Kuldkepp, Mart, 1983-
Arvustus: Auf Wache für die Nation : Erinnerungen der Weltkriegsagent Juozas Gabrys berichtet (1911-1918). Hrsg. von Eberhard Demm und Christina Nikolajew. Verlag Peter Land. Frankfurt am Main u.a. 2013
Venemaa teleseriaali "Vene amatsoonid" ("Russkije amazonki") võtteplatsil vastavad küsimustele režissöör Isaak Fridberg, näitlejad Leonid Jakubovitsh, Juozas Budraitis, Aleksei Krivtshenko ja Irina Rozanova
Ojari, Triin, 1974-
Paviljoni arhitektuurikonkursist, mille võitis Aleksander Nürnberg Eestist, arhitektuurist, Eesti ekspositsioonist. Fuajee ja Eesti saali kujundas kunstnik Oskar Raunam, saali istemööbli - Richard Wunderlich. Skulptuuride autorid Ernst Jõesaar, Gotlibs Kanpes, Juozas Mikenas, Ferdi Sannamees. 3 ill
Visnapuu, Henrik, 1890-1951
Sisu: Ballaad peninukkidelle ; Magdaleena ; Vanaema surm ; Kerjuslaps ; Laul lumest ; Sulase poja sünd ; Vilbus ; Kellalööja Andres ; Inimlihunik Juozas ; Ingrid ; Toolse rüütel ; Vanapagana kõrts ; Tuule-ema ; Meretuli ; Allikamägi ; Vanamuise laul ; Inari imbi
The actual principles of social communication and media ethics have a power to support public communication among people. The existing patterns of human behaviour can determine real and concrete conduct both in public space and limited groups. Ethics usually appears in accordance with certain specified ideological or moral views. In Lithuania, Keliuotis (1902–1983) was the first to propose a value system for the sphere of mass media. This system is based on pursuing ideals, which lead to unit...
The article discusses Beatriče, the main character of Juozas Grušas's tragicomedy Meilė, Džiazas ir Velnias (Love, Jazz and Devil). Beatrice is a character of a complex psychological structure; she embraces the experiences of both a naive girl and mature woman. A number of feminine versions, often contrasting yet all surrounded by a particular aureole of ideality, are encoded in Beatrice. The woman acts here not only as a real personality but also as a certain idea embodying love, truth and b...
Leedu keskkonnaministeeriumis töötav vastloodud Leedu roheliste partei esimees räägib, et partei plaanib korraldada Valgevenesse Leedu piiri lähedale rajatava tuumaelektrijaama vastaseid meeleavaldusi ja loodab ka parlamenti pääseda
Full Text Available The phenomenon of the sense of distraction and the feature of figurativeness in it are analysed with the help of phenomenological description, the concept of sense of Juozas Mureika and the conception of imagination of Kristupas Sabolius. The position is followed that the acts of sense and the being of those existing found in them cannot be known in a purely rational way. Knowing is reached with intuitive insights. The experiencing of distraction is approached as one of the norms or intentions of consciousness. The sense of distraction is acknowledged to be a basic value becoming more and more important in a modern stressful life. The article indicates that the intentional beings of the sense of distraction are expressed in really various human activities and are distinguished with mono-subjectivity and unrepeatable feeling. Figurativeness is perceived as the result of imaginary, creative activity of the imagination and aesthetical quality. The peculiarities of the formation of figurativeness are revealed through the phenomenological description of imagination by Sabolius. Four features of the act of visualisation, determining the quality of figurativeness, are emphasized: intentionality, power of transformation, relation with emotions and the symbolism of the image. The conclusion is made that figurativeness, being the result of the creative act (visualisation of imagination, appears as aesthetical quality or the ensemble of qualities. Figurativeness sharpens the sense of distraction and calls the wave of new experiences.
Tapatybės virsmo istorija: Vaižganto Pragiedruliai ir 1918–1920 m. konfliktas dėl Vilniaus | The narrative of identity transformation: Vaižgantas’s novel Pragiedruliai and the 1918-1920 conflict over Vilnius
Full Text Available This article deals with the problem of representation of the Lithuanian national identity in the novel Pragiedruliai (Bright Spaces by Juozas Tumas-Vaižgantas (1869–1933. The classical novel, which was planned to become an epos of the Lithuanian national revival, was published in three parts during 1918–1920 in Vilnius, at the height of political and military conflict between Lithuania and Poland over the possession of this multinational city. The author himself was one of the main Lithuanian combatants in the field of nationalist ideology and press as he edited the main Lithuanian dailies (Lietuvos Aidas, Nepriklausomoji Lietuva in Vilnius in that period. In his numerous press articles, Vaižgantas discussed Lithuanian identity as a phenomenon born from the local spirit of nature, formed by the primeval forces of biosphere, and organically evolving into the modern state of national consciousness. By suggesting this model of “organically modern” and “naturally democratic” Lithuanian identity, Vaižgantas was creating an antithesis against the image of Lithuanians as uncivilized barbarians propagated by the Polish nationalist side. However, the novel Pragiedruliai reveals much more diverse and complicated process of conversion of the “natural” or “pantheist” Lithuanian consciousness into the modern national selfimage. While trying to elaborate the symbolic literary narrative of this identity transformation, Vaižgantas included intertextual references to Pan Tadeusz, a 19th century Polish epos about the Lithuanian Grand Duchy noblemen by Adam Mickiewicz, as well as symbols indicating the intricate link between the Lithuanian identity and the cultural history of the Grand Duchy. The original opening chapters of Vaduvų kraštas (The Land of Vaduvos, the second volume of the novel, presented an acute criticism of the Lithuanian “natural” consciousness from the perspective modern cultural liberalism. Thus the clear
Full Text Available Performances according to antique dramas and their revamps by Lithuanian directors of 1925 to 2003 are presented in the article. Performances of Sophocles’ and Euripides’ tragedies are discussed wider. Scilicet: “Oedipus at Colonus” by Borisas Dauguvietis (1939, “Oedipus the King” by Juozas Miltinis (1977, “Electra” by Irena Kriauzaitė (1993, “Medea” by Linas Marijus Zaikauskas (1994, “Oedipus the King” by Rimas Tuminas (1998, “Antigonė” by Birutė Marcinkevičiūtė (Mar (1999 and “Oedipus the King” by Oskaras Koršunovas (2002. Scenography and direction of performances, interpretation of antique text and particularity of development of performances’ form and content are analyzed in the article.Scenography of performances changed from realistic (by B. Dauguvietis and static (by J. Miltinis portrayal of antique theatre to modern (by L. M. Zaikauskas, plastic (by R. Tuminas with vivid reflection of today’s realia (by O. Koršunovas. B. Dauguvietis has saved almost authentic form of antique performance and has rejected only from masks and cothurni. Idea of antique marble statuary playing in the tragedy of “Oedipus the King” was rendered in J. Miltinis’ performance. Role of chorus was retained in these performances; original text was not changed or shortened. Plays by I. Kriauzaitė and B. Marcinkevičiūtė were up-to-date, without antique costumes and masks, and distinguished from other plays with its minimalist direction and scenography. Chorus parts, which were acted by one actress, were shortened in “Electra”. Director and actress B. Marcinkevičiūtė herself performed all personages in tragedy and tragedy’s chorus was represented by video projection in “Antigonė”. Later performances of antique dramas were modernized not only in the meaning of form but of content, too. Greek tragedy’s text remained plot’s pattern in L. M. Zaikauskas’ and O. Koršunovas’ performances, through which
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