Suchergebnisse

The article deals with the states sovereignty and national culture reticence problematisation in the process of globalisation. An erosion of the trust on state institutions supposed deconstruction of the national history narratives. The formality of lacunas and fables of the official history and culture conflicted with the world openness and variety and fragmented unified state politics discourse in the social and cultural communitas (V. Turner). The compementarity its relations by dialog are served as a selection machine between its state history and culture of society. The culture of oblivion become the tool for the nation totality reinterpretation, reservation and the cultural memory preservation. Commemoration of the codes, archtypes and constructs of the historical identity in the social, political and ethnical history of Lithuania became condition sine qua non for the legitimation of the discourse of "commonness culture" in modern civilisation.

The article deals with the states sovereignty and national culture reticence problematisation in the process of globalisation. An erosion of the trust on state institutions supposed deconstruction of the national history narratives. The formality of lacunas and fables of the official history and culture conflicted with the world openness and variety and fragmented unified state politics discourse in the social and cultural communitas (V. Turner). The compementarity its relations by dialog are served as a selection machine between its state history and culture of society. The culture of oblivion become the tool for the nation totality reinterpretation, reservation and the cultural memory preservation. Commemoration of the codes, archtypes and constructs of the historical identity in the social, political and ethnical history of Lithuania became condition sine qua non for the legitimation of the discourse of "commonness culture" in modern civilisation.

The article deals with the states sovereignty and national culture reticence problematisation in the process of globalisation. An erosion of the trust on state institutions supposed deconstruction of the national history narratives. The formality of lacunas and fables of the official history and culture conflicted with the world openness and variety and fragmented unified state politics discourse in the social and cultural communitas (V. Turner). The compementarity its relations by dialog are served as a selection machine between its state history and culture of society. The culture of oblivion become the tool for the nation totality reinterpretation, reservation and the cultural memory preservation. Commemoration of the codes, archtypes and constructs of the historical identity in the social, political and ethnical history of Lithuania became condition sine qua non for the legitimation of the discourse of "commonness culture" in modern civilisation.

The article deals with the states sovereignty and national culture reticence problematisation in the process of globalisation. An erosion of the trust on state institutions supposed deconstruction of the national history narratives. The formality of lacunas and fables of the official history and culture conflicted with the world openness and variety and fragmented unified state politics discourse in the social and cultural communitas (V. Turner). The compementarity its relations by dialog are served as a selection machine between its state history and culture of society. The culture of oblivion become the tool for the nation totality reinterpretation, reservation and the cultural memory preservation. Commemoration of the codes, archtypes and constructs of the historical identity in the social, political and ethnical history of Lithuania became condition sine qua non for the legitimation of the discourse of "commonness culture" in modern civilisation.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

This article is a short introduction to how interdisciplinary theoretical perspectives can be developed for analyzing the phenomenon of national mobilization. The successful mass mobilization in Lithuania demonstrantes that Soviet mental programming was not successful in changing, using Rorty's terminology, the most parochial terms in the final vocabularies of Lithuanians. National identity was preserved during the period of occupation, and provided the grounds for collective action. The success of mobilization (in the "noisy phase") was closely connected with national values that were preserved during the period of Soviet occupation (the "quiet phase"), using various unobtrusive practices of contention in the context of bureaucratic nationalism, when state institutions in Lithuania were employing people who were nationally conscious. This, when a political opportunity emerged, allowed a rapid mass mobilization led by Sąjūdis.

This article is a short introduction to how interdisciplinary theoretical perspectives can be developed for analyzing the phenomenon of national mobilization. The successful mass mobilization in Lithuania demonstrantes that Soviet mental programming was not successful in changing, using Rorty's terminology, the most parochial terms in the final vocabularies of Lithuanians. National identity was preserved during the period of occupation, and provided the grounds for collective action. The success of mobilization (in the "noisy phase") was closely connected with national values that were preserved during the period of Soviet occupation (the "quiet phase"), using various unobtrusive practices of contention in the context of bureaucratic nationalism, when state institutions in Lithuania were employing people who were nationally conscious. This, when a political opportunity emerged, allowed a rapid mass mobilization led by Sąjūdis.

