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Dailės kūrinių interpretacijos metodologijai ir teorinėms prieigoms skirtame straipsnyje svarstoma, kaip remiantis šiuolaikine materialistine filosofija, pirmiausia – Bruno Latouro ir Donnos J. Haraway teorijomis, plėtoti įžemintą ir spekuliatyvią kontekstinės interpretacijos versiją. Haraway situatyvaus žinojimo paradigmoje dailės kūrinys būtų simpoetinis bendrininkas, kompanionas, įgalintas kartu mąstyti, kelti nerimą, jungtis į dalinio, įkūnyto ir įvietinto žinojimo tinklus, gedėti, ugdyti atsako galią. Jis ne iliustruoja, o siūlo istorijas, taip pat ir dailės istorijos pasakojimus. Kartais ir ne naujausi dailės kūriniai padeda kartu mąstyti ir Haraway nusakyta prasme – apie rūšių bendrabūvį chtulucene, įvairių padarų giminystę. Aptarus diskursyvias kūrinių emancipacijos, į(si)tinklinimo ir veikmės sąlygas, antroje straipsnio dalyje nagrinėjamas Antano Gudaičio kūrybos atvejis. Reikšminiai žodžiai: estetinis režimas (Jacques Ranciére), tinklaveika (Bruno Latour), situatyvus žinojimas, simpoezė (Donna J. Haraway), Antanas Gudaitis. The paper is dedicated to the theoretical approaches and methodologies of artwork interpretation. By drawing from the contemporary materialist philosophy, primarily the theories of Bruno Latour and Donna J. Haraway, the paper aims to develop a version of contextual interpretation that is both terrestrial and spectulative. The paper discusses the conditions of discoursive emancipation, networked inclusivity and agency of artworks, namely: author’s death, the importance of cognition, and Rancière’s notion of aesthetic regime. Rancière talks about the emancipation of viewer as a result of the unpredictability of sensory cognition and the incongruity of the rules of poetics and aesthetics, which implies the activisation of artworks (images, texts, etc.). The paper argues that artworks (mediated images) have more agency than texts, which is confirmed by visual phenomenology, psychoanalysis of the gaze, the paradigm of effigies, etc. The artworks are thus the active and not-quite-dead participants of social interrelations because they keep generating unforeseen performative consequences and random meanings, as well as shaping the behaviour of the audiences that perceive them. Meanwhile authors and interpreters are not subjects but ‘mere’ actants – they are not-quite-alive as they rely on mediatised repositories of knowledge and forms. In terms of Latour’s Actor-Network Theory (ANT), the perceiving audience (including art theorists themselves) are networked actants, and their interrelations involve many other actants, including originary imagery, (meta)stories, ideas, artists, thinkers, atmospheric phenomena, animals, and artefacts. Within Haraway’s paradigm of situated knowledge, an artwork would be a sympoietic companion that joins us in thinking, makes us worry, assemble into the networks of partial, embodied, and site-specific knowledge, as well as mourn and facilitate our response-ability. If we are able to think together with various human and non-human entities, both alive and dead, this surely extends to artworks too. Haraway calls the paradigm of cohabitation of species and entities Chthulucene, and sometimes it is possible to apply it to the artworks that are not necessarily new. In the second part, I ignore the distinction between the art theoretical text and meta-text, and take up the case of Antanas Gudaitis (1904-1989). A master figure of Lithuanian modernism, Gudaitis studied in Paris (1929-1931), and his later period is marked by the plentitude of references to inter-species cohabitation. In his drawings from the 1970s, we see birds sitting at the table together with people, and his later work features ‘double-portraits’ that combined the heads of humans and various animals. Depicted in the distinctly expressionist style, objects and animate creatures are turned into equal actants. Gudaitis stresses the optical similarities between humans and non-humans, which gives his work the quality of the Freudian uncanny. In the conditions of an almost total cultural isolation during the soviet era, the art of Gudaitis, as well as that of the CoBrA collective, with their vision of an empathetic and slightly uncanny inter-species cohabitation (which today we would call post-anthropocentric), could have only emerged in the artistic soil already prepared by surrealism. The research of creative contexts, cultural environment and imagery is common in art history, and it is also one of the traits of the situative – terrestrial – interpretation, although the reformation of the art theoretical language through a meaningful developing of the speculative dimension is certainly not an easy task. Keywords: aesthetic regime (Jacques Ranciére), actor-network theory (Bruno Latour), situative knowledge, sympoiesis (Donna Harraway), Antanas Gudaitis.

Nuožmi taika – tai pirmiausia knyga, (po)tipografinis kodeksas. Knygos medžiagiškumas ir dizainas šiuo atveju yra neatskiriama veikalo dalis. Kino ir vizualumo tyrėja, Vilniaus universiteto Tarptautinių santykių ir politikos mokslų instituto profesorė Natalija Arlauskaitė su knygos dailininke Agne Dautartaite-Krutule pradėjo diskutuoti apie leidinio išvaizdą, kai veikalas apie archyvinės fotografijos remediaciją dokumentiniame kine ir jam artimuose šiuolaikinio meno kūriniuose buvo tik sumanytas, bet dar neparašytas, nes nenorėjo tiesiog rašinio su iliustracijomis, o siekė, kad vaizdų pateikimas knygoje taip pat verstų mąstyti apie tai, kaip mes žiūrime į archyvinius vaizdus. [...] Nuožmios taikos autorei ir dailininkei bendromis jėgomis pavyko įdarbinti mediją, iš dalies paversti ją tiksliniu pranešimu, reflektuojama pasakojimo raiškos dalimi. Skaitant šią knygą medijos pranešimo neįmanoma nepastebėti, nes ji labai skiriasi nuo įprastų mokslo knygų.

