In the paper ethnic identity, concepts of ethnic identity and strategies of those concepts in Lithuanian Exile are analysed. Usually in Lithuanian Exile surveys ethnic and national identities are handled as systematized and relatively stable forms of nationalism. In this paper ethnic identity is analysed on the basis of internal contradictions within diaspora and power relations (on the basis of gender, racial, ethnic groups' relations). In the paper we predicate that forms and practices of national collectivity are and can not only be transferred to emigrant community but are constantly transformed while changing boundaries and carrying other shifts in relation to other ethnic communities, and is a part of political formation of identity. In ethnic identity surveys collective identity and ethnic culture were handled as coherent unity, whereas ethnic identity is a part of constantly constructed and shifting processes. Hence in the topic not acculturation theory is chosen either but broader analytical model – through discursive practices, taking into account newspapers' analysis and organizational network in diaspora. Empirical material in the survey chosen is diaspora press and institutions in diaspora. Analytical model – newspapers' content analysis, analysis of strategies, making presumption that linguistic meanings and structural realization are bound together, analysis of practises of implementation – through diaspora institutions and family model. Tasks in the paper – to identify existing perceptions of Lithuanian identity, narratives and discourses of "lithuanianess", to analyse dominant strategies and forms (practices of exclusion and admission of group members, internal group contradictions). Particular attention is committed to youth organizations and role of women in Lithuanian diaspora in implementing political identity formation strategies. The paper conclusion is that Lithuanian intelligentsia had an access in constructing ethnic identity, on the basis of conservative discourse constructed by intellectuals complete social network of diaspora was established which functioned for implementing ethnic identity and ethnic culture. To sustain collective ethnic identity mechanisms of excluding group members were employed, as a result – ethnic continuity was not preserved.
In the paper ethnic identity, concepts of ethnic identity and strategies of those concepts in Lithuanian Exile are analysed. Usually in Lithuanian Exile surveys ethnic and national identities are handled as systematized and relatively stable forms of nationalism. In this paper ethnic identity is analysed on the basis of internal contradictions within diaspora and power relations (on the basis of gender, racial, ethnic groups' relations). In the paper we predicate that forms and practices of national collectivity are and can not only be transferred to emigrant community but are constantly transformed while changing boundaries and carrying other shifts in relation to other ethnic communities, and is a part of political formation of identity. In ethnic identity surveys collective identity and ethnic culture were handled as coherent unity, whereas ethnic identity is a part of constantly constructed and shifting processes. Hence in the topic not acculturation theory is chosen either but broader analytical model – through discursive practices, taking into account newspapers' analysis and organizational network in diaspora. Empirical material in the survey chosen is diaspora press and institutions in diaspora. Analytical model – newspapers' content analysis, analysis of strategies, making presumption that linguistic meanings and structural realization are bound together, analysis of practises of implementation – through diaspora institutions and family model. Tasks in the paper – to identify existing perceptions of Lithuanian identity, narratives and discourses of "lithuanianess", to analyse dominant strategies and forms (practices of exclusion and admission of group members, internal group contradictions). Particular attention is committed to youth organizations and role of women in Lithuanian diaspora in implementing political identity formation strategies. The paper conclusion is that Lithuanian intelligentsia had an access in constructing ethnic identity, on the basis of conservative discourse constructed by intellectuals complete social network of diaspora was established which functioned for implementing ethnic identity and ethnic culture. To sustain collective ethnic identity mechanisms of excluding group members were employed, as a result – ethnic continuity was not preserved.
