Suchergebnisse

The article is devoted to disclosure of the tendencies in the promotion of Lithuanian physical activity. During the Soviet times, Lithuanian sports politics was oriented to elite sport and it is still. The attempts to foster physical activity of the population lie on the movement "Sport for all," but the results of the movement are not effective enough, because only a small part of the population (approximately 6%) took part in it. No one governmental institution has full and clear responsibility for the results of physical activity promotion. The poor environment of physical activity results in poor possibilities to be physically active in leisure domain. Differently, the huge expansion of the private sport, health, and beauty industries fosters the adoration of the body and overemphasizes the meaning of body image in the society. Physical activity is represented as the measure to achieve ideal body image or good health, but not as the measure of the overall culture of the human or society. Conclusions. The long-lasting, health-related physical activity-oriented national strategy is essential to foster physical activity, health, and quality of life at the national level. The multiplicity of possibilities in the physical activity would foster lifestyle activity instead of adoration of body image and would improve the psychological and physical well-being of the population.

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.

A contemporary consuming society emphasizes a human body as a sign that represents a race, gender, age, social status or role and a body language that highlights emotions and feelings. A society could be analysed on the basis of a gender discourse. It is rich with social, political and cultural processes shaping gender identities, stereotypes and ideals. Changes in the 20th century influenced the alterations in a woman's roles ant attitudes towards her. A man's identity was changing as well. Some social subcultures have not been defined and analysed in history or in science. These subcultures are considered to be marginal groups: gays, lesbians and disabled. Very often they felt the ignorance, discrimination and aggression. In the second half of the 20th century the feminist movement speeded social changes all over the world. At that time a contemporary dance appeared as a complex phenomenon in art. Researchers do not outline its clear beginning or the end. It is a mix of various techniques and dancers are free from a strict movement alphabet. Representation and questioning of traditional (a woman and a man) and marginal (homosexuals and disabled) reflections of a body in a contemporary dance influenced the analysis of a contemporary dance in the social and cultural context. The subject of a diploma paper is the body's social reflections in a contemporary dance: traditional (a woman and a man) and marginal (homosexuals and disabled). The field of the subject is European and Lithuanian performances of the contemporary dance created in the last three decades. The investigation of the subject is based on the vertical (historical) and horizontal (social, cultural) analysis. After reaching the defined aim and objectives of the paper, it is possible to state that in a contemporary society the body is understood as a developing sign system interdependent with surrounding factors. The perfection of the body is taken as a natural permanent process which aim is the implementation of needs and desires. The main function of the body becomes its representation. Different woman's models and stereotypes depicted in the contemporary dance are a free interpretation. The changes in men's social roles, stereotypes and relations are hyperbolized. The contemporary dance is the art form that can reveal directly the experience of a disabled, help the society to know and understand the disability as a phenomenon and inevitability. This form of art allows the audience to recognize social subcultures, to manipulate the traditional attitudes and norms. The dance can be the form of art that educates and fosters tolerance in a society.

A contemporary consuming society emphasizes a human body as a sign that represents a race, gender, age, social status or role and a body language that highlights emotions and feelings. A society could be analysed on the basis of a gender discourse. It is rich with social, political and cultural processes shaping gender identities, stereotypes and ideals. Changes in the 20th century influenced the alterations in a woman's roles ant attitudes towards her. A man's identity was changing as well. Some social subcultures have not been defined and analysed in history or in science. These subcultures are considered to be marginal groups: gays, lesbians and disabled. Very often they felt the ignorance, discrimination and aggression. In the second half of the 20th century the feminist movement speeded social changes all over the world. At that time a contemporary dance appeared as a complex phenomenon in art. Researchers do not outline its clear beginning or the end. It is a mix of various techniques and dancers are free from a strict movement alphabet. Representation and questioning of traditional (a woman and a man) and marginal (homosexuals and disabled) reflections of a body in a contemporary dance influenced the analysis of a contemporary dance in the social and cultural context. The subject of a diploma paper is the body's social reflections in a contemporary dance: traditional (a woman and a man) and marginal (homosexuals and disabled). The field of the subject is European and Lithuanian performances of the contemporary dance created in the last three decades. The investigation of the subject is based on the vertical (historical) and horizontal (social, cultural) analysis. After reaching the defined aim and objectives of the paper, it is possible to state that in a contemporary society the body is understood as a developing sign system interdependent with surrounding factors. The perfection of the body is taken as a natural permanent process which aim is the implementation of needs and desires. The main function of the body becomes its representation. Different woman's models and stereotypes depicted in the contemporary dance are a free interpretation. The changes in men's social roles, stereotypes and relations are hyperbolized. The contemporary dance is the art form that can reveal directly the experience of a disabled, help the society to know and understand the disability as a phenomenon and inevitability. This form of art allows the audience to recognize social subcultures, to manipulate the traditional attitudes and norms. The dance can be the form of art that educates and fosters tolerance in a society.

A contemporary consuming society emphasizes a human body as a sign that represents a race, gender, age, social status or role and a body language that highlights emotions and feelings. A society could be analysed on the basis of a gender discourse. It is rich with social, political and cultural processes shaping gender identities, stereotypes and ideals. Changes in the 20th century influenced the alterations in a woman's roles ant attitudes towards her. A man's identity was changing as well. Some social subcultures have not been defined and analysed in history or in science. These subcultures are considered to be marginal groups: gays, lesbians and disabled. Very often they felt the ignorance, discrimination and aggression. In the second half of the 20th century the feminist movement speeded social changes all over the world. At that time a contemporary dance appeared as a complex phenomenon in art. Researchers do not outline its clear beginning or the end. It is a mix of various techniques and dancers are free from a strict movement alphabet. Representation and questioning of traditional (a woman and a man) and marginal (homosexuals and disabled) reflections of a body in a contemporary dance influenced the analysis of a contemporary dance in the social and cultural context. The subject of a diploma paper is the body's social reflections in a contemporary dance: traditional (a woman and a man) and marginal (homosexuals and disabled). The field of the subject is European and Lithuanian performances of the contemporary dance created in the last three decades. The investigation of the subject is based on the vertical (historical) and horizontal (social, cultural) analysis. After reaching the defined aim and objectives of the paper, it is possible to state that in a contemporary society the body is understood as a developing sign system interdependent with surrounding factors. The perfection of the body is taken as a natural permanent process which aim is the implementation of needs and desires. The main function of the body becomes its representation. Different woman's models and stereotypes depicted in the contemporary dance are a free interpretation. The changes in men's social roles, stereotypes and relations are hyperbolized. The contemporary dance is the art form that can reveal directly the experience of a disabled, help the society to know and understand the disability as a phenomenon and inevitability. This form of art allows the audience to recognize social subcultures, to manipulate the traditional attitudes and norms. The dance can be the form of art that educates and fosters tolerance in a society.

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.