Suchergebnisse

Kristina Šimulevič (Master's paper supervisor Marija Rubaževičienė). PALLIATIVE CARE AND EUTHANASIE: RESEARCH FROM DIFFERENT PERSPECTIVES. Master's paper. V.: Vilnius University, Department of Social Work, 2009. 87 p. The biggest attention of doctors, nurses, social workers and other specialists to incurable and dying people is paying in order to eliminate the pain and other symptoms. The purpose has not been always achieved because it is difficult to guarantee the quality of help. This care is regulated by law but practically there are a lot of questions and unsolved problems. For this reason the number of people who support the idea of using euthanasia is increasing. The objective of this final work is theoretical analyses and scientific research in different attitudes to palliative care and euthanasia. There was used the experts qualitative research method in this work. There were five participants who have already had experience in palliative care in this research. The participants have taken part in legislative power and they have been very familiar with the incurable and dying people. There were the specialist from Health care ministry, the doctor of the palliative therapy, the priest, the social worker and the woman who had nursed her fourth stage of cancer husband. The results of research have showed the fact that using and developing palliative care improve the quality of person's life and it is possible to meet the death with the dignity and without any pain. The most important problem in developing the palliative care is the lack of financial support. In addition to this there should be more active volunteers and general teaching and preparing the specialists who would be able to work with dying people. The research shows the basic reason for choosing euthanasia is physical symptoms and that is why it is important to guarantee the elimination of symptoms and pain. People could choose euthanasia because of the bad quality of care. The research also shows the fact in Lithuania there is not strong and well organized net for helping families. The help for families should be various: financial, psychological and medical. The research shows in the moment of death person is afraid of staying alone and abandoned. Final results show the fact when person meets face to face the illness he or she has started to love life and appreciate everything what they have even though the quality of life is not so high.

Kristina Šimulevič (Master's paper supervisor Marija Rubaževičienė). PALLIATIVE CARE AND EUTHANASIE: RESEARCH FROM DIFFERENT PERSPECTIVES. Master's paper. V.: Vilnius University, Department of Social Work, 2009. 87 p. The biggest attention of doctors, nurses, social workers and other specialists to incurable and dying people is paying in order to eliminate the pain and other symptoms. The purpose has not been always achieved because it is difficult to guarantee the quality of help. This care is regulated by law but practically there are a lot of questions and unsolved problems. For this reason the number of people who support the idea of using euthanasia is increasing. The objective of this final work is theoretical analyses and scientific research in different attitudes to palliative care and euthanasia. There was used the experts qualitative research method in this work. There were five participants who have already had experience in palliative care in this research. The participants have taken part in legislative power and they have been very familiar with the incurable and dying people. There were the specialist from Health care ministry, the doctor of the palliative therapy, the priest, the social worker and the woman who had nursed her fourth stage of cancer husband. The results of research have showed the fact that using and developing palliative care improve the quality of person's life and it is possible to meet the death with the dignity and without any pain. The most important problem in developing the palliative care is the lack of financial support. In addition to this there should be more active volunteers and general teaching and preparing the specialists who would be able to work with dying people. The research shows the basic reason for choosing euthanasia is physical symptoms and that is why it is important to guarantee the elimination of symptoms and pain. People could choose euthanasia because of the bad quality of care. The research also shows the fact in Lithuania there is not strong and well organized net for helping families. The help for families should be various: financial, psychological and medical. The research shows in the moment of death person is afraid of staying alone and abandoned. Final results show the fact when person meets face to face the illness he or she has started to love life and appreciate everything what they have even though the quality of life is not so high.

