Uht tsah, uht tsah, neiukene
Review of: Karl Eduard Sööt. Mu laulud, mu veikesed laulud. Koost, toim Õnne Kepp. Tallinn: EKSA, 2022. 711 lk.
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Review of: Karl Eduard Sööt. Mu laulud, mu veikesed laulud. Koost, toim Õnne Kepp. Tallinn: EKSA, 2022. 711 lk.
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Review of: Jaan Kaplinski, Kadri Kõusaar. Kirjavahetus 2007–2021. Hea Lugu, 2023. 304 lk.
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„Vaimuliku laulu helidel „aamen, au isal’ olgu“ hakkas verstapikkune rong Orgmetsa küla otsast liikuma. Selle kirikulauluga, mis lahkumistunnete väljendamiseks nii vähe sünnis, aga millest sündsamat koosviibijad ei tundnud, kisendas rusutud, hinge põhjani liigutatud rahvahulk oma valu rinnust välja. Oma valu ja oma protesti nende vastu, kelle ahnuse ja vägi valla julm piits neid sundis kõik maha jätma, mis neile siiamaani armas ja kallis oli olnud.“ (Vilde 1985: 426) Niimoodi kujutas kirjanik Krimmi siirdumise algust aastal 1861.
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The play “The Atlantic Ocean” (Atlandi ookean) by the renowned Soviet-era Estonian writer Juhan Smuul has received very little critical attention so far. By closely looking at the work, we can find nuances and undercurrents that help us understand the motives and reasoning behind the characters’ – but in some cases also their author’s – deeds, choices, and attitudes. This article focuses on the songs referred to in the play. The shortish four-act play that is set onboard a Soviet Estonian herring trawler in the summer of 1955 contains references to 22 songs in total. The origin of the songs is remarkably heterogenous: there are songs from a Lutheran service book, references to classical music, hit music from pre- and post-WWII times and village dance parties, heroic songs from the tsarist period, and also some unidentifiable folk songs. Roughly one third of them are performed or played with melody; others are mentioned by either title or lyrics. The songs primarily function as condensed characterizations of the wide array of crew members (16 characters). Songs also function as indirect comments on a certain situation or character, letting the viewers draw their own conclusions. Such a writing technique – embedding songs into the texture of his stories – is characteristic of Smuul also in his other works which are yet to be studied from this angle. We first provide a short overview of the critical response to the play upon its initial staging by Voldemar Panso and discuss the reasons for its subsequent limited success. After that, a statistical overview of the studied songs is provided. In the first part of qualitative analysis, the intertextual ties between Smuul’s own lyrics and those by an Estonian popular poet of the turn of the century, Georg Eduard Luiga, are discussed. The motifs and influences can be traced back to Robert Burns and Scottish folk songs. The songs referred to in the play are discussed in the two subsequent sections: first, the crew members’ favourite songs of which they request a recording from the onshore office; and second, the songs that the characters themselves sing during the voyage. The article concludes with a discussion of the necessity of songs and singing under the conditions of an enclosed space (be it real, as in the ship, or metaphorical, as in an authoritarian state), followed by a formal conclusion briefly summing up all of the foregoing.
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Song lyrics are usually positioned in the margins of literature and tend not to be in the first line when writers and their works are discussed. There have been debates about whether to consider lyrics as literature and/ or ‘real poetry’. The article examines three cases in Estonian literature where melodised poetic texts have played a significant role in Estonian culture and are considered to be core texts: “Mu isamaa on minu arm” (My Fatherland is My Love) by Lydia Koidula, songs from the feature film Viimne reliikvia (The Last Relic), lyrics written by Paul-Eerik Rummo, and “Laul Põhjamaast” (“Song of the Northern Land”), lyrics by Enn Vetemaa. These also represent three ways a text can function: “Mu isamaa on minu arm” was first written and published as a poem and later set to music; The Last Relic represents a case where texts were initially written as lyrics and later published in a collection of poems; “Song of the Northern Land”, by Enn Vetemaa, was meant to be and has remained a song and has not been included in poetry collections.