XX a. 9–10-ajame dešimtmetyje Šarūnas Sauka, Audrius Puipa ir kiti dailininkai, tapybą ir grafiką suartinę su fotografija (ir vaizdus su žodžiais), ėmė dažnai vaizduoti gyvūnus. Atrodo, kad intermediali raiška jiems buvo reikalinga bioįvairovės idėjoms, daugiarūšės draugijos siužetams plėtoti. Fotografija dailininkams pravertė ir praktine plotme, nes, kaip žinoma, gyvūnai nepozuoja. Ši daugialypė XX a. pabaigos dailės hibridizacija nagrinėjama pasitelkus šiuolaikines hibridinio būvio, kolektyvinio mąstymo ir mišrios raiškos teorijas. In the 1980s and 1990s, animals were a frequent subject in the works of Šarūnas Sauka, Audrius Puipa and other artists, who merged painting and graphic art with photography and images with words. These artists apparently used intermedial expression as a tool to develop the subject of biodiversity. Photography came in useful for them also from the purely practical viewpoint, as animals do not pose. This multifaceted hybridization of art of the late 20th century is analysed through the prism of the contemporary theories of hybrid existence, collective thinking and mixed media. The aim of the article is to prove that hybrid expression and plots of a multi-species community widespread in the art of the 1980s and 1990s are not a random coincidence. In the 1980s, art critics in Lithuania hardly had anything to say about the relations between human and non-human creatures, and most often overlooked animals represented in art. Today, a rich theoretical discourse on biodiversity as a social and cultural category helps us to think on this subject with paintings. In the chapter “From Liberation to Compost”, the posthumanist tendencies in Lithuanian philosophy, the problematics of the animal turn, and the theories of Gaia (Latour) and Chtulucene (Haraway) are briefly presented. In interpreting the artworks, above all, Sauka’s painting A Negative View from his early photorealistic period (1982), and Puipa’s lithograph The Shearing of the Sheep (1997), the author of the article looks for concrete relations between the discourse on biodiversity and artistic expression. In both works, kangaroos are depicted – at first sight, it seems quite odd and uncommon in the Lithuanian context, but at a closer look, the appearance of these characters seems almost unavoidable. In Sauka’s and Puipa’s art, the opposition between humans and other animals, as well as between painting and photography, is disappearing in a similar way as is the opposition between nature and culture in Latour’s or Haraway’s texts, i. e. very diversely. Speaking about intermedial expression – above all, the interaction of traditional art forms and photography, – its multifaceted character and the large variety its forms comes to the fore. Sauka’s early work represents the general tendencies of photorealism that became distinct in Lithuanian painting circa 1980, the production and reception of photographic works as a theme of works, and appropriation, or repainting (though not reliably proven) of concrete photographic images. In Puipa’s work, the photographic character manifests itself in the redrawing of motifs from press photographs, the production of preparatory photographs for drawings, and photoshoots of tableaux vivants. Animals appearing in the works of these artists also have many different missions – sometimes they are merely a piece of meat for a human dinner, and sometimes, by their powers of agency, they even surpass the human characters.

Siekiant išplėsti Elonos Lubytės projekto Tylusis modernizmas (1997) – savotiško sovietmečio dailės sklaidos ir tyrimų nulinio taško – dailėtyrinį kontekstą, straispnyje svarstomos kitos artimos Lietuvos moderniosios dailės istorijos sąvokos. Dailės modernizacija – atlydžio metais prasidėjęs istorinis reiškinys – diskursyviai atskiriama nuo modernizmų, ar veikiau (post) modernizmų, išrandamų dabar interpretuojant vėlyvojo sovietmečio dailę estetiniu režimu. Tai tampa aktualu šiuolaikiniame globaliame daugybinio, išplėsto, pasikartojančio, sugrįžtančio modernizmo kontekste. Todėl straipsnyje apžvelgiamas ir naujas, dabartinis, modernizmo raidos Lietuvoje etapas. This paper expands on the art historical context of Elona Lubytė’s project Quiet Modernism (1997)—which is now widely acknowledged as a certain point of reference in soviet art studies and art distribution—with the aim to introduce other concepts relevant to Lithuanian art history. Here the modernisation of art that began during the decade of the Khrushchev Thaw is discursively separated from other modernisms or, rather, (post)modernisms that are currently being invented as a result of using the (Jacques Ranciére’s) aesthetic regime to interpret the late soviet art. When researching the art of the past, particularly that of the periods of political oppression, it is crucial to distinguish between the productive and reproductive approaches, as well as to differentiate between the perspectives of creator and perceiver. Art production and historical distribution are deeply rooted in the milieus of each period, therefore we should also consider not only the art shows in remote areas and other nuances of ‘quiet modernism’, but also the clamorous modernisation of the official art. In other words, it is not only about the resistance against the sovietisation of art, but also about the very project of sovietisation as such. Viewed from our current perspective and linked with the discursive contexts that are relevant to the interpreters themselves, the soviet artworks become freed from the historical clutches of a particular epoch and enter a more universal discourse. The year 1997 was a particularly favourable time to invent some of those possible ‘local’ modernisms. The end of the 20th century saw a renewal of the debates on the heritage of the Western modern art. This project is still pertinent in the context of the multiple, extended, repeating, and recurring global modernities. The fact that, in the field of Lithuanian art, artists are showing their interest in modernist heritage, proves that the currently ongoing process of ‘reloading’ the modernism is very much alive. The paper also gives an overview of this new stage of modernist development in Lithuania. Some of the works by middle-aged artists are just as attributable to the new modernism as those by the young generation. With their serene and constructive attitudes, the former are displaying purity of forms (but not that of media) that they clarify, reactivate, reference, and reflect on. The paper concludes with the question: why the 20th century Lithuanian modernism is still excluded from the global history of the ‘reloaded’ modernism, and why is it not featured at the representative art ‘centres’? This might be due to the fact that Lithuania still lacks a clearly articulated visual narrative of its own modernism.

The subject of this article is the multimedia art of the 21th century, made of texts and images. Considering the peculiarities of the image/text as an art practice and theoretical concept, the interaction between images and words in these works of art is analysed in the aspects of expression and content. Although it would be quite difficult to find a contemporary picture without letters or accompanying phrases, the multimedia art works still are suspicious marginalia in the field of visual arts evoking associations with popular culture and mass communication. Material files for such image/text still are under the process of invention, and almost every time they look like a temporary exception. Three artists under discussion - Staselė Jakunskaitė, Marta Vosyliūtė and Rūta Spelskytė - try to figure out how to include the meaning of sentences into their works without spoiling the pictures or engravings with such texts. For those, interested in the image and word relations in multimedia works, it would be quite logical to expect the dominant distribution of functions of elements characteristic to cinema or comic books. Nevertheless, the relations between images and words in the works under discussion are closer to meta-textual, inter-textual and intermedia relations. This could be related to the fact that this type of art is intertex- tual and inter-iconic, as well as to its exposed introspection and possibly also the often criticized traditions of art dissemination or producing narrative fine art. Such interchange between visuality and figurativeness becomes a subject or purpose of the works. Jakunskaitė attempts to free her imagination and language by straightforward illustrations of the tropes and broken metaphors. Functioning as a pitiless mincer, Vosyliūtė’s undivided imagination redistributes sensations, ruins the viewer’s former knowledge and forces to doubt anything, especially - one’s memory. Spelskytė makes her viewers work, commands them to revise their knowledge, and the work area for their imaginations is her engravings demanding their tremendous contribution, rather than texts. The multimedia works or image/texts suit well for educating an industrious, emancipated viewer, because they allow him/her to follow the perception process lasting in time, and treat it as a job. The aspiration for freedom, sovereignty and peaceful co-existence of words and images in this art of dual expression could also be looked upon as political.

