imagine the natural and cultural environment, that characterizes Latvia in this period. Thanks to Yakhontov, the seascape of Libau and experienced moods, which covered an observer in the minutes of contemplation of sea space, can be represented. Being a so-called secondary poet, Yakhontov could convey the uniqueness of experienced sensations, which did not prevent the literary plaque and an abundance of poetic style, which in the context of the Latvian cycle are perceived as the carriers of cultural experience.
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Timofejev, S., S. Khanin, A. Punte, K. M. F. Platt, and J. Bloch. "THIRTEEN RUSSOPHONE POEMS FROM LATVIA." Common Knowledge 19, no. 2 (April 1, 2013): 318–33. http://dx.doi.org/10.1215/0961754x-2073339.
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Bodniece, Līva. "Vergilija „Eneīdas” mēģinājumi latviešu heksametros." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 231–45. http://dx.doi.org/10.37384/aplkp.2021.26-2.231.
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This paper presents the compilation and analysis of the Latvian translations of the Aeneid, the Latin epic poem written by Virgil (Publius Vergilius Maro), from the first attempts in the late 19th century until the most recent publication in 1970. The materials analysed also include republications of translation excerpts. The source texts are arranged and revised chronologically, and the text analysis is achieved through the comparative method. Particular attention is paid to the translation issues of the dactylic hexameter, the ancient meter also known as “the meter of the epic”. There is no tradition in the Latvian cultural context to render epic poems into prose or any other meter than the dactylic hexameter. Augusts Ģiezens is the most prolific translator of epic poems in Latvian and has translated all Ancient Greek epic poems and the Roman Aeneid. Consequently, his version of the dactylic hexameter has established itself as an example for many generations of readers. The reason for this is the lack or unavailability of other translations. The comparison of translations also offers a look into the rendering of ancient proper nouns. Particular care is devoted to critiques of the translations as published by contemporaries in the press. The variations of translation strategies in early 20th-century poetry renderings in terms of both meter and proper noun rendering lead to the conclusion that attempts in creating a Latvian hexameter have not yet been exhausted and are likely to find new manifestations, particularly in Latvian ancient poetry translation.
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Surovcova, Ruta, and Sandra Murinska. "TECHNIQUES OF INFORMATION SPACE MODELING IN MILITARY FIELD." Latgale National Economy Research 1, no. 11 (October 15, 2019): 108. http://dx.doi.org/10.17770/lner2019vol1.11.4243.
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The aim of the paper is to research and analyze the features of the National Guard's image formation in the information space of Latvia. It is viewed within the framework of the study how the image of "the National Guard" and "a national guard" is constructed in the texts and how these constructs vary in the blog "Ivars Chiekurs and His Adventures" [in Latvian “Ivars Čiekurs un viņa piedzīvojumi”]. Eight blog posts are analyzed using discourse analysis. The criteria selected for analysis were the following: subject, attitude, comparisons, description, and action. The image of the National Guard on the blog "Ivars Chiekurs and His Adventures" is not unequivocal. On the one hand, the National Guard is a value and is seen as a panacea for any security threat. On the other hand, the National Guard is blamed for lying and maintaining myths, for not wanting to leave the comfort zone, taking the initiative and fighting to improve the training process and provision.
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Mazure, Līga. "CONTRIBUTION OF LATGALE LAWYERS TO FOUNDATION AND DEVELOPMENT OF THE STATE UNTIL 1940." Via Latgalica, no. 10 (November 30, 2017): 49. http://dx.doi.org/10.17770/latg2017.10.2762.
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Society, the state, and the law – these are the three interrelated interacting institutions. From the society comes the initiative for the foundation of the state. The society may be strongly motivated in this process or it may follow the dream of independence intuitively. The state then creates the legal system for organization of the society and the existence of the state. Active representatives of the society who participate in the foundation, formation and strengthening of the state make an integral part of this process. These are representatives of different occupations – clergymen, writers, cultural figures, lawyers, etc. The aim of this research is to study the contribution of the lawyers of Latgale to the foundation of the Republic of Latvia and its development until 1940. Literature that covers three fields has been used in the research. First of all, this is the literature on the most important historical facts of Latvia and Latgale about the period of the First Free Republic of Latvia, finding the most active people who participated in these events. Secondly, literature about the 1917 Latgale Congress is analysed in the study, considering its significance in the foundation of the State and summarising its participants. Thirdly, literature about lives of these participants was studied, analysing their origin, relation to legal education and assessing the contribution of the representatives of Latgale justice system to the foundation and development of the State until 1940. The following research methods are used in the study: analytical, historical and systemic methods. The National Awakening of Latgale is traditionally associated with the period from 1904 until 1917, that is, from the lifting of the printing ban until Latgale Congress in Rēzekne on May 9 and 10, 1917. However, the supported opinion that the Awakening of Latgale has been already initiated between the 60s and the 80s of the 19th century is expressed more and more convincingly. In this period considerable activities of the Latgalian spirit are felt that led to freedom from the status of the Inflanty of the Vitebsk Governorate and to acquiring the name of Latgale. Thus, two representatives of the Latgale system of justice are to be mentioned in this period – Gustavs Manteifelis and Pīters Miglinīks. The lawyers of Latgale made a significant contribution to the foundation and formation of the Republic of Latvia. At the 1917 Latgale Congress, the Provisional Land Council of Latgale was formed that together with the Provisional Land Councils of Vidzeme and Courland worked in the Latvian Provisional National Council, promoting the foundation of the Republic of Latvia. The lawyers of Latgale also participated in this congress and were elected to the Provisional Land Council of Latgale (for example, Jānis Grišāns, Antons Laizāns, Pāvils Laizāns, Juris Pabērzs), as well as worked in the government of the Republic of Latvia – holding high official positions (for example, J. Pabērzs (Minister of Justice, Minister of Social Welfare), Pauls Mincs (Minister of Labour), Antons Rancāns (Minister of Transportation)), and achieving notable success in their professional activities (for example, A. Laizāns, J. Grišāns, Broņislavs Trubiņš, etc.), thus strengthening the Republic of Latvia. Despite the limited financial, social and other opportunities of the people of Latgale at the time, a relatively large number (12 people) of legal representatives made a significant contribution to the foundation of the State. The lawyers of Latgale generally came from farmers’ families; this fact only testifies to their fighting spirit. Access to legal education was relatively difficult because the nearest educational institutions that offered it were the University of Saint Petersburg, the University of Moscow and the University of Tartu. And only at the end of the period under study, such education was offered at the University of Latvia. Still, the representatives of Latgale obtained academic legal education, even at the Master’s degree level. In one exceptional case, legal skills were self-taught (P. Miglinīks), besides, to an excellent level. This is confirmed by the achievements of this lawyer of Latgale in practical activity and the contribution to the formation of the State. The origins of Latgale lawyers of the period under study covered practically the whole of Latgale, because their places of birth were in the districts of Rēzekne, Daugavpils, and Ludza. Even though some of them left for work in Rīga, some of them stayed in Latgale; still, regardless of the place of residence, the connection with Latgale was not lost, but contribution to the formation of the state was made. The activity of the lawyers of Latgale in the period under study was diverse in its content, wide in its range, and directed at a common aim. Firstly, through their professional activity they provided legal services, being, for example, lawyers, notaries, legal advisors; as well as provided legal aid to society, for instance, translating the Russian law into the Latgalian language, representing in court pro bono. Secondly, the lawyers of Latgale held high official positions, for example, there were three ministers among them, as well as members of parliament, state controllers, and judges. Thirdly, they also actively performed public activity, for example, joining societies (including professional societies), participating in publication of newspapers and other printed matter, being writers, poets, and songwriters. The activity of the lawyers of Latgale covered not only the national scale of Latvia, but high achievements were made at the international level both in social (G. Manteifelis) and professional (P. Mincs) activity. Furthermore, they worked as jurists, for example, P. Mincs, whose work was published again in the modern times. The work of all lawyers of Latgale was directed at a common aim – state under the rule of law – by promoting its foundation and strengthening the newly formed State. The significant contribution of the lawyers of Latgale to the interest of the State is also confirmed by the high awards received. Firstly, for the contribution to the benefit of the Republic of Latvia, national awards were received, such as the Order of the Three Stars, The Cross of Recognition, Lāčplēsis Military Order, and the Cross of Merit of Aizsargi. Secondly, for achievements on the international level, high awards of other states were received such as the Hungarian Order of Merit, the Russian Cross of Saint George, the Order of the Lithuanian Grand Duke Gediminas, an honorary diploma of the Leipzig museum, thus with honour representing the name of Latvia abroad. The contribution of the lawyers of Latgale is significant – in the implementation of the National Awakening of Latgale, in the foundation of the Republic of Latvia, in the development and strengthening of the Republic of Latvia. These historical events significant to the Republic of Latvia occurred with active involvement of the lawyers of Latgale and their important contribution.
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Bulavs, Vilnis. "Kārlis Cemiņš – mākslinieks un pedagogs." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 12 (December 21, 2020): 89–113. http://dx.doi.org/10.37384/sm.2020.12.089.
