“Lituanistika”, International Research Database
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Baltijos šalių meninės fotografijos sklaida specializuotuose žurnaluose 1960–1980 m.: 'Советское Фото', 'Revue Fotografie', 'Fotografia' ir FOTO
No full textStraipsnyje aptariama Baltijos šalių meninės fotografijos sklaida periodiniuose leidiniuose 'Советское Фото' (SSSR), 'Revue fotografie' (Čekoslovakija), 'Fotografia' ir FOTO (Lenkija) 7–9-ajame dešimtmetyje. Šie žurnalai atliko lemiamą vaidmenį propaguojant ir plėtojant meno platformą Baltijos respublikose. Nepaisydami cenzūros ir ideologinių suvaržymų, Baltijos šalių meno fotografai demonstravo įvairų talentą, stilius ir požiūrius, kurie laikui bėgant tobulėjo. Vakarų tendencijos, paveikusios kiekvienos respublikos menininkus, lėmė unikalias meninės fotografijos išraiškas. Tyrimas apėmė visus internetinius ir fizinius žurnalų numerius pasirinktu laikotarpiu. Periodinės spaudos analizė atskleidė turtingą meninį kraštovaizdį, išryškinusį Baltijos šalių meninės fotografijos ištvermę ir kūrybiškumą bei jų ilgalaikę įtaką regiono meninės fotografijos istorijai. Kiekybinė analizė leidžia daryti išvadą, kad lietuvių autoriams labiau sekėsi reklamuoti savo kūrinius užsienyje nei jų kolegoms iš Latvijos ir Estijos. Raktažodžiai: meninė fotografija, 'Советское Фото', 'Revue Fotografie', 'Fotografia', FOTO, Baltijos šalių menas.The article examines the representation and dissemination of Baltic art photography in specific Soviet, Czechoslovak, and Polish magazines from the 1960s to the 1980s. The analysis of the issues of 'Sovetskoe Foto', 'Revue Fotografie', 'Fotografia', and FOTO reveals the extent and proportions of the dissemination of photography of each Baltic republic abroad and its perception by foreign art critics and editors. Based on factual data, the research may shed light on some myths created around particular Baltic photographers by presenting a clearer image of their role in the regional photography scene. This article supplements the existing research on the topic by contributing to a more holistic understanding of how well Baltic photographers were represented abroad. Keywords: art photography, 'Sovetskoe Foto', 'Revue Fotografie', 'Fotografia', FOTO, Baltic art
Bresto katekizmas (1553 m.). Pirmojo Bresto spaustuvės leidinio konfesinis ir kultūrinis kontekstas
No full textŠio straipsnio tikslas yra atsakyti į klausimą, kokie yra galimi vadinamojo "Katechizm brzeski" [Bresto katekizmo] kilmės šaltiniai. Atskleidžiamas šio spausdinto leidinio, publikuoto Lietuvos Brastoje pirmaisiais šio miesto spaustuvės veikimo metais, konfesinis ir kultūrinis pagrindas. "Katechizm brzeski" buvo išspausdintas 1553 metais, o jo autorius nežinomas. Tai yra įvairių XVI a. antrosios pusės lietuvių politinės klasės konfesinių tendencijų bei ambicijų – religinių, kultūrinių ir politinių – rezultatas. Straipsnyje prieinama prie šių išvadų: 1. "Katechizm brzeski" publikuotas antrojoje 1553 m. pusėje. 2. Šis teologiškai margas katekizmas yra bandymas atrasti jungtį tarp Martino Lutherio ir Jeano Cauvino ideologijų. Jame dominuoja liuteroniškoji ideologija. 3. "Katechizm brzeski" autorius naudojosi ne tik Jano Seklucjano katekizmu (išleistu 1544 m.), bet taip pat ir dviem Urbano Rhegiuso kūriniais (1543 m. katekizmu; Medicina animae 1551 metų vertimu į lenkų kalbą) bei Johanneso Brenzo Catechismus minor (1527–1528 m.). 4. Šis sudarytojas buvo gerai susipažinęs su Osiandro kontroversija, kuri XVI a. 6-ajame dešimtmetyje buvo plačiai svarstoma kaimyninėje Prūsijos Kunigaikštystėje. Kadangi sudarytojas buvo Andreaso Osianderio gerbėjas, jis "Katechizm brzeski" pateikė optimistinę Osiandro antropologiją, taip sudarydamas naujausią formaliai kalvinistinių pažiūrų katekizmą. Reikšminiai žodžiai: Katechizm brzeski, Bresto spaustuvė, Mikalojus Radvila Juodasis, Bernardas Wojewódka.The aim of the article is to answer the question about the sources of inventio of the so-called Katechizm brzeski [Brest Catechism] showing the confessional and cultural basis of this print published in Brest-Litovsk in the first year of this publishing house’s operation. Printed in 1553, and created by an unknown writer, Katechizm brzeski is a product of various confessional tendencies and aspirations – religious, cultural and political – of the Lithuanian political class in the second half of the 16th century. The conclusions of the article are as following: 1. Katechizm brzeski was published in the second half of 1553. 