Suchergebnisse

The purpose of this article is to explicate socioideological mechanisms of the Lithuanian art (history) canon of the late Soviet period and the period of independence. It theoretically defines the concept of art (history) canon, an important aspect of which is socioideological predispositions. By drawing on representative publications and albums from the late Soviet period and the period of independence the article analyses how and to what extent the Lithuanian art (history) canon has changed or remained stable. The analysis uses the term 'Quiet modernism', which at the end of the first decade of the independence period was used to rebrand the image of Soviet-era artists and re-format the canon. The research showed that, during the time period under investigation, the Lithuanian art (history) canon has been shaped in line with both artistic principles and socioideological factors. The canon has been partly changing, but its core is still inert and static.

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.

The history of Lithuanian psychology parallels the sociopolitical history of the country. Due to repeated occupations of the country and other unfavorable conditions, scientific thought and innovations were delayed for decades. Development of psychology in Lithuania can be divided in three periods: (1) interwar (1918–1940), (2) Soviet occupation (1940–1990), and (3) regained independence (since 1990). Institutionalization of psychology is analyzed in four aspects: research, development of studies, applied practice, and scientific communication. The beginning of the professional psychology in Lithuania is inseparable from the establishment and activity of the University of Lithuania (later Vytautas Magnus University). Major tasks and activities that the first Lithuanian psychologists undertook during the interwar period were the dissemination of scientific psychological knowledge. Scientific research was consistent with the tendencies established in European psychology, in particular German psychology. During the Soviet period one of the positive facts was an increasing number of professional psychologists due to the renewal of studies (including doctoral studies) in psychology at Vilnius University. However, Lithuania never had state-supported institutions for scientific research in psychology. Due to the restoration of independence in 1990, more educational establishments (at present five universities) provide instruction for psychologists, new curricula of studies are being launched according to the internationally confirmed standard, the relationship of psychology with various practical fields is strengthening, and numerous institutions offer a wide variety of psychological services.