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Petrone Prindi „Minu” sari: selfi e-ajastu kirjanduse kaardistusi [Petrone Print’s My-series: insight into the literature of the selfie era]
No full textIt may be said that in contemporary society the perceiving and experiencing subject is in the foreground. This is also valid in the field of literature, which has been democratised, as anyone can make a book and anyone can write a book, as seen by the boom of autobiographies of all kinds. The My-series published by the Estonian publishing company Petrone Print illustrates this tendency. In this series of books, authors describe their lives and activities in a particular country or city. The majority of the authors are not writers, but hail from various fields. The series is a staple of contemporary Estonian literature: the books are constantly in the top ten list and are in high demand in libraries.
The phenomenon of this series maybe explained by its versatility: it boasts an array of authors from different fields who write about various places. The books are also well structured and easy to read. Taking the My-series as an example, the article maps tendencies in contemporary Estonian literature. Subject-centeredness is a central characteristic of contemporary literature, evidenced by the noteworthy volume of books concerned with one’s life experiences. The exact genre of this type of literature is ambiguous, which is another characteristic of contemporary literature. The My-series of books may be defined as ‘literary selfies’, as the author foregrounds him/herself, with the world around them serving merely as a backdrop
(Not) Learning the Lessons of War? The Scottish experience of conflict in the Second War of Independence (1332‒1357)
No full textScottish sources suggest that the Scottish king, Robert I, left instructions to his commanders on his deathbed for how war with England should be fought in the years to follow. Although it is unclear as to whether this “testament” was based on any sort of reality, or was simply a literary creation of later years, it is referred to commonly in Scottish historiography as something of a manual for the Scots, based upon the lessons learned by their warrior king. In the years after Robert I’s death, however, the Scots lost three battles in fourteen years, and would go on to lose more examples in the decades to follow. Historians of medieval Scotland have, therefore, deduced that those Scottish military leaders who had gathered around their king’s deathbed either ignored or forgot the advice of their king. This article aims to challenge this dominant historiographical view of the military history of this period of conflict, with particular focus given to the Second Scottish War of Independence (1332–1357). It will reconsider the extent to which the Scots adhered to the testament of “Good King Robert”, and the degree to which they continued the type of war that their king had fought during his own time. It will re-examine the main battles of this second conflict with England and re-assess the extent to which the results of these set pieces should be seen as the dominant factors in relation to this period of war. Ultimately, this article will reconsider the extent to which lessons were indeed learned by Scottish commanders during the Second War of Independence, and the degree to which Scottish commanders, rather than abandoning hard-learned past lessons, instead prosecuted a style of war that aligned closely with the warfare advocated by Robert I
Eesti näitekirjandus ja teater kultuurimälu meediumidena [Estonian drama and theatre as media of cultural memory]
No full textLiterature, especially the historical novel, has been analysed as one of the main media of cultural memory. At the same time, the importance of translational transfers between media and art forms, as well as audio-visual media, has been stressed more often. The role of theatre as the medium of cultural memory has not been analysed so frequently. This article focuses on the relationship between dramatic art and national memory culture, including dramatic interpretations of historical epic literature, as well as the manner in which traumatic experiences of historical past have been processed in the form of drama and performance.
On the basis of a number of works of Rein Saluri, Madis Kõiv and Merle Karusoo, the article also considers the possibility of defining Estonian memory theatre as a phenomenon. This research is based upon the studies of relations between memory and history, and drama and theatre (Malkin,Carlson, Rokem), as well as studies of cultural memory (Lotman, Assmanns, Erll, Rigney)
Affordances, Affect and Audiences - Making sense of networked publics, introduction to AoIR 2017 special issue on Networked Publics
No full textThe 2017 annual conference of the Association of Internet Researchers took place in Tartu, Estonia, and was focused on networked publics, which, as the call for papers highlighted, “play an important role in shaping the political, social, economic, cultural but also moral, ethical and value-laden landscapes of contemporary life.” This special issue is comprised of papers presented at the conference (AoIR 2017) and its doctoral colloquium, and engages with the affordances that networked communication technologies (social media platforms, websites, internet based governmental or corporate infrastructures for voting or banking) have for the emergence or maintenance of networked publics; but also, and more specifically, the affordances that these networked publics have for manifestations of human affect, sociality and sociability. Our collaborators undertake analyses of networked publics of solidarity and hate (Nikunen, this issue; Kuo, this issue), connection and disconnection (Dremljuga, this issue), democratic participation and authoritarianism, tolerance and intolerance (Sikk, this issue; Kuo, this issue), as well as the affordances of networked publics for reaching one’s imagined audiences (Tikerperi, this issue) and whether these imagined audiences evoke individual and institutional trust (Männiste & Masso, this issue)