2. This theologically eclectic catechism is an attempt to find iunctim between Martin Luther’s and John Calvin’s influences. The Lutheran influences prevail. 3. Katechizm brzeski’s author used not only the catechism of Jan Seklucjan (1544), but also two works by Urban Rhegius (catechism from 1543, Medicina animae in the Polish translation, 1551) and Catechismus minor (1527–1528) by Johannes Brenz. 4. The compiler was well versed in the Osiandrian controversy taking place in the 1550s in the nearby Ducal Prussia. As a supporter of Andreas Osiander, the compiler applied to the Katechizm brzeski his optimistic anthropology to the newest – formally Calvinist – catechism. Keywords: Katechizm brzeski, Brest printing house, Mikołaj Radziwiłł the Black, Bernard Wojewódka
Anonymity, piracy and counterfeiting in the Polish language publications in the Grand Duchy of Lithuania in the 2nd half of the 16th century
No full textStraipsnyje remiantis XVI a. antrosios pusės Lietuvos Didžiosios Kunigaikštystės spaudos lenkų kalba bibliografine analize rekonstruojami anonimiškumo, kontrafakcijos ir piratavimo reiškiniai. Šalyje egzistavo liberalus ir menkai suvaržytas spaudos gyvenimas. Vykstant politinėms ir religinėms kovoms autoriai, vertėjai, sudarytojai, leidėjai ir spaustuvininkai dažnai rinkosi savo spaudiniuose nutylėti autorystės ir spaudos duomenis. Politinės ir religinės grupės turėjo atsižvelgti į valdovo ir vyresnybės nuomonę, todėl tik anoniminis viešosios nuomonės veikimas leido užtikrinti savo pozicijų gynimą ir poveikį visuomenei. Anonimiškumo strategija kūrėjus apsaugojo nuo nemalonumų, spaustuvėms išplėtė komercinio veikimo galimybes. Piratavimo reiškinį skatino skirtingas LDK ir Lenkijos teisinis spaudos reguliavimas ir dėl didelio geografinio nuotolio atsiradęs nebaudžiamumo suvokimas. Autoriai ir spaustuvės skaidriai veikė tais atvejais, kai leidžiami leidiniai nebuvo prieštaringai vertinamo turinio arba turėtas autoritetingas užnugaris ar privilegijomis įtvirtinta teisinė spaudos produkcijos apsauga. Reikšminiai žodžiai: anonimiškumas, kontrafakcija, leidyba, piratavimas, Lietuvos Didžioji Kunigaikštystė, Vilnius, XVI a.On the grounds of the bibliographic analysis of the publications in the Polish language in the Grand Duchy of Lithuania in the second half of the 16th century, this article reconstructs the phenomena of anonymity, counterfeiting and piracy. In this country, the life of the printed media was fairly liberal and hardly restricted at all. In the course of political and religious struggles, authors, translators, publishers and compilers frequently preferred to conceal the data on the real authorship and typography in their publications. Political and religious factions had to consider the opinion of the ruler and their seniority; therefore, only anonymous impact on the public opinion allowed ensuring the defense of one’s attitudes and the desired impact on the society. This strategy of anonymity was protecting the stakeholders from getting into trouble, while also expanding the scope of commercial activity for the typographers. The phenomenon of piracy was also being promoted by the different legal regulation of the printed media in the Grand Duchy of Lithuania and the Kingdom of Poland, and, due to the physically vast distances, the feeling of impunity developed. The authors and typographers were acting honestly in such cases when the published literature contained no controversial materials, or when they had the solid backing of the powers, and also in the cases when legal protection of the printed media was ensured. Keywords: anonymity, counterfeiting, publishing, piracy, Grand Duchy of Lithuania, Vilnius, 16th century
Low consumer social responsibility increases willingness to buy from large vs. small companies
