Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14797
Indrek Männiste, Jaak Tomberg
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{"title":"Kirjandus tehnikaajastul / Literature in the Age of Technology","authors":"Indrek Männiste, Jaak Tomberg","doi":"10.7592/METHIS.V18I23.14797","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14797","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":37565,"journal":{"name":"Methis","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88994963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14800
Indrek Männiste
Artikkel uurib tehnika representeerimise poeetilisi viise kirjandustekstides. Võttes kompositsiooniteooriast muusikas tarvitusele kontrapunkti mõiste, näitab autor, et iseäranis modernistlikes tekstides, kus tehnikat esitatakse sageli kas vastandlikuna loodusele või ängistavana tegelaste meeletundmustele, saame rääkida kontrapunktist kui poeetilisest võttest, mille eesmärk on eriomaselt rõhutada tehnika kohalolu ja kaalu tegelaste tunde- ja argielus. Autor väidab, et tehnika kui ühe pingestava „hääle“ – cantus technicus’e – tegelaste tundmus- ja kogemusvälja polüfoonsest häälterägastikust eristamine aitab meil paremini mõista üha jõudsamalt argiteadvusse hiiliva tehnilise ajastu loomulaadi ning sünkroniseerib lugeja mõjusalt senitundmatu modernsuse-kogemusega. This article explores D. H. Lawrence’s and Virginia Woolf’s literary responses to modern technology by analyzing their most typical poetic ways of representing technology-related themes in their works. Since technology, in its various modern industrial forms, is generally depicted as being set against nature or otherwise estranging to Lawrence’s characters, it is suggested that it may be useful to explain his peculiar representational framework for technology via the concept of counterpoint. Indeed, by adopting the term from composition theory, it is argued that the contrapuntal approach to describing technology forms a distinctive literary device for Lawrence in an effort to communicate the “polyphonic” experiences of everyday technical consciousness of the “bewildering pageant of modern life” and thereby synchronizes the readers more effectively with the realities of industrial modernity. While adopting the counterpoint for tracing the technicity in Lawrence promises, perhaps, no overarching solutions, it nevertheless provides a viable literary model, and a novel perspective, for exploring “the dynamic interplay of tensions and contradictions” that technology typically triggers in the poetic creation of the experience in his texts. While critics have found Virginia Woolf’s works exhibiting, perhaps, certain passivity in dealing with the themes of industrialism and technological machine, the article argues that there is, in fact, a very nuanced and rich position to be found on human relationship with modern technology in closer readings of Woolf’s works. Despite the fact that counterpoint as a literary technique has been noticed as forming a crucial method in advancing several important aspects in her works, viewing it as a device for extracting particularly modern technology and its many variants has not been researched in depth. By offering new techno-poetic readings of Woolf’s seminal works Mrs. Dalloway (1925) and Between the Acts (1941), the article shows that the contrapuntal approach, in analyzing the key passages, where technology genuinely affects the characters, proves to be a helpful method in making sense of the full impact of modernity in its many and varied aspects. The
{"title":"Kirjandus, kontrapunkt ja cantus technicus / Literature, Counterpoint, and Cantus Technicus","authors":"Indrek Männiste","doi":"10.7592/METHIS.V18I23.14800","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14800","url":null,"abstract":"Artikkel uurib tehnika representeerimise poeetilisi viise kirjandustekstides. Võttes kompositsiooniteooriast muusikas tarvitusele kontrapunkti mõiste, näitab autor, et iseäranis modernistlikes tekstides, kus tehnikat esitatakse sageli kas vastandlikuna loodusele või ängistavana tegelaste meeletundmustele, saame rääkida kontrapunktist kui poeetilisest võttest, mille eesmärk on eriomaselt rõhutada tehnika kohalolu ja kaalu tegelaste tunde- ja argielus. Autor väidab, et tehnika kui ühe pingestava „hääle“ – cantus technicus’e – tegelaste tundmus- ja kogemusvälja polüfoonsest häälterägastikust eristamine aitab meil paremini mõista üha jõudsamalt argiteadvusse hiiliva tehnilise ajastu loomulaadi ning sünkroniseerib lugeja mõjusalt senitundmatu modernsuse-kogemusega. \u0000 \u0000This article explores D. H. Lawrence’s and Virginia Woolf’s literary responses to