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Estonian As a “Man-Made” Language
Johanna Laakso Estonian as a “man-made” language Virve Raag: The Effects of Planned language planning worldwide, and Change on Estonian Morphology. draws interesting parallels, for instance, Acta Universitatis Upsaliensis: between the roles of Johannes Aavik of Studia Uralica Upsaliensia 29. Estonia and Ferenc Kazinczy of Hun- Uppsala 1998. 156 p. gary in their respective language reform Raimo Raag: Från allmogemål till movements. What could have been nationalspråk: Språkvård och språk- elaborated further is the question of vari- politik i Estland från 1857 till 1999. ation and its role in language: the state- [Summary: From Peasant Idioms to ment, allegedly by William Labov, that a National Language. Language “what from a synchronic point of view Planning in Estonia from 1857 to is variation, is diachronically change in 1999.] Acta Universitatis Upsalien- progress” appears to be a little too sim- sis: Studia Multiethnica Upsaliensia plistic. The history of Estonian language 12. Uppsala 1999. 370 p. planning is surveyed along traditional lines, especially concerning the role of Besides being one of the three so-called influential personalities like Johannes major (or “well-known”) Uralic lan- Aavik (the leading language reformer guages, Estonian frequently figures in with radical and artistic ideas) and J. V. international linguistic fora as an exam- Veski (the leader of the more conserva- ple of a “highly planned ethnic lan- tive line in language planning), whose guage”. The Estonian language reform theoretical antagonism later gained a in the early 20th century and particu- secondary political interpretation as larly the ex nihilo coinages by Johannes well, with Aavik in exile and Veski re- Aavik (e.g. -
Wiiralti Kataloog 0.Pdf
Eduard Wiiralti galerii Eesti Rahvusraamatukogus The Eduard Wiiralt Gallery in the National Library of Estonia Tallinn 2015 Koostaja / Compile by Mai Levin Teksti autor / Text by Mai Levin Kujundaja / Designed by Tuuli Aule Toimetaja / Edited by Inna Saaret Tõlkija / Translated by Refiner Translations OÜ Endel Kõks. Eduard Wiiralti portree. Foto / Photograph: Teet Malsroos Esikaanel / On the front cover Tagakaanel / On the back cover Kataloogis esitatud teosed on digiteeritud Eesti Rahvusraamatukogu digiteerimiskeskuses. Works published in the Catalogue have been digitized by the National Library of Estonia. ISBN Autoriõigus / Copyright: Eesti Rahvusraamatukogu, 2015 National Library of Estonia, 2015 Eesti Autoriteühing, 2015 Estonian Authors’ Society, 2015 Trükkinud / Printed by Saateks FOREWORd Kristus pidulaua ääres, palvetava naise even started discussing this work as a pre- Mai Levin Mai Levin vari jt.), ent eelkõige haarab stseeni monition of war. Cabaret (initially titled dünaamilisus, ennastunustava naudingu The Dance of Life) was completed in 1931 1996. a. septembris avati Eesti Rahvus- In September 1996, the National Library ja iharuse atmosfäär. in Strasbourg, executed in the same tech- raamatukogus Eduard Wiiralti galerii – of Estonia opened the Eduard Wiiralt Eduard Wiiralt (1898–1954) sündis nique as its twin Inferno. The leading motif suure eesti graafiku teoste alaline ekspo- Gallery in the building – an extensive dis- Peterburi kubermangus Tsarskoje Seloo of Cabaret is sensuousness, triumphing sitsioon. See sai võimalikuks tänu Harry play of the great Estonian graphic artist. kreisis Gubanitsa vallas Robidetsi mõisas over everything intellectual. Here we can Männili ja Henry Radevalli Tallinna linnale This was made possible thanks to dona- mõisateenijate pojana. 1909. a. naases also notice symbolic details (the sleeping tehtud kingitusele, mis sisaldas 62 tions by Harry Männil and Henry Radevall perekond Eestisse, kus kunstniku isa sai Christ at the table, the shadow of a pray- E. -