SUMMARY The objective of this Master's Thesis is to analyze and compare Lithuania, Norway, Netherlands and The Great Britain Constitutional human rights and legal provisions wich ensure the rights and freedoms of sexual minorities. With regard to the comparative analysis of the present findings, disclosed the sexual minority rights in Lithuania. The Thesis consists of an introduction followed by two chapters and conclusions. The first chapter deals with the conceptions of sexual minorities and homosexual orientation. Also analyzed the Lithuanian Constitutional human rights and legal provisions wich provide the right to protection, equality, freedom of expression and privacy of sexual minorities. The second section consist legal acts analysis wich regulate sexual minorities rights in Norway, Netherlands and Great Britain. Specifying Constitutional rights and statutory provisions which are providing legal rights to protection, equality, freedom of expression and privacy of sexual minorities. Analyze and compare Lithuania, Norway, Netherlands and Great Britain Constitutional human rights and legal provisions wich ensure the rights and freedoms of sexual minorities. Sexual minorities are groups of people whose sexual orientation, gender identity or sexual characteristics are different from the presumed majority of the population, which are male or female heterosexuals. The term referred primarily to lesbians and gays, bisexuals and transgender people. These four categories are often grouped together and called as LGBT persons. Regarding of society formed stereotypes, these individuals are often faced with the legal and social exclusion. Opposition receives both authorization and prohibition to marry, adopt or publicly promote their way of life. Therefore, sexual minority rights and freedoms is one of the most debated topics in Lithuania and in the world. Article 21 of Lithuania Constitution provides that, the human person is inviolable. Human dignity shall be protected by law. It shall be prohibited to torture, injure, degrade, or maltreat, and to impose such penalties. Article 169 of the Criminal Code prohibit direct discrimination on grounds of sex, sexual orientation, race, nationality, beliefs or other attitudes. Prohibition of sale, produce, acquire to send, carry, keep the things that incite or promote hatred violence and discrimination based on gender, sexual orientation, race, ethnicity, and other cases are provided in the Criminal Code article 170. Article 29 of Lithuania Constitution lay down non-discrimination principle of all persons, other existing legislations guarantees equal rights to all people regardless of gender, sexual orientation, race or ethnic origin, disability, age, religion or belief. Article 2 paragraph 4 of Labour Code provides equality of employment law subjects, regardless of gender, sexual orientation and other circumstances. Article 2 of this act requires the employer to implement equal opportunities at work and in public service. Labour Safety and Health Act guarantees employed safe and healthy working conditions, regardless of the employee's sexual orientation. This act prohibit direct or indirect discrimination on grounds of age, sexual orientation, disability, race or ethnic origin, religion or belief. Article 25 of Lithuania Constitution provides that everyone has the right to hold opinions and to express them freely. Article 36 of Constitution lay, that unarmed citizens have the right in peaceful assembly. These two Constitutional provisions guaranties human right to expression. Country's Criminal Code, the Labour Code, the Occupational Safety and Health Act, the Equal Opportunity Act establishes the prohibition of discrimination on grounds of sexual orientation, but comparing to the rest of the world Lithuania valid legal regulation does not ensure sexual minority rights and freedoms. In Norway, the Netherlands and Great Britain gender identity is stored value of the law and same-sex marriage are legal by the law. These countries have established legal regulation laying down the conditions and gender reassignment procedures. In Netherlands and Great Britain the same sex can form a partnership. There is no statutory regulations, which set the conditions for gender reassignment procedures in Lithuania. Article 2.27 of Lithuanian Civil Code provides that \"an unmarried adult has the right to medically change their sex, if it is medically possible. Sex changing conditions laid down by law". To implement these provisions was prepared draft law regulating the treatment of transsexualism, but due to conflicting public assessment, this law has not been adopted. For this reason in country does not exist discriminatory crimes of sexual identity basis. The country does not allow same-sex marriage or partnership formation. Article 38 of Lithuania Constitution establishes that "marriage are formed in agreement between a man and a woman ''. According to this provision, the same-sex marriage are not available in the Country. Lithuania legal acts unlike in Norway, Netherlands and Great Britain does not include gender identity concept. In Lithuania transsexual person (a person who has a gender identity confusion) rights and freedoms are not guaranteed, because none of the above provisions of the law does not include gender identity grounds. For this reason, information about hate crimes, sexual identity simply does not exist.
The article investigates the peculiarities of application of gender discourse to the visual propaganda of war by analysing the representations of gender roles in World War II posters and leaflets. It was necessary for propaganda intended to raise the military spirit of solders and increase productivity at home front, to highlight the symbolic boundaries between own and others (enemies) and to develop it for both war and home spaces. The article reveals dual application of gender as discursive means in war propaganda. The first part of the article discloses the analysis of gender discourse as a mobilising tool: discussing the demand for a new woman as an active war actor, identity development determined by economical decline caused by war, and analysing the use of visual images of traditional femininity in constructing hegemonic masculinity relevant to militaristic myth, and in enemy feminisation processes. The second part is dedicated to the analysis of psychologically destabilising impact of sexual images widely used in leaflets on enemy army.