modern technology by analyzing their most typical poetic ways of representing technology-related themes in their works. Since technology, in its various modern industrial forms, is generally depicted as being set against nature or otherwise estranging to Lawrence’s characters, it is suggested that it may be useful to explain his peculiar representational framework for technology via the concept of counterpoint. Indeed, by adopting the term from composition theory, it is argued that the contrapuntal approach to describing technology forms a distinctive literary device for Lawrence in an effort to communicate the “polyphonic” experiences of everyday technical consciousness of the “bewildering pageant of modern life” and thereby synchronizes the readers more effectively with the realities of industrial modernity. While adopting the counterpoint for tracing the technicity in Lawrence promises, perhaps, no overarching solutions, it nevertheless provides a viable literary model, and a novel perspective, for exploring “the dynamic interplay of tensions and contradictions” that technology typically triggers in the poetic creation of the experience in his texts. \u0000While critics have found Virginia Woolf’s works exhibiting, perhaps, certain passivity in dealing with the themes of industrialism and technological machine, the article argues that there is, in fact, a very nuanced and rich position to be found on human relationship with modern technology in closer readings of Woolf’s works. Despite the fact that counterpoint as a literary technique has been noticed as forming a crucial method in advancing several important aspects in her works, viewing it as a device for extracting particularly modern technology and its many variants has not been researched in depth. By offering new techno-poetic readings of Woolf’s seminal works Mrs. Dalloway (1925) and Between the Acts (1941), the article shows that the contrapuntal approach, in analyzing the key passages, where technology genuinely affects the characters, proves to be a helpful method in making sense of the full impact of modernity in its many and varied aspects. The ","PeriodicalId":37565,"journal":{"name":"Methis","volume":"480 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85321113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14806
N. K. Hayles, Silver Rattasepp
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{"title":"Intermediatsioon: ühe visiooni kannul / Intermediation: The Pursuit of a Vision","authors":"N. K. Hayles, Silver Rattasepp","doi":"10.7592/METHIS.V18I23.14806","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14806","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":37565,"journal":{"name":"Methis","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72568695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14803
Marin Laak, Piret Viires
Eesti kirjanduse ja digitehnoloogilise pöörde suhted ulatuvad juba enam kui kahekümne aasta tagusesse aega. Siinse artikliga antakse ülevaade, kuidas digitaalne tehnoloogia on mõjutanud Eestis kirjanduse, sh kirjandusajaloo üle mõtlemist ning nüüdisaegseid kirjanduslikke vorme. Tuuakse näiteid Eestis teostatud digihumanitaariaga seostatavatest projektidest ja digitaalse kirjanduse avaldumisvormidest. Samuti arutletakse artiklis digihumanitaaria mõiste üle ja selle üle, mida tähendab eesti kirjanduse uurimine digihumanitaaria kontekstis. Püstitatakse ka küsimus, kas digihumanitaaria muudab kirjandusuurimises midagi olemuslikult – kas ta on kirjandusuurimise tööriist/meetod või hoopis täiesti uus distsipliin. The relations between Estonian literature and the digital technological turn date back to more than twenty years. The aim of this article is to give an overview as to how digital technology has influenced re-thinking about literature and literary history in Estonia as well as has had impact on creating new digital literary genres. The authors of the article have a twenty-year experience both as researchers and practitioners in this field. The article introduces some examples of the projects created in Estonia that can be related to digital humanities and also some examples of Estonian digital literature. Also, the concept of digital humanities and its meaning for Estonian literary studies will be discussed below. The concept of digital humanities has been used actively during last decade. Although the field of digital humanities is quite broad, in Estonia this concept has been used rather as a synonym for methods of quantitative computer analysis: linguists have used it very productively in analysing text corpora and computer linguistics has developed it into an independent