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Keel Ja Kirjandus 5/1998 EESTI TEADUSTE AKADEEMIA JA EESTI KIRJANIKE LIIDU AJAKIRI XLI AASTAKÄIK
Keel ja 5 Kirjandus 19 9 8 Üdi, Viiding ja Benjamin Eesti keele kihistumisest Setu lugu Marie Underi luulest Eesti sõnagrammatikast Tõde printsessimaastikud Uno Mereste 70 SISUKORD H. KRULL. Ajalugu ja allegooria. Jüri Üdi Walter Benjaminiga 297 V. SARV. Etnonüümid ja setu identiteet 302 S. KIIN. Marie Underi luule tähendus 315 H. OTS. Haritkeel ja tavakeel 327 VÄITEID JA VASTUVÄITEID V. RAID. Saatan polegi nii must, nagu seda maali takse 334 J. PULK. Mynõl ei piaq kõtt taari kinniq 337 RAAMATUID P.-E. RUMMO. Marija Mihkelson 340 M. LIIVAMETS. Maastik inimestega 341 H. REBANE. Isikuloolisi lisandusi A. H. Tammsaare tundmisesse 343 P. ALVRE. Eesti keele sõnagrammatikast 345 RINGVAADE M. ERELT, E. SOOSAAR. In memoriam Henno Ra- jandi (19. X 1928 — 1. III 1998) 350 T. ERELT. Keeleteadlane Uno Mereste 352 TOIMETUS: R. KÄSIK Seppo Suhonen 60 354 Ü. TEDRE. Kaks uut doktorit 356 Mart Meri T. TENDER. Emakeele Seltsis 358 (peatoimetaja), E. ROSS. Emakeele Seltsi murdeseminar 359 Väino Klaus M. LAAK, P. VIIRES. Retseptsioon ja tõlge. Konteks- (keeleteaduse osakonna tiprobleeme 361 toimetaja), U. PIRSO. Vana kirjakeele päev 362 Heldur Niit S. OLESK, К TAMM. XLI Kreutzwaldi päevad 363 (kirjandusajaloo ja rahva J. VALGE. Meenutati Mihkel Vesket 364 luule osakonna toimetaja), E.-M. REBANE. Akadeemilises Rahvaluule Seltsis 365 Piret Viires M. ONGA. Kas uurali keeleteaduse bibliograafia jät (kirjandusteooria ja -kriitika kub? 366 osakonna toimetaja), A. MÄGI. Raamatute puudustest 367 Tiina Hallik (toimetaja), SUMMARIA 368 Reet Sepp (tehniline toimetaja). Toimetuse aadress: EE0001 Tallinn, Roosikrantsi 6. Telefonid 6449 228, 6449 126. Faks 6441 800. E-post [email protected] Trükkida antud 6. V 1998. -
Estonian Academy of Sciences Yearbook 2018 XXIV
Facta non solum verba ESTONIAN ACADEMY OF SCIENCES YEARBOOK FACTS AND FIGURES ANNALES ACADEMIAE SCIENTIARUM ESTONICAE XXIV (51) 2018 TALLINN 2019 This book was compiled by: Jaak Järv (editor-in-chief) Editorial team: Siiri Jakobson, Ebe Pilt, Marika Pärn, Tiina Rahkama, Ülle Raud, Ülle Sirk Translator: Kaija Viitpoom Layout: Erje Hakman Photos: Annika Haas p. 30, 31, 48, Reti Kokk p. 12, 41, 42, 45, 46, 47, 49, 52, 53, Janis Salins p. 33. The rest of the photos are from the archive of the Academy. Thanks to all authos for their contributions: Jaak Aaviksoo, Agnes Aljas, Madis Arukask, Villem Aruoja, Toomas Asser, Jüri Engelbrecht, Arvi Hamburg, Sirje Helme, Marin Jänes, Jelena Kallas, Marko Kass, Meelis Kitsing, Mati Koppel, Kerri Kotta, Urmas Kõljalg, Jakob Kübarsepp, Maris Laan, Marju Luts-Sootak, Märt Läänemets, Olga Mazina, Killu Mei, Andres Metspalu, Leo Mõtus, Peeter Müürsepp, Ülo Niine, Jüri Plado, Katre Pärn, Anu Reinart, Kaido Reivelt, Andrus Ristkok, Ave Soeorg, Tarmo Soomere, Külliki Steinberg, Evelin Tamm, Urmas Tartes, Jaana Tõnisson, Marja Unt, Tiit Vaasma, Rein Vaikmäe, Urmas Varblane, Eero Vasar Printed in Priting House Paar ISSN 1406-1503 (printed version) © EESTI TEADUSTE AKADEEMIA ISSN 2674-2446 (web version) CONTENTS FOREWORD ...........................................................................................................................................5 CHRONICLE 2018 ..................................................................................................................................7 MEMBERSHIP -
Curse Upon Iron Veljo Tormis
