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Republic of Estonia (Banking and Cürbency Befobm) 7 % Loan, 1927
[Distributed to the Council and C. 186. M. 60. 1928. ii the Members of the League.] (F. 514.) Geneva, August 3rd, 1928. LEAGUE OF NATIONS REPUBLIC OF ESTONIA (BANKING AND CÜRBENCY BEFOBM) 7 % LOAN, 1927 FIRST ANNUAL REPORT BY THE TRUSTEE covering the period from June 15lh, 1927, to June 30th, 1928. I ntroduction . In conformity with the decision of the Council of September 15th, 1927. I have the honour to submit to the Council of the League of Nations my first annual report as Trustee for the " Republic of Estonia (Banking and Currency Reform) 7 % Loan. 1927 ”, it may be useful to give in this first report a somewhat detailed description of the execution of the scheme and of the duties of the Trustee. The essential features of the Estonian banking and currency reform, on which the Estonian Government and the financial experts of the League had already been working for some time, are contained in the Protocol signed at Geneva on December 10th. 1926. by the Estonian Minister of Finance, and approved by the Council on the same day. As provided for in this Protocol, the following laws were passed by the Estonian Parliament early in May 1927. viz., (1) the Eesti Pank Statutes Law, (2) the Monetary Law of Estonia, (3) the Law to terminate the Issue of Treasury and " Change ” Notes, and (4) the Foreign Loan Law 1. Thereupon, it was permissible to open negotiations for the loan which was to be issued under the auspices of the League and which was to produce an effective net yield of £1.350,000. -
Bank of Estonia (Eesti Pank) Act – Riigi Teataja
Bank of Estonia (Eesti Pank) Act – Riigi Teataja https://www.riigiteataja.ee/en/eli/513042015009/consolide Issuer: Riigikogu Type: act In force from: 29.03.2015 In force until: In force Translation published: 13.04.2015 Bank of Estonia (Eesti Pank) Act Passed 18.05.1993 RT I 1993, 28, 498 Entry into force 18.06.1993 Chapter 1 General Provisions § 1. Legal foundations of the Bank of Estonia(Eesti Pank) (1) The Bank of Estonia (Eesti Pank) - hereinafter, ‘the Bank of Estonia’ - is the central bank of the Republic of Estonia and a member of the European System of Central Banks. The Bank of Estonia is the legal successor to the Bank of Estonia which was established as the central bank of the Republic of Estonia in 1919. [RT I 2006, 29, 219 - entry into force 08.07.2006] (2) The Bank of Estonia is a legal person with its own Statute, seal, coat of arms and other insignia permitted by the law. (3) The Bank of Estonia operates pursuant to the Constitution of the Republic of Estonia, the Constitution of the Republic of Estonia Amendment Act, the Treaty on the Functioning of the European Union, the Statute of the European System of Central Banks and of the European Central Bank, legislation of the European Central Bank, this Act, other Acts and its Statute. [RT I 2010, 22, 108 - entry into force 01.01.2011] (4) The legal status of the Bank of Estonia may only be changed by the passage of a Bank of Estonia Act Amendment Act. -
Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era. -
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. -
Estonian Way to Liberal Economic System
Center for Social & Economic Research ESTONIAN WAY TO LIBERAL ECONOMIC SYSTEM Jarosław Bauc CASE, Center for Social & Economic Research Warsaw, Poland Warsaw, April 1995 Materials published in this series have a character of working papers which can be a subject of further publications in the future. The views and opinions expressed here reflect Authors' point of view and not necessary those of CASE . Paper was prepared for the project: "Economic Reforms in the former USSR" (Reformy gospodarcze na terenie dawnego ZSRR), financed by the Committee of Scientific Reasearch (Komitet Badań Naukowych). CASE Research Foundation, Warsaw 1995 ISBN 83-86296-34-8 Editor: CASE - Center for Social & Economic Research 00-585 Warszawa, Bagatela 14 tel/fax (48-2) 628 65 81; tel/fax (48-22) 29 43 83 Estonian Way to Liberal Economic System 1. Starting point of reform and general features of development Estonia 1 has adopted the one of the most radical programs of stabilization and transformation amongst not only the former Soviet Union countries but among previously centrally planned economies as well. The commodity and service markets were balanced mainly through the price liberalization and introduction of the internally convertible national currency. This was supplimented with the austerity in public consumption and surpluss in the state budget. The changes were also associated with a radical shift in the foreign trade rearientation. The economy that previously was oriented to almost costless recources from the former Soviet Union and work mostly for the Soviet "markets" seems to be very well adjusted to western markets and broad participation in the world economy. -