discipline. Up until now, there have been only a few attempts to analyse literary texts using quantitative computer analysis method in Estonia. However, the concept of digital humanities can be interpreted in a much broader sense. Susan Schreibman, Ray Siemens, John Unsworth (2016) find that digital humanities is not only computational modelling and analysis of humanities information, but also the cultural study of digital technologies, their creative possibilities, and their social impact (Schreibman et al 2016, xvii–xviii). It appears, then, that the concept of digital humanities is wider and it can be said that it encompasses also creative digital practices and analysing it, as well as creating, interpreting and analysing digital projects of literary historical narrative and cultural web resources. In Estonia, the research on the electronic new media and the application of digital technology in the field of literary studies can be traced back to the second half of the 1990s. Up to the present, the research has followed these three main directions: 1) New forms of literary genres in the electronic environment. Digitally born literature and the appearanc
{"title":"Kirjandus ja digitaalne tehnoloogia / Literature and Digital Technology","authors":"Marin Laak, Piret Viires","doi":"10.7592/METHIS.V18I23.14803","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14803","url":null,"abstract":"Eesti kirjanduse ja digitehnoloogilise pöörde suhted ulatuvad juba enam kui kahekümne aasta tagusesse aega. Siinse artikliga antakse ülevaade, kuidas digitaalne tehnoloogia on mõjutanud Eestis kirjanduse, sh kirjandusajaloo üle mõtlemist ning nüüdisaegseid kirjanduslikke vorme. Tuuakse näiteid Eestis teostatud digihumanitaariaga seostatavatest projektidest ja digitaalse kirjanduse avaldumisvormidest. Samuti arutletakse artiklis digihumanitaaria mõiste üle ja selle üle, mida tähendab eesti kirjanduse uurimine digihumanitaaria kontekstis. Püstitatakse ka küsimus, kas digihumanitaaria muudab kirjandusuurimises midagi olemuslikult – kas ta on kirjandusuurimise tööriist/meetod või hoopis täiesti uus distsipliin. \u0000 \u0000The relations between Estonian literature and the digital technological turn date back to more than twenty years. The aim of this article is to give an overview as to how digital technology has influenced re-thinking about literature and literary history in Estonia as well as has had impact on creating new digital literary genres. The authors of the article have a twenty-year experience both as researchers and practitioners in this field. \u0000The article introduces some examples of the projects created in Estonia that can be related to digital humanities and also some examples of Estonian digital literature. Also, the concept of digital humanities and its meaning for Estonian literary studies will be discussed below. \u0000The concept of digital humanities has been used actively during last decade. Although the field of digital humanities is quite broad, in Estonia this concept has been used rather as a synonym for methods of quantitative computer analysis: linguists have used it very productively in analysing text corpora and computer linguistics has developed it into an independent discipline. Up until now, there have been only a few attempts to analyse literary texts using quantitative computer analysis method in Estonia. \u0000However, the concept of digital humanities can be interpreted in a much broader sense. Susan Schreibman, Ray Siemens, John Unsworth (2016) find that digital humanities is not only computational modelling and analysis of humanities information, but also the cultural study of digital technologies, their creative possibilities, and their social impact (Schreibman et al 2016, xvii–xviii). It appears, then, that the concept of digital humanities is wider and it can be said that it encompasses also creative digital practices and analysing it, as well as creating, interpreting and analysing digital projects of literary historical narrative and cultural web resources. \u0000In Estonia, the research on the electronic new media and the application of digital technology in the field of literary studies can be traced back to the second half of the 1990s. \u0000Up to the present, the research has followed these three main directions: \u00001) New forms of literary genres in the electronic environment. Digitally born literature and the appearanc","PeriodicalId":37565,"journal":{"name":"Methis","volume":"70 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72655666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14805
Jaak Tomberg
