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Eesti sõjalaul algusest Esimese ilmasõjani

Author(s): Õnne Kepp / Language(s): Estonian Issue: 17/2015

The paper gives an overview of Estonian war songs. Together with Keisrilaul, the Estonian translation of “Russian anthem”, they form the beginning of Estonian patriotic poetry. The tradition of Estonian war songs reaches back to the early 19th century, when ReinholdJohann Winkler published “War Songs of Estonian Land Forces”(1807), inspired by the Franco-Russian war. The tradition developed as it was influenced by the other wars involving Russia in the19th century. The choices of topics and thematic structures of war songs further advanced in the period of the Russo-Turkish war, in the second half of the 1870s. At that time, the patriotic ambitions of Estonians were advanced in cooperation with the Empire of Russia;on the other hand, the humility and national sense of inferiority of Estonians were propagated by the Greater Russian ideology and ambitions. During World War I, narrative war songs, containing influences of Estonian trochaic tetrameter folk songs and traditional ballads, developed. In a number of verses of that time, epic,dramatic and lyric elements merged, increasing sensual intensity.Despite the parallels with Greater Russia surviving in themes, the concept of Estonia played a central role in song books, verse books and special almanacs published during World War I.

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Towards a Typology of Parallelism in Estonian Poetic Folklore

Author(s): Mari Sarv / Language(s): English Issue: 67/2017

The article gives an overview of the uses and features of parallelism across different genres of Estonian poetic folklore, focusing on the genres in which grammatical parallelism forms an important means for structuring texts. Relying on her own previous research on runosongs and short forms of folklore (Sarv 1999, 2000, 2003), the results of the syntactic analysis of runosong texts in Helle Metslang’s dissertation (1978), Juhan Peegel’s definition of poetical synonyms in runosongs (Peegel 2004), and proceeding from the concept of poetical system (Sarv 2000), the author proposes a definition of the type of parallelism canonical in the Finnic runosong tradition. Two other types of parallelism, used in different genres of Estonian poetic folklore, are discerned on a similar basis, taking into account the relations between the elements of the poetical system. The proposed typology proceeds from the assumption that the regular use (or absence) of euphonic means is related to the type of parallelism used. In this case – as the study proves – the types of parallelism are distinguished by the semantic relations between the parallel elements (words or phrases) in grammatically parallel units, rather than by semantic relations between the whole parallel units or by formal features like range or length. There appears to be a clear tendency: the use of euphony (alliteration and word-structure repetitions) in parallelism types increases in relation to the diminishing of the semantic load of the parallel elements.

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Üldistavaid tähelepanekuid paguluses ilmunud eesti kirjanduslugude pinnalt

Author(s): Kristin Vaik / Language(s): Estonian Issue: 11/2014

The article considers the rather numerous community of Estonian exiles that came into being during 1939–1944 and that existed throughout the whole Soviet period; the article concentrates on the community’s literature based on the literary histories published in exile. One of the main presuppositions of the article is that literary histories are multi-leveled metatexts that reflect the cultural situation and the time they were written and published in. The article focuses specifically on the periods represented in the literary histories, the periodizations used in them and on the persons mentioned or not mentioned. The contents of the literary histories are viewed in two larger units which are distinguished by the audience of these histories – detectable on the basis of the choice of language: the corpus is divided into texts in Estonian and in foreign languages. The observations made on the basis of the analysis of the histories strive to bring out and conceptualize the variations and the distinct similarities of the histories published in exile, following their specific cultural situations and drawing on the cultural semiotics theory of Juri Lotman.

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Jutustajakujudest Karl Ristikivi „Põlevas lipus”

Author(s): Eva Lepik / Language(s): Estonian Issue: 11/2014

The article examines the level of narration in Karl Ristikivi’s novel The Burning Flag (“Põlev lipp”) and the various narrators inhabiting this level together with their addressees and narrative strategies. The close reading of the novel reveals that the narration functions in four different regimes (neutral, documentary chronicle, the writer, the narrator – and the latter two combined). The narrators that can be detected also have as their counterparts clearly defined addressees – the writer has the “learned reader” and the narrator has the listeners around the campfire. The mode of we-narrative entails both of the narrators. The distance of the narrators in respect of the story is different – the narrator presents the story from the viewpoint of the witness whereas the writer admits his reliance on written sources. The we-narrator combines these two perspectives and this results in a metaphysical viewpoint on the human being and history also present in Ristikivi’s earlier novels (especially in the dilogy All that ever was and Nothing happened). It is rather remarkable that the novel reveals as the addressee of the we-narrator the ideal reader of the novel.

