Signs out of Time.

The Story of Archeologist Marija Gimbutas (Belili Productions)

* 00:31-00:35 SIGNS OUT OF TIME // The story of archaeologist Marija Gimbutas Idtlen szimblumok ; Marija Gimbutas trtnete * 00:41-00:43 What does the dance mean to the dancers? Mit jelent a tnc a tncolknak? * 00:46-00:50 How do we measure the beliefs that set those feet in motion? Mifle hiedelemekbl fakad a tnc? * 00:53-01:01 What we believe about our past shapes our view of who we are as human beings and how we are capable of living. A mltrl val elkpzelsek alaktjk a nzeteinket arrl, hogy kik vagyunk, s hogyan tudunk lni. * 01:04-01:08 We can dream of a culture of harmony and peace, in balance with nature... lmodhatunk egy olyan vilgrl, ahol harmnia s bke uralkodott, az ember s a termszet egyenslya. * 01:09-01:11 But has there ever been one? De ltezett ilyen valaha? * 01:05-01:19 Archaeologist Marija Gimbutas said 'yes. Marija Gimbutas rgsz azt mondta: igen. * 01:22-01:32 She told a new origin story, that at the very beginning of Western Civilization lay cultures that were long-lasting and peaceful. Egy j eredettrtnetet meslt el, a nyugati civilizci legelejt, hossz let s bks kultrkt. * 01:37-01:59 Marija Gimbutas was born in Lithuania, a land tucked away in NE Europe, where remnants of an ancient world still linger, passed down through

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

families like these potters, whose art reflects the myths and songs that left an abiding impression on Marija. Marija Gimbutas Litvniban szletett. Az orszg Eurpa szakkeleti sarkban bjik meg, ahol mg minidg lnek az si hagyomnyok. Olyan csaldok rvn maradtak fenn, mint ezek a fazekasok. A mvszetkben mtoszok s dallamok tkrzdnek, s Marijra maradand benyomst tettek. * 02:02-02:07 She was forced to flee the Soviet occupation of her homeland during World War Two Marija a msodik vilghbor alatt meneklni knyszerlt a szovjet megszlls ell. * 02:09-02:22 Refugees throughout the war, Marija Gimbutas and her family immigrated to the United States, where she became a world renowned archeologist, whose scientific theories have sparked a great debate. A vilghbor alatt menekltek voltak, majd az Egyeslt llamokba vndoroltak. Itt vlt Marija Gimbutas vilghr rgssz, aki az eredmnyeivel risi vitkat vltott ki. * 02:25-02:36 Her theories are deep and complex, but simply put, they paint a new picture of the earliest layer of Western cultures. Mly s sszetett elmleti alapvetseivel j kpet festett a nyugati kultrk legkorbbi rtegrl. * 02:43-02:54 Long before written history began in Sumer and Egypt, settlements in the forest clearings and riverbanks of Southeast Europe achieved a high level of culture and art. Jval azeltt, hogy Mezopotmiban s Egyiptomban megkezddtt az rott trtnelem, Eurpa dlkeleti rszn az erds tisztsok s a folypartok teleplsei a kultra s mvszet magas szintjeit rtk el. * 02:57-03:07 Eight thousand years ago in the Neolithic, or new stone age, agriculture, pottery, weaving, and herding were being practiced. 2

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

8000 vvel ezeltt az jkkori emberek mr fldet mveltek, kermit ksztettek, szttek s psztorkodtak.

* 03:10-03:16 The first farming communities where women and men lived showed no evidence of organized warfare. Nk s frfiak els fldmvel kzssgei nem mutatnak semmifle bizonytkot a szervezett hborskodsra. * 03:20-03:34 They left behind thousands of artifacts, - a rich legacy of paintings, pottery sculptures and figurines all connected to Goddesses and Gods who were at the center of a rich religious life. Ezernyi trgyi emlket hagytak maguk utn: gazdag festszeti hagyatkot, ednyeket, szobrokat s ni szobrocskkat, sszefggsben az istennkkel s istenekkel, akik a vallsos let kzppontjban ltak. * 03:38-03:50 The primordial deity for our ancestors was female, Marija wrote, a selfgenerating Goddess, Giver of Life, Wielder of Death and Regeneratrix. A kzponti istensg seink letben egy nnem istensg volt. Ahogy Marija rta, egy nmagt teremt istenn volt, az letad, a Hallz, az jjteremt. * 03:59-04:16 She was the unity of all life in Nature. Her power was in water and stone, in tomb and cave, in animals and birds, snakes and fish, hill, trees, and flowers. Az istenn egysgben llt a termszetben tallhat minden lettel. Ott volt vzben, kben, srban s barlangban, llatokban, madarakban, kgykban s halakban, hegyekben, fkban s virgokban. * 04:19-04:41 3

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

She was there for millennia. And She was always sacred. Because what our forefathers understood was sacred earth. Living Earth, Mother Earth figures everywhere in European folklore to this day. And she is the metaphor of living earth, nothing else. Az Istenn kpzete akkor mr vezredek ta ltezett. mindenkor szentsg volt. Az seink a fld szentsgben hittek. Az l Fld s az Anyafld mindmig az eurpai nprajz szerves rsze. Az Istenn az l fld metaforja, nem egyb.

* 04:45-05:21 I saw with my own eyes in these rather primitive corners of Lithuania, when not only women, but also men, were kissing Earth in the morning. Also the belief that Mother Earth is lawgiver. You can not deceive Earth, you must respect Earth, especially in the spring, when She is pregnant. You cannot beat Her, that was the life. Litvnia meglehetsen elmaradott rszn a sajt szememmel lttam, hogy reggelenknt nem csak a nk, hanem a frfiak is megcskoljk a fldet. A hit szerint az Anyafld trvnyad. A fldet nem lehet becsapni, tisztelni kell, klnsen tavasszal, amikor teherben van. * 05:28-05:42 Marija traced a continuity of sacred earth symbols going back to the earliest human art, the Old Stone Age, with their vibrant images of animals and female forms. A szentsges fld szimblumait Marija a mvszet legkorbbi korszakba, az skkorba a vezette vissza, az llatbrzolsokhoz s a ni formkhoz. * 05:47-06:21 The Paleolithic Goddess was the Creatrix. Her body parts like breasts, belly, buttocks, vulva, are the procreative parts of the body, and this shows that She is the Creatrix. So I can speak in detail about the functions of the

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Goddess. About the existence even not of one great Goddess or great Mother Goddess, but about many types of Goddesses. A paleolit kor istennje a Teremt, a Creatrix. A testrszei, a mellek, a has, a far s a vulva, a test termkenysgt jelzik. Azt mutatjk, hogy a Teremt. Az istenn funkciit pontosan krl lehet rni. Nem csak az Anyaistenn ltezett, a kzponti istensg, hanem sok klnbz ni istentpus. * 06:31-06:52 These images are not portraits. Theyre not personified portraits. Theyre amalgams of animals and birds, with female form-- they have all these attributes that open your imagination. Ezek az brzolsok nem portrk. Nem emberi arckpek, hanem llatok, madarak s ni formk keverkei. Az attribtumaikbl sokra lehet kvetkeztetni.

* 05:54-07:03 She opened up the diversity of the Neolithic religious imagery. Marija megvilgtotta a neolitikum vallsos formavilgnak soksznsgt. * 07:09-07:19 Its our language from 10,000 years ago. This is how we understood the world. This is how we spoke about life. Ez egy 10.000 ves nyelv. gy rtelmeztk a vilgot, gy beszltek az letrl. * 07:26-07:43 And if you dont like the term Goddess because it comes out of classical Greek culture, as a term, or whatever, thats ok, but what this represents as part of our spiritual tradition, of who we are, is probably as old as human evolution. Lehet, hogy nem tetszik az istenn kifejezs, mert a klasszikus grg kultrbl szrmazik. De tkrzi a spiritulis hagyomnyaink egy rszt, s valsznleg olyan rgi, mint maga az emberi evolci.

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 07:48-08:21 In every culture, the symbolism and the metaphors and the myths that they create are their way of interacting with the great mythic drama that we all live in, which is the unfolding of the universe, the earth turning around the sun, the seasons changing, the elements rising, the tides, the rhythms of the moon How shall we connect with this? How shall we create our cultural story? A kultrk a szimblumok, a metafork s a mtoszok segtsgvel lpnek kapcsolatba azzal a hatalmas, misztikus drmval, amiben lnek. Ez maga a vilgegyetem kiterjedse, a Fld keringse a Nap krl, az vszakok vltakozsa, a elemek bredse, a dagly s az aply, a Hold fzisai. Hogyan lehet mindezzel kapcsolatba lpni? Hogyan hozzuk ltre a sajt kultrnkat? * 08:28-08:35 But she knew that the symbol system was central to the meaning of peoples lives in these cultures. Marija ismerte azt a szimblumrendszert, ami a korai kultrkban kzponti szerepet jtszott.

