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Strindberg's strategies of commitment, disengagement and new commitment across the border between literature and politics represent an intriguing intellectual adventure we can follow throughout his life as a writer. My article focuses on Strindberg's dilemma as it took form in the first half of the 1880s, and observes it through his fundamental and controversial relationship with the Swedish journalist, literary critic and Social-democratic political leader Hjalmar Branting, with the Danish playwright, literary critic, journalist and radical liberal politician Edvard Brandes, and with the Norwegian writer, politically engaged intellectual and nasjonalskald Bjørnstjerne Bjørnson. For a period they all experienced, along with Strindberg, the ambivalence of working in a social field where art and politics were intertwined, and were to a certain extent involved in the same project, each with his own interpretation. For Strindberg the writer, defending his autonomy from the political field in the end became crucial. What did his colleagues expect from his work? How did Strindberg react to their expectations? What is his legacy today with respect to stances such as intellectual autonomy from power, democratic rule, pacifism and critique of civilization, but also anti-feminism and anti-Semitism? Strindberg's unruly genius illustrates that it is at times difficult to draw the dividing line between radicalism and reaction, and that the great modernists were often also great anti-modernists.

The paper examines a polemic that rose after the publishing of Vytautas Kubilius' book 20th Century Literature in 1995: the main topics, forms, and development; the positions and professional, institutional, and generation dependence of its participants, their arguments and rhetoric. The number and fervour of reviews was evidence of the importance and influence attached to Kubilius' work, but at the same time it highlighted different approaches to literature (an artistic composition or a social phenomenon performing aesthetic, social and political functions), its historic process (homogeneous or multiplex), expectations of literary studies (uncompromisingly objective or subjective, Soviet vs Western, with priorities given to aesthetics or attention to social functions). The polemic displayed a particular sensitivity to various interpretations of Lithuanian literature of the Soviet period and the problematic place of the post-Soviet critic. The paper also considers the way the history of literature written by Kubilius could be read and interpreted after a decade of its publications, especially the possibility of a different estimation of his attention to historical contexts and ideological aspects in the perspective of contemporary literary studies.

The paper examines a polemic that rose after the publishing of Vytautas Kubilius' book 20th Century Literature in 1995: the main topics, forms, and development; the positions and professional, institutional, and generation dependence of its participants, their arguments and rhetoric. The number and fervour of reviews was evidence of the importance and influence attached to Kubilius' work, but at the same time it highlighted different approaches to literature (an artistic composition or a social phenomenon performing aesthetic, social and political functions), its historic process (homogeneous or multiplex), expectations of literary studies (uncompromisingly objective or subjective, Soviet vs Western, with priorities given to aesthetics or attention to social functions). The polemic displayed a particular sensitivity to various interpretations of Lithuanian literature of the Soviet period and the problematic place of the post-Soviet critic. The paper also considers the way the history of literature written by Kubilius could be read and interpreted after a decade of its publications, especially the possibility of a different estimation of his attention to historical contexts and ideological aspects in the perspective of contemporary literary studies.

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.