Lietuvos partizanų vizualinė kūryba kaip totalitarizmo kritika
LTReikšminiai žodžiai: Atvirukas; Ideologija; Karikatūra; Kaupiamoji atmintis; Komiksas; Lietuvos partizanai; Totalitarizmas; Totalitarizmo Kritika; Vizualinė Kūryba; Vizualioji kūryba; Caricature; Cartoon; Comic book; Critique Of Totalitarianism; Ideology; Lithuanian partisans; Postcard; Stored memory; Totalitarianism; Visual Creativity; Visual creative Works.
ENThe aim of this research was to analyse the visual creative works of Lithuanian partisans as a specific critique of totalitarianism. Research object: virtual exhibition Creative Works of Lithuanian Partisans of 8 July 2015 in the Lithuanian Special Archives. Research objectives: a) to present Janis L. Edwards’ conception of cartoons, Hannah Arendt’s theory of totalitarianism and Aleida Assmann’s conception of stored memory; b) to analyse the exhibited visual works of Lithuanian partisans; c) to discuss those creative works as a critique of totalitarianism; d) to analyse the exhibition as the case of stored memory. Research methodology: Janis L. Edwards’ conception of cartoons presented in his study "Political Cartoons in the 1988 Presidential Campaign: Image, Metaphor, and Narrative" (1997), Hannah Arendt’s theory of totalitarianism described in her work The Origins of Totalitarianism (1951) and Aleida Assmann’s conception of stored memory formulated in her work "Cultural Memory and Western Civilization: Functions, Media, Archives" (2011). A hypothesis was put forward that the creative works of Lithuanian partisans are a critique of Soviet ideology explicitly and a form of visual communication with people oriented to strengthening socio-ideological relations implicitly. The goal of the political cartoons drawn by partisans (mainly by partisan Jonas Markulis-Vaiduoklis) was to ridicule Stalin, Soviet ideology, the Soviet regime in postwar Lithuania. It was a visual form of a critique of Soviet ideology, not only a response to Soviet propaganda but also a visual-verbal message to people.The goal of the majority of the postcards drawn by Veronika Janutytė-Audra was to emphasise national identity. She did it by drawing a Lithuanian partisan and a Lithuanian girl against a background of our national symbols, the Flag of Lithuania, the Cross of Vytis, the Vytis of Lithuania. She employed the characterisation strategy and conveyed a message through the national symbols. The goal of the illustrations that supplemented editorial articles in resistance underground publications was to reveal the consequences of Soviet ideology, remind people of resistance struggles. Our national symbols were employed to emphasise the meaning and significance of resistance. The goal of unfinished comic book "Lietuviškas beždžionžmogis" by Veronika Janutytė- Audra was to depict a homeland betrayer, stribas, and, employing the characterisation strategy, reproduce reality in a comic artefact. Thus, comics can be called a form of intellectual resistance to Soviet ideology. This virtual exhibition shows that the Lithuanian Special Archives, an institution of stored memory, uses various forms and content to present partisan art heritage, defined as a document, to contemporary society. [From the publication]