Challenges Facing Estonian Economy in the European Union
Vahur Kraft: Challenges facing Estonian economy in the European Union Speech by Mr Vahur Kraft, Governor of the Bank of Estonia, at the Roundtable “Has social market economy a future?”, organised by the Konrad Adenauer Foundation, Tallinn, 19 August 2002. * * * A. Introduction, review of the early 1990s and comparison with the present day First of all, allow me to thank Konrad Adenauer Foundation for the organisation of this interesting roundtable and for the honourable invitation to speak about “Challenges of Estonian economy in the European Union”. Today’s event shows yet again how serious is the respected organisers’ interest towards the EU applicant countries. I personally appreciate highly your support to our reforms and convergence in the society and economy. From the outside it may seem that the transformation and convergence process in Estonia has been easy and smooth, but against this background there still exist numerous hidden problems. One should not forget that for two generations half of Europe was deprived of civil society, private ownership, market economy. This is truth and it has to be reckoned with. It is also clear that the reflections of the “shadows of the past” can still be observed. They are of different kind. If people want the state to ensure their well-being but are reluctant to take themselves any responsibility for their own future, it is the effect of the shadows of the past. If people are reluctant to pay taxes but demand social security and good roads, it is the shadow of the past. In brief, if people do not understand why elections are held and what is the state’s role, it is the shadow of the past. -
Collecting Art in the Turmoil of War: Lithuania in 1939–1944 Collecting Art in the Turmoil of War: Lithuania in 1939–1944
Art History & Criticism / Meno istorija ir kritika 16 ISSN 1822-4555 (Print), ISSN 1822-4547 (Online) https://doi.org/10.2478/mik-2020-0003 Giedrė JANKEVIČIŪTĖ Vilnius Academy of Arts, Vilnius, Lithuania Osvaldas DAUGELIS M. K. Čiurlionis National Museum of Art, Kaunas, Lithuania 35 COLLECTING ART IN THE TURMOIL OF WAR: LITHUANIA IN 1939–1944 COLLECTING ART IN THE TURMOIL OF WAR: LITHUANIA IN 1939–1944 IN LITHUANIA WAR: OF TURMOIL THE IN ART COLLECTING Summary. The article deals with the growth of the art collections of the Lithuanian national and municipal museums during WWII, a period traditionally seen as particularly unfavourable for cultural activities. During this period, the dynamics of Lithuanian museum art collections were maintained by two main sources. The first was caused by nationalist politics, or, more precisely, one of its priorities to support Lithuanian art by acquiring artworks from contemporaries. The exception to this strategy is the attention given to the multicultural art scene of Vilnius, partly Jewish, but especially Polish art, which led to the purchase of Polish artists’ works for the Vilnius Municipal Museum and the Vytautas the Great Museum of Culture in Kaunas, which had the status of a national art collection. The second important source was the nationalisation of private property during the Soviet occupation of 1940–1941. This process enabled the Lithuanian museums to enrich their collections with valuable objets d’art first of all, but also with paintings, sculptures and graphic prints. Due to the nationalisation of manor property, the collections of provincial museums, primarily Šiauliai Aušra and Samogitian Museum Alka in Telšiai, significantly increased. -
Estonian Art 1/2013 (32)
