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In memoriam: Elena Vladimirovna Dushechkina (May 1, 1941 – September 21, 2020)
No full textThis is an obituary for Prof. Elena Dushechkina of the St. Petersburg State University (formerly an employee of E. Vilde Tallinn Pedagogical Institute), a multifaceted scholar whose fields of expertise included Russian Folklore, Old Russian Literature, 19th-century Russian literature (in particular Nikolai Leskov and Nikolai Nekrasov), and 20th-century Russian culture. Prof. Henryk Baran tells the life story of his deceased longtime friend, listing Elena Dushechkina’s major turning points in her career in the academy and her achievements as a Russian literature expert
Николай Алексеевич Богомолов (16.12.1950—20.11.2020) [In memoriam: Nikolai Alekseevich Bogomolov (December 16, 1950 – November 20, 2020)]
No full textThis is a slightly revised republication of the obituary for a distinguished student of the literature of Russian modernism, an editorial board member of Slavica Revalensia, Prof. Nikolai Bogomolov of Moscow State University, originally published by Alexander Sobolev in his blog on November 22, 2020 (see: https://lucas-v-leyden.livejournal.com/301380.html)
Eessõna. Keeled, järjekorrad ja järjestused [Preface. Languages, orderings and successions]
No full textEessõna / Prefac
The End of Grand Narratives: Legitimation of Truth and Sovereignity
No full textThe paradigm of the modern state started to be more widely criticised in the 1960s and 1970s, when it became clear that many Enlightenment ideas were losing their relevance in the rapidly changing contemporary world. Criticism of the modern paradigm declared an end to grand narratives.1 This included narratives about sovereignty and the state, freedom, truth and progress. The desire for an object and objectivity came to be replaced by a focus on the subject. Variety, fragmentation and difference are the key words of postmodern society. The goals and desires of the subject living in a particular society and culture are those that construct the world we live in, including the concept of national sovereignty. The author agrees with Lyotard that the actual great values—freedom, truth and progress that were born in the Enlightenment and ‘hovered’ in western culture for almost one and a half centuries, and now that the paradigm of globalism is changing—have turned against themselves in crisis. Whilst postmodernism in the midst of the 1980s and 1990s was still optimistic and saw the grand narratives of modernism as surpassed, one could notice signs of deep pessimism in postmodernism from the start of the 21st century. Such emotions have particularly expanded since the terrorist attack on the WTC in New York on 11 September 2001, and also since Western intervention in Iraq in 2003.
Arrest of Ships: Estonian Maritime Law and Practice under Review
No full textIn 2015, the Ministry of Economy and Communications commissioned an analysis of the necessary tasks for the codification of the existing Estonian maritime law (de lege lata) and the law firm Consolato del Mare OÜ was assigned the task. A report on the analysis on 265 pages was then compiled and delivered to the ministry by three experts: Indra Kaunis as owner of that law firm, Alexander Lott and the author of this article.1 Based on this knowledge, the Ministry proceeded with the State procurement tender #176195 “Maritime Law Review” and a 3-year project (2017 – 2019) was launched. These three experts – Indra Kaunis, Indrek Nuut2 and the author – agreed among themselves which maritime laws they will analyse as the primary experts, and who will be the secondary expert helping the first in certain specific questions.
Traditsioon ja avangard: lisandusi 1990. aastate kirjandusmuutustele [Tradition and Avant-garde: Some Additions to Literary Changes in the 1990s]
No full text1990. aastal ilmus kolm eesti proosateost, mida on hakatud seostama 1990. aastate proosauuendusega – Mati Undi „Öös on asju“, Peeter Sauteri „Indigo“ ja Jaan Unduski „Kuum“. Kuigi eripalgelised teosed, on nad muutunud uurijate käsitlustes ja senises kirjanduskaanonis 1990. aastate kirjandusmurrangu lipulaevadeks. Artikkel analüüsib nende teoste rolli 1990. aastate proosamuutustes ja arutleb, kuidas ja kas need 1990. aastal ilmunud avangardsed proosateosed muutusid järgnevatel kümnenditel eesti kirjandustraditsiooni osaks. Artiklis jõutakse järeldusele, et kirjandustraditsiooni osaks kujunesid Undi ja Sauteri teostest lähtuvad liinid – vastavalt postmodernistlik ja kõnekeelne, vägisõnu kasutav kirjandus. Jaan Unduski keeleliselt külluslik, literatuurne, intertekstuaalne ja erootiline „Kuum“ jäi pärast ilmumist üksi ja eraldiseisvaks ning edasises kirjandustraditsioonis talle järgijaid ei leidunud. Seega muutusid Undi ja Sauteri teosed avangardist traditsiooniks, kuid Unduski romaani „Kuum“ kohta saab öelda, et see ongi jäänud kirjanduslukku püsima uuendusliku ja avangardsena.
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In 1990 three Estonian novels were published that have been connected to the prose innovation of the 1990s – Things in the Night (Öös on asju) by Mati Unt, Indigo by Peeter Sauter and Hot (Kuum) by Jaan Undusk. All these works differ from each other significantly; however, in various articles, literary histories and Estonian literary canon, they are considered as flagships of the Estonian literary upheaval of the 1990s.
