Artikkel lahtub teatriteaduses populaarsest ja kirjandusteaduses marginaalsest kehastamise ( embodiment, embodied experience ) moistest ning vaatleb kirjandusliku maailma kehastamist kui taju-, tolgendus- ja koosloomeprotsessi kahel tasandil: lavastaja-etendaja ja vastuvotja (lugeja/vaataja/osaleja) vaatepunktist. Naiteteosteks on Karl Ristikivi eesti kirjanduse klassikasse kuuluv romaan „Hingede oo“ (1953) ja Laburintteatriuhenduse G9 samanimeline osavotuteatri lavastus (2018), mida vastuvotjad pidasid romaani kongeniaalseks tolgenduseks. Vordleme romaani ja lavastust ning etenduse vastuvotjate tajukogemusi romaani lahilugemisel sundivate meeleliste kogemustega. Analuus toetub nimetatud teostele ning lavastuse trupi ja 20 vastuvotjaga labi viidud fookusgrupi intervjuudele. Votmesonad: eesti kirjandus, kehastamine, osavotuteater, retseptsioon ----------- The article explores embodiment as a process of perception, interpretation and co-creation of a literary world from the point of view of producer (director/performer) and receiver (reader/spectator/participant). Estonian classic novel Night of Souls by Karl Ristikivi and the participatory theatre project of the same title by Labyrinth Theatre Group G9 serve as the empirical material of the research. The article compares the literary work with the production and the perceptions of the novel and the production. The analysis relies on a close reading of the novel and on interviews with the producers and 20 spectators. Three forms of embodiment were detected. First, embodiment as a sensuous concretisation of a literary work, through which storyteller’s or main character’s bodily experiences are taken on by the reader/spectator, i.e. gradual immersion into a fictional world and identification with a character takes place. The second form is related to the embodiment of a textual/ fictional world on stage. In theatre theory, embodiment usually only depicts a relationship between a performer and his/her role, but in this article the term denotes materialisation of the whole fictional world. Thus staging is a specific process of perception, interpretation and co-creation that transforms a script into a stage production. The third form of embodiment is characteristic for participatory theatre, where spectators have the possibility to perform somebody in a fictional world or theatre game. The reception research of Night of Souls demonstrated that predominantly the spectators embodied themselves, i.e. a performation of individual existence was realised. Since open participatory theatre works enable receivers to fill gaps with their personal mental and psychical material, spectators interpreted the production either as an artistic environment/world, an exciting role play, a psychotherapeutic trip into personal worlds, or a metaphor for life pilgrimage. Embodiment as a research instrument highlights the embeddedness of body and soul in perception and cognition of an environment/the world. The main character o
Artikkel lahtub teatritaduses popular est ja kirjandustaduses marginaalsest kehastamise（具体化，具体化的体验）moistest vaatleb kirjandu sliku maailma kehastamist kui taju-，tolgendus-ja koosloomeprosession kahel tasandil：lavataja etendaja ja vastuvotja（lugeja/vataja/osaleja）vaatepunkist。Karl Ristikivi eesti kirjanduse klassikasse kuuluv romaan“Hingede oo”（1953）的Naitetosteks ja Laburitteatriuhenduse G9 samanimeline osavotuatri lavatus（2018）一位名叫罗马尼·孔根尼亚塞克斯的女士告诉我们。罗马的熔岩流是一个巨大的熔岩流。分析了20个巨大的火山口的火山口。Votmesonad:eesti kirjandus，kehastamine，osavotuteater，retseptsioon----------------本文从制作人（导演/表演者）和接受者（读者/观众/参与者）的角度探讨了化身作为一个感知、解释和共同创造文学世界的过程。爱沙尼亚古典小说《灵魂之夜》的作者Karl Ristikivi和迷宫剧院集团G9的同名参与式戏剧项目作为研究的实证材料。