Sąjūdis's peaceful revolution
LTStraipsnis skirtas Lietuvos Sąjūdžiui ir jo sėkmingai politinei strategijai, siekiant atkurti Lietuvos nepriklausomybę taikiu parlamentiniu keliu. Daugiausia dėmesio skiriama Sąjūdžio vaidmeniui rungiantis dėl vadovaujančio politinio vaidmens TSRS Aukščiausiosios Tarybos ir LTSR Aukščiausios Tarybos rinkimuose. Analizuojami vidiniai veiksniai, lėmę laisvės kovos Lietuvoje sėkmę. Inteligentijos vadovaujamas Sąjūdis iš pradžių prisistatė kaip reformų katalizatorius, kaip Michailo Gorbačiovo pradėtos pertvarkos rėmėjas. Pasinaudodamas visuotiniu pakilimu ir Kremliaus klaidomis Sąjūdis sugebėjo atsikratyti Maskvos kontrolės, atsilaikyti prieš sovietinių jėgos struktūrų spaudimą ir pasiekti pergalę, pridėjusią prie sovietų imperijos žlugimo.Reikšminiai žodžiai: Sąjūdis; Taiki revoliucija; Gorbačiovas; Perestroika; Baltijos valstybės; Komunistų partija; Landsbergis; Baltijos kelias; Nacionalinė revoliucija; Sąjūdis; Peaceful Revolution; Gorbachev; Perestroika; Baltic States; Communist Party; Landsbergis; The Baltic Way; National Revolution.
ENThe article presents the internal factors that led to Lithuania's liberation. It analyzes the intellectual leadership of Sąjūdis, which was able to steer the movement away from Kremlin control and to exploit its mistakes in an effective way. Sąjūdis's successful political strategy was based on its participation in two General Elections in Soviet Lithuania: to the Supreme Soviet of the USSR and to the Supreme Soviet of the Republic. Thus, Sąjūdis's victories enabled the beginning of the dismantling of Soviet power institutions in Lithuania, and became a catalyst in the collapse of the Soviet Empire. ly skilful artists of "socialist realism" were mandated by ideology to present their subjects in the clear light of good and evil, according to Stalin's (changing) notions of it. In so doing, they sometimes achieved a heroic sublimity that transcended their mandate. It will be a long time before any art historian will have the stomach to view the multitude of objects produced under the auspices of this doctrine, but once past the valleys of Marxes, the rivers of Lenin faces, the mountains of Stalins, he or she may find something interesting: monumental clarity. Artists usually find intuitively what is useful about past art, or at least what can be quoted without being mistaken for imitation, and, if they are great, they use it. "Socialist realist" art hasn't yet revealed its new uses, with some exceptions. Christo is one of them: he put monumentality and public effect to good use. Andrew Miksys has also found in the clarity and monumental banality of Soviet art something to meditate on.That's another mark of greatness in my book: no fear. The people who pose for Andrew in these photographs expect something idealized and heroic from him, something that they have been through years before in the truly "artistic" portrait. Whether they know it or not, their ideas of art were formed by "socialist realism." In seemingly granting them their wish, Andrew does something of a triple summersault: he quotes their ideas back to them without offending them, while he makes the multiple ironies accessible to everyone, including his subjects. How he does that is art, that's how. [From the publication]
