Įsipareigojimas organizacijai – darbuotojų profesinio perdegimo rizikos ar saugos veiksnys?

Organizational commitment is an important factor in the prediction of lower absenteeism, greater work motivation, citizenship behavior, and work productivity. Some authors argue that the greater employees’ organizational commitment decreases professional burnout as well. However, recent studies usually employ the emotional component of commitment in such kind of investigations, while continuance and normative commitment are under-investigated. The literature suggests that the development of the components of organizational commitment is related to different reasons and leads to different subsequences of employees’ thinking and behavior.Therefore, the aim of this study was to determine the importance of three components of organizational commitment (emotional, continuance, and normative) for the employees’ burnout (emotional exhaustion, depersonalization, and professional efficacy). It was predicted that a greater emotional commitment would be negatively related to emotional exhaustion and depersonalization and positively related to professional efficacy. The greater continuance commitment would be positively related to emotional exhaustion and depersonalization and negatively related to professional efficacy. The greater normative commitment would be positively related to emotional exhaustion and professional efficacy.In the research, 879 employees from organizations of various size and type participated. There were 402 men and 477 women. They completed the revised version of the Organizational Commitment Questionnaire (Meyer, Allen, & Smith, 1993) which assesses the emotional, normative and continuous commitment, and the Lithuanian version of the Maslach Burnout Inventory MBI-GS (Maslach et al., 1996) which assesses depersonalization, emotional exhaustion and professional efficacy. In order to analyze the interaction among the variables, the linear regression analysis was used. This study highlighted the importance of organizational commitment for employees’ burnout. The results showed that the affective and normative commitment may be an important predictor of a lower emotional exhaustion (β ranged from –0.262 to –0.136) and depersonalization (β ranged from –0.324 to –0.196) of employees. Only emotional commitment can predict greater professional efficacy (β = 0.228). Therefore, the affective and normative commitment should be treated as a preventive factor from burnout, while continuance commitment can predict a stronger employees’ depersonalization (β = 0.142) as well as a higher emotional exhaustion (β = 0.096) and can be attributed to the risk factors in the formation of professional burnout.The findings suggest that organizational commitment can be a useful predictor of employees’ professional burnout, but the different components of organizational commitment should be taken into account.Prieštaringi tyrimų rezultatai nepateikia aiškaus atsakymo, kaip įsipareigojimas organizacijai veikia darbuotojo psichologinę savijautą darbe. Todėl tyrimu siekiama nustatyti darbuotojų įsipareigojimo organizacijai reikšmę jų profesiniam perdegimui. 879 darbuotojai, dirbantys skirtingose įvairaus dydžio ir paskirties organizacijose, užpildė klausimyną, sudarytą iš koreguotosios Įsipareigojimo organizacijai klausimyno versijos (Meyer, Allen, & Smith, 1993 ) ir Maslach profesinio perdegimo klausimyno bendrosios skalės lietuviškosios versijos (MBI–GS, Schaufeli, Leiter, Maslach, & Jackson, 1996). Siekiant prognozuoti darbuotojų nuasmeninimo, emocinio išsekimo ir darbo efektyvumo ypatumus, naudoti tiesinės daugialypės regresinės analizės modeliai. Nustatyta, kad stipresnis emocinis ir normatyvinis įsipareigojimas organizacijai yra reikšmingi kriterijai prognozuojant mažesnį darbuotojų emocinį išsekimą ir polinkį į nuasmeninimą. Tačiau tvirtesnis tęstinis įsipareigojimas gali sustiprinti darbuotojų polinkį į nuasmeninimą. Be to, tyrimo rezultatai atskleidė, kad darbuotojo darbo efektyvumui reikšmės turi tik emocinis įsipareigojimo komponentas – stipriau emociškai įsipareigoję organizacijai darbuotojai darbe jaučiasi efektyviau dirbą

Imaginary landscape of Lithuania in the art of the late 19th - early 20th century

