Critical thinking is a central element in higher education, designed to respond to authentic challenges that our society currently faces: the emergence and spread of fake news, disinformation, and manipulation. There is a consensus regarding CT’s importance and role in higher education. Nevertheless, CT skills are often implicitly mentioned and only occasionally included in university curricula explicitly. The present paper aims at analysing how CT can be measured and tested in higher education, and it proposes specific tasks designed to increase the use of CT within the theoretical framework defined by Peter Facione and Paul Elder. Updated course descriptions were tested, and students’ feedback was analysed and discussed. CT was measured by pre-questionnaires, mid-questionnaires, and post-questionnaires to establish the effectiveness of coherently implementing CT into the course descriptions. The survey includes answers to open questions to determine the suitability of the tasks proposed. The present research is part of the international Erasmus project “Critical Thinking for Successful Jobs”.

This paper analyzes the different viewpoints of the participants in four focus groups discussing critical thinking (CT) in teaching/studying foreign languages. Three of them were conducted at Vilnius University and one at the Public Service Language Centre in Vilnius, Lithuania. All of the interviewees agree about the importance of critical thinking, although they define it differently and emphasize a number of various aspects needed for its acquisition and application. Both students/trainees and instructors/trainers describe several classroom activities that stimulate CT and suggest implicit and explicit methods for evaluating it. The focus group discussions were conducted as part of the international projects Think4Jobs, whose main task was to determine the gap between CT as it is taught at institutions of higher education and in the labor market. Answering this question, the participants mention the unpredictability of the labor market, the usefulness of CT for many different jobs and the importance of teaching it for the acquisition of foreign languages.

This paper analyses the concept of thrownness and the related notions of immediacy and actuality in a 1961 short science fiction story “Wall of Crystal, Eye of Night” by Algis Budrys. It first defines the concept of thrownness (Geworfenheit), created and coined by the German philosopher Martin Heidegger in his classic book Being and Time, and it explains how this notion can be employed in literary analysis in general and applied to this work in particular. The article then analyses how certain stylistic devices in the short story, namely similes, change of pace and the presentation of an inner conflict in the main character, contribute to the feeling of authenticity. In other words, it attempts to exhibit the means used in a prose work to make it seem more realistic and immediate. Finally, the work also argues that science fiction is in many ways more real than other fictional works. Although it belongs to the genre that has traditionally been denied serious literary merit, the novel view and interpretation of this story aims to disclose new horizons of artistic expression that illuminate human mental and physical frailty and stimulate a valuable inquiry into the meaning of life.

This paper illustrates the meaning of memory by the fate and change in spiritual orientation of Ivan Bunin and Zinaida Hippius, two prominent literary figures of the late tsarist Russia and interbellum émigré Paris. Most importantly, it examines the post-revolutionary transformation of values and reconciliation with external circumstances and internal afflictions of these two writers. The significance of memory becomes prominent in Bunin after his realization of the tragic and frightening consequences of the revolution, which results in his turn to the past as the source of tranquility and comfort. Hippius’s diaries and poetry, especially after her husband’s death, also show her turn toward eternal values and away from the hitherto paramount terrestrial, fleeting aspirations. The oeuvres of both writers are placed in the context of pre-revolutionary orientation towards the past that is contrary to the modernist shift to the future, which announced and precipitated the Russian Revolution of 1917.

The conviction that the wise man is ruled by reason, which should be cultivated, and the fool by emotions, which should be supressed, has prevailed over centuries and millennia of people’s existence and their social and cultural development. This established dictum was prevalent even during the epoch in which ratio did not represent the apex and the climax of all human aspirations and achievements. <!----> <!----> <!----> <!---->

The introduction to the figure of the fool begins with the Allegory of the Cave from Plato’s book The Republic, offering several interpretations of the story and explaining why the prisoner is considered a wise fool. Three meanings of the word “fool” are also given. The term designates a person who is either “lacking in judgment or prudence,” “victimized or made to appear foolish,” or “lacking in common powers of understanding or reason.” Finally, the introduction explains the Latin origin of the word “fool” and traces its journey into the English language. In the next five subchapters, five different types of fools are described: the silly fool, the butt of jokes around the world; the serendipitous fool, who discovers treasure by a fortunate turn of events; the wise fool, who reveals the secrets of the other world; the jester, the fool on the courts of rulers and aristocrats; and the holy fool, who feigns madness to fight against one’s own pride. This chapter concludes by making a connection between creativity and madness. <!----> <!----> <!----> <!---->