\"This master's thesis explored how Anykščiai region was represented in photography in 1900-1940.\" \"The aim of the work was to study the archive of photographs stored at the Anykščiai Antanas Baranauskas and Antanas Vienuolis-Žukauskas Memorial Museum and to reveal the main themes, objects and personalities of the country's representation. Photographers living and working in Anykščiai region were named, their professional paths, cultural, political and economic conditions were analyzed, which determined their photographic heritage. The national press was reviewed: periodicals, specialized and representative publications, analyzed how the Anykščiai region was\" \"depicted in it, distinguishing the most important depictions, main objects and personalities.\"
\"This master's thesis explored how Anykščiai region was represented in photography in 1900-1940.\" \"The aim of the work was to study the archive of photographs stored at the Anykščiai Antanas Baranauskas and Antanas Vienuolis-Žukauskas Memorial Museum and to reveal the main themes, objects and personalities of the country's representation. Photographers living and working in Anykščiai region were named, their professional paths, cultural, political and economic conditions were analyzed, which determined their photographic heritage. The national press was reviewed: periodicals, specialized and representative publications, analyzed how the Anykščiai region was\" \"depicted in it, distinguishing the most important depictions, main objects and personalities.\"
\"This master's thesis explored how Anykščiai region was represented in photography in 1900-1940.\" \"The aim of the work was to study the archive of photographs stored at the Anykščiai Antanas Baranauskas and Antanas Vienuolis-Žukauskas Memorial Museum and to reveal the main themes, objects and personalities of the country's representation. Photographers living and working in Anykščiai region were named, their professional paths, cultural, political and economic conditions were analyzed, which determined their photographic heritage. The national press was reviewed: periodicals, specialized and representative publications, analyzed how the Anykščiai region was\" \"depicted in it, distinguishing the most important depictions, main objects and personalities.\"
The doctoral thesis deals with a methodological problem of analyzing photography. The argumentation is built on assumption that analysis of a content of a medium (in this case: photography) alone is unable to reveal important social and political aspects of the medium. Therefore an integral analysis of medium and its context is indispensable. Combination of approaches used in communication and media studies, philosophy, and art history lets to define the notions of dispositif and medium, which lead to construction and operationalization of a model of medium dispositif. The model is used for research and analysis of power relations around photographical discourse in Lithuania in 1960s–1980s. Research material gathered while interviewing relevant actors in the field and analyzing visual and textual archives lets to define the dispositif of photography of the time period chosen as the a particular actor-network. The analysis reveals how the network of art photography developed, how it became stable and irreplaceable, what was its impact on specific mode of use of photography, so called photo-art, and formation of common photographical style, The School of Lithuanian Photography. The institutional role of Society of Art Photography, its interaction with communicational conventions (eg. Social Realism), philosophical statements, and the whole photographical discourse are taken into particular account. The analysis and combination of different elements, constituting photographical medium, aim at revealing causal relations between aesthetical, political, and social aspects of Lithuanian photography.
The doctoral thesis deals with a methodological problem of analyzing photography. The argumentation is built on assumption that analysis of a content of a medium (in this case: photography) alone is unable to reveal important social and political aspects of the medium. Therefore an integral analysis of medium and its context is indispensable. Combination of approaches used in communication and media studies, philosophy, and art history lets to define the notions of dispositif and medium, which lead to construction and operationalization of a model of medium dispositif. The model is used for research and analysis of power relations around photographical discourse in Lithuania in 1960s–1980s. Research material gathered while interviewing relevant actors in the field and analyzing visual and textual archives lets to define the dispositif of photography of the time period chosen as the a particular actor-network. The analysis reveals how the network of art photography developed, how it became stable and irreplaceable, what was its impact on specific mode of use of photography, so called photo-art, and formation of common photographical style, The School of Lithuanian Photography. The institutional role of Society of Art Photography, its interaction with communicational conventions (eg. Social Realism), philosophical statements, and the whole photographical discourse are taken into particular account. The analysis and combination of different elements, constituting photographical medium, aim at revealing causal relations between aesthetical, political, and social aspects of Lithuanian photography.