* 08:41-08:58 Marija was the first scholar to bring together a comprehensive picture of this area she named Old Europe. Among its dozens of regional cultures she found many similarities in symbolism, social structure, economy and art. rajzolta meg elsknt e rgvolt kultrterlet tfog kpt, amit Rgi Eurpnak nevezett. Sok hasonlsgot tallt a tucatnyi regionlis kultra szimblumrendszerben, trsadalmi tagozdsban, gazdasgban s mvszetben. * 09:01-09:12 From their house sites, temples and grave goods, Marija drew a picture of co-operative and peaceful societies, which lasted much longer than the empires that came later. A telepek, a templomok s a srleletek alapjn egyttmkd, bks trsadalmak kpt vzolta fel. Ez az idszak hosszabb ideig tartott, mint brmely ksbb jv birodalom.

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 09:14-09:25 To date over 3,000 sites have been documented and tens of thousands of miniature sculptures have been found, made of clay, marble, bone, copper and gold. Mindmig tbb mint 3000 telepet trtak fel, s tzezernyi szobrocskt, agyagbl, mrvnybl, csontbl, rzbl s aranybl. * 09:32-10:17 I started excavations in 1967, and continued until about 1980, and excavated in four places: mainly in Yugoslavia, Greece, Italy. All these excavations were important for my personal research, because at that time I was discovering figurines myself. I discovered at least 500 sculptures. And it was not just sculptures, but the whole sequence of Neolithic cultures starting from 6,500 B.C. up though the Fourth Millennnium, and even later. 1967-ben kezdtem a feltrsokat, s nagyjbl 1980-ig folytattam. Ngy helyen vgeztem satsokat, fleg Jugoszlviban, Grgorszgban s Olaszorszgban. Az satsok az n szemlyes kutatsom szmra is fontosak voltak, mert magam is talltam ni szobrocskkat, legalbb 500 szobrocskt. De nem csak a szobrocskkat, hanem az sszes neolitikus rteget, Kr. e. 6500-tl, egszen a 4. vezredig, s taln tovbb is.

* 09:22-10:29 From the excavations, I was learning what I was reading in the books, and then I could prove by spade. Az satsok segtsgvel megtanultam s bebizonytottam azt, amit a knyvekben olvastam. * 10:32-10:50 And so she really put Old Europe on the map as a coherent concept, which was this wonderful flourishing of culture before the Bronze Age, when they had very well developed villages, when they did a lot of art to produce these figurines, when metallurgy was initiated. Marija trkpre tette a Rgi Eurpa koherens koncepcijt. Csodlatosan virgz kultra volt, igen fejlett falvakkal, a szobrocskkat igen nagy mvszi rzkkel lltottk el. Ismertk a fmmvelst is. 7

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 10:52-11:09 The massive synthetic abilities of her mind, to piece together chronologically hundreds and hundreds of sites and different cultures all over Europe, and track their interrelationships and all of that, is just massive. Marija rendkvli kpessge abban llt, hogy kpes volt kronolgiai sorrendbe lltani a klnfle eurpai kultrkbl szrmaz tbbszz teleplst, s feldertette kzttk az sszefggseket. * 11:16-11:41 Shes pointing out a whole time here, and its a time where everyones roughly equal in rank, its a female-centered culture, not male dominated, its relatively peaceful. People can live like that, and still maintain a large village, and an elaborate culture. Some of the late Cucuteni things had, those villages had 15,000 people living in them. Vgig hangslyozta, hogy az emberek nagyjbl egyenrangak voltak. Nkzpont kultra, nem frfidominancia, viszonylagos bke uralkodik. gy lnek, s mgis kpesek nagy falvakat s fejlett kultrt pteni. Nmely Cucuteni-teleplsen akr tizentezren is ltek. * 11:48-11:53 Cucuteni, Vina, Sesklo, our history books never told us these names. Cucuteni, Vina, Sesklo. A trtnelemknyvek soha nem beszltek rluk. * 12:00-12:07 Perhaps because without kings, warfare, and conquest, they dont fit the classic definition of civilization. Taln azrt, mert kirlyok, hborskods s hdts nlkl nem illik rjuk a civilizci klasszikus defincija. * 12:11-12:35 We can clearly make a statement: Old Europe is a peaceful culture without weapons. In the whole archeological record, starting from the Paleolithic times, from the cave art, there are no scenes of people fighting each other, no groups of people fighting each other, no single people. Hatrozottan kijelenthetjk, hogy a Rgi Eurpa egy bks kultra volt. Az egsz rgszeti anyagban egszen a paleolit kori barlangrajzoktl kezdve sehol nincs egy jelenetet arrl, hogy emberek vagy embercsoportok harcolnak egymssal. Egyetlen egy sem. 8

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 12:36-12:59 Before, what we think of as civilization, I was like everybody else: civilization begins at Sumer, and its always been warfare, and its always been weapons, and its always been kings and rulers, and somehow before that we were killer apes. It was like straight from the killer apes to the killer guys. Which is a very depressing view of history. Korbban n is azt gondoltam a civilizcirl, mint mindenki ms: a civilizci Mezopotmival kezddik, mindig is volt hborskods, mindig is voltak fegyverek, kirlyok s uralkodk. Azeltt gyilkos majmok voltunk. A gyilkos majmokbl gyilkos emberek lettnk. Ez a trtnelemszemllet elg lesjt. * 13:01-13:25 And so someone who tells us that there were civilizations that could be peaceful, this is very threatening to everything weve been taught, and its not only threatening to the power of men in our society, but to the way in which we have accepted that militarism is necessary: that the way to resolve conflict, the only way, is to have a standing army. Ha valaki azt mondja, hogy lteztek bks civilizcik, az nagy fenyegetst jelent mindarra, amit tantanak neknk. Nem csak a frfiuralomra a trsadalomban, de arra is, hogy a hborskods szksgszer, hogy a konfliktus feloldshoz csak egy ll hadsereg a megolds. * 13:27-13:31 So shes really asking us, is the way were living the best way to live? Ezrt Marija lnyegben azt krdezi, hogy tnyleg a legmegfelelbb mdon lnk?

* 13:35-14:05 At first I thought, this is all fantasy. I could not imagine a time that was free from war. But after a lot of denial, I began to carefully consider what she had written, and examine her works more carefully. And it was like a 9

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

deeply religious experience, to be swept out of one world and to be drawn into a much vaster and deeper sense of the universe. Elszr azt gondoltam, hogy csak fantzil. Nem tudtam elkpzelni, hogy ltezett valaha hbormentes kor. Sokig elutastottam, de aztn alaposan ttanulmnyoztam Marija rsait. Olyan volt, mint egy mlysges vallsos tapasztalat, mintha felemelkedtem s elmerltem volna a vilgegyetem egy nagyobb, mlyebb rzkelsben. * 14:10-14:24 Shes describing a world in which people were very connected. They were connected to the life process. They were connected to the seasonal cycle. They were connected to understanding that the sacred is in the earth. Egy olyan vilgot mutat be, ahol az emberek igen szoros kapcsolatban lltak egymssal. Kapcsolatban lltak az let folyamatval, az vszakok vltakozsval. Abban hittek, hogy a szentsg a fldben rejlik. * 14:30-14:52 The connection is then in the ritual objects that she found, which really had to do with the forces of nature. It isnt that nature and culture are separate, but that nature is part of culture or culture is part of nature, and this is part of, certainly the evidence from the Neolithic, what she calls Old Europe. Marija az egysget a ritulis trgyakban ltta, ezek a termszet erihez ktdnek. A termszet s a kultra nem vlik kln, hanem klcsnsen egyms rszei. Abbl a korbl szrmaznak, amit Marija a Rgi Eurpnak nevez. * 15:03-15:20 The Neolithic is the moment when the humans have moved, the hunters, the gatherers, when they have finally settled down. And this is the birth really of civilization, and of a settled human culture. A neolitikumban a vadsz s gyjtget emberek vndoroltak, majd vgleg letelepedtek. Ez a civilizci igazi szletse, a leteleplt emberek kultrja. * 15:28-15:52 Civilization exists when people can pursue the arts, pottery-making, singing, dancing. We have evidence of all of this from the earliest Neolithic, throughout Old Europe, gorgeous pottery, intricate designs, and they are relatively consistent throughout Old Europe. Civilizcirl akkor beszlnk, amikor az emberek mvszeti tevkenysget folytatnak, kermit ksztenek, nekelnek, tncolnak. Ezek megltre a Rgi Eurpban mr a neolitikum legkorbbi idszakbl vannak bizonytkok:

