Positivism has made a significant influence on many schools of philosophy of the 19th and 20th centuries. But its influence spans even further – positivism also made an impact on natural and especially on social sciences, as well as on various fields of public and private life, such as law, politics and everyday life. Aa significant influence has been also made on arts. The latter is being analyzed in the article. The nature of influence depended on the historical epoch and the prevailing form of positivism and was quite diverse. Classical or sociological positivism made the biggest impact on literature. Positivism of the 20th century was attractive to writers because of its attention to facts and the steady development of society, collectivistic and altruistic ideals and progressive orientation. The influence of positivism can be seen in naturalistic writings of Émile Zola. The empirio-criticism of Eernst Mach made quite a different impact. Contrary to Aauguste Comte, he emphasized not external but internal facts or, to be precise, considered such contraposition to be faulty, and made an impact on writers, such as James Joyce, Franz Kafka, Rrobert Musil, who are usually called modernists. De-substantialisation of subject, stream of consciousness, fusion of dream and reality are signs Mach's influence. Tthey are also apparent in abstract art where Mach's ideas of visual space perception were exceptionally popular at the beginning of the 20th century. In turn, the influence of logical positivism is most visible in architecture which by members of the Vienna Circle was considered to be the most important of arts. Having been in close contact with representatives of the Bauhaus school, they made a significant contribution to the spread of constructivism and functionalism which correspond to the strict logical structures of logical positivism.
Positivism has made a significant influence on many schools of philosophy of the 19th and 20th centuries. But its influence spans even further – positivism also made an impact on natural and especially on social sciences, as well as on various fields of public and private life, such as law, politics and everyday life. Aa significant influence has been also made on arts. The latter is being analyzed in the article. The nature of influence depended on the historical epoch and the prevailing form of positivism and was quite diverse. Classical or sociological positivism made the biggest impact on literature. Positivism of the 20th century was attractive to writers because of its attention to facts and the steady development of society, collectivistic and altruistic ideals and progressive orientation. The influence of positivism can be seen in naturalistic writings of Émile Zola. The empirio-criticism of Eernst Mach made quite a different impact. Contrary to Aauguste Comte, he emphasized not external but internal facts or, to be precise, considered such contraposition to be faulty, and made an impact on writers, such as James Joyce, Franz Kafka, Rrobert Musil, who are usually called modernists. De-substantialisation of subject, stream of consciousness, fusion of dream and reality are signs Mach's influence. Tthey are also apparent in abstract art where Mach's ideas of visual space perception were exceptionally popular at the beginning of the 20th century. In turn, the influence of logical positivism is most visible in architecture which by members of the Vienna Circle was considered to be the most important of arts. Having been in close contact with representatives of the Bauhaus school, they made a significant contribution to the spread of constructivism and functionalism which correspond to the strict logical structures of logical positivism.
The goal of my thesis - to emphasise the main methods of art censorship, for instance the biggest \"sins\" of the greatest artist for the system. Furthermore ,to overlook personalities directly responsable for art cenzorship and to discuss why there were no bigger resistance for ideological pressure and what kind of relation was there with the censors in the Baltic states ( e. c. Estonia). Here i also distinguish the main overcoming methods used by censors. The thesis is divided into six chapters: 1. Introduction. 2. Censors and their action methods. 3. Typology of \"sins\"/ Features of censorship. 4. Censors' overcoming methods. 5. Emigration and its connections with abroad 6 .Conclusion. Main body of the thesis starts with overlooking the general situation in the early 70's and the case of Kisarauskai ( 1960 date is symbolic due to the beginning of confrontation between Kisarauskas and the government ). Then the censors are described. People responsible for the exhibitions' policy , for instance, Pranas Gudynas and those in high government positions , like Genrikas Zimanas, are also included in this category. Later the main \"sins\" of the artists' are being overlooked. Six major \"faults\" are emphasised : 1. Abstractionism / Formalism 2. Religious motifs. 3. Social parasitism 4. Disregarding hierarchy of genres. 5. Imoderate deformation. 6. \"Wrong\" depiction of party members. While inrpreting the main \"deviations\" the concept of socialrealism is being discussed, a short excursion is being made overlooking Estonian painters' situation during soviet period. Then i overview if relations between Estonia, the union centre and the dissidents was influencing the radical artists' positions. Despite the exclusion of \"sins\" the major censors overcoming methods , based on Tomas Venclova text in \"Akiračiai\", are described: 1. Metonymy 2. Metaphor 3. \"Encoding\" of meaning 4. \"Reversed\" tactics using an antagonist. 5. Tactics of official name. Examples are given to describe each method. The relations between ...
