Rutt) and Elga Eliaser – Unique Documentation of a Typical Fate of an Educated Estonian Family Peeter Väljas Estonian National Archives
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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 Literature 5
ESTONIAN LITERATURE V Fiction in Independent Estonia A. H. Tammsaare and “Truth and Justice”, A. Gailit, et al. •Tarapita (1921–1922) < Clarté, German Expressionism •Other almanacs: Odamees , Ilo , Murrang , Moment , etc. •Estonian Writers’ Union (1922); Looming (Creation, 1923) •Estonian Cultural Endowment (1925) •Modern criticism: F. Tuglas , J. Semper , Ants Oras (1900-1982), Aleksander Aspel (1908-1975) •Hugo Raudsepp — comedies and dramas •Anton Hansen Tammsaare , Truth and Justice (“Tõde ja õigus” I–V, 1926-1933) — Psychological-Symbolical Realism •August Gailit , grotesque short stories, Toomas Nipernaadi (1928) — Neoromantism •Mait Metsanurk (Eduard Hubel, 1879–1957), The Unmarked Grave (“Jäljetu haud”, 1926), The White Cloud (“Valge pilv”, 1925), The Red Wind (Punane tuul, 1928) — Critical Realism Anton Hansen Tammsaare (1878–1940) Tõde ja õigus I–V (“Truth and Justice”, 1926–1933) • Rural Realism • Impressionism and Symbolism: • Long Steps (“Pikad sammud”, 1908) • Young Souls (“Noored hinged”) • Across the Border (“Üle piiri”) • Nuances (“Varjundid”) • The Fly (“Kärbes”) • The Boy and the Butterfly (“Poiss ja liblik”) • Symbolic Realism: • Judith (1921) • The Master of Kõrboja (“Kõrboja peremees”, 1922) Truth and Justice I–V (“Tõde ja õigus”, 1926–1933) Man’s struggle with land (I), with God (II), with society (III), with himself (IV), and resignation (V). Tammsaare’s methodological triangle – The soil must be loved, even if it lies underneath the threshold of the humblest cottar’s home. –“Work and take pains and love will follow by itself,” said father. “You did it and my mother did it, which certainly caused her early death; but there was still no love, and there is none since today in Vargamäe.” – God is an immense vessel never to overflow with worries and sadness. -
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 -
Valev Uibopuu Bibliograafia
V Õ R U M A A T O E T U B V A I M U K U L T U U R I L E VALEV UIBOPUU 19.10.1913 – 18.03.1997 BIBLIOGRAAFIA Koostaja: Maie Elstein Võru, 2013 Sisukord VALEV UIBOPUU ELULUGU ................................................................................................ 4 SAATEKS .................................................................................................................................. 9 KIRJANDUSNIMESTIK ......................................................................................................... 11 I. VALEV UIBOPUU LOOMING ....................................................................................... 11 A. ILUKIRJANDUS EESTI KEELES ........................................................................... 11 B. ILUKIRJANDUS VÕÕRKEELES ............................................................................. 22 C. ILUKIRJANDUS KOGUMIKES JA PERIOODIKAS ............................................. 25 II VALEV UIBOPUU TOIMETAJA, KOOSTAJA, KAASAUTOR, JUHENDAJA .......... 33 A. RAAMATUD EESTI KEELES ................................................................................... 33 B. AJAKIRJAD, RAAMATUD VÕÕRKEELES ........................................................... 38 III KIRJANDUSTEADUS JA -TEOORIA .......................................................................... 39 IV KIRJANDUSKRIITIKA. ARVUSTUSED. ÜLEVAATED EESTI JA VÕÕRKEELES 41 V VALEV UIBOPUU KEELETEADUSLIKUD TÖÖD. ................................................... 48 A. RAAMATUD. ARTIKLID EESTI JA VÕÕRKEELES ............................................. -
THE BALTIC DISCOGRAPHY of the Gramophone Company from 1901 to 1939