CURSE UPON IRON WORKS FOR MALE CHOIR BY VELJO TORMIS ORPHEI DRÄNGAR CECILIA RYDINGER ALIN VELJO TORMIS | © TÕNU TORMIS BIS-SACD-1993 BIS-SACD-1993_f-b.indd 1 2012-05-16 12.55 TORMIS, Veljo (b. 1930) 1 Incantatio maris aestuosi (1996) 5'48 Incantation for a Stormy Sea Texts: from the Kalevala; Latin version: Tuomo Pekkanen 2 Kord me tuleme tagasi (Meie varjud) (1969/1991) 3'17 Once We Will Reappear (Our Shadows) Text: Jaan Kaplinski 3 Kolm mul oli kaunist sõna (1962) 5'58 I Had Three Beautiful Words Text: Paul-Eerik Rummo Andreas Alin flute Vastlalaulud (1967) 5'18 Shrovetide Songs Texts: trad. 4 I. Vistel-vastel 1'21 5 II. Lina loitsimine (Spell upon Flax) 2'05 6 III. Liulaskmise-laul (Sledding Song) 1'45 7 Pikse litaania (1974) 5'15 Litany to Thunder for male chorus, soloists and bass drum Text: Ain Kaalep Gunnar Sundberg tenor · Henrik Stolare baritone · Magnus Einarsson bass drum 8 Viru vanne (1980) 4'10 The Viru Oath Text: Hando Runnel 2 9 Helletused (1982) 8'10 Childhood Memory – Herding Calls Text: trad. Elin Rombo soprano 10 Raua needmine (1972/1991) 10'34 Curse upon Iron Text: from the Kalevala, adapted and augmented by August Annist, Paul-Eerik Rummo and Jaan Kaplinski Gunnar Sundberg tenor · Henrik Stolare baritone · Folke Alin shaman drum 11 Muistse mere laulud (1979) 9'35 Songs of the Ancient Sea Text: trad. Magnus Sjögren tenor Hamleti laulud (1964) 8'22 Hamlet’s Songs Texts: Paul-Eerik Rummo 12 I. Meri tõmbus endasse… (The sea has retreated…) 5'33 13 II. -
Table of Contents.Pdf
Contents Foreword and Acknowledgments ................................................................... xvii Introduction ............................................................................................................. 1 The Oral Tradition ................................................................................................ 15 When I Escape the Manor ............................................................................. 17 A Dull Life Is a Sorry Thing ������������������������������������������������������������������������� 17 Brother’s War Song (extract) .......................................................................... 18 Reiner Brocmann ................................................................................................... 19 How Blessed Is the Man ............................................................................... 21 Käsu Hans .............................................................................................................. 23 Ah Me! Poor Tartu Town! ............................................................................. 24 Kulli Jüri ................................................................................................................. 29 Song 64. What Did Jesu’s Little Tom Tit Do? ............................................... 31 Song 81. God Invites All the People ............................................................. 31 Song 83. Towns and Lands Will Grow and Stand .................................... 32 Joachim Gottlieb Schwabe -
ON the LITERARY LIFE in the SOVIET ESTONIA SOVIET INTHE LIFE LITERARY on the Tutions
COLLOQUIA | SIRJE OLESK | On the Literary Life ISSN 1822-3737 in the Soviet Estonia Abstract: The paper deals with the literature of the Soviet Estonia that was a very ambivalent phenomenon. It suffered considerably in the forties and fifties by the direct assault repressions. Banning the publishing of the exile authors destroyed the continuity of the literature and spoiled the best crea- tive years of many writers who had stayed homeland. In the early sixties a new generation came into the Estonian literature, by today they have become the living classics (Hando Runnel, Paul-Erik Rummo, Mats Traat, Arvo Valton, Jaan Kaplinski, Viivi Luik, Juhan Viiding etc.). The doctrine of “the flourishing culture” was included in the Soviet doctrine, so the authori- ties had to bear the writers, though they tried to control and direct them permanently. Though the pressure of the regime eased in the sixties, the censorship and the party’s guidance still endured. This was the reason why there were no memoirists or essayists, why many authors have some confus- ing texts among their early works, why the tradition of the Estonian litera- ture is fragmentary. In the last decades of the occupation the creative unions were in opposition rather than in collaboration with the establishment. Key words: Estonian literature, Soviet literature, literary life, censorship. Specifics of the Soviet literary life The forties were the watershed decade in the history of all the Baltic States including Estonia. In the period the Estonian society was divided into two – those who did not leave their home country stayed under the Soviet despotism, and those who escaped from Estonia in 1943–1944 formed the Estonian exile society with its main centres in Sweden, Canada and the USA. -