Theatre by its definition is a communal and social institution, representing as well as establishing certain socio-political functions. However, at the end of the 20th century there was a real sense, that "political theatre" as a form was thought to be dying (not to mention the notorious nature of the term political theatre in post-soviet space), and the ambition of theatre as cultural practise that inspires social change or at least some kind of active reflection was corrupt. As contemporary culture aspires to the condition of theatre and "society of spectacle," a lot of differences, especially those between theatre and reality, entertainment or social action, are constantly blurred, the meanings and locations of political need to be retraced and redrawn. When the real live dramas are staged on a daily basis it ofen seems irrelevant, even disrespectful or impossible to engage in the luxury of making theatre. If we agree, however, that personal is the political, we must note that quite a number of theatre artists declare that to engage with theatre today means to take a position which is inherently oppositional or political and doesn't need any further articulation. There is anger and sense of unarticulated frustration underlying many Lithuanian theatre productions, and that it can be read as a statement about the context in which politics and theatre might be currently played out. Therefore, the notion of political should not be so easily rejected as outdated or obsolete. [to full text]

Theatre by its definition is a communal and social institution, representing as well as establishing certain socio-political functions. However, at the end of the 20th century there was a real sense, that "political theatre" as a form was thought to be dying (not to mention the notorious nature of the term political theatre in post-soviet space), and the ambition of theatre as cultural practise that inspires social change or at least some kind of active reflection was corrupt. As contemporary culture aspires to the condition of theatre and "society of spectacle," a lot of differences, especially those between theatre and reality, entertainment or social action, are constantly blurred, the meanings and locations of political need to be retraced and redrawn. When the real live dramas are staged on a daily basis it ofen seems irrelevant, even disrespectful or impossible to engage in the luxury of making theatre. If we agree, however, that personal is the political, we must note that quite a number of theatre artists declare that to engage with theatre today means to take a position which is inherently oppositional or political and doesn't need any further articulation. There is anger and sense of unarticulated frustration underlying many Lithuanian theatre productions, and that it can be read as a statement about the context in which politics and theatre might be currently played out. Therefore, the notion of political should not be so easily rejected as outdated or obsolete. [to full text]

Theatre by its definition is a communal and social institution, representing as well as establishing certain socio-political functions. However, at the end of the 20th century there was a real sense, that "political theatre" as a form was thought to be dying (not to mention the notorious nature of the term political theatre in post-soviet space), and the ambition of theatre as cultural practise that inspires social change or at least some kind of active reflection was corrupt. As contemporary culture aspires to the condition of theatre and "society of spectacle," a lot of differences, especially those between theatre and reality, entertainment or social action, are constantly blurred, the meanings and locations of political need to be retraced and redrawn. When the real live dramas are staged on a daily basis it ofen seems irrelevant, even disrespectful or impossible to engage in the luxury of making theatre. If we agree, however, that personal is the political, we must note that quite a number of theatre artists declare that to engage with theatre today means to take a position which is inherently oppositional or political and doesn't need any further articulation. There is anger and sense of unarticulated frustration underlying many Lithuanian theatre productions, and that it can be read as a statement about the context in which politics and theatre might be currently played out. Therefore, the notion of political should not be so easily rejected as outdated or obsolete. [to full text]

The Biafra war as an event offers a variety of angles from which it could be analysed, though this topic, apart from the dimensions of genocide or humanitarian crises, has never been much in the interest of scholars. On the one hand, it could be related to the lack of real facts as many figures and stories were fabricated during the war; on the other hand, as John K. Wa'Njogu would say, any story from Africa is not interesting if it is not an exceptional and aberrational news level. However, there have been several partly related articles about mass communication, propaganda and public relations during the Biafra war, but most of them have been taking the Western point of view, at the same time misjudging the role of the Biafran leader Ojukwu and his input in forming the propaganda apparatus by using approved propaganda guidelines from the West and adapting it to local realities. According to Scot Macdonald, the Biafra war was a war of images fought in the court of public opinion, which was won by Biafra, though the war was lost in the military and political arena. Ojukwu fairly quickly recognized the importance of controlling information and the power of messages delivered via mass communication channels, while Nigerian officials had never fully grasped the importance of this coverage. Therefore, Ojukwu built a team from local and Western professional propagandists and PR specialists whose main task was to find a proper angle of propaganda that could help to win this asymmetric war. The first attempts to use political emancipation of the oppressed people, religious, pogrom and genocide angles had limited success, but the image of starving and dying children was a very new angle, which, with the help of mass communication, helped to deliver the message to a much broader public arena. [.]