88 pages, 1 illustration, 6 dockets, 99 bibliographic recourses. In the final Master's degree thesis the main goal of this paper is art teaching of teenagers of Youth school by non-traditional lessons evaluating their efficiency. This thesis consists of three main parts: analysis of literature, analysis and results of the accomplished scientific performance research, conclusions and recommendations. Analysis made aiming to achieve the goal of the psychological, pedagogical literature and education legislation documents revealed that there is no one appropriate art teaching method at the Youth school that is efficient enough to absorb the learning material. The students of the Youth school are learning according to the General Programs and Education Standards (2003) and very often the learning material is not appropriately absorbed because of limited teaching and learning quality due to low learning motivation of the teenagers, destructive and asocial behavior during the lessons, learning gaps because of low attendance or not timely submitted pedagogical support. Practice research in the Youth school proved that in the art teaching of the teenagers is important to appropriate evaluate their capacities, abilities and interests, determine the reasons of the destructive behavior and evaluate it, organize the lessons in the way that meets the teenagers' self-expression demand and competence level in order the art learning lessons are attractive and interesting. Non-traditional art lessons organizing way proved that integrated teaching subjects and active methods, application of differentiated and individual learning styles, modern teacher's performance model during the lessons helped teenagers to acquire self-confidence, increase art learning motivation and progressiveness, change the destructive behavior and improve the attendance of the lessons. Conclusions and recommendations submitted in accordance with the analysis of the literature studied and results of the conducted performance research. According to the author of the thesis, the recommendations submitted will be helpful for the art teachers to organize the art lessons for the Youth school teenagers more efficiently: the teenagers will absorb the learning material appropriately, learning motivation and progressiveness will be improved, and ways to solve social problems will be looked for. Key words: Youth school, teenagers, art teaching, non-traditional lessons.
88 pages, 1 illustration, 6 dockets, 99 bibliographic recourses. In the final Master's degree thesis the main goal of this paper is art teaching of teenagers of Youth school by non-traditional lessons evaluating their efficiency. This thesis consists of three main parts: analysis of literature, analysis and results of the accomplished scientific performance research, conclusions and recommendations. Analysis made aiming to achieve the goal of the psychological, pedagogical literature and education legislation documents revealed that there is no one appropriate art teaching method at the Youth school that is efficient enough to absorb the learning material. The students of the Youth school are learning according to the General Programs and Education Standards (2003) and very often the learning material is not appropriately absorbed because of limited teaching and learning quality due to low learning motivation of the teenagers, destructive and asocial behavior during the lessons, learning gaps because of low attendance or not timely submitted pedagogical support. Practice research in the Youth school proved that in the art teaching of the teenagers is important to appropriate evaluate their capacities, abilities and interests, determine the reasons of the destructive behavior and evaluate it, organize the lessons in the way that meets the teenagers' self-expression demand and competence level in order the art learning lessons are attractive and interesting. Non-traditional art lessons organizing way proved that integrated teaching subjects and active methods, application of differentiated and individual learning styles, modern teacher's performance model during the lessons helped teenagers to acquire self-confidence, increase art learning motivation and progressiveness, change the destructive behavior and improve the attendance of the lessons. Conclusions and recommendations submitted in accordance with the analysis of the literature studied and results of the conducted performance research. According to the author of the thesis, the recommendations submitted will be helpful for the art teachers to organize the art lessons for the Youth school teenagers more efficiently: the teenagers will absorb the learning material appropriately, learning motivation and progressiveness will be improved, and ways to solve social problems will be looked for. Key words: Youth school, teenagers, art teaching, non-traditional lessons.