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Kārlis Celmiņš (1894–1973) is one of the less famous Latvian artists. He was born in Cēsis as the fifth, the last child in his family, the only son. He received an artistic education at Stroganov School of Arts in Moscow. Still studying at this school, Celmiņš took part in the IV Exhibition of Latvian Art in Riga in 1914. After he had finished school, he was drafted into the Russian Empire’s army, where he was assigned a painter decorator of his regiment. Celmiņš returned to Latvia in 1918. After working as a teacher of drawing in Madona for two years, he moved to Jelgava. There he worked as a teacher of arts in Jelgava Classic Gymnasium. During the time of independent Latvia, Celmiņš actively took part in Jelgava’s artistic life. He regularly displayed his works at society’s “Zaļā Vārna” and other exhibitions and organized exhibitions himself together with students of the gymnasium. Celmiņš had many-sided artistic interests. He was not only painting and drawing but also doing graphics, applied arts, making silver jewelry, and writing poems in his leisure time. The monument devoted to the Latvian soldiers who fell in action in 1916–1917 was made after the artist’s project. Almost all works of the master were destroyed in the ruins of Jelgava during the war in 1944. Celmiņš felt very sorry about this loss. The artist and his wife and children moved to Dundaga after Jelgava was destroyed, but when the war was over, they settled in Tukums. There Celmiņš worked in a ceramics workshop as a decorator of ready-made plates and dishes. In 1946 the artist was invited to work at the School of Applied Arts in Liepāja. The rest of his life Celmiņš spent in this city. The artist painted portraits, landscapes, still-lifes, and decorative compositions with plants, flowers, and the sea all his creative life. He did his works with oil, watercolours, colour chalks, and pencil. The life of the free-thinking artist was not easy during the Soviet occupation. Many people did not understand the art of Celmiņš. At the end of his life, the master organised several personal exhibitions in Liepāja, Jelgava, Cēsis. Many interesting paintings of flowers done with watercolours, pastel, and colour oil chalks were displayed in his last exhibition, “Flowers” in 1973. Those were the paintings of gladioli, irises, calla lilies, and other flowers made during the last years of his life. Celmiņš died in Liepāja on 16 October 1973, leaving a wide range of works of his individual, unique style.
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Butkus, Vigmants. "Kaža Biņķa „Vējgrābslis” un Aleksandra Čaka „Pilsētas zēns” kā lietuviešu un latviešu modernisma programmas." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 58–66. http://dx.doi.org/10.37384/aplkp.2021.26-1.058.
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The article analyses two poems: a poem “A Giddy-Headed” (Vėjavaikis, 1923) by Kazys Binkis (1893–1942) and a poem “A City Brat” (Pilsētas zēns, 1929) by Aleksandrs Čaks (true name Aleksandrs Čadarainis, 1901–1950). The analysis is based on a kind of poetics that could be called micropoetics. Both poems are treated as the modernist programmes of unique Lithuanian and Latvian literatures compared in all essential aspects: 1) conception of man and world; 2) relation to earlier literary trends; 3) genre, expressive means, etc. “A Giddy-Headed” expresses a more abstract, more symbolic, more passionate variant of modernism closer to futurism. “A City Brat” conveys a more realistic, more ironic instance of modernism. Lithuanian modernist poetry, represented by “A Giddy-Headed”, is much closer to the traditional rustic and ethnic culture. In comparison with Latvian poetry, this poetry lacks a stronger urbanistic paradigm, nuanced expression, and a more self-critical attitude.
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Kampāne-Štelmahere, Sintija. "Latvju dainu atbalsis Veltas Sniķeres lirikā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 124–34. http://dx.doi.org/10.37384/aplkp.2020.25.124.
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The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.
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Ezergailis, Inta. "Vizma Belševica—A soviet Latvian poet's imagery of woman and the house." Journal of Baltic Studies 17, no. 2 (June 1986): 143–55. http://dx.doi.org/10.1080/01629778600000061.
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Senkāne, Olga. "POETRY BY RAINIS IN LATGALIAN." Via Latgalica, no. 4 (December 31, 2012): 81. http://dx.doi.org/10.17770/latg2012.4.1690.
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<p>Research „Poetry by Rainis in Latgalian” tried to establish impulse and reasons for publishing poetry by Rainis in Latgalian (original texts and renderings) using biographical method, but semiotic methods helped to analyze poetic means in poems written in Latgalian, revealing meaning of concept „Munu jaunu dīnu zeme” (Land of My Youth) in poem by Rainis and Latgalian culture.</p><p>Poems by the most significant Latvian literature classic Rainis (1865–1929) in Latgalian can be divided into original texts („Sveicins latgališim”/Greetings to Latgalians), original texts with renderings into Latvian („Munu jaunu dīnu zeme”/Land of My Youth) and renderings from Latvian (at least 16 poems from selections: „Tālas noskaņas zilā vakarā”/Far off Echoes on a Blue Evening, 1903;„Tie, kas neaizmirst”/Those Who Don’t Forget, 1911; „Gals un sākums”/The End and the Beginning, 1912), besides, surely we can say author’s renderings are only „Munu jaunu dīnu zeme” (Land of My Youth) has well as all other texts from literally scientific and social magazine „Reits” (Morning), because Rainis had been one of the editors of this magazine. Poems by Rainis published in Latgalian in newspapers – „Drywa” (Cornfield), „Gaisma” (Light), „Latgolas Wòrds”(Latgalian Word), „Jaunò straume” (New Flow) – are possibly work of authors of these periodicals, considering significant differences in stylistics with magazine „Reits” (Morning) and earlier published poems by Rainis.</p><p>Publishing of original texts and especially renderings in Latgalian press are mainly related to political activities of Rainis. But writing in Latgalian for Rainis also meant remembering his roots, remind of cultural wealth of native land and value; being a mediator in strengthening people’s unity and widening own supporters as well as the number of readers.</p><p>In the discourse of Rainis personality and creative work „Munu jaunu dīnu zeme” (Land of My Youth) is 1) homeland, native nature and home of poet’s childhood and colorful impressions of his youth (Rainis father’s rented manor house (semi-manor house) in Zemgale and Latgale); 2) Rainis’ land of youth is writer’s „second homeland” – Latgale, its’ nature, people and language; 3) particular semi- manor house in Latgale – Jasmuiža.</p><p>Origination of lyrical Me is emphasized in epos „Saules gadi” (Solar years) – Latgalian was born. From Rainis point of view Latgale is multinational keeper of authentic cultural values. About eight languages had been spoken in Rainis family. In Latgale, customs, folk-songs have been maintained untouched owing to certain isolation, historical and administrative separation from other parts – some kind of reserve effect. During years of his studies Rainis had intended to write a book about civilization untouched Latgale, but this intention left unimplemented.</p><p>Memories about homeland motivated Rainis to write and render into Latgalian, but original texts in Latgalian – „Munu jaunu dīnu zeme” (Land of My Youth) and „Sveicins latgališam” (Greetings to Latgalian) – were written on behalf of stylistic searches in particular period of Rainis creative work; they chronologically incorporate with philosophical stage (according to Janīna Kursīte). In this time poet’s ontology forms, still balancing between allegory (transmission transparency, dichotomy) and symbol (polysemy and ambivalence) structures.</p><p>In Rainis’ neo-romantic (1895–1904) and allegoric stage (1905–1909) poetry nature cycles project mainly society, not individual; only humanity will exist and revive eternally, precondition of immortality – death and birth of individual people.</p><p>In the poetry of philosophical stage (starting from 1910) Rainis frequently lingered on individual’s immortality reflection, which he called search and recoveries. A person lives not only according to nature laws, but according to existence laws and dies according to these same laws. Symbol, most frequently mythologeme, becomes a sign of existence glimpse for Rainis; lyrical Me of Rainis is awaiting new experience, knowledge, and moral enlightenment. One has to search in order to find, and searching/cognition signal in his poems is a cycle of time and space (nature, society, human) and three- dimensional structure (outer world/history, individual/soul, philosophy/ being). In the poem „Munu jaunu dīnu zeme” (Land of My Youth) it is possible to follow 3 of the mentioned cycles development in peculiar symmetry: 1st , 6th stanzas are a framework of individual’s inner cycle – dream/illusion/ desideratum and interchange of wakefulness/ reality/ actuality; 2nd and 4th stanzas contain nature cycle allegory – nature in spring awakes from winter sleep; while 3rd and 5th stanzas are related to social processes, which are covered with day-and-night cycle. Basics of symmetry – state of sleep and awakening in all levels of previously mentioned time and space, creating triple parallelism.</p><p>It is interesting how stanzas within a single cycle (1 and 6, 2 and 4, as well as 3 and 5) mutually relate: 1st , 2nd and 3rd stanzas contain reminiscences as symbolic sleep/dream abstractions of Rainis previously written poetry, while 4th , 5th and 6th stanzas specify something in nature, society and individual’s desires, dreams which have to wake up. Reminiscence carries out necessary associations for philosophical perceiving of functions time and space cycle, but especially – form and maintain transmission basics: historical (people’s destinies) – 3rd stanza, psychological (individual’s dreams, desires) – 1st stanza, philosophical (order of existence) – 2nd stanza.</p><p>The above mentioned allows stating that poem created by Rainis in Latgalian „Munu jaunu dīnu zeme” (Land of My Youth) indeed incorporates into Rainis creative work philosophic stage, where allegory as a supplementary tool and symbol as a dominant harmonically gets along with poet’s revelation of ontological sense.</p><p>Poem „Sveicins latgališim” (Greetings to Latgalians) has one addressee – a Latgalian, new reader of the newspaper. The text is artistically created on the allegoric stage standards of Rainis creative work – here features of one cycle (human in society) are present. Social cycle stages revealed in the poem are parting/uniting, hatred/love, old life/new life, celebrations/work.</p><p>Artistic structure of poems in Latgalian indicates on dominance of allegory or symbol in time and space. Cycle has a special meaning in reflection of existence order.</p>
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Savickis, Silvestrs. "Digitālā dienaskārtība un publiskā diplomātija Latvijā." SOCRATES. Rīgas Stradiņa universitātes Juridiskās fakultātes elektroniskais juridisko zinātnisko rakstu žurnāls / SOCRATES. Rīga Stradiņš University Faculty of Law Electronic Scientific Journal of Law 3, no. 18 (2020): 167–76. http://dx.doi.org/10.25143/socr.18.2020.3.167-176.