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In 1944, on the cusp of one occupying power replacing another in Estonia, the beloved Estonian poet Heiti Talvik translated Goethe’s poetry and was filled with admiration: “What a youthful abundance of life in every detail! Yes, to delve into Goethe’s work is to rinse your eyes in a miracle wellspring capable of renewing your fading vision.” By then, the Estonian language and Estonian poetry had already been drawing from this miracle wellspring for more than a century. In this presentation, I will be discussing the significance of Goethe’s poetry in Estonian literature and comparing it to that of small and large literatures of neighbouring countries. Based on research, I conducted with my co-authors Vahur Aabrams and Susanna Rennik for our recently published book Goethe’s Poetry in Estonian (University of Tartu Press, 2021), I will show the dynamics of the reception and translation of Goethe’s poetry in Estonia and in the wider Baltic cultural space, and I will explore the local socio-cultural and more general aesthetic and ideological factors that influenced this reception.
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This article continues the author’s research into the creative process of writing and translating poetry. It is preparatory work for translating the poetry of one of Estonia’s most widely read and appreciated poets, Juhan Viiding (1948–1995), who wrote under the pseudonym Jüri Üdi until 1978. It proposes that an understanding of Viiding’s work is enhanced when viewed in the wider human perspective of distributed cognition, as elaborated by neuroanthropologist Merlin Donald. In contrast to traditional approaches that look to socio-historical background to contextualise literature and translation research, the distributed cognition model places greater emphasis on the creative processes in culture that take place outside individual minds and focuses less on the capacities and talents of the author as the unique source of creativity. This approach is helpful for the translator of Viiding’s poetry who aspires to produce translated poems that do in another language what the original poems do in their language, for it entails thinking through language to access the working of the individual and the collective minds in the text. The significant role that social connections and public reception play in Viiding’s creative work is illustrated by an essay by Elo Viiding, a poet and Juhan Viiding’s daughter, in which she describes nine types of reader of Juhan Viiding’s poetry, each of which creates their own distinct ‘Juhan Viiding’. Drawing on poet and literary critic Hasso Krull’s study of Viiding’s poetry, Elo Viiding analyses Juhan Viiding’s method of negation as essential to his creative work and engagement with his audience. In this article the author lays theoretical groundwork for the translation of Juhan Viiding’s poetry into English.
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Reviews of: Jüri Talvet, Valitud tõlkeluulet. I. Hiliskeskajast modernismini. TÜ Kirjastus, 2021, 298 pp. Jüri Talvet, Valitud tõlkeluulet. II. 20. sajandi keskpaigast 21. sajandi alguseni. TÜ Kirjastus, 2021, 489 pp.
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Review of: Mäng ja melanhoolia. Friedebert Tuglase romaan „Felix Ormusson”. (Moodsa eesti kirjanduse seminar 3.) Koostanud ja toimetanud Mirjam Hinrikus ja Jaan Undusk. Tallinn: Underi ja Tuglase Kirjandus keskus, 2022. 341 lk.
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Review of: Wimberg. Just praegu. Tallinn: J&U, 2021. 124 lk.; Wimberg. Enne kui. Tallinn: J&U, 2022. 214 lk.
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The perspective of multipositionality as a means of taking a holistic approach to a person’s multiple lives, i.e. to their different professional fields of activity, has been used to a great effect in translation (including translator) studies. This article explores the feasibility of adapting this concept to the Estonian literary context by looking at the case of Marta Sillaots (1887–1969), known to the wider public mostly as a translator and critic. Less known is her work as a teacher, journalist, and an author of not just children’s stories, but of adult prose, too. It was primarily the archival sources which demonstrated that Sillaots’ literary and non-literary activities at the start of her career, in the first decades of the 20th century, took several interrelated forms with transferred interests and shifting authority from one field of activity to another. An exploration of Sillaots’ multiple lives unveils a young woman’s professional literary aspirations in their complex, intertwined nature, and reveals her means of survival within the restrictions, conventions and limitations of the largely patriarchal early 20th century Estonian literary landscape.