本文将文学作品与作品进行比较，并对小说与作品的感知进行比较。分析依赖于对小说的细读以及对制片人和20名观众的采访。检测到三种形式的实施方案。首先，体现为文学作品的感性具体化，通过这种具体化，故事讲述者或主角的身体体验被读者/观众接受，即逐渐沉浸在虚构世界中，并与角色产生认同感。第二种形式与文本/虚构世界在舞台上的体现有关。在戏剧理论中，化身通常只描述表演者和他/她的角色之间的关系，但在本文中，这个词表示整个虚构世界的物质化。因此，舞台是一个感知、解读和共同创作的特定过程，将剧本转化为舞台作品。第三种形式的体现是参与式戏剧的特点，观众有可能在虚构的世界或戏剧游戏中表演某人。《灵魂之夜》的接受研究表明，观众主要体现了自己，即个体存在的表演得以实现。由于开放式的参与式戏剧作品使接受者能够用他们的个人心理和心理材料填补空白，观众将这部作品解读为一个艺术环境/世界、一场激动人心的角色扮演、一次进入个人世界的心理治疗之旅，或是人生朝圣的隐喻。化身作为一种研究工具，突出了身体和灵魂在对环境/世界的感知和认知中的嵌入性。《灵魂之夜》的主人公意识到，对奇异物体的分析是不可靠的，尤其是当被记忆或存在空间抓住时。具体化引导角色和读者或观众对（虚构的）世界进行整体感知和认知。关键词：爱沙尼亚文学，体现，互动剧场，接待
{"title":"Kunstiliste maailmade kehastamine Karl Ristikivi „Hingede öö” näitel [Embodiment of Artistic Worlds on the Basis of Karl Ristikivi’s Novel \"Night of Souls\"]","authors":"A. Saro, Hedi-Liis Toome","doi":"10.22601/pet.2019.04.04","DOIUrl":"https://doi.org/10.22601/pet.2019.04.04","url":null,"abstract":"Artikkel lahtub teatriteaduses populaarsest ja kirjandusteaduses marginaalsest kehastamise ( embodiment, embodied experience ) moistest ning vaatleb kirjandusliku maailma kehastamist kui taju-, tolgendus- ja koosloomeprotsessi kahel tasandil: lavastaja-etendaja ja vastuvotja (lugeja/vaataja/osaleja) vaatepunktist. Naiteteosteks on Karl Ristikivi eesti kirjanduse klassikasse kuuluv romaan „Hingede oo“ (1953) ja Laburintteatriuhenduse G9 samanimeline osavotuteatri lavastus (2018), mida vastuvotjad pidasid romaani kongeniaalseks tolgenduseks. Vordleme romaani ja lavastust ning etenduse vastuvotjate tajukogemusi romaani lahilugemisel sundivate meeleliste kogemustega. Analuus toetub nimetatud teostele ning lavastuse trupi ja 20 vastuvotjaga labi viidud fookusgrupi intervjuudele. Votmesonad: eesti kirjandus, kehastamine, osavotuteater, retseptsioon ----------- The article explores embodiment as a process of perception, interpretation and co-creation of a literary world from the point of view of producer (director/performer) and receiver (reader/spectator/participant). Estonian classic novel Night of Souls by Karl Ristikivi and the participatory theatre project of the same title by Labyrinth Theatre Group G9 serve as the empirical material of the research. The article compares the literary work with the production and the perceptions of the novel and the production. The analysis relies on a close reading of the novel and on interviews with the producers and 20 spectators. Three forms of embodiment were detected. First, embodiment as a sensuous concretisation of a literary work, through which storyteller’s or main character’s bodily experiences are taken on by the reader/spectator, i.e. gradual immersion into a fictional world and identification with a character takes place. The second form is related to the embodiment of a textual/ fictional world on stage. In theatre theory, embodiment usually only depicts a relationship between a performer and his/her role, but in this article the term denotes materialisation of the whole fictional world. Thus staging is a specific process of perception, interpretation and co-creation that transforms a script into a stage production. The third form of embodiment is characteristic for participatory theatre, where spectators have the possibility to perform somebody in a fictional world or theatre game. The reception research of Night of Souls demonstrated that predominantly the spectators embodied themselves, i.e. a performation of individual existence was realised. Since open participatory theatre works enable receivers to fill gaps with their personal mental and psychical material, spectators interpreted the production either as an artistic environment/world, an exciting role play, a psychotherapeutic trip into personal worlds, or a metaphor for life pilgrimage. Embodiment as a research instrument highlights the embeddedness of body and soul in perception and cognition of an environment/the world. The main character o","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48046377","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}