No full textPrevious research mainly concentrated on the link between the company size and consumer perceptions related to corporate social responsibility (CSR). Here we aim to extend the previous findings to the context of the consumer’s individual trait of social responsibility. Building on signaling theory, we analyze such signals as company size and demonstrate that consumers have a decreased willingness to buy a product originating from a large company as compared to a small company. However, the effect flips for consumers with low social responsibility as they show a higher willingness to buy large company products. We contribute to signaling theory by showing that consumer traits such as consumer social responsibility can play an important role in the effectiveness of the signal. In addition, these findings contribute to consumer social responsibility research as well as consumer behavior literature by showing that the company size effect is moderated by consumer social responsibility. Theoretical and managerial implications are discussed together with directions for future research. Keywords: company size, willingness to buy, consumer social responsibility
Painting and the screen
No full textKompiuteris neabejotinai yra vienas svarbiausių mūsų laikų išradimų, su kuriuo dėl įtakos žmogaus gyvenimui ir kasdienybei mažai kas galėtų varžytis. Gana natūralu, kad tai leidžia kalbėti ir apie įtaką meninei kūrybai. Dailėtyrininkas Tautvydas PETRAUSKAS polemizuoja šia tema ir aptaria keleto jaunųjų tapytojų kūrinius juos siedamas su kompiuterių generuojamo vaizdo ypatybėmis.The computer is clearly one of the most important inventions of our time, having an undeniable impact on our lives and our daily routine. It also naturally gives rise to a discussion on its impact on artistic creation. The art critic Tautvydas PETRAUSKAS discusses this topic, while considering some works by young Lithuanian painters in relation to the qualities of computer-generated imagery
Christian initiation programme in Jerusalem in the 4th century
No full textStraipsnyje išdėstomi ir apibūdinami IV a. Jeruzalėje įgyvendintos krikščioniškos iniciacijos programos išoriniai ir vidiniai dėmenys, taip pat aptariami kai kurie ypatumai, palyginti su kitomis to meto katechumenato programomis. Prie išorinių dėmenų priskiriami tam tikri ritualai ir apeigos, katechetiniai mokymai, egzorcizmai, liturgijos šventimas, Šventojo Rašto skaitymas, pasninkas, išmalda ir naktiniai budėjimai. Vidiniais dėmenimis laikomi nuodėmingo gyvenimo būdo atsisakymas, kova su aistromis, dorybingumo ugdymas, atgaila ir malda. Atskleidžiamas Jeruzalės vyskupo Kirilo katechetinių mokymų savitumas kitų to meto katechumenato programų kontekste: besirengiantiesiems Krikštui jis aiškino Symbolum; be to, pateikdavo nuorodų į šventąsias vietas, – tai buvo tik Jeruzalės mokytojams prieinama apologetinė priemonė. Raktažodžiai: Kirilas Jeruzalietis, Jeruzalės katechumenatas IV a., katechetiniai mokymai Symbolum.The article outlines and describes the external and internal aspects of the Christian initiation programme in the fourth-century Jerusalem, and some of the peculiarities in comparison with other catechumenate programmes of the time. The external aspects include certain rituals and ceremonies, catechetical teachings, exorcisms, the celebration of the liturgy, the reading of the Scriptures, fasting, prayer and night vigils. The internal elements are the renunciation of sinful lifestyles, the struggle against the passions, the development of virtue, repentance, and prayer. The uniqueness of the catechetical teachings of Cyril, Bishop of Jerusalem, in the context of other catechumenate programmes of the time, is revealed: for those preparing for Baptism, he explained the Symbolum; in addition, he made references to the holy places, an apologetic tool only available to the teachers of Jerusalem. Keywords: Cyril of Jerusalem, catechumenate of Jerusalem in the 4th century, catechetical lectures Symbolum
Development and iconography of the wall paintings in the church of the Holy Trinity in Rykantai
