The aim of this essay is to debate the narrow contextualization of the works of Swedish artist Maria Friberg, in which she is interpreted as a female, feminist artist engaged in masculinity studies. Art reviews and exhibition catalogues regarding a great part of Friberg’s work have formed the core body of information in this study, selecting the more recent works entitled Still lives (2003- ) as the main focus. These show a change in Friberg’s artistic expression. Subjects concerning group belonging, identity and existential questions have always been present in Maria Friberg’s art, but they are more clearly expressed in her latest works. Art critics have acknowledged the change of motifs in Still lives as a negative development and have expressed disappointment in the absence of Friberg’s renown portrayals of men in business suits. This attire and the gendered motif man have ascribed Friberg to an agenda surrounding masculinity and feminism, leaving little room for other interpretations. The subordinate aim of the study is to suggest alternative readings of Friberg’s art in general and of the Still lives-series in particular. The great majority of art critics are accentuating Friberg’s interest in men, overlooking reasons for her supposed fascination of them. This creates a need for further examination of the depths of Friberg’s photographs. Hence, the last chapter presents a theory of the artists’ use of men as carriers of non-gender related meanings in which the human being is a small part of the impressive machinery composed of nature, culture and the industrialised world which absolutely devours humans.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

La tesi di dottorato indaga l'evoluzione del mito di Elettra dalla fine dell'Ottocento ai giorni nostri, attraverso una prospettiva prevalentemente drammaturgica, ma con attenzione anche verso la letteratura e il cinema: l'idea che domina la ricerca è quella di osservare le relazioni fra questa vicenda e, in particolare, questo personaggio, e il periodo storico in cui vengono rielaborate le sue riscritture, al fine di porre in rilievo la metastoricità del mito e le sue relazioni con l'antropologia e la psicologia. Il percorso prende in esame, complessivamente, trentacinque testi, tre pellicole cinematografiche e vari riferimenti culturali tesi a scoprire, almeno in parte, la funzione del mito nella contemporaneità. / The doctor degree thesis investigates the Elektra's myth evolution from the last years of the nineteenth century to our times, through a dramatic perspective, but also taking heed of literature and cinema: the prevailing idea of the research is observing the relationships between this myth and, above all, Elektra's character, and the historical period of re-writing. The analysis is on 35 texts, 3 films and many others cultural references to discover Elektra in the contemporaneity.

Darbe tyrinėti sakytiniu būdu ir populiarių leidinėlių pavidalu plintantys sapnų aiškinimai, teiginiai apie sapnų pildymąsi ir individualūs pasakojimai apie sapnus. Analizuoti sapnai, kurių vaizdai suprantami perkeltine prasme ir reikalauja aiškinimo. Išsikeltas tikslas – remiantis archyviniais, paskelbtais spaudoje ir autorės surinktais duomenimis ištirti tekstų apie sapnus savitumus bei atskleisti žmonių požiūrį į sapnus ir jų interpretavimą. Buvo nustatyta, kad sapnų aiškinimai priskirtini tikėjimų kategorijai. Sapno vaizdas su konkrečiomis reikšmėmis siejamas analogijos, priešpriešos, tapatumo, žodžių panašumo principais. Žmonės išskiria konkrečius regėtus objektus iš viso sapno ir juos aiškina: 1) atpažįsta tam tikroje kultūros aplinkoje pripažintus sapnų vaizdus, kuriems yra priskirti konkretūs mitiniai įprasminimai, 2) regėtus vaizdus susieja su kokiu nors numatomu arba jau buvusiu įvykiu remdamiesi intuicija ir / ar asmeniniu patyrimu. Sapnų aiškinimuose ir pasakojimuose apie sapnus nusakomas sapno vaizdas ir jo reikšmė. Tarp aiškinimo ir pasakojimo dalių egzistuoja „ženklo – įvykio / numanomo įvykio“ ryšys. Susapnuotas reginys nesukelia tam tikros pasekmės, bet žmogų apie ją informuoja. Požiūris į sapnus nevienodas. Dalis žmonių juos vertina racionalistiškai, o dalis tiki prognozine galia. Kai kurie sapnai paveikia sapnuotoją: jis siekia išvengti negatyvaus įvykio ir atidžiau kontroliuoja savo poelgius, laukia pozityvių permainų ar skuba įsitikinti sapne regėtų... [toliau žr. visą tekstą] / In this work estimation and interpretation of dreams in traditional Lithuanian culture were investigated. The object of the work is dream interpretations, statements on the fulfilment of dreams and individual narrations about them, spreading orally and with the help of popular publications. In the work, dreams are investigated images of which are understood in the figurative sense and need some explanation. It was set out that dream interpretations can be ascribed to category of beliefs. A dream image is related to specific meanings according to the principles of analogy, antithesis, identity and similarity of words. People single out concrete objects from the whole dream and interpret them: 1) identify dream images recognized in certain cultural environment, with specific mythical implications ascribed; 2) link images to some event supposed or already happened on the ground of intuition and /or personal experience. In dream interpretations and narratives on dreams, a dream image and its meaning are defined. Between the parts of interpretation and narration there exists a connection “sign - event / implied event”. An image seen in a dream does not cause a certain result but only inform a person about it. There is no one-sided approach to dreams. Some people estimate them rationally and some do belief in their prognostic power. Certain dreams have an effect on a dreamer: a person seeks to avoid a negative event and is more attentive while controlling his behaviour, looks for... [to full text]

