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Sprachgeschichtliche und -typologische Fragen der Movierung unter besonderer Berücksichtigung des alten Südestnischen
No full textIm Artikel wird es versucht, die Erscheinungen der estnischen Sprache, die zur Movierung (Motion) zugeordnet werden können, im ostseefinnischen und europäischen Kontext diachronisch in ihrer Dynamik zu beschreiben. Es wird eine Antwort auf die Frage gesucht, ob das Fehlen der Kategorie des grammatischen Genus im Estnischen die Movierung als Mittel der Wortschatzerweiterung zulässt. Auf der Grundlage der Grammatik Johannes Gutslaffs wird bewiesen, dass im Estnischen das Wortbildungssuffix -ik auch für Bildung der Feminina gedient hat. Die erwiesene uralte ostseefinnische Gendermarkierung (genauer: die Markierung des Sexus) hängt mit der Markierung der stereotypisch geringen Größe der Frau zusammen. Die Sexusneutralisierung des Suffixes hatte im 18. Jahrhundert ihren Anfang. Deren Grund war eine komplizierte Abfolge von Bedeutungsveränderungen von bestimmten Lexemen
Acquittals at the International Criminal Tribunal for the former Yugoslavia (ICTY) in 2012-2013: the domestic implications
No full textFrom November 2012 to May 2013, the International Criminal Tribunal for the Former Yugoslavia (ICTY) rendered its verdicts in four trials involving eight former Croatian, Kosovo, and Serbian military, police and intelligence officials. These acquittals drew the attention of politicians, human rights organisations and victims’ associations, each for different reasons. This article focuses on internal political contexts in Croatia, Serbia and Kosovo, following the return of the acquitted officials to their countries. It analyses the use of these verdicts by domestic political elites to legitimise their exclusive narratives of war and shows that these verdicts will be used to achieve goals quite different from those envisaged by international tribunals. The reactions to the acquittals will be analysed as a manifestation of conflicting national political contexts, resulting from a combination of multiple factors between local, national and international actors
Rahvusriiklik, hargmaine ja rahvusjärgne kodakondsus: kuhu oleme teel?
No full textKodakondsuse mõiste on klassikaliselt olnud tugevalt läbi põimunud ühtaegu nii demokraatia kui ka modernse rahvusriigi (nation state) mõistega. Kodanikud kui riigi rahvas on üks rahvusriiki defineerivaid elemente, ning rahvusriigi idee ja identiteedi kandjad. Ometi pole see midagi kivisse raiutut. Tänu demokraatlikule elemendile on kodanikele tagatud ka õigused ja kohustused, mis võimaldavad neil ühtlasi olla riigi tegevuse ja tähendussisu (ümber)mõtestajad ja selle üle otsustajad.
Kodakondsusetus Eestis ja Euroopa Liidus: tänased praktikad ja võimalikud lahendused
No full textIga kümne minuti jooksul näeb maailmas ilmavalgust laps, kellel pole kodakondsust. 2015. aastaks oli kodakondsuseta inimesi maailmas ÜRO Pagulaste Ülemvoliniku Ameti (UNHCR) hinnangul kümme miljonit, neist Euroopas u 600 000
Кафедра русской литературы Таллинского педагогического университета: Материалы к библиографии (1998–2000) [Bibliography]
No full textBibliograph
Werner Osenberg´s Visions of the "Totaleinsatz" of the entire German Research Potential in Total War
No full textThe article deals with an example of a scientist who developed a number of visions how one could exploit science for the Nazi war aims. Werner Osenberg was professor at technical university of Hannover since 1938. Since 1933 he was a member of the NSDAP, the SS, and worked for the SD (the Nazi spy apparatus). He had access to the highest party and government bodies. From the beginning of the Second World War he was involved in war research, from 1943 acting as head of the planning board in the Reichsforschungsrat. Osenberg’s special attention was directed at scientific research designed to achieve the Nazi war aims. The development of weaponry especially for the Navy was one of his particular interests. In 1943 Osenberg addressed several memoranda to Hitler and other leaders of the Nazi state, in which he assessed the devastating German war situation. He deplored the insufficient utilization of available capacities of the German research potential. Following Hitler’s maxim that “this war ... [is] not only a war of soldiers, but especially also of the technician,” Osenberg developed a vision for the intensification of the German research program, in order to change the course of the war.
