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The article presents a theoretical analysis of modern theories of wisdom, considers the formation and essence of the concept of wisdom in psychology. At the end of the twentieth century, the interest of psychologists in the subject of wisdom began to grow. Wisdom as a concept is integral to any society, culture and time, it reveals those qualities of personality that help a person to be realized. The concept of wisdom requires theoretical justification and empirical research. In general, there are two main concepts of wisdom: one affirms the affective qualities more or less with the cognitive, inherent in man; the other focuses precisely on cognitive and reflexive abilities, ignoring emotional life. This typification has proved itself in several planes. In the history of philosophy, the understanding of wisdom had both an affective and a cognitive character, represented by East and West. Empirical studies of implicit concepts of wisdom conducted in recent years indicate the variability of perception of wisdom. In the East, the concept of wisdom is less analytical and more psychological than in the West, which requires an understanding not only of the intellectual, but also of the sensual (emotions, intuition, etc.). Cross-cultural empirical studies confirm the general difference in the perception of wisdom in different cultures. The influence of age on the manifestations of wisdom in humans should be noted separately. Research has shown that age negatively affects the intellectual component of wisdom, but is neutral to procedural knowledge. On the one hand, with age a person acquires experience that can interpret and extract new procedural knowledge from him. On the other hand, the fact that a person has life experience does not determine a person's qualitative interpretation of what happened to him. The age factor cannot be decisive in becoming wise.

Political philosophy, that rather disreputable, not very philosophical branch of philosophy, has always wanted to get out of politics, to put an end to this politics of politics, by finally speaking its truth. Ideally, the fond -est desire may be to find or invent a politics unaffected by the politics of politics (a truly moral politics, perhaps, of the kind Kant seems to encourage), but that desire is metaphysical through and through. So-called "cheap politics" is engaged in the politics of politics as soon as that phenomenon is engaged in politics, i.e. from the very first, "naturally" as Aristotle put it. The logos of politics is irreducibly affected by the kind of distortion and deceit that is usually – moralistically – associated with rhetoric or sophistry, with "spin tactics". Politics is always already the politics of politics.Key words: politics of politics, sophistry, spin tactics, rhetorical figure, politics of truth. ; Political philosophy, that rather disreputable, not very philosophical branch of philosophy, has always wanted to get out of politics, to put an end to this politics of politics, by finally speaking its truth. Ideally, the fond -est desire may be to find or invent a politics unaffected by the politics of politics (a truly moral politics, perhaps, of the kind Kant seems to encourage), but that desire is metaphysical through and through. So-called "cheap politics" is engaged in the politics of politics as soon as that phenomenon is engaged in politics, i.e. from the very first, "naturally" as Aristotle put it. The logos of politics is irreducibly affected by the kind of distortion and deceit that is usually – moralistically – associated with rhetoric or sophistry, with "spin tactics". Politics is always already the politics of politics.Key words: politics of politics, sophistry, spin tactics, rhetorical figure, politics of truth.

The paper examines a polemic that rose after the publishing of Vytautas Kubilius' book 20th Century Literature in 1995: the main topics, forms, and development; the positions and professional, institutional, and generation dependence of its participants, their arguments and rhetoric. The number and fervour of reviews was evidence of the importance and influence attached to Kubilius' work, but at the same time it highlighted different approaches to literature (an artistic composition or a social phenomenon performing aesthetic, social and political functions), its historic process (homogeneous or multiplex), expectations of literary studies (uncompromisingly objective or subjective, Soviet vs Western, with priorities given to aesthetics or attention to social functions). The polemic displayed a particular sensitivity to various interpretations of Lithuanian literature of the Soviet period and the problematic place of the post-Soviet critic. The paper also considers the way the history of literature written by Kubilius could be read and interpreted after a decade of its publications, especially the possibility of a different estimation of his attention to historical contexts and ideological aspects in the perspective of contemporary literary studies.

The paper examines a polemic that rose after the publishing of Vytautas Kubilius' book 20th Century Literature in 1995: the main topics, forms, and development; the positions and professional, institutional, and generation dependence of its participants, their arguments and rhetoric. The number and fervour of reviews was evidence of the importance and influence attached to Kubilius' work, but at the same time it highlighted different approaches to literature (an artistic composition or a social phenomenon performing aesthetic, social and political functions), its historic process (homogeneous or multiplex), expectations of literary studies (uncompromisingly objective or subjective, Soviet vs Western, with priorities given to aesthetics or attention to social functions). The polemic displayed a particular sensitivity to various interpretations of Lithuanian literature of the Soviet period and the problematic place of the post-Soviet critic. The paper also considers the way the history of literature written by Kubilius could be read and interpreted after a decade of its publications, especially the possibility of a different estimation of his attention to historical contexts and ideological aspects in the perspective of contemporary literary studies.

The paper analyses four characters ofliterary fairy tales: The Adventures of Pinocchio by Carlo Collodi, The Golden Key or The Adventures of Buratino by Alexei Tolstoy, The Magic Inkpot by Mykolas Sluckis and A Tale of the Forest by Eduardas Mieželaitis. Their common feature, at first sight, is only a wooden body; however, some similar inner characteristics should be noticed. All those characters represent the child's behaviour and mentality. The most influential work is The Adventures of Pinocchio; the didactic nature of the work can be traced in other works, although didacticism is softened and modified. The adventurous plot of the works is also their common characteristic. A Tale of the Forest by Mieželaitis represents the new stage of development of the Lithuanian Children's literature. Children's literature in the 1980s, by using the so called Aesop's language, dared to raise more complicated, even politically dangerous ideas. The protagonist of the work partly represents resistance and revolt. The "birth" of the character is also different: he was not simply carved of a piece of wood; he is an offspring of a lonely woman and a mythic creature, who mainly represents Nature. That is why the character is more metaphorical, more sophisticated, compared with Pinocchio and Buratino.

