This paper intends to answer the question of when and how we can consider a theatre criticism or review of a play to be more objective than another one. First we define the field of inquiry, art criticism and theatre criticism in particular. In doing so we describe how objectivity, truth, the author of a review and his or her intentions are related. We also explore various forms and functions of theatre criticism. While describing the process how criticism is created (perception, interpretation, evaluation and repeated search of arguments for the subjective view in the theatre piece itself) we identify how the different steps of such process influence the level of objectivity. At the end of the theoretical part this paper offers a synthesis of different criteria for objectivity in theatre criticism. The second part compares the criteria of objective criticism with a set of current theatre reviews in the daily press, weekly magazines and professional publications. We analyze ten reviews of Václav Havel's The Garden Party (Zahradní slavnost) directed by Dušan Pařízek at the Prague's Estates Theatre (Stavovské divadlo). This set of the ten reviews includes an article by the author of this paper herself. Based on the criteria described in the first part of the paper we evaluate reviews by Radmila Hrdinová, Marcela Magdová, Marie Reslová, Vladmír Just, Richard Erm, Vojtěch Varyš, Vladimír Mikulka, Vladimír Hulec, Milan Uhde and Pavlína Pacáková. The evaluation shows the criteria can distinguish the reviews on a subjective-objective scale. We conclude that an objective criticism fulfils several key demands: it openly defines the criteria of its evaluation, offers consistent reasoning, evaluates the theatre performance as a whole and not only as individual elements and helps the reader to make his own opinion and conclusion based on the given information.

Tarpukario kultūrinis periodas Lietuvoje yra tikrai nedaug tyrinėtas. Šiuolaikinių specifinių kultūros, literatūros, filosofijos, netgi komunikacijos ir žurnalistikos problemų tyrimas reikalauja filologinės kultūros pagrindų, kurie formavosi tarpukaryje, išmanymo. Plačiajai visuomenei skirto žurnalo „Naujoji Romuva“ analizė įvairiais literatūros vertinimo aspektais suteiks naujos informacijos, pakoreguos vyraujančias nuostatas įvairiais kultūros klausimais, suponuos tolesnių filologinių tyrimų prielaidas. Šio darbo tikslas — supažindinti su tarpukario Lietuvoje leisto žurnalo „Naujoji Romuva“ literatūros vertinimo koncepcija. Keliami tokie uždaviniai: atskleisti meno, kūrinio, kritikos sampratą, reikalavimus kūrėjui ir kritikui, išskirti kritikos kriterijus. Tarpukariu Lietuvoje leistame žurnale „Naujoji Romuva“ deklaruota pozicija gana objektyviai parodė tuometinėje Lietuvoje susiklosčiusią literatūrinę situaciją. Žurnale literatūros vertinimo, kritikos straipsniuose perteikiamas estetinis meno įspūdis, keliami nauji kriterijai kūrybai ir kritikai. Meno samprata „Naujojoje Romuvoje“ atskleista estetinės kūrinio vertės aspektu. Svarbiausia mene yra įkvėpimas, nesuinteresuotumas, natūralumas, originalumas. Reikia paminėti, kad be estetinės meno vertės, žurnale svarbus buvo tautos ir visuomenės aspektas. Bandoma suvokti praeities lietuviškąjį substratą ir sintetinti jį su modernaus gyvenimo formomis. Svarbiausias kūrybai keliamas tikslas — kūriniai turi būti modernūs, bet... [toliau žr. visą tekstą] / The cultural period of interwar in Lithuania is really not researched lot. Contemporary specifically research of culture, literature, philosophy, communication and journalistic problems, needs knowledge of philological cultures base, which was formed interwar. Analysis of journal „Naujoji Romuva“ in various aspects of value will give new information, adjusts prevailing attitude in various cultural questions and will presuppose further suggestion of philological researches. The point of this work is to acquaint with interwar journal „Naujoji Romuva“ published in Lithuania conception of evaluation of literature. In the way will be exhibited the conception of art, creation, critics, the demand to creator ant reviewer, pointed the criterion of critics. The conception of art in „Naujoji Romuva“ is displayed by aspect of esthetical value of creation. The main thing in the art is inspiration, disinterest, disengagement, originality. Also in journal substantial thing is the aspect of nation ant society. The purpose of creation is that oeuvre would be modern, but not without singularity. The creator must be creative, sensitive, delicate, but to defend his own positions. All features is characteristic to harmonious person — creator-harbinger. To critics concerns to convey the esthetical impression of creation, to plug to the psychological aspects. Dominated to main conceptions of evaluation in journal — modern ant traditional. Modern critics rates creation by reference of Friedrech... [to full text]

