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Ритм и смысл стихотворения Пушкина «Буря» [Pushkin’s “Buria”: The Meaning of Rhythm]
No full textThis article addresses the meaning of the verse form of Alexander Pushkin’s poem “Buria” (1825). The poem’s monotonous rhythm corresponds to the theme of waves hitting the seashore and the rock in the same monotonous manner. The rhythmic structure of the poem implies that it can be divided into four three-line sections, each of which alternates between two rhythmic forms of iambic tetrameter (IV—IV—I, IV—IV—I, etc.). The stanzaic structure of the poem, which is a monostrophe, helps one to sense that pattern
От составителя [“In memoriam: Larisa Georgievna Stepanova (1941—2009).” Section Editor’s Note]
No full textThis is a brief introduction to a section dedicated to the memory of a renowned Russian expert in Italian Studies Larisa Georgievna Stepanova (1941—2009)
COVID-19 esimeses laines Tallinna ja Saaremaa näitel
No full textLocal government decision-making in a crisis: a retrospect to the initial phase of the COVID-19 crisis in Estonia
The study aimed to describe the factors that influenced COVID-19 crisis units’ decision-making during the first wave in Estonia, on the example of the municipalities of Tallinn and Saaremaa. The studied factors were categorized as internal and external, of which the external were the predominant influencers. In the first wave, the main factors influencing local governments’ decision-making were time pressure, stress, pressure from media and the public, and pressure from central government or other organizations.
The factors’ influence was felt greater in Saaremaa where the situation escalated to a severe crisis already in the issue phase. Interviews with the decision-makers revealed real-life examples of the implications of those factors – problems in the legal sphere, click-bait media as an influencer of decision-making processes, confusing guidelines from central government etc. Correlation analysis of the factors revealed 13 statistically relevant interactions, which indicates that the factors do not just influence decision-making but also each other.
The research results provide a novel insight into the decision-making processes in the early phase of the pandemic crisis in VUCA environment at the local government level and serve as a baseline for follow-up studies in the latter phases of the COVID crisis. Additionally, the article finds that by choosing the factors to be mitigated wisely, crisis managers and experts that support them in crisis management can have significantly better control over the quality of decision-making as a process
Lehekoomiks 1990. aastate Eestis [Newspaper comic strips in Estonia during the 1990s]
No full textArtikkel iseloomustab ülevaatlikult 1990ndate Eestis siirde aegse ajakirjandusbuumi ning laiema kultuurilise teisenemise osana tek kinud lehekoomiksiribade lainet. Moodsa ja läänelikuna tajutud formaat tõrjus leheveergudelt varem menuka karikatuuri ning mõned arvukatest uutest lehekoomiksisarjadest nagu Madis Otsa „Pesakond“ saavutasid suure populaarsuse. Tsensuurijärgsele kõikelubatavuse atmosfäärile ise loomulikult pakkusid koomiksid sageli taotluslikult toorest ja amatöör likku kunstilist teostust ning vägivaldset ja vulgaarset sisu. 1990. aastate teises pooles, kui trükimeediamaastik stabiliseerus ning hoiakud mõõ dukamaks muutusid, hakkas lehekoomiksilaine erinevatel põhjustel vai buma. Kohalik materjal asendati enamjaolt tõlkekoomiksiga ja osa loo mingulisi impulsse suubus uuel sajandil sõltumatusse koomiksisse. 1990. aastate koomiksipärandist avaldatakse siiani trükis üksikuid reliktsarju ja kuigi seda valdkonda on seni vähe uuritud, võiks lehekoomiksipärand leida tulevikus enam akadeemilist tähelepanu.