Suchergebnisse

As in many countries which experienced undemocratic regimes and a policy of denationalisation, politicisation in 20th century Lithuanian art was not a random phenomenon. At the beginning of the 20th century, the country was being developed within a framework which prohibited its national written and spoken language.1 It is no wonder that after Lithuania became independent, art and culture were considered its most important national milestones. A model of Lithuanian national identity was created on the basis of the writings, speeches and points of view of famous interwar (1918-1940) Lithuanian thinkers such as Jonas Basanavičius, Antanas Maceina, Stasys Šalkauskas, etc. Its focal points, which embraced a rural/agricultural/natureromanticising culture (a strong relationship with one's land, traditions, crafts, folklore and religion), and lyricism, were consolidated as the psychological imperative of a Lithuanian. In conclusion, author highlights the ideological shifts vis-a-vis identity expression in post-Soviet Lithuanian art, and the means chosen to render the desired message. The expression of self-comprehension and identity has changed strategy a number of times during the rather short interval (ca. 1987 to now) of the post-Soviet period. The first shift – from mournful lyricism towards acute introspection – is related to the early period. Art manifestos, transfused with public criticism born in the face of a changing political and moral situation, outraged, and were. [to full text]

As in many countries which experienced undemocratic regimes and a policy of denationalisation, politicisation in 20th century Lithuanian art was not a random phenomenon. At the beginning of the 20th century, the country was being developed within a framework which prohibited its national written and spoken language.1 It is no wonder that after Lithuania became independent, art and culture were considered its most important national milestones. A model of Lithuanian national identity was created on the basis of the writings, speeches and points of view of famous interwar (1918-1940) Lithuanian thinkers such as Jonas Basanavičius, Antanas Maceina, Stasys Šalkauskas, etc. Its focal points, which embraced a rural/agricultural/natureromanticising culture (a strong relationship with one's land, traditions, crafts, folklore and religion), and lyricism, were consolidated as the psychological imperative of a Lithuanian. In conclusion, author highlights the ideological shifts vis-a-vis identity expression in post-Soviet Lithuanian art, and the means chosen to render the desired message. The expression of self-comprehension and identity has changed strategy a number of times during the rather short interval (ca. 1987 to now) of the post-Soviet period. The first shift – from mournful lyricism towards acute introspection – is related to the early period. Art manifestos, transfused with public criticism born in the face of a changing political and moral situation, outraged, and were. [to full text]

As in many countries which experienced undemocratic regimes and a policy of denationalisation, politicisation in 20th century Lithuanian art was not a random phenomenon. At the beginning of the 20th century, the country was being developed within a framework which prohibited its national written and spoken language.1 It is no wonder that after Lithuania became independent, art and culture were considered its most important national milestones. A model of Lithuanian national identity was created on the basis of the writings, speeches and points of view of famous interwar (1918-1940) Lithuanian thinkers such as Jonas Basanavičius, Antanas Maceina, Stasys Šalkauskas, etc. Its focal points, which embraced a rural/agricultural/natureromanticising culture (a strong relationship with one's land, traditions, crafts, folklore and religion), and lyricism, were consolidated as the psychological imperative of a Lithuanian. In conclusion, author highlights the ideological shifts vis-a-vis identity expression in post-Soviet Lithuanian art, and the means chosen to render the desired message. The expression of self-comprehension and identity has changed strategy a number of times during the rather short interval (ca. 1987 to now) of the post-Soviet period. The first shift – from mournful lyricism towards acute introspection – is related to the early period. Art manifestos, transfused with public criticism born in the face of a changing political and moral situation, outraged, and were. [to full text]

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in ...