Lithuanian art critics have often enough pointed out the specific relationship between contemporary art and verbal language, yet it has not evolved into a subject for any detailed research. This article deals with texts that accompany, rely on, rule over or comment on images. Written either by artists themselves or by curators, the texts can take on various forms (that of description, press release, project application, or purposive critique). Taking into account the historical context of relations between image and word in art, as well as the syntagmatic and semantic image-text typical of contemporary art (when writing constitutes a part of an artwork, and the interaction between text and image is its main subject), the article highlights factors that led to the proliferation of textual supplements, discusses their subsequent emancipation, the critique towards them, and their peculiarities, and analyses several more interesting examples of an intertextual relationship with a work of art. Commentaries by an artist that become an integral part of her/his works indicate the lack of trust in spectators, critics, or commentators, and the urgent will to control the meaning - as if any unscheduled meaning was a certain menace for the artist. Fragmented, appropriated, torn out of their original medium, the images of contemporary art essentially require commentaries, in a similar way index signs do. Moreover, words empower images to exercise such cognitive, critical, social and political functions that are at times attributed to them with not enough reason.

Straipsnyje nagrinėjami iki šiol dailėtyrininkų interpretacijų beveik nesulaukę Vinco Kisarausko viduriniojo kūrybos laikotarpio tapybos darbai – brutalios erotikos vaizdai. Jie ir yra tyrimo išeities taškas. Aiškinantis, ką ir kaip jie reiškia, mėginant apčiuopti jų intertekstualumo kryptis siekiama šiek tiek papildyti nūnai tikslinamą sovietmečio kultūros sampratą. Combining the semiotic and intertextual approaches, this article analyses the middle period works – brutal erotic images – of the most famous Soviet Lithuanian (semi)non-conformist painter Vincas Kisarauskas. These are the series painted in the 1960s and the 1970s, such as “The Brutal One”, “Rape”, “Breakfast on the Grass” as well as small-format composition sketches. Although some of these works were shown in exhibitions after 1990, they have hardly ever been interpreted by art critics. For Kisarauskas, similarly as for structuralists, the idea of an independent semantic value of signs or forms was connected to the reception of the Ancient Greek myths – the figures of Oedipus and Antigone. A frequent motif in the analysed paintings is a closed or hollow box that connects to a human body or a body part in some way. Cyborgs or male and female bodies trapped in ‘black boxes’ are characteristic of erotic fetishism and also have associations with such notions of Deleuze and Guattari as the ‘partial object’, ‘desiring machine’ or ‘body without organs’. In Kisarauskas’ work, surreal images of a female body or scenes of desire including several figures appear together with paintings depicting gender inequality and brutal violence against women. After the end of Stalinism, for many artists, nudes and erotica, common in the art of the entire Eastern Europe, really seemed to be a symbol of Western civilization and progress, i.e. freedom and resistance. Kisarauskas went much further: from plastic contrasts, difference between formal elements of painting to the hierarchical gender opposition that is crucial to the culture itself and the difference between humans and machines, from Oedipus’ tragedy to a kind of visual “antioedipus” destroying the binary logics of conformism and resistance.

Vaizdinis posūkis, prieš du dešimtmečius pastebėtas Europos ir JAV humanitariniuose moksluose, – tai ypatingas susidomėjimas vaizdais, kilęs dėl naujų technologijų nulemto gausaus jų vartojimo visose gyvenimo srityse. Vaizdai – tai esmiškai kitokia kalba, arba kai kas daugiau nei vien tik ženklai, ir jie formuoja savitą, žodžių kalbai nebūdingą žinojimą. Panašiai kaip kiti posūkiai, vaizdinis posūkis reiškia sustiprintą ir atnaujintą dėmesį „kalbos“ (šiuo atveju, vaizduojamosios) materialumui, medialumui, prasmės radimosi procesams ir ritualams, vaizdų vietoms ir ypač atskiriems, pavieniams vizualiems artefaktams. Vaizdinis posūkis dailėtyroje – tai ne tik objekto išplėtimas ir visų (o ne vien dailės) vaizdų tyrimai, bet taip pat ir vizualūs raiškos būdai. Dailėtyros vaizdaraščiai gali būti svarus indėlis į vizualiosios kultūros kūrimą, nes ši pirmiausia ir suprantama ne kaip padrika optinių reiškinių aibė ar jų aprašymas, bet kaip teoriškai apibrėžta, pagrįsta, konstruojama vaizdinės raiškos ir matymo kultūra. Vaizdų rinkinys, kaip dailėtyros raiškos priemonė, gali parodyti kai ką, kas vaizduose nenusakoma žodžiais ir netelpa į „kalbos“ modelį, pažadinti vartotojų vaizduotę, leisti bent iš dalies patirti vaizdų poveikį. Straipsnyje aptariama humanitariniuose moksluose vykstančio vaizdinio posūkio – kalbinio posūkio tąsos – koncepcija, remiantis teoriniais vaizdinių sampratos ir semiotiškai neišnagrinėjamo vaizdų paveikumo klausimais, aiškinamas jos pagrįstumas, svarstoma vizualių dailėtyros mokslo metodų nauda, nagrinėjamas vaizdaraščio pavyzdys Lietuvos dailėtyroje. Article discusses the concept of pictorial turn as an extension of linguistic turn; its grounding is explained using theory questions of the notion of mental images and attention phenomenology. In addition, the benefits of visual art criticism methods are considered. W. J. T. Mitchell and Gottfried Boehm who were the first to consider pictorial turn (ger. ikonische Wende) in the 1990s comprehended it as an extension of linguistic turn into image area. In theory this notion does not mean a turn away from language, but a turn into image after language. Similar to other cultural turns, pictorial turn means the renewed and strengthened attention to substantiality, mediality and processes of the language (in this case, pictorial language) and rituals constructing significance, it is also attention given to the place of images and singular images. Pictorial turn should supplement linguistic turn, since the model of arbitrary signs does not apply to the images - it is a different language essentially, something more than just signs and it also constructs knowledge uncommon to verbal language. In this area of research, the turn is constructed when the notions examined convert into the categories of analysis. Pictorial turn means that images convert from the subjects of research into a method. Art criticism can examine images that do not suit a verbal model best by employing visual methods and a visual form of expression. This could be notions-metaphors or diagrams and maps. However, most traditional means employed in art criticism associated with reproduction of art or other imagery are collection of images and image/text.