Estonian Literary Magazine · Autumn 2017 · Photo by Kalju Suur Kalju by Maimu Berg · Photo
Contents 2 A women’s self-esteem booster by Aita Kivi 6 Tallinn University’s new “Estonian Studies” master´s program by Piret Viires 8 The pain treshold. An interview with the author Maarja Kangro by Tiina Kirss 14 The Glass Child by Maarja Kangro 18 “Here I am now!” An interview with Vladislav Koržets by Jürgen Rooste 26 The signs of something going right. An interview with Adam Cullen 30 Siuru in the winds of freedom by Elle-Mari Talivee 34 Fear and loathing in little villages by Mari Klein 38 Being led by literature. An interview with Job Lisman 41 2016 Estonian Literary Awards by Piret Viires 44 Book reviews by Peeter Helme and Jürgen Rooste A women’s self-esteem booster by Aita Kivi The Estonian writer and politician Maimu Berg (71) mesmerizes readers with her audacity in directly addressing some topics that are even seen as taboo. As soon as Maimu entered the Estonian (Ma armastasin venelast, 1994), which literary scene at the age of 42 with her dual has been translated into five languages. novel Writers. Standing Lone on the Hill Complex human relationships and the (Kirjutajad. Seisab üksi mäe peal, 1987), topic of homeland are central in her mod- her writing felt exceptionally refreshing and ernist novel Away (Ära, 1999). She has somehow foreign. Reading the short stories also psychoanalytically portrayed women’s and literary fairy tales in her prose collection fears and desires in her prose collections I, Bygones (On läinud, 1991), it was clear – this Fashion Journalist (Mina, moeajakirjanik, author can capably flirt with open-minded- 1996) and Forgotten People (Unustatud ness! It was rare among Estonian authors at inimesed, 2007). -
Tuna 58.Indb
SISUKORD 1/2013 Sisukord E S S E E Ilmar Vene: Rahvas ja inimsus 2 KÄSITLUSED Aivar Põldvee: Vanemuise sünd. Lisandusi eesti pseudomütoloogia ajaloole 10 Aldur Vunk: Pühalepa hernhuutlased uuel ajastul: vennastekogu liikmeskond kihelkonna personaalraamatus aastatel 1817–1833 32 Jaak Valge: Eesti vasakharitlased üle läve: nähtus, uurimisseis, küsimused 55 Peeter Kenkmann: 1937. aasta põhiseadus – autoritaarse režiimi „reformimise” katse 70 DOKUMENT JA KOMMENTAAR Indrek Paavle: Ühe veksli võltsimise lugu: ääremärkus 1940. aasta juulivalimiste juurde 90 Peeter Kaasik: „Kui Teile minu kirjutis meeldis, siis levitage, kuidas heaks arvate...” 96 Eesti Filmiarhiiv: Pühalepa 102 KULTUURILOOLISEST ARHIIVIST Marin Laak: „Kalevipoeg” Lõunaristi all: Gunnar Neeme ja Triinu Kartuse kirju 109 ARVUSTUSED Anu Kannike: Balti elulood humanitaarteaduste ristteedel 129 Väino Sirk: Raamat inimeste eneseteostusest rahvusluse tõusu sajandil 133 Marek Tamm: Keskaegse Liivimaa ajalookirjutuse poliitika ja poeetika 136 VARIA Toomas Karjahärm: Toivo Ülo Raun 70 141 Peep Pillak: Külm sõda – kuum teema Euroopas 144 Birgit Kibal: Varjatud varanduste jälil 147 Rene Levoll: Kindral Judenitši auto uskumatud seiklused Eestimaal 150 Lea Kõiv, Peep Pillak: Eesti arhiivid Euroopa kontekstis 156 Summary 157 Tuna 1/2013 1 E S S E E Rahvas ja inimsus Ilmar Vene nnekõike tähendab ilmalikkus inimüleste vaimujõudude mittetunnistamist; ülimad väärtused, millele kõik lihtsurelikud peavad end allutama, tuletatakse inimsusest. EAga tuletajaid on otsatult palju ja nende väärtustamisviis -
NARVA COLLEGE of the UNIVERSITY of TARTU DIVISION of FOREIGN LANGUAGES
