Pagulaskirjandus

Total Page：16

File Type：pdf, Size：1020Kb

Eestlane sõjas ja võõrvõimude all Ülevaade ajaloost Pagulaskirjandus Eesti pagulaskirjandus oli kirjandus, mis arenes väljaspool okupeeritud Eestit aastail 1944–1990. •Oma iseloomult on pagulaskirjandus 1940. aastani Eestis loodud ja väljaantud kirjanduse jätk. •Pagulaskirjandus sai alguse Saksa põgenikelaagris. Teise maailmasõja lõppedes sai keskuseks Rootsi. 1960ndateni oli pagulaskirjandus elujõulisem Eesti NSV kirjandusest, säilitades sõnavabaduse eelise ka hiljem. •Aastatel 1944–1990 anti paguluses välja 267 romaani ja 181 luulekogu 75 autorilt, palju kirjutati ka memuaarkirjandust – 90 autorilt ilmus ligi 155 teost. Tuntumad pagulaskirjanikud Tuntuimad pagulaskirjanikud on Gustav Suits, Marie Under, Bernard Kangro, Karl Ristikivi, August Gailit, August Mälk, Artur Adson, Henrik Visnapuu, Ivar Ivask, Ain Kalmus, Helga Nõu, Enn Nõu, Valev Uibopuu, Johannes Aavik, Arno Vihalemm, Kalju Lepik, Ivar Grünthal, Hellar Grabbi, Ilmar Laaban, Arved Viirlaid, Liidia Tuulse, Salme Ekbaum, Gert Helbemäe, Arvo Mägi, Harri Asi, Raimond Kolk ja Albert Kivikas. Enamus neist oli olnud juba 1940. aastal tuntud kirjanikud, kelle loomingu avaldamine ja isegi omamine oli Eesti NSVs keelatud. Kalju Lepik Karl Ristikivi Ilmar Laaban Helga ja Enn Nõu Kirjandus Nõukogude Eestis •1940. aasta Nõukogude anneksioon katkestas Eesti kultuurilise arengu ning allutas kultuuri ja hariduse ideoloogilisele kontrollile. •Kunstis ja kirjanduses nõuti sotsialistlikku realismi. •Ka Eestis jätkus kultuuriinimeste vaimne vastupanu nõukogude võimu survele. Vastupanu ja kompromissi paineid on oma teostes ilmekalt kujutanud Jaan Kross. •Nõukogude ajastu eesti kirjandusele sai üldiselt iseloomulikuks n-ö ridade vahele kirjutamine ning kassi-hiire mäng ideoloogilist järelevalvet tegeva Glavlitiga. • 1960. aastate "sula" võimaldas mõnevõrra suuremat vabadust; luules kerkis esile nn kassetipõlvkond (Paul-Eerik Rummo, Jaan Kaplinski, Hando Runnel, Viivi Luik jt). • 1970. aastate armastatumaks luuletajaks oli Jüri Üdi ehk Juhan Viiding. Proosauuenduse "maaletoojaks" oli 18-aastaselt esikromaani avaldanud Mati Unt. Paul-Eerik Rummo Jaan Kross Viivi Luik Juhan Viiding Mati Unt Vaata ka: Eesti Aja lood.Okupatsioon. Punane terror Eesti Aja lood. Okupatsioon. Kool .

Copy Link

Recommended publications

Archives Looking for Home
Archives Looking for a Home: The Cultural Heritage of the Estonian Diaspora in the Estonian Literary Museum Piret Noorhani, Merike Kiipus, Anu Korb Estonian Literary Museum The Estonian Literary Museum (Eesti Kirjandusmuuseum) – at the moment, a state research and development institution – is historically a colony of three archives: the Archival Library (Arhiivraamatukogu, AR, established in 1909), the Estonian Folklore Archives (Eesti Rahvaluule Arhiiv, ERA, 1927), and the Estonian Cultural History Archives (Eesti Kultuurilooline Arhiiv, EKLA, 1929). The archives were born within the Estonian National Museum with the aim to collect publications, folklore and cultural documents in Estonian and about Estonia. This is the task the archives have performed since their establishment – irrespective of the changing systems of government, the formal status of the institution, and the generations of its employees. As a result of continuous work, the archives of the Literary Museum have a wide and versatile collection of material on the history of the Estonian diaspora; the present article can give only a superficial survey. As to the Archival Library and the Cultural History Archives, we limit ourselves to the cultural heritage of the Estonians who fled to the West after World War II, while with the Folklore Archives we include – and concentrate on – the material of the Estonians in the East. This refers to the priorities of different archives in collecting and researching their material, but also to future considerations. The Archival Library Collection and Partners The oldest archives of the Literary Museum, the Archival Library established in 1909, includes material concerning Estonians in the East and Baltica collected since the early 20th century.