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{"title":"N. Katherine Haylesi posthumanistlik vaade digitaalsele kirjandusele. Saatesõna tõlkele / N. Katherine Hayles' Post-human View of Digital Literature. Foreword to the translation","authors":"Jaak Tomberg","doi":"10.7592/METHIS.V18I23.14805","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14805","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":37565,"journal":{"name":"Methis","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74663092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14801
Arne Merilai
Manifestilaadne artikkel „Tehnikapööre ja luulekääne: tule jumal appi“ kuulutab uute jumalate kohalesaabumist autori isiklike kogemuste varal. Kogunenud teadmisi ja aimdusi tõlgendatakse Heideggeri-järgses mõtiskluses, mis ühelt poolt lähtub filosoofi post-metafüüsilisest luulekesksest süsteemist, teisalt aga kasvab sellest kriitiliselt üle. “A Technical Turn and Poetic Declination: God help us” is a post-Heideggerian contemplation with a touch of personal manifest[ation]. It takes his post-metaphysical poetry-driven system as its point of departure for a free, idiosyncratic interpretation, yet simultaneously critically challenges it. Graphically, Heidegger’s theoretical vision – not so self-evident in the whole heideggeriana – is depicted as a four-step decline of epochs of subsequent worldviews: mythological, religious, humanistic (i.e., modern), and technological (post-modern). The important question is: What comes next? Heidegger assumes that the post-technological era (in a sense, post-post-modernism) must involve some return of the gods in a vague fading form; however, he does not yet recognize its arrival. He has not personally experienced it, he only speculates and hopes for the best. Five theses are postulated upon this concept. First, technological supremacy should not be demonized since a new worldview might emerge from the inner way technology surfaces. Second, art should not deny the technological manner of revelation, given its importance. Third, Heidegger’s speculation about a new god who will manifest itself in a hint could not originate from his actual encounter with god. Fourth, he speaks of a possible turn within the technology-induced world yet still hopes to restore the ancient quadrangle of mortals, immortals, earth, and sky, which does not represent any transcending change. Five, new gods can grow out of human beings themselves, being very close to them. This can stem from a reflective feedback mechanism, a morally grounded mirroring power human beings possess. Epiphanic happenings originate from human minds and deeds but return to them from the outside and, thus, can’t be deliberately created and controlled. Subsequently, individual insights can merge to unite larger groups into social patterns: a new, fully scientific religion can emerge. A marvelous example to consider is recorded in the documentary about recently deceased Catholic priest Vello Salo: Vello Salo. Igapäevaelu müstika. Film vanaks saamise ilust (Vello Salo: The Mystery of Everyday Life: A Film on the Beauty of Ageing, 2018). Director Jaan Tootsen manages to address one instance of divine feedback, which may provide unique value to theology and phenomenological philosophy. At the request of a sister of the Pirita Convent, Salo screwed a portable sculpture of Christ onto a wooden cross. Although the priest saw that he had failed to turn the screw in fully, he was certain it would hold. Nevertheless, in the middle of mass, the statue of Christ jumped to
{"title":"Tehnikapööre ja luulekääne: tule jumal appi / A Technical Turn and Poetic Declination: God help us","authors":"Arne Merilai","doi":"10.7592/METHIS.V18I23.14801","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14801","url":null,"abstract":"Manifestilaadne artikkel „Tehnikapööre ja luulekääne: tule jumal appi“ kuulutab uute jumalate kohalesaabumist autori isiklike kogemuste varal. Kogunenud teadmisi ja aimdusi tõlgendatakse Heideggeri-järgses mõtiskluses, mis ühelt poolt lähtub filosoofi post-metafüüsilisest luulekesksest süsteemist, teisalt aga kasvab sellest kriitiliselt üle. \u0000 \u0000“A Technical Turn and Poetic Declination: God help us” is a post-Heideggerian contemplation with a touch of personal manifest[ation]. It takes his post-metaphysical poetry-driven system as its point of departure for a free, idiosyncratic interpretation, yet simultaneously critically challenges it. Graphically, Heidegger’s theoretical vision – not so self-evident in the whole heideggeriana – is depicted as a four-step decline of epochs of subsequent worldviews: mythological, religious, humanistic (i.e., modern), and technological (post-modern). The