Estonian 1/2013Art 1 Evident in Advance: the maze of translations Merilin Talumaa, Marie Vellevoog 4 Evident in Advance, or lost (and gained) in translation(s)? Daniele Monticelli 7 Neeme Külm in abstract autarchic ambience Johannes Saar 9 Encyclopaedia of Erki Kasemets Andreas Trossek 12 Portrait of a woman in the post-socialist era (and some thoughts about nationalism) Jaana Kokko 15 An aristocrat’s desires are always pretty Eero Epner 18 Collecting that reassesses value at the 6th Tallinn Applied Art Triennial Ketli Tiitsar 20 Comments on The Art of Collecting Katarina Meister, Lylian Meister, Tiina Sarapu, Marit Ilison, Kaido Ole, Krista Leesi, Jaanus Samma 24 “Anu, you have Estonian eyes”: textile artist Anu Raud and the art of generalisation Elo-Hanna Seljamaa Insert: An Education Veronika Valk 27 Authentic deceleration – smart textiles at an exhibition Thomas Hollstein 29 Fear of architecture Karli Luik 31 When the EU grants are distributed, the muses are silent Piret Lindpere 34 Great expectations Eero Epner’s interview with Mart Laidmets 35 Thoughts on a road about roads Margit Mutso 39 The meaning of crossroads in Estonian folk belief Ülo Valk 42 Between the cult of speed and scenery Katrin Koov 44 The seer meets the maker Giuseppe Provenzano, Arne Maasik 47 The art of living Jan Kaus 49 Endel Kõks against the background of art-historical anti-fantasies Kädi Talvoja 52 Exhibitions Estonian Art is included All issues of Estonian Art are also available on the Internet: http://www.estinst.ee/eng/estonian-art-eng/ in Art and Architecture Complete (EBSCO). Front cover: Dénes Farkas. -
An Examination of the Role of Nationalism in Estonia’S Transition from Socialism to Capitalism
De oeconomia ex natione: An Examination of the Role of Nationalism in Estonia’s Transition from Socialism to Capitalism Thomas Marvin Denson IV Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in Political Science Besnik Pula, Committee Chair Courtney I.P. Thomas Charles L. Taylor 2 May 2017 Blacksburg, Virginia Keywords: Estonia, post-Soviet, post-socialist, neoliberalism, nationalism, nationalist economy, soft nativism Copyright © 2017 by Thomas M. Denson IV De oeconomia ex natione: An Examination of the Role of Nationalism in Estonia’s Transition from Socialism to Capitalism Thomas Marvin Denson IV Abstract This thesis explores the role played by nationalism in Estonia’s transition to capitalism in the post-Soviet era and the way it continues to impact the Estonian economy. I hypothesize that nationalism was the key factor in this transition and that nationalism has placed a disproportionate economic burden on the resident ethnic Russians. First, I examine the history of Estonian nationalism. I examine the Estonian nationalist narrative from its beginning during the Livonian Crusade, the founding of Estonian nationalist thought in the late 1800s with a German model of nationalism, the conditions of the Soviet occupation, and the role of song festivals in Estonian nationalism. Second, I give a brief overview of the economic systems of Soviet and post-Soviet Estonia. Finally, I examine the impact of nationalism on the Estonian economy. To do this, I discuss the nature of nationalist economy, the presence of an ethno-national divide between the Estonians and Russians, and the impact of nationalist policies in citizenship, education, property rights, and geographical location. -
Preliminary Program
Europe’s Past, Present, and Future: Utopias and Dystopias University of Iceland | Reykjavik, Iceland June 22-24, 2020 Preliminary Program This preliminary program is subject to change and CES can not be held liable for any reservation/booking made based on the information provided. Updated on February 7, 2020 Chair: Zsuzsanna Fagyal - University of Illinois at MONDAY, JUNE 22 Urbana-Champaign Participants: [1] Austerity, populism and changing policy Are French people white?: Towards an legitimacy: the European welfare states in understanding of whiteness in Republican France comparative perspective Single Paper 6/22/2020 Jean Beaman - University of California, 9:00 AM to 10:45 AM - Room 14 Santa Barbara Paper Panel Colorblindness and Narratives from the ‘Other’ Chair: Maria Petmesidou - Democritus University of (colorful) France Single Paper Thrace Christina Horvath - University of Bath Ana Guillén - University of Oviedo Participants: ‘Migrants’ or ‘Marseillais?’ The Sociolinguistic Construction of French Minority Youth in Nordic welfare states changes especially in the Marseille light of migration and the financial crisis Single Paper Single Paper Cecile Evers - Pomona College, Bent Greve - Roskilde University Department of Anthropology Jon Kvist - Roskilde University Prototypically non-French: the ‘accent of the The post-Brexit liberal welfare state in Europe: suburbs’ as a cultural construct where next for the United Kingdom? Single Paper Single Paper Zsuzsanna Fagyal - University of Illinois Benjamin Leruth - University of at Urbana-Champaign -
