Word Length in Estonian Prose
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Intellectual Occupation and Collaborationism in the Cultural Life of Estonia: Reflected in the Epistolary Communication Between Tuudur Vettik and Roland Laasmäe
TRAMES, 2013, 17(67/62), 1, 3–34 INTELLECTUAL OCCUPATION AND COLLABORATIONISM IN THE CULTURAL LIFE OF ESTONIA: REFLECTED IN THE EPISTOLARY COMMUNICATION BETWEEN TUUDUR VETTIK AND ROLAND LAASMÄE Laine Randjärv University of Tartu Abstract. This article analyses the concepts and phenomena of collaborationism and conformism in Estonia during the Soviet annexation. The focus is on cultural personalities and events connected to choir music and the Song Celebration Movement in 1940–1985. An important source for studying this subject is the correspondence between two creative figures: Tuudur Vettik and Roland Laasmäe. This period in the Estonian Song Celebration history was marked by an ideological pressure from the Communist Party, and creative figures – poets, composers, choirmasters and bodies organising the Song Celebrations – largely depended on the attitude of party leaders and on cooperation with them to ensure their stable and calm day-to-day existence. Rebels could expect a whole range of repressions: imprisonment, deportation to Siberia, or local persecution and boycott. The article briefly delves into the history of the concept of collaborationism by describing its various nuances and periods; manifestations of the phenomenon are analysed in other fields beside the music. Comparison is made with the history of other West European states (incl. former socialist countries), and the experiences of the Baltic states during the period in question are also analysed. Keywords: collaborationism, conformism, annexation, repressions, deportation, imprison- ment, creative intelligentsia, formalism, intellectual fight for freedom, national culture, Estonia, Soviet Union DOI: 10.3176/tr.2013.1.01 1. Introduction This article analyses a complicated and delicate issue which researchers often prefer to bypass. -
Vanemuine Buklett 148X210mm
The exhibition When the Stage Lights Came On... tells ... the multi-layered story of a theatre by displaying the folio of prints Wanemuine 100, which focuses on the beginning of the Vanemuine Theatre. The folio ties together two important moments in time: the birth of Estonian language theatre and the beginning of the 1970s, when the local theatre life was influenced by its Soviet environment but also by the begin- nings of the theatrical renewal. Inspired by these layers, the folio is the impetus and central exhibit of the present exhibition. The students of the Estonian Academy of Arts who curated the exhibition travelled from the world of art to the world of theatre and brought a small piece of Estonian theatre history to the museum. In all probability, the folio, which is part of the Tartu Art Museum’s collections, has never been exhibited. This allowed us to unravel the collages from the folio like detectives and to delve into their sources to bet- ter understand the backstory of the folio. As a result of the research, this playbill that you are reading contains most of the photos that form the basis of the collages. Archival materials tell a multifaceted story that covers the period from the birth of Estonian language theatre up to the founding of professional theatre. It includes images of the people associated with theatre, the public festivals, the costumes and the theatre buildings. The foundation of the Vanemuine Theatre took place during the phase of active construction of Estonian nationality. It focused on a national narrative, on connecting individual events and celebrating anniversaries that assisted in asserting a collective sense of continuity. -
The Estonian Song Festival