39, Rudolf Põldmäe 1988, Ea Jan- Sen 1991, Toomas Karjahärm 1995, Ilmar Talve 2008 Jt) on Oma Käsitlustes Seni Ülekaalukalt Lähtunud Just Etnilisest Tsentrismist
TALLINNA ÜLIKOOL HUMANITAARTEADUSTE DISSERTATSIOONID TALLINN UNIVERSITY DISSERTATIONS ON HUMANITIES 37 KRISTA ARU EESTI toimetajAKESKNE AjAKIRjANDUS kodanikuühiskonna kujundajA jA omakultuuri KANDjANA AjALEHE POSTIMEES (1886–1935) NäITEL Analüütiline ülevaade monograafia “Üks kirg, kolm mõõdet. Peatükke eesti toimetajakesksest ajakirjandusest: K. A. Hermann, J. Tõnisson, K. Toom“ (Tartu, 2008) kultuuriloolise tausta ja probleemistiku tõlgendamiseks Tallinn 2010 TALLINNA ÜLIKOOL HUMANITAARTEADUSTE DISSERTATSIOONID TALLINN UNIVERSITY DISSERTATIONS ON HUMANITIES 37 KRISTA ARU EESTI toimetajAKESKNE AjAKIRjANDUS kodanikuühiskonna kujundajA jA omakultuuri KANDjANA AjALEHE POSTIMEES (1886–1935) NäITEL Analüütiline ülevaade Eesti Humanitaarinstituut, Tallinna Ülikool Dissertatsioon on lubatud kaitsmisele filosoofiadoktori (kultuuride uuringud) kraadi taotlemiseks Tallinna Ülikooli humanitaarteaduste doktorinõukogu poolt 25. augustil 2010.a. juhendaja: Rein Veidemann, filoloogiakandidaat, Tallinna Ülikooli Eesti Humanitaarinstituudi professor Oponendid: Maarja Lõhmus, PhD, Tartu Ülikooli Ajakirjanduse ja kommunikatsiooni instituudi dotsent Toomas Karjahärm, ajalooteaduste doktor, Tallinna Ülikooli Ajaloo Instituudi vanemteadur Kaitsmine toimub 22. oktoobril 2010.a. algusega kell 14.00 TLÜ auditooriumis nr T-318, Narva mnt 25, Tallinn. Autoriõigus: Krista Aru, 2010 Autoriõigus: Tallinna Ülikool, 2010 ISSN 1736-3667 analüütiline ülevaade, online PDF) ISBN 978-9949-463-45-9 (analüütiline ülevaade, online PDF) Tallinna Ülikool Narva mnt. 25 10120 -
Johannes Aavik Ja Vene Kirjandus: Biograafiline Ja Kultuurilis- Ideoloogiline Kontekst 1 Tatjana Stepaništševa
Johannes Aavik ja vene kirjandus: biograafiline ja kultuurilis- ideoloogiline kontekst 1 Tatjana Stepaništševa Teesid: Johannes Aaviku ilukirjanduslikud tõlked täitsid tema jaoks eelkõige rahvuskeele uuen- damise rolli, seetõttu jäid originaali stiil ning autori väljendusvahendid tema enda keeleuuen- duste taustal tagaplaanile. Ent tõlgitavate teoste valik oli tingitud eluloolistest ning kultuurilis- ideelistest teguritest, mille rekonstrueerimine ongi siinse artikli uurimisobjektiks. Eesti ja vene kultuuri vahekorra spetsiifika 20. sajandi esimesel veerandil tingis Aaviku pöördumise nimelt vene kirjanduse retseptsiooni poole. Nagu artiklis näidatud, oli see komplitseeritud seostes tolleaegse kultuuri ja poliitilise olukorraga Eestis. DOI: 10.7592/methis.v20i25.16566 Märksõnad: Johannes Aavik, keeleuuendus, ilukirjanduse tõlge, eesti-vene kultuurikontaktid, Fjodor Dostojevski Käesolev artikkel jätkab 20. sajandi algul Eesti Vabariigis ilmunud vene kirjandus- klassika tõlgete uurimist, mille algus on avaldatud Johannes Aaviku tõlkeseeriat „Hirmu ja õuduse jutud“ (1914−1928) käsitlevas artiklis (Stepaništševa 2018). Eesti kultuuriloos on Aavik ennekõike tuntud kui keeleuuenduse eestvedaja, vähemal määral on uuritud tema ilukirjanduslikke tõlkeid. Eraldi uurimisobjektina ei ole varem käsitletud Aaviku ilukirjanduslikke tõlkeid vene keelest, kuigi neid ei ole vähe ning lisaks tõlkimisele oli Aavik tegev ka teiste tõlkijate tekstide toimetamisel. Aaviku materjalivalik oli spetsiifiline – tema põhieesmärgiks ei olnud mitte võõr- keelse (prantsuse, -