The article analyses imaginative type of landscape painting, in other words, imaginative or reconstructed landscape which cannot be claimed to be prevailing in this genre paintings of late 19th – early 20th Century. But by expressing aesthetic and ideological requirements applied to painting by certain group of society, it gives figurative reflection of Neo–Romantic trends in the Lithuanian art of that time. The specific painting by Henrikas Veisehofas called "Lietuviškas užkampis" [Lithuanian Periphery] chosen for the analysis reflects that. Before moving on to a detailed analysis of the painting, the author of the article reminds the reader of the painter's biography and creative legacy. This painting illustrates the influence of the gentry tradition and certain world outlook clichés formed in its environment on the concept of landscape genre. There were also earlier imaginative landscapes in the Lithuanian painting of the first half of the 19th or mid-19th Century which were similar to Veisenhof's works. But all the mentioned works have specific landscape or monument depicted. While Veisenhof managed to create a version of summarised, typical Lithuanian landscape, idealised vision of the world sinking into the past, on the basis of a specific image of the manor. His landscape shows an image of nature untouched by civilisation, idyll of minor gentry farmstead is creating the impression of stopped time, reflecting not only nostalgic look at the past of the part of the society close to the painter, but also conscious world outlook position stating that "typical" landscape of Lithuania is inseparable from the gentry life signs in it

Architektūrinis ansamblis

Švč. Trejybės šventovė – vienas iš įdomiausių sakralinių pastatų Vilniuje. Ilga ir permaininga pačios šventovės ir prie jos veikusių vienuolynų (stačiatikių, vėliau bazilijonų ir bazilijonių) istorija, taip pat valstybės politinio ir religinio gyvenimo procesai paliko pėdsakų ansamblio architektūroje ir jo pastatų vidaus įrangoje, formavo čia puoselėtus religinius kultus, kurie, savo ruožtu, turėjo įtakos šventovės puošybai. Prasidėjusi nuo nedidelės cerkvės ir kiek vėliau prie jos pradėjusių kurtis vienuolynų, ilgainiui ši sakralinė vieta išsiplėtė iki nemenkos jurisdikos, formavusios bendrą šios Vilniaus dalies architektūrinį vaizdą. Pirmoji, medinė, Švč. Trejybės cerkvė buvo pastatyta apie 1374 m.. Kaip ji atrodė, nėra jokių patikimų žinių. O 1514 m. Konstantino Ostrogiškio funduotos mūrinės cerkvės sienų didžioji dalis išlikusi iki šių dienų – jos tebeglūdi po vėlesnių laikotarpių tinku ir priestatais. Šioje didingoje šventovėje jungėsi Rytų ir Vakarų krikščionių sakralinės architektūros bruožai. Stačiatikių tradicija ryškiausiai atsispindėjo šventovės plane, būdingame centrinio kupolinio tipo cerkvėms, nors iš tiesų keturi pilioriai pastato centre čia rėmė ne kupolą, o skliautus. Konstrukciniai elementai – aukštas dvišlaitis stogas, fasaduose kilę trikampiai frontonai, sienas rėmę laiptuoti kontraforsai – priminė gotikinę katalikų bažnyčių architektūrą. Cerkvės mūras išorėje pasižymėjo kryžminį raštą sudarančių raudonų ir gelsvų plytų rašto dekoratyvumu, o fasade abipus portalo iš juodų perdegtų plytų buvo sudėlioti kryžiai

Kotrynos Jogailaitės kraičio aprašas – XVI a. dvaro buities dokumentas

Reikšminiai žodžiai: Aprašas; Dokumentas; Dvaras; Kotryna Jogailaitė; Kraitis; Lietuvos meno istorija, taikomoji dailė, istorinio šaltinio vertimas; 16 amžius; XVI a. kultūra; Catherine Jagiellon; Court; Culture of 16th century; Document; Dowry; Inventory; Kotryna Jogailaitė; Lithuanian art history, applied art, translation of historical source; XVI centur