[Show full text]
21 Raimond KOLK ESTOŃSKA LITERATURA EMIGRACYJNA
Raimond KOLK ESTO ŃSKA LITERATURA EMIGRACYJNA Podczas drugiej wojny światowej Estoni ę napadano i okupowano trzykrotnie: naj- pierw byli to Rosjanie (1940–1941), potem Niemcy (1941–1944) i wreszcie znowu Rosjanie, którzy przył ączyli ten mały, demokratyczny kraj do Zwi ązku Socjalistycz- nych Republik Radzieckich. Po do świadczeniach pierwszej rosyjskiej okupacji wielu pisarzy esto ńskich uciekło pod koniec wojny, razem z du Ŝą liczb ą swych rodaków. W wolnym świecie stworzyli Ŝyw ą i post ępow ą literatur ę, w której starsi uznani twórcy maj ą równorz ędny udział z przedstawicielami młodszego pokolenia. Po roku 1945 wydano ponad trzysta ksi ą- Ŝek, wi ększo ść w spółdzielni b ędącej własno ści ą pisarzy, z siedzib ą w Lund (Szwecja). Esto ńska literatura emigracyjna, kontynuuj ąc tradycje ojczyste, zaabsorbowała wpływy i idee z Zachodu, zwłaszcza te płyn ące z literatury skandynawskiej. Zasadni- czo pozostała wierna realizmowi, chocia Ŝ pojawiaj ą si ę w niej tak Ŝe liczne ekspery- menty w zakresie współczesnego stylu i podej ścia. Najbardziej popularnym gatunkiem prozy jest powie ść ; opowiadania i dramaty s ą mniej powszechne. Poezja te Ŝ odznacza si ę licz ącymi si ę osi ągni ęciami. „Dla mnie i dla mojego pokolenia utrata niepodległości naszej ojczyzny i wojna stały si ę najwa Ŝniejszym i decyduj ącym do świadczeniem” — pisze Ilmar Talve, esto ński uczony i powie ściopisarz w przedmowie do jednej ze swych ksi ąŜ ek. Najbardziej popu- larnymi ksi ąŜ kami, zwłaszcza we wczesnym okresie emigracji, s ą powie ści dotycz ące współczesnych wydarze ń, kroniki indywidualnych losów w naszych niespokojnych, tragicznych czasach.
[Show full text]
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.
[Show full text]
EDUARD TUBIN COMPLETE WORKS Series VII
1 EDUARD TUBIN COMPLETE WORKS Series VII Volume XXX Barbara von Tisenhusen Opera in three acts and nine scenes Piano score Edited by Mart Humal & Reet Marttila RAHVUSVAHELINE EDUARD TUBINA ÜHING / GEHRMANS MUSIKFÖRLAG INTERNATIONAL EDUARD TUBIN SOCIETY / GEHRMANS MUSIKFÖRLAG GE 12925 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 12925 ISMN 979-0-54002-309-6 GE 12925 CONTENTS 3 Introduction 4 List of Characters 17 Critical Commentary 18 GE 12925 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.
