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The concept of "performance place", rather than a more common "space" is used to point out the significance of the physical and social location, where the theatre building or performance environment is situated, within the framework of the city fabric or geography of the country. The place of performance is a reflection of the shifting ideological, political and moral role which the institution of theatre is identified with in the society. The critical understanding of the place is related to the politics of the theatre, resistance to the discourse of power, as expressed by the artist's geopolitical imagination, and transgression of the social bounds. The aim of this article is to employ the concept of performance place to reflect upon the Lithuanian theatre – to see how the understanding of the place has been changing and what political projects or myths govern the choice of different locations. Two ideas of performance place are dominant in the Lithuanian theatre practices today. The first one is related to the conception of the national theatre institutions as a place which legitimates the artistic practices through the relationship with the local national community. The second locates performative practices in the fissures and margins of the first one – the official and national culture network. These are marginal places such as abandoned quarters of the city or post-industrial spaces which provoke anarchic and resistant attitude towards the tradition and power structures. However, both conceptions of place become problematic and ambivalent in the context of contemporary late capitalist system.[.].

The concept of "performance place", rather than a more common "space" is used to point out the significance of the physical and social location, where the theatre building or performance environment is situated, within the framework of the city fabric or geography of the country. The place of performance is a reflection of the shifting ideological, political and moral role which the institution of theatre is identified with in the society. The critical understanding of the place is related to the politics of the theatre, resistance to the discourse of power, as expressed by the artist's geopolitical imagination, and transgression of the social bounds. The aim of this article is to employ the concept of performance place to reflect upon the Lithuanian theatre – to see how the understanding of the place has been changing and what political projects or myths govern the choice of different locations. Two ideas of performance place are dominant in the Lithuanian theatre practices today. The first one is related to the conception of the national theatre institutions as a place which legitimates the artistic practices through the relationship with the local national community. The second locates performative practices in the fissures and margins of the first one – the official and national culture network. These are marginal places such as abandoned quarters of the city or post-industrial spaces which provoke anarchic and resistant attitude towards the tradition and power structures. However, both conceptions of place become problematic and ambivalent in the context of contemporary late capitalist system.[.].

The concept of "performance place", rather than a more common "space" is used to point out the significance of the physical and social location, where the theatre building or performance environment is situated, within the framework of the city fabric or geography of the country. The place of performance is a reflection of the shifting ideological, political and moral role which the institution of theatre is identified with in the society. The critical understanding of the place is related to the politics of the theatre, resistance to the discourse of power, as expressed by the artist's geopolitical imagination, and transgression of the social bounds. The aim of this article is to employ the concept of performance place to reflect upon the Lithuanian theatre – to see how the understanding of the place has been changing and what political projects or myths govern the choice of different locations. Two ideas of performance place are dominant in the Lithuanian theatre practices today. The first one is related to the conception of the national theatre institutions as a place which legitimates the artistic practices through the relationship with the local national community. The second locates performative practices in the fissures and margins of the first one – the official and national culture network. These are marginal places such as abandoned quarters of the city or post-industrial spaces which provoke anarchic and resistant attitude towards the tradition and power structures. However, both conceptions of place become problematic and ambivalent in the context of contemporary late capitalist system.[.].

This paper explores the prevailing readings of the Atlantis story. The purpose of this paper is to show how interpretative judgements on the narrator's intentions, the objectives of the characters, and the genre and the development of the story prepares the grounds for the political understanding of Athens and Atlantis. In this way, I will show how the dramatic framework influences the expression of political thought. I argue that the most important dramatic feature of the story is Critias' interaction with Socrates and Timaeus, which explains why Critias composes two speeches that are essentially dedicated to the question of political origins.

This paper explores the prevailing readings of the Atlantis story. The purpose of this paper is to show how interpretative judgements on the narrator's intentions, the objectives of the characters, and the genre and the development of the story prepares the grounds for the political understanding of Athens and Atlantis. In this way, I will show how the dramatic framework influences the expression of political thought. I argue that the most important dramatic feature of the story is Critias' interaction with Socrates and Timaeus, which explains why Critias composes two speeches that are essentially dedicated to the question of political origins.

This paper explores the prevailing readings of the Atlantis story. The purpose of this paper is to show how interpretative judgements on the narrator's intentions, the objectives of the characters, and the genre and the development of the story prepares the grounds for the political understanding of Athens and Atlantis. In this way, I will show how the dramatic framework influences the expression of political thought. I argue that the most important dramatic feature of the story is Critias' interaction with Socrates and Timaeus, which explains why Critias composes two speeches that are essentially dedicated to the question of political origins.

