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.
"Moving" of a diary into virtual network at the end of the 20th century has opened up an opportunity to circulate knowledge according to interests, yet it actually does not change the role of journalism as a social institution. Currently, a blog is not only a genre of journalism, but also a mode of professional expression. In this respect, a journalist blog (according to the journalistic professionalism criteria) should be distinguished from the blogs of persons of other professions. The author of the article concludes that a blog has been establishing as a source of social expression, a publication and a genre of journalism; journalist expression of the genre of blog differs from other expressions of this genre when it formally meets the criteria of a journalistic piece of work: selection of social information according to relevance, closeness, recency and reality of facts, reference to sources, truth investigation; a blogger in Lithuania may be and is treated as a journalist, since he is an author of publicised information (it is particularly important in relation to the Parliament, because formally every elector has the right and possibility to observe sittings); a blog as a publication is more than a piece of creation – it reveals cultural identity of the author(s), it helps perceive the psychological portrait and behaviour of a person (or an organisation); therefore, it should be analysed in different social aspects on the web. The analysis of a blog as a source of data is an object worth the attention of journalists; the legislator of the Republic of Lithuania could supplement the definitions of the Law on the Provision of Information to the Public with the concept of a "blog", yet defining it as a means of information only (next to a newspaper or a journal), since, being a publication, it surpasses the notion of a genre (just like in the case of an interview – as a working method discussed in the article).
"Moving" of a diary into virtual network at the end of the 20th century has opened up an opportunity to circulate knowledge according to interests, yet it actually does not change the role of journalism as a social institution. Currently, a blog is not only a genre of journalism, but also a mode of professional expression. In this respect, a journalist blog (according to the journalistic professionalism criteria) should be distinguished from the blogs of persons of other professions. The author of the article concludes that a blog has been establishing as a source of social expression, a publication and a genre of journalism; journalist expression of the genre of blog differs from other expressions of this genre when it formally meets the criteria of a journalistic piece of work: selection of social information according to relevance, closeness, recency and reality of facts, reference to sources, truth investigation; a blogger in Lithuania may be and is treated as a journalist, since he is an author of publicised information (it is particularly important in relation to the Parliament, because formally every elector has the right and possibility to observe sittings); a blog as a publication is more than a piece of creation – it reveals cultural identity of the author(s), it helps perceive the psychological portrait and behaviour of a person (or an organisation); therefore, it should be analysed in different social aspects on the web. The analysis of a blog as a source of data is an object worth the attention of journalists; the legislator of the Republic of Lithuania could supplement the definitions of the Law on the Provision of Information to the Public with the concept of a "blog", yet defining it as a means of information only (next to a newspaper or a journal), since, being a publication, it surpasses the notion of a genre (just like in the case of an interview – as a working method discussed in the article).
"Moving" of a diary into virtual network at the end of the 20th century has opened up an opportunity to circulate knowledge according to interests, yet it actually does not change the role of journalism as a social institution. Currently, a blog is not only a genre of journalism, but also a mode of professional expression. In this respect, a journalist blog (according to the journalistic professionalism criteria) should be distinguished from the blogs of persons of other professions. The author of the article concludes that a blog has been establishing as a source of social expression, a publication and a genre of journalism; journalist expression of the genre of blog differs from other expressions of this genre when it formally meets the criteria of a journalistic piece of work: selection of social information according to relevance, closeness, recency and reality of facts, reference to sources, truth investigation; a blogger in Lithuania may be and is treated as a journalist, since he is an author of publicised information (it is particularly important in relation to the Parliament, because formally every elector has the right and possibility to observe sittings); a blog as a publication is more than a piece of creation – it reveals cultural identity of the author(s), it helps perceive the psychological portrait and behaviour of a person (or an organisation); therefore, it should be analysed in different social aspects on the web. The analysis of a blog as a source of data is an object worth the attention of journalists; the legislator of the Republic of Lithuania could supplement the definitions of the Law on the Provision of Information to the Public with the concept of a "blog", yet defining it as a means of information only (next to a newspaper or a journal), since, being a publication, it surpasses the notion of a genre (just like in the case of an interview – as a working method discussed in the article).
"Moving" of a diary into virtual network at the end of the 20th century has opened up an opportunity to circulate knowledge according to interests, yet it actually does not change the role of journalism as a social institution. Currently, a blog is not only a genre of journalism, but also a mode of professional expression. In this respect, a journalist blog (according to the journalistic professionalism criteria) should be distinguished from the blogs of persons of other professions. The author of the article concludes that a blog has been establishing as a source of social expression, a publication and a genre of journalism; journalist expression of the genre of blog differs from other expressions of this genre when it formally meets the criteria of a journalistic piece of work: selection of social information according to relevance, closeness, recency and reality of facts, reference to sources, truth investigation; a blogger in Lithuania may be and is treated as a journalist, since he is an author of publicised information (it is particularly important in relation to the Parliament, because formally every elector has the right and possibility to observe sittings); a blog as a publication is more than a piece of creation – it reveals cultural identity of the author(s), it helps perceive the psychological portrait and behaviour of a person (or an organisation); therefore, it should be analysed in different social aspects on the web. The analysis of a blog as a source of data is an object worth the attention of journalists; the legislator of the Republic of Lithuania could supplement the definitions of the Law on the Provision of Information to the Public with the concept of a "blog", yet defining it as a means of information only (next to a newspaper or a journal), since, being a publication, it surpasses the notion of a genre (just like in the case of an interview – as a working method discussed in the article).