150 years of Estonian Song Festival – Digitized Heritage Helen Põldmäe music information specialist (sheet music) National Library of Estonia November 7th, 2018, Tallinn For the BAAC conference on „Visible and Usable Audiovisual Heritage: Today’s Challenges" Song Festival Grounds in Tallinn, 2014. Photo: Kaupo Kalda 1985 Song Festival fanfares and traditional opening song (Sound file on DIGAR from Forte Classical CD „125 years of Estonian Song Festivals“ 1994) Importance of song festivals to Estonians President of Estonia, Lennart Meri said in 1999: „It is fashionable to say that song festivals are no longer fashionable… Song festivals were never fashionable because a song festival is not a matter of fashion. Song festival is a matter of the heart. Just as the Estonian language and mind, and just as love.“ Estonian Broadcasting Company video 2014 Song Festival Opening 2013 poll results: 96% important, (63% very important) 51% have participated 33% have visited 90% watched on TV 9% no experience About the tradition • The song festivals in Estonia, Latvia and Lithuania in the UNESCO Intangible Cultural Heritage List • 26 Song Festivals every five years since 1869 • The joint or mass choirs grew to more than 33,000 singers performing to an audience more than 80,000 people in 2009 Song Festival materials at the National Library • Subject „Song festivals“ at ESTER database: • 28 DVDs and VHS (10 of great festivals) • 21 LPs and CDs • 271 music scores • Posters, postcards, town schemes, ephemera Song Festival materials at the National Library -
Projections of International Solidarity and Security in Contemporary Estonia
DUKE UNIVERSITY Durham, North Carolina The Spirit Of Survival: Projections of International Solidarity and Security in Contemporary Estonia Katharyn S. Loweth April 2019 Under the supervision of Professor Gareth Price, Department of Linguistics Submitted in Partial Fulfillment of the Requirement for Graduation with Distinction Program in International Comparative Studies Trinity College of Arts and Sciences Table of Contents List of Figures ........................................................................................................................................... 1 Acknowledgements .................................................................................................................................. 2 Abstract ...................................................................................................................................................... 3 Introduction ............................................................................................................................................... 4 i. An Overview of the Estonian Nation-State ................................................................................................ 8 ii. Terminology ................................................................................................................................................... 12 iii. Methodology ................................................................................................................................................. 17 iv. Overview of the Chapters -
Time Models for Interlitteraria.Rtf
Interlitteraria , No. 4. World Poetry in the Postmodern Age . Tartu: University of Tartu Press, pp. 264–280 SOME TIME MODELS IN ESTONIAN TRADITIONAL, MODERN AND POSTMODERN POETRY Arne Merilai 1. Poems and time What is a poem? Any poem, be it either lyrical like the sonnets or epical like the ballads, is always a narrative of some kind. It tells us about an occurred event, internal or external, dramatical or whatever. It claims that things in some situation were so-and-so, that they had certain preconditions and corresponding consequences. Whatever the story is about, its defining metaphysical theme is always time. I would like to emphasize that I consider the appearance of time as the metaphysical base of the narration, i.e. in a very general sense of the word, and thus overlook the narratological problems of depicting it. The plot of the story can contain pro- or analepsises (looking forward or backward), it can be elliptic or resuming (accelerative), scenic or descriptive in style (one-to-one or retarding). The presentation of the story can be singulative, repetative or iterative (single, repeating or concentrating presentation of an event). What I bear in mind is that a poem, whatever its narratological structure, always expresses time by presenting an event with its prologue and epilogue. But what kind of time? It may present the mythological circular or cyclic time as it probably was by our ancient folklore. It may present the feeling of unbounded eternity, which is characteristic of religions – we should mention Christian mysticists Ernst Enno and Uku Masing here as Estonian modern symbolists. -