Veljo Tormis — Works
VELJO TORMIS — WORKS Tormis himself prepared two work lists: the first, in 1989, chronologically, by genre, is published with his Personaalnimestik; the second, in 2000, in chronological order from 1956 to 2000, is unpublished. It also lists a few youthful and student works of 1949 to 1955 and was prepared for Priit Kuusk’s book. Tormis excluded some works from these lists “because they are just arrangements of someone else’s song. They are not creative work.” But he was inconsistent in this policy. Those arrangements which he excluded I have placed at the end of the present works list, along with student and youthful works. Shortly before going to press Tormis gave me a hand-written list of 54 works dating from 1948 to 1951, which are included in the final sections of this list. The title of the work is given in Estonian in this list, except when a current publication gives another language first. The choice of which language to give as the main entry is complicated because Tormis generally used the Estonian title in his list of 1989, but occasionally used another language in his list of 2000. Multi-language titles are cross-referenced. The title is in italics if it is a multi-movement work. Other language title is in (). English trans. of title is in [ ]. If there is a number in parentheses immediately following the translation of the title it represents the position of that work in a multi-movement composition where the title follows. Lack of such information means it is a single, stand-alone work. -
JOHANNES AAVIK, 120 Aastat Tagasi Sündinud Saaremaa Mees
JOHANNES AAVIK, 120 aastat tagasi sündinud Saaremaa mees Tiiu Erelt eesti keele instituudi vanemteadur Keel vajab uuendust, uuendus juhti XX sajandi alguses hakkas kuristik moodsa kultuuri nõuete ja maavillase eesti keele vahel eesti haritlastele üha selgemini kätte paistma. Esimesed, kes hakkasid nõudma keele radikaalset parandamist uue elu nõuete ko- haselt, olid kirjanikud. Ansomardi avaldas 1900. a Rahva Lõbulehes kirjutise „Eesti praeguse kirjakeele, kirjaviisi ja grammatika arvustus", kuid konkreetseid parandamiseeteid selles veel ei olnud. Parandamis- vajadusest kirjutas 1904. a Eesti Postimehe Lisas ka Maximilian Põdder, võrreldes keele parandamist taimede ja loomade parandamisega põllu- majanduses. Samal ajal astus esile uus põlvkond keelenõudlikke noori kirjanikke, kes 1905. aastaks ühinesid Noor-Eesti rühmituseks. Aeg oli küps, keeleuuendus vajas veel juhti ja selleks sai Johannes Aavik. Aavik oli läbinisti filoloog, aga mitte eesti filoloog (milleks tollal veel õppida ei saanud), vaid eelkõige romaani ja soome filoloog. Ta oli armunud keeltesse: gümnaasiumi ajal ladina keelesse, pärast prantsuse ja soome keelesse, olemata ükskõikne ka saksa, inglise ja vene keele vastu.1 Ta nautis eri keelte omapärasusi, väärtust ja ilu. Olles aastail 1900-1920 eriliselt meeldunud prantsuse keelde, kirjutas ta selles omaseks saanud keeles isegi osa oma keelelistest kirjutistest ja tõlkis need siis eesti keel- de. Romaani filoloogia õppimine Tartus, Nežinis ja Helsingis ning soome filoloogia Helsingis andsid kokku soliidse filoloogilise pagasi. Huvi eesti keele ja selle parandamise vastu sai alguse rahvuslikust meel- susest ja kirjanduslikest huvidest. Noorsoomlaste eeskujul tekkisid noor- 66 eestlased, kellede hulka Aavikki algusest peale kuulus. Teiste keelte tundmine sünnitas unistuse arendada eesti keel niisama rikkaks kui va- nad kultuurkeeled. Helsingis õppimise aastad vormisid seda unistust ning 1911. -
