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Re:Poola. Polsko-estońska szkoła języka polskiego i kultury polskiej (Uniwersytet Warszawski – Uniwersytet Talliński) [Re:Poola. The Polish-Estonian School of Polish (Univesity of Warsaw / Tallinn University)]
No full textIn their review Marta Małachowicz and Joanna Piotrowska survey a newly established educational project first realized in the spring of 2024 and financed by the Polish National Agency for Academic Exchange (NAWA): Re:Poola. Polsko-estońska szkoła języka polskiego i kultury polskiej (Uniwersytet Warszawski – Uniwersytet Talliński)
«Избранные стихотворения» Софии Дубновой-Эрлих в архиве М. Волошина [“Selected Poems” by Sofia Dubnova-Erlich in Maximilian Voloshin’s Archive]
No full textThe article introduces the poetry collection of a lesser-known Russian poet from the beginning of the 20th century, Sofia Dubnova-Erlich, the publication of which is based on the holograph draft discovered in the archive of Maximilian Voloshin. The collection of poems reached Voloshin through Mikhail Vinaver, who was one of the founders of the Moscow Political Red Cross. This organisation, headed by Ekaterina Peshkova, helped political prisoners in Soviet Russia. The article also provides a brief overview of Dubnova’s social activities, as well as her poetic output, in which she saw a chance to combine her Russian and Jewish identities organically
Postmodernism siirdeajastu Eesti teatris [Postmodernism in the Estonian theatre in the transition period]
No full textArtikkel annab ülevaate postmodernistliku esteetika levikust eesti teatris siirdeajastul (1980. aastate lõpust kuni 21. sajandini). Sel perioodil avaldus postmodernism teatris nõrgemini kui teistes kunstides, piirdudes üksikute lavastajate ja teatritruppidega. Artiklis vaadeldakse postmodernismi perspektiivist lähemalt 1980. aastate lõpul tegutsenud lühiajalisi vabatruppe (Gregor, Ruto Killakund), 1992. aastal esimese Eesti erateatrina loodud Von Krahli teatrit ja selle juhi Peeter Jalaka loomingut ning riigiteatris tegutsenud Evald Hermaküla ja Mati Undi lavastusi. Postmodernistlik esteetika imbus eesti teatrisse 1990. aastatel ja hakkas teatripilti jõulisemalt mõjutama 21. sajandi alguses, kuid teatridiskursuses postmodernismi teooriad ei kinnistunud. Artiklis analüüsitakse eesti teatri postmodernismileiguse põhjusi ning selle mõiste kasutamist kirjeldusmudelina lääne teatris üldisemalt ja eesti teatridiskursuses.
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The article gives an overview of the emergence of postmodern aesthetics in the Estonian theatre and the response it received in the theatre discourse during the transitional period. The postmodernisation of different arts occurred at various speeds and in a different scope. In the Estonian theatre, postmodernism was less pronounced than in other arts, being limited to individual directors and theatre groups. Postmodern aesthetics and the worldview that carried them permeated the Estonian theatre mainly through non-state theatre groups operating outside the state theatre system. The article first examines the short-lived theatre groups created in the late 1980s, such as Gregor and Ruto Killakund. It then focuses on the Von Krahl Theatre, founded in 1992 as the first Estonian private theatre, led by Peeter Jalakas. The article also analyses the postmodernist features of the productions of Mati Unt and Evald Hermaküla, directors who worked in state theatres.
In general, postmodernism emerged in the Estonian theatre in the 1990s (although it did not become mainstream) and began to influence theatre aesthetics more strongly in the early 21st century. However, the theories of postmodernism did not take root in the theatre discourse. This developmental inertia is usually explained by the theatre’s institutionalism and the resulting dependence on audiences. The individual Estonian leading directors’ choices contributed to this, as well as a very weak conceptualisation of postmodernism in the theatre criticism of the time. The styles that were alternative to the mainstream were accepted in post-Soviet theatre discourse but were described as peripheral, largely because the private theatres of the 1990s were placed in the context of amateur theatre. The synchronic criticism constructed the theatrical canon based on state theatres, and therefore, postmodernist features in the Estonian transitional theatre have remained in the background
Editorial
No full textThe year 2024 has been an intense one at STSS. The most important and shocking news is the passing away of our co-editor in chief, Professor Ellu Saar. Ellu served as a Professor of Sociology at the School of Governance, Law and Society (SOGOLAS) at Tallinn University since 2001 and was Senior Researcher at the IISS. She had been awarded the Estonian Research Prize in Social Sciences, and in 2022, was elected a member of the Estonian Academy of Sciences. Since 2012, she was elected as editor-in-chief of the sociological section of STSS and guided a number of authors to publish with us, importantly stirring sociological debates in Estonia and beyond. From 2015 to 2021, she was the head of the sociology programmes at TLU SOGOLAS, and from 2016 to 2023, she led the Centre of Excellence in Life Course Studies at TLU. It is with great sadness that we received the news on 2 June 2024. An obituary has been included at the end of this issue.