The article analyses the role of these works in the literary changes of the 1990s and discusses if and how these texts became part of the Estonian literary tradition during the 1990s and 2000s.
The article discusses how the trends proceeding from Things in the Night and Indigo became part of the Estonian literary tradition and that several other authors followed their examples. Mati Unt’s Things in the Night was one of the first major representatives of postmodernism in Estonian literature and many writers continued this trend by creating postmodernist works in the 1990s and 2000s. Peeter Sauter’s Indigo was written using everyday colloquial speech, which was a new approach in Estonian literary language. Several younger authors in the 1990s and 2000s followed Sauter’s example, writing in colloquial language and using obscene words in their literary texts.
However, Jaan Undusk’s Hot, which was stylistically rich, significantlyintertextual and explicitly erotic, stood alone following its publication in1990 and found no followers in the subsequent decades. One reason for thiscould be the fact that Undusk did not himself have any further novels published.
The article concludes that of these three innovative novels, Things in the Night and Indigo became part of the Estonian literary tradition, while Jaan Undusk’s Hot, on the other hand, has remained in Estonian literary history as an example of innovative and avant-garde novel
Kunstiliste maailmade kehastamine Karl Ristikivi „Hingede öö” näitel [Embodiment of Artistic Worlds on the Basis of Karl Ristikivi’s Novel "Night of Souls"]
No full textArtikkel lähtub teatriteaduses populaarsest ja kirjandusteaduses marginaalsest kehastamise (embodiment, embodied experience) mõistest ning vaatleb kirjandusliku maailma kehastamist kui taju-, tõlgendus- ja koosloomeprotsessi kahel tasandil: lavastaja-etendaja ja vastuvõtja (lugeja/vaataja/osaleja) vaatepunktist. Näiteteosteks on Karl Ristikivi eesti kirjanduse klassikasse kuuluv romaan „Hingede öö“ (1953) ja Labürintteatriühenduse G9 samanimeline osavõtuteatri lavastus (2018), mida vastuvõtjad pidasid romaani kongeniaalseks tõlgenduseks. Võrdleme romaani ja lavastust ning etenduse vastuvõtjate tajukogemusi romaani lähilugemisel sündivate meeleliste kogemustega. Analüüs toetub nimetatud teostele ning lavastuse trupi ja 20 vastuvõtjaga läbi viidud fookusgrupi intervjuudele.
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The article explores embodiment as a process of perception, interpretation and co-creation of a literary world from the point of view of producer (director/performer) and receiver (reader/spectator/participant). Estonian classic novel Night of Souls by Karl Ristikivi and the participatory theatre project of the same title by Labyrinth Theatre Group G9 serve as the empirical material of the research. The article compares the literary work with the production and the perceptions of the novel and the production. The analysis relies on a close reading of the novel and on interviews with the producers and 20 spectators.
Three forms of embodiment were detected. First, embodiment as a sensuous concretisation of a literary work, through which storyteller’s or main character’s bodily experiences are taken on by the reader/spectator, i.e. gradual immersion into a fictional world and identification with a character takes place. The second form is related to the embodiment of a textual/ fictional world on stage. In theatre theory, embodiment usually only depicts a relationship between a performer and his/her role, but in this article the term denotes materialisation of the whole fictional world. Thus staging is a specific process of perception, interpretation and co-creation that transforms a script into a stage production. The third form of embodiment is characteristic for participatory theatre, where spectators have the possibility to perform somebody in a fictional world or theatre game. The reception research of Night of Souls demonstrated that predominantly the spectators embodied themselves, i.e. a performation of individual existence was realised. Since open participatory theatre works enable receivers to fill gaps with their personal mental and psychical material, spectators interpreted the production either as an artistic environment/world, an exciting role play, a psychotherapeutic trip into personal worlds, or a metaphor for life pilgrimage.
Embodiment as a research instrument highlights the embeddedness of body and soul in perception and cognition of an environment/the world. The main character of Night of Souls realises that analysis of singular objects is not reliable, especially when caught by a memory or existential space. Embodiment leads both the character and the reader or spectator to a holistic perception and cognition of the (fictional) world
Descriptive and Applied Military History – debating the utility of military history in Danish officer education
No full textIn the 1970s Danish debates on military history revealed a bifurcated understanding of military history between descriptive and applied military history. Descriptive military history was the study of military history done by academic historians, and applied military history was done by and taught to officers. The divide between descriptive and applied was rooted in the professionalization of history and officer education; it was constructed in order to accommodate the criticism that military history used in officer education did not live up to academic standards. By taking the Danish debates in the 1970s as a point of departure, this article introduces some fundamental challenges regard- ing the use of military history in officer education. Inspired by the German historian Reinhart Koselleck, the article argues that developments within academic history since the 1970s might have alleviated the conflict between academic military history and the military history used in officer education. Certainly, these new developments have opened up new approaches to military history
García Márqueze „Patriarhi sügis“ traditsiooni ja uuenduse vahel [“The Autumn of the Patriarch” by García Márquez − Between Tradition and Modernity]
No full textLuule ja proosa piirile jääv Gabriel García Márqueze romaan „Patriarhi sügis“ on näide Ladina-Ameerika 1970. aastate diktaatoriromaanist, mis andis uue kirjandusliku näo vanale ühiskondlikule probleemile. Artikkel paigutab kõigepealt teose kirjandusloolisesse konteksti, võttes arvesse selle intertekstuaalsust, seost diktatuuriromaani žanri ning ladinaameerika uue ajalooromaaniga. Seejärel keskendub uurimus küsimusele, kuidas sõna- ja motiivikordused aitavad mõista traditsiooni ja uuenduse suhet romaani struktuuri ja loo tasandil. Kordused, mis lähendavad proosat luulele ja kõnele, viitavad regulaarsusele, identiteedile ja traditsioonile, aga juhatavad meid ka muutumatuse ja ainutõe kriitikani, kui ilmuvad teisenevas kontekstis või kui üks teoses korduvaid küsimusi on: kust üldse algab teadmine?