Critical Essays on World Literature, Comparative Literature and the “Other”
Critical Essays on World Literature, Comparative Literature and the “Other” Critical Essays on World Literature, Comparative Literature and the “Other” By Jüri Talvet Critical Essays on World Literature, Comparative Literature and the “Other” By Jüri Talvet This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Jüri Talvet All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3868-0 ISBN (13): 978-1-5275-3868-9 CONTENTS Acknowledgements .................................................................................. vii Author's Preface ...................................................................................... viii Chapter I .................................................................................................... 1 Edaphos and Episteme of Comparative Literature Chapter II .................................................................................................. 11 Comparative Literature and World Literature: Towards a Symbiotic Coexistence Chapter III ............................................................................................... 27 Between Dreams and Reality: The -
Betti Alver Maksim Gorki „Lapsepõlve“ Tõlkijana 1 Maria Borovikova
Methis. Studia humaniora Estonica 2020, nr 25 Betti Alver Maksim Gorki „Lapsepõlve“ tõlkijana 1 Maria Borovikova Teesid: Artiklis vaadeldakse Maksim Gorki eestindusi nende ajaloolises kontekstis ja tuuakse välja põhimõttelised erinevused 20. sajandi alguse tõlgete ja varaste nõukogudeaegsete tõlgete vahel. Need erinevused on tingitud esiteks rahvusliku tõlketeooria kujunemisest Eestis 1920.– 1930. aastatel, teisalt avaldas olulist mõju Gorki kirjanikustaatuse muutumine tuntud Euroopa kirjanikust nõukogude klassikuks. Betti Alveri tõlgitud Gorki „Lapsepõlve“ (1946) võrdlus tema abikaasa Heiti Talviku sama jutustuse esimese osa tõlkekatsetusega võimaldab detailselt jäl- gida uue tõlkekaanoni kujunemist Eestis. DOI: 10.7592/methis.v20i25.16567 Märksõnad: Maksim Gorki, Betti Alver, Heiti Talvik, Eesti sovetiseerimine, vene-eesti tõlkimise ajalugu Sissejuhatus 1946. aastal tähistati Nõukogude Liidus laialdaselt kümne aasta möödumist Mak- sim Gorki surmast. 2 Eesti ei olnud siin erand: vabariik tähistas seda Gorki päevade läbiviimisega Tallinnas, Gorki filmifestivaliga (näidati Mark Donskoi „agiograafilist“ 3 filmi „Gorki lapsepõlv“), toimus rida kirjandusõhtuid mitmes linnas, ilmus seeria artikleid ajakirjanduses ja ajalehe Sovetskaja Estonija erinumber. Kuid ühekordne filminäitamine ei saanud kuidagi lahendada põhilist ideoloogi- list ülesannet: nõukogude esikirjaniku elulugu pidi olema kättesaadav igaühele ja talle arusaadavas keeles. Sellele ülesandele vastavalt ei olnud esimeseks Gorki teose tõlketellimuseks mitte romaan „Ema“ või mõni -
Loomingu Raamatukogu 2016 Eesti Kirjanike Liidu Ajakiri Ilmub 1957
Loomingu Raamatukogu 2016 Eesti Kirjanike Liidu ajakiri Ilmub 1957. aastast. LX aastakäik „Loomingu Raamatukogu” 60 aastat SA Kultuurileht Tallinn Toimetanud Britt Perens ja Anu Saluäär-Kall Korrektuuri lugenud Inna Lusti Aastakäigu kujundanud Asko Künnap Kolleegium Toomas Haug, Tiit Hennoste, Maarja Kangro, Lauri Kitsnik, Hasso Krull, Ilona Martson, Mati Sirkel, Marek Tamm, Udo Uibo, Vaapo Vaher © „Loomingu Raamatukogu”, 2016 Toimetus Harju 1, 10146 Tallinn Tel.: 6276 425 e-mail: [email protected] Trükikoda Pakett AS ISSN 1406–0515 ISBN 978–9949–563–55–5 (trükis) ISBN 978–9949–563–56–2 (epub) „Loomingu Raamatukogu” 1957–2016 (1) AAFRIKA JUTTE. Prantsuse keelest Hans Vanaveski. 1959 43 (2) Aapeli. MEIE ISSANDA SIPELGAD. Soome keelest Harald Lepik. 1960 33 (3) Aapeli. PISIKESE PEETRUSE HOOV. Soome keelest Endel Mallene. 1988 21/22 (4) Aavik, Johannes. KEELEUUENDUSE LÕPMATU KURV. Anu Lambi teatritekst. 2006 35 (5) Aavik, Johannes. RAHVUSTUNDE NÕRKUSEST EESTIS. Eri aastate kirjutisi. Koostanud Rein Kruus. 1988 50 (6) Abbott, Edwin A. LAPIKMAA. Mitmemõõt- meline lugu. Inglise keelest Märt Väljataga. 