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Kõnede kujundav jõud: luues rahvust

Author(s): Andreas Ventsel / Language(s): Estonian Issue: 11/2014

Review of: Eesti ajaloolised kõned. Koostanud Maarja Keskpaik. Tallinn: Skymarket, 2013. 264 lk.

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Looduse populariseerimine biosemiootilise lähenemise ja kirjanduslike võtete kaudu Fred Jüssi „Jäälõhkujas”

Author(s): Laura Kiiroja / Language(s): Estonian Issue: 12/2015

One of the aspects of biosemiotics that has not yet been covered in scientific literature is the advantages it offers in popularizing nature. One of the examples in Estonian nature literature where one could recognize an implicit biosemiotic approach is Fred Jüssi’s „Jäälõhkuja”. The goal of this article is to illustrate the possibilities of applying the biosemiotic approach and literary techniques to popularizing nature with the example of „Jäälõhkuja”. As a secondary aim, the article provides constructive feedback for Fred Jüssi’s work in an Estonian cultural context. The biosemiotic approach helps emphasize the communicative nature of plants and animals, encouraging the reader to pay more attention to the sign processes existing in nature. Considering all living organisms as subjects and attempting to perceive the world from the perspective of their Umwelt enables the reader to better comprehend the value of every single element of the ecosystem. The biosemiotic approach contributes to several literary techniques, such as personification and playing with perspectives, that support the author’s effort in animating nature and inducing empathy in the reader. In order to peculiarize the ordinary and make the perception process more intensive, Jüssi has used techniques like slow writing, adding contrasts and oppositions, chronological shifting, and anecdotal and perceptionbased writing style. The article highlights even more literary techniques that help the author discretly present his subjective worldview and criticism on society.

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Eesti keele sõltuvuspuude pank ja selle keeleteoreetilised lähted

Author(s): Kadri Muischnek,Kaili Müürisep / Language(s): Estonian Issue: 62/2016

This article presents the Estonian Dependency Treebank (EDT) and discusses its language-theoretical basis. EDT contains ca 400,000 tokens of fiction, newspaper and science texts. Its syntactic annotation is based on principles of dependency syntax. Previous experiments with annotating Estonian sentences according to the principles of phrase structure syntax have shown that the resulting trees tend to be too shallow and thus do not encode the linguistic information in the best possible way. Therefore dependency-syntactic representation was chosen instead. Dependency relations are efficient for encoding typical head-dependent relations like verb-argument or head-modifier but are not so suitable for analyzing adpositional phrases, verbal chains, multi-word expressions or other constructs without clear internal syntactic relations. In such cases, there are arguments both for and against all possible solutions.

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A lív költészet nyomában

Author(s): Péter Pomozi / Language(s): Hungarian Issue: 05/2017

This short study evokes a Baltic Finnic language that is now almost extinct, i.e. Livonian. After offering basic information on the medieval Livonian language area and the former dialectal distribution, the article focuses upon the linguistic heritage of the Salaca Livonian groups, who once lived along the seabanks of the Riga gulf and the Salaca and Svētupe rivers. The Livonians’ history does not end with their ancestors’ death. Curland Livonian has been revitalised, a standard grammar, vocabulary and spelling have been developed. This language is spoken in many places and on many forums, e.g. at summer courses and universities. Two remarkable volumes of poetry, containing the poems of Ķempi Kārl, were also published recently. The second part of the study is dedicated to the lyrical world of Ķempi Kārl, who experiments in his work with the poetical infinity of Salaca Livonian.

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Petrone Prindi „Minu” sari: selfi e-ajastu kirjanduse kaardistusi

Author(s): Anneli Kõvamees / Language(s): Estonian Issue: 1/2017

It 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.

