Dialogue under Occupation
In: International feminist journal of politics, Band 10, Heft 2, S. 247-255
ISSN: 1468-4470
393651 Ergebnisse
Sortierung:
In: International feminist journal of politics, Band 10, Heft 2, S. 247-255
ISSN: 1468-4470
In: Journal of Palestine studies, Band 12, Heft 3, S. 85-88
ISSN: 1533-8614
In: Middle East report: MER ; Middle East research and information project, MERIP, Band 33, Heft 3/228, S. 12-40
ISSN: 0888-0328, 0899-2851
World Affairs Online
In: Anthropological quarterly: AQ, Band 90, Heft 1, S. 335-340
ISSN: 1534-1518
In: Journal of Palestine studies: a quarterly on Palestinian affairs and the Arab-Israeli conflict, Band 15, Heft 4, S. 46
ISSN: 0377-919X, 0047-2654
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
BASE
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
BASE
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
BASE
Research into the artistic culture of Lithuania during the time of the first Soviet occupation is interesting in itself. At the same time, it helps one to grasp the particularities that art and politics had in common throughout Western culture in the 20th century. The topic is also relevant in terms of other research regarding Lithuanian history. Without the period 1940-1941, the mosaic of the mid-20th century remains incomplete. The first Soviet occupation of Lithuania left a distinctive mark on the life of the country, and it is impossible to comprehensively analyse the much longer period of the second Soviet occupation without evaluating the cultural consequences of the former. An overview of Lithuanian art in 1940-1941 could allow one to say that both the modernists, and the bards of patriotism collaborated with the occupying Soviet authorities. Both chose a path of compromise. The first gave up their artistic ideals and professional ambitions, and the second resolved to reform their historical memory and civic consciousness for the sake of a career. All the same, it must be acknowledged that with the arrival of the second Soviet occupation, the majority of the most talented and ambitious Lithuanian artists chose the fate of an emigrant. In Soviet Lithuania, the work of Jonynas, Kašuba and Petravičius was seen as an example of free art, as a source of the vitality of the nation's culture feeding those who were suffering oppression.
BASE
In: Al-Raida Journal, S. 43-44
No one can escape the suffocation of occupation. It denies innate human freedoms and imposes a state of unnatural uncertainty in the unconscious self. Each citizen of an occupied society suffers the same deprivations and dependence on the caprice of the occupier; yet each frets and reacts with her own patterns of frustration which affect her self-consciousness and her perceptions.Blindness imposes similar restrictions on basic freedoms and self-consciousness. One wants to go places, to see and to understand the wider world from which one is barred, but cannot without assistance. One is dependant on others and therefore lost in a world of uncertainty where most decisions are in the hands of others. This is contrary to the natural instincts and feelings of one's unconscious birthright – just as one might will, as of one's nature, to walk, and find one is paralyzed.
In: The world today, Band 13, S. 286-294
ISSN: 0043-9134
In: Perspectives on global development and technology: pgdt, Band 12, Heft 5-6, S. 535-539
ISSN: 1569-1497
In: Journal of Palestine studies, Band 30, Heft 1, S. 101-103
ISSN: 1533-8614
In: Journal of Palestine studies, Band 15, Heft 4, S. 127-133
ISSN: 1533-8614