--------------------The early 1990s witnessed a rapid, broad process of transformation of visual humour in Estonian media. A large number of new print media out lets were introduced within a few years, leading to an unprecedented print media boom in the newly independent country. The new face of visual humour was shaped by the surroundings: the atmosphere of confused but enthusiastic ultrapermissiveness and uncritical openness to novelty char acteristic of a freshly censorshipfree society on the one hand, on the other, inevitable reflections of the postSocialist societal and economic turmoil. The change involved a nearcomplete generational shift among cartoonists working for print media.The highly competitive newspapers of the era, eager to emulate Western print media standards, introduced comic strips, often resorting to commis sioning original work from local authors, as imported material was more expensive. For a few brief years, Estonia developed a time and location specific bubble of original newspaper comics, which tended to look crude, but could also be innovative and radical, often appearing transgressive and sometimes bizarre in comparison with the standardized commercialism of internationally syndicated newspaper comic strips. With the emergence of highly popular series like „Pesakond“, comic strips quickly became one of the most notable local pop culture phenomena of the decade. The article sets out to summarize the scope of the local comic strip boom and refers to a selection of original series, including „Pesakond“ by Madis Ots; „Dr. Wunderloom“ by Hillar Mets; „Kosmose mutid“ by Alar Pikkorainen; and various series by the collective Korporatsioon Saatus and by Rainer Sarnet and Rein Pakk, to point out key characteristics.As Estonia, similarly to most of Eastern Europe, had a relatively limited familiarity with the Western traditions of the comics medium the transi tion era offered a unique window of opportunity for developing a location specific, discordant approach to the format of the newspaper comic strip before the levelling influence of the international mainstream „light enter tainment“ took hold. In the wider picture, the processes in comics serve to illustrate the broader cultural transformations of the transition era, including attempts of reWesternization with possibly unexpected results. Adopting the Western format of comic strips appears to have mostly con cerned making use of the basic outward shape to fill it with irreverent, often intentionally provocative or offensive material, involving profanity, violence and sexually explicit content. There are apparent links to an ear lier trend in the local cartoon tradition, which explored dark and nihilistic humour and rough, unappealing drawing styles in the previous decade. From a wider perspective, the visuals and content of Estonian newspaper comic strips from the 1990s have more similarity with underground or alternative comics than with mainstream international newspaper comics.Towards the end of the decade, as the local media market stabilized, and the influence of Scandinavian investors grew, the overall appearance and content of Estonian print media grew similar to the Nordic standards, which increasingly meant rejecting the nihilistic, obscure humour and crude visuals offered by the local comic strip authors in favour of inter national comic strips with broader appeal. The novelty of comic strips as such appeared to wear off and newspapers shifted their attention to more serious editorial cartoons. Only a few Estonian comic strip series have sur vived into the 21st century in some shape, with the vast majority of the 1990s national comic strip output simply forgotten
Book Review: The Origins of Informality: Why the Legal Foundations of Global Governance are Shifting, and Why It Matters
No full textThe Origins of Informality: Why the Legal Foundations of Global Governance are Shifting, and Why It Matters, by Charles B. Roger, 2020, Oxford University Press.
Mobile Students from Kazakhstan: Migration for Education or Education for Emigration?
No full textThe article discusses the results of an empirical sociological study on the migratory trajectories of mobile students from Kazakhstan. The study included a series of in-depth interviews and a survey aimed at establishing why they decided to study abroad, how they chose the country to study, and what they were planning to do upon graduation. The ‘push-pull plus’ model was applied to bridge economic and sociological aspects of educational migration from Kazakhstan and to overcome structure-agency dichotomy. Profiles of mobile students across three types of migratory trajectories were developed: Immediate Returnees migrating for educational purposes, i.e. maximisation of utility; Deferred Returnees, whose rational choice is combined with desire and aspiration; and Definite Non-returnees, for whom education is a means of emigration prompted by deprivation due to the situation in the home country, which creates predisposing and proximate drivers.