<p>U ovoj doktorskoj disertaciji, Bo&scaron;ko Tokin se, po prvi put, sveobuhvatno analizira kao teoretičar, kritičar, poetski i prozni pisac, te se, prema toj analizi i prema teorijskoj, kritičkoj, poetskoj i proznoj avangardnoj praksi uop&scaron;te, utvrđuje njegov značaj kao avangardnog pisca. Potom se dokazuje posebnost njegovog dela u avangardnom kontekstu, odnosno dokazuje se njegov avangardizam težnja prema sprezi&ldquo; književnosti i filma.<br />Analizom teorijskih radova pokazuje se da su elementi koje je zahtevao od književnih dela zapravo elementi koji su a priori ostvareniji u delima filmske umetnosti, zbog same prirode te umetnosti. Ti elementi se u ovom radu nazivaju kinematografski elementi.<br />Na temelju analize kritičkih radova određuje se da je na osnovu tih elemenata Tokin vrednovao, kako književna, tako i filmska dela, odnosno da je malo koje delo, iz jedne i druge umetnosti, moglo da zadovolji kriterijume na&scaron;eg kritičara, ali da su tome najbliži bili oni koji su u svojim književnim delima koristili kinematografske elemente. Iz interpretacije proznih i poetskih tekstova proizilazi da je pisac interpolirao kinematografske elemente u gotovo celokupni umetnički opus, odnosno da je svoja književna dela gradio elementima koji imaju ekvivalente u delima filmske umetnosti. Tako se dokazuje su&scaron;tina poetike Bo&scaron;ka Tokina, koja je u sledećem pisac je težio totalnom umetničkom delu&ldquo;, a totalno umetničko delo&ldquo; za njega predstavlja ono književno delo koje se temelji i gradi kinematografskim elementima.</p>

<p>Stavljajući akcenat na rasvetljavanje kompleksne pozicije i funkcije medija, kao i implikacija njihovih jezičkih praksi po njima svojstven socio-kulturni kontekst, putem ovog rada nastoji se ukazati na zavidan potencijal filozofije medija (pogotovo hermeneutičke kritike kao njenog bitnog aspekta) za razumevanje čovekove stvarnosti. Sprovođenje kritičkih promi&scaron;ljanja nekih od aktuelnih praksi zloupotrebe medija i njima svojstvenog jezika usmereno je ka konkretizaciji teorijskih promi&scaron;ljanja medija, ali i ka iznalaženju potencijalnih re&scaron;enja za redukovanje njihovih neadekvatnih upotreba. Polazeći od stava da unutar svakog dru&scaron;tva postoje idejni sistemi motivisani interesima određenih grupacija koje, pod izgovorom da streme ka op&scaron;tem dru&scaron;tvenom dobru, svoje aktivnosti usmeravaju ka pribavljanju lične koristi, ono &scaron;to se želi utvrditi jeste način na koji ove grupacije koriste medijski prostor ne samo radi plasiranja, već i radi nametanja sopstvenih idejnih i vrednosnih sistema. Putem ovog rada nastoji se ukazati i na to da limitiranim interesima opterećen medijski jezik ne predstavlja ni&scaron;ta drugo do instrument kojim se bitno redukuju potencijali kako samog jezika tako i čoveka kao dru&scaron;tvenog subjekta s obzirom na to da upravo jezik predstavlja značajan aspekt njegovog bića.<br />Ono &scaron;to se nastoji dokazati jeste da medijski jezik, koji stoji u službi moćnih interesnih grupacija, funkcioni&scaron;e kao mehanizam instrumentalizacija dru&scaron;tvenih subjekata, te da se kao takav negativno odražava po subjektivnost to jest osobenost pojedinaca i pojedinki. Takođe, u sklopu ovog rada zastupa se stav da je samo na osnovu toga &scaron;to je za konkretne medije utvrđeno da stoje u službi određenih interesnih grupacija neprimereno izvoditi bilo kakve vrste zaključaka o medijima uop&scaron;te, ali i svu odgovornost za negativne posledice medijskih praksi pripisati isključivo grupacijama koje vr&scaron;e uticaj na njih.</p>

The work's object - the Lithuanian art critics discourse community. The subject is provoked by present-days discussions about the crisis of art criticism and trying to discuss the phenomenon of art criticism in social context. The aim of analysis is to name conventions and practices of discourse and to discuss power relations in the Lithuanian art scene. The analysis is done in three aspects. First, by the institutional aspect, the margins of art critics trajectories are defined. Second, by the thematic aspect, the subjects, which are conditioned by hierarchy of the objects of the field of reflection, are defined. Third, by the mental aspect, the effect of art criticism field margins is defined for the art critics texts.