The doctoral thesis deals with a methodological problem of analyzing photography. The argumentation is built on assumption that analysis of a content of a medium (in this case: photography) alone is unable to reveal important social and political aspects of the medium. Therefore an integral analysis of medium and its context is indispensable. Combination of approaches used in communication and media studies, philosophy, and art history lets to define the notions of dispositif and medium, which lead to construction and operationalization of a model of medium dispositif. The model is used for research and analysis of power relations around photographical discourse in Lithuania in 1960s–1980s. Research material gathered while interviewing relevant actors in the field and analyzing visual and textual archives lets to define the dispositif of photography of the time period chosen as the a particular actor-network. The analysis reveals how the network of art photography developed, how it became stable and irreplaceable, what was its impact on specific mode of use of photography, so called photo-art, and formation of common photographical style, The School of Lithuanian Photography. The institutional role of Society of Art Photography, its interaction with communicational conventions (eg. Social Realism), philosophical statements, and the whole photographical discourse are taken into particular account. The analysis and combination of different elements, constituting photographical medium, aim at revealing causal relations between aesthetical, political, and social aspects of Lithuanian photography.
The doctoral thesis deals with a methodological problem of analyzing photography. The argumentation is built on assumption that analysis of a content of a medium (in this case: photography) alone is unable to reveal important social and political aspects of the medium. Therefore an integral analysis of medium and its context is indispensable. Combination of approaches used in communication and media studies, philosophy, and art history lets to define the notions of dispositif and medium, which lead to construction and operationalization of a model of medium dispositif. The model is used for research and analysis of power relations around photographical discourse in Lithuania in 1960s–1980s. Research material gathered while interviewing relevant actors in the field and analyzing visual and textual archives lets to define the dispositif of photography of the time period chosen as the a particular actor-network. The analysis reveals how the network of art photography developed, how it became stable and irreplaceable, what was its impact on specific mode of use of photography, so called photo-art, and formation of common photographical style, The School of Lithuanian Photography. The institutional role of Society of Art Photography, its interaction with communicational conventions (eg. Social Realism), philosophical statements, and the whole photographical discourse are taken into particular account. The analysis and combination of different elements, constituting photographical medium, aim at revealing causal relations between aesthetical, political, and social aspects of Lithuanian photography.
It is inexpedient now to talk about is photography an art, or it isn't. It's a result of the concordance that there are some kind of symbiosis between artistry and documentary in photography. Additionally, photography has modified the protocol with industry, with science, with advertising, with journalism, with communication, with art, with everyday life… Consequently photography can't yet be studied as an autonomous discipline. It is more productive to look at it in its applications in other fields. For this reason it is necessary to analyze the photographs of Antanas Sutkus, the famous Lithuanian photographer, in the fields of anthropology, of social and communication sciences and of art. The other problem is that various European countries, to say nothing of whole continents (for example so called Third World), have been left on the fringes of the histories of photography. To avoid this mistake it is purposeful to look at the photographs of Antanas Sutkus also in the context of the Western countries that have their own photographic traditions. Furthermore, there are some principal filters – cultural, ideological and political – that have determined the dominant historiographic models and the photographic tradition itself. The major part of Antanas' Sutkus' photographs were made when Lithuania was the constituent of the Soviet Union. Consequently it is imperative to talk about Soviet ideology that carried authority on the creation of Antanas Sutkus and on the entire Lithuanian photographic tradition. Not a barrel of these contexts can show that a documentary and an artistry coexist in the photography of Antanas Sutkus. This coexistence seems evident when some transformations take part. For example, when the press photo, which was closely subordinated with text, appears in the galleries or in the photo albums that can change its original meaning. There again, the relevant political-social substance of photography can become a conformation of the photographer's creative interpretation. Therefore it is possible to say, that photographs of Antanas Sutkus can not be only an object of study, because it is also an instrument of study. Not only history makes photography of this famous Lithuanian photographer, but also his photography produces history.
It is inexpedient now to talk about is photography an art, or it isn't. It's a result of the concordance that there are some kind of symbiosis between artistry and documentary in photography. Additionally, photography has modified the protocol with industry, with science, with advertising, with journalism, with communication, with art, with everyday life… Consequently photography can't yet be studied as an autonomous discipline. It is more productive to look at it in its applications in other fields. For this reason it is necessary to analyze the photographs of Antanas Sutkus, the famous Lithuanian photographer, in the fields of anthropology, of social and communication sciences and of art. The other problem is that various European countries, to say nothing of whole continents (for example so called Third World), have been left on the fringes of the histories of photography. To avoid this mistake it is purposeful to look at the photographs of Antanas Sutkus also in the context of the Western countries that have their own photographic traditions. Furthermore, there are some principal filters – cultural, ideological and political – that have determined the dominant historiographic models and the photographic tradition itself. The major part of Antanas' Sutkus' photographs were made when Lithuania was the constituent of the Soviet Union. Consequently it is imperative to talk about Soviet ideology that carried authority on the creation of Antanas Sutkus and on the entire Lithuanian photographic tradition. Not a barrel of these contexts can show that a documentary and an artistry coexist in the photography of Antanas Sutkus. This coexistence seems evident when some transformations take part. For example, when the press photo, which was closely subordinated with text, appears in the galleries or in the photo albums that can change its original meaning. There again, the relevant political-social substance of photography can become a conformation of the photographer's creative interpretation. Therefore it is possible to say, that photographs of Antanas Sutkus can not be only an object of study, because it is also an instrument of study. Not only history makes photography of this famous Lithuanian photographer, but also his photography produces history.