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
This paper analyzes the possibilities of generating creative tools for Social Practice Art (SPA) to be used at Migrating Academy. The research focuses on the concept of social practice art in the international context, analyses creative forms and their potential development. The goals and objectives of the activity are clearly defined, and the possibilities to generate new forms of art and education at Migrating Academy are presented. The aim of the research is to analyse the possibilities of generating creative tools for social practice art. To achieve this aim, the following objectives have been set: to analyse the concept of social practice art, its origin and development, to define different forms of social practice art and their future prospects, to discuss the peculiarities of their generation at Migrating Academy and to investigate the possibilities to generate creative tools of social practice art by carrying out a qualitative research. The hypothesis in the thesis is that the generation of creative tools for social practice art through the development and implementation of social and education policy at Migrating Academy as a social and institutional process opens opportunities for social, cultural and political changes in society. In order to analyse the possibilities of generating creative tools for art of social practice at Migrating Academy, a research was carried out by using a qualitative research strategy as well as the interview method. The survey included 9 informants-experts from nine countries (Lithuania, Italy, the UK, Bangladesh, Indonesia, the USA, Canada, Nigeria and Mexico): 5 females and 3 males. The selected age group was from 30 to 65 years. The respondents from Italy, Mexico, and Nigeria are experts who have PhD degrees in Arts, are working in higher education and create works in the sphere of SPA. The Bangladesh-UK respondent is a PhD student who is studying in the UK and working for the Bangladesh Ministry of Education. The respondents from Lithuania, Indonesia, Canada, the USA are artists or activists in the SPA area. The traditional method of qualitative content analysis was used for the analysis of the research data. The analysis of scientific literature and documents confirmed that both social practice art and Migrating Academy have a significant impact on the generation of creative tools for social practice art in the international context, on the expansion of artistic views and horizons going beyond the usual perception and covering all possible areas from politics, economics to fast-growing technological advances and neuroscience achievements. The results of the research showed that Migrating Academy may offer significant opportunities to generate tools for social practice art and education. This is clearly proved by the experts' opinions which have been collected and processed by qualitative research tools, and they provide strong arguments that: - the boundary separating social practice from social practice art is dynamic so the opportunities to participate in SPA activities will increase in the future. This would depend on the artists' creativity and their ability to develop the scope of their creative activities and their outcomes through the variety of organized projects; - the United States of America with its neighbouring countries on the continent remains the epicentre of SPA. A great variety of SPA projects is also noticeable in the countries with high class exclusion and multinational culture, as well as in the countries where the state funding is provided for project implementation; - by promoting the active involvement of social groups and solving their problems, artists and groups of artists can become leaders who will offer their innovative ideas and problem-solving techniques; - innovative, sometimes unconventional but clearly defined methods are required to establish contacts between artists and communities or social groups, to deal with difficult situations and build mutual trust; - most artists use the principles of traditional pedagogy to create SPA, however, they intuitively feel that it is not enough for their projects. Consequently, they start to create innovative forms. The pedagogical principles of SPA projects are developing and changing, because the form of this art itself is very dynamic and flexible, dependent on the environment and its problems; - SPA activities are gradually eliminating the boundaries between disciplines, leading to the development of a new form of art that is not oriented to the production of artistic products, but to the social process which stimulates social changes through art. This process is only possible through unique forms of expression, including pedagogical ones, because pedagogy which is affected radically by SPA has to develop new forms and completely new quality; - social practice art itself includes great opportunities which allow artists to generate new skills, knowledge and art forms. New project opportunities allow to create innovative creative spaces and new thinking strategy. The stereotypical perception of art and its academic model are changing; - migrating academy is becoming a continually pulsating and changing world culture that makes information accessible to everybody and provides opportunities to perform not only online but also in real life with real people. Migrating academy can provide its students with work and creative tools that will be impossible if only traditional models of perception of art and creativity are used. The respondents' statements investigated by the means of qualitative research confirmed the hypothesis that the generation of creative tools for social practice art through the development and implementation of social and education policy at migrating academy as a social and institutional process opens opportunities for social, cultural and political changes in society.