important question is: What comes next? Heidegger assumes that the post-technological era (in a sense, post-post-modernism) must involve some return of the gods in a vague fading form; however, he does not yet recognize its arrival. He has not personally experienced it, he only speculates and hopes for the best. \u0000Five theses are postulated upon this concept. First, technological supremacy should not be demonized since a new worldview might emerge from the inner way technology surfaces. Second, art should not deny the technological manner of revelation, given its importance. Third, Heidegger’s speculation about a new god who will manifest itself in a hint could not originate from his actual encounter with god. Fourth, he speaks of a possible turn within the technology-induced world yet still hopes to restore the ancient quadrangle of mortals, immortals, earth, and sky, which does not represent any transcending change. Five, new gods can grow out of human beings themselves, being very close to them. This can stem from a reflective feedback mechanism, a morally grounded mirroring power human beings possess. Epiphanic happenings originate from human minds and deeds but return to them from the outside and, thus, can’t be deliberately created and controlled. Subsequently, individual insights can merge to unite larger groups into social patterns: a new, fully scientific religion can emerge. \u0000A marvelous example to consider is recorded in the documentary about recently deceased Catholic priest Vello Salo: Vello Salo. Igapäevaelu müstika. Film vanaks saamise ilust (Vello Salo: The Mystery of Everyday Life: A Film on the Beauty of Ageing, 2018). Director Jaan Tootsen manages to address one instance of divine feedback, which may provide unique value to theology and phenomenological philosophy. At the request of a sister of the Pirita Convent, Salo screwed a portable sculpture of Christ onto a wooden cross. Although the priest saw that he had failed to turn the screw in fully, he was certain it would hold. Nevertheless, in the middle of mass, the statue of Christ jumped to","PeriodicalId":37565,"journal":{"name":"Methis","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72824678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14807
Andrus Laansalu
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{"title":"Kirja masina ekstaatiline ümberkonstrueerimine / The Ecstatic Reconstruction of the Writing System Machine","authors":"Andrus Laansalu","doi":"10.7592/METHIS.V18I23.14807","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14807","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":37565,"journal":{"name":"Methis","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89494074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-11DOI: 10.7592/METHIS.V18I23.14798
T. Hennoste
Artikkel annab ülevaate 20. sajandi alguse kirjandusliku avangardi suhetest tehnikaga. Avangardi (eriti futurismi) jaoks pidi tehnika saama loomise eeskujuks ja masinate seadused esteetilise loovuse seadusteks. Artikkel väidab, et paljud avangardi tekstiuuenduslikud ideaalid on vastuolus tehnika ideaalidega ja iseloomustavad ennekõike loodust. Tehnika väärtustas tulemust, avangard protsessi. Tehnika väärtustas süsteemsust, ennustatavust, koopialisust, avangard vabarütme, ennustamatust ja originaalsust. Tehnika nõudis ratsionaalsust ja eesmärgipärast tegutsemist, avangard kuulutas intuitsiooni ja prohvetlikku kujutlust. Tehnika tõi odavad masstooted, avangard hindas haruldust. Tehnika väärtustas funktsionaalsust, avangard ebafunktsionaalsust. Tehnika väärtustas puhtust ja hügieeni, avangard järgis inetuse esteetikat. Tehnika nõudis tootmises vigade ja häirete vältimist, avangard tõstis vea loovaks ideeks. The article examines the relationship between the early twentieth century international and Estonian literary avant-garde and new technology, which radically changed life and interpersonal relationships in Europe and America (trains, airplanes, metro, telephone, telegraph, skyscrapers, fast food, etc.). At first, I highlight general features connecting the new technology and its products, which emerged in distinct opposition to nature. The central activity in the world of technology appeared to be efficient, planned, and purposeful production, in which the main agents were engineer, designer, and worker. The new technology emphasized the value of the product, which rapidly became standardized and cheaply made mass-produced perfect copies of each other. The beauty of the new era was to be a technological, functionalist beauty. Production as a process had to operate without failures and the ideal product had to be without