NARVA COLLEGE OF THE UNIVERSITY OF TARTU DIVISION of FOREIGN LANGUAGES Kristina Shapiro ESTONIAN POETRY IN ENGLISH: MEANING IN TRANSLATION Bachelor’s thesis Supervisor: Lect. N.Raud, PhD NARVA 2015 PREFACE The place of Estonian poetry in world poetry has always been dependent on the fact that the Estonian language is spoken and understood by a comparatively small number of people. Due to particularities in grammar and vocabulary, Estonian stands rather isolated from other languages. One should invest in proper learning of Estonian to understand it. Moreover, the amount of Estonian speakers around the world makes it hard for Estonian poetry to be introduced to general public. That is why translation of Estonian poetry into English is needed. The present Bachelor’s thesis, titled “Estonian Poetry in English: Meaning in Translation”, is aimed to reveal the difficulties that might occur while translating Estonian poetry into English. The paper consists of four parts. The introduction introduces such notions as poetry, Estonian poetry, Estonian poetry in English. Chapter I “Aspects of Poetry Translation“ overviews theories of poetry translation aspects as well as techniques and poetry genre features and problems. Chapter II “Estonian Poetry in English Translations: Poetic Meaning“ focuses on the problems of translation from Estonian into English by analysing opinions and experiences of translators, their points of view on difficulties which might occur when translating poetry, the Estonian one in particular. It includes the analysis of poems written by the most famous Estonian writers of the 20th century – Marie Under and Doris Kareva. The conclusion sums up the results of the research and comments on the hypothesis. -
CURRICULUM VITAE Risto Tali
CURRICULUM VITAE Risto Tali Date of birth11.03.1981 Tallinn 00 372 53 420 892 [email protected] Education 2006 - Estonian Academy of Arts, MA studies 2000 - 2004 Estonian Academy of Arts, BA Professional career 2003 - EAA, Department of Jewellery and Blacksmithing, Master of the Workshops Membership 2017- Porta Longi Montis MTÜ board member 2014- RR Herreros OÜ executive 2011- R_R OÜ board member 2010- member of Estonian Artists Association Exhibitions 2017 M_M_M_M:Fahle Gallery,Tallinn 2017 R_R pikad juhtmed perfomance: Porta Longi Montis Gallery, Tallinn 2017 R_R Hi-tech: Porta Longi Montis Gallery, Tallinn 2016 M_M_M_M:Katlamaja, Pärnu 2016 M_M_M_M:Okapi Gallery, Tallinn 2012 Cidade Fronteirica: Lisbon – Tallinn, Institute Camōes 2011 Border City: Tallinn – Lisbon, Tallinn Art Hall 2010 Letters to Padua, Marijke Studio, Padua, Italy 2009 Male, Iida Gallery, Tallinn Nõu - vessel, container flask, advice, intention, plan, counsel, suggestion, dish, cell, Galleria Rantapaja, Lappeenranta, Finland Loodus on ehe, ehe on ehe, The Museum of Geology of the University of Tartu 2007 Luik, haug ja vähk, Art Hall Gallery, Tallinn Pressioon, action at Pärnu mnt. 27, Tallinn DePressioon, Rael Artel Gallery, Tartu 2006 Touching the Source, Culture Factory, Tallinn Monochroma, Kanuti Guild House, Tallinn Sepised Ungarist ja Eestist, Hungarian Gallery Institute, Tallinn 2004 Laegas, Estonian Museum of Applied Art and Design, Tallinn RaudTuli, Design Gallery, Tallinn Sleipniri stipendiaatide näitus, Narva Art Gallery 2003 Allusioonid jõule, Vaal Gallery, -
Estonia Above All: the Notion and Definition of Estonia in 19Th Century Lyrics
Estonia above All: The Notion and Definition of Estonia in 19th Century Lyrics Õnne Kepp In the literature of small nations created by authors whose fate, like that of the whole of the nation, has always been dependent on militant and self-interested neighbours or the ambitions of great powers, the relations between the writer, his people and country should be of special significance. Even taking a cursory glance at Estonian poetry, one notices the frequent use of the words ‘Estonia’, ‘Estonian people’, ‘the Estonian language’ and ‘an Estonian’. In different periods and under different conditions these have been understood, expressed and treated differently. e semantics of the fatherland and its usage is central in the ideology of national movements, and therefore it is of interest to observe its occurrence dur- ing the period of the national awakening and the formative years preceding it. How was the notion and definition of Estonia shaped in Estonian poetry? Being first and foremost associated with the concept of fatherland, separating ‘Estonia’ from the fatherland is quite a violent enterprise. But still, ‘Estonia’ car- ries a heavier semantic accent, while ‘fatherland’ functions rather as a romantic myth and a symbol. In addition, Ea Jansen makes a third distinction and brings in ‘home(land)’ by saying ‘fatherland is “the home of a nation”’ ( Jansen 2004: 5).1 us, ‘fatherland’ has a special emotional content for a nation. ‘Estonia’ as a con- cept is more neutral and definite. As a rule the following discussion is based on the poetic use of the word ‘Estonia’, without breaking, if need be, the association with its twin notion in the coherent (patriotic) unit. -