Verkiai gardens in the times of bishop Ignacy Jakub Massalski

Referring to the archival sources not yet addressed by researchers, the author of the article aims to reconsider the development of the Verkiai gardens and landscape park in the period of rule of Bishop Ignacy Jakub Massalski (1762–1794). Various types of gardens (decorative gardens, fruit gardens, vegetable gardens etc.) and the park in Verkiai are discussed. In analyzing the changes that the ensemble underwent in this period, first of all, attention is drawn to large-scale landscaping and engineering works, as well as building the system of ponds and canals, road facilities construction and landscaping. New archival sources provide interesting data about the efforts of Bishop Massalski to develop economic activity on the estate and create a landscape of extraordinary beauty. Contrary to what has been believed before, in Massalski’s times there were gardens rather than a park in the south-eastern part of the estate, on the lower terrace of the Neris River, which combined both the economic and decorative functions. A complex of auxiliary buildings that was located nearby determined a rather utilitarian function of this part of the estate, but the combination of aesthetic value and economic profitability turned it into a charming segment of the estate’s territory. In the meantime, in the landscape park (“a wild garden”), aesthetic and philosophical meanings laden with Masonic symbolism prevailed, although the “economic” aspect was also present (fish were bred in the canals, a watermill operated).Much attention is devoted to the issues of the establishment of the park, its location, structure and authorship. It is highly relevant, as in the newest publications on the topic one can find statements denying the existence of a landscape park in Verkiai in the late 18th century, which gives a wrong perspective on the estate’s history. In the article, the author specifies the chronology of the development of the Verkiai gardens and park, revealing that the architect Laurynas Gucevičius should be considered the creator of the landscape park. He implemented and, in certain cases, probably also corrected the bishop’s vision. Referring to the written sources and field research, the author of the article proves that in the late 18th century the landscape park was established in a large hilly territory that extended west of Verkiai Hill towards Jeruzalė, and partly on the upper terrace of the hill. She discusses the decorative elements of the landscape park (ponds, canals, cascades, a fountain) and buildings of small-scale architecture (brick and wooden bridges, wooden altanas and the (unfinished) brick Unity Church) that have not survived until our days but are recorded in the inventories. These are so far unknown works by Gucevičius, traces of which can still be found in the park territory. The author rejects the opinion rooted in historiography that “de Ligne’s circle” mentioned in the sources was located in the palace parterre, and argues that it was sited in the zone of the upper folwark. New data is particularly valuable for the further research, improvement and restoration of the Verkiai ensemble

Fragments of Lithuanian history in Verkiai landscapes

The article introduces and gives the Lithuanian translation of the Mykolas Balinskis' (1794-1864) manuscript The History of Verkiai Village in the Vicinity of Vilnius which is kept in the Historical Archives of Lithuania. Balinskis tells us the story of Verkiai on the basis of five J. K. Vilčinskis' lithographs after water-colour paintings by V. Sadovnikov produced in 1848 for The Vilnius Album. Along with the historical facts of the locality, through the descriptions of separate scenes and by telling the readers how the fragments of the manor-house not depicted in the lithographs look like, Balinskis gives a detailed picture of the manor-house at that time. Apparent is his desire to make the Verkiai manor something of a model for manor keeping of the epoch. In this way the elite's conception of the "ideal" image of Lithuania reveals itself. Along with the legendary episodes of the pagan past and the facts of historic battles against the Teutonic Knights or Moscow, this conception encompasses the realia of later epochs: splendid and convenient manor houses, art collections that drew the Lithuanian nobles closer to European elite, collection of antiquities helping to preserve and encourage interest in the national heritage, education of poor children and other charity activity serving as the base for future society. It is well worth noting that the historian does not forget the wonderful nature, which is regarded as an integral part of the national image of Lithuania and the perpetuation of which seems to be placed on the same footing as the preservation of historical monuments

Painting of Blessed Simon of Lipnica from the Vilnius Bernardine church

The cycle of paintings that are the focus of this article were created between the 17th and 18th centuries and hung in the first floor of the gallery of the convent until the closing of the Bernardine church in 1949. The surviving part of this cycle is currently kept in the Lithuanian Art Museum. The aforementioned works were taken to this museum circa 1958, but were not properly analyzed from either the perspective of their subject or their authorship. Some of the canvases were intended for the Saints of the Bernardine order. This article analyses one of the paintings of this cycle,"An Everyday Scene from the Lives o f the Monks" as it was named in the documents of the museum. The article proposes that the Bernardine monk who is depicted on the canvas lived in the Cracow convent in the 15th century and that he is the Blessed Simon of Lipnica (canonized in 2007). The painting is identified and its subject is explained by referring to descriptions from the life of Blessed Simon of Lipnica and his iconography. In 1686 a work of a similar composition was painted by Johann Gotthard Berchhoff in Vilnius; this painting was created by order of the convent of the Cracow Bernardines during the preparations for a celebration of the beatification of Simon of Lipnica. This canvas survived in the chapel of the entombment of Simon from Lipnica in the Cracow church of the Bernardine convent. The article presents the hypothesis that this painting could have been painted by the author of the Vilnius cycle, as the two images have both subject and style in common. The consideration is made that the painter J.G. Berchhoff, who worked in Vilnius in the second half of the 17th century, could be the author of a few more paintings of the Bernardine cycle