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

csodlatos kermia, differencilt dsztsek. A klnbz rgik trgyai elg nagy hasonlsgot mutatnak egymssal. * 15:59-16:06 Marijas belief, which I happen to agree with, is that this artistic aesthetic was interwoven with their religious beliefs. Marija gy hitte, hogy a mvszeti eszttika sszefondott a vallsos kpzetekkel. Ezzel n is egyetrtek. * 16:13-16:34 The three great creations of the Neolithic revolution were agriculture, weaving, and the art of pottery-making. These three great creations were connected to the Goddess, because the relationship between the seed, and how you get it to go into the earth, and when you harvest it, and how you then make bread out of it: this was a great mystery of transformation. A neolitikum forradalmnak hrom nagy vvmnya volt: a fldmvels, a szvs s a kermia. Mind sszekapcsoldott az Istennvel. A mag, a vets, az arats s a kenyrsts, ez az talakuls nagy misztriuma. * 16:37-16:58 And this is the essence of the mysteries of the Goddess religion. So sometimes people say, well, they had a Goddess, but how do we know that women had power? And its because women had invented pottery, weaving, and agriculture, that they would have had a high social role. Ez az Istennvalls esszencija. Azt szoktk mondani, hogy rendben, volt egy Istenn, de honnan tudni, hogy a nk kezben volt a hatalom? Onnan, hogy a nk talltk fel a fazekassgot, a szvst s a fldmvelst. Ez magas trsadalmi sttuszt eredmnyezett. * 16:59-17:20 Yes, pottery is womans, textile, also womans, and then the household is womans, and the supervising of everything was in womans hands. This is what can we reconstruct from the Neolithic finds. Igen, nk ksztettk a kermit, a szveteket, nk vezettk a hztartst, a felgyelet, az ellenrzs is ni kzben volt. Ezt mondja a neolitikum leletanyaga. * 17:22-17:39 Her interpretations were based upon an enormous amount of work: Primary research. Not only primary research in the field, but primary research in investigating the historic documents in their original languages. 11

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Marija kijelentsei risi munkn, az elsdleges forrsokon alapultak. Nem csak rgszeti terepmunkt vgzett, eredeti nyelven vizsglta a trtnelmi dokumentumokat.

* 17:42-17:53 Then in Northeastern Greece, I excavated together with Colin Renfrew, who later became my opponent, although we published books together. Colin Renfrew-val szak-Kelet Grgorszgban vgeztnk satsokat, kzsen publikltuk a knyveket, de ksbb lett a legnagyobb ellenlbasom. * 17:54-18:02 Its true that even in the excavation, there were some differences. Marija was particularly interested in the figurines. Igaz, mg az satsokon is voltak kztnk ellenttek. t klnsen a ni szobrocskk rdekeltk. * 18:03-18:21 Marija was really eager to open an excavation where there was an early Neolithic layer, because she really wanted to see what the beginning of an agricultural settlement, what the material culture would be like. And Sitagroi was extremely rich, it had over 200 figurines. Marija gett a vgytl, hogy a korai neolitikus rteget is megnyissk, ha volt ilyen. Nagyon kvncsi volt a kezdeti fldmves telepre s az anyagi kultrjra. Sitagroi pldul elkpeszten gazdag volt, tbb mint 200 szobrocskt talltak. * 18:28-18:36 In the very beginning, it was still not very clear to me what are these figurines? Why are there so many? Az elejn mg nem igazn rtettem, hogy mik ezek a szobrocskk. Mirt van bellk olyan sok? * 18:42-18:51 Then she developed her ideas about it, and one was that she could really understand the religion of these people from the figurines. Aztn kialaktotta az elmlett a szobrocskkrl. Hogy lehet bellk olvasni az emberek vallsos hitvilgt.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 18:54-19:06 She jumped to the conclusion, it was an old conclusion that others reached before her, that all of these different representations of women were all the Goddess, in different guises, in different manifestations. Arra a kvetkeztetsre jutott, amire korbban mr msok is, hogy ezek a ni brzolsok mind az Istennt testestettk meg, klnfle alakokban s megnyilvnulsokban.

* 19:07-19:12 And of course there youve the notion of the Goddess, which I think is meaningless. Ez az elkpzels az Istennrl szerintem teljesen rtelmetlen. * 19:18-19:37 Now once you get on that, once you insist every time you see a figurine of a woman you say well, its the Goddess, and if you find one very different from that one, well, its the Goddess under a different manifestation, that is no methodology, you can just say well everything is the Goddess. And indeed, for Marija, in a way, everything became the Goddess. Ha minden egyes alkalommal kitart amellett, hogy a szobrocska az Istenn, s egy teljesen msmilyen szobrocska is az Istenn, csak ms alakban vagy megnyilvnulsban, az nem mdszertan. Akkor mindenre lehet mondani, hogy igen, ez is az Istenn. Marija bizonyos rtelemben mindenben az Istennt ltta. * 19:41-20:02 Early religion, to Marija, was not about sacred texts or dogmas, but about the great creative powers embodied in the natural world, the interwoven patterns that tie the universe together: Birth, growth, death, and regeneration. Marija gy gondolta, az si valls nem szent szvegen s dogmkon alapult, hanem azon a nzeten, hogy a nagy teremt erk miknt ktik ssze a vilg rszei. Ezt volt a szlets, a nvekeds, a hall s az jjszlets. * 20:06-20:28 Marijas view of the Goddess, she would say it with emphasis: She would say, its not about fertility, it is about regeneration. Always out of every 13

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

death theres a rebirth. Always after an ending comes a new beginning. Its the organic flow, its the organic cycle. So thats what she was talking about. Marija szerint az Istenn nem a termkenysget jelentette meg, hanem az jjszletst. A hall utn jjszlets kvetkezik. Csak a vg utn jn egy j kezdet. Ez egy szerves ramlat, egy szerves krforgs. * 20:29-20:59 What Marija really did, and I believe this absolutely, whether I go along with all of her ideas or not, she set the agenda. She started to write about the figurines when there were two other people who had written about the figurines. And nobody was writing about the figurines because they didnt know what to say. And she wrote about them and she said all these things and for a while there were very few reviews, because the reviewers didnt know what to say. Hiszem, hogy Marija tette napirendre a tmt, mg ha nem is rtek vele mindenben egyet. Mr akkor rt a szobrocskkrl, amikor rajta kvl csak kt msik ember foglalkozott velk. Senki nem rt rluk, mert senki sem tudott mit rni. Marija viszont igen, kimondta ezeket a dolgokat. Egy j ideig igen kevs kritikt kapott, mert a kritikusok sem tudtak mit mondani. * 20:02-20:09 But she set the agenda, and its caused all this scholarship, and she loved that, she absolutely loved that. De napirendre tette a tmt, inspirlta a tudomnyt, s ez nagyon tetszett neki. * 20:10-21:30 You have to remember that all historians of religion dont know very much about the deep religious past, and that much of what historians are talking about as the history of their own religions in the deep past, is a great deal of conjecture. So why not have these sets of conjectures for us to think about? A vallstrtnszek nem tudnak tl sokat a legrgebbi vallsokrl. Amit a sajt vallsuk rgmltjrl mondanak, az is jrszt feltevseken alapul. Teht mirt ne gondolnnk meg Marija feltevseit? * 21:31-21:53 She had folk ideas about religion, and not just theologians views or historians views of what was important. She had common peoples views. And in the common peoples view, the small figurines, the small statues,

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

the presence of divinities in daily life is much more prominent. But our scholars dont even know how to think about that. Marija ismerte a npi vallsos hiedelmeket, nem csak azt, amit a teolgusok s a trtnszek fontosnak gondoltak. Ismerte a mindennapi emberek ltsmdjt. E ltsmd szerint az istensgek a szobrocskk rvn jelen vannak a mindennapi letben. De a tudsok azt se tudjk, hogyan fogjk meg a dolgot. * 21:01-22:09 The common people of Lithuania, the old women of the fields and markets had always been one of Marija's sources of inspiration. A kznp, a fldmves ids asszonyok s piaci rusok lete Litvniban mindig is sztnzte Marijt. * 22:16-22:27 In the homes of country people, with their pottery, weavings, and carvings, Marija in her youth had seen many of the patterns and designs she would later find in the artifacts of Old Europe. Fiatalkorban a vidki otthonokban gyakran ltta a mintzatokat a kermikon, szveteken s fafaragsokon, amiket ksbb a Rgi Eurpa trgyi leletein ismert fel.