No full textStraipsnyje nagrinėjama Rykantų bažnyčios interjero ir eksterjero sienų tapyba, pagrindinis dėmesys skiriamas 1688 m. (1668?) dailininko Jono Janovičiaus nutapytiems Kristaus kančios kelio ir dominikonų ciklams. Lietuvos istoriografijoje šie kūriniai vertinami kaip Lietuvos Didžiosios Kunigaikštystės baroko tapybos reprezentantai, tačiau lig šiol išsamiai netyrinėti. Atribucijos pagrindu laikomi tarpukariu skelbti duomenys. Straipsnyje, remiantis archyviniais rankraštiniais, publikuotais šaltiniais, siekiama ne tik papildyti, patikslinti istorinius faktus, bet ir kelti klausimus apie jų nutapymo ir uždažymo laiką, atradimo, restauravimo aplinkybes. Taip pat pirmą kartą bandoma įvardyti Kristaus kančios kelio stočių siužetus, dominikonų cikle pavaizduotus šventuosius ir palaimintuosius, juos tirti ikonografijos aspektu, ieškant provaizdžių, analogų Europos religinėje dailėje. Reikšminiai žodžiai: Rykantų bažnyčia, sienų tapyba, Kristaus kančios ciklas, dominikonai, Jonas Janovičius, Kazimieras Kviatkovskis.The article explores the interior and exterior wall paintings of the Rykantai Church with the main focus on the Stations of the Cross and the Dominican series. The iconographic programme of the wall paintings follows the spatial and sacred areas of the church and is adapted to its architecture. It was most likely created by the Dominican friars in close cooperation with Marcjan Aleksander Ogiński, who renovated the Rykantai Church and handed it over to the friars in 1688. Portraits of this benefactor and his wife Marcibella Hlebowiczówna Ogińska are painted in the presbytery, the series of the "Passion of Christ" is arranged around the perimeter of church, and the images of nine Dominicans are seen on the parapet of the organ choir. The image of St. George that bears witness to the former title of the church (from the early nineteenth century) has been preserved on the façade. The Rykantai Church that belonged to the Evangelical Reformers in the sixteenth century was decorated with ornamental painting (not yet studied), fragments of which have been exposed on the presbytery wall. When Ogiński became the owner of Rykantai, around 1668, portraits of this benefactor and his wife were painted in the presbytery. In 1668, the artist Jan Janowicz painted the series of the "Passion of Christ" on the side walls of the church and the presbytery (the year and the artist’s name are carved on the wall). "Circa" 1688–1710s (?), images of Dominicans were painted in the niches of the parapet of the organ choir. In the late nineteenth and early twentieth century, all this interior decoration was painted over. In 1931–32, it was exposed and conserved by Kazimierz Kwiatkowski, who was assisted by Leonard Waldemar Torwirt. The "Passion of Christ" series and the portraits of the Ogińskis were last conserved in 1991 (conservators Juozas Pilipavičius, Kęstutis Andziulis). The iconographic programme of the fresco series of the "Passion of Christ" reflected post-Tridentine theological views and special attention to the spread of this devotion, to which the Dominican order contributed actively. The unique series of the "Passion of Christ" that has reached our days consists of fifteen compositions (originally there might have been more of them), ten of which are dedicated to the stations of the Via Captivitatis and five to the Via Crucis. The iconography of the images was influenced by the collections of engravings depicting the "Passion of Christ" by Dutch printmakers that spread in Europe in the second half of the sixteenth and the early seventeenth century, and the prints from the publication "Vita, Passio et Ressurectio Iesu Christi" (1593, 1597, 1598), made after the drawings by Maerten de Vos, a Dutch painter who studied in Italy. Some of the stations were created referring to the graphic reproductions of the paintings by the famous Italian and German artists of the second half of the sixteenth and early seventeenth century: Livio Agresti, Jacopo Palma Vecchio, and Christoph Schwartz. Janowicz, the artist who painted the Passion series of the Rykantai Church, masterfully rephrased the compositions of the prototypes and created monumental and vivid scenes. He evenly developed the dynamics of the series from the rather meditative introductory stations – "The Last Supper", the iconographically rare "Jesus Washing His Disciples’ Feet" (with the added motif of "The Virgin Mary Bidding Farewell to Her Son"), and "Jesus Praying on the Mount of Olives" – to the expressive scenes of "The Trial and Torture of Jesus" and "Jesus Carrying the Cross". The last scene of the series, "Jesus is Taken Down from the Cross", is based on the work on this subject by Federico Barocci, a prominent representative of Italian Mannerism. The continuous representation principle of the