Straipsnyje vėlyvojo sovietmečio Lietuvos tapybos interpretacijai pamėginta pritaikyti Didi-Hubermano atgaivintą metapsichologinę Warburgo prieigą, grįstą vaizdų išlikimo (Nachleben) idėja. XX a. 8 - 9 dešimtmečių Lietuvos tapytojų kūriniuose ėmė kartotis nerimą keliantys, istorinio laiko pritvinkę milžinų ir minios motyvai, kuriuos dėl regimojo panašumo galima susieti su figūra Thomaso Hobbeso politinės filosofijos veikalo Leviatanas (1651) antraštės lape. Šis euristinis sugretinimas keičia požiūrį ir į siužetinę vėlyvojo sovietmečio dailę, ir į modernios valstybės pirmavaizdį. In this article the metapsychological Warburg approach resurrected by Didi-Huberman and based on the idea of image survival (Nachleben) is applied to the examining of Lithuanian painting of late Soviet times. In his study Vintage survivante. Histoire de l'art et temps des fantömes sehn Aby Warburg (2002), Didi-Huberman associates survival with the formation of symptoms (Symptombildung) described by Freud, due to which the past is belatedly recognised as a traumatic event. The Survival model is not a model of appropriation or influence: the appearance of a previously existing form without any explanation would be the true survival of it. A surviving or continuing to exist form (type of image) does not have the point of its beginning; the necessary condition of the survival of images is their disappearance and they often return from their exile changed and degraded and now they are influential and distressing foreign bodies in the depiction system. Another condition of survival is action, movement and agility, which are connected to the timeframe found in an image. The motives of monsters, giants and crowds - crush, influx or march - anxiety building and brimming with feeling of the times, started to appear in the works of Lithuanian painters in the period from 1970-1990. Their visual similarity allows them to be compared to Leviathan - body of state of anthropomorphic form, made up of masses of tiny people, which can be found in the etching of the title page of Thomas Hobbes' philosophical work Leviathan (1651). This heuristic comparison modifies the opinion on the figurative painting of late Soviet times and the primary image of the modern state, which, according to Horst Bredekamp, was an effective ruling tool. The aim of joining power and the existence of society or to construct the existence of society as power in the figure of Leviathan does not seem to have been completely successful. Compared to the symbolic body of a ruler - perfect, complete and constant - this construction can be described as transgressive and unstable; aesthetically, it belongs not with the heavenly greatness and noble grace, but with ugliness and horror. To see this and also to consider whether images are needed in politics at all, allows the hypothetical survival of it, its transformation in art - the versions of this agile, ugly and fragmented figure. The hypothesis of survival also highlights the political connotations of images of late Soviet Lithuanian paintings which should be attributed to the area of deliriums, hallucinations and other processes of the subconscious. The notions of survival and anachronism are better suited than the notions "postmodernism" or "turn to history" to examine the retrospectiveness of these paintings. The researcher, using this approach, joins the viewers, but not the artists, and often only the present allows the researcher to see the attributes of survival. The wish to uncover these particular types of images in the late Soviet paintings was mostly driven by the present state of 21st century Lithuania - the constant displeasure of Lithuanian citizens with elected governments and the extensive exodus of people from their free democratic homeland.[...]

Straipsnyje apžvelgiama teorinio kolektyvinės atminties diskurso raida ir jo kontekste nagrinėjamos sovietmečio atminimo strategijos, pasitelkus dvi savitas erdves - šiuolaikinį Lietuvos meną ir su daile susijusių žmonių memuarus. Following the reestablishment of independence, the Soviet period that officially acquired the status of an illegitimate past was deservedly condemned to silence and oblivion. Among the first ones to take interest in the Soviet past in the 1990 s were a new generation of artists (Deimantas Narkevičius, Gintaras Makarevičius, Audrius Novickas, Algis Lankelis, Eglė Pukytė and others) using various strategies of the art of memory: metonymy (finds, relics, and traces); site-specific projects; socialist-realist monuments and specimens of art forming the basis and the theme of an artwork; archives and their media as the material and form of an artwork; bodily memories; oral history. Memoirs and autobiographies of people in the field of art appeared only after zooo ; these traditionally are devoted to the needs of the author's legitimization, representation and identity. Some authors (e.g., Lionginas Šepetys, Minister of Culture of the former Soviet Socialist Republic of Lithuania, Secretary of the Central Committee of the Communist Party of Lithuania, and Konstantinas Bogdanas, Member of the Board of the Artists' Union of the Lithuanian Soviet Socialist Republic, in the form of a conversation with themselves across the distance of time, attach a heroic meaning to their deeds, while others (like the artist Valentinas Antanavičius) attempt turning traumas into symbols. Based on the dialectical distinction between storage memory and functional memory drawn by the literary theorist Aleida Assmann, the memoits under discussion could be classified as belonging to the realm of functional memory, as they concern the individual who is trying ro link the past with the present and future, ro sort out what to remember and what to forget and to convey values that detetmine the identity and behavioural norms.