It is inexpedient now to talk about is photography an art, or it isn't. It's a result of the concordance that there are some kind of symbiosis between artistry and documentary in photography. Additionally, photography has modified the protocol with industry, with science, with advertising, with journalism, with communication, with art, with everyday life… Consequently photography can't yet be studied as an autonomous discipline. It is more productive to look at it in its applications in other fields. For this reason it is necessary to analyze the photographs of Antanas Sutkus, the famous Lithuanian photographer, in the fields of anthropology, of social and communication sciences and of art. The other problem is that various European countries, to say nothing of whole continents (for example so called Third World), have been left on the fringes of the histories of photography. To avoid this mistake it is purposeful to look at the photographs of Antanas Sutkus also in the context of the Western countries that have their own photographic traditions. Furthermore, there are some principal filters – cultural, ideological and political – that have determined the dominant historiographic models and the photographic tradition itself. The major part of Antanas' Sutkus' photographs were made when Lithuania was the constituent of the Soviet Union. Consequently it is imperative to talk about Soviet ideology that carried authority on the creation of Antanas Sutkus and on the entire Lithuanian photographic tradition. Not a barrel of these contexts can show that a documentary and an artistry coexist in the photography of Antanas Sutkus. This coexistence seems evident when some transformations take part. For example, when the press photo, which was closely subordinated with text, appears in the galleries or in the photo albums that can change its original meaning. There again, the relevant political-social substance of photography can become a conformation of the photographer's creative interpretation. Therefore it is possible to say, that photographs of Antanas Sutkus can not be only an object of study, because it is also an instrument of study. Not only history makes photography of this famous Lithuanian photographer, but also his photography produces history.
It is inexpedient now to talk about is photography an art, or it isn't. It's a result of the concordance that there are some kind of symbiosis between artistry and documentary in photography. Additionally, photography has modified the protocol with industry, with science, with advertising, with journalism, with communication, with art, with everyday life… Consequently photography can't yet be studied as an autonomous discipline. It is more productive to look at it in its applications in other fields. For this reason it is necessary to analyze the photographs of Antanas Sutkus, the famous Lithuanian photographer, in the fields of anthropology, of social and communication sciences and of art. The other problem is that various European countries, to say nothing of whole continents (for example so called Third World), have been left on the fringes of the histories of photography. To avoid this mistake it is purposeful to look at the photographs of Antanas Sutkus also in the context of the Western countries that have their own photographic traditions. Furthermore, there are some principal filters – cultural, ideological and political – that have determined the dominant historiographic models and the photographic tradition itself. The major part of Antanas' Sutkus' photographs were made when Lithuania was the constituent of the Soviet Union. Consequently it is imperative to talk about Soviet ideology that carried authority on the creation of Antanas Sutkus and on the entire Lithuanian photographic tradition. Not a barrel of these contexts can show that a documentary and an artistry coexist in the photography of Antanas Sutkus. This coexistence seems evident when some transformations take part. For example, when the press photo, which was closely subordinated with text, appears in the galleries or in the photo albums that can change its original meaning. There again, the relevant political-social substance of photography can become a conformation of the photographer's creative interpretation. Therefore it is possible to say, that photographs of Antanas Sutkus can not be only an object of study, because it is also an instrument of study. Not only history makes photography of this famous Lithuanian photographer, but also his photography produces history.
The object of the master thesis – to representation of the North East India tribes, puting the emphasis on nagas and mizo tribes in colonial period ethnographic photography. By using interdisciplinary methods and an analysis of modern postcolonial discourse, the archive of visual ethnographic material that has been accumulated in colonial period is researched, in which the genesis of the photographs can be seen from exotic interest for a tribe to a mediated selfrepresentation. Through a dichotomic difference of biography and autobiography the intersection of problematic cultural, political and social issues is critically aknowledged, which shows the power of the colonial ethnograpy and the limitations in representing North East Indian identity. The purpose of the thesis – to analyse the archive of the North East Indian visual ethnograpy and to reveal the diversity of motives, which created the social space of the region. That is why at first I will study the theoretical changes of identity creation and representation, I will present a discursive review of the North East Indian region and analyse the archive of the tribes through a classifiction of the photos according to a theme. After the analysis it turned out that the identity is closely related to openness of the tribal society to the outside world: it is a paradox that the tribes of the nagas, being open to the influence of colonialism, became stereotypical natives, while closed tribes of mizo created a modern identity. The thesis reveals the aspect of North East Indian sociocultural space which has been only scarcely researched before. It offers a perspective for further development of the theme in a sociological perspective and can become a strong argument to carry out discursive ethnographic reaseraches in the region.