Unpacking the Underpinnings of Collaborative Consumption in Central Asia: Perspectives from Kyrgyzstan
No full textWe investigate the motivators behind collaborative consumption in Kyrgyzstan by applying the theory of planned behaviour. Through examining 308 responses gathered from an online survey, we assess the connections between the intention to engage in collaborative consumption and influential factors. Our results reveal that attitude, perceived behavioural control, and subjective norms are the most influential predictors, with their impact ranked in descending order. Consequently, we delve into the theoretical and practical implications of these emerging collaborative practices and business models in Kyrgyzstan
Politics of Corruption in Albanian Higher Education
No full textThis paper examines the persistent issue of corruption in Albania, which continues to plague crucial areas of higher education such as learning assessment. Emphasising the significant impact of political influence on student evaluations, the article draws on survey results to address the issue. It suggests that this influence stems from historical factors and current political dynamics. In addition, the paper analyzes the exploitation of anti-corruption rhetoric in higher education as a tool for political control, and discusses the considerable challenges which anti-corruption campaigns face due to political interference and institutional resistance. In conclusion, the paper argues that a holistic approach, considering historical, institutional, and political contexts, is essential for effectively observing corruption in higher education
Siirdeajastu institutsionaalsed muutused Eesti teatri- ja filmivaldkonnas: võrdlev analüüs [Institutional changes in the Estonian theatre and film sector during the transition period]
No full textArtikli eesmärk on võrrelda Eesti teatri- ja filmivaldkonna institutsionaalseid muutusi siirdeajastul ehk 1985. aastast kuni 2004. aastani, kui Eesti liitus Euroopa Liiduga. Esmalt annab artikkel ülevaate siirdeajastu kultuuripoliitilistest suundumustest, mis loovad taustsüsteemi teatri- ja filmivaldkonna arengutele. Seejärel vaadeldakse Eesti teatrisüsteemikujunemist: nõukogudeaegse repertuaariteatrite süsteemi säilitamine koos teatrihoonete ja juhtimissüsteemiga, riikliku rahastuse alused, mis lähtusid sisuliselt 1987. aastal elluviidud teatrieksperimendist ja 1989. aasta majandustingimuste regulatsioonist, teatrivaldkonda reguleeriva õigusruumi kujunemine, erateatrite teke, tööandjate ja töövõtjate katus- ja eestkosteorganisatsioonid ning külastatavuse tendentsid. Teatrisüsteemi säilitamine siirdeajastul oli omalaadne fenomen üldiste majanduslike ja poliitiliste reformide kontekstis. Järgnevalt võtab artikkel vaatluse alla siirdeajastul toimunud muutused Eesti filmivaldkonnas, mida kirjeldatakse kriisina: sisuliselt lagunes koost nii filmivaldkonna infrastruktuur, rahastus kui ka turg. 1990ndatel toimusid Eesti filmitööstuses riikliku rahastuse drastiline vähenemine ja kärped (sh asendati institutsioonide rahastus projektipõhise rahastusega), erastamine, tootmismahtude vähenemine ja erasektori filmikompaniide teke. Artikkel uurib, miks kahe kõrvuti eksisteeriva ja osati läbipõimunud kultuurivaldkonna areng Eestis siirdeajastul nii drastiliselt erines. Teoreetiliseks raamistuseks on institutsionaalne kunstiteooria.
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The article compares institutional changes in the theatre and film sector in Estonia during the transition period from 1985 until 2004, preceding and following the dissolution of the Soviet Union in 1991. This painful process had a profound effect on the practitioners from both sectors. These tragic societal upheavals affected the above-mentioned sectors to a different extent, however. The article will analyse the manifold causes why the film sector was hit considerably harder than the performing arts.
The transition period refers to socio-historical and geopolitical changes when post-socialist states shifted toward liberal democracy and market economy. While the fall of the Berlin Wall in 1989 is often considered the start of this period, in the Baltic states (including Estonia), it began earlier due to perestroika initiated by Mikhail Gorbachev in the mid-1980s. Estonia regained independence in 1991, and the transition period extended until 2004 when Estonia joined the European Union. During this time, various cultural fields experienced changes, each unfolding differently. The cultural landscape was marked by various events, significant shifts, and contradictions.
While in all other spheres of life, especially in culture, ground-breaking reforms took place, which often had a short-term negative effect on the development of the field, theatre enjoyed relative stability. The former Soviet-time theatre system in Estonia remained intact: Soviet-time principles of state funding from the late 1980s continued, and the system of appointing artistic and managing directors remained the same. Consequently, no theatre was closed down and practitioners of the field still enjoyed relative stability. What most affected both the institutional and the artistic landscape of the Estonian theatre is the founding of independent companies. Already in the mid-eighties, the first independent theatre companies started to emerge here.
Unlike the relative stability in the theatre system, the film sector faced significant challenges. Changes that occurred in the Estonian film sector during the transition period, can be described as a crisis – essentially, the infrastructure, public funding and the film market collapsed. In the 1990s, the Estonian film industry experienced a drastic reduction in state funding and cuts (institutional funding was replaced with project-based funding), privatisation, a decrease in production volumes, and the emergence of private film companies.
In summary, Estonia’s transition period witnessed divergent trajectories in theatre and film, highlighting the complexities of cultural change. The theatre system remained largely intact, while the film sector underwent substantial transformations
Positioning Post-Soviet Sociology in Global Sociology: Between the Global South and the Global North
No full textSociology in today\u27s world often seeks to internationalise research and globalise problem solving. However, the so-called ‘global sociology’ is far away from being actually global as it involves in the discussion only specific regions and communities. The voice of other regions, as a rule, is not heard in the established system of connections and positions, and the regions themselves act as passive objects of (re)positioning, which is determined by the needs of specific research carried out by the nominally ‘global’ sociological community. The goal of the current study is to position one of the excluded sociological communities – post-soviet sociology – in global sociology using the North-South analytical framework that is frequently applied in discussions of global academic inequalities. The findings suggest that post-soviet sociology is positioned closer to the Global South, though significant country-based differences are observed. Post-soviet sociology functions as fragmented and disconnected, and this is facilitated by its orientation towards the ‘northern’ standards of knowledge production, which is professed even to the detriment of originality and independence
Book Review: Shopping with Allah: Muslim Pilgrimage, Gender, and Consumption in a Globalized World
No full textShopping with Allah: Muslim Pilgrimage, Gender, and Consumption in a Globalized World by Viola Thimm, 2023, University College London Press.