Straipsnyje vėlyvojo sovietmečio Lietuvos tapyba nagrinėjama ne kaip apibrėžto istorinio laikotarpio, jo socialinių, politinių, ideologinių veiksnių produktas, bet interpretuojama platesniuose naujųjų amžių Vakarų tapybos - tam tikros ilgalaikės vizualiosios kultūros - ir šiuolaikės dailėtyros kontekstuose. Tokia interpretacija, kurios moksline verte kartais abejojama, prasminga dėl to, kad Lietuvos tapytojams XX a. 7-8-ajame dešimtmetyje parūpo klasikinei moderniajai Vakarų tapybai būdingi vaizdo savistabos ir savigriovos klausimai. In the article, the late Soviet Lithuanian painting is analysed not as a product of a historical epoch, but is interpreted in the anachronistic contexts of the modern Western painting and contemporary art history. In 1960s, when both the Soviet authorities and the artists sought to renew the official art, especially the so-called thematic painting, Lithuanian painters started to experiment with image subjects and structure. The most interesting among these "iconological” experiments probably are paintings about the painting itself, its origins and destiny. Artists of the Soviet period experimented with painting's medial characteristics, conditions of visual world representation and optical perception, boundaries of mimetic painting, using means that were invented in the Western painting quite a long time ago. These tested experiments bring different results every time, because a very important role is attributed to the concrete "historical” observer. Two directions of such classical experiments are discussed in the article: visualized explorations of space perception or the interaction between real and imaginary spaces and visual quotations. Lithuanian painters actualized the traditional window and mirror motifs by choosing a car (or a bus) as a model for exploring the structure and economy of imaginary picture space; it became a political metaphor as well: a crowded bus represented the state of society that was suffocating under the "Iron Curtain”. The curtain motif necessarily forced the spectators of that time to reflect on the lack of freedom and visual quotations - on the accessibility of information. Such painting raised active spectators, invoked their optical and political consciousness.

Straipsnyje nagrinėjami dailės politizavimo aspektai postalininio laikotarpio Lietuvoje: galios meno ypatumai, oficialiosios kultūros politikos ir dailininkų interesų sąveika, meninio protesto klausimas. Galios menui kaip produkavimo, sklaidos ir recepcijos sistemai šiuo laikotarpiu būdingos trys tendencijos. Pirma, ideologinę propagandą dailės priemonėmis palaipsniui pakeitė politizuota dailės propaganda. Antra, stiprėjo galios meno kanono dvilypumas. Trečia, politinį dailės vaidmenį lėmė valdžios legitimacijos strategijų kaita. Brežnevo laikais SSKP siekė pademonstruoti pasauliui, kad ji puoselėja kultūrą, meną ir skatina nacionalinių kultūrų suklestėjimą. Todėl, kuo labiau Lietuvos dailė buvo panaši į vakarietišką modernizmą, tuo geriau ji tiko valdžios legitimacijos tikslams. Hipertrofuotas valdžios dėmesys dailei postalininiu laikotarpiu nulėmė tvirtą bei lanksčią dailės ir valdžios sankabą. Dailininkų sąjunga siekė kontroliuoti visas su daile susijusias sritis – muziejus, dailės studijas ir švietimą, tautodailininkų veiklą, dailės kritiką ir istoriją, spaudą, leidybą, prekybą kūriniais. Be pačių dailininkų pagalbos partija nebūtų galėjusi prižiūrėti atnaujinto socialistinio realizmo ieškojimų. Šio laikotarpio Lietuvos dailei būdingos dvi nonkonformizmo pakraipos. Pirmosios pakraipos nonkonformizmas – iliuzinis, valdžios skatintas, nulemtas skirtumo tarp reikalavimų ir vertinimo kriterijų. Antroji – tikroji, neoficiali, tik menininkų dirbtuvėse ar butuose siauram ratui rodyta kūryba – negalėjo tapti rimtu iššūkiu santvarkai dėl ribotos recepcijos. The paper focuses on the aspects of art politicization in post-Stalin Lithuania: the peculiarities of the art of power, interaction of the official cultural policy and artists’ interests, and the issue of artistic process. The art of power as the system of production, dissemination and reception could be characterised by three trends at that period. First, politicized art propaganda gradually replaced the ideological propaganda by means of art. Second, the ambiguity of the cannon of the art of power strengthened. Third, the political role of art was determined by the shift of government legitimation strategies. During Brezhnev’s regime the Communist Party tried to demonstrate to the world that it fostered culture and art and promoted the thriving of national cultures. Therefore, the more Lithuanian art was similar to Western Modernism, the more suitable it was for the purposes of government legitimation. Hypertrophied attention of the government to art during the post-Stalin period determined a firm and flexible union of art and government. The Artists’ Union sought to control all art related areas: museums, art studies and education, the activities of folk artists, art criticism and history, printing, publishing and trade in works of art. Two non-conformism deviations are characteristic of Lithuanian art of this period. The first deviation of non-conformism is illusory, promoted by the government and determined by the difference between the requirements and evaluation criteria. The second deviation is the actual, unofficial creation demonstrated only in artists’ workshops or flats to small groups; it could not become a serious challenge to the regime due to limited reception.

Straipsnyje nagrinėjamas ideologinis postalininio laikotarpio dailės "humanizavimo" projektas, ypač suaktyvintas pirmoje XX a. 8 dešimtmečio pusėje, ir jo pasekmės Lietuvos dailės raidai. Remiantis archyvų medžiaga ir to meto spaudos publikacijomis aptariamas meninės individualybės fenomenas, 7-8 dešimtmečių sandūroje išryškėjusi žmogaus vaizdavimo krizė, mėginimai atgaivinti portreto žanrą, menininko savimonės ir tapatumo sampratos aspektai, 8 dešimtmečio viduryje sustiprėjusios meno "dehumanizavimo" tendencijos. Straipsnio tikslas - išnagrinėti prieštaringos oficialiosios dailės politikos ypatumus, jos produktyvius ir neigiamus efektus bei pasipriešinimo jai formas. Neoficialiojoje dailėje jau 7 dešimtmečio pradžioje ryškėjo siurrealizmui giminingos "humanistinio" žmogaus paveikslo, "uždaro" kūrinio ardymo ir "autoriaus" susinaikinimo tendencijos. Tapyboje pradėtos naudoti vaizdinės citatos ir savigriovos inscenizavimas buvo nukreipta prieš "meninę individualybę" ir į tradicinį portretą kaip į istorinę atgyveną. Savigriovos pomėgis atrodo nuoseklus psichoanalizės požiūriu: diegiamos subjektyvumo normos visuomet skatina priešintis. Nors 8 dešimtmečio jaunosios kartos tapytojams primesti struktūralizmo teorijų idėjas tolygu pervertinti jų žinias ir intelektą, tačiau šių menininkų kūriniai, ypač autoportretai, aiškiai byloja apie pasipriešinimą subjektyvumo normoms, siekį demaskuoti ir suardyti "asmenybę", "individualybę" ir panašius ideologinius konstruktus. Atsižadėdami "aš" ir "žmogaus", jie pasirinko save ir žmones, todėl "antihumaniškas" jų menas yra išties humaniškas. The article examines the ideological project of “humanization” of art in the post-Stalin period, which especially intensified in the first half of the seventies and its consequences to development of art in Lithuania. Referring to archive materials and publications the artistic individuality phenomenon, the crisis of imaging of a man, which became prominent at the end of the sixties – beginning of the seventies, attempts to revive the portrait genre, aspects of artist’s self-perception and concept of identity and the trends of “dehumanization” of art, which became especially prominent in the middle of the seventies are discussed. The article aims at examining the peculiarities of controversial official art policies, their productive and negative effects and forms of resistance to them. In unofficial art already in the beginning of the sixties trends of “humanistic” image of a man, destruction of the “closed” piece of art and self-destruction of the “author”, characteristic of surrealism, became prominent. Imagery quotes and dramatization of self-destruction, which were used in painting, were directed against the "artistic individuality” and the traditional portrait as a historical leftover. Inclinations towards self-destruction look consistent in terms of psychoanalysis: imposed subjective norms always encourage resistance. Although imposition of structuralist ideas to the painters of the younger generation of the seventies was equal to overestimating of their knowledge and intellect, the creations of the said artists, especially their self-portraits, clearly evidence their resistance to the norms of subjectivism and their attempts to expose and destroy the “personality”, “individual” and similar ideological constructs. Be refusing their “ego”, they chose themselves and people therefore their “anti-human” art is actually very humane.