ESTONIAN LANGUAGE Kala on Puu Juures A Fish Is Near the Tree Literally: A Fish Is in the Root of a Tree
ESTONIAN LANGUAGE Kala on puu juures A fish is near the tree Literally: A fish is in the root of a tree ISBN 9985-9341-9-9 / Published by the Estonian Institute 2004 / Illustrations: Jaagup Roomet / Design: Aadam Kaarma LABOR Estonian Language Urmas Sutrop Estonian is used in the army... aviation... theatre The Estonian language The ancestors of the Estonians arrived at Finnish, Hungarian and Estonian are the the Baltic Sea 13 000 years ago when the best known of the Finno-Ugric languages; mainland glaciers of the last Ice Age had rather less known are the following retreated from the area now designated smaller languages of the same language as Estonia. The first settlers who followed group: South Estonian, Votian, Livonian, the reindeer herds came here from south, Izhorian, Vepsian, Karelian, Sami, Erzya, from Central Europe. Although the vocab- Moksha, Mari, Udmurt and Komi, spoken ulary and grammar of the language used from Scandinavia to Siberia. by people in those days have changed beyond recognition, the mentality of the Estonian differs from its closest large tundra hunters of thousands of years ago related language, Finnish, at least as can be still perceived in modern Estonian. much as English differs from Frisian. The difference between Estonian and Hungar- The majority of European languages ian is about as significant as between belong to the Indo-European language German and Persian. group (e.g. Spanish, Polish, Lithuanian, Norwegian, Albanian, Romany, Greek or Along with Icelandic, Estonian is at Welsh). Of the ancient European langua- present one of the smallest languages in ges, once so widespread throughout the the world that fulfils all the functions continent, Basque in the Pyrenees, the necessary for an independent state to Finno-Ugric languages in the North and perform linguistically. -
NIGHT of MUSEUMS 18TH of MAY TALLINN Night of Patterns PROGRAM
NIGHT OF MUSEUMS 18TH OF MAY TALLINN Night of Patterns PROGRAM NIGHT OF MUSEUMS th MUSEUMS OPEN FOR FREE 18 of May 2019 18.0023.00 www.muuseumiöö.ee ADDITIONAL INFORMATION ABOUT THE NIGHT OF MUSEUMS: FACEBOOK.COM/MUUSEUMIOO NIGHT OF MUSEUMS 18TH OF MAY SAARE COUNTY RUHNU MUSEUM Performances by female groups “Tokkroes” (from Muhu) and “Pääsukesed” (from Tallinn). RUHNU, RUHNU VALD. OPENING HOURS FOR THE MUSEUM NIGHT: 18–23. Several exhibitions will be opened. Children can The museum and its nearly two-centuries- take part in crafting, drawing and colouring of old Korsi farmhouse, unique in Estonia for its patterns in the old Koguva schoolhouse. The foundationless longhouse and humped roof, are museum shop is open for visitors. open for the Museum Night. SAAREMAA MUSEUM – THE SAAREMAA MUSEUM – AAVIK FAMILY HOUSE MUSEUM KURESSAARE EPISCOPAL VALLIMAA 7, KURESSAARE. OPENING CASTLE HOURS FOR THE MUSEUM NIGHT: 18–22. LOSSIHOOV 1, KURESSAARE LINN. OPENING The museum features a permanent exhibition HOURS FOR THE MUSEUM NIGHT: 18–23. (in Estonian and English) on the life and work of Estonian language moderniser Johannes Aavik 18.00 Musical welcome by a brass band in front and his cousin, cultural figure Joosep Aavik. of the castle In addition, the interior of the museum gives 18.05 The Museum Night is declared open with a good glimpse of the urban life of early 20th- the castle cannon “Kotkas” (“Eagle”) century Kuressaare. 18.15 Group hug (in folk costumes) for the castle SAAREMAA MUSEUM – MIHKLI 18.15 The hug is accompanied by music from the brass band FARM MUSEUM VIKI VILLAGE, KIHELKONNA BOROUGH. -