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This article discusses the first book of Estonian nature writing authored by a woman: “Vilsandi Bird Kingdom” (Vilsandi linnuriik) by Alma Toom, published in Tartu by the publishing house Loodus in 1932. Alma Toom, also spelled Thom (1903–1944 or 1945), was a schoolteacher on the small island of Vilsandi and the spouse of the overseer of the Vilsandi bird protection area, Artur Toom. Her sole published book, “Vilsandi Bird Kingdom”, was based on her husband’s oral stories narrated to the visitors of the bird islands and her own personal observations of nesting waterfowl on Vaika islands in the westernmost part of Estonian coastal waters. The publication of the book was supported by outstanding Estonian naturalists working at the University of Tartu’s Kuusnõmme biology station near Vilsandi at the time – Johannes Piiper, Johannes Käis, Henrik Koppel. The book provides an overview of the cultural and natural history of the inhabi-tants of Vilsandi and the surrounding islands, with an emphasis on several species of waterfowl and observations of their behavior. It is one of the finest pieces of Estonian nature writing from the first half of the 20th century, and the only one written by a woman author from that period. During World War II, Alma Toom was deported to Nagorsk, Kirov oblast, Russia. The exact place and time of her death remain unknown. The article re-reads her text within the ecofeminist framework, drawing parallels with Susan A. Rosen’s discussion of Rachel Carson’s and Anne Morrow Lindbergh’s books on coastal nature, which can also cast a new light onto Toom’s depictions of coastal habitats and ornithological observations from the pre-war Vilsandi.
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This article analyzes Alma Ostra’s (1886–1960) literary debut, the novella “Aino” (1923), which carries an air of decadence combined with naturalistic elements. In the late 19th and early 20th centuries, during the fin de siècle period, decadent aesthetics was a province mostly occupied by men. Several gender-sensitive cultural researchers have shown that the attitudes (such as elitism, individualism, colonialism) and imagery contained in these texts are misogynistic by nature. Building on this, feminist scholars have asked how the forms of decadent aesthetics employed by male authors of the time are reshaped in the texts by women authors, and whether and in which ways these transformations can be seen as feminist practice. Proceeding from these questions, this article explores how Ostra’s work reutilizes three inter-related tropes commonly found in decadent aesthetics: ambivalent melancholy, sexual desire, and creativity. The study reveals how the chosen affective states, characters, and ideas of decadence are employed in “Aino” to critique manifestations of patriarchy, such as double standards, rigid gender roles, and rape culture, whereas such criticism appears more laboured in texts by Ostra’s male colleagues, for example Tuglas and Aavik, with whom “Aino” engages in dialogue. The decadent, ambivalent mode of expression is a dominant note in “Aino,” allowing, on the one hand, for the portrayal of disappointments associated with woman-hood, and on the other hand, for expressions of enthusiasm, thereby representing aspects of the female experience in early 20th-century literature in a nuanced way. The central affect of melancholy depicted in the text triggers depression and creativity, disdain for love, as well as pleasurable, sexually charged scenes – elements that have largely been overlooked in other works of the period. The infusion of the naturalist trope of race – the deep psyche and affective nature of the human groups active in a particular region (nationality) – into Aino’s self-perception adds suggestiveness to the negative emotions caused by gender-based constraints. Ostra’s work portrays the double oppression experienced by Estonian female students of the time, both in rural and (academic) urban environments. The perception of women’s entrapment is balanced by descriptions of new forms of female subjectivity – such as the intensely imaginative female thinker-artist – pointing towards a more harmonious future, gender-wise, and a hopeful outlook for women. As such, “Aino” engages in a critical conversation with both the anti-feminist lines of thought that perpetuate women’s lack of creative capacity and independence, and the feminist theories of the first half of the 20th century, which emphasized women’s autonomy as well as the importance of their sexual fulfillment.
