EZOPO KALBA: TURINIO NUŠALINIMAS, VISUOMENINĖ STEREOTIPIJA, TEKSTINĖ ESATIS.

Aesopian language is traditionally considered as a textually-mediated transmission of 'secret' yet essentially unambiguous messages of the so-called "silent resistance" via the means of allusion, suggestion and similar means. When such a conception is used to explain and interpret literature and other kinds of works, the question of the status of textual production and consumption naturally comes up. From a semiotic point of view, an attentive consideration of the Aesopian self-conception reveals that Aesopian communication always implies an expression and recognition of a public stance, and thus makes the text an arena for the formulation of identity utterances. This, in turn, leads us to consider traditional "interpretations" of Aesopian texts as simple continuations of the Aesopian language paradigm, as an expansion of the discourse that this paradigm represents. Accordingly, in terms of textual meaning there are no grounds for an a priori distinction between the Aesopian and the censorial - they are both mutually interacting dimensions. In taking these inferences as a foundation to freshly consider the processes of Aesopian signification from the perspective of general textual semiotics, it can be shown that in Aesopian language the textual plane of content is actually removed and neutralised to make way for a circulation of public stereotypes, which in turn is enabled via a secondary articulation of what is here called the field of textual presence. This is further elaborated via analyses of a particular censorship related situation and one of the series of widely acknowledged Aesopian poems by the Lithuanian author Marcelijus Martinaitis. [ABSTRACT FROM AUTHOR]