Attorneys at Law Tax Advisers European Patent & Trademark
LAW FIRM Attorneys at Law Tax Advisers European Patent & Trademark Attorneys LAW FIRM FINLANDIA North Helsinki NORWEGIA Atlantic Oslo SWEDEN Tallin ESTONIA Stockholm Baltic Ocean Sea North LATVIA Sea Riga Edinburgh LITHUANIA Belfast Copenhagen Vilnius Newcastle Dublin IRELAND Gdansk Liverpool UNITED Varszaw Berlin RUSSIA KINGDOM Amsterdam POLAND London NETH. GERMANY Brussels Showing a way English Chanel BEL. Bonn Kraków Frankfurt Le Havre LUX. Prague Luxembourg for most significant business transactions, Paris CZECH REPUBLIC SLOVAK REPUBLIC Bratislava Strasbourg Munich Vienna most critical disputes Budapest FRANCE SWITZ. AUSTRIA LIECH. HUNGARY ROMANIA and challenging tax and legal issues. Geneva Bern Bay of SLOVENIA Zagreb VOJVODINA Bucharest Biscay Lyon Milan Venice CROATIA Bordeaux BOSNIA- Belgrade Black Genoa Adriatic HERZEGOVINA SERBIA Split YUGOSLAVIA BULGARIA Sea MONACO Sea Sarajevo Marseille KOSOVO Sofia Porto ITALY ANDORRA MONTENEGRO SPAIN MACEDONIA Corsica Rome PORTUGAL Barcelona Tiranë Madrid TURKEY Naples ALB. Lisbon Aegean Sardinia Tyrrhenian Valencia GREECE Sea Balearic Islands Sea Athens Sevilla Ionian Mediterranean Sea Palermo Sicily Sea Rhodes Gibralta MALTA Valletta Crete G We Service the Baltic Countries Riga oce Vilnius oce Tallinn oce Valdemara Center 3rd oor, Vilnius Gates, 6th oor, Narva mnt 5, Kr. Valdemara street 21, LV-1010, A. Tumeno st. 4, LT-01109, 10117 Tallinn, Riga, Latvia Vilnius, Lithuania Estonia T: +371 67 24 00 90 T: +370 52 61 10 00 T: +372 61 91 000 F: +371 67 24 00 91 F: +370 52 61 11 00 F: +372 61 91 007 Profile by MARTIN DALE-HUBELL ® CURRENT ROLE EXPERTISE AND EXPERIENCE MANAGEMENT STYLE FUTURE DIRECTION BIOGRAPHICAL AND PERSONALITY AND ADAPTABILITY Despite being less than 40 years’ Not surprisingly, given his Ernest & Young DATA old, Valters Gencs has had an background, tax law has played a major part in Regardless of being the founder of an 11- lawyer Mr Gencs has a clear vision of Date of Birth eventful and high-prole career. -
Schools of Estonian Graphic Art in Journalism in the 1930S
SCHOOLS OF ESTONIAN GRAPHIC ART IN JOURNALISM IN THE 1930S Merle Talvik Abstract: The basis for the development and spread of graphic design in the 1920s and 30s in Estonia was the rapid progress of the country’s economy and commerce. The rise in the number of publications led to a greater need for designers. The need for local staff arose in all fields of applied graphics. In the 1930s, graphic artists were trained at two professional art schools – the State Applied Art School (Riigi Kunsttööstuskool) in Tallinn and the Higher Art School (Kõrgem Kunstikool) Pallas in Tartu. The present article focuses on the analyses of the creative work of the graphic artists of both schools, trying to mark the differences and similarities. The State Applied Art School was established in 1914. In 1920, Günther Reindorff started working as a drawing teacher. His teaching methods and the distinguished style of his creative work became an inspiration for an entire generation of Estonian graphic designers. The three well-known students and followers of G. Reindorff were Johann Naha, Paul Luhtein and Hugo Lepik. The teachers and students of the State Applied Art School shaped greatly the appearance of magazines printed in Tallinn. Of modern art movements, art deco found most followers. National ornament became a source for creative work. Distinct composition and beautifully designed legible script are also the features that resulted from the systematic education of the State School of Applied Art. The curriculum of the Higher Art School Pallas, established in 1919, was based on western European art experience.