ALAN KELL V and REiNO SEPP THE BALTIC DISCOGRAPHY of The Gramophone Company from 1901 to 1939 PART O N E: E S TONiA " Th~ Gr ophoo e C mpa y" E ... sti heiisa .estnsed " Eest i Fi l a t e lis t " nr 3 2 - 1988 lis a Supplement to "Eesti Filatelist" No 3 2 - -~ --~- 3 PREFACE Discography listed here is a part of a larger work entitled "His Master's Voice" - The Russian Catalogue" to be published by "Greenwood Press" as Volume 3 in their Series of international discographies. Here "Russian" means not only the Czarist Empire but also includes records for Russians in exile after WW I and the independent Baltic republics and Poland. Baltic Discogarphy is divided into three parts ~ the chronological !ists of the recordings for Estonia, Latvia and Lithuania. It is a pure coincidence that both the alphabetical and the geographical orders of these three countries from North to South coneur with the arnount of The Gramophone Company recordings: Estonia - 800, Latvia -500 and Lithuania -200. For practical reasons only the part one is published in this No of "Eesti Filatelist". Parts 2 and 3 will follow in the next No of EF together with corrections and addenda to Part I as well with an Index to it. The Gramophone Company made Estonian records intermittently. Only following years occur in the statistics: 1901, 1904, 1908, 1911, 1913, 1927~1931 and 1936~1939. Seven times a greater recording session was arranged, three times thereof with serious Estonian music: 1908, 1928 and I 939. Our !ists are ordered as in a table and in the order of increasing Matrix No 's. -
Crols, Dirk (2006) from Tsarist Empire to League of Nations and from USSR to EU: Two Eras in the Construction of Baltic State Sovereignty
Crols, Dirk (2006) From Tsarist empire to League of Nations and from USSR to EU: two eras in the construction of Baltic state sovereignty. PhD thesis. http://theses.gla.ac.uk/2453/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] FROM TSARIST EMPIRE TO LEAGUE OF NATIONS AND FROM USSR TO EU: TWO ERAS IN THE CONSTRUCTION OF BALTIC STATE SOVEREIGNTY Thesis submitted by Dirk Crols to obtain the degree of Doctor of Philosophy (PhD). Date of submission: 23 July 2006 Department of Central and East European Studies, University of Glasgow Supervisor: Dr. David Smith, Senior Lecturer, Department of Central and East European Studies, University of Glasgow. 1 ABSTRACT This thesis examines how the three Baltic countries constructed their internal and external sovereign statehood in the interwar period and the post Cold War era. Twice in one century, Estonia, Latvia and Lithuania were namely confronted with strongly divided multiethnic societies, requiring a bold and wide-ranging ethnic policy. In 1918 all three Baltic countries promised their minorities cultural autonomy. -
Commemoration of Independence Day in the Republic of Estonia 1919–1940
Ajalooline Ajakiri, 2015, 1/2 (151/152), 85–119 Commemoration of Independence Day in the Republic of Estonia 1919–1940 Peeter Tammisto Abstract World War I led to the collapse of the Austro-Hungarian and Russian empires, generating widespread political upheaval across Europe that provided numerous ethnic groups within those former empires the opportunity to break free and begin the process of independent nation-building. New nations need to create a history for themselves and their people to legitimate their existence. Estonia was one such nation. It was forced to fight a War of Independence at the very begin- ning of its existence as a separate entity to establish its right to statehood. This war served as Estonia’s founding myth and even while it was still being fought, the war was integrated into the narrative of the Estonian people’s great, cen- turies-long struggle for liberation from the yoke of Baltic German oppression. The achievement of independence was seen as the culmination of Estonian his- tory. This article explores the customs that evolved for commemorating Inde- pendence Day from the perspective of performative, collective memory. These customs form the basis for analysing the shifts that took place in the politics of memory and history when a coup d’état carried out in March of 1934 estab- lished an authoritarian regime in Estonia in place of parliamentary democra- cy. Thenceforth the narrative was adjusted so that the culmination of Estoni- an history was no longer merely the achievement of independence. Instead, the narrative claimed that independence was won when Estonians defeated their Baltic German historical enemy once and for all. -
Introduction