Rykantai series, the trompe l’oeil architectural framing, the division into columns, and the perspective composition link the series to European monumental art of the second half of the sixteenth and the seventeenth century, and the vigorous painting and drawing style is consistent with Mannerism and early Baroque works of the Italian school. In the context of Lithuania, the "Passion of Christ" series of the Rykantai Church created by Janowicz can be classified as one of the most significant seventeenth-century "Passion of Christ" series in the Grand Duchy of Lithuania, comparable to professional European paintings on this topic. The Dominican series in the organ choir – the saints, the blessed and venerable friars – were most likely chosen by the members of the Order of Preachers themselves, who were known for their special attention to hagiography. St. Dominic, the founder of the order, is depicted in the centre. On his right, the spiritual hierarchs of the order, popes, and bishops are shown. Kneeling and praying friars who won fame for their wisdom, virtues, and piety, or were martyred are featured on Dominic’s left. The series depicts St. Dominic, Pope St. Pius V, St. Thomas Aquinas, and St. Peter of Verona. It is difficult to identify other individuals as they lack attributes and the images are decayed; most likely, they represent Pope Benedict XI, St. Antoninus, St. Albert the Great, Blessed John of Cologne, and St. Hyacinth. [...] Keywords: Rykantai Church, wall painting, Passion series, Dominicans, Jonas Janovičius (Jan Janowicz), Kazimieras Kviatkovskis (Kazimierz Kwiatkowski)
Raižių mečetės minbaro restauravimas
No full textStraipsnyje aptariamos aktualios dailės paveldo objektų įpaveldinimo ir apsaugos problemos. Objekto įrašymas į Kultūros vertybių registrą suteikia jam teisinę apsaugą. Tai labai svarbus veiksmas, nes tik Kultūros vertybių registre registruotiems objektams taikomi paveldosaugos reikalavimai, reglamentuojantys tinkamą jų saugojimą, priežiūrą, naudojimą, konservavimo ir restauravimo darbus, tų darbų dokumentavimą. Tačiau kartais restauruoti tenka vertingus, bet į Kultūros vertybių registrą neįrašytus dailės paveldo objektus. Būtent tokiai situacijai aptarti straipsnyje pristatomas atvejo tyrimas, kuriame pateikiama 2019 m. restauratoriaus Manto Matuizos vykdytų neįpaveldinto dailės paveldo objekto – Raižių totorių mečetės (Alytaus r.) minbaro konservavimo ir restauravimo darbų apžvalga. Pristatomi atlikti tyrimai, restauravimo metodai, naudotos medžiagos, apibendrinami atliktų darbų rezultatai. Reikšminiai žodžiai: dailės paveldas, įpaveldinimas, restauravimas, Raižių mečetė, totoriai, minbaras, Mantas Matuiza.The preservation of art heritage in Lithuania has always been and, unfortunately, remains an acute problem. The initial stage necessary for the protection of art heritage objects (their entry into the Register of Cultural Heritage) is implemented too slowly. For almost two decades, the lists of art monuments prepared during the Soviet era have been under revision: movable art objects are distinguished from unmovable ones and their valuable properties are specified. Research institutions studying the national heritage of sacred art are identifying and giving expert assessment of a relatively large number of new objects. While the planned art object registration programs continue, the inclusion of new objects in the Register is not considered a priority; therefore, a sufficiently large number of unique valuable objects of fine art still have not been given the status needed for their basic legal protection. Art heritage objects included in the state registry system are handled according to the legal requirements for heritage protection and ensured financial support for their research, conservation and restoration, as well as protective technical measures. Due to the very slow pace of the registration process, objects not included in the Register face a substantial threat to their preservation due to inadequate maintenance and storage conditions and unregulated conservation work. The current situation in the sector of documentation of research and conservation of art heritage is unacceptable. The valuable art objects listed in the Register must be conserved in accordance with procedures established by legal