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Alide Ertel (1877–1955) was an Estonian woman writer active in the early 20th century. The most significant factors influencing her creative path were being born into a wealthy South Estonian family of farmers, her good education, and traveling not only within the Tsarist Empire but also in Western Europe. The active participation of Ertel’s family in the public life also played an important part. Ertel herself was involved in politics, taking part in the 1905 revolution as well as the events of 1917, which can be considered important factors shaping Ertel’s life, work, and its reception. In addition to giving fiery speeches during the revolutionary events, Ertel took a strong stance on issues like popular education, agriculture, and the economic well-being of cultural figures. At the beginning of her creative career, Ertel published her works primarily in the print media. 1910 saw the publication of her debut novella Rooste (“Rust”), which depicted the residents and conditions of a local poorhouse. Rooste received favorable reviews and is considered, according to later assessments, Ertel’s best work. From 1919 to 1920, Ertel dedicated herself to literary work and produced two plays, a collection of short stories published in two editions, a collection of aphorisms, and a historical novel within a short period of time. All works from this period had a negative reception, which can be attributed to inadequate linguistic editing, going against the literary circles of the time, and a preconceived bias stemming from this opposition as well as Ertel’s association with Bolshevism. The complex publishing market situation during that time must also be considered. Consequently, Ertel with-drew from literary activities. Between 1929 and 1931, she published a book of fairy tales and two plays, but these works also failed to garner the attention she hoped for. Although Ertel’s creative work has remained lodged in the time of its publication, it is worth exploring also for the contemporary reader. Ertel has depicted the aspirations of marginalized members of society and focused heightened attention on the position of women in the society and their possibilities for self-actualization.
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Review of: Tiit Hennoste. Ilo ja elu. Valitud artikleid 2005–2021. (Studia litteraria Estonica 23.) Tartu: Tartu Ülikooli Kirjastus, 2022. 385 lk.
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Contemporary methodologies increasingly tend towards interdisciplinarity. In the social sciences, mass culture and literature are gaining attention as new sources of knowledge. Looking at literature through the lens of the new methodological frame-works allows for a more comprehensive study of identities and their evolution. This article applies a new methodology of studying the national identity, developed by Ted Hopf and Bentley Allan in the framework of the project Making Identity Count: Building a National Identity Database, which makes it possible to examine the emergence and persistence of the concept of “a Russian from Russia” as “the Other” in the identity discourse of the Russian-speaking population in Estonia after the restoration of Estonian independence. The first part of this article focuses on identifying the initial stages of the formation of this idea in Estonian Russian-language magazines that covered literature and social issues – Tallinn and Raduga. The second part analyzes the works of the two most popular and well-known Russian-speaking authors - Yelena Skulskaya and Andrei Ivanov. The analysis in complemented by interviews with the writers and references to the works of other Russian-speaking authors.
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Review of: Rein Veidemann. Järjehoidja. Valik arvustusi, loomingulisi portreid, kaaskajasid, järelehüüdeid eesti kirjasõna-väljalt 2000–2022. Koostanud ja toimetanud Mari Klein. Tallinn: EKSA, 2022. 773 lk.