The beginning of Finnish and Lithuanian–Polish cultural and literary relations, which started in the late 19th cent., wasn’t a casual phenomenon. In the late 19th – early 20th cent. Finnish scientists became interested in Polish literature and started researching its history, communicating with Polish writers. This interest in Polish literature was inevitably concerned with Lithuanian political and cultural situation. The first researches in this area were performed by two Finns. A young Finnish couple, the writer Maila Talvio and her husband linguist Jooseppi Julius Mikkola. In the late 19th cent. they arrived at Lithuania. The aim of this travel was not just to have pleasant holidays. The Finns also wanted to learn Lithuanian language, to get to know more about the culture and people of this country. They perceived that the Lithuanian nation was under oppression and that its language was sought to be annihilated. The Finns with pleasure communicated with Lithuanian public and cultural workers – Zofija and Petras Kriaučiūnai, Vincas Kudirka. Inspired by traveling impressions around Lithuania Maila Talvio wrote articles, memories and literary writings, which made known the name of this country in Finland. In the outskirts of Gardinas Maila Talvio and her husband made acquaintance with famous Polish writer Eliza Ožeškova. Their friendship was nice and kind. Maila Talvio became a good friend of Polish writer and Polish people in general. She did plenty of work in making E... [to full text]

Iki momento, kurį šiame darbe linkstama vadinti episteminiu lūžiu, Vakarų metafizinio mąstymo įsteigtas bei puoselėtas hierarchinis dualizmas buvo fundamentalus epistemologinis konstruktas, grindęs visas mentalinės veiklos sritis. Meno teksto atveju šis dualizmas pasireiškia kaip skirtis tarp vidujybės ir išorybės, giluminės kūrinio idėjos, jo turinio, logoso, subjekto, bei to, kas įvardintina kaip paviršinė kūrinio išraiška, signifikantas, jusliškumas, raštas, objektas. Išorybė pavaizduoja, pamėgdžioja, įkūnija „originalą“ – dvasinę substanciją arba vidujybę. Šia dualistine hierarchija grindžiama tradicinio literatūros mokslo bei kritikos ideologija besiremiantis literatūros kritikas juda nuo išorinio pavidalo (kūrinio) prie vidujybę įkūnijančio autoriaus, nuo rezultato prie šaltinio, nuo signifikantinio lygmens prie signifikato. Kanono steigimas suteikia galimybę apriboti piktybinį ir pavojingą reikšmių dauginimąsi; o būti įrašytam į kanoną reiškia paklusti tradicijos tęstinumo bei apriorinių schemų imperatyvui. Autorius įspraudžiamas į moralumo rėmus; tad humanistinių vertybių plotmės at(si)vėrimas tekste funkcionuoja kaip teksto kokybinio (į)vertinimo kriterijus. Transcendentalumo lygmuo laikomas svarbiausiu kūrinio atverties momentu. Tai yra lūkesčių literatūros atžvilgiu projekcija. Bandoma autoritetingai paneigti kultūrinių procesų diversifikacijos steigiamą vertybinį daugybingumą. Klasikinio kritiko (s)teigiamas vertingumas yra monoteistinės prigimties, meniškumas –... [toliau žr. visą tekstą] / This study (The Focuses of Attention in Lithuanian Literary Criticism (1991 – 2005), Marginalia, Canon of Analysis and Taboo) demonstrates the critical connection to Lithuanian science of literature and Lithuanian literary criticism. The attention is concentrated on traditional strategies of literary discursivity, which functioning is very intensive in our surroundings. Critic is directed over the „high literature canon“, which is hegemonisated, absoluted, mistificated. Author is regarded as the important institute, which produces meanings – sytems of signification. These meanings are connected with the author as a transcendental subject. So traditional literary criticism lay a stress on the interflow of ethics and aesthetics. That is why value politics do not tolerate popculture, as if was felt longing for the former „general strategies“, reasoning about historical monolithic, general limitings and meanings. The new (post)modern aesthetic experience surpasses the limits of aesthetics, established by the traditional Western metaphysics; so the limits of the contemporary aesthetics were considerably expanded and deprived of distinct determinations. But despite that traditional critics unflaggingly persist in the analysis of literature, predicated on hierarchical dualism. It‘s maintained, that there is ability to resist against such „uniting“ position just creating self-critical discourses, modernly determinating the role of Lithuanian literature and culture. It‘s important to... [to full text]