[Show full text]
Thesis with Signature Marii Valjataga
A small nation in monuments A study of ruptures in Estonian memoryscape and discourse in the 20th century Marii Väljataga Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, June 30, 2016 European University Institute Department of History and Civilization A small nation in monuments A study of ruptures in Estonian memoryscape and discourse in the 20th century Marii Väljataga Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Pavel Kolář (EUI) - Supervisor Professor Alexander Etkind (EUI) Professor Siobhan Kattago (University of Tartu) Prof. dr hab. Jörg Hackmann (University of Szczecin, University of Greifswald) © Marii Väljataga, 2016 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I, Marii Väljataga, certify that I am the author of the work A small nation in monuments. A study of ruptures in Estonian memoryscape and discourse in the 20th century I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
[Show full text]
Appendix 1: Language and Literature
Appendix 1 of Regulation No 2 of the Government of the Republic of 6 January 2011 National Curriculum for Upper Secondary Schools Last amendment 29 August 2014 Subject Field: Language and literature 1. General principles 1.1. Language and literature competence The objective of studying the subjects of the language and literature field in upper secondary school is to develop students’ language and literature competence, which means the ability to see language and literature as the foundation of national and personal identity and as an art form, and to understand and appreciate national and global cultural heritage. Language and literature competence also covers the skills to use language in different communication situation to achieve one’s goals, taking into account the communication standards and language use conventions. Language and literature competence means the ability to comprehend and create, analyse and critically assess various texts. Teaching language and literature is aimed at the upper secondary school graduate having developed the capability to: 1) express themselves clearly, purposefully and in accordance with the norms of the general literary standard both in oral and written communication; 2) deliberate based on the texts read, seen or heard in a relevant and well-grounded manner; 3) know the principles of text composition and compile texts of different types based on informative and literary texts as well as other sources by judging them critically; 4) judge media and other public texts critically and can identify influencing
[Show full text]
Totentanz and the Graveyard Poetry: About the Baltic German Reception of English Graveyard Poetry 1 Kairit Kaur
Methis. Studia humaniora Estonica 2018, no. 21/22 Totentanz and the Graveyard Poetry: About the Baltic German Reception of English Graveyard Poetry 1 Kairit Kaur Abstract: This paper explores the Baltic German reception of English graveyard poetry. The first translation of a graveyard poem was published in 1783 by Gottlieb Schlegel (Gray’s “Elegy”). Next, a poem by Elisa von der Recke is analysed in its dialogue with Blair’s “The Grave” and Schiller’s “Resignation”. The earliest and the most often talked about graveyard poem with the longest reception was Edward Young’s “Night-Thoughts”. Heinrich Mutschmann, professor for English at the University of Tartu, interpreted it as late as 1939. DOI: 10.7592/methis.v17i21/22.14583 Keywords: Baltic German, reception, English, poetry, death, immortality As I was gathering material for my doctoral dissertation about women who wrote poetry in the Baltic provinces of Estland, Livland and Courland in the years 1654–1800 (see Kaur 2013), I came across an extremely exciting occasional poem that had been printed in Tallinn in 1759, preserved in the Library of the Estonian National Archive, EAA.A2.220 (IV-166). It is the first occasional poem signed by a woman in Estland (Northern Estonia) after the Great Northern War (1700–1721)—signed by “all the maternal female first cousins” of the unmarried Baroness Anna Christiana von Delwig who died young. The poem, written in alexandrine verse, depicts the cousins’ dialogue with Death. The relatives of the late person blame Death for hurriedly bereaving them of their loved one (see Kaur 2009, 17, reference 17), and Death replies: Ihr die ihr mich so haß’t, so tadelt und so schmähet Gut! ich gedenck es euch, ihr habt nicht ew’ge Jahre Komt! sehet Gottes Hand! sehet was hier stehet Ich rufe jung und alt, der Reihe nach zur Bahre.
