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The paper analyzes Thomas Mann's literary work from the perspective of critical theory. By briefly discussing an alternative conception of critical theory, it emphasizes the importance of Karl Marx, Aristotle, and normativity to social and political theory. The paper argues that we need to conceptualize normativity in Aristotelian rather than Kantian terms, that is, by reinterpreting the tradition of the Greek notion of aretē (excellence). Hence the importance of Aristotle's ethical reflections on the flourishing of human life and of the political community. Marx is important because he provided a historically informed analysis and critique of the socioeconomic structures of modern society. Marx also gave birth to a new paradigm for social sciences and humanities, a paradigm alternative to positivism and phenomenology. Its main premise is that social and political theory must articulate the normative notion of social emancipation and criticize society and its social structures by drawing on this notion of emancipation. Thomas Mann is interesting and important from the point of view of critical theory; among other things, he provides a literary critique of the European bourgeois society and its way of life. As an illustration, Thomas Mann's dialectic of eroticism and death in the life of the bourgeois iron cage is also analyzed (the dialectic that we find in Buddenbrooks, Death in Venice, and The Magic Mountain).

The paper analyzes Thomas Mann's literary work from the perspective of critical theory. By briefly discussing an alternative conception of critical theory, it emphasizes the importance of Karl Marx, Aristotle, and normativity to social and political theory. The paper argues that we need to conceptualize normativity in Aristotelian rather than Kantian terms, that is, by reinterpreting the tradition of the Greek notion of aretē (excellence). Hence the importance of Aristotle's ethical reflections on the flourishing of human life and of the political community. Marx is important because he provided a historically informed analysis and critique of the socioeconomic structures of modern society. Marx also gave birth to a new paradigm for social sciences and humanities, a paradigm alternative to positivism and phenomenology. Its main premise is that social and political theory must articulate the normative notion of social emancipation and criticize society and its social structures by drawing on this notion of emancipation. Thomas Mann is interesting and important from the point of view of critical theory; among other things, he provides a literary critique of the European bourgeois society and its way of life. As an illustration, Thomas Mann's dialectic of eroticism and death in the life of the bourgeois iron cage is also analyzed (the dialectic that we find in Buddenbrooks, Death in Venice, and The Magic Mountain).

Based on Michael Rössner and Carine Trapper's studies and the memoirs and feuilletons of the Viennese coffeehouse literati, the article concisely considers the genesis of Vienna's coffeehouse literati before a German invasion in 1938. The article confines itself to the Café Griensteidl, Café Central, and Herrenhof, three major coffeehouses literati: the conditions of their setting up and closing down, literary programmes offered by regular visitors at the coffeehouses, the so-called emotional attitude of the coffeehouse, as well as the conditions under which they were generally able to exist. At the stage of the Café Griensteidl, also known as Café Megalomania, the Young Vienna movement centered on Hermann Bahr to declare naturalism in literature and art to be at an end. On the other hand, in contrast to artists the literati of the given stage who later shifted to the Café Central combined salon writing and cafe culture whereby the coffeehouse was seen as a place of writing or even "lifestyle", "emotional attitude". At the stage of the Herrenhof, attempts were made to overcome an impressionistic sense of life upheld at the Café Central, the bohemian lifestyle, decadence and dandyism, and to refuel art, politics and literature discussions originating from the café setting with a tincture of revolutionary activism and anarchism. The Herrenhof literati were interrelated by lasciviousness and the demand for opioid intoxication carried over from the Café Central and promoted by psychoanalyst Otto Gross. Critical feeling and impotence of the modern individual to apprehend the causes of the impending catastrophe constituted an essential condition for cafe culture development. Anticipation of the imminent collapse of the Habsburg monarchy was driving the literati to abundant cafés in Vienna. [.]

Based on Michael Rössner and Carine Trapper's studies and the memoirs and feuilletons of the Viennese coffeehouse literati, the article concisely considers the genesis of Vienna's coffeehouse literati before a German invasion in 1938. The article confines itself to the Café Griensteidl, Café Central, and Herrenhof, three major coffeehouses literati: the conditions of their setting up and closing down, literary programmes offered by regular visitors at the coffeehouses, the so-called emotional attitude of the coffeehouse, as well as the conditions under which they were generally able to exist. At the stage of the Café Griensteidl, also known as Café Megalomania, the Young Vienna movement centered on Hermann Bahr to declare naturalism in literature and art to be at an end. On the other hand, in contrast to artists the literati of the given stage who later shifted to the Café Central combined salon writing and cafe culture whereby the coffeehouse was seen as a place of writing or even "lifestyle", "emotional attitude". At the stage of the Herrenhof, attempts were made to overcome an impressionistic sense of life upheld at the Café Central, the bohemian lifestyle, decadence and dandyism, and to refuel art, politics and literature discussions originating from the café setting with a tincture of revolutionary activism and anarchism. The Herrenhof literati were interrelated by lasciviousness and the demand for opioid intoxication carried over from the Café Central and promoted by psychoanalyst Otto Gross. Critical feeling and impotence of the modern individual to apprehend the causes of the impending catastrophe constituted an essential condition for cafe culture development. Anticipation of the imminent collapse of the Habsburg monarchy was driving the literati to abundant cafés in Vienna. [.]

The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers

The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.

The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.

The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers

The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.

The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers

The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.

The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers

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]