The Process and Affordances of Platform-Specific Social Media Disconnection
No full textThis article examines millennials’ experience of platform-specific disconnection, focusing on the ambiguous intersection of engagement and disengagement with social media. Drawing on 16 semi-structured interviews with (non)users who have quit specific social media platforms while remaining users on other platforms, this study addresses a specific practice of social media disengagement as a phenomenon, regardless of the (non)users’ demographics. As a result, the study introduces phases leading up to platform-specific disconnection, which can extend to, or derive from, other practices of media rejection and resistance. These different stages refer to the technical and social affordances that influence users in their decision to (dis)engage with specific platforms, revealing a bias between the perception of the phenomenon and the lived experience of the disconnected. By visualizing the process of platform-specific disengagement, this paper provides novel insight into media resistance and non-use, and challenges the misconception of disconnecting in the digital age
Riigirahva identiteet eestlaste ja eestivenelaste seas
No full textEesti riiklusega seotud kollektiivsed identiteedid võib jaotada kolmeks tüübiks, mis lähtuvad kas rahvusriigi, kodanikeriigi või riigirahva ideedest. Käesolev artikkel keskendub rahvariigi ideega seotud riigirahva identiteedi (RI) uurimisele võrdlevalt eestlaste ja eestivenelaste seas, mõtestades seda etnilise- ja kodanikuidentiteedi sünteesi võtmes. Me eeldame, et tugev RI ei tähenda etnilise identiteedi eitamist, nagu identiteediuuringute peavoolus sageli väidetakse, vaid etnilise ja kodaniku-identiteedi tasakaalustatust
Судьба «Черного человека»: Между красными и белыми (К истории раннего киносюжета Андрея Платонова) [The Fate of a “Black Man”: Between the Reds and the Whites (Towards the History of Andrei Platonov’s Early Film Plot)]
No full textThe present article is focussed on Andrei Platonov’s relations with a Soviet film company “Sovkino” in the period from 1927 to 1928, and reconstructs a likely impetus leading to Platonov’s work on the synopsis of a film about a black soldier fighting on the side of the Red Army during the Russian Civil War. It also reveals some parallels between this film plot and Platonov’s prose fictions addressing the theme of the Civil War
«Музей» С. М. Даниэля: Текст и структура аудитории [“Muzei” by Sergei Daniel: The Text and the Structure of its Audience]
No full textThis article applies the method of Yuri Lotman’s article “The Text and the Structure of Its Audience” to the study of Sergei Daniel’s autobiographical novel Muzei (2012). It shows that the ideal reader of Muzei should be competent in a) the topography of Leningrad (St. Petersburg), b) Russian history, c) Greek mythology, d) history of philosophy, e) technicalities of the profession of a painter, f) history of arts, g) theories of art, h) history of Russian literature, and many other fields
Mitmikkodakondsuse väitlused ja režiimimuutused: Eesti teiste Euroopa Liidu uute liikmesriikide taustal
No full textKas Eesti inimesel võiks olla mitu kodakondsust? Kuivõrd kodakondsus aitaks säilitada sidet rahvuskaaslastega välismaal ja hoida neid eestlastena? Mitmikkodakondsuse ehk samal ajal mitme riigi kodanikuks olemise küsimused on püsinud Eesti avalikus arutelus aastaid. Toimunud on väiksemaid seadusemuutusi nagu selle lubamine alaealistele kolmeaastase valikuajaga täisealiseks saamisel. Siiski pole retoorikast hoolimata mitmikkodakondsust laiemalt seadustatud ega ka väitlus kadunud
The Unavoidable Vision Failure: The Anglo-German First World War naval confrontation
No full textIt is almost an impossible challenge for the military professional to predict how a hypothetical future conflict will run and end. When advising politicians, professional leaders will seek to present options that they estimate can bring the relatively cheap, early, and acceptable conclusion that both they and their Government hope for. However, the opponent is an independent actor, and he will do everything possible to avoid or at least delay an unfavourable outcome, and all action and interaction in war is influenced by friction and chance. Another reason why prediction is exceedingly difficult is that even known technologies have not been tested under realistic conditions. If the conflict lasts longer than a few months, latent or immature technologies will be developed to a level where they can influence the outcome of the conflict in a decisive way. It is not only the opponent that is an independent actor, so are allies and formally neutral states, and it is very hard to predict if and how the regulations of international law will be respected by belligerents during the conflict. All these areas of uncertainty are illustrated and highlighted in this case, where the focus is on the expectations and reality of the 1914–18 Anglo–German naval conflict in the North Sea.