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The source of the data used in this paper are recordings of conversations with a Lithuanian girl, Rūta. Rūta lives in Vilnius and is the only child in the family. Both parents speak standard Lithuanian without dialectal influences. The recordings were taken on a free basis without a fixed schedule, then transcribed by the mother of the child, double-checked and coded in accordance with CHILDES by the author of the paper. At the moment of writing this contribution the data taken between 1;7-2;5 have been fully processed. Over this period about 34.5 hours of recordings were collected.
Holger Pedersen’s "Études lituaniennes" reflects the issues under discussion at the time of its publication (1933). Its five unequal chapters deal with the following topics: I. The Lithuanian future and its Indo-European origins: the sigmatic formation, the 3rd person zero ending, the short root vowels e and a, the shortening and metatony in the 3rd person, and the future participle. II. The accentuation of nouns in Lithuanian: accentual mobility in the Indo- European consonant stems and its absence in the o-stems, the origins of accentual mobility in Lithuanian nominal paradigms, the accentuation of separate case forms, and accentual peculiarities of the adjective. III. The acute tone of the root in consonant stems. IV. The past active participle. V. Secondary vocalic alternations: new vowel length and new acute tone.
Erdvilas Jakulis’ thorough, detailed and comprehensive study (2004) is an important contribution to our reconstruction of the Balto-Slavic verbal system. The following remarks are intended to complement his findings from a Slavic perspective. Jakulis demonstrates that the type of Lith. tekèti, teka ‘flow’ is largely of East Baltic provenance. He finds it difficult to identify the same type in Old Prussian.
This article analyzes the relationship between emotions and jazz music in Lithuanian literature originating during the Soviet-era, and considers emotions as text phenomena. In the following investigation, a drama by Juozas Grušas, two prose works by Romualdas Lankauskas and Ričardas Gavelis, and four poems by Judita Vaičiūnaitė, Janina Degutytė, Antanas Jonynas and Tomas Arūnas Rudokas are analyzed in chronological order. The analysis focuses on two types of verbal configuration of emotion: thematization (explicit emotions; content level) and presentation (implicit configuration of emotions, content, and form level). The following questions come to the fore: What emotions are named in the texts? How are they depicted? What emotions are thematized in conjunction with the music? What effect does the jazz music have, and what emotions arise at its reception in the text? How are those emotions and jazz music related to the historical context, namely the Soviet period?