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Publiskā diplomātija ieņem aizvien nozīmīgāku lomu pasaules valstu ārpolitikā. Informācijas tehnoloģiju attīstība un sociālo tīklu popularitātes straujais pieaugums liek diplomātiem izmantot modernos informācijas kanālus publiskās diplomātijas un ārpolitikas mērķu sasniegšanai. Sociālo tīklu izmantošanas efektivitāti iespējams izmērīt, noskaidrojot diplomātu spēju veidot vēlamo dienaskārtību digitālajā vidē, kas arī ir šī raksta mērķis. Publikācijā aplūkota Latvijas Ārlietu ministrijas spēja veidot digitālo dienaskārtību publiskās diplomātijas laukā. Šī publikācija ir plašāka pētījuma sastāvdaļa, kura ietvaros tika analizēti trīs Baltijas valstu Ārlietu ministriju oficiālo Facebook kontu ieraksti 2019. gadā. Pielietojot Oksfordas Universitātes digitālās diplomātijas pētnieku izstrādāto metodoloģiju, tika analizēts, kādas ir katras valsts publiskās diplomātijas prioritātes digitālajā vidē, kā arī publikas reakcijas un iesaistes apjoms, reaģējot uz šīm prioritātēm. Pētījuma rezultāts ļāva pierādīt, ka Latvijas Ārlietu ministrija spēj veidot digitālo dienaskārtību, un vienlaikus rosināja diskusiju, kā arī izgaismoja jaunus aspektus digitālās diplomātijas pētniecības laukā. Public diplomacy plays an increasingly important role in the foreign policy of countries around the world. The development of information technologies and the rapid rise in the popularity of social networks motivate diplomats to use modern information channels to achieve public diplomacy and foreign policy objectives. The effectiveness of the use of social networks can be measured by clarifying the ability of diplomats to set the desired agenda in the digital environment, which is also the aim of this study. This article looks at digital agenda setting ability of the Ministry of Foreign Affairs of Latvia in the field of public diplomacy. It is a part of a broader study where the posts on official Facebook accounts of the Ministries of Foreign Affairs of the Baltic States in 2019 were specifically analysed. The methodology developed by the researchers of digital diplomacy at Oxford University was used to analyse the priorities of each country’s public diplomacy in the digital environment and the extent of public response and engagement in response to these priorities. The results of the study demonstrated the digital agenda setting ability of MFA of Latvia, while encouraging discussion and highlighting new aspects in the field of research of digital diplomacy.
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Kabashkin, Igor. "LOGISTICS CENTRES DEVELOPMENT IN LATVIA." TRANSPORT 22, no. 4 (December 31, 2007): 241–46. http://dx.doi.org/10.3846/16484142.2007.9638135.
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In the situation where a large increase in trade and freight transport volumes in the Baltic Sea region (BSR) is expected and in which the BSR is facing a major economic restructuring, efforts to achieve more integrated and sustainable transport and communication links within the BSR are needed. One of these efforts is the development of logistics centres (LCs) and their networking, which will continue to have an impact on improving communication links, spatial planning practices and approaches, logistics chain development and the promotion of sustainable transport modes. These factors will reflect on logistics processes both in major gateway cities and in remote BSR areas. The importance of logistics systems as a whole is not seen clearly enough. Logistics actors see that logistics operations are not appreciated as much as other fields of activity. In addition, logistics centres and the importance of logistics activities to the business life of areas and the employment rate should be brought up better. In the paper main goal and tasks of national approach to LCs development are discussed. Strategic focus of new activities in this area is on the integration of various networks within and between logistics centres in order to improve and develop the quality of logistics networks as well as to spatially widen the networking activities. The key objectives are to integrate the links between logistics centres, ports and other logistics operators in a functional and sustainable way, to promote spatial integration by creating sustainable and integrated approaches to spatial planning of logistics centres and transport infrastructure, to improve ICT‐based networking and communication practices of the fields of transport and logistics and to increase the competence of logistics centres and associated actors by organising educational and training events. The current activities include, for example, the creation of measures for transport networking and port modernisation, multimodal transport network strategies, integrated networks between ports, logistics centres and other operators, the better involvement of LCs in spatial planning and knowledge of the land use needs of the LCs, territorial impact assessments on selected transport corridors where logistics centres are located, the establishment of a common vision of the future spatial and environmental development along the transport corridors and LC‐areas, the elimination of bottlenecks in port‐hinterland‐LC connections, the integration of telematics supported logistics networks based on identification and analysis of networks.
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Metra, Ivars, Jelena Sulojeva, Vladimirs Jemeljanovs, and Janis Bartusauskis. "The Problems of Remediation of Chemical Disasters and Their Solutions in Latvian Ports." Safety of Technogenic Environment 5 (May 20, 2014): 38. http://dx.doi.org/10.7250/ste.2014.004.
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Berjozkina, Galina, and Zanete Garanti. "EMERGING INFLUENCERS PROMOTING TRAVEL: THE CASE OF LOCAL TOURISM IN LATVIA." Journal of Regional Economic and Social Development 1, no. 12 (November 17, 2020): 51. http://dx.doi.org/10.17770/jresd2020vol1.12.5402.
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The presence of social networks has given a chance for social media influencers to emerge. Social media influencers creating and sharing content, endorsed or not, has become a growing marketing trend used by companies, as well as destinations. This article focuses on travel influencers who, with a help of social networks, particularly Instagram, are promoting local travel in Latvia. In this study, four emerging travel influencers and their posts were retrieved and analysed. The study results show that emerging travel influencers are trying to attract their followers by mostly sharing posts with landscapes and nature, art objects/statues, and nature activities/facilities. However, traditional artwork/objects, religious buildings/objects, and traditional or historic buildings are the pictures achieving the highest engagement rates. Finally, the study also relieved that influencers with a lower number of followers have a higher level of engagement. It is concluded that authenticity and individuality of account, as well as its organic, rather than paid growth, are the key aspects in creating a travel account that followers would engage (like, share and comment on the content). The theoretical and practical implications are discussed.
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Biukšāne, Inese. "Significance of the European Fisheries Fund in the Development of Fishery in Latvian Ports." Procedia - Social and Behavioral Sciences 110 (January 2014): 410–18. http://dx.doi.org/10.1016/j.sbspro.2013.12.885.
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Daija, Pauls. "Kārlis Hūgenbergers 19. gadsimta sākumā latviešu literārās kultūras vēsturē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 137–54. http://dx.doi.org/10.37384/aplkp.2021.26-2.137.
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In the article, the literary works of Baltic German writer Carl Hugenberger have been explored. Anthology of his poetry translations, “Derrigs laika kaweklis” (Useful Pastime, I–II, 1826–1827), has been analysed. The anthology was significant in the emancipation of Latvian literary culture and liberation from moral didacticism as well as the development of the self-sufficient aesthetic value of literature. Thus, the anthology prepared the way for the formation of Latvian national literature in the mid-19th century. Special attention has been turned towards Hugenberger’s translations of poems by Johann Wolfgang Goethe and Friedrich Schiller. Besides, the evaluation and reception of Hugenberger’s works have been explored. The article concludes that despite the innovative role and poetic achievements of Hugenberger’s poetry, it did not gain popularity among wider circles of the Latvian reading public and met criticism regarding the shortcomings in the translation techniques that can be explained by the limits of the underdeveloped Latvian language at the time. The most important episodes in Hugenberger’s biography have been outlined as well as his religious hymns and works of popular enlightenment, including translations of “Schillings-Bücher des Rauhen Hauses”, a book series of German Inner mission, works by Jeremias Gotthelf, August Kotzebue, Gottfried August Bürger et al. Special attention has been paid to previously unidentified originals of Hugenberger’s translations – works by Matthias Claudius, Johann Hinrich Wichern, Heinrich Alexander Seidel, and Adolph Krüger as well as previously underexamined partial translation of Johann Peter Hebel’s “Allemanische Gedichte”. The literary works of Hugenberger have been interpreted within the context of the literary praxis of the late popular enlightenment in the Baltics.
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Lāms, Edgars. "Andreja Papārdes dzeja 20. gadsimta sākuma laikmeta un latviešu dzejas kontekstā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 56–63. http://dx.doi.org/10.37384/aplkp.2020.25.056.