Introduction 1 Decadence in Nordic Literature
Part I Introduction 1 Decadence in Nordic Literature An Overview Pirjo Lyytikäinen, Riikka Rossi, Viola Parente-Čapková, and Mirjam Hinrikus Decadence, “a strange and singular plant” growing “in the over-cultivated soil of modern society”? (Hansson 2002, 4).1 This is how Swedish author Ola Hansson interpreted the title of his Sensitiva amorosa (1887), one of the landmarks of Nordic decadence. Hansson signaled his decadent stance by introducing the Baudelairean trope of “sick” or “evil” flowers in his text studying “unnatural” erotics. The strange poisonous herb invented by the author, as further explained in the poetic preface to the prose-poem-like stories, was a plant with morbid veins and “sickly sweet scent,” and with a color resembling “the light in a sickroom.”2 As a metaphor, the trope characterized Hansson’s work, reminding us of an essay by J.-K. Huysmans, where he describes decadent texts that grow from the soil of the dreams of exceptional individuals as a reaction to the disgusting materialistic tyranny of money.3 These blossoms of the genius of the decadent age were supposed to manifest the creative spirit of the new art that sought to go against the grain while revealing it as the outgrowth of the muddy soil of a decaying culture. In the Nordic countries, these herbs were not welcomed by those who guarded the national cultures, as Hansson himself was to experience. Still, a great variety of these outgrowths or decadent texts emerged from the Nordic soil. In the second half of the nineteenth century, the spread of European currents in Nordic countries caused unusually strong tensions in the local cultures. -
Estonian Art Manifesto
Estonian Art Manifesto the New Art" implies somehow an opposition against the old, which in the light of the shortness of Estonian art history strikes as a somewhat grotesque implication. The memoirs of one of the founding members of the Group, Eduard Ole contain an amount of opposition, where the expressionism, which was popular in Pallas appears in the role of the old. However, it is probably a bare necessity derived from the modernist rhetoric that demands a con struction of the enemy. Through the fabric of modernism that with minor or ma The stable political situation in Europe and Estonia re jor cuts has a century long history in Estonia, there runs a spectively calms the artists down and the manifesto of particular continuous pattern: manifesto! manifesto! man the Group remains the only early bird during the pre-war ifesto! Manifesto is not simply a phenomenon that belongs period. After the Second World War, during the period of to the documentalistics of cultural history, but it is also a Stalinist socialist realism, an artists credo or, even more, specific avant garde genre: thesis-based in its format, es manifesting the pursuits of an entire group were totally sentially young and idealistic towards the future and ni out of the question. So, the next art manifesto dates back hilistic towards the present. "Manifesto is the weapon of to the times of the Khrushchev Thaw, to the year 1960 modernists"1 as Tiit Hennoste, a manifestologist concluded when a group of young artists known as the Tartu Com the manifest as a genre, "a programme declaration of a pany (Tartu Sõpruskond) presented their works in a new radicals' group"2. -
Leoier-Muusiko-Kin О ISSN 0107—6535