[Show full text]
79114069.Pdf
TARTU ÜLIKOOL Arne Merilai EESTI BALLAAD 1900-1940 Tartu 1991 Kinnitatud filoloogiateaduskonna nõukogus 20. veerbruaril 1991. a. Kaane kujundanud A. Peegel. Арне Мери лай. ЭСТОНСКАЯ БАЛЛАДА 1900-1940. На эстонском языке. Тартуский университет. ЭР, 202 400, г. Тарту, ул. Юлшсооли, 18. Vastutav toimetaja К. Muru. PaJjundamisele antud 25.03.1991. Formaat 60x90/16. Kirjutuspaber. Kiri: roman. Rotaprint. Tingtrükipoognaid 8,37. Arvestuspoognaid 9,86. Trükipoognaid 9,0. Trükiarv 1000. Tell. nr. 135. Hind rbl. 5. TÜ trükikoda. EV, 202 400 Tartu, Tiigi t. 78. © Tartu Ülikool, 1991 SAATEKS Žanride uurimine on kirjandusteaduse tähtsamaid ülesandeid. 193S. aastal valmis Bernard Kangrol Tartu Ülikoolis magistritöö "Eesti soneti ajalugu", katkestada tuli aga doktoritöö eesti romaanist. Hiljem on eesti kirjandusteaduses süvenetud lüürika arengukäiku, uuritud on eepika žanre ja dramaatikatki; Silvia Nagelmaa väitekiri sõjajärgsest eesti- poeemist oli esimeseks katseks vaadelda kirjandust sünteetilise lüroeepika seisukohast. Lüroeepika teine oluline vorm — ballaad — oli aga seni avamata hoolimata rohkest viljeldavusest. Eesti ballaadi areng jaguneb selgesti kolme peamisse ajajärku: ettevalmistav etapp kuni XX sajandu alguseni, XX sajandi esimese poole esteetiline kõrgperiood ja kaasaja ballaad, mida iseloomustab pigem lüüriline kui lüroeepiline suhe žanrisse. Vaid üksikud auto rid hoiavad tänapäeval alles kindlama eepilise lõime. On ilmne, et žanri tähtsuse eesti luules selgitab uurimus keskmise perioodi kohta, millest lähtudes saab teha järeldusi ajas
[Show full text]
How Do Places Speak in Poetry?
How Do Places Speak in Poetry? Anneli Mihkelev 1. It is a well-known and even banal fact that different places have been represented as having different purposes in poetry throughout literary history. To be precise, the different purposes call to mind the history of the concept topos or place or space. As Estonian researcher Rein Undusk has written in Topos (2001), a place contains different things which are static and situated in certain locations in the place; a thing which is situated in a place stays put inside the boundaries of the place. Between different places are situated the outside zones of places (Undusk 2001: 17). So places are ambivalent phenomena: on the one hand they create stability, adaptation and safety, but on the other hand they can generate motion, instability and a lack of adaptation. According to the mnemonic treatment, having everything in a certain place makes it easier to remember those things: a good memory requires order and a system. e legend of Simonides from ancient Greece is the foundation of mne- monics (according to the legend, the poet Simonides knew all the bodies in the collapsed house because he remembered the places where each man had been sitting before the collapse). e legend of Simonides was passed down by Cicero and Quintilian (see Goldmann 1989: 43–66; also Lachmann 1997: 4). Renate Lachmann is of the opinion that Cicero’s version of the Simonides legend is the point where mnemonic technique began to serve practical rhetoric, i.e. the memorisation of texts and the ‘process of transformation from cult to commemoration’ became important (Lachmann 1997: 7).
[Show full text]
Emigration in Estonian Literature: “Self” and “Other”
INTERLITT ERA RIA 2017, 22/2: 341–354 341 Emigration in Estonian Literature: “Self” and “Other” Emigration in Estonian Literature: “Self” and “Other” in the Context of European Literature1 ANNELI MIHKELEV Abstract. The experience of emigration generated a new paradigm in Estonian culture and literature. After World War II Sweden became a new homeland for many people. Estonian culture and literature suddenly became divided into two parts. The political terror imposed restrictions on literature in homeland and the national ideology limited literature in the initial years of exile. Both were closed communities and were monolingual systems in a cultural sense because these systems avoided dialogue and the influence of other signs. It was a traumatic experience for nation and culture where the totalitarian political power and trauma have allied. The normal cultural communication was destroyed. But the most important thing at this time was memory, not just memory but entangled memory, which emigrants carried with them to the new homeland and which influenced people in Estonia. The act of remembering becomes crucial in the exile cultures. Estonian literature in exile and in the homeland presents the fundamental images of opening or closing, escaping or staying, and of flight or fight. Surrealism as well as fantasy and science fiction as the literary styles reveal what is hidden in the unconscious of a poet or a person or even in the collective memory of a nation. Surrealism has played a certain role in our literature, but it has been different from French surrealism, it is a uniquely Estonian surrealism. At the same time Estonia was already a new homeland for many refugees from Russia who had escaped during the Revolution of 1917 and World War I.
