Suchergebnisse

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

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

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

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

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

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

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

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

This article aims at discussing methods of analysis and understanding of the "imperial discourse" in modern investigations of Russian culture. Having introduced Michel Foucault's and Edward Said's basic concepts that have influenced postcolonial studies and researches of Russian culture, the author proceeds to the works of Ewa Thompson, Alexander Etkind, Susan Layton, Andrei Zorin, Richard Wortman and Harsha Ram. The concept of imperial discourse in their works describes the relationship between the culture and literary text to specific historical context defined as imperial. The relationship between the text and imperial context is ambiguous and is demonstrated on different levels. This relationship is revealed in investigations of the ceremonies of the Russian imperial court, literary representations, functioning of ideological symbols, as well as the genre poetics and the lyrical subject's specifics. General feature of these investigations of Russian culture and literature is that rather than analyzing repressive aspects of imperial discourse (except Ewa Thompson), the authors focus on its constructive aspects that reveal new meanings of text and specify formation of cultural identity of Russian writers. Adapted from the source document.

Although the battle at Orsha in 1514 by it's meaning and subsequenses can not equal the victory in the Battle of Grünwald (Žalgiris), however it was also the "great" one and the fame of it spread widely ower the Europe. Even in the period before this battle the intesifying hostility and war operations betveen the Grand Duchy of Moscow and Grand Duchy of Lithuania (GDL), also the complex of conflicts of interests between Poland-Lithuania and Muscovy, Teutonic Order, Emperor Maximilian I, the Pope, Habsburgs ad Jagiellonians were mostly relevant points in the European international politics of this time, which determined alliances and treaties between the states and the process of hard diplomatic struggle. In such way the conflict became very known and "advertized", it captured the attention of most powerfull European rulers. Victory of Orsha caused a sensation in Europe. It became an "emblematic" event in the life of Sigismund the Old and also the main event in the history of the beginning of the century or even in all 15th century. Different propaganda means were appllied to ansver European interest in this famous victory against schismatics-ruled Muscovy: the triumphal processions and salutes took place, the flags of beaten army were placed in the main sanctuaries of Lithuania and Poland and special envoys transported Russian war captives to Buda, Venice, Rome and other cities. On the large scale and very speadily the information about the battle spread in writings. [to full text]

Although the battle at Orsha in 1514 by it's meaning and subsequenses can not equal the victory in the Battle of Grünwald (Žalgiris), however it was also the "great" one and the fame of it spread widely ower the Europe. Even in the period before this battle the intesifying hostility and war operations betveen the Grand Duchy of Moscow and Grand Duchy of Lithuania (GDL), also the complex of conflicts of interests between Poland-Lithuania and Muscovy, Teutonic Order, Emperor Maximilian I, the Pope, Habsburgs ad Jagiellonians were mostly relevant points in the European international politics of this time, which determined alliances and treaties between the states and the process of hard diplomatic struggle. In such way the conflict became very known and "advertized", it captured the attention of most powerfull European rulers. Victory of Orsha caused a sensation in Europe. It became an "emblematic" event in the life of Sigismund the Old and also the main event in the history of the beginning of the century or even in all 15th century. Different propaganda means were appllied to ansver European interest in this famous victory against schismatics-ruled Muscovy: the triumphal processions and salutes took place, the flags of beaten army were placed in the main sanctuaries of Lithuania and Poland and special envoys transported Russian war captives to Buda, Venice, Rome and other cities. On the large scale and very speadily the information about the battle spread in writings. [to full text]

Although the battle at Orsha in 1514 by it's meaning and subsequenses can not equal the victory in the Battle of Grünwald (Žalgiris), however it was also the "great" one and the fame of it spread widely ower the Europe. Even in the period before this battle the intesifying hostility and war operations betveen the Grand Duchy of Moscow and Grand Duchy of Lithuania (GDL), also the complex of conflicts of interests between Poland-Lithuania and Muscovy, Teutonic Order, Emperor Maximilian I, the Pope, Habsburgs ad Jagiellonians were mostly relevant points in the European international politics of this time, which determined alliances and treaties between the states and the process of hard diplomatic struggle. In such way the conflict became very known and "advertized", it captured the attention of most powerfull European rulers. Victory of Orsha caused a sensation in Europe. It became an "emblematic" event in the life of Sigismund the Old and also the main event in the history of the beginning of the century or even in all 15th century. Different propaganda means were appllied to ansver European interest in this famous victory against schismatics-ruled Muscovy: the triumphal processions and salutes took place, the flags of beaten army were placed in the main sanctuaries of Lithuania and Poland and special envoys transported Russian war captives to Buda, Venice, Rome and other cities. On the large scale and very speadily the information about the battle spread in writings. [to full text]

Although the battle at Orsha in 1514 by it's meaning and subsequenses can not equal the victory in the Battle of Grünwald (Žalgiris), however it was also the "great" one and the fame of it spread widely ower the Europe. Even in the period before this battle the intesifying hostility and war operations betveen the Grand Duchy of Moscow and Grand Duchy of Lithuania (GDL), also the complex of conflicts of interests between Poland-Lithuania and Muscovy, Teutonic Order, Emperor Maximilian I, the Pope, Habsburgs ad Jagiellonians were mostly relevant points in the European international politics of this time, which determined alliances and treaties between the states and the process of hard diplomatic struggle. In such way the conflict became very known and "advertized", it captured the attention of most powerfull European rulers. Victory of Orsha caused a sensation in Europe. It became an "emblematic" event in the life of Sigismund the Old and also the main event in the history of the beginning of the century or even in all 15th century. Different propaganda means were appllied to ansver European interest in this famous victory against schismatics-ruled Muscovy: the triumphal processions and salutes took place, the flags of beaten army were placed in the main sanctuaries of Lithuania and Poland and special envoys transported Russian war captives to Buda, Venice, Rome and other cities. On the large scale and very speadily the information about the battle spread in writings. [to full text]

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.

The object of the research is the development of the temporary capital image in the literature. This study aims to analyze the tendencies of the literary mythopoetics of the interwar Kaunas caused by specific historical circumstances, and to track the shifts in reflection on the temporary capital in the Lithuanian literature brought about by changes in the historical, political, social and cultural situation of the 20th century and the beginning of 21st century.The method of mythopoetic analysis of a city applied for this research is directed to the recognition of characteristic symbolic images of temporary capital which have been crystallised in the collective consciousness and appear as literary texts. The historical-political circumstances had a decisive influence on the trends mythologizing the temporary capital in the 20 and 21st centuries in Lithuanian literature. The social and cultural issues facing temporary capital and interwar Lithuania in general took the form of framework for mythologised narrative about a pernicious City – one that stands in the path of the individual's life as a fateful challenge to be overcome in the search of identity. The mythopoetics of interwar Kaunas completely changed its direction in the postwar émigré literature: with the net of historical circumstances receding to the background and the tendency of mythologisation gaining strength, the social-cultural contradictions of independence period retreated to the background and the narrative of temporary capital fatefully converged with the reflection on the fate of the state it represented. Contrary to the narrative of the temporary capital which was idealised, reducing political and social contradictions in the diaspora literature, in the Soviet Lithuania the memory of the interwar Kaunas, as well as the whole of period of the independent Lithuanian, was ideologically demonised, bringing the vices of the bourgeois and authoritarian regimes to the first place. The contemporary myth of the temporary capital is generated by the antagonism between the independence and the Soviet occupation: the progressive, Western-oriented culture of the interwar Kaunas and the creative breakthrough of the artists and intellectuals of the temporary capital are contrasted with the cultural, intellectual and spiritual stagnation of the totalitarian system.