* 22:32-22:41 Common things encoded hidden symbols, Marija discovered, as she studied the rich folklore and folk art that surrounded her. Ahogy Marija Litvnia gazdag nphagyomnyait tanulmnyozta, felfedezte, hogy a mindennapi trgyak rejtett szimblumokat tartalmaznak. * 22:46-23:02 Not so long ago, Marija wrote, the Lithuanian countryside was dotted with beautifully ornamented poles, capped by roofs and crosses, whose symbols radiated brilliant sunlight. Lerta, hogy nem sokkal ezeltt a litvn vidket mg csodlatos ornamentikval dsztett pznk pettyeztk, boltozatos vekkel s keresztekkel koronzva, a szimblumaik sugrz napfnyt brzoltak. * 23:03-23:10 They rose from the earth as the folk song had risen, out of religious beliefs. Az oszlopok a fldbl nttek, a vallsos hiedelmekbl, mint a npdalok.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 23:13-23:23 Under the Soviets, Marija's early works documenting Lithuanian folk culture and symbolism, were considered subversive and banned. A szovjet megszlls idejn Marija korai mveit a litvn nprajzrl s szimbolikus nyelvrl felforgatnak nyilvntottk s betiltottk. * 23:25-23:34 But beginning in 1968, after two decades of exile, she was able to return home as a visiting lecturer at the University of Vilnius. De 1968 elejn, kt vtizedes tvolmarads utn visszatrhetett a hazjba, raadknt a Vilniusi Egyetemre. * 23:36-23:52 In 1981, she came for three months, Her lectures helped inspire the Lithuanian resistance with a sense of their own rich culture. And throughout her lifetime, she continued to return to her homeland. 1981-ben hrom hnapot tlttt Litvniban. Az eladsaival rzkeltette az orszg kultrjnak gazdagsgt, amivel sztnzte a litvn ellenllst. lete vgig visszajrt a hazjba.

* 23:57-24:42 When you excavated in Lithuania, you found in the grave goods material culture which still was reflected in present-day Lithuania folk custom. So she felt that if you studied the folk customs, the ethnography, if you studied the folk tales and the folk songs, and you knew the actual history, and the language, that you could put all these things together, and you might be able to reach some aspect of what is always so ambiguous, prehistoric religion, because you see, she saw that in Lithuania. A litvniai satsokon mindig tallnak srleteteket, amik tkrzdnek a mai litvn nprajzban. Marija gy rezte, ha tanulmnyozza a npi hagyomnyokat, az etnogrfit, a npmesket, a npdalokat, ha ismeri a jelenkor trtnett s a nyelvet, s kpes sszerakosgatni ezeket a darabkkat, akkor lehetsges, hogy

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

a nyomra akad az si vallsnak, ami klnben nehezen megfoghat. Mert Litvniban ltott ilyen nyomokat. * 24:47-25:01 The religion of old Europe changed radically towards the end of the third millenium. Horseback riding peoples from the Russian steppes Marija called Kurgans swept across Europe in three great waves of invasions over several thousand years. A Rgi Eurpa vallsa a Kr. e. 3. vezred vge fel hirtelen megvltozott. Lovas npek rkeztek az orosz sztyeppkrl, tbb vezreden keresztl, hrom nagy hullmban. Marija kurgnoknak nevezte ket. * 25:02-25:07 And that collision is reflected everywhere, in mythology and in language. Ez az tkzs tkrzdik mindenhol, a mitolgiban, a nyelvben. * 25:08-25:23 Villages are often fortified. You also have class stratification. Some peoples grave is big, loaded with loot, loaded with stuff, beautiful museum pieces, and some peoples graves arent. Youve got some people that are rich and some people that are poor. A falvakat gyakran erdtettk. Megfigyelhet a trsadalmi rtegzds is. Nhny embernek hatalmas srja van, telis tele ldozattal, trgyakkal, csods mzeumi darabokkal, a tbbi embernek nem. Vannak gazdag s szegny emberek. * 25:27-25:37 And from the very beginning, they had weapons. Ive dealt with weapons, with the hill forts. All that. I spent 10 years on that. Fegyvereik is voltak, a legelejtl fogva. Foglalkoztam a fegyverekket s hegyi erdtmnyekkel. Tz vet tltttem ezzel.

* 25:40-25:46 Hierarchical, male-ruled, they worshiped a sky God and brought a new religion. Hierarchizlt, frfiak ltal dominlt trsadalom, az gistent imdtk, j vallst hoztak Eurpba. * 25:47-25:52 17

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

They spoke an ancestral Indo-European tongue which spread with their migrations. Egy si indo-eurpai nyelvet beszltek, amit a vndorlsaikkal terjesztettek. * 25:56-26:07 New gods clashed with old traditions. This collision of cultures transformed the old myths and values - and changed the heart of Old Europe. Az j istenek megtkztek a rgi hagyomnyokkal. A kultrk tkzse talaktotta a rgi mtoszokat s rtkeket. Megvltoztatta a Rgi Eurpa szellemt. * 26:09-26:25 If you read the epics, if you look at the art, if you look at whats on the pottery, look at the writings of Homer, what you can see there is that there was a conflict between the old earth deities and the sky deities. Ha elolvassuk az eposzokat, Homrosz mveit, ha megnzzk a mvszetet, a kermiadsztseket, akkor ltjuk a konfliktust az si fldistensgek s az gi istensgek kztt. * 26:26-26:42 Theres certainly nothing surprising about what shes saying Shes just kind of proven what many people had speculated about during the nineteenth and early twentieth century, and she put that Old European society on the map. She showed us that it was really there. Tulajdonkppen semmi meglep nincs abban, amit Marija mond. csak bebizonytotta, amirl a 19-20. szzadban spekulltak, rtette a trkpre a Rgi Eurpa trsadalmt. Megmutatta, hogy valban ott volt. * 26:46-26:58 From the mythic world of Old Europe, Marijas life journey took her into the world of the scientist, where her early works on the Bronze Age established her reputation as a world-renowned scholar. A Rgi Eurpa misztikus vilgbl Marija tja a tudsok vilgba vezetett, ahol a bronzkorrl szletett korai mvei meghoztk szmra a vilghrt.

* 26:59-27:04 Here at the Pacifica Institute in Santa Barbara, her archives are preserved. 18

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Santa Barbarban, a Pacifica Institute-ben rzik a levltrt. * 27:07-27:25 Marijas later works on the Neolithic pioneered the discipline of archaeomythology, bringing together studies in archaeology, folklore, ethnology, linguistics, and mythology. Interpretations from one field could be checked against the evidence of other fields. Marija ksei munki a neolitikumrl elksztettk a talajt az archeomitolgia tudomnyterlete szmra. Egyesti magban a rgszetet, nprajzot, etnolgit, nyelvszetet s a mitolgit. Az egyik tudomnyterletrl szrmaz rtelmezseket meg lehet vizsglni a msik terletrl szerzett bizonytkkal. * 27:26-27:40 She also spoke about her satisfaction when the various disciplines would line up, and give the same picture of what she was looking at. And she said thats my satisfaction, to find out what this means. Azt mondta, hogy nagyon elgedett akkor, amikor a klnfle terletek felsorakoznak, s ugyanazt a kpet festik a vizsglt dologrl, s kpes kitallni ennek a komplex jelentst. * 27:42-28:09 In her lifetime, she published hundreds of articles and 20 major books, translated into many languages. As archaeology restricted its focus to statistics and material culture, Marija broadened hers. She insisted that to understand our ancestors, we must consider their belief systems, which she saw encoded in their art. Marija Gimbutas tbbszz cikket s 20 knyvet publiklt, mveit tbb nyelvre is lefordtottk. Amikor a rgszet kizrlag a statisztikra s az anyagi kultrra sszpontostott, Marija kiterjesztette a sajt nzpontjt. Kitartott amellett, hogy meg kell rteni az sket, vizsglni kell a hitrendszerket. gy ltta, hogy a hitrendszerket a mvszetkbe kdoltk. * 28:11-28:17 The Goddesses and Gods of Old Europe, published in 1974, was the beginning of a deep split with her colleagues. A The Goddesses and Gods of Old Europe c. knyvt 1974-ben publikltk, s ez mly szakadkot eredmnyezett kzte s a kollgi kztt.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 28:19-28:45 She was very, very well respected until she went into this material. She took a leap of faith by interpreting. Saying that she could understand what this was pointing to. And I think thats where she sort of stepped off the map with archaeology, is that she took it into the language of imagery and of mythology and of poetry. Marija egszen eddig a pontig mlysges tiszteletnek rvendett. Az j terletbe vakon belevgott, br azt mondta, hogy tudja, hova fog ez vezetni. Bizonyos rtelemben akkor lpett ki a rgszet vilgbl, amikor elkezdte vizsglni a szimbolikus nyelvet, a mitolgit s a kltszetet. * 28:46-29:10 And this is as far as you could get really from the econometric grip of archaeology during the 50s and 60s where the idea is to excavate a culture, figure out the economic production and relations, and all of these artifacts are epiphenomenalsome kind of religious stuff. I mean it was the modern economist mentality put onto the excavation. s csakugyan ennyire el lehetett szabadulni az '50-es, '60-as vek rgszetnek konometriai-gazdasgi szortsbl. A kultra feltrsa csak annyi volt, hogy feldertettk a gazdasgi termelst, a gazdasgi kapcsolatokat. A tbbi trgyi lelet mellktermk, affle vallsos holmi. A modern kzgazdasgtani mentalitst rhztk a rgszeti feltrsokra. * 29:13-29:29 The other thing that makes Marija Gimbutas extremely controversial with archaeologists is mythology. Most archeologists dont have a good background in mythology. Marija Gimbutas came into the field with a damn good background in folklore. Shed been out there collecting folk stories in the fields before World War II broke out. Ami mg hihetetlen mdon ellentmondsoss teszi Marijt a rgszek krben, az a mitolgia vizsglata. A legtbb rgsz nem ismeri a mitolgit. Marija Gimbutas igen alapos nprajzi ismeretekkel rkezett a tudomnyba. A II. vilghbor kitrse eltt mr kinn volt a terepen, s npmesket gyjttt. * 29:33-29:43