any defects. Therefore, the technological process had to be clean, even hygienic. The new technology established its own rhythm in modern cities, characterized by repeatability and predictability. At the same time, the technology covered cities by the voices that made up the noise of technology. It could be said, even, that the new technology exceeded the limits of time and space. The result was a world of simultaneity. At the same time, relationships and links between people became increasingly loose and the world and man’s worldview was characterized by increasing fragmentation. The early European avant-garde at the beginning of the twentieth century greeted the new world of technology and speed with great enthusiasm (Italian futurism, constructivism, etc.). Perhaps only early expressionism and Russian futurism had even more ambivalent attitude to the technology. The First World War significantly decreased the pre-war fascination with technology. The war destroyed the faith in the machines; the machine now became a destroyer, and the new mechanical man (a fusion of man and machine) came into view as a killer with killed s
{"title":"Johannes Semper hobusega. Avangard, takerduja tehnika ja looduse vahel / Johannes Semper with a horse: Avant-garde between technology and nature","authors":"T. Hennoste","doi":"10.7592/METHIS.V18I23.14798","DOIUrl":"https://doi.org/10.7592/METHIS.V18I23.14798","url":null,"abstract":"Artikkel annab ülevaate 20. sajandi alguse kirjandusliku avangardi suhetest tehnikaga. Avangardi (eriti futurismi) jaoks pidi tehnika saama loomise eeskujuks ja masinate seadused esteetilise loovuse seadusteks. Artikkel väidab, et paljud avangardi tekstiuuenduslikud ideaalid on vastuolus tehnika ideaalidega ja iseloomustavad ennekõike loodust. Tehnika väärtustas tulemust, avangard protsessi. Tehnika väärtustas süsteemsust, ennustatavust, koopialisust, avangard vabarütme, ennustamatust ja originaalsust. Tehnika nõudis ratsionaalsust ja eesmärgipärast tegutsemist, avangard kuulutas intuitsiooni ja prohvetlikku kujutlust. Tehnika tõi odavad masstooted, avangard hindas haruldust. Tehnika väärtustas funktsionaalsust, avangard ebafunktsionaalsust. Tehnika väärtustas puhtust ja hügieeni, avangard järgis inetuse esteetikat. Tehnika nõudis tootmises vigade ja häirete vältimist, avangard tõstis vea loovaks ideeks. \u0000 \u0000The article examines the relationship between the early twentieth century international and Estonian literary avant-garde and new technology, which radically changed life and interpersonal relationships in Europe and America (trains, airplanes, metro, telephone, telegraph, skyscrapers, fast food, etc.). \u0000At first, I highlight general features connecting the new technology and its products, which emerged in distinct opposition to nature. The central activity in the world of technology appeared to be efficient, planned, and purposeful production, in which the main agents were engineer, designer, and worker. The new technology emphasized the value of the product, which rapidly became standardized and cheaply made mass-produced perfect copies of each other. The beauty of the new era was to be a technological, functionalist beauty. Production as a process had to operate without failures and the ideal product had to be without any defects. Therefore, the technological process had to be clean, even hygienic. The new technology established its own rhythm in modern cities, characterized by repeatability and predictability. At the same time, the technology covered cities by the voices that made up the noise of technology. \u0000It could be said, even, that the new technology exceeded the limits of time and space. The result was a world of simultaneity. At the same time, relationships and links between people became increasingly loose and the world and man’s worldview was characterized by increasing fragmentation. \u0000The early European avant-garde at the beginning of the twentieth century greeted the new world of technology and speed with great enthusiasm (Italian futurism, constructivism, etc.). Perhaps only early expressionism and Russian futurism had even more ambivalent attitude to the technology. The First World War significantly decreased the pre-war fascination with technology. The war destroyed the faith in the machines; the machine now became a destroyer, and the new mechanical man (a fusion of man and machine) came into view as a killer with killed s","PeriodicalId":37565,"journal":{"name":"Methis","volume":"150 2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80383896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-15DOI: 10.7592/methis.v17i21/22.14671
Epp Annus
.