The article investigates the peculiarities of application of gender discourse to the visual propaganda of war by analysing the representations of gender roles in World War II posters and leaflets. It was necessary for propaganda intended to raise the military spirit of solders and increase productivity at home front, to highlight the symbolic boundaries between own and others (enemies) and to develop it for both war and home spaces. The article reveals dual application of gender as discursive means in war propaganda. The first part of the article discloses the analysis of gender discourse as a mobilising tool: discussing the demand for a new woman as an active war actor, identity development determined by economical decline caused by war, and analysing the use of visual images of traditional femininity in constructing hegemonic masculinity relevant to militaristic myth, and in enemy feminisation processes. The second part is dedicated to the analysis of psychologically destabilising impact of sexual images widely used in leaflets on enemy army.
A contemporary consuming society emphasizes a human body as a sign that represents a race, gender, age, social status or role and a body language that highlights emotions and feelings. A society could be analysed on the basis of a gender discourse. It is rich with social, political and cultural processes shaping gender identities, stereotypes and ideals. Changes in the 20th century influenced the alterations in a woman's roles ant attitudes towards her. A man's identity was changing as well. Some social subcultures have not been defined and analysed in history or in science. These subcultures are considered to be marginal groups: gays, lesbians and disabled. Very often they felt the ignorance, discrimination and aggression. In the second half of the 20th century the feminist movement speeded social changes all over the world. At that time a contemporary dance appeared as a complex phenomenon in art. Researchers do not outline its clear beginning or the end. It is a mix of various techniques and dancers are free from a strict movement alphabet. Representation and questioning of traditional (a woman and a man) and marginal (homosexuals and disabled) reflections of a body in a contemporary dance influenced the analysis of a contemporary dance in the social and cultural context. The subject of a diploma paper is the body's social reflections in a contemporary dance: traditional (a woman and a man) and marginal (homosexuals and disabled). The field of the subject is European and Lithuanian performances of the contemporary dance created in the last three decades. The investigation of the subject is based on the vertical (historical) and horizontal (social, cultural) analysis. After reaching the defined aim and objectives of the paper, it is possible to state that in a contemporary society the body is understood as a developing sign system interdependent with surrounding factors. The perfection of the body is taken as a natural permanent process which aim is the implementation of needs and desires. The main function of the body becomes its representation. Different woman's models and stereotypes depicted in the contemporary dance are a free interpretation. The changes in men's social roles, stereotypes and relations are hyperbolized. The contemporary dance is the art form that can reveal directly the experience of a disabled, help the society to know and understand the disability as a phenomenon and inevitability. This form of art allows the audience to recognize social subcultures, to manipulate the traditional attitudes and norms. The dance can be the form of art that educates and fosters tolerance in a society.
A contemporary consuming society emphasizes a human body as a sign that represents a race, gender, age, social status or role and a body language that highlights emotions and feelings. A society could be analysed on the basis of a gender discourse. It is rich with social, political and cultural processes shaping gender identities, stereotypes and ideals. Changes in the 20th century influenced the alterations in a woman's roles ant attitudes towards her. A man's identity was changing as well. Some social subcultures have not been defined and analysed in history or in science. These subcultures are considered to be marginal groups: gays, lesbians and disabled. Very often they felt the ignorance, discrimination and aggression. In the second half of the 20th century the feminist movement speeded social changes all over the world. At that time a contemporary dance appeared as a complex phenomenon in art. Researchers do not outline its clear beginning or the end. It is a mix of various techniques and dancers are free from a strict movement alphabet. Representation and questioning of traditional (a woman and a man) and marginal (homosexuals and disabled) reflections of a body in a contemporary dance influenced the analysis of a contemporary dance in the social and cultural context. The subject of a diploma paper is the body's social reflections in a contemporary dance: traditional (a woman and a man) and marginal (homosexuals and disabled). The field of the subject is European and Lithuanian performances of the contemporary dance created in the last three decades. The investigation of the subject is based on the vertical (historical) and horizontal (social, cultural) analysis. After reaching the defined aim and objectives of the paper, it is possible to state that in a contemporary society the body is understood as a developing sign system interdependent with surrounding factors. The perfection of the body is taken as a natural permanent process which aim is the implementation of needs and desires. The main function of the body becomes its representation. Different woman's models and stereotypes depicted in the contemporary dance are a free interpretation. The changes in men's social roles, stereotypes and relations are hyperbolized. The contemporary dance is the art form that can reveal directly the experience of a disabled, help the society to know and understand the disability as a phenomenon and inevitability. This form of art allows the audience to recognize social subcultures, to manipulate the traditional attitudes and norms. The dance can be the form of art that educates and fosters tolerance in a society.
