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1. Anderson, J. R., Greeno, J. G., Reder, L. M., & Simon, H. E. (2000). Perspectives on learning, thinking and activity. Educational Researcher , 29 (4), 11–13
2. Borko, H. (2004). Professional development and teacher learning: Mapping the terrain. Educational Researcher , 33 (8), 3–15
3. Borko, H., & Putnam, R. (1997). Learning to teach. In D. C. Berliner & R. C. Calfee (Eds.), Handbook of educational psychology (pp. 673–708). New York, NY: Macmillan
4. Collins, S., & Clarke, A. (2008). Activity frames and complexity
The contemporary Romanian school has frequently been a matter of debate; contents, methods, strategies, manuals, authors, analytical programs - they have all been supported, debated, annulled and reconsidered. However… The Ministerial Order that has allowed, in 2012, the introduction of “Personal Development” in the curriculum has opened a path that has not yet accomplished its role of guiding students to themselves and to the optimal variant for the manifestation of their potential; this aspect has even been demonstrated by analytical programs submitted to and edited by well known publishing houses. Therefore, the present study is meant to open an efficient dialog on the necessity of a transdisciplinary and creative approach to personal development.
In the history of Lithuanian architecture, the period of soviet modernism has made very problematical mark. The architectural and urbanist changes that were made in Lithuanian cities during this period are linked with the beginning and development of modern building practice. Many discussions causes the changes in the city centres that were made from the 1960s. New modern buildings that were built in the historic context changed its individuality and singularity. This article analyses architectural changes that were made from 1960s to1990s in the historic context of Vilnius and Panevėžys centres. The article suggests that during different decades of the soviet modernism period, the new architecture had a different approach to the historic context. To prove this suggestion, the article presents the most distinctive buildings that were built in the historic context of the selected city centres.
After the proclamation of the Republic of Latvia in 1918, Latvia experienced a rapid influx of youth into its capital city of Riga, looking to obtain education in universities. Students began to build their academic lives and student societies. In 1923, students of the Art Academy of Latvia founded the “Dzintarzeme” (“Amberland”) fraternity. The aim of “Dzintarzeme” was to unite nationally minded students of the Art Academy of Latvia and to promote the development of national art and self-education. Most “Dzintarzeme” members were faithful to the old masters and Latvian art. This phenomenon is significant, because “Dzintarzeme” members grew up with Latvian painting traditions, which are a remarkable heritage of interwar Latvia.
In 1940, when Latvia was occupied by the Soviet Union, “Dzintarzeme” was banned. A part of “Dzintarzeme” members were deported, killed in war, went missing, or stayed in the Latvian SSR; the remaining chose exile. Although scattered throughout the United States of America, Canada, and Australia, some members were able to rebuild and sustain the fraternity’s life, gathering its members, organising trips and anniversary art exhibitions.
The aim of this research is to reflect on “Dzintarzeme’s” activities in exile (1958–1987), focusing on the main factors of Latvian national art conservation policy: first, the ability of “Dzintarzeme’s” ideology to preserve the values of Latvian national art in an international environment, and second, the problem of generational change and the enrollment of young Latvian artists who continued to maintain “Dzintarzeme” values in exile.
Chandeliers with serpent arms held at the National Museum of Lithuania and the Lithuanian Art Museum are among the earliest found in Lithuania. Previous efforts to find chandeliers of similar décor in Latvia or Poland while collecting material on lighting fixtures in Lithuania and the neighbouring countries were unsuccessful. Due to that reason, it was thought that the spread of these chandeliers of extraordinary décor was limited to the territory of Lithuania. A closer and more thorough look into collections of Western European museums has revealed that the motif of an elegantly coiled snake on chandelier arms should be related to Hans Rogiers, a founder who worked in Amsterdam in 1598–1638.
In the article, the origin of chandeliers with serpent arms in Western Europe and the ways they could have possibly reached Lithuania are traced back for the first time. Specimens that survived or did not survive in Lithuania, their development and problems of dating are analysed. Their functioning space is explored and the subject of their symbolism is addressed. The article aims to present and evaluate the surviving chandeliers with serpent arms in Lithuania. In the research, instruments of formal, comparative, iconographic, and reconstructive analysis were used.
This article aims to present the main aspects of the New Museology theory and discuss the possibilities of its adaptation in Lithuanian museum practice. To date, the New Museology theory, which was formed in the 1980’s and places the emphasis on the contextual presentation of artworks and the social role museums play in public cultural life, is not widely used in Lithuanian museum practice and a comprehensive survey of art museum permanent collection displays has not been carried out in regards to this particular framework. The first part of this article presents the New Museology theory and its historiography, including main authors, who have contributed to the formation and development of the ‘new’ theory. The second part presents an overview of different methods of display, including aesthetic, contextual/educational and white cube models. The third part shows how a recent establishment of the National Gallery of Art (NGA) in Lithuania completely ignored the New Museology theory and was based on the modernist view of art history, made popular in the Soviet period. Thus, it comes as no surprise, that the permanent collection display at the NGA has received a lot of criticism from various cultural and art historians and other academics. It is expected that the presentation of the main aspects of the New Museology theory and an assessment of a permanent collection display at the National Gallery of Art will help inform Lithuanian museum practice and form a basis for further studies in Lithuanian museological research.
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Antanavičiūtė, Rasa. “Stalininis “penkmetis”: Vilniaus viešųjų erdvių įprasminimo darbai 1947–1952 m.” Menotyra
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Weinstock, Jeffrey Andrew. “Introduction: The Spectral Turn.” In Spectral America: Phantoms and the National Imagination . Madison: University