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The subject of the article comprises Baltic military rites appreciated from the emotional perspective. The chief source of investigation consists of the 4 Teutonic chronicles: The Livonian Rhymed Chronicle, The Chronicle of Henry of Livonia, The Chronicle of the Prussian Land by Peter of Dusburg and The Prussian Chronicle of Wigand of Marburg. Primarily, the main emotional axis of the story described in the chronicles is analyzed: sorrow vs. joy. Regardless of the subject of the chronicles, i.e. whether these include crusaders or the Balts, military victories are marked with joy while defeats, with sorrow. Still, the joy of victory is not that simple: it rather compensates for the sorrow and involves malevolence (rejoicing because of the enemy's grief). Both the emotional states are expressed in respective rituals: the ritual expression of sorrow is lamenting, while joy is expressed in grateful songs addressing God or the deities. The first part of the article exhaustively discusses the phenomenon of lamenting: the ritualized emotion (the ritual lamenting) is regarded as a special state of mind allowing the weeper to enter into a sacral relationship with the world of gods or souls, thus achieving the ritual aim, i.e. ensuring a successful transfer of the deceased into the world of ancestors. Sorrow as an emotional state becomes the basis for the ritual; it is a special element, enabling the performer of the ritual to achieve special powers. As the ritual action, lamenting has. [to full text]

The subject of the article comprises Baltic military rites appreciated from the emotional perspective. The chief source of investigation consists of the 4 Teutonic chronicles: The Livonian Rhymed Chronicle, The Chronicle of Henry of Livonia, The Chronicle of the Prussian Land by Peter of Dusburg and The Prussian Chronicle of Wigand of Marburg. Primarily, the main emotional axis of the story described in the chronicles is analyzed: sorrow vs. joy. Regardless of the subject of the chronicles, i.e. whether these include crusaders or the Balts, military victories are marked with joy while defeats, with sorrow. Still, the joy of victory is not that simple: it rather compensates for the sorrow and involves malevolence (rejoicing because of the enemy's grief). Both the emotional states are expressed in respective rituals: the ritual expression of sorrow is lamenting, while joy is expressed in grateful songs addressing God or the deities. The first part of the article exhaustively discusses the phenomenon of lamenting: the ritualized emotion (the ritual lamenting) is regarded as a special state of mind allowing the weeper to enter into a sacral relationship with the world of gods or souls, thus achieving the ritual aim, i.e. ensuring a successful transfer of the deceased into the world of ancestors. Sorrow as an emotional state becomes the basis for the ritual; it is a special element, enabling the performer of the ritual to achieve special powers. As the ritual action, lamenting has. [to full text]

The article speaks about trickster's archetype, schemes of understanding, examplesmodels of behaviour and their cultural manifestations in myths, literature, carnivals, theatre and politics. The aim of the article is to analyse and demonstrate the development of tricksters' typology in culture and politics. Therfore, political activities are explained, not only as independent and unique but also as dependent on variations of archetypes, types, schemes, models and examples. Mythological and literal, historical analysis of archetypes, schemes of thinking, prototypes and models help to understand some social, cultural and political processes and model them. The methodology of analysis of cultural types follows by ideas of comparative typology of Vytautas Kavolis, analytical anthropology of Valerij Podoroga, and the comparative history of cultural models of Piter Sloterdijk. In addition, attention in the article is also devoted to the relations between literature and politics, which was discovered in the books of Yves Guchet and Leonidas Donskis. Trickster is interpreted according to structural anthropology and studies in mythology as a transitional figure: between beast and over-human, natural and civilized, pre-structural and ordered. How the transitional position transforms into carnival figure and becomes attractive for people's carnivals and theatre. The article interprets theories of Trickster of P. Radin, J. Campbell and G. Jung based of phenomenon of tricksking in. [to full text]

