{"id":{"repo_id":"vilnius","oai_identifier":"oai:vu.lt:elaba:210642769"},"canonical_url":"https://search.dev.ndltd.org/etd/vilnius/oai:vu.lt:elaba:210642769","repository":{"repo_id":"vilnius","name":"Vilnius University","base_url":"https://epublications.vu.lt/oai"},"display":{"title":"Fabulos siela: Juozo Grušo dramų konfliktas /","abstract":"In the final bachelor’s thesis, the expression and significance of fable conflicts in J. Grušas’ dramas are analysed on the basis of Aristotle’s drama theory: “Father and Son”, “Amber Villa”, “Herkus Mantas” and “The Faceless Man”. One of the most important motifs of J. Grušas’s dramaturgy is the struggle between good and evil, and Don Quixotes, fighting against the imperfection of the world, become the axis of his dramas. J. Grušas develops the conflicts of the dramas during the period of Soviet “conflictlessness”, which is why the collisions are developed according to the metaphorical principles of conflict development. Drama is perceived as an action full of external and internal conflicts that change the fate, position or values of characters. The aim of the thesis was to investigate how J. Grušas develops the conflicts of fables and what meanings the collisions acquire. Both external and internal conflicts are prominent in J. Grušas’s dramaturgy: they develop between family members, between man and society, era and conscience. The family conflicts in J Grušas’s drama are developed between fathers and sons, while women, without being directly involved, instigate or suppress flared family conflicts. In family dramas, the eternal struggle between the new and the old comes to light, the archetypes of the home and family are destroyed, and the Don Quixotes of the dramas struggle against prevailing materialism and egotism. In his historical and dystopian dramas, J. Grušas develops conflicts between the individual and the world. The Don Quixotes who defend humanity take up the fight against historical barbarity and selfishness. Conflicts in the dramas become symbols of freedom and global prosperity. Key words: drama, fabula, characters, conflict, collision, Aristotle.","abstract_html":"In the final bachelor’s thesis, the expression and significance of fable conflicts in J. Grušas’ dramas are analysed on the basis of Aristotle’s drama theory: “Father and Son”, “Amber Villa”, “Herkus Mantas” and “The Faceless Man”. One of the most important motifs of J. Grušas’s dramaturgy is the struggle between good and evil, and Don Quixotes, fighting against the imperfection of the world, become the axis of his dramas. J. Grušas develops the conflicts of the dramas during the period of Soviet “conflictlessness”, which is why the collisions are developed according to the metaphorical principles of conflict development. Drama is perceived as an action full of external and internal conflicts that change the fate, position or values of characters. The aim of the thesis was to investigate how J. Grušas develops the conflicts of fables and what meanings the collisions acquire. Both external and internal conflicts are prominent in J. Grušas’s dramaturgy: they develop between family members, between man and society, era and conscience. The family conflicts in J Grušas’s drama are developed between fathers and sons, while women, without being directly involved, instigate or suppress flared family conflicts. In family dramas, the eternal struggle between the new and the old comes to light, the archetypes of the home and family are destroyed, and the Don Quixotes of the dramas struggle against prevailing materialism and egotism. In his historical and dystopian dramas, J. Grušas develops conflicts between the individual and the world. The Don Quixotes who defend humanity take up the fight against historical barbarity and selfishness. Conflicts in the dramas become symbols of freedom and global prosperity. Key words: drama, fabula, characters, conflict, collision, Aristotle.","abstract_has_math":false,"creators":["Vasilevskytė, Simona,"],"institution":"Institutional Repository of Vilnius University","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024","date_published":"2024","updated_at":"2026-07-24T05:55:52Z","subjects":[],"languages":["lit"],"rights":["info:eu-repo/semantics/openAccess"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://repository.vu.lt/VU:ELABAETD210642769&prefLang=en_US","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Vasilevskytė, Simona,"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2024"]},{"key":"dc:publisher","label":"Institution","values":["Institutional Repository of Vilnius University"]},{"key":"dc:relation","label":"Dc Relation","values":["https://epublications.vu.lt/object/elaba:210642769/210642769.pdf"]},{"key":"dc:type","label":"Dc