This paper explores the prevailing readings of the Atlantis story. The purpose of this paper is to show how interpretative judgements on the narrator's intentions, the objectives of the characters, and the genre and the development of the story prepares the grounds for the political understanding of Athens and Atlantis. In this way, I will show how the dramatic framework influences the expression of political thought. I argue that the most important dramatic feature of the story is Critias' interaction with Socrates and Timaeus, which explains why Critias composes two speeches that are essentially dedicated to the question of political origins.

The work consists of two main parts: description of Scandinavian literatures and bibliographic data. It analyses translations of fiction from Scandinavian languages (Icelandic, Danish, Norwegian and Swedish) into Lithuanian language. Each country's literature is described separately. The work briefly discusses histories of literatures, literatures for adults and children and presents main translators. Greater attention is paid to more famous authors. Moreover, the work provides bibliographic data on fiction translated from Scandinavian languages. Most of the books published in Lithuanian language are included in the lists. It was noted that the close relation among Scandinavian literatures has no impact on their translations into Lithuanian. Translators who translate from several Scandinavian languages become the connective link. Translations from Scandinavian languages into Lithuanian are closely related to political, economic, ideological factors; however the translator plays a crucial role alongside these factors. Only due to the translators the Lithuanian book space is augmented with especially valuable texts. In its essence, this work is encyclopaedic; therefore it provides various information that could expand reader's knowledge in Scandinavian authors and their works, though it does not repeat universally known or available information on the authors' biographies and published works.

The work consists of two main parts: description of Scandinavian literatures and bibliographic data. It analyses translations of fiction from Scandinavian languages (Icelandic, Danish, Norwegian and Swedish) into Lithuanian language. Each country's literature is described separately. The work briefly discusses histories of literatures, literatures for adults and children and presents main translators. Greater attention is paid to more famous authors. Moreover, the work provides bibliographic data on fiction translated from Scandinavian languages. Most of the books published in Lithuanian language are included in the lists. It was noted that the close relation among Scandinavian literatures has no impact on their translations into Lithuanian. Translators who translate from several Scandinavian languages become the connective link. Translations from Scandinavian languages into Lithuanian are closely related to political, economic, ideological factors; however the translator plays a crucial role alongside these factors. Only due to the translators the Lithuanian book space is augmented with especially valuable texts. In its essence, this work is encyclopaedic; therefore it provides various information that could expand reader's knowledge in Scandinavian authors and their works, though it does not repeat universally known or available information on the authors' biographies and published works.

Adapted from the source document.

Master Thesis is focused on the culture and politics in Singapore's landscape architecture. The aim of the work is to analyze how Singapore's landscape architecture is presented in the photographs on the official website of the Singapore Tourism Board. Tasks of the work: to present the framework of semiotic and cultural geography theories; to discuss the political and ideological context in which Singapore's landscape architecture is being shaped; to form the analytical tool by using the examples of the methodology of semiotic analysis and the principles of cultural geography; to carry out a detailed analysis of the landscape architecture depicted in the photographs; to provide analytical results that will detail the representation of the culture and politics through the landscape architecture. With the help of synthesis of two sets of cultural research tools (semiotics and cultural geography), a unique instrument of analysis has been developed, which has proven that landscape architecture in Singapore can be regarded as representational material emphasizing the specific cultural and political aspects of the country, as it is formed on the basis of the strategic measures being implemented by the government. The analysis has shown how landscape architectural objects work by transmitting encoded systems of meanings that not only provide information about the location, but also culturally and politically mobilize the society using these objects. The Master thesis and the created semiotic analysis tool for landscape architecture could be useful to researchers in architecture and communication, who are planning to carry out a semiotic analysis of landscape architecture, as well as for scholars of Transcultural studies of Asia interested in Singapore cultural research.