The paper analyses four characters ofliterary fairy tales: The Adventures of Pinocchio by Carlo Collodi, The Golden Key or The Adventures of Buratino by Alexei Tolstoy, The Magic Inkpot by Mykolas Sluckis and A Tale of the Forest by Eduardas Mieželaitis. Their common feature, at first sight, is only a wooden body; however, some similar inner characteristics should be noticed. All those characters represent the child's behaviour and mentality. The most influential work is The Adventures of Pinocchio; the didactic nature of the work can be traced in other works, although didacticism is softened and modified. The adventurous plot of the works is also their common characteristic. A Tale of the Forest by Mieželaitis represents the new stage of development of the Lithuanian Children's literature. Children's literature in the 1980s, by using the so called Aesop's language, dared to raise more complicated, even politically dangerous ideas. The protagonist of the work partly represents resistance and revolt. The "birth" of the character is also different: he was not simply carved of a piece of wood; he is an offspring of a lonely woman and a mythic creature, who mainly represents Nature. That is why the character is more metaphorical, more sophisticated, compared with Pinocchio and Buratino.

The paper analyses four characters ofliterary fairy tales: The Adventures of Pinocchio by Carlo Collodi, The Golden Key or The Adventures of Buratino by Alexei Tolstoy, The Magic Inkpot by Mykolas Sluckis and A Tale of the Forest by Eduardas Mieželaitis. Their common feature, at first sight, is only a wooden body; however, some similar inner characteristics should be noticed. All those characters represent the child's behaviour and mentality. The most influential work is The Adventures of Pinocchio; the didactic nature of the work can be traced in other works, although didacticism is softened and modified. The adventurous plot of the works is also their common characteristic. A Tale of the Forest by Mieželaitis represents the new stage of development of the Lithuanian Children's literature. Children's literature in the 1980s, by using the so called Aesop's language, dared to raise more complicated, even politically dangerous ideas. The protagonist of the work partly represents resistance and revolt. The "birth" of the character is also different: he was not simply carved of a piece of wood; he is an offspring of a lonely woman and a mythic creature, who mainly represents Nature. That is why the character is more metaphorical, more sophisticated, compared with Pinocchio and Buratino.

The paper analyses four characters ofliterary fairy tales: The Adventures of Pinocchio by Carlo Collodi, The Golden Key or The Adventures of Buratino by Alexei Tolstoy, The Magic Inkpot by Mykolas Sluckis and A Tale of the Forest by Eduardas Mieželaitis. Their common feature, at first sight, is only a wooden body; however, some similar inner characteristics should be noticed. All those characters represent the child's behaviour and mentality. The most influential work is The Adventures of Pinocchio; the didactic nature of the work can be traced in other works, although didacticism is softened and modified. The adventurous plot of the works is also their common characteristic. A Tale of the Forest by Mieželaitis represents the new stage of development of the Lithuanian Children's literature. Children's literature in the 1980s, by using the so called Aesop's language, dared to raise more complicated, even politically dangerous ideas. The protagonist of the work partly represents resistance and revolt. The "birth" of the character is also different: he was not simply carved of a piece of wood; he is an offspring of a lonely woman and a mythic creature, who mainly represents Nature. That is why the character is more metaphorical, more sophisticated, compared with Pinocchio and Buratino.

The literature review on the development of physical education in European Union had been conducted in the article. The author used four directions to review the literature. In order to develop Direction 1 (theoretical background to research in physical education concepts in the EU countries), a number of sources in the field of comparative pedagogical researches have been analyzed. In order to develop Direction 2 (roots and developments of physical education in the EU countries), mostly have been used historial pedagogical and philosophical researches. In order to develop Direction 3 (practical applications of the physical educa-tion concepts in the EU countries), a number of modern sources and applied researches findings have been considered. In order to develop Direction 4 (current situation in the physical training education in the EU countries), the author has analyzed a range of researches (normative documents of the European Commission, OECD analytical materials etc.).

The literature review on the development of physical education in European Union had been conducted in the article. The author used four directions to review the literature. In order to develop Direction 1 (theoretical background to research in physical education concepts in the EU countries), a number of sources in the field of comparative pedagogical researches have been analyzed. In order to develop Direction 2 (roots and developments of physical education in the EU countries), mostly have been used historial pedagogical and philosophical researches. In order to develop Direction 3 (practical applications of the physical educa-tion concepts in the EU countries), a number of modern sources and applied researches findings have been considered. In order to develop Direction 4 (current situation in the physical training education in the EU countries), the author has analyzed a range of researches (normative documents of the European Commission, OECD analytical materials etc.).

In developing a transnational approach to queer studies, the alleged binary between post-Soviet ―East‖ and the so-called ―West‖ has troubled and challenged this emerging discourse. Theorizing queerness within a post-Soviet framework requires what sociologist Francesca Stella refers to as ―alternative epistemologies‖ that foreground the question of visibility: how can queerness be understood in places that have historically and ideologically emphasized sexual invisibility? Considering this question alongside Michel Foucault's discussion of a discursive practice of sexuality as a product of modernity and capitalism, a more evocative issue emerges: how can sexuality be understood in spaces that have historically eschewed capitalist ideology? Moreover, how are sexual practices, including the structures of family and community, complicated in the wake of repressive political systems? As a response to these questions, this article explores literature's capacity to facilitate new dialogues for understanding queerness within a post-Soviet context. By building on the concepts of kinship and belonging, literature and participates in the development of alternative epistemologies for understanding queerness within post-Soviet spaces.