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Summer was still peaceful in the 1930's when Marija and her sweetheart, Jurgis Gimbutas wandered the back roads of Dzukia searching for singers of old songs. Az 1930-as vekben a nyarak mg bkben teltek. Marija s szerelme, Jurgis Gimbutas Dzukija flrees tjain vndoroltak, nekeseket s rgi nekeket kerestek.

* 29:57-30:18 I was interested of course in folklore because throughout my high school years, I already participated in ethnographical expeditions. And I collected folksongs. When I was 16, 17, I collected about at least about five thousand folksongs myself. Termszetesen rdekelt a nprajz, egsz kzpiskola ideje alatt rszt vettem etnogrfiai felfedezutakon. Npdalokat gyjtttem. 16-17 ves koromra legalbb 5000 npdalt gyjtttem. * 30:22-30:28 Even today in Dzukia, the ancient songs, called Dainos are still sung. Dzukijban mg ma is neklik az si dalokat, az n. dainosokat. * 30:30-30:35 The dainos preserve Lithuania's oral history and culture. A dainosok rzik Litvnia szbeli hagyomnyait s kultrjt. * 30:37-30:48 Marija described them like the rhythms of a bird, a wedding dance, a lament, a liturgy of nature and the milestones of everyday life . Marija szerint olyanok, mint a madrnek ritmusa, a lakodalmi tnc, siratnek, a termszet liturgija s a mindennapi let mrfldkvei. * 31:08-31:45 Here, at this point, I start to understand what is the ancient song and what the song was in the very beginning. You did everything singing, and your song traversed the earth. And woman, even working hard, was happy because she had the song with her, and her belief system was connected with what she expressed in songs. So that stayed with me for the whole of life.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Kezdtem megrteni az si nek jelentst, s azt, hogy mit jelentett a kezdetek kezdetn. Az emberek brmit csinltak, nekeltek, az nek thatolt a fldn. Mg a kemnyen dolgoz n is boldog volt, mert vele volt az neke, a n hitrendszere kapcsolatban volt azzal, amit nekelt. Ez a felismers egsz letemben velem maradt. * 31:49-32:03 I was a privileged child. When I have a difficult time now, I go back to my childhood, to the abundance of love around me. Kivtelezett helyzet gyerek voltam. Ha nehz a sorom mostanban, visszamegyek a gyerekkoromba, abba a szeretetradatba, ami krlvett akkor.

* 32:06-32:13 Marija and her cousin Meille grew up together, their Mothers were sisters and the households were closely intertwined. Marija egytt ntt fel az unokatestvrvel, Meile-vel. Az anyik nvrek voltak, szinte kzs hztartst vezettek. * 32:16-32:28 Meille, and her daughter Inga, and her granddaughter, Austaija, are respected scholars and hard-working women in their professions, typical of this remarkable family. Meile s a lnya, Inga, valamint az unokja, Austaija, tiszteletnek rvend tudsok, a szakmjukban kemnyen dolgoz nk voltak, jellemzen erre a figyelemremlt csaldra. * 32:29-32:45 Our mothers came from a peasant background. Five of the nine children in this family completed higher or secondary education. A anyink paraszti csaldbl szrmaznak. A csaldban kilenc gyerekbl t vgzett kzpiskolt, vagy annl magasabb szint tanulmnyokat. * 32:51-33:05 She became a Ph.D. in medicine. She was the first woman in Lithuania with a Ph.D. a Ph. D. in medicine. She was an occulist, an eye doctor.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Veronika Janulaitis, Marija desanyja doktortust szerzett orvostudomnybl. Az els n volt Litvniban, aki orvostudomnyi doktori cmet szerzett. Szemszorvos volt. * 33:15-33:20 In 1921 when Marija was born Vilnius was under Polish occupation. Amikor Marija 1921-ben megszletett, Vilnius lengyel megszlls alatt llt. * 33:22-33:29 The family apartment was the center of her parents efforts to preserve Lithuanian culture and restore independence. A szlk erfesztseinek megfelelen laksuk a litvn kultra megrzst s a fggetlensg helyrelltst szorgalmaz emberek tallkozhelye lett. * 33:32-33:41 Danielius Alseika was also a doctor. Together they established the first Lithuanian hospital in Vilnius. Marija apja, Danielius Alseika szintn orvos volt. A felesgvel kzsen alaptottk meg az els litvn krhzat Vilniusban.

* 33:42-33:53 Not a personal, private one, but precisely oriented to help treat the poor people, the peasants of Vilnius territory. A krhz arra rendezkedett be, hogy segtse a szegny embereket, a Vilnius krnyki parasztokat. * 33:59-34:04 And it was this environment, this spirit, which guided Marija throughout her entire life. Marija ebben a krnyezetben, ebben a szellemben ntt fel, ami elksrte t egsz letben. * 34:08-34:37 My father was so busy, he was out, out all the time. He returned home at night, and I remember the smoke, he smoked. And I slipped in and I was sitting on his lap. And I also started reading while sitting in his lap from newspapers. That is how I learned to read. So that was my father. He was very passionate and loved me very much. 23

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Az apm annyira elfoglalt volt, szinte soha nem jtt haza. jszaka rt haza, emlkszem a fstre, cigarettzott. Beosontam hozz, s az lbe ltem. gy kezdtem el olvasni, az lben lve az jsgokbl. gy tanultam meg olvasni. volt az apm. Nagyon szenvedlyes ember volt, nagyon szeretett engem. * 34:38-35:09 My mother was more pragmatic. She was holding everything in her hands. In my childhood when I was at school, I used to disappear in the city, my beloved city Vilnius, and go through the courtyards, through the gates, and then visit churches. I loved churches, especially Baroque churches. Az anym sokkal gyakorlatiasabb volt. Mindent kzben tartott. Amikor mg iskols voltam, a vrosban szoktam jrklni, Vilniusban, a szeretett vrosomban. Vggimentem az udvarokon, a kapukon, bementem a templomokba. Szerettem a templomokat, klnsen a barokk templomokat. * 35:11-35:34 And I didnt say anything to my parents that I went to the church. This was secret. But the connection with churches, with nature, with flowers, with smells, with mushrooms, and berries, with animals, I think this was important. Nem mondtam meg a szleimnek, hogy elmentem a templomba. Titok volt. A viszonyom a templomokhoz, termszethez, virgokhoz, illatokhoz, gombkhoz, bogys gymlcskhz, s az llatokhoz, gy hiszem, fontos volt.