The language of men and women in media texts is analysed in this master thesis. The two created corpora include texts since 2002 to 2009 and they have 3 177 706 words. The aim of the thesis is to investigate the language of men and women in media texts. The following tasks were raised to achieve this aim: to collect men and women articles and create corpora, to find out what specific features of both spoken and written language of men and women are, to analyze the specific features of men and women language, to examine gender differences in language developed on the basis of corpus data and find out whether it is possible to understand the author's gender from the identified text features. Men and women media texts were investigated under 10 features of formal language, grammatical and lexical attributes: vocabulary and words longitude, commonly used words and part of speech, themes, uncertainty and doubts expression, feelings of resolution, colors expression, negatives, usage of diminutives and citations of other people. After analysis of men and women articles, it was identified that men use slightly longer words and men's articles are longer texts. Although the average length of words in articles by women is lower, they use more very long tokens (19−25 characters). Thus they use more complex structure of words in shorter texts. Women also use richer vocabulary as their type-token ratio index is higher. Women write more emotional articles and they use more interjections and onomatopoeic interjections, diminutives, exclamatory and exclamatory-interrogative sentences and their language is softer. It is very important for women, that text would be imaginative, so they use more color specifications, names of feelings and describe all in more detail. It was found that lexical differences in articles are related to the article's topic. Women write articles mostly about children, home, family, health, social issues and culture, while men − about politics, business and economy. People attribute all these topics to the stereotypes of men and women language, but it appears that such stereotypes reveal the real situation. In conclusion it can be said that there are many differences in men and women texts. Of course, some features are also influenced by an individual author's style, but if given a text of an unknown author it is possible to name the author's gender based on the language feature of men and women.

The language of men and women in media texts is analysed in this master thesis. The two created corpora include texts since 2002 to 2009 and they have 3 177 706 words. The aim of the thesis is to investigate the language of men and women in media texts. The following tasks were raised to achieve this aim: to collect men and women articles and create corpora, to find out what specific features of both spoken and written language of men and women are, to analyze the specific features of men and women language, to examine gender differences in language developed on the basis of corpus data and find out whether it is possible to understand the author's gender from the identified text features. Men and women media texts were investigated under 10 features of formal language, grammatical and lexical attributes: vocabulary and words longitude, commonly used words and part of speech, themes, uncertainty and doubts expression, feelings of resolution, colors expression, negatives, usage of diminutives and citations of other people. After analysis of men and women articles, it was identified that men use slightly longer words and men's articles are longer texts. Although the average length of words in articles by women is lower, they use more very long tokens (19−25 characters). Thus they use more complex structure of words in shorter texts. Women also use richer vocabulary as their type-token ratio index is higher. Women write more emotional articles and they use more interjections and onomatopoeic interjections, diminutives, exclamatory and exclamatory-interrogative sentences and their language is softer. It is very important for women, that text would be imaginative, so they use more color specifications, names of feelings and describe all in more detail. It was found that lexical differences in articles are related to the article's topic. Women write articles mostly about children, home, family, health, social issues and culture, while men − about politics, business and economy. People attribute all these topics to the stereotypes of men and women language, but it appears that such stereotypes reveal the real situation. In conclusion it can be said that there are many differences in men and women texts. Of course, some features are also influenced by an individual author's style, but if given a text of an unknown author it is possible to name the author's gender based on the language feature of men and women.

The language of men and women in media texts is analysed in this master thesis. The two created corpora include texts since 2002 to 2009 and they have 3 177 706 words. The aim of the thesis is to investigate the language of men and women in media texts. The following tasks were raised to achieve this aim: to collect men and women articles and create corpora, to find out what specific features of both spoken and written language of men and women are, to analyze the specific features of men and women language, to examine gender differences in language developed on the basis of corpus data and find out whether it is possible to understand the author's gender from the identified text features. Men and women media texts were investigated under 10 features of formal language, grammatical and lexical attributes: vocabulary and words longitude, commonly used words and part of speech, themes, uncertainty and doubts expression, feelings of resolution, colors expression, negatives, usage of diminutives and citations of other people. After analysis of men and women articles, it was identified that men use slightly longer words and men's articles are longer texts. Although the average length of words in articles by women is lower, they use more very long tokens (19−25 characters). Thus they use more complex structure of words in shorter texts. Women also use richer vocabulary as their type-token ratio index is higher. Women write more emotional articles and they use more interjections and onomatopoeic interjections, diminutives, exclamatory and exclamatory-interrogative sentences and their language is softer. It is very important for women, that text would be imaginative, so they use more color specifications, names of feelings and describe all in more detail. It was found that lexical differences in articles are related to the article's topic. Women write articles mostly about children, home, family, health, social issues and culture, while men − about politics, business and economy. People attribute all these topics to the stereotypes of men and women language, but it appears that such stereotypes reveal the real situation. In conclusion it can be said that there are many differences in men and women texts. Of course, some features are also influenced by an individual author's style, but if given a text of an unknown author it is possible to name the author's gender based on the language feature of men and women.