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Andrejs Papārde’s real name is Miķelis Valters (1874–1968), he was born and raised in Liepāja in a family of dock workers. Valters is a versatile personality – a Doctor of Juridical Science, a social worker, a politician and a diplomat with outstanding accomplishments in Latvian history. Valters was also an art theorist and poet. He signed his literary works with a pseudonym Andrejs Papārde. In literature, Papārde announces himself in the 1890s with works of short prose and reflections, later also with poetry. In book shape, his poetry is published after the 1905 Russian Revolution. He has three collections of poems published. The first collection of poems “Tantris” was published in 1908 in Helsingfors. The collection consists of little poems in short verses, without titles, but listed with roman numerals from one to eighty-nine. The poems are written in free verse, without rhymes, and they are characterized by allegoric expression and symbolic characters. The poetry is allegorically symbolic, with no specific place and time. The inflecting sound of verses is dominated by a pessimistic and depressive feel. The common gloomy atmosphere of the poems in the collections is formed by the imagery of pessimistic expressions, the dominance of the black colour and a severely dramatic sense of the world of the main character. The scenes with depressive characters capture the horror of a global apocalypse as well as the fear of an individual threat. The atmosphere of misery and hopelessness is created by grim stylistics and negative semantic characters. The very few characters of positive expression cannot dispel the overall dreary and sorrowful mood. Andrejs Papārde’s second poem collection “Ēnas uz akmeņiem” comes out in 1910 in Riga. The collection consists of seventy poems numbered with Arabic numerals. Interestingly, the pages are not numbered, thus only the number of a poem can be indicated in the references. All of the poems are of small scale, ranging from five to twelve lines, most of them are poems of six to eight short lines. All of the poems from the collection are without titles, written in free verse and without rhymes. The form of the poems is almost compressed to a maximum. The free verse and the intelligent dimension of the poems allow perceiving Papārde’s poetry similarly to Japanese haiku or tanka. Verses filled with depressive feelings in a way persist in his second collection of poems, however this time in not so unvaryingly dull manner and not so fatally obedient. More often, but not entirely levelled, optimistic tunes are played. The night continues to reign, there is still a lot of black colour, but more often there are mentionings of mornings. Notably, for expressing optimistic feelings, verbs are used in the future tense. Papārde’s second poem collection “Ēnas zem akmeņiem” ends on an optimistic tune, but that is certainly not a naive optimism of non-existing problems. Papārde’s third poem collection “Mūžība” subtitled “Mana dziesma” was published in 1914 in Helsingfors. Unlike in the previous collections, in this one, all of the poems have titles, and they are no longer numbered. The author consistently keeps writing in a rhymeless free verse. Almost like with inertia, there is still skepticism and disappointment. But there is much more confidence than before, the willingness to withstand difficulties, hard times, and there is hope for the tomorrow, for the “Easter morning”, for a new day. In this poem collection, Papārde and the main character slowly turn into an ambassador of light and an admirer of the sun, thus joining the many sun worshipers and the light announcers in Latvian literature. The character system close to romanticism, individual sovereign subjectivity, intimate sounding verses, dynamic use of abstractions and symbols are all associated with the 20th-century romanticism, or in other words, the neo-romanticism. The dominance of the pessimistic atmosphere differentiates this poetry as a depressive neo-romanticism or so-called catastrophic romanticism poetry.
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Rijkure, Astrida. "IMPACT OF BLUE GROWTH ON BALTIC SEA REGION PORTS." Environment. Technology. Resources. Proceedings of the International Scientific and Practical Conference 1 (June 15, 2017): 224. http://dx.doi.org/10.17770/etr2017vol1.2630.
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There is little attention in the Baltics dedicated to the research of ports as economic subjects and their impact on environment. It is vital to strengthen the links between the ports and the Blue Growth while raising awareness of the Blue Growth and making it a cross-cutting issue of the sea-oriented priority areas by creating a special mechanism to support Blue Growth which so far has had insignificant links to port operations. The aim of the article is to analyze the trends and summarize the measures already taken for promotion and integration of the Blue Growth in the Baltic Sea region, and to develop guidelines for ports based on the general and the Baltic Sea Blue Growth strategy, to draw conclusions and to submit proposals for improvement and increase of the Blue Growth. Latvia needs to develop an action plan in order, without unnecessary errors, to quickly implement sustainable port infrastructure and reduce pollution of the sea. The task is to identify the best practices for usage of marine/coastal resources for economic development, and for identification and testing of new smart specialization measures.
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Gaidelys, Vaidas, and Raminta Benetyte. "Analysis of the Competitiveness of the Performance of Baltic Ports in the Context of Economic Sustainability." Sustainability 13, no. 6 (March 16, 2021): 3267. http://dx.doi.org/10.3390/su13063267.
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Baltic Seaports are a part of the sustainable global transport infrastructure. The main competitors of the Baltic countries in Baltic Sea region are the ports of Lithuania, Latvia, and Estonia. The ports of all three Baltic States are important transit corridors, connecting not only East and West, but also South and North. Periodical investments, modernization, and the construction of new terminals allow the Port of Klaipeda to successfully compete with neighbouring ports and strive for leadership positions. Thus, the aim of our study is to investigate the competitive environment of the Baltic Sea region. We use systematization, grouping, summarization of the scientific literature, data collection, comparison, financial analysis, and capacity calculation. The main results show that the Port of Klaipeda, a seaport on the eastern Baltic coast, is an important hub of the East-West (IXB) transport corridor, connecting roads and sea routes in this direction. With the accession of new members, including Lithuania, to the EU in 2004, the Baltic Sea became the internal Sea of the Union. Many Baltic seaports belong to the same system and organizations (ESPO, BPO). EU ports policy provides them with equal requirements for security, transport regulation, environmental protection, anti-air pollution, and sustainable development. The results obtained enable exploration perspectives. This includes a feasibility study for port development and attracting new investment from foreign capital markets in the Baltic Sea region.
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Macanova, Kristīne. "INSPIRATIONS AND DISCOVERIES OF IDENTITY IN VILIS DZĒRVINĪKS’ POETRY." Via Latgalica, no. 6 (December 31, 2014): 53. http://dx.doi.org/10.17770/latg2014.6.1657.
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<p>Vilis Dzērvinīks was born on 16 March 1959 in Kromani village, Kaunata parish, Rēzekne district in the family of a blacksmith Jānis and a primary school teacher Antoņina. He studied in Ziedoņu elementary school, Rēzekne secondary school, that was graduated in 1975, Rēzekne Secondary school No. 1, that was graduated in 1977, Riga vocational training school No. 19, that was graduated in 1978 acquiring a general building master’s qualification. From 1978 to 1980 he served in the railway troops on Baikal–Amur Mainline. In 1988 he started to acquire a correspondence course at RPI (now – Riga Technical University) faculty of general technical sciences, where he completed four courses. In 1988 he began to work in LKP (Communist Party of Latvia) committee of Ludza district as an instructor in the Culture Department, in 1990 he was nominated by LTF (The Popular Front of Latvia) and elected as the Chairman of the Board of the deputies of Ludza town. In October 1991 he was elected as the Chairman of the Board of Ludza city. Later he moved to Rēzekne and was the owner of the company “Komforts” (by Paukštė, Rancāne, Salcevica, Vilčuka 2008: 160–161).</p><p>V. Dzērvinīks’ creative work has not been studied widely and its analysis has also missed out in the context of Latvian literature, but V. Dzērvinīks’ poetry has strengthened the usage of contemporary Latgalian language, as well as contributed to the development of Latgalian literature.</p><p>The article aims to reveal the factors of inspiration and identity them in V. Dzērvinīks’ creative work, describing the author’s characteristic traits. The findings of the research are based mainly on V. Dzērvinīks’ literary heritage, as well as on newspaper and book materials about V. Dzērvinīks.</p><p>The sources of the research are V. Dzērvinīks’ three volumes of poetry: “Laimeigu īsadūmōt” (2001), “Voi moz lidmašinu kreit” (2003), “Upers” (2006). To describe the author’s inspiration factors, there were used the following exploratory methods: psychology of creative work (A. Potebņa, R. Mūks) and structural semiotics (J. Lotman, R. Veidemane).</p><p>Inspiration factors can be divided into literary and non-literary ones, but it is impossible to draw a clear boundary between them, but the concept of identity is too broad and frequently used. Human identity (-ies) is formed during the person’s lifetime and is dependent on many factors. V. Dzērvinīks’ creative work depicts powerfully his affiliation to Latgalian, i. e., in this case we can speak of V. Dzērvinīks’ ethnic identity. Ethnic identity is formed, when a person accepts ethnicity-specific traditions, based on language and culture. V. Dzērvinīks’ ethnic identity is expressed both as a political and social participation in favor of Latgale and Latgalian language, that is the language of his creative writings and the dignity of Latgalian Heritage. Latgalian authors and cultural workers, who have spiritually enriched Latgale, are Antons Kūkojs, Pēteris Jurciņš, Ingrīda Tārauda, Anna Rancāne, Andris Vējāns, Antons Slišāns, Osvalds Kravalis etc., as well as emotional kinship with places of Latgale – Rēzekne, Ludza, Idzipoles Lake, Zvirgzdenes Lake, Kromanu village etc. Latgalian is considered as the familiar, but “čiuliskais” (‘other Latvians’) as the strange one.</p><p>Identity (particularity) is the person’s self-perception, self-characterization, which consists of an individual’s behavior patterns in different situations; this is how a person perceives himself. And, if there is created the inspiration – the model of identity relationships, then the inspiration is the impulse, the identity is the result of the impulse or it is something, that is formed in the result of inspiration. V. Dzērvinīks’ sources of inspiration can be viewed from two perspectives: firstly, analyzing the author’s creative writings, revealing the hidden motives of poems, and secondly, searching for answers in V. Dzērvinīks’ interviews and articles about the author.</p><p>Politics has been a bright non-literary inspiration factor in the author’s poetry. This is reflected both in the choice of the theme of poetry and the use of sharp and stinging irony and sarcasm, sharply dividing the oppositions such as familiar– unfamiliar, authorities–people.</p><p>Love as a non-literary source of inspiration creates the atmosphere of melancholy and longing lyrics in the poetry. Often it is an intimate poetry, because it is dedicated to a particular recipient. A woman in this poetry is divinized, because she is the muse – an inexhaustible source of inspiration.</p><p>V. Dzērvinīks’ Latgalian identity is revealed as a factor of non-literary inspiration. The proof of this identity is reflected both in the lyrics I self-revelation, acknowledging, that he is Latgalian, as well as in the choice of the tone of poems, when Latgalian is the familiar one, but the rest is the strange one.</p>
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Lentjushenkova, Oksana, Vita Zarina, and Jelena Titko. "Disclosure of intellectual capital in financial reports: case of Latvia." Oeconomia Copernicana 10, no. 2 (June 30, 2019): 341–57. http://dx.doi.org/10.24136/oc.2019.017.