This article is a short introduction to how interdisciplinary theoretical perspectives can be developed for analyzing the phenomenon of national mobilization. The successful mass mobilization in Lithuania demonstrantes that Soviet mental programming was not successful in changing, using Rorty's terminology, the most parochial terms in the final vocabularies of Lithuanians. National identity was preserved during the period of occupation, and provided the grounds for collective action. The success of mobilization (in the "noisy phase") was closely connected with national values that were preserved during the period of Soviet occupation (the "quiet phase"), using various unobtrusive practices of contention in the context of bureaucratic nationalism, when state institutions in Lithuania were employing people who were nationally conscious. This, when a political opportunity emerged, allowed a rapid mass mobilization led by Sąjūdis.

The French Minister of Culture suggested extending to a European level the "Monuments' Open Doors" initiative launched in France in 1984. Several European countries, such as The Netherlands, Luxemburg, Malta, Belgium, the United Kingdom (Scotland) and Sweden soon set up similar events. In 1991, the Council of Europe officially launched the European Heritage Days (EHDs) with the support of the European Commission. In 1999, this initiative became a joint action of the Council of Europe and the European Commission. Throughout Europe, during the weekends of September, the European Heritage Days open the doors of numerous monuments and sites, many of them usually closed to the public, allowing Europe's citizens to enjoy and learn about their shared cultural heritage and encouraging them to become actively involved in the safeguard and enhancement of this heritage for present and future generations. Today, the European Heritage Days can be considered an essential instrument for fostering a tangible experience of European culture and history in addition to raising the awareness of the public about the multiple values of our common heritage and the continuous need for its protection. All 49 States parties to the European Cultural Convention actively take part in the initiative and the number of annual visitors is now estimated to be around 20 million at more than 30,000 participating monuments and sites. The EHDs have succeeded in stimulating civil society's participation, the specific involvement of youth, voluntary work and cross-border cooperation, thereby promoting the core principles of intercultural dialogue, partnership and civic responsibility. Like in the rest of Europe, in its European Heritage Days Lithuania is trying to draw attention to a certain area of our national heritage, to make us able to gain a deeper recognition of the long-term role and potential of heritage in the context of modern civilisation and culture. In particular, Heritage Days focus on youth thus hoping to inspire in them more aspirations and interest in the cultural history of their own and neighbouring European countries which have become as close as never before. As regards municipalities and other responsible or involved organisations, these events should become a stimulus to preserve and nurture cultural heritage of Lithuania more carefully and take a more innovative approach as regards its integration into information flows of European cultural heritage, as well as promote cultural tourism. In Lithuania European heritage days began only at 1995 and lasts till now already for 12 years. The themes were: jewish heritage in Lithuania, wooden, technical heritage, parks and gardens, cultural tourism and others. This year European heritage days will be – "Europe: common heritage. Cultural routes". With the support of the Council of Europe, the Photo experience from 1995 allows young people, in the framework of the European Heritage Days, to become familiar with the richness of their heritage, their history and their environment, from the past and from today. The international photo contest is a very good experience for young people. In Lithuania the campaign started at 1999.