This paper analyzes the possibilities of generating creative tools for Social Practice Art (SPA) to be used at Migrating Academy. The research focuses on the concept of social practice art in the international context, analyses creative forms and their potential development. The goals and objectives of the activity are clearly defined, and the possibilities to generate new forms of art and education at Migrating Academy are presented. The aim of the research is to analyse the possibilities of generating creative tools for social practice art. To achieve this aim, the following objectives have been set: to analyse the concept of social practice art, its origin and development, to define different forms of social practice art and their future prospects, to discuss the peculiarities of their generation at Migrating Academy and to investigate the possibilities to generate creative tools of social practice art by carrying out a qualitative research. The hypothesis in the thesis is that the generation of creative tools for social practice art through the development and implementation of social and education policy at Migrating Academy as a social and institutional process opens opportunities for social, cultural and political changes in society. In order to analyse the possibilities of generating creative tools for art of social practice at Migrating Academy, a research was carried out by using a qualitative research strategy as well as the interview method. The survey included 9 informants-experts from nine countries (Lithuania, Italy, the UK, Bangladesh, Indonesia, the USA, Canada, Nigeria and Mexico): 5 females and 3 males. The selected age group was from 30 to 65 years. The respondents from Italy, Mexico, and Nigeria are experts who have PhD degrees in Arts, are working in higher education and create works in the sphere of SPA. The Bangladesh-UK respondent is a PhD student who is studying in the UK and working for the Bangladesh Ministry of Education. The respondents from Lithuania, Indonesia, Canada, the USA are artists or activists in the SPA area. The traditional method of qualitative content analysis was used for the analysis of the research data. The analysis of scientific literature and documents confirmed that both social practice art and Migrating Academy have a significant impact on the generation of creative tools for social practice art in the international context, on the expansion of artistic views and horizons going beyond the usual perception and covering all possible areas from politics, economics to fast-growing technological advances and neuroscience achievements. The results of the research showed that Migrating Academy may offer significant opportunities to generate tools for social practice art and education. This is clearly proved by the experts' opinions which have been collected and processed by qualitative research tools, and they provide strong arguments that: - the boundary separating social practice from social practice art is dynamic so the opportunities to participate in SPA activities will increase in the future. This would depend on the artists' creativity and their ability to develop the scope of their creative activities and their outcomes through the variety of organized projects; - the United States of America with its neighbouring countries on the continent remains the epicentre of SPA. A great variety of SPA projects is also noticeable in the countries with high class exclusion and multinational culture, as well as in the countries where the state funding is provided for project implementation; - by promoting the active involvement of social groups and solving their problems, artists and groups of artists can become leaders who will offer their innovative ideas and problem-solving techniques; - innovative, sometimes unconventional but clearly defined methods are required to establish contacts between artists and communities or social groups, to deal with difficult situations and build mutual trust; - most artists use the principles of traditional pedagogy to create SPA, however, they intuitively feel that it is not enough for their projects. Consequently, they start to create innovative forms. The pedagogical principles of SPA projects are developing and changing, because the form of this art itself is very dynamic and flexible, dependent on the environment and its problems; - SPA activities are gradually eliminating the boundaries between disciplines, leading to the development of a new form of art that is not oriented to the production of artistic products, but to the social process which stimulates social changes through art. This process is only possible through unique forms of expression, including pedagogical ones, because pedagogy which is affected radically by SPA has to develop new forms and completely new quality; - social practice art itself includes great opportunities which allow artists to generate new skills, knowledge and art forms. New project opportunities allow to create innovative creative spaces and new thinking strategy. The stereotypical perception of art and its academic model are changing; - migrating academy is becoming a continually pulsating and changing world culture that makes information accessible to everybody and provides opportunities to perform not only online but also in real life with real people. Migrating academy can provide its students with work and creative tools that will be impossible if only traditional models of perception of art and creativity are used. The respondents' statements investigated by the means of qualitative research confirmed the hypothesis that the generation of creative tools for social practice art through the development and implementation of social and education policy at migrating academy as a social and institutional process opens opportunities for social, cultural and political changes in society.