Kurjuse intermeedialisest avaldumisest [Intermedial manifestations of evil]
No full textThe article explores evil as a medium, proceeding from Joachim Paech’s differentiation between the medium and its manifestations. In this light, evil is viewed as a phenomenon that can be expressed in only certain media forms and which therefore assumes different form-specific levels of meaning. Paying attention to different manifestations of evil makes it possible to analyse different intermedial aspects of works of art, making use of the notions of the overt and covert. The manifestation of evil in a perceptible and definable manner enables us to recognise, avoid or even overpower it. However, its covert and ambiguous manifestations are more powerful. Thus, the concealing of evil is characteristic of narratives that allow evil to manifest itself without direct reference to or overt representation of it.
The visual representation of evil as an image, be it through mental description of images or physical images on the screen, reveals two contrastive regimes. One of them could, following Roland Barthes,be called obvious (obvie). Th is regime is characterised by the use of traditional rhetorical devices and its emphasis on symbolic expression.The second regime could be labelled obtuse (obtus). In this case, the focus is not on the meaning of the image, but its materiality. The article applies this theoretical apparatus to the analysis of two Estonian novels, The Misadventures of the New Satan (Põrgupõhja uusvanapagan) and Old Barny or November (Rehepapp ehk November) and their respective screen adaptation.
It focuses on the image ofthe devil and, more broadly, the manifestations of evil. The analysis suggests that the first pair primarily displays the use of the obvious regime, accompanied by the obtuse; the second pair reverses the perspective. The aestheticisation of the obtuse emerges as the central feature of Old Barny or November as well as the visual designof its screen adaptation. The analysis also touches on the differences between the devil and the ogre (vanapagan in Estonian) and themore or less symbolic representations of the material elements associated with evil
Tantsitud „Kalevipoeg” läbi rahvuslike soostereotüüpide prisma [Kalevipoeg danced through the prism of nationalist gender stereotypes]
No full textThe idea for the present article emerged from a short, humorous dance sketch for a TV show from 1981 that was based on a scene from the national epic Kalevipoeg, which portrayed the nationalist gender stereotypes in an ironic fashion. The sketch, choreographed by director and former dancer Sulev Nõmmik, was not wholly original, but rather used earlier choreographic versions (1934, 1948) on the same theme as its reference point. Th is article discusses the creation of national dance language and the construction of gender in staged folk dance, as well as the gender stereotypes of the above mentioned choreographed versions of Kalevipoeg: the hero (Kalevipoeg/ Kalev’s Son), the bad guy (Sorts / the Devil), the pure maiden (Saarepiiga/ the Island Maiden), the mother (Linda, Kalevipoeg’s mother) and the evil woman (Sortsipiiga / the She-Devil).
The article also discusses a later version of Kalevipoeg by Ülo Vilimaa (1986), which can be described as self-ironical and in which gender roles are portrayed in a slightly mocking manner. The analysis is based on reviews of the period, as well as recordings in the Estonian National Broadcast archives. The lack of sources allows only a brief mention of Exitus by Dmitri Harchenko (1998), which was written in a postmodern and post-dramatic manner with a non-linear narrative and in which gender was presented in a less stereotypical manner than in the earlier versions. This version did not make use of Eugen Kapp’s score, any folk dance materialor the original libretto by Andres Särev
Book Review: On Stalled Revolutions and Revived Authoritarianism in the Arab World
No full textMorbid Symptoms: Relapse in the Arab Uprising by Gilbert Achcar. Stanford University Press