The object of the master thesis – to representation of the North East India tribes, puting the emphasis on nagas and mizo tribes in colonial period ethnographic photography. By using interdisciplinary methods and an analysis of modern postcolonial discourse, the archive of visual ethnographic material that has been accumulated in colonial period is researched, in which the genesis of the photographs can be seen from exotic interest for a tribe to a mediated selfrepresentation. Through a dichotomic difference of biography and autobiography the intersection of problematic cultural, political and social issues is critically aknowledged, which shows the power of the colonial ethnograpy and the limitations in representing North East Indian identity. The purpose of the thesis – to analyse the archive of the North East Indian visual ethnograpy and to reveal the diversity of motives, which created the social space of the region. That is why at first I will study the theoretical changes of identity creation and representation, I will present a discursive review of the North East Indian region and analyse the archive of the tribes through a classifiction of the photos according to a theme. After the analysis it turned out that the identity is closely related to openness of the tribal society to the outside world: it is a paradox that the tribes of the nagas, being open to the influence of colonialism, became stereotypical natives, while closed tribes of mizo created a modern identity. The thesis reveals the aspect of North East Indian sociocultural space which has been only scarcely researched before. It offers a perspective for further development of the theme in a sociological perspective and can become a strong argument to carry out discursive ethnographic reaseraches in the region.
The object of the master thesis – to representation of the North East India tribes, puting the emphasis on nagas and mizo tribes in colonial period ethnographic photography. By using interdisciplinary methods and an analysis of modern postcolonial discourse, the archive of visual ethnographic material that has been accumulated in colonial period is researched, in which the genesis of the photographs can be seen from exotic interest for a tribe to a mediated selfrepresentation. Through a dichotomic difference of biography and autobiography the intersection of problematic cultural, political and social issues is critically aknowledged, which shows the power of the colonial ethnograpy and the limitations in representing North East Indian identity. The purpose of the thesis – to analyse the archive of the North East Indian visual ethnograpy and to reveal the diversity of motives, which created the social space of the region. That is why at first I will study the theoretical changes of identity creation and representation, I will present a discursive review of the North East Indian region and analyse the archive of the tribes through a classifiction of the photos according to a theme. After the analysis it turned out that the identity is closely related to openness of the tribal society to the outside world: it is a paradox that the tribes of the nagas, being open to the influence of colonialism, became stereotypical natives, while closed tribes of mizo created a modern identity. The thesis reveals the aspect of North East Indian sociocultural space which has been only scarcely researched before. It offers a perspective for further development of the theme in a sociological perspective and can become a strong argument to carry out discursive ethnographic reaseraches in the region.
The object of the master thesis – to representation of the North East India tribes, puting the emphasis on nagas and mizo tribes in colonial period ethnographic photography. By using interdisciplinary methods and an analysis of modern postcolonial discourse, the archive of visual ethnographic material that has been accumulated in colonial period is researched, in which the genesis of the photographs can be seen from exotic interest for a tribe to a mediated selfrepresentation. Through a dichotomic difference of biography and autobiography the intersection of problematic cultural, political and social issues is critically aknowledged, which shows the power of the colonial ethnograpy and the limitations in representing North East Indian identity. The purpose of the thesis – to analyse the archive of the North East Indian visual ethnograpy and to reveal the diversity of motives, which created the social space of the region. That is why at first I will study the theoretical changes of identity creation and representation, I will present a discursive review of the North East Indian region and analyse the archive of the tribes through a classifiction of the photos according to a theme. After the analysis it turned out that the identity is closely related to openness of the tribal society to the outside world: it is a paradox that the tribes of the nagas, being open to the influence of colonialism, became stereotypical natives, while closed tribes of mizo created a modern identity. The thesis reveals the aspect of North East Indian sociocultural space which has been only scarcely researched before. It offers a perspective for further development of the theme in a sociological perspective and can become a strong argument to carry out discursive ethnographic reaseraches in the region.