2006 9/10 (7) Abe, Kōbō. HÄRRA S. KARMA KURITÖÖ. Jaapani keelest Agu Sisask. 1984 9 (8) Abe, Kōbō. NELJAS JÄÄAEG. Jaapani keelest Agu Sisask. 1966 11–13 (9) Abramov, Fjodor. ILMA ISATA. Vene keelest Hans Luik. 1961 31 (10) Abramov, Fjodor. PELAGEJA. Vene keelest Paul Mõtsküla. 1971 44 (11) Adameșteanu, Gabriela. ANNA ENDALE ÜKS VABA PÄEV. Rumeenia keelest Riina Jesmin. 1988 20 (12) Adams, Valmar. OOMEGA. Esseid ja murd- memuaare. Koostanud Rein Veidemann. 1985 1/2 (13) Adams, Valmar. SINU SEKUNDID. 1971 28/29 (14) Agnon, Šmuel Josef. TEINE NÄGU. Jutte armastusest. Heebrea keelest Kalle Kasemaa. -
Die Estnische1 Theater-2
DE CULTU CIVILI ESTONICO 1 VOL III DIE ESTNISCHE 2 THEATER- III/3 WELT 1 → DIE ESTNISCHE – Das estnische Theater ehrt seine Geschichte und Vorgänger, und diese Ehrerweisung wird auch den Zuschauern bereits in der Grundschule nahegelegt. 2 → THEATER – Das Theater war und ist ein Zeugnis estnischer Eigenständigkeit. 3 → WELT – Auch kokettieren wir mit der netten Aussage, dass Kunst die Welt verändert, zugleich aber gehen wir davon aus, dass sie dies irgendwie indirekt tut, ohne sich aktiv einzumischen, mit den Mitteln der Kunst eben. DIE ESTNISCHE THEATERWELT Estnisches Institut / Estnische Theateragentur Tallinn, 2013 Text: Ott Karulin, Monika Larini Übersetzung: Axel Jagau Korrekror: Lale Eckardt Grafische Gestaltung: Piia Ruber Fotos: Paul Aguraiuja, Awentus and Heikmann, DeStudio, Eero Epner, Andrus Eesmaa, Verband der Estnischen Amateurtheater, Estnisches Dramatheater, Estnisches Literaturmuseum, Estnische Nationaloper, Estnischer Rundfunk, Estnisches Puppen- und Jugendtheater, Estnische Theateragentur, Estnisches Museum für Theater und Musik (TMM), Endla-Theater, Priit Grepp, Jassu Hertsmann, Ville Hyvönen, Peeter Jalakas, SAAL der Kanuten-Gilde, Andres Keil, Lauri Kulpsoo, Jaanus Laagriküll, Ülo Laumets, Peeter Laurits, Ants Liigus , Eva-Liisa Linder, Enn Loit, Teet Malsroos, Kaarel Mikkin, Kris Moor, N099, Tiit Oajsoo, Anete Pelmas, Alan Proosa, R.A.A.A.M, Harri Rospu, Piia Ruber, Scanpix Baltics, Ene-Liis Semper, Triin Sinissaar, Nele Sooväli, STÜ(Verein Unabhängiger Tanz), Tõnu Tamm, Heigo Teder, Taivo Tenso, Jüri Tenson, Vanemuine-Theater, Ugala-Theater, Siim Vahur, Gunnar Vaidla, Taavi Varm, Liina Viru, Toomas Volmer/ETA/Scanpix, Mats Õun, Wikipedia/Gsitnikov. Herausgeber: Estnisches Institut / Estnische Theateragentur ISBN 978-9949-9442-1-7 THEATERWANDERUNGEN Liina Unt THEATERWANDERUNGEN In Estland kann man selbst an den unerwartetsten Stellen auf Theater treffen. -
Kuidas Kultuuritegelased Lahkuvad
Kuidas kultuuritegelased lahkuvad ANDRES PULVER Toimetanud Madli Lippur Kujundanud Villu Koskaru Fotod Tauno Vahter, kui ei ole märgitud teisiti Kaardid Alari Paluots © Andres Pulver ja Tänapäev, 2019 ISBN 978-9949-85-632-9 Trükitud OÜ Greif trükikojas Kultuuri kalmistu 1624. aastal kirjutas inglise kirikumees ja luuletaja John Donne: „Iga inimese surm kahandab mind, sest mina kuulun inimkonda; ja sellepärast ära iialgi päri, kellele lüüakse hingekella: seda lüüakse sinule”. Inimkond kasvab, aga meid, eestlasi, jääb tasapisi üha vähemaks. Üksteise järel kolime kalmistuvaikusesse, kus on ees ootamas sajad tuhanded kaasmaalased. Igaühel neist on meile midagi öelda – kel rohkem, kel vähem. See raamat on väike teejuht eesti kultuuri kalmistul. Inimestel, kellest siin juttu, on igal juhul midagi öelda. Kasvõi seda, kuidas elada nii, et sind mäletataks. Või kuidas mitte oma elu elada. Kalmistule jõuame ükskord kõik. Või lendame tuhana tuulde, merre, järve, jõkke. Surmale pole vaja kogu aeg mõelda ja surma pole vaja karta. „Kes kardab surma, sureb iga kord, kui ta sellele mõtleb,” on kirju- tanud kunagine Poola kuningas Stanislaw Leszczynski. Kui aeg on käes, tuleb ta niikuinii. Parem hiljem kui varem. Aga millal see aeg on, ei tea meist keegi ning küllap nii ongi parem. Aga kui ta tuleb, on ju hea teada, milline kuramuse uhke selts- kond meid ees on ootamas. Andres Pulver 5 Sisukord Ervin Abel 9 Kaarel Ird 71 Amandus Adamson 13 Epp Kaidu 71 Adamson-Eric 17 Carl Robert Jakobson 75 Mari Adamson 17 Jaak Joala 79 Mait Agu 21 Heldur Karmo 83 Urmas -
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.