The Biafra war as an event offers a variety of angles from which it could be analysed, though this topic, apart from the dimensions of genocide or humanitarian crises, has never been much in the interest of scholars. On the one hand, it could be related to the lack of real facts as many figures and stories were fabricated during the war; on the other hand, as John K. Wa'Njogu would say, any story from Africa is not interesting if it is not an exceptional and aberrational news level. However, there have been several partly related articles about mass communication, propaganda and public relations during the Biafra war, but most of them have been taking the Western point of view, at the same time misjudging the role of the Biafran leader Ojukwu and his input in forming the propaganda apparatus by using approved propaganda guidelines from the West and adapting it to local realities. According to Scot Macdonald, the Biafra war was a war of images fought in the court of public opinion, which was won by Biafra, though the war was lost in the military and political arena. Ojukwu fairly quickly recognized the importance of controlling information and the power of messages delivered via mass communication channels, while Nigerian officials had never fully grasped the importance of this coverage. Therefore, Ojukwu built a team from local and Western professional propagandists and PR specialists whose main task was to find a proper angle of propaganda that could help to win this asymmetric war. The first attempts to use political emancipation of the oppressed people, religious, pogrom and genocide angles had limited success, but the image of starving and dying children was a very new angle, which, with the help of mass communication, helped to deliver the message to a much broader public arena. [.]

The Biafra war as an event offers a variety of angles from which it could be analysed, though this topic, apart from the dimensions of genocide or humanitarian crises, has never been much in the interest of scholars. On the one hand, it could be related to the lack of real facts as many figures and stories were fabricated during the war; on the other hand, as John K. Wa'Njogu would say, any story from Africa is not interesting if it is not an exceptional and aberrational news level. However, there have been several partly related articles about mass communication, propaganda and public relations during the Biafra war, but most of them have been taking the Western point of view, at the same time misjudging the role of the Biafran leader Ojukwu and his input in forming the propaganda apparatus by using approved propaganda guidelines from the West and adapting it to local realities. According to Scot Macdonald, the Biafra war was a war of images fought in the court of public opinion, which was won by Biafra, though the war was lost in the military and political arena. Ojukwu fairly quickly recognized the importance of controlling information and the power of messages delivered via mass communication channels, while Nigerian officials had never fully grasped the importance of this coverage. Therefore, Ojukwu built a team from local and Western professional propagandists and PR specialists whose main task was to find a proper angle of propaganda that could help to win this asymmetric war. The first attempts to use political emancipation of the oppressed people, religious, pogrom and genocide angles had limited success, but the image of starving and dying children was a very new angle, which, with the help of mass communication, helped to deliver the message to a much broader public arena. [.]

The Biafra war as an event offers a variety of angles from which it could be analysed, though this topic, apart from the dimensions of genocide or humanitarian crises, has never been much in the interest of scholars. On the one hand, it could be related to the lack of real facts as many figures and stories were fabricated during the war; on the other hand, as John K. Wa'Njogu would say, any story from Africa is not interesting if it is not an exceptional and aberrational news level. However, there have been several partly related articles about mass communication, propaganda and public relations during the Biafra war, but most of them have been taking the Western point of view, at the same time misjudging the role of the Biafran leader Ojukwu and his input in forming the propaganda apparatus by using approved propaganda guidelines from the West and adapting it to local realities. According to Scot Macdonald, the Biafra war was a war of images fought in the court of public opinion, which was won by Biafra, though the war was lost in the military and political arena. Ojukwu fairly quickly recognized the importance of controlling information and the power of messages delivered via mass communication channels, while Nigerian officials had never fully grasped the importance of this coverage. Therefore, Ojukwu built a team from local and Western professional propagandists and PR specialists whose main task was to find a proper angle of propaganda that could help to win this asymmetric war. The first attempts to use political emancipation of the oppressed people, religious, pogrom and genocide angles had limited success, but the image of starving and dying children was a very new angle, which, with the help of mass communication, helped to deliver the message to a much broader public arena. [.]