Portrait of Aniela Wańkowicz

Dailėtyrininkės Rūtos JANONIENĖS straipsnyje pateikiama naujų duomenų dailininko Valentino VANKAVIČIAUS (Walenty Wańkowicz, 1800–1842) biografijai, daugiausia dėmesio skiriant mažai žinomam jo asmeniniam gyvenimui. Plačiau pristatoma dailininko žmonos asmenybė, jos likimas. Pirmą kartą Lietuvos spaudoje publikuojamas naujai išaiškintas šio žymaus XIX a. dailininko kūrinys – privačioje kolekcijoje Vilniuje saugomas Anelės Vankavičienės-Dochtorovičienės (Aniela Wańkowicz-Dochtorowicz, apie 1808–po 1873) portretas.In her article, the art researcher Rūta JANONIENĖ provides new data on the life of the artist Walenty WAŃKOWICZ (1800–1842), focusing mainly on his little-known personal life. She gives some details about the personality of the artist’s wife and her fate. A portrait of Aniela WAŃKOWICZ-Dochtorowicz, (c.1808–1873) by the famous 19th-century artist, from a private collection in Vilnius, is published here for the first time in the Lithuanian press

Kostrowicki from Arnionys: a family that helped to preserve the memory of Laurent Gucewicz

The article contains new biographical data on the architect Laurent Gucewicz (1753–1798), additional information about his family and social relations. He was a close friend of Kazimierz Hornowski, administrator of Bishop Ignacy Jakub Massalski’s domains (from 1780), who lived in the Riešė manor near Vilnius (so-called Jesuit Riešė) from the late 18th century. Circa 1799, Hornowski married Gucewicz’s widow Teofila, and their children became stepbrothers and stepsisters. Through his stepfather’s family the architect’s son Stanisław became close to the noble Kostrowicki family from Arnionys – in 1839, Hornowski’s granddaughter Maria married Aleksander Kostrowicki (son of Kajetan Kostrowicki and Róża Balińska). Stanisław Gucewicz lived in Arnionys for some time, from 1858 was an authorized representative of the Kostrowickis, and after Aleksander Kostrowicki’s death became the guardian of his children. Before his death Gucewicz left his father’s most important documents and portraits to Stanisław Kostrowicki for safekeeping. These documents, along with a part of the Arnionys archive, from the second half of the 19th century were held in the archive of the Riešė manor owned by the Hornowski (later, the Kostrowicki). The relations of the Kostrowicki and the Gucewicz with the Baliński family also were very important for the preservation of the memory of Laurent Gucewicz. In 1809, Kajetan Kostrowicki, son of the builder of the Arnionys manor Michał Kostrowicki, married Róża, the daughter of the captain of the Vilnius Voivodeship Ignacy Baliński, and the sister of the historian-to-be Michał Baliński. Interestingly, it was Michał Baliński who published the first biography of Laurent Gucewicz in 1816 (at the end of his life he wrote another, wider article about the architect together with Stanisław Kostrowicki).Michał Baliński’s family had several manors in the Širvintos parish, in which Laurent Gucewicz established the Laurai folwark on the land given to him by right of emphyteusis by Bishop Massalski in 1787. Inscriptions in the early nineteenthcentury register of the Širvintos church show that the Baliński were in close contact with Laurent Gucewicz’s brothers who still lived in the environs, thus the author of the article advances a supposition that they were familiar with the architect himself. In addition to these circumstances pointing to the possible relations of the Kostrowicki with people from Gucewicz’s environment, the masonic relations should be mentioned. Several members of the nobility, e.g. Walenty Gorecki, who were close friends with Michał Kostrowicki, belonged to the same Vilnius masonic lodges as the architect in the late 18th century. In the author’s opinion, all the abovediscussed facts confirm the hypothesis about Laurent Gucewicz as a possible designer of the Arnionys manor house. To prove this hypothesis, she analyses the structure and architectural forms of the manor ensemble