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Research background: Intellectual capital and its elements, such as reputation, customer relationships, staff competence, are an essential part of a company’s value. However, the issues regarding its recording in company’s accounting books have not been solved. Proper disclosure of an intellectual capital in financial re-ports will increase the transparency of company-related information, thus improving the quality of reporting.
Purpose of the article: The paper aims to investigate the opportunities of intellectual capital disclosure in company’s financial reports from the viewpoint of accounting experts.
Methods: Financial and accounting managers, board members of accounting services, companies and auditors were surveyed, using the authors’ developed questionnaire. The statements regarding the awareness of the intellectual capital and its disclosure-related questions, as well as a respondent profile section were offered to respondents for evaluation. Data was processed in SPSS, applying the method of frequency analysis and categorical Principal Component Analysis (CATPCA).
Findings & Value added: The research results indicate the problem of inconsistency between understanding of intellectual capital and its elements in management theory and accounting practice. The existing accounting standards and regulations do not allow for making a full disclosure of all companies’ assets. Thus, a reliable information about company’s value is not available for shareholders, executives and other stakeholders. The authors suggest using a non-financial reporting practice to reflect the real situation in all companies, irrespective to their status within the meaning of the European Directive on non-financial information disclosure. Current research results will be used for future research and elaboration of recommendations to companies for better disclosure of their assets. Besides, there is a potential for future studies regarding non-financial reporting practice and disclosure of intellectual capital in neighboring countries.
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Grasis, Janis. "Legal status of the honorary consular officers: Theory and practice in Latvia." SHS Web of Conferences 68 (2019): 01023. http://dx.doi.org/10.1051/shsconf/20196801023.
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Honorary consuls are not professional diplomats, it means, they do not make a living as diplomats. They usually do live and work as well as pay taxes in the country where they operate while they do represent their native country on a voluntary/not-salaried/ basis until their appointments are revoked. Honorary consuls have limited authorization to act and conduct on behalf of their native country; they have the honour to serve their respected country and they are usually selected/appointed by their merits. Legal regime relating to honorary consular officers and consular posts headed by such officers is regulated by Vienna Convention on Consular Relations from 1963. According to the Article 59 of the mentioned convention the receiving State shall take such steps as may be necessary to protect the consular premises of a consular post headed by an honorary consular officer against any intrusion or damage and to prevent any disturbance of the peace of the consular post or impairment of its dignity. Similarly, the receiving State is under a duty to accord to an honorary consular officer such protection as may be required by reason of his official position. If criminal proceedings are instituted against an honorary consular officer, he must appear before the competent authorities. Comparative and analytical research methods are used for this paper. The author of this article proposes to introduce a special number sign for cars of the honorary consuls in Latvia, thereby showing special respect for foreign honorary consuls.
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Kalinowski, Marcin, Rafał Koba, and Magdalena Matczak. "Socio-economic impact of the International Waterway E60 on the Polish and Lithuanian coastal regions." SHS Web of Conferences 58 (2018): 01013. http://dx.doi.org/10.1051/shsconf/20185801013.
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International Waterway E60 (IWW E60) is a sea-shore route running from Gibraltar to the North along European coast up to St. Petersburg then through the Baltic-White Sea Channel, then along the White Sea coast to Arkhangelsk. From the German-Polish border, along the Polish, Russian and Lithuanian coast to the Lithuanian-Latvian border, the route is 610 km-long and runs along 32 Polish municipalities and 4 Lithuanian regions. Determining the role of IWW E60 is important in the context of economic growth of municipalities and coastal regions, especially through the development of local seaports. Operations of the multifunctional port have a wide economic and social impact. Mutual interaction of functions can be observed on the example of fisheries, where in the port area fishing functions intermingle with the processing, tourism, storage and distribution function. The main socioeconomic benefits of E60 waterway development include the increase in employment, economic activity, generation of added value and improvement of transport infrastructure. In addition, ports influence attractiveness of the regions and create impulse for new jobs in the tourism industry. Until now there have been no attempts to make E60 route navigable or only on short sections, usually between two neighbouring ports. Despite the significant cross-border importance of this connection, no directions for its optimal development were defined. What is more, the route is not used. In connection with this, steps were taken to thoroughly investigate the problem and determine the possibility of its development as part of inland waterways network.
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Markevičiūtė, Ramunė. "KALBA BARBARAI: „ISTORIOGRAFINIS TEATRAS“ IR JO POVEIKIS HENRIKO LATVIO LIVONIJOS KRONIKOJE." Literatūra 58, no. 3 (February 20, 2017): 43. http://dx.doi.org/10.15388/litera.2016.3.10429.
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Straipsnyje aptariami draminio pasakojimo, t. y. pasisakymų tiesiogine kalba, paskirtis ir poveikis viduramžių istoriografijoje, ypatingą dėmesį skiriant draminių epizodų pavyzdžiams Henriko Latvio Livonijos kronikoje.Šioje kronikoje minimas Rygos miesto centre surengtas „pranašų spektaklis“ (ludus prophetarum), skirtas miesto krikščioniškajai bendruomenei, taip pat lyvių ir latvių naujakrikštams. Misionieriai teatrą pasitelkdavo katechetiniams tikslams, kai prireikdavo įtaigiai paaiškinti krikščioniškąsias doktrinas neišmanantiems ir naujai pakrikštytiems bendruomenės nariams. Dramos keliamas stiprus emocinis poveikis nuo pat Antikos laikų skatino ir istorikus savo tekstuose įterpti draminių pasakojimų.Remiantis Aristotelio Poetika straipsnyje siekiama parodyti, kad draminis pasakojimas viduramžių istoriografijoje atitinka aristoteliškuosius poetinio žmogaus veiksmų vaizdavimo reikalavimus. Skirdamas poeziją nuo istoriografijos, Aristotelis pabrėžia, kad poetas turi vaizduoti ne tai, kas iš tiesų įvyko tikrovėje, o tai, kas tikėtinai ar būtinai galėjo įvykti. Todėl istoriografinių tekstų dialogai ir kalbos per se kelia istorinės tiesos klausimą. Straipsnyje siekiama parodyti, kad viduramžių istoriografijos prieiga prie istorinės tiesos skiriasi nuo moderniųjų istoriografijos standartų, reikalaujančių nuosaikaus istorinių įvykių aprašymo. Ikimodernistinės minties požiūriu, draminis ar net poetinis įvykių vaizdavimas jų faktiškumui neprieštarauja: pasitelkiant tam tikrą, nors ir fiktyvų scenarijų, apie pavaizduotą asmenį perteikiama žinutė, kurios turinys yra svarbesnis už istorinių aplinkybių detales.Draminio istorinių veikėjų vaizdavimo prasmė ir paskirtis iliustruojama pavyzdžiais iš Livonijos kronikos, kurios autorius, norėdamas išreikšti tam tikras vaizduojamų asmenų savybes, priskiria jiems paradigminius vaidmenis. Pagrindiniai šio teksto, siekiančio pateisinti karinę krikščionių ekspansiją Baltijos kraštuose, veikėjai yra vokiečių kryžiaus kariai ir vietinės tautos, arba barbarai. Skaitant autoriaus aprašomas žiaurias kovas tarp vokiečių ir vietos gyventojų, galima būtų tikėtis ir atitinkamai niūriomis spalvomis tapomo žiauraus ir klastingo barbaro paveikslo; tačiau įdėmiau išanalizavus pagonis vaizduojančius draminius epizodus pasirodo, kad barbaro vaizdavimas nėra toks vienareikšmis. Daroma išvada, kad kronikos autorius naudojo draminį pasakojimą, kad tendencingame tekste išreikštų kitokį požiūrį.
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Macanova, Kristīne. "IMAGES OF VILIS DZĒRVINĪKS’ POETRY." Via Latgalica, no. 11 (February 20, 2018): 113. http://dx.doi.org/10.17770/latg2018.11.3065.