Darbe apžvelgiama referentinio realizmo atvejai meno istorijoje bei vaizdavimo teorijoje 1970 – 1990 metais. Teorinis posūkis nuo mimezės ir panašumo estetikos pėdsako, prisilietimo ir referentinio sąlyčio estetikos link suteikė galimybę perrašyti ir išplėsti vaizdavimo praktikų teoriją. Sąvoka „indeksas“, atrasta semiotikos pradininko Ch.S. Peirce‘o, tapo veiksmingu instrumentu pozityviai (o ne neigiamai ar reliatyviai) aprašyti šių laikų reiškinius. Mechaninio referentinio realybės vaizdavimo paradigma arba referentinis sąlytis tapo teorinių diskursų objektu, jungiančiu semiotinius, fenomenologinius ir antropologinius tyrimų metodus. Šiuolaikiniam Lietuvos menui taip pat praverstų šis interpretacijos modelis, susiejantis abstrakciją ir natūralizmą, produkavimo procesą ir rezultatą, prisilietimą prie realybės ir konceptualumą. The article surveys the discourse of “referential realism’ in art history and image theories from the late 1970s to the 1990s. Attempts to analyse the 20th century art in positive terms have encouraged theoreticians to conceptualise the specific, non-mimetic relationship between the image and reality based on a material and physical link between the mediated image and its referent by borrowing the semiotic concept of “index” from Charles Sanders Peirce’s theory of signs. Instead of the outmoded pluralism of styles, Rosalind Krauss has introduced the concept of “the Photographic condition”, which has become, for her, an instrument for the 20th century art studies; Philippe Dubois analysed “the photographic act” as an inseparable part of the indexical image by examining its historical origins; Georges Didi-Huberman has suggested an alternative to “the photographic condition” that tends to reduce the history of images; the anachronistic paradigm of “imprint”. In Lithuanian art of the 1980s-1990s it is possible to find quite many examples of “indices”. The article tries to answer to the questions of how it would be possible to turn the non-eloquent images of referential contiguity into a discourse, what their meaning and functions within the context of developments in Lithuanian art at the end of the 20th century are.

Straipsnyje nagrinėjamos XX a. 6-ojo dešimtmečio pabaigos – 8-ojo pradžios lietuvių oficialiosios, konformistinės tapybos, arba kūrybiškojo socrealizmo raidos laikotarpio, teorinės nuostatos. Šio istorinio tyrimo tikslas – išsiaiškinti, ko sovietinė valdžia, komunistų partija reikalavo iš dailininkų, kaip apibrėžė ,,pagrindinio dailės kurso“ ideologines ir estetines normas, kaip formulavo tapybos uždavinius ir vertinimo kriterijus. Pagrindiniai tapybos politikos akcentai, klausimai, dažniausiai diskutuoti Dailininkų sąjungos suvažiavimuose, valdybos plenumuose ir spaudoje, - tai teminis figūrinis paveikslas, meno suartinimas su gyvenimu bei "žmogaus problema“. The article studies theoretical guidelines of the Lithuanian official conformist art of the end of the 50‘s – the beginning of the 70‘s of the 20th century or the creative period of development of Social Realism. The objective of this historical research was to ascertain what the Soviet regime and the Communist Party demanded from artists, how ideological and aesthetic norms of the main heading of the Arts were defined, how tasks and evaluation criteria of the Arts were formulated. The main political focuses and issues of the arts most often discussed at meetings of the Union of Artists and in media were thematic figural picture; building the bridge between the art; the life and the problem of Man.

Žmogiškumo ir meniškumo santykio problema šiandien ne tik išlieka aktuali, bet ir įgyja naujų matmenų. Menotyroje nuolat buvo ieškoma meniškumo konstantų, bet žmogiškumo apraiškos dailėje dažniausiai buvo suprantamos paprastai – kaip mimetiškai perteikiama natūrali, jutimiškai suvokiama tikrovė arba per simbolius – ideologizuota patriarchalinių (moralinių, etinių) vertybių sistema. Fizinė ir metafizinė žmogiškoji tikrovė modernizmo dailėje virto meno kūrinio krizės faktoriumi ir simptomu. Kita vertus, meninė kūryba dažnai sąlygoja žmogiškojo „aš“, subjekto (vaizduojamo ir vaizduojančio, kuriančio, išreiškiančio save) subversiją. Žmogiškosios tikrovės, kūno bei identiteto temų vyravimas šiuolaikiniame mene bei meno kūno permaina iš artefakto (unikato) į reprodukcinį, konceptualų, konvencionalų, „minkštą“, dematerializuotą būvį skatina iš naujo pažvelgti į dehumanizacijos problemą, meninės kūrybos fenomenus, meno kaitos procesus tirti kartu su žmogiškumo fenomenais, meno suvokimą susieti su žmogaus („aš“) suvokimu istorinėje raidoje. Straipsnyje analizuojama žmogiškumo ir meniškumo santykio problema modernizmo ir šiuolaikinėje dailėje. Svarbiausias žmogiškumo vaizdinys vaizduojamajame mene – kūnas, o kūno istoriškumas susijęs su daugiareikšme antropologijos sąvoka. Išskiriami trys kūno modalumai: objektyvus (fizikinis), fenomenologinis savasis ir performatyvus kūnai. Nagrinėjamos šių modalumų sąsajos su meninės praktikos metodų kaita istorijoje. A problem of the relationship between humanity and artistry is still topical and acquire new measurements. The history of art always looks for artistry constants, however, usually the manifestation of humanity in visual arts was perceived simply as a mimetically rendered natural and sensory perceived reality or as an ideological system of patriarchal (moral, ethic) values perceived through symbols. Physic and metaphysic human reality became a factor and symptom of the crisis of an art work in the visual arts of modernism. On the other hand, artistic creative work usually influences the subject subversion (depicted and depicting, creating and expressing itself) of human “I”. The dominance of human reality, body and identity topics in nowadays art and the change of artistic body from the artefact (unique) to reproduction – conceptual, conventional, “soft”, and dematerialized state –encourages to have a new look to the problem of dehumanization, phenomena of artistic creative work, to analyse the processes of art changes together with humanity phenomena, and to make a relationship between the perception of art and human (“I”) in historic development. The article analyses the issue of the relation between humanity and artistry in modernism and nowadays visual arts. The most important image of humanity in visual art is a body; the body's historicity is related to a polysemous concept of anthropology. Three modalities of the body are distinguished: objective (physical), self-phenomenological and performative. The relationship between the modalities and the change of artistic practice methods in history is analysed.