European Men's Basketball championship of 2011 – EuroBasket2011– was the extraordinary event not only in Lithuania, but also in the European history. First time in the history there were 24 high qualification European basketball teams in the European championship. There were almost 300 professional basketball players who were fighting because of medals and permission to London Olympian games. The object of the paper – the organization of European Men's Basketball championship. Problem of the paper: what features of European men`s basketball championship organization can be evaluated as positive and negative? The goal of the paper – to analyze the specific organizational features of European Men's Basketball (hereinafter – EuroBasket2011) championship. The tasks of the paper: 1. To show Sports events organizational features 2. To carry out Euro Basket 2011 organization situation analysis 3. To compare EuroBasket2011 championship organization to championships that was taken part in other countries. 4. To evaluate EuroBasket2011 championship organization Working methods: 1. Analytical Review of Literature 2. Questionnaire survey. 3. Expert interviews. 4. Descriptive statistical data analysis. Conclusions. The paper, with reference to secondary informational sources, interview, and Eurobasket2011 participants' survey, analyzes the European basketball championship of 2011 organizational features and identifies related problems. After the informational analysis, we could agree, that Eurobasket2011 was the most successfully organized basketball championship in the Europe – that was also noticed by "FIBA Europe", participants and international media. It got the highest evaluation not only for the Eurobasket2011 organization, but for other events also, such as the U-16 and U-18 European Men's Basketball Championship, Eurobasket2011 opening ceremony, social events "Go for Lithuania", 60 000 Basketball ball knocking record and others. All the infrastructure was prepared to meet the highest requirements of "FIBA Europe". This summer was the time of trial for the basketballs managers of the country and for the organizational committee. Lithuania was the first country in the history who organized the European Men's Championship that meet the new format – there were 24 participant teams instead of 16. The budget was much smaller than earlier championships in other countries – it was only 23 million Lt. To conclude we could say, that the results were exceeding the expectations even for the organizational committee. It was sold more than 75 percent of tickets to all the Eurobasket2011 games. The incomes from tickets and private sponsors were exceeding planed incomes and covered the Lithuanian Government donation.

European Men's Basketball championship of 2011 – EuroBasket2011– was the extraordinary event not only in Lithuania, but also in the European history. First time in the history there were 24 high qualification European basketball teams in the European championship. There were almost 300 professional basketball players who were fighting because of medals and permission to London Olympian games. The object of the paper – the organization of European Men's Basketball championship. Problem of the paper: what features of European men`s basketball championship organization can be evaluated as positive and negative? The goal of the paper – to analyze the specific organizational features of European Men's Basketball (hereinafter – EuroBasket2011) championship. The tasks of the paper: 1. To show Sports events organizational features 2. To carry out Euro Basket 2011 organization situation analysis 3. To compare EuroBasket2011 championship organization to championships that was taken part in other countries. 4. To evaluate EuroBasket2011 championship organization Working methods: 1. Analytical Review of Literature 2. Questionnaire survey. 3. Expert interviews. 4. Descriptive statistical data analysis. Conclusions. The paper, with reference to secondary informational sources, interview, and Eurobasket2011 participants' survey, analyzes the European basketball championship of 2011 organizational features and identifies related problems. After the informational analysis, we could agree, that Eurobasket2011 was the most successfully organized basketball championship in the Europe – that was also noticed by "FIBA Europe", participants and international media. It got the highest evaluation not only for the Eurobasket2011 organization, but for other events also, such as the U-16 and U-18 European Men's Basketball Championship, Eurobasket2011 opening ceremony, social events "Go for Lithuania", 60 000 Basketball ball knocking record and others. All the infrastructure was prepared to meet the highest requirements of "FIBA Europe". This summer was the time of trial for the basketballs managers of the country and for the organizational committee. Lithuania was the first country in the history who organized the European Men's Championship that meet the new format – there were 24 participant teams instead of 16. The budget was much smaller than earlier championships in other countries – it was only 23 million Lt. To conclude we could say, that the results were exceeding the expectations even for the organizational committee. It was sold more than 75 percent of tickets to all the Eurobasket2011 games. The incomes from tickets and private sponsors were exceeding planed incomes and covered the Lithuanian Government donation.

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.

Earnings are the fundamental determinant of economic welfare for employed individuals, as well as of the potential gain to market employment for those not currently employed. Earnings are important as a social indicator specifically in relation to gender equality. Ten years after the Beijing conference the gender wage gap still exists in the EU labour market. This paper gives a brief review of economic theories and different approaches to explain the wage gap problem and importance of legislation to combat wage discrimination.