Iki momento, kurį šiame darbe linkstama vadinti episteminiu lūžiu, Vakarų metafizinio mąstymo įsteigtas bei puoselėtas hierarchinis dualizmas buvo fundamentalus epistemologinis konstruktas, grindęs visas mentalinės veiklos sritis. Meno teksto atveju šis dualizmas pasireiškia kaip skirtis tarp vidujybės ir išorybės, giluminės kūrinio idėjos, jo turinio, logoso, subjekto, bei to, kas įvardintina kaip paviršinė kūrinio išraiška, signifikantas, jusliškumas, raštas, objektas. Išorybė pavaizduoja, pamėgdžioja, įkūnija „originalą“ – dvasinę substanciją arba vidujybę. Šia dualistine hierarchija grindžiama tradicinio literatūros mokslo bei kritikos ideologija besiremiantis literatūros kritikas juda nuo išorinio pavidalo (kūrinio) prie vidujybę įkūnijančio autoriaus, nuo rezultato prie šaltinio, nuo signifikantinio lygmens prie signifikato. Kanono steigimas suteikia galimybę apriboti piktybinį ir pavojingą reikšmių dauginimąsi; o būti įrašytam į kanoną reiškia paklusti tradicijos tęstinumo bei apriorinių schemų imperatyvui. Autorius įspraudžiamas į moralumo rėmus; tad humanistinių vertybių plotmės at(si)vėrimas tekste funkcionuoja kaip teksto kokybinio (į)vertinimo kriterijus. Transcendentalumo lygmuo laikomas svarbiausiu kūrinio atverties momentu. Tai yra lūkesčių literatūros atžvilgiu projekcija. Bandoma autoritetingai paneigti kultūrinių procesų diversifikacijos steigiamą vertybinį daugybingumą. Klasikinio kritiko (s)teigiamas vertingumas yra monoteistinės prigimties, meniškumas –... [toliau žr. visą tekstą] / This study (The Focuses of Attention in Lithuanian Literary Criticism (1991 – 2005), Marginalia, Canon of Analysis and Taboo) demonstrates the critical connection to Lithuanian science of literature and Lithuanian literary criticism. The attention is concentrated on traditional strategies of literary discursivity, which functioning is very intensive in our surroundings. Critic is directed over the „high literature canon“, which is hegemonisated, absoluted, mistificated. Author is regarded as the important institute, which produces meanings – sytems of signification. These meanings are connected with the author as a transcendental subject. So traditional literary criticism lay a stress on the interflow of ethics and aesthetics. That is why value politics do not tolerate popculture, as if was felt longing for the former „general strategies“, reasoning about historical monolithic, general limitings and meanings. The new (post)modern aesthetic experience surpasses the limits of aesthetics, established by the traditional Western metaphysics; so the limits of the contemporary aesthetics were considerably expanded and deprived of distinct determinations. But despite that traditional critics unflaggingly persist in the analysis of literature, predicated on hierarchical dualism. It‘s maintained, that there is ability to resist against such „uniting“ position just creating self-critical discourses, modernly determinating the role of Lithuanian literature and culture. It‘s important to... [to full text]

Vilnius Pedagogical University Faculty of Lithuanian Philology Master thesis Textual analysis of Mamertas Indriliūnas literary archive Eglė Valantavičienė The master thesis “Textual analysis of Mamertas Indriliūnas literary archive” deals with the M. Indriliūnas (1920-1945), who was Lithuanian poet, critic, translator and resistant, archive of extracts. Analysis is based on the method of genetic criticism. M. Indriliūnas archive of extracts consists of other authors’ minds and ideas taken out from books which he had read. In this master thesis the extracts are analyzed by 2 levels. First of all textual decoding of extracts, establishment of attribution and genetic classifications are carried out. On the second level results of classifications are analyzed and interpreted using the method of genetic criticism. Extracts are classified according to particular criteria of similarity: according to the language of extracts, their titles and directions of disciplines. From these classifications following results are worked out: most extracts are in the Lithuanian, German and French languages; literature and philosophy are disciplines which M. Indriliūnas studied the most thorough; principal subjects of extracts are related to the relationship between God and human being, to Christianity and religion, philosophy, art and creation. According to these classification results conclusion can be drawn that M. Indriliūnas world-view was influenced by French and German aesthetic and... [to full text]

Lietuvos vėliavos pakėlimas ir salvės už tėvynę, Lietuvos kultūrą ir laisvą menininką. / The raise of Lithuanian flag and salvos for the motherland, Lithuanian culture and free artist.