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Vilis Dzērvinīks (1959–2007) is a bright Latgalian poet of the 1990s and the verge of centuries. V. Dzērvinīks has published five collections of poetry: „Sidrabainas asaru lāsītes” (Silver tear drops, 1992), „Laimeigu īsadūmōt” (To imagine being happy, 2001), „Voi moz lidmašīnu kreit” (Are there not many planes falling, 2003), „Upers” (Sacrifice, 2006), and posthumously– „Storp pērstim blusa trynās” (A flea is rubbing between fingers, 2008). V. Dzērvinīks wrote in vers libre, following the 1990s quest for modernity, at the same time the elements of rhythm, concentration of expression and word are preserved to reveal different principles of modernity. V. Dzērvinīks displays rich and cultivated Latgalian, in which he discloses ironically his experiences to the reader, who may be fluent not only in the Latgalian language. The aim of the particular research is to reveal the role of the image of the eye, day or life in the poetry of V. Dzērvinīks’ from both literary and linguistic point of view. The sources of the research are so far not analysed V. Dzērvinīks’ collections of poetry: „Sidrabainas asaru lāsītes” (1992) and „Storp pērstim blusa trynās” (2008). The author of this research has determined six most concentrated images in V. Dzērvinīks’ poetry collections – „Laimeigu īsadūmōt” (2001), „Voi moz lidmašinu kreit” (2003), „Upers” (2006). They are the following: eye, day, life, time, heart and word. The most commonly used images in Dzērvinīks’ poetry collections were also identified with the help of AntConc program; no significant differences were observed in dominating images, only conceptual and semantic distinctions, which enable us to judge about the basic values of V. Dzērvinīks’ poetry and the relationship of the lyrical person towards the world and himself. The semantic and symbolic meaning of images is revealed and the syntagmatic attitudes and semantic roles of images are studied. The research is based on the method of structural semiotics (Jurij Lotman, Jurij Tinanov and Ruta Veidemane). Although the author uses various compositional structures in collections of poetry „Sidrabainas asaru lāsītes” (1992) and „Storp pērstim blusa trynās” (2008), they share several themes of experience: politics and social problems, love poetry and philosophy of life. The distinction is marked by the change of the epoch and is reflected in the mood of poems; in the first collection of poems, the author in a separate chapter retrieves memories about his childhood, country house and here is also a chapter that can be called poet's confession. One of the central meanings of the image of the eye is the symbol of the spiritual vision or blindness, an indicator of feelings and emotions; therefore, the image of the eye is revealed directly in philosophical and love poetry, where not reason is necessary but soul; in politics there is no room for emotions and feelings, therefore the use of the eye image in socio-political poems is minimal. In spite of the great time difference between collections of poetry „Sidrabainas asaru lāsītes” (1992) and „Storp pērstim blusa trynās” (2008), the image of the day is most significant in the chapters of poetry about life philosophy; the lyrical person perceives it as an endless routine, a time loop that never changes. Almost all chapters in both collections are interwoven by such mood except the chapter of love poetry in the first collection. The image of life in all parts of the collections are revealed in a rather uniform way – the life of the lyrical person is full of pain and disappointment, there is no consolation even in love; the means by which lyrical person describes life are stylistically diverse, creative and artistically bright and nuanced. Evaluation of the collection of poems not only in terms of content but also the form reveals that in „Sidrabainas asaru lāsītes” (1992) the author applies various forms – traditional forms and vers libre, as well as more varied syntactic and stylistic figures, also found in syntagmatic analysis. The poems written in Latvian are more varied in form, because those written in Latgalian are on soul-related topics, where continuity and unambiguousness of thought are important, and thus there are fewer attempts to search for new meanings or use of unexpected tropes. In the collection „Storp pērstim blusa trynās” (2008), the author has almost abandoned stylistic figures and vers libre, focusing on irony and imaginative language as the main means of expression. Poetry is only in Latgalian and it is dominated by the search for the meaning of life and the growing disillusionment of the lyrical person with his time, life and love.
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Strode, Anna. "Reliģiskie tēli 17. gadsimta latīņu kāzu dzejā Rīgā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 14–28. http://dx.doi.org/10.37384/aplkp.2021.26-1.014.
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The humanists of Riga began to compose various Latin poetry texts due to the currents of European humanism, which came to Livonia soon after the Protestant Reformation took place in Livonia in the first half of the 16th century. As a result of this historical and religious impact, the level of education increased, enabling an environment for the development of the literature. The aim of the article „Religious characters in the 17th-Century Nuptial Poetry in Riga” is to bring to light the content of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis etc.) poetry written in Riga in the 17th century, providing insight into the most frequently mentioned characters and their meaning, as well as by exploring the specific features of occasional poetry to capture reader’s and researcher’s interest in the previously undiscovered cultural heritage. The subject of the study is more than 380 Latin nuptial poems, which are stored in the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. The poems are printed at the beginning of the 17th century by the second typographer of Riga city Gerhard Schröder (?–1657). The article includes data from a classification table (created by the author) in which the main characteristic of each poem is highlighted, including the mentions of all (more than 280) characters from ancient Greek and Roman mythology, as well as biblical and historical characters. Fragments of Latin nuptial poetry written in Riga are included to portray the content of poetry more clearly. All translations of poetry in the article are done by the author.
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Vértesy, László. "Macroeconomic Legal Trends in the EU11 Countries." Public Governance, Administration and Finances Law Review 3, no. 1 (June 30, 2018): 94–108. http://dx.doi.org/10.53116/pgaflr.2018.1.9.
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This contribution deals with the macroeconomic legal trends in the Eastern member states of the European Union, so called EU11: Bulgaria, Croatia, the Czech Republic, Estonia, Latvia, Lithuania, Hungary, Poland, Romania, Slovakia and Slovenia. The paper discusses the development from the 1990s to nowadays, emphasizing the initial changes and the consolidation after the financial crisis. Therefore, the fiscal policy bears a major attention: fiscal and budgetary stability, government debts, fiscal controls (auditing and independent fiscal councils), for a more comprehensive overview, some ports of the monetary policy will be examined: national banks and price stability. The main aim of the contribution is to confirm or disprove the hypothesis that there is any identifiable or verifiable correlation between the legislation and the macroeconomic trends: sustainable balanced budget and government debt, economic growth, inflation. The research is based on law and economics, especially law and finance methodology with quantitative analysis, because of the cross-discipline nature of the topic. The paper contains some comparative statistics to evaluate the certain results upon figures, because it is even important to match the legal provisions with the economic performance.
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Kara-Murza, Alexei A. "The North-South Civilizational Divide in Osip Mandelstam’s Philosophical and Literary Works." Russian Journal of Philosophical Sciences 64, no. 2 (May 23, 2021): 21–36. http://dx.doi.org/10.30727/0235-1188-2021-64-2-21-36.
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The article discusses the problem of cultural and civilizational self-identification in the works of Osip Emilyevich Mandelstam. According to the family legend, the Mandelstam family descended from Spanish Jews who fled from Spanish kings’ persecution, and then moved, in search of better life, further and further to the north of Europe, until they finally settled in the Russian Empire. In our view, young Osip Mandelstam was formed as a poet in the traditions of the literature of the “Russian North,” derived from Gavriil Derzhavin, Prince Peter Vyazemsky, Anton Delvig, and Alexander Pushkin. Mandelstam was a direct literary follower of the Russian symbolist poet of Swedish origin, I.I. Oreus (who published under the pseudonym of “Ivan Konevskoy”). The name of Oreus-Konevskoy, his magical poetic style, the circumstances of his death, and finally, his romantic grave on the steep bank of the Latvian river Aa (Gauja) – became truly iconic phenomena of the Russian Silver Age. Oreus-Konevskoy had a great influence not only on young Mandelstam’s verse (some of his famous poems are direct “literary duels” with the Teacher) but also on Alexander Blok, Valery Bryusov, and early Boris Pasternak. The author of the article analyzes how in the first post-revolutionary years Osip Mandelstam tried to become one of the theorists of the Soviet “Northern” literature. In the author’s view, when the repressive nature of the new regime became obvious and the “NorthernPetersburgian” Russia showed its totalitarian-Bolshevik appearance, there started a radical turn in Mandelstam’s self-consciousness, which led to an attempt to form a new personal identity, as a person belonging to the “cultural South,” who tragically found himself in the “barbaric North.”
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Pototskaya, T. I. "The geography of the “Oil pipeline wars” in the context of Russia’s interaction with the countries of the Baltic region." Regional'nye issledovaniya, no. 4 (2019): 98–106. http://dx.doi.org/10.5922/1994-5280-2019-4-8.
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The article analyses oil pipelines, the operation of which intersects the interests of Russia and the Baltic countries (Latvia, Lithuania, Belarus, and Poland). By oil pipeline wars we understand the confrontation between the policy of distancing from Russia in oil transportation to Europe and Russia’s policy of creating alternative, more economically effective and safe ways of oil transportation to Europe. Reflecting relations between countries, several groups of oil pipelines have been identified: the main pipelines, alternative ones, and indirectly related to the interests of the Baltic countries. The article describes geographical factors affecting the position of countries in the region analysed: the level of oil supply (Russia), the level of the development of oil refining (Lithuania, Belarus, Poland) and transport and geographical location of the territory. Special attention has been paid to the main instruments used by the countries in this confrontation. The Baltic and the Black Sea strategies of oil export have been analysed from the comparative and geographical points of view. Several important conclusions have been made: there was a redistribution of routes of Russia’s crude oil export to Europe during the post-Soviet period accompanied by an increase in the importance of the marine component (due to the Baltic and the Black Sea ports); there was a weakening of the importance of the Baltic region for Russia’s oil export; and the strengthening of interconnections between Russia’s export oil pipelines. The article stresses the importance of oil pipeline transport for the formation of the barrier function of the state borders of the post-Soviet countries.
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Spārītis, Ojārs. "Three Sources of Michael Johann von der Borch’s Poem “The Sentimental Park of Varakļāni Palace”." Baltic Journal of Art History 20 (December 27, 2020): 109–44. http://dx.doi.org/10.12697/bjah.2020.20.04.