acts, which stipulate the preparation and publication of detailed reports on the conducted research and works. In reality, such reports are published very rarely, and are usually not available to the public. Furthermore, these legal requirements do not apply to the restoration of objects not yet included into Register: reporting on the performed works is not mandatory, and data on the restoration works of these valuables is not collected or systematised. In 2019, Mantas Matuiza restored a unique object of the Tatar heritage – the minbar of the Raižiai Mosque. The wooden minbar was transferred to Raižiai from the burned Bazorai Mosque. Chemical and physical analysis of this valuable object (not listed in the Register) was conducted by Polish specialists. The minbar of the Raižiai Mosque was created by local craftsmen in 1686. It has an extraordinarily rich polychrome décor, and its roof is decorated with wood carvings. It has been used for its intended purpose throughout the centuries, and was repaired and refurbished several times due to wear and tear. During the 2019 restoration, the wooden structure of the minbar, found to be in critical condition, was reinforced, later overpaintings were removed, the colour of the original polychrome was revealed, and the lost details of the carving were restored. Since this object was not included in the Register, reporting on the conservation works was not mandatory, but the conservator, realizing the cultural and artistic value of the object and guided by his own professional ethics, carried out a detailed photo recording of the works, and also provided their description to the author of this article in the form of a structured interview. Keywords: art heritage, art registration, restoration, Raižiai Mosque, Tatars, minbar, Mantas Matuiza
Transport infrastructure investments as a factor of economic growth of European Union countries
No full textTerritorial cohesion and improved accessibility are among the main objectives of the European Union (EU) Cohesion policy. Although there is a wealth of literature on the impact of investment in transport infrastructure on overall accessibility levels, only a few studies have tried to evaluate the possible link between transport infrastructure investment (TII) and economic growth in the EU. Our research aims to evaluate the impact of TII on economic growth in the EU. The methodology is based on nonlinear neoclassical specifi cation, which includes a multiplicative term to evaluate if the absence of corruption mediates the eff ect of TII on growth. Our unbalanced panel data covers 27 EU countries (Cyprus is excluded due to missing data and the United Kingdom is a part of the sample) from 2000 through 2019. Our research confirms a positive and statistically significant impact of TII on economic growth but with a diminishing return. Estimating the absence of corruption as a possible moderator of the effect that TII has on growth shows that control of corruption plays a significant role in the TII growth nexus. We find that in countries with a low level of control of corruption, TII has a statistically significant negative effect on growth. Keywords: control of corruption, diminishing marginal effects, economic growth, transport infrastructure, transport infrastructure investment
Neapykantos kalbos atpažinimas lietuviškuose komentaruose panaudojant dirbtinį intelektą
No full textŠiame darbe pateikiame neapykantos kalbos aptikimo modelių palyginimą lietuvių kalbai. Neapykantos kalbai aptikti naudojome tris giliojo mokymosi modelius: daugiakalbį BERT, LitLat BERT ir Electra. Visi trys modeliai buvo adaptuoti lietuviškų komentarų klasifikavimui į tris klases: neapykantos, įžeidžią ir neutralią kalbą. Norint adaptuoti modelius atpažinti neapykantos kalbą, buvo parengtas anotuotas duomenų rinkinys, kuriame yra 25 219 lietuviški komentarai. Apmokyti modeliai buvo įvertinti naudojant tikslumo, atkūrimo, preciziškumo ir F1 statistikos metrikas. Geriausiai pasirodė LitLat BERT, kurio F1 statistikos reikšmė buvo 0,72. Antroje vietoje liko daugiakalbis BERT, kurio F1 statistika buvo 0,63, o trečioje vietoje liko Electra, kurio F1 statistika pasiekė 0,55. Raktiniai žodžiai: dirbtinis intelektas, teksto klasifikavimas, neapykantos kalba, transformerių neuroniniai tinklai