Type","values":["info:eu-repo/semantics/bachelorThesis"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["lit"]},{"key":"dc:rights","label":"Dc Rights","values":["info:eu-repo/semantics/openAccess"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://repository.vu.lt/VU:ELABAETD210642769&prefLang=en_US"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["In the final bachelor’s thesis, the expression and significance of fable conflicts in J. Grušas’ dramas are analysed on the basis of Aristotle’s drama theory: “Father and Son”, “Amber Villa”, “Herkus Mantas” and “The Faceless Man”. One of the most important motifs of J. Grušas’s dramaturgy is the struggle between good and evil, and Don Quixotes, fighting against the imperfection of the world, become the axis of his dramas. J. Grušas develops the conflicts of the dramas during the period of Soviet “conflictlessness”, which is why the collisions are developed according to the metaphorical principles of conflict development. Drama is perceived as an action full of external and internal conflicts that change the fate, position or values of characters. The aim of the thesis was to investigate how J. Grušas develops the conflicts of fables and what meanings the collisions acquire. Both external and internal conflicts are prominent in J. Grušas’s dramaturgy: they develop between family members, between man and society, era and conscience. The family conflicts in J Grušas’s drama are developed between fathers and sons, while women, without being directly involved, instigate or suppress flared family conflicts. In family dramas, the eternal struggle between the new and the old comes to light, the archetypes of the home and family are destroyed, and the Don Quixotes of the dramas struggle against prevailing materialism and egotism. In his historical and dystopian dramas, J. Grušas develops conflicts between the individual and the world. The Don Quixotes who defend humanity take up the fight against historical barbarity and selfishness. Conflicts in the dramas become symbols of freedom and global prosperity. Key words: drama, fabula, characters, conflict, collision, Aristotle."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Fabulos siela: Juozo Grušo dramų konfliktas /","The soul of the plot: juozas grušas’ dramatic conflict."]}]}],"canonical_facts":{"dc:creator":["Vasilevskytė, Simona,"],"dc:date":["2024"],"dc:description":["In the final bachelor’s thesis, the expression and significance of fable conflicts in J. Grušas’ dramas are analysed on the basis of Aristotle’s drama theory: “Father and Son”, “Amber Villa”, “Herkus Mantas” and “The Faceless Man”. One of the most important motifs of J. Grušas’s dramaturgy is the struggle between good and evil, and Don Quixotes, fighting against the imperfection of the world, become the axis of his dramas. J. Grušas develops the conflicts of the dramas during the period of Soviet “conflictlessness”, which is why the collisions are developed according to the metaphorical principles of conflict development. Drama is perceived as an action full of external and internal conflicts that change the fate, position or values of characters. The aim of the thesis was to investigate how J. Grušas develops the conflicts of fables and what meanings the collisions acquire. Both external and internal conflicts are prominent in J. Grušas’s dramaturgy: they develop between family members, between man and society, era and conscience. The family conflicts in J Grušas’s drama are developed between fathers and sons, while women, without being directly involved, instigate or suppress flared family conflicts. In family dramas, the eternal struggle between the new and the old comes to light, the archetypes of the home and family are destroyed, and the Don Quixotes of the dramas struggle against prevailing materialism and egotism. In his historical and dystopian dramas, J. Grušas develops conflicts between the individual and the world. The Don Quixotes who defend humanity take up the fight against historical barbarity and selfishness. Conflicts in the dramas become symbols of freedom and global prosperity. Key words: drama, fabula, characters, conflict, collision, Aristotle."],"dc:format":["application/pdf"],"dc:identifier":["https://repository.vu.lt/VU:ELABAETD210642769&prefLang=en_US"],"dc:language":["lit"],"dc:publisher":["Institutional Repository of Vilnius University"],"dc:relation":["https://epublications.vu.lt/object/elaba:210642769/210642769.pdf"],"dc:rights":["info:eu-repo/semantics/openAccess"],"dc:title":["Fabulos siela: Juozo Grušo dramų konfliktas /","The soul of the plot: juozas grušas’ dramatic conflict."],"dc:type":["info:eu-repo/semantics/bachelorThesis"]},"updated_at":"2026-07-24T05:55:52Z"}