* 35:39-36:00 But then, at the end of the high school, especially after my fathers death, when I was fifteen, it was a terrible shock. It was the beginning of a new Marija, interested in death problems, birth and death, regeneration, afterlife. And then I became a good student. 15 ves koromban meghalt az apm, rettenetes sokk volt. Ezzel egy j Marija szletett. Ekkor, de fkppen a kzpiskola vge fel kezdtem el rdekldni a hall rejtlye irnt, a szlets s a hall, az jjszlets s a tlvilgi let utn. s az iskolban ekkor lettem j tanul. * 36:03-36:08 Peace was shattered when the Soviets invaded Lithuania in 1940. 1940-ben a szovjetek bevonultak, a bke sztzilldott. 24

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 36:09-36:27 At that time I was writing my dissertation, I felt very relaxed. You can imagine the conditions. They started to ship people to Siberia. Out of my own family, about 25 people disappeared. Akkoriban a disszertcimat rtam, s nagyon nyugodt voltam. El lehet kpzelni a krlmnyeket. Aztn elkezdtk Szibriba deportlni az embereket. A csaldombl olyan 25 ember tnt el. * 36:29-36:33 With war raging around them, Marija and Jurgis married. A hbors rletben Marija s Jurgis sszehzasodtak. * 36:34-36:48 At that time when I was married, I thought, well, what I did know? It was a stupidity because I was not really ready to marry, not at all. Well, I was married, and then a child was born in 1943. Amikor frjhez mentem, azt gondoltam, hogy ht mirt ne, mittudomn? De butasg volt, mert nem voltam ksz a hzassgra, egyltaln nem. De mindegy, frjhez mentem, 1943-ban megszletett az els gyermeknk. * 36:51-36:52 Then the Germans invaded. Aztn bevonultak a nmetek.

* 36:54-37:03 The German occupation brought something different. Again, they started arrests. So who was not arrested now was arrested. A nmet megszlls valami mst hozott. jra kezddtek a letartztatsok. Akit eddig nem, azt most letartztattk. * 37:04-37:12 The Germans destroyed Lithuanias once-flourishing Jewish community. 25

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Then the Soviets came back. A nmetek sztromboltk Litvnia egykor virgz zsid kzssgt. Aztn visszatrtek a szovjetek. * 37:14-37:17 So we either escape or we shall be shipped to Siberia. Teht vagy meneklnk, vagy visznek Szibriba. * 37:19-37:22 Lithuanians by the hundreds escaped by way of the Neminus river. Litvnok szzai menekltek a Neminus folyn. * 37:24-37:38 The child was small, and we were not practical. Because when I fled, I just had my baby in one arm and my dissertation in the other arm, and nothing else. A gyermeknk kicsi volt, s mi nem voltunk gyakorlatiasak. Amikor elindultunk, az egyik kezemben vittem a gyereket, a msikban a disszertcimat, semmi mst. * 37:39-37:43 At the border they were offered two choices. Berlin or Vienna. A hatron kt lehetsgnk volt: Berlin vagy Bcs. * 37:45-37:47 We wanted to go to Vienna. Mi Bcsbe akartunk menni. * 37:48-38:00 Marija and her family spent the rest of the war as refugees in Austria and Bavaria. When peace came they went to Tubingen in Southern Germany. Marija s a csaldja a hbor htralev rszben Ausztriban s Bajororszgban voltak menekltek. Amikor eljtt a bke, Tbingenbe mentek. Dl-Nmetorszgba.

* 38:02-38:38 Tubingen was considered to be one of the best universities, and the first university to reopen after the war. I got my Ph.D. degree in two years, and 26

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

my book was published on the burial rites of Lithuania. Then in 47, my second daughter was born. Then started my very good years in that camp, and very good people were around me, and hundreds of baby sitters. Tbingen a legjobb egyetemek kz tartozott, s az els egyetem volt, ami megnylt a hbor utn. Kt ven bell megszereztem a doktortust, s kiadtk a knyvemet a litvn temetkezsi szoksokrl. 1947-ben megszletett a msodik lnyom. Nagyon j vek kezddtek a meneklttborban, nagyon j emberek vettek krl, ptmamk szzval. * 38:40-39:04 I used to take a train back to the Tubingen library, spend days in the library, and my studies began there. I dont say that I finished my studies with a degree. No, I did something else. And so what I did, I returned back to the same, to the folklore studies and the folk art studies, mainly. Vonattal jrtam be Tbingenbe a knyvtrba, napokat tltttem el, ott kezddtek a kutatsaim. Ezekbl a kutatsokbl nem szereztem diplomt. Nem, s valami mst tettem. Visszatrtem a nprajzra, a npmvszet tanulmnyozsra. * 39:08-39:26 In 1949, the Gimbutas family together with Jurgis mother were finally able to emigrate to the United States. They went to Boston, where Jurgis found work as an engineer, and Marija was offered an unpaid position at Harvard. 1949-ben a Gimbutas csald Jurgis desanyjval egytt vgre bevndorolhatott az Egyeslt llamokba. Bostonba mentek, ahol Jurgis mrnki munkt tallt, Marija pedig elfogadott egy fizets nlkli llst a Harvard Egyetemen. * 39:28-39:41 I received a letter: If you are serious, you can continue your studies. We shall give you an office here, and if you want to produce a work on the prehistory of Eastern Europe, you are welcome. Kaptam egy levelet: Ha komolyan gondolja, folytathatja a tanulmnyait. Kap egy irodt, s ha rni akar Kelet-Eurpa strtnetrl, akkor szvesen ltjuk.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 39:43-40:01 Nobody understands the width and the breadth of information that she brought with her. She had this background in mythology, and then she had all these languages. And then she had her archaeology training which was rigorous and European. Senki sem rti egszen, micsoda hatalmas s mly tudst hozott magval. Ismerte a mitolgit, ismerte a nyelveket. A rgszeti kpzettsge rigorzus volt, s eurpai. * 40:03-40:21 So here I am at Harvard, and this was already 1950. And I knew that I am the only person who knows East European pre-history in the whole United States. There was practically nobody else. And that was my strength. Teht itt vagyok a Harvardon, s mr 1950-et runk. Tudtam, hogy n vagyok az egyetlen ember az egsz Egyeslt llamokban, aki ismeri Kelet-Eurpa strtnett. Gyakorlatilag senki ms nem volt. Ez volt az erssgem. * 40:24-40:31 Like so many women, Marija struggled to balance her professional life and her family life as the mother of now, three daughters. Mint sok ms n, Marija is kzdtt, hogy egyenslyban tartsa a szakmai s a csaldi lett, most mr hromgyermekes anyaknt. * 40:33-41:06 What I remember of Mother, she would sit down at the piano and play, maybe a few times a week. We didnt have a television, and the living room was a place to read, to study and to listen to music. We had lots of company, many interesting writers, intellectual people, so-called intellectuals, because my parents belonged to the Lithuanian Cultural Club, which they also led for a few years. Emlkszem, hogy Anya hetente nhnyszor lelt a zongorhoz. Nem volt tvnk, a nappaliban olvastunk, tanultunk, zent hallgattunk. Sokszor jtt hozznk trsasg, sok rdekes r s intellektuel, mert a szleink a Litvn Kultrklub tagjai voltak, amit nhny vig vezettek is. * 41:09-41:21 Harvard published The Prehistory of Eastern Europe, and it was widely read and distributed, although Marija received no advance or royalties. It established her reputation as expert in Eastern Europe's deep past.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

A Harvard kiadta a The Prehistory of Eastern Europe c. knyvt, s habr szles krben vettk s olvastk, Marija sem elleget, sem jogdjakat nem kapott. Kelet-Eurpa strtnetnek szakrtjeknt viszont megalapozta a hrnevt.