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History permits us to trace so-called Polish Inflanty, in the territoryof the former Kingdom of Poland and Lithuania, to the contemporaryRepublic of Latvia. In this case we are particularly interested in theestate of Warkland (Warklany, Varakļāni). The ensemble of manorand park is typical for large estates in Eastern Europe, including avillage and its infrastructure and a separate manor and park as aspatial, architectural, botanical and social entity.Originating from Baltic-German nobility, ‘Polonised’ countMichael Johann von der Borch-Lubeschitz und Borchhoff (1753–1810) was the son of a Chancellor of Poland and Lithuania. He wasa member of several academies of science, in Siena, Dijon and Lion,and penfriend of Voltaire and academicians in Russia and France.After researching the mineralogy of Italy, Sicily, France, Germany,England, the Netherlands and Switzerland M. J. von der Borch leftfor his estate in Varakļāni, the Polonised part of eastern Livonia,called Polish Inflanty. At this time he also composed literary worksand poems, among which is one remarkable piece of didactic andemblematic content “The Sentimental Park of Varakļāni Palace” (Jardinsentimental du château de Warkland dans le Comté de Borch en RussieBlanche, 1795). This poem illustrates in a passionate and classicalway an emblematic approach to contemporary political structures,and the goals of education in general. In Jardin sentimental, whichis a theoretical and didactic manual, Borsch describes, through themetaphor of the estate park of Warkland, the route of an imaginativehero, full of expectation and temptation.The main subject of the report is an analysis of the text of thepoem contextualised by history and contrasted with evidence fromcontemporary Warkland.
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Kuduma, Anda. "Lokālais un globālais Guntas Šnipkes dzejā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 143–51. http://dx.doi.org/10.37384/aplkp.2020.25.143.
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The article deals with the representation and interaction of the local and global elements in Liepāja poet and professional architect Gunta Šnipke’s poetry writing. The research aims to establish and evaluate the importance of local and global aspects in Šnipke’s poetry creation process by determining the conceptually characteristic ways in the formation of poetic expression. The article particularly emphasizes the phenomenon of memory which reveals the dimension of time in Šnipke’s poetry space, allows to speak not only of the individual but also of the cultural memory by precise emphasis of concrete geographic places, topographic details (showing both the local and global scale) which have directed the author to an observation. The phenomenon of memory reveals the dimension of time and illuminates several levels of individual and collective memory – historical, cultural, autobiographical, feminine. The theoretical and methodological basis of the research includes the viewpoints of feminism theoreticians (Rosi Braidotti, Virginia Woolf and others) on the aspects of mental nomadism in the perspective of gender studies, as well as several aspects of the cultural memory research (works by Aleida Assmann, Marija Semjonova and others). The local and global issues have been researched mostly in Šnipke’s newest poetry collection “Ceļi” (‘Roads’, 2018) concurrently demonstrating the broader context and development process of the poet’s creative activity since the publishing of the first two poetry collections – “…Bērns ienāca…” (‘…A Child Came in…’, 1995), “...Un jūra” (‘…And the Sea”, 2008). The dominant of Šnipke’s poetic expression is a powerful impulse of thought which allows the creation of broader contexts concerning the current events and phenomena, thus expanding the boundaries of experience established by the strict form. The poet’s strong intellect is in a certain confrontation with an equally strong emotional experience. Šnipke’s poetry is characterised not only by the natural union of the intellectual and emotional elements in one poem but also by a successful amalgamation of various important levels – geographical, cultural and historical, social and personal, autobiographical. This feature is soundly used in creating the artistic concept of the poetry collection “Ceļi”. The collection was highly praised by professionals and awarded by several significant literary prizes. Šnipke’s poetry coincides with the current tendencies in the contemporary Latvian poetry process both in content and form; the poetic thought is mostly expressed in expanded and associatively dense syntactic structures. Šnipke’s poetry complies with the feminine poetry tendency to record the history of one’s own family within significant historic events pouring the individual experiences into layers of collective experience. Personal and seemingly insignificant becomes of global importance joining the space of common European memory, the distant and foreign phenomena are made closer and more understandable. In the longer forms, a woman and the feminine language become the main narrators of the past.
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Ramacher, Martin Otto Paul, Matthias Karl, Johannes Bieser, Jukka-Pekka Jalkanen, and Lasse Johansson. "Urban population exposure to NO<sub><i>x</i></sub> emissions from local shipping in three Baltic Sea harbour cities – a generic approach." Atmospheric Chemistry and Physics 19, no. 14 (July 18, 2019): 9153–79. http://dx.doi.org/10.5194/acp-19-9153-2019.
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Abstract. Ship emissions in ports can have a significant impact on local air quality (AQ), population exposure and therefore human health in harbour cities. We determined the impact of shipping emissions in harbours on local AQ and population exposure in the Baltic Sea harbour cities Rostock (Germany), Riga (Latvia) and the urban agglomeration of Gdańsk–Gdynia (Poland) for 2012. An urban AQ study was performed using a global-to-local chemistry transport model chain with the EPISODE-CityChem model for the urban scale. We simulated NO2, O3 and PM concentrations in 2012 with the aim of determining the impact of local shipping activities on population exposure in Baltic Sea harbour cities. Based on simulated concentrations, dynamic population exposure to outdoor NO2 concentrations for all urban domains was calculated. We developed and used a novel generic approach to model dynamic population activity in different microenvironments based on publicly available data. The results of the new approach are hourly microenvironment-specific population grids with a spatial resolution of 100 m × 100 m. We multiplied these grids with surface pollutant concentration fields of the same resolution to calculate total population exposure. We found that the local shipping impact on NO2 concentrations is significant, contributing 22 %, 11 % and 16 % to the total annually averaged grid mean concentration for Rostock, Riga and Gdańsk–Gdynia, respectively. For PM2.5, the contribution of shipping is substantially lower, at 1 %–3 %. When it comes to microenvironment-specific exposure to annual NO2, the highest exposure to NO2 from all emission sources was found in the home environment (54 %–59 %). Emissions from shipping have a high impact on NO2 exposure in the port area (50 %–80 %), while the influence in home, work and other environments is lower on average (3 %–14 %) but still has high impacts close to the port areas and downwind of them. Besides this, the newly developed generic approach allows for dynamic population-weighted outdoor exposure calculations in European cities without the necessity of individually measured data or large-scale surveys on population data.
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Bankauskaitė, Gabija. "Respectus Philologicus, 2010 Nr. 17 (22)." Respectus Philologicus, no. 20-25 (April 25, 2010): 1–264. http://dx.doi.org/10.15388/respectus.2010.22.
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CONTENTS
I. PROBLEMS AND SOLUTIONSJurga Cibulskienė (Lithuania). Are Ideologies Reflected in Metaphors?...11Lara N. Sinelnikova (Russia). The Addresser as an Alter Ego of the Addressee...26
II. FACTS AND REFLECTIONSOleg N. Grinbaum (Russia). Chapter 3 in Pushkin’s Novel Eugene Onegin: Rhythm and Sense in Tatiana Larina’s Letter ... 43Jadvyga Krūminienė (Lithuania). Oscar Milosz as Translator: Playing Games with Memory... 55Magdalena Ożarska (Poland). 19th-Century Lake District as a Land of Tourists, Homemakers and Writers: a Selection of Writings by Dorothy Wordsworth, William Wordsworth and Harriet Martineau... 67Inga Bartkuvienė (Lithuania). Definitions of Nationality in the Theory of Homi K. Bhabha...79Mindaugas Grigaitis (Lithuania). Deconstruction of Jaques Derrida: Theoretical Postulates and Possibilities of Practice... 94Janusz Detka (Poland). Eastern Episode in Polish Poetry of 1955–1957... 106Kristina Bačiulienė (Lithuania). The Worldview of Marcelijus Martinaitis’ Collection of Poems K. B. Suspect... 120Yelena A. Nakhimova (Russia). Metaphorical Projection and Conceptual Integration in Political Communication... 130Anna Biyumena (Belarus). Verbs of Period and Existence in Political Discourse... 139Anna V. Vladimirova, Tatyana G. Skrebtsova (Russia). Discourse Strategies in Women and Men’s Glossies as a Reflection of Gender-Specific Behaviour... 148Joanna Bryła (Poland). Phraseological Units in Fashion Advertisements...159Michael Louis Bakalinsky (Ukraine). New Theory and Methodology of Social Dialect Studies: US Underworld Social Dialect as a Case in Point... 170Tatiana V. Poplavskaia, Tatiana I. Svistun (Belarus). The Interrelation between Types and Functions Abbreviations Perform in the Internet-Discourse... 186Vilhelmina Vitkauskienė (Lithuania). Review of Research Methods on Language E-Learning Interactions ...195Bernd Gliwa (Latvia), Daiva Šeškauskaitė (Lithuania). What Does Dievmedis (God’s Tree) Have in Common with God(s)?...205
III. OPINIONOlga Jagintseva (Estonia). The Ethnolinguistic and Etymological Aspects of the Noun Glyok ‘an Earthenware Jug’ ... 219
IV. OUR TRANSLATIONSPatrick Seriot (Switzerland). Oxymoran or Misundersanding. Anna Wierzbicka’s Universal Relativism of Natural Semantic Metalanguage. Part II. Translated by Vilhelmina Vitkauskienė... 227
V. SCIENTIFIC LIFE CHRONICLEBooks reviewsSaulius Lapinskas (Lithuania). MELNIKIENĖ, Danguolė, 2009. Dvikalbiai žodynai Lietuvoje: megastruktūros, makrostruktūros ir mikrostrutūros ypatumai... 233Eleonora Lassan (Lithuania). ЛАРИНА, Татьяна, 2009. Категория вежливости и стиль коммуникации. Сопоставление английских и русских лингвокультурных традиций... 237Galina Michailova (Lithuania). ЧЕРНЫХ, В. А., 2008. Летопись жизни и творчества Анны Ахматовой. 1889–1966... 241Barbarа Greszczuk (Poland). LUCIŃSKI, Kazimierz, 2009. Языковые заимствования и ментальность... 247
Announce ... 249
VI. REQUIREMENTS FOR PUBLICATION... 250
VII. OUR AUTHORS... 258
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Kalvāne, Skaidrīte. "ON SOME JOURNALS WRITTEN DURING THE LATIN PRESS BAN." Via Latgalica, no. 6 (December 31, 2014): 32. http://dx.doi.org/10.17770/latg2014.6.1655.