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Pub Date : 2018-12-11DOI: 10.7592/METHIS.V17I21/22.14590
Vadim Vozdvizhensky
The article aims to explain a particular thread of Hungarian motifs in the literary and philosophical works of Grigory Savvich Skovoroda (1722–1794), the first Russian and Ukrainian Christian philosopher. The Hungarian period of his biography remains the least studied; therefore, it demands special attention in the interests of determining objective reasons for the themes of his writings in the context of the formation of Russian and Ukrainian literature of the period. Artikli eesmärgiks on selgitada konkreetsete ungari motiivide esinemist esimese vene ja ukraina kristliku filosoofi Grigori Savvitš Skovoroda (1722–1794) kirjanduslikes ja filosoofilistes teostes. Tema elu Ungari-perioodi on kõige vähem uuritud, sellepärast vajab see erilist tähelepanu, et teha selle ajajärgu vene ja ukraina kirjanduse kujunemise taustal kindlaks tema kirjutiste teemade valiku objektiivsed põhjused. Selle teemaga on varemgi tegeldud, kuid tähelepanu pole pööratud kohtadele ja ajaloolistele tingimustele, mis olid otseselt seotud Skovoroda keisrikoja teenistuses veedetud ajaga Ungaris, Austrias, Itaalias ja Poolas aastatel 1745–1750. Küllatki pikast möödaläinud ajast ja arvukatest juba avaldatud teadusartiklitest hoolimata sunnib see andekas ja meisterlik kirjanik ikka ja jälle endast rääkima. Seda võib seletada nii ühendatud Euroopa sees kui ka mõlemal pool uusi poliitilisi piire toimuvate kultuuridevaheliste protsessidega, mis mõjutavad positiivselt Venemaa, Ukraina ja Ungari vaheliste suhete arengu dünaamikat. Tõmmates temaatilisi paralleele Skvoroda kirjutistega, tuleb rõhutada, et tema loomingut inspireerisid Balassi vaimne aed, Comeniuse visuaalne maailm, Muretuse (Marc Antoine Muret’) sakraalsed laulud ja Wetsteniumi esoteerilised sümbolid, kus igavene tõde on peidus kõige nähtavaloleva taga. Tema loominguline pärand haarab endasse vene, ukraina ja ungari rahvuskultuuride parimad jooned, osutudes nii suurepäraseks eeskujuks tuleviku Euroopa ja kogu maailma kirjameestele. Teenides kindralmajor Višnevski juhtimise all Tokajs asuvas keiserlikus Ungari veinide komisjonis õukondliku asjaajana, kirjutas Skovoroda ohtralt värvikaid tekste, elavalt peegeldades lihtsate ungarlaste igapäevaelu, mis oli väga sarnane tema enda väikevene rahvuskaaslaste omaga. Vene keisrinnade Jelizaveta ja Katariina II valitsusajal sai temast 17. sajandi geniaalse Tšehhi haridustegelase Comeniuse pansoofilise õpetuse järgija. Võttes kokku Skovoroda viieaastase Ungaris viibimise tulemused, ei tohi jätta märkimata viljakat mõju, mida avaldas talle ungari kultuur ja vestlused paljude eri ühiskonnakihtide ja usulahkude esindajatega. Tänapäevast kõnepruuki kasutades võib öelda, et Skovoroda osutus esimeseks Vene Impeeriumi okkalisi radu tallavaks dissidendiks, kes ei soovinud sammu pidada sünge kirikliku diktatuuriga, vaid heitis oma sümboolse allegoorikaga kiriklikele tsensoritele avaliku väljakutse. Tema traktaadid, mis keelati kui poliitilise samizdat'i väljaanded, said ammendamatuks k