JULY, 2008 West Baptist Church Oswego, New York
THE DIAPASON JULY, 2008 West Baptist Church Oswego, New York Cover feature on pages 30–31 July 08 Cover.indd 1 6/11/08 7:52:09 AM “An exciting player...the technique is brilliant, the interpretation faultless.” (The Organ, England) “A master performer in a range of musical styles. His playing is immaculate.” (Organists’ Review, England) “Possessed of a dazzling technique and a thorough musical understanding.” (AAM Journal) “Demonstrated musical intelligence far beyond his years and technical abilities to match...brilliantly executed.” (The Birmingham News, AL) “Wowed listeners with his virtuosic playing...brought down the house!” (The American Organist, 2005 convention review) “Stunningly executed...intensely moving...truly breathtaking... captivated the audience completely... not only plays well, he has the ability to speak to the audience clearly, interestingly, and wittily, without either gush or condescension. He won his audience from the start.” (Organ Pleno, journal of the Society of Organists, Melbourne, Australia) “Blazing technique. Unbelievable virtuosity. Astonishing talent. The recital by Clive Driskill-Smith, the young English virtuoso (there’s no getting around the use of that word here), invites a string of superlatives such as one does not often use.” (Peter Beardsley, Chiff Chat newsletter of Springfield MA Chapter American Guild of Organists) and is great fun to be around. I’m glad controlled factory, with robots build- the article put that in perspective! ing organs! THE DIAPASON Maycher did the same with the recent Alan D. McNeely A Scranton Gillette Publication article on Albert Russell [The Diapa- McNeely Organ Company Ninety-ninth Year: No. 7, Whole No. 1184 JULY, 2008 son, October 2007]. -
Toccata Classics TOCC 0073 Notes
8) credits block, add ater Publishers: >> and Fennica Gehrman (www.fennicagehrmann.i); Music Finland Oy; printed by permission of Fennica Gehrman Oy, Helsinki, 2007; www.fennicagehrmann.i); ): YL (c/o www.sulasol.i); P ): YL (c/o www.sulasol.i); can VELJO TORMIS: A BRIEF INTRODUCTION by Folke Bohlin The Estonian composer Veljo Tormis (born in 1930) has gradually become internationally recognised as one of the most outstanding composers of choral music in our time. Before Estonia became a free state again in 1991 Tormis was ranked among the leading composers of the Soviet Union – but as a nonconformist who often ran into trouble with the Soviet authorities because of the texts he used in his songs. The fact that Tormis has written for all sorts of choral ensembles has its background in the highly developed standard of Estonian choruses. Many of his songs for male- voice choir were written for Gustav Ernesaks’ famous State Academic Choir, through which they became widely spread on concert tours throughout the Soviet Union. But these days Tormis is sung also in the west, which has inspired choirs in a number of countries to commission works from him. In the selection on this CD there are a few settings of texts by twentieth-century Estonian poets but all the others use folk texts from different periods. Tormis has always been fascinated by folksongs. They have inspired him not only his highly characteristic choral arrangements but also his very special way of building his own music on folk-music elements. Tormis has repeatedly used texts from the Finnish national epic, the Kalevala, a collection of folk-texts from pre-Christian and medieval times which are closely related to old Estonian songs.