Dissertation thesis analyses the ideological processes of art discourse in the last decade of the 20th century – the formation and decline of different value related and ideological orientations, and their correlation, which makes an influence upon the changing conception of art and artist. These processes are analyzed referring to the reviews of the exhibitions of the discussed period, the exhibitions themselves, the declarations by the artists, who actively participated on the art scene, and their works, which were shaping the public art life. A separate attention is devoted to various layers of the artistic field – to the sociopolitical context, the works of art, the institutional exhibitions, and to the texts in cultural periodicals. The main aim of the thesis is to make a thorough analysis of the ideological and value related changes, which took place in the Lithuanian art discourse in the 1990s, and by underlining the artistic, institutional and sociopolitical contexts to reveal the changing content of symbolic constructions and their influence on the struggles for legitimization in the artistic field. The tasks of the research are: to define the role of the postsoviet intellectual (artist) in the Lithuanian art processes during the Rebirth period and in the years of independence; to explore the forms of politics of memory, which were established in the public discourse; to define the specificity of the concept of ideology in the postsoviet society; to analyze the ideological nature of modernist art in the postsoviet society; to define the ideological attitudes of the main art institutions; to disclose the character and reasons of the ideological collisions of the institutions; to make a thorough analysis of the most significant exhibitions and to reveal the ideological implications of the narratives being constructed by them; to reveal the most important mechanisms of art legitimization, which were implanted in the cultural periodicals of this period; to make a thorough analysis of strongly ideologically engaged discourses and the connections of ideological collisions with the politics of institutional domination.
Dissertation thesis analyses the ideological processes of art discourse in the last decade of the 20th century – the formation and decline of different value related and ideological orientations, and their correlation, which makes an influence upon the changing conception of art and artist. These processes are analyzed referring to the reviews of the exhibitions of the discussed period, the exhibitions themselves, the declarations by the artists, who actively participated on the art scene, and their works, which were shaping the public art life. A separate attention is devoted to various layers of the artistic field – to the sociopolitical context, the works of art, the institutional exhibitions, and to the texts in cultural periodicals. The main aim of the thesis is to make a thorough analysis of the ideological and value related changes, which took place in the Lithuanian art discourse in the 1990s, and by underlining the artistic, institutional and sociopolitical contexts to reveal the changing content of symbolic constructions and their influence on the struggles for legitimization in the artistic field. The tasks of the research are: to define the role of the postsoviet intellectual (artist) in the Lithuanian art processes during the Rebirth period and in the years of independence; to explore the forms of politics of memory, which were established in the public discourse; to define the specificity of the concept of ideology in the postsoviet society; to analyze the ideological nature of modernist art in the postsoviet society; to define the ideological attitudes of the main art institutions; to disclose the character and reasons of the ideological collisions of the institutions; to make a thorough analysis of the most significant exhibitions and to reveal the ideological implications of the narratives being constructed by them; to reveal the most important mechanisms of art legitimization, which were implanted in the cultural periodicals of this period; to make a thorough analysis of strongly ideologically engaged discourses and the connections of ideological collisions with the politics of institutional domination.
Dissertation thesis analyses the ideological processes of art discourse in the last decade of the 20th century – the formation and decline of different value related and ideological orientations, and their correlation, which makes an influence upon the changing conception of art and artist. These processes are analyzed referring to the reviews of the exhibitions of the discussed period, the exhibitions themselves, the declarations by the artists, who actively participated on the art scene, and their works, which were shaping the public art life. A separate attention is devoted to various layers of the artistic field – to the sociopolitical context, the works of art, the institutional exhibitions, and to the texts in cultural periodicals. The main aim of the thesis is to make a thorough analysis of the ideological and value related changes, which took place in the Lithuanian art discourse in the 1990s, and by underlining the artistic, institutional and sociopolitical contexts to reveal the changing content of symbolic constructions and their influence on the struggles for legitimization in the artistic field. The tasks of the research are: to define the role of the postsoviet intellectual (artist) in the Lithuanian art processes during the Rebirth period and in the years of independence; to explore the forms of politics of memory, which were established in the public discourse; to define the specificity of the concept of ideology in the postsoviet society; to analyze the ideological nature of modernist art in the postsoviet society; to define the ideological attitudes of the main art institutions; to disclose the character and reasons of the ideological collisions of the institutions; to make a thorough analysis of the most significant exhibitions and to reveal the ideological implications of the narratives being constructed by them; to reveal the most important mechanisms of art legitimization, which were implanted in the cultural periodicals of this period; to make a thorough analysis of strongly ideologically engaged discourses and the connections of ideological collisions with the politics of institutional domination.