* 41:23-42:03 So this was the beginning of my career in America. There was no real chance to stay as a woman at Harvard, I knew that. I could stay as a research fellow and lecturer, but I probably would never be a professor there. In the nineteen-fifties, as a staff member I couldnt join the faculty club if I went alone, not escorted by men. Also, two libraries were closed to women. So that I couldnt, I couldnt really stand. I hated the situation. gy kezddtt a karrierem Amerikban. Nknt nem volt igazi eslyem a Harvardon maradni, ezt tudtam. Kutatknt vagy raadknt maradhattam volna, de valsznleg soha nem lettem volna professzor. Az 1950-es vekben a tanszk tagjaknt nem mehettem el egyedl a tanszki klubba, frfiksret nlkl. Kt knyvtrba be sem engedtek nket. Alig brtam elviselni. Utltam a helyzetet. * 42:05-42:10 My relations with my husband, they were also never very wonderful. A kapcsolatom a frjemmel nem volt soha tl j. * 42:13-42:22 In 1963, Marija was offered a position at UCLA, as a professor. She left her marriage, and moved to California. 1963-ban professzori llst ajnlottak neki a Kaliforniai Egyetemen. Elvlt a frjtl, s Kaliforniba kltztt. * 42:24-42:48 I fell in love with California. I restored my health, and I was suddenly happy at UCLA, and I felt a future in front of me. I was thinking of possibilities, what I shall do, and what can be created, and this was a very good moment. Beleszerettem Kaliforniba. Helyrellt az egszsgem, s hirtelen nagyon boldognak reztem magam a Kaliforniai Egyetemen, jvt lttam magam eltt. A lehetsgekre gondoltam, mit csinljak, mit hozhatok ltre, nagyon j pillanat volt. * 42:50-42:55

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Marija flourished as a professor, publishing dozens of academic articles and her fourth book on the Balts. Marija remekelt professzorknt, tucatnyi tudomnyos cikket publiklt, s a negyedik knyvt a balti npekrl. * 42:57-43:07 In 1965, her monumental work on the Bronze Age Cultures in Central and Eastern Europe was published, and brought her international acclaim. 1965-ben megjelent monumentlis mve Kzp- s Kelet-Eurpa bronzkori kultrirl, ami nemzetkzi elismerst hozott szmra. * 43:08-43:23 From then on I used to get fellowships. Now of course, in Goddess work, I dont get fellowships, no grants, nothing. But at that time, perhaps because I was young, I used to get grants. Attl kezdve sztndjakat kaptam. Most az Istenn kutatsokhoz persze nem kapok sztndjakat, semmit. De akkoriban, taln azrt, mert fiatal voltam, sok sztndjat kaptam. * 43:27-43:48 I spoke of her generosity, because her idea was that if she had a student who was interested in archaeology and she had the funds to support them, and she was always getting grants from here and there, that they had to go out into the field because they had to get this experience. She didnt say we should go and do it in the library. She said no, you have to go into the field. Marija nagylelk volt. Ha valakit rdekelt a rgszet, volt pnze arra, hogy tmogassa, mert mindig kapott sztndjakat innen-onnan. Azt mondta nekik, hogy menjenek ki a terepre, szerezzenek tapasztalatot. Nem azt, hogy menjenek a knyvtrba. Nem. Menjenek.ki a terepre. * 43:51-44:15 And here she is in the field, 1968, Id say. She didnt go out there and set out the squares and start excavating with the shovel. She was the person who had a kind of an overall view. She was a synthesizer. She had such a tremendous knowledge of the archaeology that had gone before. Itt Marijt ltjuk a terepen, 1968 krl. nem lt le a fldre s rajzolta a ngyzeteket, nem sott az sval. volt a felgyel, a szintzisalkot. Elkpeszt ismeretei voltak. 30

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 44:18-44:30 Achillion, which began in 1973, was really Marijas dream excavation, because it yielded so many figurines, and so many figurines in context. Achillion feltrsa 1973-ban kezddtt, amivel Marija egyik lma valsult meg. Rengeteg szobrocska kerlt el a pontos lelhelyk dokumentcijval. * 44:35-44:45 The settlement of Achillion in Greece, dating from the 7 th to the 6th millennium BCE, was located in Southern Thessaly and belongs to the Sesklo culture. Achillion telepls a Kr. e. 7-6. vezredre megy vissza, Grgorszgban, Thesszlia dli rszn tallhat. A Sesklo-kultrhoz tartozott.

* 44:52-45:05 Hundreds of figurines were found in association with houses, outdoor hearths, bread ovens and special platforms, their context furnishing vital clues to their functions. Szobrocskk szzai kerltek el lakhzakbl, zrt udvarokbl, kenyrst kemenckbl, emelvnyekrl, a pontos lelhelyk rvilgt a funkcijukra.

* 45:08-45:28 And thats the fun of it. Youll work out how many figurines are there that look like this on this particular site? What do the others look like? Theyre all talking about the diversity, in terms of their shapes, and their occurance. Then you can say well, where are they found? What are they found with? s ez benne az lvezet. Megnzem, hny szobrocskm van, amik valamilyen mdon hasonltanak egymsra. Hogy nz ki a tbbi? A szobrocskk formjukban s megjelenskben nagy sokflesget mutatnak. Aztn feltehetem a krdst, hogy honnan kerltek el? Mivel egytt kerltek el? * 45:30-45:38 Did they believe in the Goddess? Were they Goddess worshipers? Were women respected? Az Istennben hittek? Istennimdk voltak? Tisztelet vezte a nket? 31

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 45:48-46:03 She worked so hard. I have images of her at her desk, when I stayed with her. Every morning, Id get up, shed already been up at the crack of dawn, shes studying, shes reading, shes looking, shes writing, shes taking notes. Marija nagyon kemnyen dolgozott. Emlkszem, amikor nla voltam, hogy ott lt az rasztalnl. Minden reggel, amikor felkeltem, mr hajnaltl fogva ott lt az asztalnl, kutatott, olvasott, megfigyelt, rt, jegyzetelt. * 46:18-46:46 She spent hours and hours, hundreds of hours, looking. She begins to connect these images together, until eventually, over years, a narrative starts to emerge, and this is a long process. rk szzait tlttte el megfigyelsekkel. Nekillt egymshoz kapcsolni ezeket az brzolsokat, s az vek sorn vgl kialakult egy sszefgg trtnet. Hossz folyamat volt.

* 46:50-47:10 So shes going through all these pieces. Shes going through thousands and thousands of these artifacts, and holding them and touching them and looking at them and beginning to see, seeing the patterns, seeing the overlapping patterns, is a language in itself, in other words its a way of communicating. Marija minden egyes darabot megvizsglt. Trgyak ezreit vizsglta meg, felvette, megforgatta, s lassanknt rjtt, hogy a rengeteg dsztelem, az egymst fed sok minta nmagban egy nyelv. Msszval a kommunikci egyik mdja. * 47:15-47:25 And thats why her artistic sensibility came to play so deeply in it, because its not a written language, its a visual language. Ezrt jtszott akkora szerepet Marija mlysges mvszi rzke, mert ez nem egy rott, hanem egy vizulis nyelv. * 47:34-47:47

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

The pubic triangle, locus of birth, pleasure and regeneration was the primary pictogram of the symbolic language Marija decoded in her most controversial book, The Language of The Goddess. A legsibb szimblumot, a szemremdombot, a szlets, a gynyr s az jjszlets kzpontjt a legellentmondsosabb knyvben, a The Language of the Goddess-ben fejtette meg. * 47:48-47:56 The triangle morphs into the V or chevron that Marija found marked on hundreds of bird goddess figures. A hromszgletes alakokat, a V-betket vagy k alak formkat madristennszobrocskk szzain fedezte fel. * 48:01-48:17 She identified the zigzags and lightning bolts and sinuous meanders with water. Chevrons point to the flowing, nurturing waters of her breasts source of life, sustenance, and her primal power. A cikkcakkos s a villmszer vonalakat, a kecses kacskaringkat a vzhez trstotta. Az k alakok az Istenn mellre mutatnak, ahonnan letet ad vizek folynak, az let forrsa, a tpllk, az Istenn legsibb ereje. * 48:19-48:36 Her breasts are like her eyes, which also stream life-giving moisture. The coiled spirals are writhing snakes that shed their skin and come out new again, symbols of regeneration Az Istenn melle olyan, mint a szem, mert a szembl is letet ad nedvessg folyik. A tekergz spirlok, mint a brket levedl kgyk, szintn az jjszlets szimblumai. * 48:38-48:47 In the duck faced waterbird these symbols combine. The bird lays the eggs that are seeds of rebirth A kacsaarc figurkon a szimblumok kombinltan jelennek meg. A madr tojsokat rak, a tojs az jjszlets szimbluma.

* 48:49-48:51 The fat, fertile Goddess, 33

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

A kvr , termkeny Istenn a * 48:52 Mountain mother, hegyek anyja, * 48:53 mother earth... a Fldanya, * 48:55 is sow az anyadiszn * 48:57 temple body templomtest * 48:58/59 portal kapu * 49:01 mother and child, anya s gyermeke * 49:03 animal mother llatanya * 49:05 the original madonna az eredeti madonna * 49:09-49:12 She is linked to the uterine-shaped bull's head kapcsolatban llt a mhalak bikafejjel, * 49:13-49:15 His upraised horns are symbols of the birth-giving goddess 34

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

aminek a szarvai az letet ad istenn szimblumai, * 49:16-49:18 Whose children are also males, akinek a frfiak gyszintn gyermekei, * 49:19-49:22 music makers, bards, shamans akik zenszek, brdok, smnok. * 49:26-49:27 The bonelike death Goddess A csontszer Hallistennt * 49:28-49:33 Marija called the stiff nudefrom her vulva come rebirth and regeneration Marija merev aktnak nevezte. A vulvjbl jjszlets, megjhods fakadt. * 49:37-49:40 She is the owl, the funerary urn, Az Istenn megjelent a bagoly kpben, a halotti urnn, * 49:41-49:42 the bird of prey A ragadozmadr kpben, * 49:43-49:45 the meandering soul's journey vezette a tvelyg halottat. * 49:47-49:50 The goddess was fish.she had many animal forms,,, Az Istenn megjelent a hal kpben, s rengeteg llatalakban.