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Digitaalse kirjanduse defineerimisest ja periodiseerimisest

Author(s): Piret Viires / Language(s): Estonian Issue: 1/2017

The article examines the links between digital literature and digital humanities, as well as various definitions and periodisation of digital literature. Digital literature is ‘digitally born’ literature, created and studied since the end of the 1980s and largely defined as a work with an important literary aspect that takes advantage of the capabilities and contexts provided by computer technology (e.g. hypertext literature, multimedia poetry, interactive literature, etc.). In the periodisation of digital literature, two generations have so far been differentiated (late 1980s until 1995 and from 1995 until today). The article adds a third generation to this periodisation, starting from2006–2007 and linked with the development and spread of social media platforms (Twitter, Facebook, Tumblr) and smart gadgets.The article defines the third generation of digital literature as literature created via social media (including so-called Alt Lit literature), characterised by its democracy, dialogue between participants, textual and narrative dynamics, and mixing of various forms of media. In addition, it is suggested that this type of literature can be associated with post-postmodernist literary trends. A closer look is taken at the work of Estonian authors Kaur Riismaa, Liina Tammiste and Keiti Vilms, who have all used social media platforms (Facebook,Twitter). The article discusses whether these authors can be associated with the term ‘Alt Lit’. The conclusion reached is that several of the features of Alt Lit can be ascribed to the texts and activity of Riismaa, Tammiste and Vilms; Alt Lit features seem to correspond best to Vilms.The overall conclusion of the article is, however, that the content and essence of digital literature does not so much depend on the will of the authors, creative impulses or inner-literature movements, but instead on the development of computer technology. Thus the definitions of digital literature are dynamic in time and depend on the technological solutions that are emerging in a given period and the types and works of digital literature these new technologies can inspire.

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Estonian Fairy Tales Up the Beanstalk into Heaven and Coal Porridge: Two Tales of Growing Up

Author(s): Risto Järv,Mairi Kaasik / Language(s): English Issue: 1/2018

The article* focuses on two Estonian fairy tale types that have been recorded among the Orthodox Seto minority in the south-eastern corner of Estonia. In the index of Estonian folktales they have been described under tales of magic (fairy tales) as tale types Ee 328C* and Ee 327H*. One of the tale types observed is a masculine folk tale (one with male protagonists), the other can be considered a feminine folk tale with female protagonists despite it seemingly having two main characters of different genders. In both tales the protagonists reach a hostile place after moving through liminality, and both tales can be interpreted as tales of growing up.

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HOW TO GET INVOLVED? THE INTEGRATION STRATEGIES OF WORLD WAR II REFUGEES

Author(s): Triinu Ojamaa / Language(s): English Issue: 2/2019

During World War II, tens of thousands of people of different social back¬grounds fled to the West from Estonia. There were approximately two hundred musicians among them, half of whom received asylum in Sweden. Some opera singers, conductors, and composers had built a successful career already before the war and were also known to a certain extent in the Nordic countries. While in Sweden, the musicians tried to get involved in the cultural life of the host society. They believed that this would ensure them an income, yet they felt an inner need to continue their careers as musicians and to preserve their professional identity. The aim of this article is to highlight the circumstances that either supported or hindered the integration of these highly-skilled refugees. The research is based on the manuscript memoirs of Juhan Aavik (1884–1982), an Estonian conductor and composer, who, before fleeing, occupied the leading position in Estonian music life.

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SCREENING SPACE IN FILM ADAPTATIONS OF ESTONIAN HISTORICAL FICTION: “THE LAST RELIC” (1969) AND “BETWEEN THREE PLAGUES” (1970)

Author(s): Eva Näripea / Language(s): English Issue: 1/2019

This article analyses the spatial representations of “The Last Relic” (Viimne reliikvia, Grigori Kromanov, 1969) and “Between Three Plagues” (Kolme katku vahel, Virve Aruoja, 1970). While almost diametrically different in terms of intention, execution and reception, the films exemplify the complex interplay of the past and the present that is typical to screen adaptations of historical fiction. “The Last Relic” and “Between Three Plagues” belong to the same wave of cinematic works that was inspired by debates on the architectural heritage of Tallinn’s Old Town in the late 1960s and early 1970s. Using this historical urban environment, as well as its broader field of connotations, as a central point of reference, the films provide intriguing critiques of the late Soviet period that was characterised by negotiations of power, identity and history. As specimens of the heritage film genre, “The Last Relic” and “Between Three Plagues” open up a room for discussing the discursive intricacies of narrating the nation, demonstrating that industrial conditions, audio-visual structures and ideological undercurrents can sometimes lead to unexpected, even conflicting constellations.

