Didactic prose is a specific type of narrative creation, a very important part of Lithuanian writings of the XIX century. The intention of such literature is to offer countrymen a possibility to enlighten one, to broaden their knowledge of the world, to deepen the consciousness of moral decisions. Apart from the aim of enlightenment this literature is often inclined to educate or moralize the addressee, to give him appropriate or inappropriate examples (exempla) that are good or wrong to follow. To prove didactic truths writers often set a “live example” in the centre of the writing – an example of a person (or people’s community); in the writing it is a character, or personage (literary portrait). The term “literary portrait” is described the most directly by the Russian literature researcher V.S.Barachovas. According to him the portrait is firstly necessary to mark the image of the literary personage; that is the way of the “literary portrait” appearance. The writer shows the literary portrait in a certain environment – in the plot of the writing where the described hero as if “lives”. Here his individuality, mindset, character is revealed while talking, thinking, also through behavior, various actions. According to Barachovas in the creative activity (literature creation), as well as in the biography, the individual living of the character is revealed showing him in diverse manners (see pg. 6-7). This master’s paper analyses the ways in which the mentioned literary... [to full text]

Le 11 septembre 1973, à Santiago du Chili, le général Pinochet, prit le pouvoir de ce pays, en yinstaurant une dictature qui allait durer 17 ans. Après le coup d’état militaire les activités artistiquesdisparurent précipitamment sous la politique de l’« apagón -Panne- culturelle ». C’est dans cescirconstances que naquit une forme de danse indépendante de l’État et résistante, qui se pratiquaitdiscrètement faisant passer un message contestataire et renforçant une communauté rebelle. Cettedanse puisait ses bases de ce qu’il restait de la danse « moderne » chilienne, des techniques de danseapportée d’Europe et des explorations artistiques de ses chorégraphes. Environs vingt ans plus tard,la danse indépendante chilienne a suivi son chemin, elle traversa les périodes de la post-Dictature etescorta les changements sociaux et culturels. Le contexte pour la création en danse changea, celle-Cise développa suivant le contexte historique, politique et économique du pays. Cependant, depuisapproximativement trois ou quatre ans, un nouveau courant de la danse indépendante commence àgermer au Chili. Il s’agit d’un mouvement qui remet radicalement en question les formes, lesmessages et les manières de faire de la danse scénique, mettant l’accent sur l’expérimentation, larupture de codes et la suppression de limites disciplinaires : une nouvelle résistance en danse naît auChili. Le but de cette thèse est, après un travail de champ de trois ans au Chili, de déchiffrer la nature résistante, à travers une analyse comparative, et les mutations de ce de la danse indépendante actuelleau Chili. / September 11, 1973 in Santiago, Chile, General Augusto Pinochet took power in this country,bringing a bloody dictatorship that lasted 17 years. After the military coup artistic activities hurriedlydisappeared under the policy of the "cultural apagón-Blackout-." It is in these circumstances that aform of independent dance- both economically and ideologically- and resistant eraised, practiceddiscreetly passing a protest message and strengthening a rebel community. This dance drew its rootsof what remained of the Chilean "modern" dance, the dance techniques brought from Europe andthe artistic explorations of his choreographers. Near twenty years later, the Chilean independentdance followed its path, it crossed the periods of transition and post-Dictatorship and escorted thesocial and cultural changes. The context for creating dance changed and it developed following thehistorical, political and economic context of the country. However, since approximately three or fouryears, a new wave of independent dance begins to sprout in Chile. It is a movement that radicallycalls into question the forms, messages and ways to make the scenic dance made so far in Chile,focusing on the experimentation, the breaking of codes and the removal of disciplinary boundaries: anew resistance dance is born in Chile. The aim of this thesis is, after a field work of three years inChile, to decipher the resistant nature, through a comparative analysis, and the mutations in thecurrent independent dance in Chile.