Гиперболоид инженера Вальса: Набоков и советская фантастика 1910-х – 1920-х гг. [Engineer Waltz’s Hyperboloid: Vladimir Nabokov and the Soviet Fantastic Literature of the 1910—1920s]
No full textThe article is aimed to trace some significant parallels between Nabokov’s Russian prose and drama, and a number of Soviet fantastical novels. A close reading reveals a whole network of allusions to Alexander Grin’s The Glittering World (Blistaiushchii mir, 1924) in Invitation to a Beheading (Priglashenie na kazn’, 1935—36), including the usage of the Romantic hero model, canonic female figures and gnostical imagery, originating from The Invisible Man by H. G. Wells. As for The Waltz Invention (Izobretenie Val’sa, 1938), the tragicomedy gives us compelling evidence that Nabokov deliberately wrote a parody on The Garin Death Ray (Giperboloid inzhenera Garina, 1926—27), a famous Soviet sci-fi novel by Alexey Tolstoy. In general, it can be said that Nabokov is scrupulously using implicit allusions and sophisticated wordplay on every level of his texts, widening the genre boundaries of science fiction, dystopia and adventure novel to invent a new literary strategy and new genres of his own
Ученики и учителя Тенишевского училища (по школьным журналам и архивным документам) [Tenishev School: Its Instructors, Students, School Magazines and Archives]
No full textThis article results from extensive archival research, and compares information found in Tenishev school magazines to the archival data concerning the school life of the corresponding period. The article’s major goal is to reconstruct life stories of Tenishev school students and the school’s instructors as meticulously as possible, and also to demonstrate the style of communication between the teachers and adolescents. It also reveals some previously unknown information concerning the life story of Tenishev School director Alexander Ostrogorskii (1868—1908)
О летописи поэтовой: Например, Ахматова [How to Tell a Poet’s Life Story: Akhmatova’s Case]
No full textThis article is an attempt to expand the chronology of a poet’s life and works as a genre. It offers not to limit a poet’s biography to poem publication dates, lists of reviews, friendships, or crucial historic events, but to include such marginal texts as rumors, and even dreams—all contributing to the existence of a poet’s name in the semiosphere
Eesti punkluule ja siirdeajastu algus [Estonian punk poetry and the beginning of the transition period]
No full textArtikkel käsitleb siirdeajastu alguse üht huvitavamat kirjandusnähtust, eesti punkluulet, mis 1980. aastate lõpus arenes kiiresti subkultuursest nišifenomenist poliitiliselt angažeeritud isamaaliseks protestikirjanduseks ja oli nähtavas rollis laulva revolutsiooni ajal. Samal ajal sisenes punkluule ka jõuliselt eesti kirjanduskaanonisse, seda märgatavalt laiendades. Punkluule tõi kirjandusse uued võtted ja jooned (kõnekeelsus, madalate kategooriate poetiseerimine, luuletekstide jõulisus ja intensiivsus, terav ühiskondlik protest jm) ning oli 1990. aastate kirjandusmurrangute eelkäija. Kui punkluule poliitiline angažeeritus jääbki laulva revolutsiooni perioodi, siis eesti kirjanduskaanonisse on punkluule end kinnistanud. Seda näitab nii punkluule käsitlemine kirjanduslugudes, kaasatus gümnaasiumi riiklikusse õppekavasse kui ka käsitlemine mitmetes kooliõpikutes.
---------------------The article discusses Estonian punk poetry, which is one of the most inter- esting literary phenomena during the beginning of the Estonian transition period. Punk poetry had become viable in Estonian culture from the early 1980s and its heyday was at the end of that decade. Punk poets utilised both literary and subcultural landscapes, their texts were powerful and intense, using unconventional poetic language, colloquialisms, obscene expressions and expressed sharp social criticism. Punk poetry developed quickly from a subcultural niche phenomenon into a politically engaged patriotic protest literature in the late 1980s and played a visible role during the Singing Revolution. At the same time, punk poetry entered vigorously the Estonian literary canon, changing and expanding it considerably: bringing new techniques and features to literature. Punk poetry was also a precursor to the literary upheavals of the 1990s. While the political engagement of punk poetry remains in the period of the Singing Revolution, its position in Estonian literary canon is secure. This is demonstrated by the analyses of punk poetry in literary history volumes, the inclusion of punk poetry in the national school curriculum, as well as, its treatment in several school textbooks