[Show full text]
Newsletter 1
Association for the Advancement of Baltic Studies A member of the American Council of Learned Societies President Guntis Šmidchens [email protected] Baltic studies newsletter Department of Scandinavian Studies University of Washington Box 353420 Convergences in Baltic Studies: Past, Present and Future Seattle, WA 98195-3420 PRESENT AND FUTURE CONVERGENCES President - Elect Vėjas Liulevičius, AABS President Elect, 2010-2012, Associate Professor of Vėjas Liulevičius [email protected] History, University of Tennessee University of Tennessee Since the founding of AABS in 1968, the Baltic world has of course changed beyond all recognition, and this seems an especially apt time to take stock of the Vice Presidents many convergences and continuities so evident today. In these essays, presidents of the AABS look back to evaluate a great store of shared Conferences Aldis Purs experience. They note key continuities: the succession of generations caught up in the University of Washington work of the AABS; the challenges of “thinking Baltically” in terms of conceiving of Bal- tic Studies as a whole greater than its parts of individual histories and cultures of Baltic Professional Development peoples studied in isolation from one another; the continuing challenge of engaging spe- Daunis Auers Vėjas Liulevičius cialists in the Baltic countries themselves in the larger undertaking of Baltic Studies. University of Latvia (continued on p. 4) Publications Bradley D. Woodworth AABS Archives: Twelfth Conference on Baltic Studies University of New Haven HISTORICAL 1990 PRESIDENTIAL ADDRESS BY ANDREJS PLAKANS Secretary Some decades ago among the political history of the past ticators among us. Nonetheless, Laimonas Briedis scholars who thought about soci- year, but I would suspect that it the idea of convergence as such University of British Columbia eties on a world wide scale there has not fared so well.
[Show full text]
'993 Keel Ja Kirjandus
1 ISSN 0131—1441 '993 KEEL JA KIRJANDUS SISUKORD A. Merilai. Kivikõueköha. Ilmar Laabani luule psüh hoanalüüs 257 P. Päll. Rahvusvaheline nimekorraldus ja Eesti (I) . 264 P. Alvre. Eduard Ahrens grammatikuna ja keeleuuen- dajana (Järg) 277 V. Sarv. Setu itkuvärsi meetrikast 282 E. Jansen. Veel kord ärkamisaja kultuurimurrangust . 293 M. Graf. Legend ja selle uurija 304 M. Sibul. Algupärase ilukirjanduse ning keele- ja kir jandusteaduse väljaanded Eestis 1992. aastal . 309 RAAMATUID L. Tavel. Pilk kõverpeegli taha 314 J. Viikberg. Kakskeelseks kohe algusest peale . 315 RINGVAADE R. Mirov. ES-i rahvaluulesektsioonis 320 Kaanel: Arkadio Laigo. Illustratsioon luuleantoloogiale KOLLEEGIUM: «Arbujad» (puugravüür, 1938). I. liiste, E. Jansen, R. Kull, V. Pall, R. Parve, H. Peep, H. Rätsep, T. Seilenthal, A. Tamm, 0. Tedre, U. Uibo, J. Undusk, T.-R. Viitso, A. Vinkel. TOIMETUS: A. Tamm (peatoimetaja), E. Ross (tegevtoimetaja), V. Klaus (keeleteaduse osakonna toimetaja), P. Lias (kirjandusteooria ja -kriitika osakonna toimetaja), H. Niit (kirjandusajaloo ja rahva luule osakonna toimetaja), I. Pärnapuu (toimetaja). Toimetuse aadress: EE-0100 Tallinn, Roosikrantsi 6. Telefonid 449-228, 449-126. Laduda antud 18. III 1993. Trükkida antud 29. IV 1993. Trükiarv 1450. Tellimus nr. 762. OO «Greif» trükikoda. Tartu, Ülikooli 17/19, II. Klišeed valmistanud trükikoda «Ühiselu». © «Keel ja Kirjandus» 1993 KEEL JA KIRJANDUS 5J1993 EESTI TEADUSTE AKADEEMIA JA EESTI KIRJANIKE LIIDU AJAKIRI XXXVI AASTAKÄIK Kivikõueköha Ilmar Laabani luule psühhoanalüüs* ARNE
[Show full text]