* 49:51-49:53 Egglike, fertile, watery Tojsalak. Termkeny, vzszer.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 49:56-49:58 She was the womblike hedgehog Megjelent a mh alak sn formjban, * 49:59-50:02 the double axe butterfly of transformation.. a pillang, az tvltozs szimblumnak formjban.

* 50:04-50:12 and Marija saw these symbols repeat again and again, in infinite combinations that spelled out a mythology Marija ltta, hogy a szimblumok jra s jra ismtldnek, gazdag kombincijukbl egy mitolgit olvasott ki. * 50:16-50:35 What I have done is not a discovery of the Goddess. I search for the Goddess in Europe especially where treasures of information were never really touched before me, and I am really glad I had a chance to do it. n nem fedeztem fel az Istennt. Leginkbb olyan helyeken kerestem az istennszobrocskkat, ahol elttem mg senki sem jrt. s nagyon rlk, hogy volt erre lehetsgem. * 50:37-50:49 Marija presented her interpretations at many international conferences, but was often harshly criticized by her colleagues, who disputed her conclusions and did not understand her methods. Marija tbb nemzetkzi konferencin bemutatta az eredmnyeit, de gyakran durva kritikkat kapott, nem rtettk a mdszert, s elutastottk a kvetkeztetseit. * 50:52-51:02 Anybody who tells us that they know that this is what happened in the past has got to be questioned because were not going to know this IS what happened in the past. Brkit, aki azt mondja, hogy tudja, mi trtnt a mltban, azt meg kell krdjelezni, mert senki sem tudja, hogy az trtnt a mltban.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 51:04-51:25 If I can just butt in there, Thats whats interesting with Marija, that in a way she did challenge authority, she did challenge the established authoritative picture or story of what happened in prehistory by writing about Old Europe. On the other hand, she wrote that story in an authoritative fashion, we feel. Bocsnat, hogy kzbevgok, de Marijnl a md volt rdekes, ahogy megkrdjelezte a tekintlyt. Megkrdjelezte a hivatalos trtnetrst arra nzve, hogy mi trtnt valjban a Rgi Eurpban. Msfell bizonyos rtelemben nagyon is autoriter stlusban rt, ezt mi gy ltjuk.

* 51:29-51:47 She felt she had a direct line to these things, so she felt to some extent that she could understand it in an intuitive way, I might almost say a feminine way, but I might be criticized by some of your more critical viewers, but she had a very holistic approach to things. Marija gy rezte, hogy kzvetlenl kapcsoldik a kutatsa trgyhoz, hogy intuitve megrtheti, szinte a ni megrzs segtsgvel. Lehet, hogy a szigorbb kritikusok megszlnak, de gy fogalmaznm, hogy rendkvl holisztikus mdon kzeltette meg a dolgokat. * 51:48-51:57 And thats why it was so creative. It was a cross-fertilization of ideas which enabled her to see things which other people hadnt seen. s ezrt volt olyan kreatv. A holisztikus szemllete megtermkenytette a gondolatait, s olyan dolgokat vett szre, amiket senki ms. * 51:59-52:07 But artists, ecologists, feminists, contemporary Goddess-worshipers and social thinkers were deeply inspired by her work. Marija munkja mlysgesen inspirlta a mvszeket, krnyezetvdket, feministkat, jelenkori istennimdkat s a trsadalmi gondolkodkat. * 52:09-52:24

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

When Marija began to published her work on the symbolism of Old Europe, it just happened to coincide with the second wave of feminism and the development of ecofeminisim in the sense of rediscovering the fact that we are connected with this Earth. Amikor a knyvei megjelentek a Rgi Eurpa szimbolizmusrl, az egszen vletlenl egybeesettt a feminizmus msodik hullmval, az kofeminizmusnak s annak a gondolatnak a megjelensvel, hogy az ember kapcsolatban ll a flddel. * 52:25-52:46 There were feminists who found in Marijas ideas the scientist whom they had hoped would support their ideas that once God was a woman, and so she was borne aloft by really a lively group of women, and men too, and she never looked back. Nhny feminista egy olyan tudst ltott Marijban, aki segtett altmasztani az elmletket, hogy az isten valamikor nnem volt. Marijt magukkal ragadtk ezek az energikus csoportulsok, nem csak nk, hanem frfiak is. Nem is nzett vissza.

* 52:47-52:55 So the backlash against her I think is part of the backlash against feminism, because she got identified with feminism. Teht azt gondolom, hogy az eredmnyeire val negatv reakcik rszben a feminizmusnak szltak. Mert azonostottk a feminizmussal. * 52:58-53:12 What she saw and how she interpreted what she saw, came from the sum total of her life, the depth of her scholarship, her excavations, and her deep roots in Lithuania. A lts- s rtelmezsmdja az lettjbl addott, a mlysges tudsbl, a rgszeti feltrsokbl s a litvn gykerekbl. * 53:18-53:30 A new generation celebrates the summer solstice on this hill, near Kaunus, maintaining a spiritual connection to Nature that was a hallmark of Marijas lifework. A fiatal generci a Kaunus kzeli hegyen nnepli a nyri napfordult, hogy erstsk a spiritulis ktdsket a termszethez. Ez a ktds volt Marija letmvnek a vdjegye. 38

Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

* 53:42-53:55 Throughout her lifetime Marija was awarded many honours and degrees, but none meant so much as the one she received in 1993 from the University of Kaunas, on what would be her last visit to Lithuania. letben sok cmmel s oklevllel kitntettk, de egyik sem jelentett olyan sokat szmra, mint amit a Kaunusi Egyetemtl kapott 1993-ban, utols litvniai ltogatsakor.

* 53:58-54:23 Sometimes there are difficulties when traveling such an independent path. One has not to give in, not to deviate. And then you look for a source of strength, for the fountain of life. For me, that fountain of life has always been Lithunia, and my childhood. Ha valaki ilyen fggetlen svnyt kvet, akkor nha nehzsgekbe tkzik. De nem szabad feladni, elkeresedni. Akkor erforrs utn kell nzni, az let forrsa utn. Ez szmomra mindig Litvnia volt, s a gyerekkorom. * 54:33-54:49 Marija died in Los Angeles, February 2 nd, 1994. She asked for her ashes to be carried back to Lithuania, her beloved homeland, where Goddesses have never been forgotten. Marija 1994. februr 2-n halt meg Los Angelesben. Kvnsga szerint a hamvait hazaszlltottk Litvniba, szeretett hazjba, ahol az Istennket soha nem felejtettk el. * 55:00-55:26 May the Earth Mother Zimeyna hold you in gentle embrace, May the rays of the Goddess Sula warm you in winter May Medina spirit of the forest shade you in summer May Lima, Lady of Good Fortune bring you all you can conceive. Zimeyna, az Anyafld tartson gyengd lelsben, Sula istenn sugarai melegtsenek tlen, Medina, az erd szelleme rnykoljon nyron, Lima, a Jszerencse Hlgye hozza meg szved vgyt.

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Signs out of Time. The Story of Archeologist Marija Gimbutas (Belili Productions)

Magyar szveg: Moi Klnleges ksznet illeti Tibai Georgint Felirat: Trtnelmi Animcis Egyeslet -----------------Message from the filmmakers // A filmksztk ajnlsa This documentary is a tribute to the profound legacy of Marija Gimbutas. We received no grants nor public funding. Hundreds of of people gave us small or large donations, a living example in the 21 st century of cooperation and trust, the same community values Marija saw in the neolithic. As filmmaker, we were inspired by the life work of this great scholar who let us know that another world is possible. Ez a dokumentumfilm tisztelgs Marija Gimbutas letmve eltt. Nem rszesltnk sztndjakban, sem a kzpnzekbl. Emberek szzai biztostottak szmunkra kisebb-nagyobb adomnyokat, az egyttmkds s a bizalom 21. szzadi pldjaknt, ugyanazon rtkek pldjaknt, melyeket Marija a neolitikumban ltott. A film ksztit a nagyszer tuds letmve inspirlta, aki megmutatta, hogy lehetsges egy msik vilg.

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