Master Thesis is focused on the culture and politics in Singapore's landscape architecture. The aim of the work is to analyze how Singapore's landscape architecture is presented in the photographs on the official website of the Singapore Tourism Board. Tasks of the work: to present the framework of semiotic and cultural geography theories; to discuss the political and ideological context in which Singapore's landscape architecture is being shaped; to form the analytical tool by using the examples of the methodology of semiotic analysis and the principles of cultural geography; to carry out a detailed analysis of the landscape architecture depicted in the photographs; to provide analytical results that will detail the representation of the culture and politics through the landscape architecture. With the help of synthesis of two sets of cultural research tools (semiotics and cultural geography), a unique instrument of analysis has been developed, which has proven that landscape architecture in Singapore can be regarded as representational material emphasizing the specific cultural and political aspects of the country, as it is formed on the basis of the strategic measures being implemented by the government. The analysis has shown how landscape architectural objects work by transmitting encoded systems of meanings that not only provide information about the location, but also culturally and politically mobilize the society using these objects. The Master thesis and the created semiotic analysis tool for landscape architecture could be useful to researchers in architecture and communication, who are planning to carry out a semiotic analysis of landscape architecture, as well as for scholars of Transcultural studies of Asia interested in Singapore cultural research.

Master Thesis is focused on the culture and politics in Singapore's landscape architecture. The aim of the work is to analyze how Singapore's landscape architecture is presented in the photographs on the official website of the Singapore Tourism Board. Tasks of the work: to present the framework of semiotic and cultural geography theories; to discuss the political and ideological context in which Singapore's landscape architecture is being shaped; to form the analytical tool by using the examples of the methodology of semiotic analysis and the principles of cultural geography; to carry out a detailed analysis of the landscape architecture depicted in the photographs; to provide analytical results that will detail the representation of the culture and politics through the landscape architecture. With the help of synthesis of two sets of cultural research tools (semiotics and cultural geography), a unique instrument of analysis has been developed, which has proven that landscape architecture in Singapore can be regarded as representational material emphasizing the specific cultural and political aspects of the country, as it is formed on the basis of the strategic measures being implemented by the government. The analysis has shown how landscape architectural objects work by transmitting encoded systems of meanings that not only provide information about the location, but also culturally and politically mobilize the society using these objects. The Master thesis and the created semiotic analysis tool for landscape architecture could be useful to researchers in architecture and communication, who are planning to carry out a semiotic analysis of landscape architecture, as well as for scholars of Transcultural studies of Asia interested in Singapore cultural research.

Master Thesis is focused on the culture and politics in Singapore's landscape architecture. The aim of the work is to analyze how Singapore's landscape architecture is presented in the photographs on the official website of the Singapore Tourism Board. Tasks of the work: to present the framework of semiotic and cultural geography theories; to discuss the political and ideological context in which Singapore's landscape architecture is being shaped; to form the analytical tool by using the examples of the methodology of semiotic analysis and the principles of cultural geography; to carry out a detailed analysis of the landscape architecture depicted in the photographs; to provide analytical results that will detail the representation of the culture and politics through the landscape architecture. With the help of synthesis of two sets of cultural research tools (semiotics and cultural geography), a unique instrument of analysis has been developed, which has proven that landscape architecture in Singapore can be regarded as representational material emphasizing the specific cultural and political aspects of the country, as it is formed on the basis of the strategic measures being implemented by the government. The analysis has shown how landscape architectural objects work by transmitting encoded systems of meanings that not only provide information about the location, but also culturally and politically mobilize the society using these objects. The Master thesis and the created semiotic analysis tool for landscape architecture could be useful to researchers in architecture and communication, who are planning to carry out a semiotic analysis of landscape architecture, as well as for scholars of Transcultural studies of Asia interested in Singapore cultural research.

This essay focuses on the period of the Khrushchev Thaw which signifies the process of liberalisation and modernisation of Soviet life and culture as well as significant changes in the aesthetic values of the visual arts. The main reforms in painting of that period were influenced by a critical approach towards the doctrine of socialist realism which had prevailed in Soviet art since 1934 and a rehabilitation of early modernist visual language which was unacceptable during the years of the Stalinist regime. As defined by Zhdanovist culture policy, a form in socialist realist art was supposed to be "objective", figurative and mimetic though the contents of this art was actually based on a "performative mimesis" (not a referential one).1 The modernist mode of representation, by contrast, allowed the celebration of the "subjective" individuality of an artist and was ruled by the (utopian) imperative of (self)-expression. An encounter of these two different artistic ideologies – socialist realism and modernism – in official Soviet painting of the Thaw was significant politically and aesthetically. Like many, at first sight neutral, purely aesthetical practices, the shift of artistic language was involved in the game of power and control and resonated within the socio-cultural context of the period. The essay is aimed at an analysis of how modernist visual language replaced socialist realism in Lithuanian propaganda painting in the 1960s and a discussion of its political meanings.