The article speaks about trickster's archetype, schemes of understanding, examplesmodels of behaviour and their cultural manifestations in myths, literature, carnivals, theatre and politics. The aim of the article is to analyse and demonstrate the development of tricksters' typology in culture and politics. Therfore, political activities are explained, not only as independent and unique but also as dependent on variations of archetypes, types, schemes, models and examples. Mythological and literal, historical analysis of archetypes, schemes of thinking, prototypes and models help to understand some social, cultural and political processes and model them. The methodology of analysis of cultural types follows by ideas of comparative typology of Vytautas Kavolis, analytical anthropology of Valerij Podoroga, and the comparative history of cultural models of Piter Sloterdijk. In addition, attention in the article is also devoted to the relations between literature and politics, which was discovered in the books of Yves Guchet and Leonidas Donskis. Trickster is interpreted according to structural anthropology and studies in mythology as a transitional figure: between beast and over-human, natural and civilized, pre-structural and ordered. How the transitional position transforms into carnival figure and becomes attractive for people's carnivals and theatre. The article interprets theories of Trickster of P. Radin, J. Campbell and G. Jung based of phenomenon of tricksking in. [to full text]

The article speaks about trickster's archetype, schemes of understanding, examplesmodels of behaviour and their cultural manifestations in myths, literature, carnivals, theatre and politics. The aim of the article is to analyse and demonstrate the development of tricksters' typology in culture and politics. Therfore, political activities are explained, not only as independent and unique but also as dependent on variations of archetypes, types, schemes, models and examples. Mythological and literal, historical analysis of archetypes, schemes of thinking, prototypes and models help to understand some social, cultural and political processes and model them. The methodology of analysis of cultural types follows by ideas of comparative typology of Vytautas Kavolis, analytical anthropology of Valerij Podoroga, and the comparative history of cultural models of Piter Sloterdijk. In addition, attention in the article is also devoted to the relations between literature and politics, which was discovered in the books of Yves Guchet and Leonidas Donskis. Trickster is interpreted according to structural anthropology and studies in mythology as a transitional figure: between beast and over-human, natural and civilized, pre-structural and ordered. How the transitional position transforms into carnival figure and becomes attractive for people's carnivals and theatre. The article interprets theories of Trickster of P. Radin, J. Campbell and G. Jung based of phenomenon of tricksking in. [to full text]

After World War II the movies concerned with the Jews were eliminated from the Soviet cinematography. Even though there were scenes of Nazi massacres of the Jews or related episodes, the word 'Jews' was never mentioned. The Jews as a nation ended up outside of the screen and became implicit characters because the Holocaust and Nazi crimes and their perception were unified, making the Jews to 'share' the victim status with other 'peaceful citizens'. The concept 'Holocaust without Jews' came into life as an identity of Nazi victims could have been guessed only through allusions in the movies (archival footage from Jews' mass killing, ghettos, and concentration camps). Movies, as audiovisual representations of the past, tended to retouch the Holocaust and sort of erase it from history. It was not in the best interest of the Soviet regime to recognize the Jews as a focus group of the Third Reich genocide politics. The Holocaust representation in the movies of the Lithuanian SSR was in line with the ideological line of the Soviet historical memory politics. The allusions to the Holocaust were symbolic and had the function of a stenographic element in the background of the main plot line. It was noticed that the Star of David was often used to indirectly convey the passivity and insensibility of the people around in the films of Soviet Lithuania. On the other hand, unlike the communist Polish cinematography, less significant artistic expressions, there were no Jewish preservation moments and no intentions to condemn antisemitism. There were no Jewish characters in the Lithuanian film studio. It may be assumed that the indoctrination of the ideological mythology of the fascist crimes through cinema was one of the elements, which produced a distorted perception of the Holocaust in the Lithuanian collective consciousness.