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<p>The work of gathering information about writers and rewriters started soon after the abolition of Latin press ban in 1904, especially actively participating in the process on the 40th and the 50th anniversary. During the 80s of the 20th century a bibliographer and specialist in literature Aleksejs Apīnis named the writers of Press ban time the farmers’ Prometheus.</p><p>From about 20 currently known rewriters the life and creative work of Andrivs Jūrdžs have been revealed most exhaustively. Many Prometheus are known only by their name, but not the text, that they had recorded. The problematic issue is also the question of how not to mistake the author (a text writer) with the text owner.</p><p>The aim of the article is to have a closer look at some of the manuscripts, which have been so far kept in private collections and seen as an integral part of family history. The authors of these works are known, so the list of the writers of Latin print ban time will be complemented.</p><p>In some 20-page notebook a former soldier Jezups Veituls (1845–?) in 1878 recorded two fasting period and two Christmas time songs. The song of 74 verses “Dzismie ap muku kunga Jezu Chrysta” seems as a summary of several Fasting songs, united by a refrain “Atey Jesu, Atey Jesu, Atej Jesu O! prica./ Miłoju tiewi sirds wysa”. The song tells about Saviour’s pathway of pain. The second song – “Pazamud cyłwaks” – calls for a return to God. Both songs have failed to find originals. Scientists have managed to find the origin of Christmas songs – “Pasokat miłi Ganini” and “Pestitoys dzyma”. The first one is the translation of some variant of the Polish song “Powiedzcie, pasterze mili” (from the book “Symfonie anielskie” (“Symphony of Angels”), 1631), the other one is the translation from Polish “Mesjasz przyszedł na świat prawdziwy” (“W Kanie Galilejskiej”), which was read the first time in Latgalian in the book “Eysas łyugszonas un dzismies” (1824). It is one of the few spiritual songs, that were sung at Latgalian weddings.</p><p>The author of the article finds it essential to search for originals of spiritual songs, because their absence would allow writers to think about the poet’s talent and would enable to see some creative sparkle. Texts are compared with Andrivs Jūrdžs’ recorded works. We would like to believe, that there was an edition of spiritual songs translated under the guidance of some clergyman or organist. References can be found in the Polish Catholic press in the 80s of the 19th century. But it should be inspected separately.</p><p>Veitulu Jezups, who was 33 years old, when he was recording songs, was a farmer and a skilled carpenter. He graduated from folk school, where it was not taught to read and write in Latvian (Latgalian). What made him write? Was it salary for the recorded text, the lack of songs, or maybe it was still wish for self-actualization? The writer’s great-grandson Ivars Vītols has carried out a valuable research on his family, which will be replenished with a proud of great-grandfather’s belonging to the unique recorder’s circuit of Latin Press Ban time.</p><p>One of the first known women transcribers during the Latin Press Ban was Anna Laizāne (1873–1958), who acquired the literacy at home. She was a colorful personality, in Taunagas Manor bill book next to a variety of medical prescriptions and incantations suitable for healing, she transcribed so-called heavenly book – with the registration of unfortunate 42 days and divine instructions.</p><p>The witness of people’s faith in living with superstition is the book written on canvas by the farmer Benedikts Višņevskis (1871–1943), who lived in Atašiene. Heavenly letter transcribed in 1903 (shortly before the abolition of the press ban) revealing many promises and also threats shows the time, when faith is suppressed and books are banned, but superstition replaces enlightenment. But the recorders daring to get into the unknown world through print signs and incomprehensible expressions of rewritable sources must be accordingly evaluated. A small cloth book has been used as an amulet, so it is a value for another Višņevskis family. The work transcribed by B. Višņevskis is the evidence of the existence of hitherto unmentioned heavenly books or genre of letters in Latgalian spiritual literature.</p><p>The works of Press Ban time can also be found today – 110 years after the abolition of the ban, but still there are many, including still unknown and undiscovered written evidences of the life of people at the end of the 19th century – at the beginning of the 20th century.</p>
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Urtāns, Juris. "KRUSTPILS DZIRKAĻI HILLFORT. NEW INSIGHTS." Via Latgalica, no. 10 (November 30, 2017): 8. http://dx.doi.org/10.17770/latg2017.10.2769.
Full textAbstract:
Dzirkaļi Hillfort is situated at Dzirkaļi, Kūku parish in Krustpils region. The Hillfort was first mentioned in records in 1925; in 1928, Ernests Brastiņš published a more comprehensive description and survey of the Hillfort (Fig. 1). Due to handmade pottery sherds with smooth and plastered surface accidentally found in the outcrops of the cultural layer, the population of the Hillfort could be dated with the I millennium AD. Dzirkaļi Hillfort in its highday might have been a centre of the region. Less than 100 years ago, there were fields of Dzirkaļi village both on the plateau of the Hillfort and at its foot. Legends are known about Dzirkaļi Hillfort as a site of a sunken castle and buried treasure, which is haunted by ghosts. Dzirkaļi Hillfort had been fixed up on a branch of a hill that sharply ends against swampy lowland. The northern slope of the Hillfort, which overlooks the swampy lowland and is 14 m high, had been additionally fortified with a terrace, but on the southern side more profound fortification work was carried out in olden times; here the hill had been marked off with a deeply dug-up rampart and barred with a 1.5 m high wall built by people, which is separated by another ditch from the artificially smoothed and slanting plateau of the Hillfort. On both sides of the Hillfort, terraces had been built to make the slopes even steeper. At the northern and eastern foot of the Hillfort appropriate cultural layer of settlement corresponding to the Hillfort has been found, but to west of the Hillfort, Baznīckalns (“Church Hill”) is situated, where a sanctuary of the inhabitants of the Hillfort might have been. At the northwestern foot of the Hillfort, Naudas avots (“Money Spring”) had been situated, which might have served as the source of water for the inhabitants and has been mentioned in legends. Several ancient burial sites are known to be situated near the Hillfort, as well as features of ancient fields, places of roads, sites of separate buildings and other evidence of olden times (Fig. 2–5). In 2014, the first systematic archaeological excavations were carried out in the Hillfort, guided by Juris Urtāns, an archaeologist and the owner of the Hillfort (Fig. 6). The northeastern side of the Hillfort plateau was chosen as investigation site. On exploring the excavation site (3×8 m), it turned out that the upper layer in the depth of 0.30–0.40 m had been mixed by ploughing the plateau of the Hillfort. Subsoil nearer the centre of the plateau was uncovered in the depth of 0.55 m, nearer the edge of the plateau – 0.95 m deep. No marked evidence of structures was discovered, except for a couple of dints in the subsoil – possibly places were posts had been. The cultural layer is comparatively even; only fist-sized and smaller stones were found in it. At the end of the site, towards the edge of the plateau, the former cultural layer was covered by about 20 cm thick layer of sand. The whole dug-up cultural layer was sifted through sieves, and a great quantity of pottery sherds (811 fragments have been listed) were recovered. Few antiquities have been found and they are not very distinctive: a tip of an iron knife, tiny bronze rings, possibly, a fragment of iron arrowhead, ground stones, and flint chips. Pottery, which is represented mostly by tiny fragments, recovered as a result of sifting, basically belongs to handmade smooth, plastered, pinched and scratched pottery; however, fragments of early wheel pottery have been found as well (Fig. 7; defined by Baiba Dumpe). This fact allows to expand and specify the previously assumed dating of Dzirkaļi Hillfort and to conclude that population of Dzirkaļi Hillfort can be dated with the I millennium AD; however, handmade scratched pottery and wheel pottery permit that the Hillfort had been populated also BC and at the very beginning of the II millennium AD. In 2014, a hillock (7–8 m across, height 0.6 m) about 300 m southeast from the Hillfort was archaeologically investigated under Elīna Guščika’s guidance (Fig. 8). The hillock resembled ancient burial mound, but, when it was dug up, no evidence of ancient burial was discovered, although several signs characterising the tradition of barrows were stated. Radiocarbon dating of coal found in the hillock allowed concluding that fire had burned there during the early period of the existence of the Hillfort – the last centuries before our era. After investigation, the hillock was restored to its original visual state. From the eastern side leading to the Hillfort there is a road cut into the relief, which, judging by the tall trees grown on it, has not been used at least for the last fifty years. This road marks itself about 300 m from the Hillfort. At first the road is hardly discernible on the gently sloping side, but when the slope gets steeper, especially at the break of the slope, the road has cut itself about half a metre into the side of the hill and is approximately three or four metres wide. This testifies that the road had been used by carts and probably also by sledges. The notch of the road can be traced as far as about 100 metres. On the most pronounced point of relief break, parallel to the cart road, another site of road was observed, 10–15 m in length, which might be identified as a path for riders or horses. This is a ditch-like deepening, less than one metre deep, with a pronounced wedge-like section. During the last years a number of such riders’ or groove paths have been discovered in Latvia, but their investigation has hardly been started. Regarding the case of Dzirkaļi, it can be said with assurance that the riders’ holloway leads to the Hillfort, therefore it could be associated with the Hillfort and the period when the castle existed.