Pratarmė -- Vaizduotės ir pojūčių klausimas: apie religinio meno suvokimą / Sigita Maslauskaitė-Mažylienė -- Akių vaistai, arba Mikalojaus Kristupo Chaleckio „Alegorijos“ / Jolita Liškevičienė -- Literatūrinio peizažo vizualumas / Inga Vidugirytė -- Spalvoti Arnoldo Zweigo Vilniaus karoliai / Laima Laučkaitė -- Priedas: Arnold Zweig. Vilniaus puošmenos (vertimas iš vokiečių k.) -- Fotografija paveldo istorijoje: Vilniaus Aukštutinės pilis / Edita Povilaitytė-Leliugienė -- Parodos pėdsakais: tekstai apie 1934-1935 m. lietuvių ir estų tradicinių amatų parodas Jungtinėse Amerikos Valstijose / Lijana Šatavičiūtė-Natalevičienė -- Mato Menčinsko skulptūros ir jų interpretacijų kaita / Laura Petrauskaitė -- „Atlydžio“ žurnalistika ir Adaukto Marcinkevičiaus fotografijos estetika / Margarita Matulytė -- Vaizdas, žodis ir vaizdinys šiuolaikiniame mene / Erika Grigoravičienė -- Dailė kine: (ne)kalbantys portretai / Irina Melnikova -- Iliustracijų sąrašas -- Santrumpos -- Asmenvardžių rodyklė. Šio straipsnių rinkinio pagrindas - 1015 m. spalio 1 d. vykusios Lietuvos kultūros instituto surengtos tarpdalykinės mokslinės konferencijos „Vaizdų tekstai - tekstų vaizdai“ pranešimai, nors publikuojami ne visų dalyvių tekstai, taip pat yra keletas naujų autorių. Straipsniuose nagrinėjami įvairių laikotarpių meno, kultūros, mokslo reiškiniai, tekstai, dailės kūriniai ir fotografijos atskleidžia vaizdų ir žodžių santykių įvairovę, kurios ribos būtų ekfrazė, arba vaizduotės akimis matomi (literatūrinių) tekstų vaizdai, ir tradiciniai vaizdų tekstai - paveikslų interpretacijos. Tyrimų problematika daugiausia susijusi su vaizdingumo, arba mentalinių vaizdinių, ir vizualumo, arba rega suvokiamų paveikslų, fizinių vaizdo (ir rašto) laikmenų, sąveika.

XX amžiaus antroje pusėje juvelyrikai priartėjus prie kitų vaizduojamojo meno rūšių, papuošalui tapus meno kūriniu, išreiškiančiu individualią kūrėjo poziciją, ir pradėjus rengti specializuotas juvelyrikos parodas, iškilo juvelyrikos eksponavimo reikšmė. Problematiškumas slypi srities specifikoje (dažnai maži mąsteliai, brangių medžiagų naudojimas) bei santykyje su kūnu, nes dėvėjimas yra esminis papuošalo suvokimui. Todėl įprastas juvelyrikos eksponavimas stiklinėse vitrinose netenkina juvelyrikos, kuriamos postmodernaus meno principais. Darbo tikslas – išanalizuoti galimas meninės juvelyrikos eksponavimo strategijas pasitelkiant trumpalaikių meninės juvelyrikos parodų pavyzdžius iš Lietuvos bei užsienio nuo XX a. 8 dešimtmečio iki šių dienų. Tyrimas nėra istorinio pobūdžio: juvelyrikos parodos nėra analizuojamos chronologiniu principu ar kaip vientisas reiškinys, procesas, kuriame galima užfiksuoti tam tikrą raidą. Nagrinėjamos trumpalaikės personalinės ir grupinės juvelyrikos parodos, nes jose gali būti įgyvendinti tokie ekspoziciniai sprendimai, kurie netinkami ilgalaikėms muziejų ekspozicijoms. Tyrimu siekiama išsiaiškinti, kaip juvelyrikos eksponavimas veikia pačių kūrinių supratimą, priėmimą ir turinį, kokios skirtingos juvelyrikos eksponavimo praktikos naudojamos, koks yra žiūrovo ryšys su papuošalu parodos metu bei kaip skirtingi eksponavimo būdai lemia šį ryšį, koks žiūrovo santykis su ekspozicija. Magistrinio darbo struktūra paremta skirtingų juvelyrikos parodose... [toliau žr. visą tekstą] Contemporary jewellery cannot be dissociated from developments in the fine art. In the second part of the 20th century jewellery started to be considered as an art form which can express the individuality of an artist. During that time the first specialized jewellery exhibitions were held and since then the attention was drawn to the importance of how objects are displayed in the exhibition. What makes exhibiting jewellery difficult is its connection to the body - wearability is the essence of it. In addition, usually jewellery is small scale and made of precious materials. As a result, typical showcases made of glass are no longer satisfying for displaying art jewellery. The aim of this research is to analyze possible strategies of how art jewellery can be presented. The examples of temporary jewellery exhibitions, both personal and group, from Lithuania and abroad from the 1970s to the present are included. The research is not historical and based on chronology, jewellery exhibitions are not seen as a continuous phenomenon with clear evolution. Temporary exhibitions offer a possibility of to putting into practice such display solutions which would not be suitable for permanent museum displays. This paper looks into the questions such as what kind of different display strategies are used to exhibit jewellery, how the display affects the perception of the artworks, what the relation between the viewer and the jewellery work in the exhibition is, how display influences this... [to full text]