After World War II the movies concerned with the Jews were eliminated from the Soviet cinematography. Even though there were scenes of Nazi massacres of the Jews or related episodes, the word 'Jews' was never mentioned. The Jews as a nation ended up outside of the screen and became implicit characters because the Holocaust and Nazi crimes and their perception were unified, making the Jews to 'share' the victim status with other 'peaceful citizens'. The concept 'Holocaust without Jews' came into life as an identity of Nazi victims could have been guessed only through allusions in the movies (archival footage from Jews' mass killing, ghettos, and concentration camps). Movies, as audiovisual representations of the past, tended to retouch the Holocaust and sort of erase it from history. It was not in the best interest of the Soviet regime to recognize the Jews as a focus group of the Third Reich genocide politics. The Holocaust representation in the movies of the Lithuanian SSR was in line with the ideological line of the Soviet historical memory politics. The allusions to the Holocaust were symbolic and had the function of a stenographic element in the background of the main plot line. It was noticed that the Star of David was often used to indirectly convey the passivity and insensibility of the people around in the films of Soviet Lithuania. On the other hand, unlike the communist Polish cinematography, less significant artistic expressions, there were no Jewish preservation moments and no intentions to condemn antisemitism. There were no Jewish characters in the Lithuanian film studio. It may be assumed that the indoctrination of the ideological mythology of the fascist crimes through cinema was one of the elements, which produced a distorted perception of the Holocaust in the Lithuanian collective consciousness.

The article analyses the historical alternation of the names of Lithuanian sport organizations and clubs as well as presents the results of the research. The problem of the research is characterized by the following question: do numerous names of Lithuanian sport organizations refl ect the development of the history, culture, and sport of the country. The aim of the research is to analyze the historical-chronological changes in the names of Lithuanian sport organizations (1885–2010) and to present the structural-historiological and value analysis. Sport historiography which consisted of Lithuanian sport statistics as well as published scientifi c works on Lithuanian sport history have been chosen as the units of the research. The methods of the research are the following: the study and analysis of scientifi c literature, documents and sources, descriptive, critical-analytical, statistical methods. Having analysed the names of Lithuanian sport organizations of the period under investigation it has been proven that taking the periods of the country development into account, varying political, ideological, value attitudes, the names of sport organizations, clubs, teams, which refl ected their variety and many-layer features, were changing. Some of them are related to the development of Lithuanian ethnic culture, world-view of ancient Aistians, mythology; others are related to the real historical and cultural personalities; moreover, some of them, identifi ed with the national identity, refl ected the particularity of the country and region, they were associated with the locality, landscape and infl uenced by the development and factors of culture, economics, education. The tendencies of the alternation of sport organization names, historical-chronological changes and their structural-historiological and value analysis are presented with the help of the method of regression analysis. It is stated that the bigger determination rate, the brighter tendency.

The article analyses the historical alternation of the names of Lithuanian sport organizations and clubs as well as presents the results of the research. The problem of the research is characterized by the following question: do numerous names of Lithuanian sport organizations refl ect the development of the history, culture, and sport of the country. The aim of the research is to analyze the historical-chronological changes in the names of Lithuanian sport organizations (1885–2010) and to present the structural-historiological and value analysis. Sport historiography which consisted of Lithuanian sport statistics as well as published scientifi c works on Lithuanian sport history have been chosen as the units of the research. The methods of the research are the following: the study and analysis of scientifi c literature, documents and sources, descriptive, critical-analytical, statistical methods. Having analysed the names of Lithuanian sport organizations of the period under investigation it has been proven that taking the periods of the country development into account, varying political, ideological, value attitudes, the names of sport organizations, clubs, teams, which refl ected their variety and many-layer features, were changing. Some of them are related to the development of Lithuanian ethnic culture, world-view of ancient Aistians, mythology; others are related to the real historical and cultural personalities; moreover, some of them, identifi ed with the national identity, refl ected the particularity of the country and region, they were associated with the locality, landscape and infl uenced by the development and factors of culture, economics, education. The tendencies of the alternation of sport organization names, historical-chronological changes and their structural-historiological and value analysis are presented with the help of the method of regression analysis. It is stated that the bigger determination rate, the brighter tendency.