Notes Introduction 1This study uses ‘Estonian Veterans’ League’ as the most practical translation of the Eesti Vabadussõjalaste Liit (‘Veterans’ League of the Estonian War of Independence’). The popular term for a Veterans’ League member was vaps (plural: vapsid), or vabs, derived from vabadussõjalane (‘War of Independence veteran’). This often appears mistakenly capitalized as VAPS. A term for the Veterans frequently found in historical literature is ‘Freedom Fighters’, the direct translation of the German Freiheitskämpfer. Another unsatisfactory translation which appears in older literature is ‘Liberators’. It should be noted that until 11 August 1933 the organization was formally called Eesti Vabadussõjalaste Keskliit (‘The Estonian War of Independence Veterans’ Central League’). 2 Ernst Nolte, The Three Faces of Fascism (London, 1965), p. 12. 3 Eduard Laaman, Vabadussõjalased diktatuuri teel (Tallinn, 1933); Erakonnad Eestis (Tartu, 1934), pp. 54–62; ‘Põhiseaduse kriisi arenemine 1928–1933’, in Põhiseadus ja Rahvuskogu (Tallinn, 1937), pp. 29–45; Konstantin Päts. Poliitika- ja riigimees (Stockholm, 1949). 4 Märt Raud, Kaks suurt: Jaan Tõnisson, Konstantin Päts ja nende ajastu (Toronto, 1953); Evald Uustalu, The History of Estonian People (London, 1952); Artur Mägi, Das Staatsleben Estlands während seiner Selbständigkeit. I. Das Regierungssystem (Stockholm, 1967). 5 William Tomingas, Vaikiv ajastu Eestis (New York, 1961). 6 Georg von Rauch, The Baltic States: The Years of Independence 1917–1940 (London, 1974); V. Stanley Vardys, ‘The Rise of Authoritarianism in the Baltic States’, in V. Stanley Vardys and Romuald J. Misiunas, eds., The Baltic States in War and Peace (University Park, Pennsylvania, 1978), pp. 65–80; Toivo U. Raun, Estonia and the Estonians (Stanford, 1991); John Hiden and Patrick Salmon, The Baltic Nations and Europe: Estonia, Latvia & Lithuania in the Twentieth Century (London, 1991). -
EDUARD TUBIN COMPLETE WORKS Series VII
1 EDUARD TUBIN COMPLETE WORKS Series VII Volume XXIX Barbara von Tisenhusen Opera in three acts and nine scenes Score Edited by Mart Humal & Reet Marttila RAHVUSVAHELINE EDUARD TUBINA ÜHING / GEHRMANS MUSIKFÖRLAG INTERNATIONAL EDUARD TUBIN SOCIETY / GEHRMANS MUSIKFÖRLAG GE 12924 2 Supported by the Estonian Ministry of Culture, The Cultural Endowment of Estonia Editorial Board: Kerri Kotta (editor in chief), Margus Pärtlas, Toomas Velmet, Reet Marttila, Urmas Vulp, Paul Mägi ja Sigrid Kuulmann-Martin The present volume has two editors, Mart Humal and Reet Marttila, whose tasks have been different in the preparation of the volume. Mart Humal has worked out the editorial principles for the published work and realised them in the course of editing it. He has also written the preface and the commentary. Reet Marttila has edited notation of the published work to ensure its visual and logical consistency. Corrections: Lauri Sirp Music engraving: Valdo Preema, Edition 49 Layout: Tiina Sildre English language editor: Avo Sõmer General editor:Kerri Kotta Publisher: International Eduard Tubin Society / Gehrmans Musikförlag Printed in: Tallinna Raamatutrükikoda Tallinn / Stockholm 2016 © International Eduard Tubin Society / Gehrmans Musikförlag Edition number GE 12924 ISMN 979-0-54002-308-9 GE 12924 CONTENTS 3 Introduction 4 List of Characters 17 Critical Commentary 18 GE 12924 4 INTRODUCTION Barbara von Tisenhusen (ETW 112, 1967–68) is the The short story is written in an archaic style characte- first completed opera by Eduard Tubin.1 It is based on rised by the writer as follows: ‘I wrote it in the style of a short story (with the same title) by the Finnish- old chronicles, approximately in the rhythm of Russow. -
Contemporary Drama and Theatre in Estonia. Conversing with Drama Directors Lembit Peterson, Tiit Palu and Ivar Põllu
260 INTERLITT ERA RIA 2020, 25/1: 260–272 CHEN, TALVET Contemporary Drama and Theatre in Estonia. Conversing with Drama Directors Lembit Peterson, Tiit Palu and Ivar Põllu CHEN DAHONG JÜRI TALVET CHEN, TALVET For a visitor coming to Estonia from a far-away foreign country with little if any knowledge of Estonian culture, the facts and statistics provided and spread online by the Estonian Theatre Agency (Eesti Teatriagentuur, http://www. teater.ee/) can look truly impressive. Estonia is one of the smallest European countries, on the shores of the Baltic Sea, but it remains a fact that between 2015 and 2017 nearly forty active theatres of the country produced annually more than 6000 performances (incl. 200 new performances, sic!), while