In this work estimation and interpretation of dreams in traditional Lithuanian culture were investigated. The object of the work is dream interpretations, statements on the fulfilment of dreams and individual narrations about them, spreading orally and with the help of popular publications. In the work, dreams are investigated images of which are understood in the figurative sense and need some explanation. It was set out that dream interpretations can be ascribed to category of beliefs. A dream image is related to specific meanings according to the principles of analogy, antithesis, identity and similarity of words. People single out concrete objects from the whole dream and interpret them: 1) identify dream images recognized in certain cultural environment, with specific mythical implications ascribed; 2) link images to some event supposed or already happened on the ground of intuition and /or personal experience. In dream interpretations and narratives on dreams, a dream image and its meaning are defined. Between the parts of interpretation and narration there exists a connection “sign - event / implied event”. An image seen in a dream does not cause a certain result but only inform a person about it. There is no one-sided approach to dreams. Some people estimate them rationally and some do belief in their prognostic power. Certain dreams have an effect on a dreamer: a person seeks to avoid a negative event and is more attentive while controlling his behaviour, looks for... [to full text] / Darbe tyrinėti sakytiniu būdu ir populiarių leidinėlių pavidalu plintantys sapnų aiškinimai, teiginiai apie sapnų pildymąsi ir individualūs pasakojimai apie sapnus. Analizuoti sapnai, kurių vaizdai suprantami perkeltine prasme ir reikalauja aiškinimo. Išsikeltas tikslas – remiantis archyviniais, paskelbtais spaudoje ir autorės surinktais duomenimis ištirti tekstų apie sapnus savitumus bei atskleisti žmonių požiūrį į sapnus ir jų interpretavimą. Buvo nustatyta, kad sapnų aiškinimai priskirtini tikėjimų kategorijai. Sapno vaizdas su konkrečiomis reikšmėmis siejamas analogijos, priešpriešos, tapatumo, žodžių panašumo principais. Žmonės išskiria konkrečius regėtus objektus iš viso sapno ir juos aiškina: 1) atpažįsta tam tikroje kultūros aplinkoje pripažintus sapnų vaizdus, kuriems yra priskirti konkretūs mitiniai įprasminimai, 2) regėtus vaizdus susieja su kokiu nors numatomu arba jau buvusiu įvykiu remdamiesi intuicija ir / ar asmeniniu patyrimu. Sapnų aiškinimuose ir pasakojimuose apie sapnus nusakomas sapno vaizdas ir jo reikšmė. Tarp aiškinimo ir pasakojimo dalių egzistuoja „ženklo – įvykio / numanomo įvykio“ ryšys. Susapnuotas reginys nesukelia tam tikros pasekmės, bet žmogų apie ją informuoja. Požiūris į sapnus nevienodas. Dalis žmonių juos vertina racionalistiškai, o dalis tiki prognozine galia. Kai kurie sapnai paveikia sapnuotoją: jis siekia išvengti negatyvaus įvykio ir atidžiau kontroliuoja savo poelgius, laukia pozityvių permainų ar skuba įsitikinti sapne regėtų... [toliau žr. visą tekstą]

The figure of Jesus in the Qur'an has strong eschatological dimensions, but Jesus' role at the end of the world is much like that of other prophets. The Hadith literature introduces an image of Jesus as the prophet-messiah who will descend at the end of history, destroy false religion and confirm the truth of Islam. This concept of the descent of Jesus is studied in this thesis, both in relation to the Qur'an and as part of a wider eschatological development in which Muslims, after Muhammad's death, expressed various views on the meaning and end of history.

Vartotojiškoji kultūra per įvairias medijas: TV ir reklamą dažniausiai tiesmukai interpretuoja žmogaus kūną. Grafikos darbų kolekcija „Pop“ interpretuoju šį procesą. Ji pagrįsta koliažo technikos principais ir komponavimu. Šio baigiamojo darbo objektas yra vartotojiška kultūra ir žmogaus kūno interpretacijos. Darbai spausti 2014m. Šiaulių universiteto grafikos centre. Tai septynių darbų ciklas 57,5x44,5cm formatu. Atspaustų spalvotų fonų grafikos darbų kolekcija atlikta tradicine sausos adatos technika. Visa kolekcija sukurta mišrios technikos būdu. / Consumer culture usually forthright interprets the human body through a variety of media: TV and advertisement. I interpreted this process with graphic works collection "Pop". It is based on the principles of collage techniques and composition. The theme of this final work is "Consumer culture and interpretations of the human body." The works are pressed in the graphics centre of Siauliai University in 2014. This is a cycle of seven works in format 57.5 x44, 5 cm. The collection of the graphic works is made up in the traditional dry needle technique. The colour backgrounds are printed. The entire collection corresponds to the "mixed technique" description.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

La désignation des identités Muhutu, Mututsi ou Mutwa au Rwanda selon une terminologie raciale a débouché sur des interprétations raciales de la société rwandaise depuis la fin du 19 siècle. Ces dernières ont inspiré une option politique et socio-économique de la société rwandaise. En vue de la conservation du pouvoir d'Etat, une propagande raciste postcoloniale déboucha sur le génocide perpétré contre les Batutsi en 1994. / The identification of Hutu, Tutsi and Twa of Rwanda as races had conducted to racial interpretations of those identities, since the end of 19th century. A racist propaganda during the postcolonial period conducted to genocide against Tutsi in 1994.