The Biafra war as an event offers a variety of angles from which it could be analysed, though this topic, apart from the dimensions of genocide or humanitarian crises, has never been much in the interest of scholars. On the one hand, it could be related to the lack of real facts as many figures and stories were fabricated during the war; on the other hand, as John K. Wa'Njogu would say, any story from Africa is not interesting if it is not an exceptional and aberrational news level. However, there have been several partly related articles about mass communication, propaganda and public relations during the Biafra war, but most of them have been taking the Western point of view, at the same time misjudging the role of the Biafran leader Ojukwu and his input in forming the propaganda apparatus by using approved propaganda guidelines from the West and adapting it to local realities. According to Scot Macdonald, the Biafra war was a war of images fought in the court of public opinion, which was won by Biafra, though the war was lost in the military and political arena. Ojukwu fairly quickly recognized the importance of controlling information and the power of messages delivered via mass communication channels, while Nigerian officials had never fully grasped the importance of this coverage. Therefore, Ojukwu built a team from local and Western professional propagandists and PR specialists whose main task was to find a proper angle of propaganda that could help to win this asymmetric war. The first attempts to use political emancipation of the oppressed people, religious, pogrom and genocide angles had limited success, but the image of starving and dying children was a very new angle, which, with the help of mass communication, helped to deliver the message to a much broader public arena. [.]

Problem of investigation: Europe countries carries a heavy social and economic burden of alcohol related problems. Various diseases, dying too young, crimes, car accidents – these are the typical consequences of alcohol consumption that according to the latest investigations and publications in media have increased. So countries should make more restrictive alcohol control policy. Purpose of investigation – to analyze Lithuania and Sweden alcohol control policy and to compare their implements. In this investigation Sweden alcohol control policy was choose as a good practice example. Sweden has historically pursued a restrictive alcohol policy with the overall purpose of limiting total consumption and with the alcohol related harms in society. For the analysis of investigation were used primary sources such as interviews. Were interviewed six people, who are specialist in Lithuania and Sweden alcohol control policy. Also were used previous research on alcohol policy, news articles, EU documents, Swedish and Lithuanian alcohol policy-related documents, WHO reports and web pages. Master Thesis is made from four main parts. In first part is analyzing policy regulation theories, which are used in alcohol regulation. In second part is analyzing Lithuania alcohol regulation implements. The third part of Thesis analyzing Sweden alcohol control regulation implements. The fourth part is comparison of Lithuania and Sweden alcohol policies and their implements. Justify these countries alcohol control policies to policy regulation theories. The investigation shows that for Lithuania it would be good to gain some experience from more alcohol control developed EU countries, such as Sweden. Cheap and available – this is how alcohol control policy can be characterized in Lithuania, the country which alike Sweden more and more meet serious problems due to alcohol consumption. Different form Lithuania Sweden alcohol policy has long and traditional alcohol control policy. Swede alcohol control policy balance between high alcohol prices, state alcohol retail monopoly, alcohol prevention programs and treatment. Lithuania has different situation in alcohol control policy – low alcohol prices, there are a lot of businessman, who sells alcohol and alcohol prevention programs don't work.

The object of the work – a soldier that is represented in Lithuanian folk songs, sources – mainly military-historical Lithuanian folk songs. The problem is being raised – how a soldier is represented, perceived, valued in Lithuanian folk songs. The purpose of the work – to analyze and disclose the perception and the portrayal of this soldier image. Empirical and theoretical methods are used. Earlier not analyzed characteristic features of a soldier are separated, the concept of a soldier is broadened and the portrayal of an enemy (soldier) is disclosed in this work. The concept of a soldier comes into the light while discussing its` naming and general features. Soldiers are named differently in folk songs, but, first of all, not their military position, but their relationship with family members is accentuated. Main features of soldiers in folk songs – youth and bent for put on airs. The concept of a soldier is reflected in his exceptionality in the community he lives. A soldier, like a hunter, is entirely opposite to the agricultural community. The differences of young human being of a community, young soldier also, are visible in folk songs on the perspective of love, marriage. A soldier, separated from community, is portrayed as alone, lonely person. That is why his metaphorical relationship with heaven bodies is seen. Main attributes of a soldier that reveal the hard fate of serving in the army are picked out in the work. The military enemy in old folk songs is perceived as a brother of the same fate and in the latest folk songs – as cruel (that is why he is disdained and ridiculed). Main changes of existence of a soldier – death and burial are perceived as the moments of ritual transformation. Dying soldier is heroed. And not being an opportunity to bury a soldier in folk songs is expressed with not real, idealized imagined burial or with a realistic image of a not buried body. One more aspect of the image of a soldier – being bent for a suicide trying to avoid fighting. Sometimes, it reveals itself in a motive of conversion into a tree. The different meaning of a soldier image is in a not military context. A soldier is desired groom of girls, but on the point of view of a mother or nation, community – not a suitable partner for marriage. Especially, in latest folk songs the image of a soldier as a seducer is disclosed.

