Suchergebnisse

Engl. Zsfassung u.d.T.: The language and the art of it

This paper focuses on the oeuvre of the architect and artist Valdas Ozarinskas (1961– 2014) with the aim to analyse how it manifests criticism. To this aim the work uses the concepts of politics, the regimes of art and heterogenous systems of expression articulated by the French philosopher Jacques Rancière. The premises formulated by the philosopher allow for the linking manifestations of criticism to political subject, which is always formed by extracting itself from an existing order as a surplus in regards to existing categories of identification and classification. Politics is understood here as an intervention into an existing order that aims to reconfigure it. This approach allows for analysing manifestations of criticism without prior definitions of the objects of criticism or its forms of manifestation, that is, taking into account first and foremost those contexts and attitudes implicated in the artwork itself. Four chronological episodes of Valdas Ozarinskas' oeuvre are analysed in this thesis, spanning the period between 1988 and 2014, and various fields of art – architecture, interior design, photography, art actions, objects and installations, stage design and exhibition design. His oeuvre unfolds as a stage of heterogenous criticism, closely connected to various processes in the life of Lithuanian society and enabled by situationist, actionist and deconstruction strategies within its concurrent environment. Predominant directions of criticism manifesting in his work are described as techno-optimism, a criticism of homogenous visibility and a disillusionment with the development of democracy in the independent Lithuania. His attitudes towards art appear to be in close proximity to Rancière's concept of the aesthetic regime of art. This confirms the hypothesis that the oeuvre of Ozarinskas reflects a belief that art must change the world – which can be linked to 20th century avantgarde movements and based on formal qualities displayed in the oeuvre.

This paper focuses on the oeuvre of the architect and artist Valdas Ozarinskas (1961– 2014) with the aim to analyse how it manifests criticism. To this aim the work uses the concepts of politics, the regimes of art and heterogenous systems of expression articulated by the French philosopher Jacques Rancière. The premises formulated by the philosopher allow for the linking manifestations of criticism to political subject, which is always formed by extracting itself from an existing order as a surplus in regards to existing categories of identification and classification. Politics is understood here as an intervention into an existing order that aims to reconfigure it. This approach allows for analysing manifestations of criticism without prior definitions of the objects of criticism or its forms of manifestation, that is, taking into account first and foremost those contexts and attitudes implicated in the artwork itself. Four chronological episodes of Valdas Ozarinskas' oeuvre are analysed in this thesis, spanning the period between 1988 and 2014, and various fields of art – architecture, interior design, photography, art actions, objects and installations, stage design and exhibition design. His oeuvre unfolds as a stage of heterogenous criticism, closely connected to various processes in the life of Lithuanian society and enabled by situationist, actionist and deconstruction strategies within its concurrent environment. Predominant directions of criticism manifesting in his work are described as techno-optimism, a criticism of homogenous visibility and a disillusionment with the development of democracy in the independent Lithuania. His attitudes towards art appear to be in close proximity to Rancière's concept of the aesthetic regime of art. This confirms the hypothesis that the oeuvre of Ozarinskas reflects a belief that art must change the world – which can be linked to 20th century avantgarde movements and based on formal qualities displayed in the oeuvre.

This paper focuses on the oeuvre of the architect and artist Valdas Ozarinskas (1961– 2014) with the aim to analyse how it manifests criticism. To this aim the work uses the concepts of politics, the regimes of art and heterogenous systems of expression articulated by the French philosopher Jacques Rancière. The premises formulated by the philosopher allow for the linking manifestations of criticism to political subject, which is always formed by extracting itself from an existing order as a surplus in regards to existing categories of identification and classification. Politics is understood here as an intervention into an existing order that aims to reconfigure it. This approach allows for analysing manifestations of criticism without prior definitions of the objects of criticism or its forms of manifestation, that is, taking into account first and foremost those contexts and attitudes implicated in the artwork itself. Four chronological episodes of Valdas Ozarinskas' oeuvre are analysed in this thesis, spanning the period between 1988 and 2014, and various fields of art – architecture, interior design, photography, art actions, objects and installations, stage design and exhibition design. His oeuvre unfolds as a stage of heterogenous criticism, closely connected to various processes in the life of Lithuanian society and enabled by situationist, actionist and deconstruction strategies within its concurrent environment. Predominant directions of criticism manifesting in his work are described as techno-optimism, a criticism of homogenous visibility and a disillusionment with the development of democracy in the independent Lithuania. His attitudes towards art appear to be in close proximity to Rancière's concept of the aesthetic regime of art. This confirms the hypothesis that the oeuvre of Ozarinskas reflects a belief that art must change the world – which can be linked to 20th century avantgarde movements and based on formal qualities displayed in the oeuvre.

Das Tagebuch hat Petkevičaitė-Bitė währen des Ersten Weltkriegs heimlich, unter großem Risiko für ihr Leben als Zeugnis ihrer unmittelbaren Erlebnisse und Leiden geschrieben. In der chronologischen Folge der Kriegstage entsteht ein schreckenerregendes Bild der Opfer des Krieges: die verwundeten russischen, deutschen Soldaten, Greueltaten der deutschen Besatzungsmächte in den litauischen Dörfern, Flüchtlinge, Scharen von Marodeuren nach dem Krieg. Die Schriftstellerin erzählt lebhaft von ihren Bemühungen, den einfachen Bauern medizinische Hilfe zu leisten, die Wirtschaft vom Gut Puziniškis zu führen, sich in der politischen Situation zu orientieren. Ihre Bemühungen mit Russen, Polen, Juden, Deutschen zeugen von ihrer Toleranz den anderen Völkern gegenüber[.]

Das Tagebuch hat Petkevičaitė-Bitė währen des Ersten Weltkriegs heimlich, unter großem Risiko für ihr Leben als Zeugnis ihrer unmittelbaren Erlebnisse und Leiden geschrieben. In der chronologischen Folge der Kriegstage entsteht ein schreckenerregendes Bild der Opfer des Krieges: die verwundeten russischen, deutschen Soldaten, Greueltaten der deutschen Besatzungsmächte in den litauischen Dörfern, Flüchtlinge, Scharen von Marodeuren nach dem Krieg. Die Schriftstellerin erzählt lebhaft von ihren Bemühungen, den einfachen Bauern medizinische Hilfe zu leisten, die Wirtschaft vom Gut Puziniškis zu führen, sich in der politischen Situation zu orientieren. Ihre Bemühungen mit Russen, Polen, Juden, Deutschen zeugen von ihrer Toleranz den anderen Völkern gegenüber[.]

Das Tagebuch hat Petkevičaitė-Bitė währen des Ersten Weltkriegs heimlich, unter großem Risiko für ihr Leben als Zeugnis ihrer unmittelbaren Erlebnisse und Leiden geschrieben. In der chronologischen Folge der Kriegstage entsteht ein schreckenerregendes Bild der Opfer des Krieges: die verwundeten russischen, deutschen Soldaten, Greueltaten der deutschen Besatzungsmächte in den litauischen Dörfern, Flüchtlinge, Scharen von Marodeuren nach dem Krieg. Die Schriftstellerin erzählt lebhaft von ihren Bemühungen, den einfachen Bauern medizinische Hilfe zu leisten, die Wirtschaft vom Gut Puziniškis zu führen, sich in der politischen Situation zu orientieren. Ihre Bemühungen mit Russen, Polen, Juden, Deutschen zeugen von ihrer Toleranz den anderen Völkern gegenüber[.]

The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers

The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.

The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.

The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers

The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.

The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers