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Copyright of Politologija is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Politologija is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Respectus Philologicus is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social Education / Socialinis Ugdymas is the property of Vytautas Magnus University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Science & Processes of Education / Mokslas ir Edukaciniai Procesai is the property of Center of Palliative Care & Family Health and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Proceedings of the Faculty of Economics & Business in Zagreb / Zbornik Ekonomskog Fakulteta u Zagrebu is the property of Ekonomski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Proceedings of the Faculty of Economics & Business in Zagreb / Zbornik Ekonomskog Fakulteta u Zagrebu is the property of Ekonomski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Proceedings of the Faculty of Economics & Business in Zagreb / Zbornik Ekonomskog Fakulteta u Zagrebu is the property of Ekonomski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Proceedings of the Faculty of Economics & Business in Zagreb / Zbornik Ekonomskog Fakulteta u Zagrebu is the property of Ekonomski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In an era characterized by increasing demands for transparency and accountability, Open Government Data (OGD) initiatives have emerged as a critical tool for fostering public trust in government institutions. This paper examines the direct impact of the results of OGD on the satisfaction of citizens and the activities of state institutions. The main purpose of this paper is to study whether there is a link between the availability of OGD and institutional trust, and, if so, to establish whether this effect can guarantee the satisfaction of citizens. The study involved a large-scale survey conducted among residents of the Turkestan region. The survey encompassed questions related to trust in various government entities, the usage of OGD, satisfaction with government services, and socio-demographic factors. Data collected from 360 respondents were subjected to rigorous statistical analysis. A substantial positive correlation between OGD availability and usage and citizens’ trust in government institutions, particularly among frequent internet users, was found. Additionally, the study revealed that OGD positively influences citizens’ satisfaction, which, in turn, contributes to increased trust in government. OGD initiatives play a vital role in enhancing trust in government institutions, particularly in digitally connected populations. Recognizing the mediating role of satisfaction presents opportunities for policymakers to refine strategies aimed at delivering higher-quality public services and strengthening democratic processes.

The paper focuses on soldiers enrolled in permanent compulsory initial military service in Lithuania and analyses their service motivation and attitudes to threats to national security. The article identifies the motives for joining permanent compulsory initial military service and highlights the fact that young people’s choice of permanent compulsory initial military service is most often driven by individual motives. In order to compare the results, representative surveys were conducted in 2018 and 2023. The empirical data suggest that the perception of the main threat to national security identified by troops as an economic threat remained unchanged between 2018 and 2023. However, in 2023, soldiers grew somewhat more aware of the threat of military aggression. In 2018, volunteers differed significantly from conscript forces in their determination to engage in national defense. The expected determination to engage in national defense at a time of an increased military threat did not significantly increase in 2023 compared to 2018; moreover, the attitudes of volunteers and conscripts failed to converge. However, 2023 saw a significant increase in conscripts’ service motivation and an improvement in their assessment of the National Defence Volunteer Forces. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Res Humanitariae is the property of Res Humanitariae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Vilnius University Open Series is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper offers a general overview of the Lithuanian art historical research published during the three decades of Independence (1990-2020). The paper discusses the changes in institutional and academic life, the spectrum of methodological approaches, as well as the key art theoretical publications and their authors. The overview aims to assess the current situation in the art historical discipline and fascilitate the debates around the question whether Lithuania has managed to develop its own school of art theory. The analysis of the publications (mostly monographs) by the Lithuanian art theorists has conclusively shown that such school does already exist. In terms of its organisation, Lithuanian art theoretical school matches all the academic criteria: education is provided at all levels, and the dissemination and continuity of research, both empirical and theoretical, are ensured. The school has already gone through two or even three phases of development. The first stage, spanning between 1990 and 1998/99, was rich with significant achievements in the sector of education: it saw the launch of the first art theory doctorate programme in Lithuania, as well as the establishment of the Institute of Art Research, and the Vilnius Academy of Arts Publishing House. During the period, Kaunas Vytautas Magnus University launched their art theory programme, while the Culture and Art Institute in Vilnius had acquired two art theory departments. The second stage (2000-2010/12) saw a rapid growth of the number of publications, widening of the art theoretical specialisation, and further development of research methodologies. Along with the formal analysis and methodologies of iconography and iconology, came the outlines of social art history. All the spheres of art history became equipped with various methods of source research and interpretation. Among the main fields of research were the history of ecclesiastic and devotional art (patronage and heritage of mansions and urbanite art). One of the leading research problems of the time - the relation of text and image. The third stage covers the period of 2010-2020, and instead of the focus on the oldest examples of art historical heritage to the art of the 19th, 20th, and 21st centuries. In Lithuania, the methodological innovations started gradually taking root only after the year 2000, therefore there are still many possibile routes to explore. Most texts emoploy a combination of different methodologies, varying between iconology, phenomenology, and semiotics. This helps the research to better grasp the multiplicitous nature of the analysed phenomena, although this sometimes comes at the expense of the narrational coherence and constructiveness of conclusions. The Lithuanian school is predominantly national-based. This has many advantages, although sometimes this makes it difficult to distribute the research internationally. Despite all the developments within the Lithuanian art history as a discipline, international collaboration via conferences, projects, publishing, and media still leaves much to be desired. Due to the reliability of documented information, Lithuanian art historians are able to produce a particularly high level of in their work with sources. Rather than emerging as a circle of followers around a particular prominent individual, the Lithuanian art theoretical school is a result of a number of colleagues - art historians and critics - practicing mutual support and exchange of ideas. [ABSTRACT FROM AUTHOR]

The text analyses the specific forms and channels of artwork development, namely, it looks into the storytelling potential of the physical space (the closedness of interiors and openness of exteriors), the digital space, and the space of paper publication. While respecing the artistic freedom, the paper stresses the importance of the permanently changing context, although even the most recognised art professionals can forget that, which often produces a comical effect. The research involves some seemingly unrelated topics and a few concrete objects: 1. artwork distribution, 2. the entrenchment of architects in the fabric of exhibition, 3. unseen contexts, and 4. the analysis/slam of exhibition titles from a particular historical period. The paper uses the comparative method that is rich both with references and personal remarks, and its style is close to that of a writer-artist rather than an academic. It aims to show the artworld as being slightly rough-around-the-edges, governed by distinct sources of power, and rich with absurdity. The research also uses dedicated illustrations to comment on the topical issues and various tragicomical situations related to them. Along with its visual component, irony temporarily relieves us of tensions and enriches the text companion. The research method is based on the practice of observation of the art field, and the analysis of its exhibition spaces along with individual artists, publishing platforms, and their intersections in the art critical publications, conferences and the internet. The paper tries to study the role of the new participants, specifically exhibition architects, in the exhibition context, while subjectively highlighting both successful and unsuccessful examples. The third part presents the analysis as a clash between randomly picked material (e.g., exhibition titles) on the one hand, and the material of a distinctly different genre (e.g., slam comments) on the other, thus deliberately rejecting the entire sociology of art. Because, when preparing to their exhibitions, artists fall prey to various word games when coming up with their project titles, and end up being torn between family, friends, art theorists and art centre directors on the one hand, and their intimate desire to express themselves on the other. This is also why the third part comes without any conclusions. The author is happy to live in such a structurally obscure environment (what's the difference whether you're self-taught or you've got a degree in art management; after all, life is but collection of exceptions), as long as one has the power of an individual voice. The author is but a text, while the polyphony of other people, historical events and texts is but a context, and the latter is always bigger than the former. The voice, in which we tell our stories of art, will be most successful not only when it is unique, but also when it comes out as a scream. One is thus bound to scream loudly and end one's life with a book. [ABSTRACT FROM AUTHOR]

The article explores the interactions within an exhibition between its architecture and its curatorial program. Instead of being regarded as a dual system with a single goal, the interactions are seen as two separate systems that do not always ensure a coherent articulation of the content in the exhibition. An architectural program implies an existing exhibition space with new design solutions for a specific exhibition. An architectural program is an existing exhibition space with new design solutions for a specific exhibition. The curatorial program is called the logic of the arrangement of works - the principle according to which art objects are combined into a conceptual, visual or thematic picture. The study highlights that each of these programs has three types of expression that make up nine possible interactions between the exhibition architecture and its content. Of these, three interactions mark situations where the spatial layout and its content correspond to each other. However, the study focuses on the cases with particular discrepancies, as the practice shows that such exhibitions are most prevalent. This is thought to be due to the fact that the architectural structure of the exhibition halls is often unfriendly towards certain curatorial scenarios. Instead of regarding this as a problem, the paper considers this as an opportunity for the cases of conscious and productive solutions. The paper investigates one specific case: "Head With Many Thoughts", an exhibition at CAC. The exhibition is analysed both theoretically and practically with the help of the Space Syntax method, analytically assessing the behavioral patterns predicted in the exhibition, as well as practically checking how the audience groups respond to the exhibition. Rather than using a mere theoretical analysis, the paper proposes to consider the potential of these methods for further development and practical adaptation. [ABSTRACT FROM AUTHOR]

Although the aspects of anationhood in art theory and culture have already been thoroughly investigated, the relatively young discipline of cinema theory is only beginning to grapple with the notion of nationality in cinema. The earliest attempts to define 'national cinema' go back as far as the soviet and the early Independence periods, as seen in the works of Marijona Malcienė, Laimonas Tapinas, and Živilė Pipinytė. The paper aims to build on these early debates and develop a new interpretation of the notion of national cinema, offer its contemporary historiography with the pluralist understanding of the notion, and therefore ask the following series of questions: is it only the cultural texts about the host country that can be considered 'national'? does 'nationality' depend on the nationality of the artist? what criteria determine the value and significance of cinema? is it just the films with high artistic quality that are worthy of our attention? how about other factors that determine the culture of cinema (audience, distribution, screening)? how does the integration of these factors change our understanding of 'national cinema'? The paper addresses these questions in three parts. In the first one, I use key authors (Andrew Higson, John Hill, and Stephen Croft) to discuss the development of the notion of 'national cinema' while paying more attention to its modern interpretation due to its relevance to the contemporary cinema theory. [ABSTRACT FROM AUTHOR]

The paper overviews the history of the privately owned Kaunas Women's Arts and Crafts School (1927-1940), established by the craftswoman Stasė Gudonytė-Biziokienė (1896-1943). Her work is analysed in the context of the interwar arts and crafts education. The school was continuing the tradition of women's crafts education that formed in the 2nd half of the 19th century. Being part of the interwar elite, Gudonytė-Bizokienė, was considered one of the founders of Lithuanian high fashion. During the period of 1935-1936, the school introduced three additional courses: hat making, women's fashion, and children's clothing design and tailoring. The paper uses archival material and memories of family members to present the biography of Gudonytė-Bizokienė. The paper also describes the school with its educational aims, structure, institutional reforms of 1935, and its curriculum. The paper overviews the remaining samples of the students' work that reflect the interwar ideals of a cosy home space, and feature a mix of art deco and modernised folk style. The significance of the school is demonstrated by tracing the careers of its graduates in the general context of arts and crafts education of the time. Apart from Kaunas Art School and Dotnuva Academy of Agriculture (1924-1945), Kaunas Women's Arts and Crafts School was the only higher education establishment with speciality in arts. The school's aims matched the Lithuanian demands. Gudonytė-Bizokienė's tailoring courses were on par with the educational programs of the notable tailors of the interwar Kaunas. The paper concludes that it was the artistic crafts that Gudonytė-Bizokienė saw as her main goal, while the fashion salons were only an appendage to her educational work. Crafts education was credited with a higher status in the Lithuanian schools of vocational education. However small, the group of the school's graduates that the research was able to identify demonstrates excellent professional skills and readiness to work in the sphere of crafts education. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Copyright of Law / Teise is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Law / Teise is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Law / Teise is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Law / Teise is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Law / Teise is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Law / Teise is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Soter: Journal of Religious Science / Religijos Mokslo Žurnalas is the property of Vytautas Magnus University, Faculty of Theology-Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Politologija is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From current cognitive science, some theories propose that the human mind includes two systems: a system leading quick intuitions and a system ruling slow logical reasoning. Given that the systems are in the mind, one might think that their existence is difficult to check. This paper presents a way to gradually confirm the hypothesis about the two systems. It adopts the conception of the two systems as presented by the theory of mental models. Moreover, following Carnap’s proposal of reduction, the paper describes two procedures to incrementally confirm the hypothesis. One of them investigates human performance at inferences in the form of Modus Tollendo Tollens. The other one investigates inferences from an exclusive disjunction having three disjuncts.

The paper explores the relation between a contemporary Aristotelian conception of human flourishing and two critical perspectives on work. The meaningful work perspective inquires what kind of work would be meaningful, by arguing that meaningful work is essential for human flourishing. The post-work perspective argues that good life lies outside work and workplaces and calls to eliminate work as much as possible. The paper suggests that it is possible to acknowledge the insights of both perspectives via contemporary Aristotelian notions of practice and human flourishing. The notion of practice incorporates the conception of meaningful work, yet it applies to nonwork activities as well. Conceptualization of human well-being via the notion of practice also responds to the post-work challenge of conceiving human flourishing without prioritizing work over other meaningful activities. In this way, a contemporary Aristotelian conception of human flourishing supports both the need for better work and less work.

Although there were many disagreements in transatlantic relations before the COVIC-19, the pandemic accelerated tensions in transatlantic relations even more. The inauguration of the new US president Joe Biden, however, has been perceived as a new chapter in transatlantic relations. The paper aims to assess the COVID-19 pandemic implications to transatlantic relations and answer the question of whether the pandemic has strengthened or weakened the transatlantic security community? The paper stems from the idea that transatlantic countries compose a transatlantic security community. It examines the COVID-19 implications to several tiers of features that should be present in every security community: namely, implications to the perception of threats, patterns of communication and policy coordination, as well as to institutional framework. The paper argues that COVID-19 has not transformed the transatlantic security community; however, it highlighted certain problematic aspects of transatlantic relations.

The paper aims to review the history of dialectology at Vilnius University since the establishment of the Department of the Lithuanian Language in 1940. To achieve this, we have set the following objectives: 1) to present the teaching of dialectology, 2) to review the dialect material collection, and 3) to examine existing research. Descriptive, analytical, and evaluative methods are applied in the study. The beginning of dialectological research is associated with the name of Antanas Salys. The works of Aleksas Girdenis and Zigmas Zinkevičius are also discussed in the paper, as well as the teaching of the dialectology subject, methods of collecting dialectological material and directions of dialectological research. The paper distinguishes the paradigms of traditional, structural, and new dialectology dialectology, and examines their methodological similarities and differences. The most important conclusions and summaries of the paper are fundamentally related to dialectological paradigms: in more than eighty years since the first dialectology subject taught at Vilnius University, the understanding of dialectology has changed. The stage of traditional dialectology at the University was extremely important, as it produced the most fundamental works that are still used today. The structural dialectology paradigm and Prof. Girdenis Dialectology School that trained a large group of productively working Lithuanian dialectologists has flourished over the years. Currently, the new paradigm of dialectology is making its way, offering new theoretical and methodological approaches to the study of dialects.

Recently, education and teaching have been significantly impacted by information and communication technologies. New cohorts of students, COVID-19 pandemic and pressure in the labour market on the labour force to master the technology-related skills and competence serve as main drivers for universities to redesign the way of teaching. A radical transformation of education caused by technologies is related to several aspects, such as online teaching or using other technologies in both physical and online learning environments with the focus on student-centred learning. The existing literature suggests that educational innovation through technologies allows for the adoption of collaborative, inclusive and student-driven pedagogy. The paper aims at revealing educational innovation through information and communication technologies in one of the courses for master’s students, namely People Analytics. While disclosing the particular case of one course, the paper seeks to provide the argumentation (advantages and disadvantages) for choosing specific tools and how these tools are embedded. The use of tools such as Zoom, digital escape rooms, Mentimeter, and Padlet, is presented. The paper concludes that technologies may offer many wide-ranging benefits in education; however, the further study is needed for revealing the students’ acceptance of technologies and the impact of technologies on learning outcomes.

This article is the first to publish, translate to Lithuanian, and analyse the description of border between the Grand Duchy of Lithuania and Confederation of Livonia dated on January 12th, 1529. This paper establishes previously unknown locations of some of the toponyms mentioned. It also investigates the circumstances of creating and archiving this document. A hypothesis is raised that the document had been drafted by Alexander (Olechno) Krivec and was later transferred to chancellor Albertas Goštautas (pol. Olbracht Gasztołd; bel. Альбрэхт Гаштольд; rus. Ольбрахт (Альберт) Гаштольд)) for storage. [ABSTRACT FROM AUTHOR]

Copyright of Acta Linguistica Lithuanica is the property of Institute of the Lithuanian Language and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Vilnius University Open Series is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Socialinė Teorija, Empirija, Politika ir Praktika (STEPP) is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Socialinė Teorija, Empirija, Politika ir Praktika (STEPP) is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Problems / Problemos is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Problems / Problemos is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Problems / Problemos is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)