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As a social-protest genre of literature, the Latin American dictator novel has always created a rupture of the discourse that legitimizes an antidemocratic regime or otherwise denies its antidemocratic character. When García Márquez published The Autumn of the Patriarch (written between 1958 and 1975), the tradition of pondering literarily on dictatorships was more than 120 years old. However, it was due to the fact that, in a short time, The Recourse to the Method by Carpentier and I, the Supreme by Roa Bastos also appeared, that researchers started to consider it worthy of study as a genre. That research continues into the present day.
As an example of the experimental protest literature of the 1970s, The Autumn of the Patriarch blurs the lines between prose and poetry, delving into the unreliable discourse around a dead despot and his power. First, this article specifies the place of the novel within the literary tradition, taking into account the development of the dictator novel and the Latin American new historical novel, as well as intertextuality. Next, the article, working from the essay Children of the Mire. Modern Poetry from Romanticism to the Avant-Garde (1974) by Paz, focuses on the question of how the repetition of words and situations helps us to understand the relationship between tradition and modernity in Márquez’s book. The repetitions bring prose closer to poetry and oral communication, and refer to continuity, regularity, identity and tradition. However, paradoxically, when the context of these repetitions changes, we are led to a criticism of immutability and of any kind of absolute truth. In the end, the question asked again and again in the book is: Between lies and beliefs, where is the truth to be found
On Cultural Contacts and their Impact on Literature in Tallinn in the Early 17th Century [Kultuurikontaktidest ja nende mõjust Tallinna kirjandusväljale 17. sajandi alguses]
No full textThe present paper describes the literary field in Tallinn in the early modern period, specifically the early 1630s. It was a time when several cultural innovations reached this region (via social carriers as well as via the book trade). Hereby, the professors of the newly founded gymnasium (1631) played a crucial role. Thanks to these scholars completely new genres (such as the autobiography) are documented. Furthermore, new core texts were introduced, which had a huge impact on further cultural developments in Tallinn and in Northern Estonia: the formation of German-language (occasional) poetry and the emergence of Estonian-language literary culture.
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Käesolev artikkel käsitleb kultuurimuudatusi Tallinna ja Põhja-Eesti kultuuriväljal varasel uusajal, täpsemalt 1630. aastate esimesel poolel. Kuigi majaduslikult pigem vilets, oli see aeg murranguline piirkonna kultuurielus. Nimelt saabus siia sel ajal hulgaliselt põgenikke peamiselt Põhja- Saksamaalt, kes põgenesid Euroopas möllava Kolmekümneaastase sõja eest keeleliselt-kultuuriliselt lähedasse paika. Koos põgenikega saabusid ka uued, värsked ideed ning kultuurilised tüvitekstid, mis said määravaks järgnevate aastate kultuuriliste arengute kujundamisel. Eraldi tuleks välja tuua 1631. aastal asutatud Tallinna Gümnaasiumi, mille professorid lõid tänu hariduslikele uuendustele soodsa pinna moodsate ideede levikuks. Poeesiaprofessor ning tuntud luuletaja Paul Flemingi sõber Timotheus Polus oli esimene, kes tutvustas Tallinnas Martin Opitzi poeetilist programmi, kasutas seda oma õppetöös ning pani seeläbi aluse kõrgsaksakeelse kirjanduskeele tekkele ja levikule. Barokiaegse kirjanduse populaarsus ning olulisus ja tihedad kultuurilised sidemed Põhja-Saksamaaga kajastuvad ka Tallinna raamatukogudes, mis veel sada aastat hiljem sisaldasidhulgaliselt teoseid tollest perioodist (nt Paul Flemingi luulekogusid). Gümnaasiumi kantor David Gallus koostas teadaolevalt esimese autobiograafia siinses kultuuriruumis. Tänu kreeka keele professori Reiner Brockmanni aktiivsele tegevusele eestikeelsete kirikutekstide koostajana ning esimeste eestikeelsete juhuluuletuste loojana võime rääkida sellest perioodist ka kui eestikeelse kirjanduse koidikust