A contemporary consuming society emphasizes a human body as a sign that represents a race, gender, age, social status or role and a body language that highlights emotions and feelings. A society could be analysed on the basis of a gender discourse. It is rich with social, political and cultural processes shaping gender identities, stereotypes and ideals. Changes in the 20th century influenced the alterations in a woman's roles ant attitudes towards her. A man's identity was changing as well. Some social subcultures have not been defined and analysed in history or in science. These subcultures are considered to be marginal groups: gays, lesbians and disabled. Very often they felt the ignorance, discrimination and aggression. In the second half of the 20th century the feminist movement speeded social changes all over the world. At that time a contemporary dance appeared as a complex phenomenon in art. Researchers do not outline its clear beginning or the end. It is a mix of various techniques and dancers are free from a strict movement alphabet. Representation and questioning of traditional (a woman and a man) and marginal (homosexuals and disabled) reflections of a body in a contemporary dance influenced the analysis of a contemporary dance in the social and cultural context. The subject of a diploma paper is the body's social reflections in a contemporary dance: traditional (a woman and a man) and marginal (homosexuals and disabled). The field of the subject is European and Lithuanian performances of the contemporary dance created in the last three decades. The investigation of the subject is based on the vertical (historical) and horizontal (social, cultural) analysis. After reaching the defined aim and objectives of the paper, it is possible to state that in a contemporary society the body is understood as a developing sign system interdependent with surrounding factors. The perfection of the body is taken as a natural permanent process which aim is the implementation of needs and desires. The main function of the body becomes its representation. Different woman's models and stereotypes depicted in the contemporary dance are a free interpretation. The changes in men's social roles, stereotypes and relations are hyperbolized. The contemporary dance is the art form that can reveal directly the experience of a disabled, help the society to know and understand the disability as a phenomenon and inevitability. This form of art allows the audience to recognize social subcultures, to manipulate the traditional attitudes and norms. The dance can be the form of art that educates and fosters tolerance in a society.
Contemporary culture, politics and new developments in theatre form, institutions and technologies have redefined alternative theatre and its relationship to the mainstream. That alternative theatre both reflects and reacts against mainstream obsessions is apparent in its concern with spectacle, new technologies, the body, performance/performativity, the notion of 'event', but there are also shared interests in terms of issues, such as multi-culturalism and globalisation, environmentalism, gender, nationalism/nationhood, identity, disaffection with traditional politics and questions around bodily modification and interventions, cybernetic and virtual bodies.
Contemporary culture, politics and new developments in theatre form, institutions and technologies have redefined alternative theatre and its relationship to the mainstream. That alternative theatre both reflects and reacts against mainstream obsessions is apparent in its concern with spectacle, new technologies, the body, performance/performativity, the notion of 'event', but there are also shared interests in terms of issues, such as multi-culturalism and globalisation, environmentalism, gender, nationalism/nationhood, identity, disaffection with traditional politics and questions around bodily modification and interventions, cybernetic and virtual bodies.
Contemporary culture, politics and new developments in theatre form, institutions and technologies have redefined alternative theatre and its relationship to the mainstream. That alternative theatre both reflects and reacts against mainstream obsessions is apparent in its concern with spectacle, new technologies, the body, performance/performativity, the notion of 'event', but there are also shared interests in terms of issues, such as multi-culturalism and globalisation, environmentalism, gender, nationalism/nationhood, identity, disaffection with traditional politics and questions around bodily modification and interventions, cybernetic and virtual bodies.