Director Jonas Jurašas is associated with an important period in Kaunas Drama Theatre; it was a period of productive and inspirational work and lasted for five years (1968–1972). Having studied direction at A. Lunacharsky's National Theatre Arts Institute in Moscow, Jurašas came to Kaunas already having some work experience in Russia's and Lithuania's theatres. The foremost memorable plays include "dissident" productions in the Lithuanian National Drama Theatre – Leonid Zorin's Varšuvos melodija, and especially Slawomir Mrozek's Tango (both in 1967). In 1967 Jurašas was appointed Head of Kaunas Drama Theatre; he was determined to fundamentally change the old methods and lead the theatre out of stagnation by creating prospects to direct the work. He tried to solidify a repertoire of great quality (Michail Bulgakov's Moliere, Gogol's Inspector-General, Ibsen's Nora and others), get rid of worthless, short-term plays, wake actors from their lethargic sleep, and introduced discipline as well as the need to comply with ethical standards. He paid a lot of attention to Lithuanian dramaturgy and worked on several productions that became some of the most important Lithuanian theatre works. They were Kazys Saja's Mamutų medžioklė, Juozas Glinskis' Grasos namai, and Juozas Grušas' Barbora Radvilaitė. Jurašas worked passionately, had very high expectations for himself and his coworkers; he polished the form of his plays to perfection. When implementing conceptions of plays, he was always assisted by scenographer Janina Malinauskaitė and composer Giedrius Kuprevičius. Jurašas fostered an original touch to the theatre he led; he solidified the direction of an expressive and metaphorical theatre that was later refined and followed by other directors.
Director Jonas Jurašas is associated with an important period in Kaunas Drama Theatre; it was a period of productive and inspirational work and lasted for five years (1968–1972). Having studied direction at A. Lunacharsky's National Theatre Arts Institute in Moscow, Jurašas came to Kaunas already having some work experience in Russia's and Lithuania's theatres. The foremost memorable plays include "dissident" productions in the Lithuanian National Drama Theatre – Leonid Zorin's Varšuvos melodija, and especially Slawomir Mrozek's Tango (both in 1967). In 1967 Jurašas was appointed Head of Kaunas Drama Theatre; he was determined to fundamentally change the old methods and lead the theatre out of stagnation by creating prospects to direct the work. He tried to solidify a repertoire of great quality (Michail Bulgakov's Moliere, Gogol's Inspector-General, Ibsen's Nora and others), get rid of worthless, short-term plays, wake actors from their lethargic sleep, and introduced discipline as well as the need to comply with ethical standards. He paid a lot of attention to Lithuanian dramaturgy and worked on several productions that became some of the most important Lithuanian theatre works. They were Kazys Saja's Mamutų medžioklė, Juozas Glinskis' Grasos namai, and Juozas Grušas' Barbora Radvilaitė. Jurašas worked passionately, had very high expectations for himself and his coworkers; he polished the form of his plays to perfection. When implementing conceptions of plays, he was always assisted by scenographer Janina Malinauskaitė and composer Giedrius Kuprevičius. Jurašas fostered an original touch to the theatre he led; he solidified the direction of an expressive and metaphorical theatre that was later refined and followed by other directors.
Director Jonas Jurašas is associated with an important period in Kaunas Drama Theatre; it was a period of productive and inspirational work and lasted for five years (1968–1972). Having studied direction at A. Lunacharsky's National Theatre Arts Institute in Moscow, Jurašas came to Kaunas already having some work experience in Russia's and Lithuania's theatres. The foremost memorable plays include "dissident" productions in the Lithuanian National Drama Theatre – Leonid Zorin's Varšuvos melodija, and especially Slawomir Mrozek's Tango (both in 1967). In 1967 Jurašas was appointed Head of Kaunas Drama Theatre; he was determined to fundamentally change the old methods and lead the theatre out of stagnation by creating prospects to direct the work. He tried to solidify a repertoire of great quality (Michail Bulgakov's Moliere, Gogol's Inspector-General, Ibsen's Nora and others), get rid of worthless, short-term plays, wake actors from their lethargic sleep, and introduced discipline as well as the need to comply with ethical standards. He paid a lot of attention to Lithuanian dramaturgy and worked on several productions that became some of the most important Lithuanian theatre works. They were Kazys Saja's Mamutų medžioklė, Juozas Glinskis' Grasos namai, and Juozas Grušas' Barbora Radvilaitė. Jurašas worked passionately, had very high expectations for himself and his coworkers; he polished the form of his plays to perfection. When implementing conceptions of plays, he was always assisted by scenographer Janina Malinauskaitė and composer Giedrius Kuprevičius. Jurašas fostered an original touch to the theatre he led; he solidified the direction of an expressive and metaphorical theatre that was later refined and followed by other directors.