leoier-muusiko-kinо ISSN 0107—6535 EESTI KULTUURI-JA HARIDUSMINISTEERIUMI. EESTI HELILOOJATE LIIDU. EESTI KINOLIIDU, EESTI TEATRILIIDU AJAKIRI U 8 rt I >s з Sven Grünberg. J. Heiniä foto XII AASTAKÄIK PEATOIMETAJA MART KUBO, tel 44 04 72 TOIMETUS: Tallinn, Narva mnt 5 postiaadress EE0090, postkast 3200 Vastutav sekretär Helju Tüksammel, tel 44 54 68 Tea tri osakond Reet Neimar ja Kadi Herkül, tel 44 40 80 Muusikaosakond Immo Mihkelson, tel 44 31 09 Filmiosakond Sulev Teinemaa ja Jaan Ruus, tel 43 77 56 Keeletoimetaja Felix Randeli maal Friedrich Karl Akelist Kulla Sisask, tel 44 54 68 1ЭЗЗ. aastast. Fotokorrespondent Harri Rospu, tel 44 47 87 KUJUNDUS: MAI EINER, tel 63 61 62 Katrin Karisma - Lisa ja Tõnu Kilgas - Zsupan I. Kalmani operetis "Krahvinna Mariza" Estonia Teatris, 1990. H Rospu foto SISUKORD TEATER VASTAB KATRIN KARISMA Märt Kubo TEATER RIIGI ALT ÄRA (Kultuuri võimalikkusest...) KadiHerkül MATS EK ("Kes?") Kadi Vanaveski PUUDES NIHUTADA MAJASUURUST KIVI ("Usaia" ja von KrMi teatri ühislavastus "Valged ööd" ja Noorsooteatri "Majasuurime kivi" ) 70 Pille-Riin Purje SORTSIDE HÄÄLETU LEND (Sankt-Peterburgi Väikese Draamateatri lavastusest "Sortsid") 75 Lea Tormis TEISITI OLEMISE VÕLU JA VAEV (Hilda Cleser - 100) I MUUSIKA Merike Vaitmaa UUE MUUSIKA FESTIVALE 34 Immo Mihkelson KULGEMISE ÜKS HETK: SVEN GRÜNBERG Cristopher Long KULDHAMI (Muusikatööstus ja klassikaline muusika) 62 Leelo Tungal JA PÄRISKI SURM SELLE SÜDAME... (Rcžissöör Peep Puksi filmist ''Lauluga ristit") Arno Oja SAATUSEAASTAD AJAPEEGLIS (Režissöör Peep Puksi filmist "Diplomaadi saatus") . Kärt Hellerma ILMA SUFLÖÖRITA EI TULE MIDAGI VÄLJA (Režissöör Kaljo Kiba mängufilmist "Suflöör") Mart Kivastik KES MÕTLES VÄLJA FOTOGRAAFI? (Mängufilmist "Suflöör") Veijo Hietala PORNO NAGU MUUSIKAL Jaan Paavle UUS ÕUDNE ILM (Aarne Vasara joonisfilmist "Setu vurle küüsis") Sulev Teinemaa PE Johannes. -
Traditional and Contemporary Issues in the Use and Learning of Finno-Ugric Languages
Traditional and contemporary issues in the use and learning of Finno-Ugric languages Tis 28th issue of Lähivõrdlusi. Lähivertailuja is partly based on papers presented at the 20th anniversary conference of the VIRSU network in Tallinn on October 5th and 6th, 2017. Te languages under study in most of the articles are Estonian and Finnish, but two further Finno- Ugric languages, namely Karelian and Hungarian, are also dealt with in some contributions. A central theme present in many contributions is the history of linguistics and language teaching and the impact of tradi- tions on today’s linguistics. Mati Hint deals with issues of quantity in Estonian phonology, start- ing with the Estonian grammars of Eduard Ahrens (1843, 2nd edition 1853), which established the current Estonian orthography and, in gen- eral, initiated the so-called Finnish turn in Estonian linguistics. Hint compares the sound systems and morphophonology in Estonian and Finnish and presents a detailed treatment of the impact of Ahrens on subsequent descriptions of the Estonian quantity system. In particular, he analyses and criticizes the theory of three phonemic quantity grades, frst presented by Mihkel Veske, and its more recent adaptations. Päivi Laine and Eve Mikone write about the terminology of geogra- phy in Estonia and Finland, focusing on the historical role of the Finn- ish geographer J. G. Granö. During his academic career, Granö worked both in Finland and in Estonia and contributed to the development of terminology in both Finnish and Estonian. His achievements illustrate the long traditions and mutual infuences in the scientifc cooperation between Finland and Estonia, in particular, between the universities of Tartu and Turku.