Disertacijoje nagrinėjama vaizdo naratyvumo problema. Analizės objektas – žymaus lietuvių dailininko Šarūno Saukos tapyba. Š. Saukos paveikslai atrodo esą siužetiški, pasakojantys istorijas, nors šios numanomos istorijos dažniausiai neturi žodinių provaizdžių, galinčių tapti interpretacijos šaltiniu. Todėl paveikslai tampa atviri pačių suvokėjų kuriamiems pasakojimams: vaizduojamos situacijos, dažnai primenančios nesuprantamus ir nerimą keliančius ritualus, provokuoja juos aiškinti pasitelkiant įsivaizduojamas istorijas. Tačiau ar kuria pasakojimus patys paveikslai? Ar galima rasti naratyvumo ženklus pačiame tekste, pačioje paveikslo struktūroje, neprimetant jam savo pasakojimo? Kokia naratyvumo samprata gali papildyti vizualių tekstų suvokimą, užuot spraudusi juos į siaurus sąvokos rėmus? Kokiu būdu Š. Saukos paveikslai geba pasakoti istorijas? Atsakymo į šiuos klausimus disertacijoje ieškoma pasitelkiant prancūzų semiotiką ir naratologiją. Formuluojamos teorinės ir metodologinės statiško vaizdo naratyvumo analizės gairės, naratyvumą siejant ne tik su gebėjimu pavaizduoti laikinę seką, bet ir su numanomomis transformacijomis, naratyvinės gramatikos dėsniais bei pasakojimo akto dalyvių (pasakotojo ir jo adresato) komunikacija. Analizuojant Š. Saukos darbus, ryškinami pasakojimo kūrimo mechanizmai, atskleidžiamos skirtingos žiūrovo dalyvavimo paveiksle formos, pasakotojo pasirodymo strategijos, horizontalus ir vertikalus tapybos naratyvumo matmenys. The dissertation explores the problem of visual narrativity. The object of the analysis are the works of the famous Lithuanian painter Šarūnas Sauka. Š. Sauka‘s paintings clearly seem to tell stories, although they are rarely based on any verbal stories that could serve as a source for interpretation. Instead, they are open to a wide range of individual interpretations: the viewers are provoked to narrativize the paintings by inventing stories that could explain the depicted scenes, which would otherwise remain mysterious and incomprehensible. But do the paintings themselves tell stories? Is it possible to trace narrativity in the very structure of the paintings? What concept of narrativity may be efficiently employed to analyze and understand visual texts? By what means Š. Sauka’s paintings are able to tell stories? The dissertation examines these questions by employing the French semiotics and narratology. The theoretic and methodological guidelines for the analysis of visual narrativity are formulated, linking it not only to the depiction of temporal sequences, but also to the implied transformations, to the laws of narrative grammar, and to the communication of the participants of the narrating act (the narrator and his addressee). In Š. Sauka’s paintings, the narrative strategies are elaborated by revealing the horizontal and the vertical dimensions of pictorial narrativity, as well as by examining the viewer’s and the narrator’s roles in the paintings.

Pratarmė -- Tikrumo link: Trakų Dievo Motinos paveikslo pri(si)taikymas Naujiesiems laikams / Giedrė Mickūnaitė -- Cenzūra ugnimi: Lietuvos Brastos Radvilų Biblijos antraštinio lapo ikonografija / Jolita Liškevičienė -- Direktyvos dailininkams XVIII a. Lietuvos Didžiojoje Kunigaikštystėje / Aistė Paliušytė -- Šv. Viktoro altorius: Bažnyčios mokymo vizualizacija ir jos suvokimo aspektai / Indrė Šurkutė -- Vaizdo kontrolė Pirmojo pasaulinio karo Vilniaus periodikoje: „Zeitung der 10. Armee“ / Laima Laučkaitė -- Pamatyti bylų ūkį: Kęstučio Grigaliūno projektas „Apie meilę“ / Natalija Arlauskaitė -- „Muziejus“: nuo vaizdų priežiūros prie vaizduotės išlaisvinimo / Linara Dovydaitytė -- Vaizdas kaip ugdymo priemonė: lietuviškos istorijos didaktikos pavyzdys / Rūta Šermukšnytė -- Istorijos prieglobstyje: apie retrospektyvizmą Antrojo pasaulinio karo metų Lietuvos dailėje / Giedrė Jankevičiūtė -- Stilizacija: plastinė vaizdo savikontrolė / Aleksandra Aleksandravičiūtė -- Lietuviškas nonkonformizmas „realizmo be krantų“ epochoje: Vinco Kisarausko kūryba / Milda Žvirblytė -- Kuratorystė kaip vaizdų tvarkos praktika: Alfonso Andriuškevičiaus parodos „Mitas dabarties tapyboje“ (1988) ir „Dienos ir nakties tapyba“ (1990) / Julija Fomina -- Vaizdas ir žodis šiuolaikinėje dailėje / Erika Grigoravičienė -- Iliustracijų sąrašas -- Santrumpos -- Asmenvardžių rodyklė. 2013 m. spalį vykusioje Lietuvos kultūros tyrimų instituto surengtoje tarpdalykinėje konferencijoje »Vaizdo kontrolė“ buvo svarstomi vaizdų produkavimo, sklaidos ir recepcijos valdymo klausimai, papildantys pastaruoju metu plačiai diskutuojamųjų galios temų. Leidinyje publikuojami išplėsti ir patikslinti konferencijos pranešimai. Tyrėjų dėmesio sulaukė sudėtingi įvairių istorinių laikotarpių vaizdo kontrolės mechanizmai, išskirtiniai ir paradoksalūs atvejai. Tyrimai liudija, kad ši kontrolė būna produktyvi ir žalinga, sėkminga ir nevykusi, sklandi ir sukelianti pasipriešinimų, o jos būdai labai įvairūs - nuo brutalaus ikonoklazmo iki nepagrįsto siekio reguliuoti prasmės procesus. Aktualios metodologinės prieigos leido atrasti naujus ar iki šiol mažai nagrinėtus kultūros reiškinius.