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Review of: Pille Õnnepalu. Rääkimine vaikimine nutmine: vabaduse seletamatu ilu. Tartu: Henrik, 2017. 175 lk.
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Review of: Pille Õnnepalu. Rääkimine vaikimine nutmine: vabaduse seletamatu ilu. Tartu: Henrik, 2017. 175 lk.
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The article discusses Unt’s oeuvre of the 1990s and 2000s, with the main focus on his novels Öös on asju (Things in the Night, 1990) and Brecht ilmub öösel (Brecht will appear at night, 1997) and the keyword “game”. The article investigates whether Unt’s later works, described in his time as complicated and confusing, really differ so much from his earlier period as far as the themes and focus are concerned. In addition, the article makes an attempt to map the relationship between Unt and postmodernism, which is by no means clear. Although Unt seems to have been fond of postmodernist techniques, the internal undercurrents of his texts fail to be captured by postmodernist keywords.
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The article analyses a feeling of being homeless in one’s own home, a feeling experienced without a clear problem or compelling reason. The study rests on a phenomenological approach to homelessness. Part One of the article describes such experience of homelessness as depicted by Peeter Sauter by using his protagonists’s inner voice, which is followed by an analysis of the spatial, intersubjective and operational aspects of the experience. Part Two deals with a homeless, estranged subjectivity and how such a subject defines its position in the universe. Part Three discusses the strategies used by the protagonists to cope with their permanent condition of feeling homeless, which leads to the analysis of writing as one of the main coping strategies in Part Four. In Part Five the condition of Sauter’s protagonist is interpreted by means of the concept of existential feelings, with brief reference to some other possible interpretations. The analysis demonstrates that the main condition of Sauter’s I-figures is feeling homeless in their own home, a persistent failure of the experiential horizons meant to ensure a smooth flow of the everyday life. In Sauter’s main characters that condition is accompanied by a rationally unfounded conviction that the world is accidental, life is meaningless and lack of signification runs deep in language. And yet Sauter’s characters do not abandon this meaningless life, but persist in suffering from existential feelings and pining for home.
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In the study of the poetics of the modernist novel, one of the unifying topics is the decrease of coherent storytelling in the proportion of representation. At the same time, the modern literary process has brought up new images, which function in a similar way as the descriptions familiar from the realist tradition but are meant to be associated with elusive physical tensions characteristic of modern society. According to Fredric Jameson the starting point of this development is in Gustave Flaubert’s literary innovations, while Jameson’s definition of modernism largely rests on an increasing domination of scene over story.The aim of the article is to explore the above tendency in the prose works of Ene Mihkelson. Mihkelson’s previous reception often points out the unreliability of the narrator and a certain fuzziness of character identities, as well as of the times when this or that story is told and of other boundaries in the text. The present analysis attempts to demonstrate how the vagueness or ambiguity of narration in her novels Katkuhaud (Plague Grave, 2007) and Ahasveeruse uni (The Sleep of Ahasuerus, 2001) gives rise to scenic images dominated by the present. The most important episodes of these two novels are dialogues between the main character and her senior relatives mainly discussing the incidents that happened between the Forest Brothers in Estonia after the Second World War. According to Mihkelson’s poetics the reader gets a realistic enough description of the affective results of past events imprinted on the mind of the protagonist, without, however, being told the whole stories. In addition, Mihkelson’s texts include meta-level discussions on the possibility of an adequate representation of historical experience, which I have also tried to integrate into my interpretation. One of the reasons why the poetics of Mihkelson’s prose in dialogue with Estonian cultural and historical memory seems to have such a conciliatory effect is her focusing on affective and scenic credibility at the cost of a narrative perhaps too clear and unambiguous.
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Review of: Kaur Riismaa. jaanalind kägu kajakas. Tallinn: Vihmakass ja Kakerdaja, 2021. 508 lk.
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Review of: Kalju Lepik. Vaid üks eesti kirjandus. Mälestusi, arvustusi, kõnesid ja vestlusi. Tallinn: EKSA, 2020. 575 lk.
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17. oktoobril on 75 aasta juubel Rein Veidemannil – õppejõul, esseistil, toimetajal, kirjandusteadlasel. Avalikult sõna võttes esineb Veidemann enamasti kui rahvuslik mõtleja ja eestluse analüüsija, kuid ennekõike kui kultuuri ja kirjanduse eestkõneleja. Kirjandust on ta niihästi uurinud, arvustanud, õpetanud kui ka loonud.
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Review of: Rein Veidemann. Tund enne igavikku. Romaan kolmes vaatuses. Tallinn: Eesti Keele Sihtasutus, 2012. 221 lk.
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Review of: Urmas Vadi. Tagasi Eestisse. Saarde–Pärnu: Jumalikud ilmutused, 2012. 279 lk.
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Review of: Elo Viiding. Teised. Tallinn: Tuum, 2012. 173 lk.
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Review of: Artur Adson, Varjuliste puie all. Luuletused. Luulõtusõ’. Koostanud Õnne Kepp. Toimetanud Õnne Kepp, Tiia Allas. Tallinn–Võru: Eesti TA Underi ja Tuglase Kirjanduskeskus, Võru Instituut, 2014. 535 lk.
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Review of: Lauri Sommer. Sealpool sood. Toimetanud Liina Smolin. Kirjastus Menu, 2014. 270 lk.
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Siinse jutu pealkiri võib olla vägevam kui jutt ise, kuid seda ajendas juba mõnda aega püsiv huvi tõe ja õiguse vahelise pinge vastu. Selge, et kui neid kaht sõna sel viisil kõrvuti kasutada, viivad mõtted kohe A. H. Tammsaare magnum opus’ele. Aga väljend „tõde ja õigus” on kõnekas laiemaski mõttes – selle sõnapaari abil asetub paika üks põhilisi pingeid läänemaises romaanikirjanduses.
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Review of: Tõnu Õnnepalu. Lõpetuse ingel. Märkmeid sügissaarelt. Loomingu Raamatukogu 2015, nr 8-9. 88 lk.
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Tammsaaret parafraseerides: Eestimaal pole kirjanikke, aga neil on Tammsaare ja nõnda on neil ka kirjandus. Muidugi on niisugune väide liialdus, kuid tõetera on temas ometi. Kui ühes kultuuris – kirjanduses – on olemas eriliselt esileküündivad autorid, on nad ühtlasi kogu kultuuri visiitkaardid. Mida laiemalt neid teatakse, seda tugevam näib ka kultuur, mida nad esindavad.
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Review of: Carolina Pihelgas. Pimeduse pisiasjad. Kaksikhammas, 2017. 84 lk.
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Review of: Jaan Kaplinski. Latsepõlve suve. Võru: Võro Instituut, 2019; Jaan Kaplinski. Piirpääsukese Euroopa. Baikalist Assoorideni. Tallinn: Hea Lugu, 2020. 237 lk
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Review of: Lugusid Mr. Ge’st, August Gailitist. Koostanud Hando Runnel, toimetanud Leino Pahtma. Tartu: Ilmamaa, 2020. 380 lk.
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