The punk phenomenon has been both widely praised and criticized. For some, it has been the ultimate expression of youthful anger and rebellion, especially in the 1980s when the United States was once again returning to a white heteronormative value system and mass consumerism. For others, it is evidence of a postmodern condition where any rebellion is systematically appropriated and pacified through the consumer market. Punk subculture(s) have also been widely criticized both for their inability to live up to self-proclaimed ideals of egalitarianism and for their failure to break away from the social norms structuring larger society. In this paper, I take the rise of hardcore punk subcultures in the early 1980s and the diversification of punk, such as Riot Grrrl and Queercore, in the 1990s as a broad historical framework, while analyzing punk discourses throughout punk history in the US. In providing a broader overview of debates in various disciplines this paper aims to address some of the concerns over issues of the "holy family" of social sciences in the US, namely those of gender/sexuality, race, and class, while situating them within a historico-political context. It also discusses the theoretical considerations of subcultural and popular culture studies by analyzing primary and secondary materials within and about punk subcultures. It is common to assume that subculture, by its very nature, implies exclusivity: who is excluded and why may vary, but exclusions remain prevalent. However, in the neoliberal and identity politics era, these exclusions became more subtle even if more frequently addressed. [.]
The punk phenomenon has been both widely praised and criticized. For some, it has been the ultimate expression of youthful anger and rebellion, especially in the 1980s when the United States was once again returning to a white heteronormative value system and mass consumerism. For others, it is evidence of a postmodern condition where any rebellion is systematically appropriated and pacified through the consumer market. Punk subculture(s) have also been widely criticized both for their inability to live up to self-proclaimed ideals of egalitarianism and for their failure to break away from the social norms structuring larger society. In this paper, I take the rise of hardcore punk subcultures in the early 1980s and the diversification of punk, such as Riot Grrrl and Queercore, in the 1990s as a broad historical framework, while analyzing punk discourses throughout punk history in the US. In providing a broader overview of debates in various disciplines this paper aims to address some of the concerns over issues of the "holy family" of social sciences in the US, namely those of gender/sexuality, race, and class, while situating them within a historico-political context. It also discusses the theoretical considerations of subcultural and popular culture studies by analyzing primary and secondary materials within and about punk subcultures. It is common to assume that subculture, by its very nature, implies exclusivity: who is excluded and why may vary, but exclusions remain prevalent. However, in the neoliberal and identity politics era, these exclusions became more subtle even if more frequently addressed. [.]
The punk phenomenon has been both widely praised and criticized. For some, it has been the ultimate expression of youthful anger and rebellion, especially in the 1980s when the United States was once again returning to a white heteronormative value system and mass consumerism. For others, it is evidence of a postmodern condition where any rebellion is systematically appropriated and pacified through the consumer market. Punk subculture(s) have also been widely criticized both for their inability to live up to self-proclaimed ideals of egalitarianism and for their failure to break away from the social norms structuring larger society. In this paper, I take the rise of hardcore punk subcultures in the early 1980s and the diversification of punk, such as Riot Grrrl and Queercore, in the 1990s as a broad historical framework, while analyzing punk discourses throughout punk history in the US. In providing a broader overview of debates in various disciplines this paper aims to address some of the concerns over issues of the "holy family" of social sciences in the US, namely those of gender/sexuality, race, and class, while situating them within a historico-political context. It also discusses the theoretical considerations of subcultural and popular culture studies by analyzing primary and secondary materials within and about punk subcultures. It is common to assume that subculture, by its very nature, implies exclusivity: who is excluded and why may vary, but exclusions remain prevalent. However, in the neoliberal and identity politics era, these exclusions became more subtle even if more frequently addressed. [.]
This theoretical work explores the meanings of leisure in the context of social and cultural formations of our time as well as works of art which portray leisure activities in their narrative. The work is divided into two parts: the first part discusses the idea of social leisure and its stages throughout the history. The second part analyses the concept of leisure in art and is represented in five chapters: pleasure meaning in leisure activity, casual leisure, gender and leisure experience, ethnicity and leisure experience and virtual leisure. This part concentrates more on leisure portrayal in art and discusses artist's relation to cultural leisure experience. The purpose of this work was to find out how different cultural, ethnical and political society tradicions influence leisure activity and how artists represent that heritage in their artwork. The work also addresses the virtual reality aspect and new technological side of contemporary art. The theoretical work comes to the conclusion that the socio-cultural aspects of living society have a main input in formatting leisure based activities and influence art, especially which portrays leisure experience. This observation also showed that artists either represent the individual metaphysical relation to ethnical society or criticize the global consumer culture in their leisure narrative based works. When portraying leisure activities, artists are influenced by their own experience which is formed by ethnical and cultural identity.