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Mälukirjanduse ökotoopiline potentsiaal

Author(s): Jaak Tomberg / Language(s): Estonian Issue: 10/2022

Review of: Epp Annus. Tere, Aleksander. Lugu tulemata jäänud tulevikust. Tallinn: EKSA, 2021. 232 lk.

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Piret Raua triloogia ja selle tegelased

Author(s): Johanna Ross / Language(s): Estonian Issue: 10/2022

Review of: Piret Raud. Portselanist nael. Tallinn: Tänapäev, 2021. 199 lk.

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Minevik karussellil

Author(s): Jüri Kivimäe / Language(s): Estonian Issue: 3/2023

Review of: Katrin Laur. Tunnistaja. Ajalooline romaan. Tallinn: Hea Lugu, 2022. 830 lk.

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Sireenide kaudu sähvatusteni

Author(s): Boris Veizenen / Language(s): Estonian Issue: 10/2023

Review of: Igor Kotjuh. Sireenid ja sähvatused. Vene keelest tõlkinud ja eesti keeles kirjutanud autor. Paide: Kite, 2022. 144 lk.

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Mälestused imelistest inimestest

Author(s): Pille-Riin Larm / Language(s): Estonian Issue: 10/2023

Review of: Viivi Luik. Kuldne kroon. Tallinn: EKSA, 2023. 296 lk. Lauri Sommer. Toome tuled. 2015–2021. Tallinn: Menu, 2022. 320 lk.

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Häälikuinstrumentatsioon Artur Alliksaare luules

Author(s): Rebekka Lotman,Maria-Kristiina Lotman,Mihhail Lotman / Language(s): Estonian Issue: 10/2023

From the semiotic perspective, one can tentatively distinguish between two kinds of art – the first is semantically oriented and is involved in creating meaningful messages within the given art form, using ready-made means, while the second, syntactically oriented, aims at generating new possibilities within literary arts. Artur Alliksaar (1923–1966) represents both tendencies: he has created outstanding syllabic accentual poems and prescribed poetic forms, especially sonnets, but in addition, he has enriched the Estonian poetic language with entirely new possibilities of sound instrumentation, which is particularly evident in his free-verse works. The article has two objectives. Firstly, it presents one possible classification of Estonian sound instrumentation, considering both the structure and placement of relevant techniques within the text. This model is illustrated with examples from Artur Alliksaar’s poems, in which sound plays a structurally significant role. The paper examines the techniques used by Alliksaar, as well as their function. Secondly, case studies are conducted on the basis of archival materials, analyzing the draft versions of the poems to see how the author worked on and shaped the sound structure. The article looks into the corrections made by the author in the manuscripts and the possible motivation behind these changes. The analysis reveals a clear regularity. Although his heavily sound-instrumented free-verse and accentual-syllabic poetry has often been regarded primarily as a play based on free associations within the language, lacking semantic structure and coherence, the study of drafts shows that Artur Alliksaar has consistently worked on multiple levels of the poem, taking into consideration not only the sound but also the semantic and rhythmic aspects. In addition to numerous repetitions at different levels, he regularly developed contrasts in both meaning and sound, creating a multi-layered play between sameness and difference.

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Feeling Historical: Postsocialist Affect in Estonian Fiction

Author(s): Raili Marling / Language(s): English Issue: 1/2023

In this article, building on the work of Lauren Berlant (2008, 2022) and Sara Ahmed(2004, 2010), I ask what it means to feel historical in the context of today’s pervasive crisisordinariness, whether it is possible to talk about a particular postsocialist affect, and whataesthetic forms the affect takes in fiction. The analysis of two Estonian texts will follow thetheoretical discussion: Tõnu Õnnepalu’s novel Border State (1993) and Maarja Kangro’sstory collection Õismäe ajamasin (2021).

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