The object of the work – a soldier that is represented in Lithuanian folk songs, sources – mainly military-historical Lithuanian folk songs. The problem is being raised – how a soldier is represented, perceived, valued in Lithuanian folk songs. The purpose of the work – to analyze and disclose the perception and the portrayal of this soldier image. Empirical and theoretical methods are used. Earlier not analyzed characteristic features of a soldier are separated, the concept of a soldier is broadened and the portrayal of an enemy (soldier) is disclosed in this work. The concept of a soldier comes into the light while discussing its` naming and general features. Soldiers are named differently in folk songs, but, first of all, not their military position, but their relationship with family members is accentuated. Main features of soldiers in folk songs – youth and bent for put on airs. The concept of a soldier is reflected in his exceptionality in the community he lives. A soldier, like a hunter, is entirely opposite to the agricultural community. The differences of young human being of a community, young soldier also, are visible in folk songs on the perspective of love, marriage. A soldier, separated from community, is portrayed as alone, lonely person. That is why his metaphorical relationship with heaven bodies is seen. Main attributes of a soldier that reveal the hard fate of serving in the army are picked out in the work. The military enemy in old folk songs is perceived as a brother of the same fate and in the latest folk songs – as cruel (that is why he is disdained and ridiculed). Main changes of existence of a soldier – death and burial are perceived as the moments of ritual transformation. Dying soldier is heroed. And not being an opportunity to bury a soldier in folk songs is expressed with not real, idealized imagined burial or with a realistic image of a not buried body. One more aspect of the image of a soldier – being bent for a suicide trying to avoid fighting. Sometimes, it reveals itself in a motive of conversion into a tree. The different meaning of a soldier image is in a not military context. A soldier is desired groom of girls, but on the point of view of a mother or nation, community – not a suitable partner for marriage. Especially, in latest folk songs the image of a soldier as a seducer is disclosed.

The object of the work – a soldier that is represented in Lithuanian folk songs, sources – mainly military-historical Lithuanian folk songs. The problem is being raised – how a soldier is represented, perceived, valued in Lithuanian folk songs. The purpose of the work – to analyze and disclose the perception and the portrayal of this soldier image. Empirical and theoretical methods are used. Earlier not analyzed characteristic features of a soldier are separated, the concept of a soldier is broadened and the portrayal of an enemy (soldier) is disclosed in this work. The concept of a soldier comes into the light while discussing its` naming and general features. Soldiers are named differently in folk songs, but, first of all, not their military position, but their relationship with family members is accentuated. Main features of soldiers in folk songs – youth and bent for put on airs. The concept of a soldier is reflected in his exceptionality in the community he lives. A soldier, like a hunter, is entirely opposite to the agricultural community. The differences of young human being of a community, young soldier also, are visible in folk songs on the perspective of love, marriage. A soldier, separated from community, is portrayed as alone, lonely person. That is why his metaphorical relationship with heaven bodies is seen. Main attributes of a soldier that reveal the hard fate of serving in the army are picked out in the work. The military enemy in old folk songs is perceived as a brother of the same fate and in the latest folk songs – as cruel (that is why he is disdained and ridiculed). Main changes of existence of a soldier – death and burial are perceived as the moments of ritual transformation. Dying soldier is heroed. And not being an opportunity to bury a soldier in folk songs is expressed with not real, idealized imagined burial or with a realistic image of a not buried body. One more aspect of the image of a soldier – being bent for a suicide trying to avoid fighting. Sometimes, it reveals itself in a motive of conversion into a tree. The different meaning of a soldier image is in a not military context. A soldier is desired groom of girls, but on the point of view of a mother or nation, community – not a suitable partner for marriage. Especially, in latest folk songs the image of a soldier as a seducer is disclosed.