The French Minister of Culture suggested extending to a European level the "Monuments' Open Doors" initiative launched in France in 1984. Several European countries, such as The Netherlands, Luxemburg, Malta, Belgium, the United Kingdom (Scotland) and Sweden soon set up similar events. In 1991, the Council of Europe officially launched the European Heritage Days (EHDs) with the support of the European Commission. In 1999, this initiative became a joint action of the Council of Europe and the European Commission. Throughout Europe, during the weekends of September, the European Heritage Days open the doors of numerous monuments and sites, many of them usually closed to the public, allowing Europe's citizens to enjoy and learn about their shared cultural heritage and encouraging them to become actively involved in the safeguard and enhancement of this heritage for present and future generations. Today, the European Heritage Days can be considered an essential instrument for fostering a tangible experience of European culture and history in addition to raising the awareness of the public about the multiple values of our common heritage and the continuous need for its protection. All 49 States parties to the European Cultural Convention actively take part in the initiative and the number of annual visitors is now estimated to be around 20 million at more than 30,000 participating monuments and sites. The EHDs have succeeded in stimulating civil society's participation, the specific involvement of youth, voluntary work and cross-border cooperation, thereby promoting the core principles of intercultural dialogue, partnership and civic responsibility. Like in the rest of Europe, in its European Heritage Days Lithuania is trying to draw attention to a certain area of our national heritage, to make us able to gain a deeper recognition of the long-term role and potential of heritage in the context of modern civilisation and culture. In particular, Heritage Days focus on youth thus hoping to inspire in them more aspirations and interest in the cultural history of their own and neighbouring European countries which have become as close as never before. As regards municipalities and other responsible or involved organisations, these events should become a stimulus to preserve and nurture cultural heritage of Lithuania more carefully and take a more innovative approach as regards its integration into information flows of European cultural heritage, as well as promote cultural tourism. In Lithuania European heritage days began only at 1995 and lasts till now already for 12 years. The themes were: jewish heritage in Lithuania, wooden, technical heritage, parks and gardens, cultural tourism and others. This year European heritage days will be – "Europe: common heritage. Cultural routes". With the support of the Council of Europe, the Photo experience from 1995 allows young people, in the framework of the European Heritage Days, to become familiar with the richness of their heritage, their history and their environment, from the past and from today. The international photo contest is a very good experience for young people. In Lithuania the campaign started at 1999.

Statistics show, that 71% of Lithuanian do not participate in group and individual creative activities, while the EU average is 62%. (Cultural Access and Participation, 2013). Organizing large-scale events based on participatory, when involvement in culture is low, an important role goes for communication. Project organizers must find ways to reach audiences that are not participating in cultural activities. It is important to communicate with the cultural sector workers, who are currently forced to change their ongoing operational techniques and become not only a cultural product or service providers, but also the body which carries on an active two-way communication that involves people in its organization, implementation, and cooperation with other sectors representatives. In view of the prevailing situation, the problem of this Master's thesis - how to communicate participatory culture projects in an environment of low involvement in culture? Research object. The principles of participatory culture and their communication in \"Kaunas European Capital of Culture 2022" project. Research aim. Investigate participatory cultural communication peculiarities, on the basis of \"Kaunas European Capital of Culture 2022\" project. In order to achieve this aim these tasks are formulated: theoretically and methodologically define the concept of participatory culture and its application; to identify what kind of participatory culture principles are emphasized \"Kaunas European Capital of Culture 2022\" project; to analyze the ways in which the participatory culture is communicated in \"Kaunas European Capital of Culture 2022\" project; reveal the challenges of communicating participatory culture in \"Kaunas European Capital of Culture 2022 project. The theoretical part of this master thesis was carried out by analytical - descriptive method. In the empirical part the selected practical \"Kaunas European Capital of Culture 2022\" example prompts the choice of research methodology. This project, if successful, will take place in 2022 and is the main condition to choose exploratory case study methodology - project carried out for the first time, so it is a new practice, which can be seen in the choice of this strategy. The case study method will receive detailed qualitative type of knowledge that will help to answer the questions raised by the study. Document analysis revealed that the primary project application widely focuses on the participatory culture principle - openness, meaning that the project gives the opportunity to get involved and contribute to the organization or otherwise participate in it without exception to all comers, and this can be done without making great personal effort. Reciprocity, equivalent co-operation and active creativity principles are not described in the project application, rather mentioned indirectly. Project content communication analysis revealed that the initial stage of the project uses information communication model, characterized by a one-way communication. On the other hand, participatory cultural manifestations can be found in the organized special events – "Community Laboratories \"and \"Bank of Ideas\" initiative. Summarizing the project organizers and team members' opinions emerging challenges in project communication are revealed. It's the lack of participatory cultural traditions, within Lithuanians, the apathy of cultural institutions and educational institutions in developing cooperation, the skills shortages of culture officials, when involving audiences to cultural activities, poor European and national cultural policy guidelines for mastering the development of a culture of Kaunas region. So, the analysis of \"Kaunas European Capital of Culture in 2022" project, showed that the principles of participatory culture declared in the original application are not fully exploited for this project communication. The challenges faced when organizing the project indicates that the development of participatory culture-based initiatives is not easy because the cultural workers and political representatives lack the experience and skills to carry out such projects, and citizens avoid getting involved in cultural and artistic activities because of the lack of participatory culture experience.