Riba tarp filosofinio ir literatūrinio diskursų postmoderniojoje kultūroje yra panaikinama išnykus didiesiems pasakojimams. Tai nulemia ne tik literatūros filosofijos atsiradimą ar kalbėjimą apie literatūrinio teksto filosofiškumą, bet ir sulieja filosofinio ir literatūrinio diskursus į vieną, naujos kokybės tekstą, panaikina pačios skirties tarp diskursų prasmę. Lietuvių literatūroje ir kultūroje tokį ribų peržengimą žymi Eugenijaus Ališankos kultūrologinės studijos Vaizdijantis žmogus ir Dioniso sugrįžimas bei jo poezijos rinkiniai (Lygiadienis, Peleno miestas, dievakaulis, iš neparašytų istorijų). čia teoriniai postmoderniojo diskurso postulatai yra inkorporuojami į literatūrinį tekstą; kalbančiojo subjekto raiška liudija nuolatines steigties pastangas; poetinis pasaulis ima darytis fragmentiškas, sudarytas iš kultūrinių, literatūrinių, filosofinių idėjų nuotrupų - tokiame pasaulyje kalbantysis subjektas klajoja, ne tik nuolatos kurdamas savąjį tapatumą, bet ir stengdamasis priartėti prie tarp teksto fragmentų besislepiančios pirmapradės tuštumos. / Philosophical and literary discourses traditionally are differed by their own objects of interest or methods or rhetorical qualities of text. Nevertheless, in postmodern culture these differences are reduced by the dissappearance of meta-discourses and the importance of textuality. These discourses now are in a constant connection – and now we can talk about philosophy of literature or philosophical literature or a philosophy as literature or about pgilosophico-literary framework of contemporary literature. In Lithuanian literature a distinction between philosophical and literary discourses are reduced by Lithuanian poet, Eugenijus Ališanka, who also published two interdisciplinary studies on contemporary art and literature. In poetry E. Ališanka uses ideas of postmodern philosophy, converts them into a poems that becomes the manifestation of a postmodern man in a postmodern world. Formerly meta-narratives are replaced by multiplicity of mini-narratives, and the subject acquires a discoursive identity which wanders in the infinite net of cultural, literary, philosophical signs.

This study comprises the basic of Heraldy and Military insignia of the Lithuanian Armed Forces and the other signs used in the Military. The first part of the study introduces the evolution of the military insignia used at the interwar time by Lithuanian Military Corps and nowadays modern Military insignia as well. Military Heraldy describes and represents the kind of Military Forces, Military corps, specialization even the country that the Military corps belong to. Also reflects the short details of country’s history and culture. Taking the artistical approach understanding of the Military insignia is related to the fine arts (painting, sculpture and graphics) to art of computer graphics (scanning, installation, composition) and communication (information delivery). Insignia of the Lithuanian Armed Forces are created according the rules of Heraldy and confirmed by the commission of the Lithuanian Heraldy. Second part of the study analyses the cumulate material by the angle of the assumption of art cognition. Creation of the Military insignia requires deep knowledge and of art and good skills in practice. Such as tune-up of metal and colour, detail compositions are highly required. Colours and metals are usually selected regarding the Military inheritance. If the Military corps are named on the name of one of the great duke’s of Lithuania, than the colours and metals are taken from the duke’s family blazon. Third part of the study describes the pedagogical experiment... [to full text]