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The Society of Estonian Literati (Eesti Kirjameeste Selts) (1872–1893) was a prominent initiative during the Estonian national awakening in the latter half of the 19th century. Its main pursuits included the development of Estonian as a literary language, the publication of Estonian-language literature (particularly school textbooks), and the collection of folk songs, tales, and artifacts. Established during the height of the national awakening, the society played a role in the subsequent division of the movement in the 1880s and faced closure, partly due to internal rivalry during the period of Russification. While women were not typically recognized as very active members of the society or the wider national movement, there were exceptions, notably the national poet Lydia Koidula. Recent research in women’s history has shed more light on her contemporary – teacher, journalist, and author Lilli Suburg, the first woman accepted into the Estonian Society of Literati in 1873. However, sources reveal over 100 women members of the society (the number of men is unreported, but estimated at around 1500). Many of the women were family members of male counterparts. Meeting minutes and correspondence reveal incomplete membership lists and fee rolls, so the exact number of women members remains elusive. The existing sources are also problematic as they only provide partial information, such as family name, sometimes marital status, initials, first name, or location. Mistakes and inconsistencies in the spelling of names make it difficult to ascertain the historical women behind the names. Approximately one-third of the 110–120 women can be confidently identified. The geography of the national movement has been studied by a number of authors and the locations align in some cases – for example, the parish of Kanepi provided a number of active members. However, the sample of women is insufficient for a thorough comparison. One notable difference is that urban girls and women had a stronger prevalence among members than their male counterparts. Unmarried women seemed to have a narrow majority, but, as mentioned, personal data is incomplete. Women’s participation in meetings began years after the first women joined and likely remained slim. Around one-third of women members paid their membership fee (not all of the men did either), most for one or two years, only a few on a more regular basis. Some of the women engaged in literary pursuits, with the journal and works by Lilli Suburg present in the library, and poems by Anna Haava, Elise Aun, and Liina Täker earning recognition. The sole documented speech by a woman was delivered by Natalie Johanson-Pärna, a teacher and sister of one of the key figures of the national movement, Carl Robert Jakobson. Women’s primary role appeared to be in organizing fairs to raise funds for the society. They undertook preparations, provided refreshments, and crafted many of the items for sale. This was probably the most socially acceptable form of participation. While formal Estonian women’s societies emerged in the early 20th century, this paper demonstrates the increasing social activity of Estonian women over the waning decades of the 19th century. Many of the same women also participated in other national awakening initiatives, such as fundraising for the Estonian Alexander School. Women’s activities during the national awakening merit further research. A particularly interesting area for exploration would be the single women possessing the means and motivation for active engagement.
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The article presents a discussion of Finnish-Estonian author Sofi Oksanen’s 2019 novel Dog Park (Koirapuisto), a social and psychological thriller about two Ukrainian women working in the Ukrainian fertility industry, offering surrogacy services to Western clients. The novel explores some of the new modes of exchange and cultural encounter that were established between Ukraine and the West after the collapse of the Soviet Union. It presents a reflection of the social and human consequences of the transition from communism to capitalism but is also a story of how the legacy of Cold War geopolitics continues to shape European mental geographies and experiences at the intersection of East and West. Drawing on concepts from human geography and postcolonial studies, the article offers a reading of Oksanen’s novel focusing especially on how the novel negotiates these geopolitical shifts as well as the position of the Nordic countries on the changing European map.
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Since the emergence of decadent literature, sonnets have played a significant role within its realm. Charles Baudelaire’s Les Fleurs du mal contains 72 sonnets in all. In the preface to the posthumous edition of 1868, Théophile Gautier describes Baudelaire’s style as decadent. Paul Verlaine’s seminal sonnet Langueur, published in 1883, opens with the well-known line: Je suis l’Empire à la fin de la décadence (“I am the Empire at the end of decadence”). This sonnet had an enormous impact on fin de siècle poetry, earning recognition as both the ars poetica of decadence and its most representative example. The concept of decadence also found its way into Estonian literary circles through sonnets when Johannes Aavik published his article Charles Baudelaire ja dekadentismus (“Charles Baudelaire and the Decadent movement”) in 1905, alongside translations of Baudelaire’s poems, including two sonnets (De profundis clamavi and La Destruction). The first original Estonian decadent sonnets appeared four years later, in 1909, marking the beginning of their heyday in the subsequent decades. The aim of the article is twofold: to explore the development of the Estonian decadent sonnet within a cultural-historical context, primarily drawing from the 1903/1904 correspondence between Gustav Suits and Johannes Aavik, who first introduced the decadent sonnet to Estonian culture. Additionally, the article delves into the poetics of the Estonian decadent sonnet, distinguishing between three types, often intertwined: firstly, those expressing decadent melancholy; secondly, sonnets depicting aestheticism, synaesthesia, and the dissolution of perceptual boundaries; and finally, poems expressing the so-called radical decadence of the Estonian sonnet – conveying moral decline, sexual desires, and excessively morbid motifs.
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