the total number of its theatregoers (slightly more than one million people) was almost the same as the country’s autochthonous (Estonian-speaking) population. We may add that conscious Estonian culture as creativity in all branches of arts can be traced back only to the middle of the 19th century when the country’s predominantly peasant population was finally emancipated from the humiliating condition of serfdom, imposed by Baltic-German landlords since the late Middle Ages (and maintained since the start of the 18th century with the benediction of Tsarist Russia) In the following interview, we will ask some of the leading Estonian stage directors to share their experience and ideas about the past and contemporary state of Estonian theatre life and drama performances. LEMBIT PETERSON (born in 1953 in Tallinn) has a long and varied experience working as a drama director. -
The Integration Strategies of World War Ii Refugees
TRAMES, 2019, 23(73/68), 2, 173–188 HOW TO GET INVOLVED? THE INTEGRATION STRATEGIES OF WORLD WAR II REFUGEES Triinu Ojamaa Estonian Literary Museum, Tartu Abstract. During World War II, tens of thousands of people of different social back- grounds fled to the West from Estonia. There were approximately two hundred musicians among them, half of whom received asylum in Sweden. Some opera singers, conductors, and composers had built a successful career already before the war and were also known to a certain extent in the Nordic countries. While in Sweden, the musicians tried to get involved in the cultural life of the host society. They believed that this would ensure them an income, yet they felt an inner need to continue their careers as musicians and to preserve their professional identity. The aim of this article is to highlight the circumstances that either supported or hindered the integration of these highly-skilled refugees. The research is based on the manuscript memoirs of Juhan Aavik (1884–1982), an Estonian conductor and composer, who, before fleeing, occupied the leading position in Estonian music life. Keywords: WWII refugees, integration process, professional career, musical activities, memoirs DOI: https://doi.org/10.3176/tr.2019.2.04 1. Introduction World War II advanced the formation of multicultural societies, yet along with this acculturation problems arose, which are discussed in the article, based on the example of the Estonian refugees who belonged to the cultural elite. About 80,000 people fled Estonia for the West for political reasons.1 The receiving countries were Sweden and Germany; later on part of the refugees moved on to some other countries. -
Estonian Literary Magazine Autumn 2020
The Bard Like the roar of waves on the foamy river, plunging from the rocks down into the dale; like the thunder of the heavens rolling awesome under black clouds: so runs song fair stream of fire. Like a wellspring of light Estonian Literary Magazine stands the honoured bard amongst his brothers. Autumn 2020 The thunder rolls and the woods fall silent: the bard raises his voice · 51 pours forth the sap of song from his lips, 2020 while all around MN U silent as the sea cliffs T U A the people stand and listen. · KRISTJAN JAAK PETERSON, 1819 TRANSLATED BY ERIC DICKENS ESTONIAN LITERARY MAGAZINE LITERARY ESTONIAN ESTONIAN LITERARY MAGAZINE · autumn 2020 · 51 Nº51 elm.estinst.ee MORE INFORMATION: ESTONIAN INSTITUTE Eesti Instituut Suur-Karja 14, 10140 Tallinn, Estonia Phone: +372 631 4355 www.estinst.ee ESTONIAN LITERATURE CENTRE Eesti Kirjanduse Teabekeskus Sulevimägi 2-5 10123 Tallinn, Estonia www.estlit.ee ESTONIAN WRITERS’ UNION Eesti Kirjanike Liit Harju 1, 10146 Tallinn, Estonia Phone: +372 6 276 410, +372 6 276 411 [email protected] www.ekl.ee The current issue of ELM was supported by the Cultural Endowment of Estonia and Estonian Ministry of Culture © 2020 by the Estonian Institute. ISSN 1406-0345 Editor: Berit Kaschan · Translators: Adam Cullen · Language editor: Robyn Laider Layout: Piia Ruber Editorial Board: Tiit Aleksejev, Adam Cullen, Peeter Helme, Helena Koch, Ilvi Liive, Helena Läks, Piret Viires On the Cover: Mudlum Photo: Piia Ruber Estonian Literary Magazine is included in the EBSCO Literary Reference Center. THE FRONT COVER OF THE THIRD ISSUE OF ESTONIAN LITERARY MAGAZINE, PUBLISHED IN 1996.