{"title":"In Search of Grigory Skovoroda’s Motivation / Grigori Skovoroda motivatsiooni otsimas","authors":"Vadim Vozdvizhensky","doi":"10.7592/METHIS.V17I21/22.14590","DOIUrl":"https://doi.org/10.7592/METHIS.V17I21/22.14590","url":null,"abstract":"The article aims to explain a particular thread of Hungarian motifs in the literary and philosophical works of Grigory Savvich Skovoroda (1722–1794), the first Russian and Ukrainian Christian philosopher. The Hungarian period of his biography remains the least studied; therefore, it demands special attention in the interests of determining objective reasons for the themes of his writings in the context of the formation of Russian and Ukrainian literature of the period. \u0000 \u0000Artikli eesmärgiks on selgitada konkreetsete ungari motiivide esinemist esimese vene ja ukraina kristliku filosoofi Grigori Savvitš Skovoroda (1722–1794) kirjanduslikes ja filosoofilistes teostes. Tema elu Ungari-perioodi on kõige vähem uuritud, sellepärast vajab see erilist tähelepanu, et teha selle ajajärgu vene ja ukraina kirjanduse kujunemise taustal kindlaks tema kirjutiste teemade valiku objektiivsed põhjused. Selle teemaga on varemgi tegeldud, kuid tähelepanu pole pööratud kohtadele ja ajaloolistele tingimustele, mis olid otseselt seotud Skovoroda keisrikoja teenistuses veedetud ajaga Ungaris, Austrias, Itaalias ja Poolas aastatel 1745–1750. Küllatki pikast möödaläinud ajast ja arvukatest juba avaldatud teadusartiklitest hoolimata sunnib see andekas ja meisterlik kirjanik ikka ja jälle endast rääkima. Seda võib seletada nii ühendatud Euroopa sees kui ka mõlemal pool uusi poliitilisi piire toimuvate kultuuridevaheliste protsessidega, mis mõjutavad positiivselt Venemaa, Ukraina ja Ungari vaheliste suhete arengu dünaamikat. \u0000Tõmmates temaatilisi paralleele Skvoroda kirjutistega, tuleb rõhutada, et tema loomingut inspireerisid Balassi vaimne aed, Comeniuse visuaalne maailm, Muretuse (Marc Antoine Muret’) sakraalsed laulud ja Wetsteniumi esoteerilised sümbolid, kus igavene tõde on peidus kõige nähtavaloleva taga. Tema loominguline pärand haarab endasse vene, ukraina ja ungari rahvuskultuuride parimad jooned, osutudes nii suurepäraseks eeskujuks tuleviku Euroopa ja kogu maailma kirjameestele. Teenides kindralmajor Višnevski juhtimise all Tokajs asuvas keiserlikus Ungari veinide komisjonis õukondliku asjaajana, kirjutas Skovoroda ohtralt värvikaid tekste, elavalt peegeldades lihtsate ungarlaste igapäevaelu, mis oli väga sarnane tema enda väikevene rahvuskaaslaste omaga. Vene keisrinnade Jelizaveta ja Katariina II valitsusajal sai temast 17. sajandi geniaalse Tšehhi haridustegelase Comeniuse pansoofilise õpetuse järgija. Võttes kokku Skovoroda viieaastase Ungaris viibimise tulemused, ei tohi jätta märkimata viljakat mõju, mida avaldas talle ungari kultuur ja vestlused paljude eri ühiskonnakihtide ja usulahkude esindajatega. Tänapäevast kõnepruuki kasutades võib öelda, et Skovoroda osutus esimeseks Vene Impeeriumi okkalisi radu tallavaks dissidendiks, kes ei soovinud sammu pidada sünge kirikliku diktatuuriga, vaid heitis oma sümboolse allegoorikaga kiriklikele tsensoritele avaliku väljakutse. Tema traktaadid, mis keelati kui poliitilise samizdat'i väljaanded, said ammendamatuks k","PeriodicalId":37565,"journal":{"name":"Methis","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72519671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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