Luule ja proosa piirile jaav Gabriel Garcia Marqueze romaan „Patriarhi sugis“ on naide Ladina-Ameerika 1970. aastate diktaatoriromaanist, mis andis uue kirjandusliku nao vanale uhiskondlikule probleemile. Artikkel paigutab koigepealt teose kirjandusloolisesse konteksti, vottes arvesse selle intertekstuaalsust, seost diktatuuriromaani žanri ning ladinaameerika uue ajalooromaaniga. Seejarel keskendub uurimus kusimusele, kuidas sona- ja motiivikordused aitavad moista traditsiooni ja uuenduse suhet romaani struktuuri ja loo tasandil. Kordused, mis lahendavad proosat luulele ja konele, viitavad regulaarsusele, identiteedile ja traditsioonile, aga juhatavad meid ka muutumatuse ja ainutoe kriitikani, kui ilmuvad teisenevas kontekstis voi kui uks teoses korduvaid kusimusi on: kust uldse algab teadmine? Votmesonad: diktaatoriromaan, ladinaameerika uus ajalooromaan, kordus, hispaaniakeelne kirjandus -------------- As a social-protest genre of literature, the Latin American dictator novel has always created a rupture of the discourse that legitimizes an antidemocratic regime or otherwise denies its antidemocratic character. When Garcia Marquez published The Autumn of the Patriarch (written between 1958 and 1975), the tradition of pondering literarily on dictatorships was more than 120 years old. However, it was due to the fact that, in a short time, The Recourse to the Method by Carpentier and I, the Supreme by Roa Bastos also appeared, that researchers started to consider it worthy of study as a genre. That research continues into the present day. As an example of the experimental protest literature of the 1970s, The Autumn of the Patriarch blurs the lines between prose and poetry, delving into the unreliable discourse around a dead despot and his power. First, this article specifies the place of the novel within the literary tradition, taking into account the development of the dictator novel and the Latin American new historical novel, as well as intertextuality. Next, the article, working from the essay Children of the Mire. Modern Poetry from Romanticism to the Avant-Garde (1974) by Paz, focuses on the question of how the repetition of words and situations helps us to understand the relationship between tradition and modernity in Marquez’s book. The repetitions bring prose closer to poetry and oral communication, and refer to continuity, regularity, identity and tradition. However, paradoxically, when the context of these repetitions changes, we are led to a criticism of immutability and of any kind of absolute truth. In the end, the question asked again and again in the book is: Between lies and beliefs, where is the truth to be found? Keywords: dictator novel, Latin American new historical novel, repetition, literature in Spanish language
1970年，加布里埃尔·加西亚·马尔克泽（Gabriel Garcia Marqueze）在Ladina Ameerika出生。作为一名罗马主义者，我和我的朋友们正在讨论这个问题。Artikkel paigutab koigepealt teose kirjanduslaolisse konteksti，vottes arvese selle intertkstualsust，seostdiktatuuriromaanižanri ning ladinaameerika uue ajalooromaaniga。见kusimusele先生，他是一位积极的活动家，也是一位传统的活动家。Kordused，我是一个项目的负责人，我是监管人员，我是传统人士，我是kriitikani的负责人？Votmesonad:diktatoriroman，ladinaameerika uus ajalooromaan，kordus，hispaaniakilene kirjandus----------------作为一种社会抗议文学流派，拉丁美洲独裁者小说总是制造一种话语断裂，使反民主政权合法化或以其他方式否认其反民主特征。当加西亚·马尔克斯出版《牧首的秋天》（写于1958年至1975年）时，对独裁统治进行文学思考的传统已经有120多年的历史了。然而，正是由于在很短的时间内，我和卡彭蒂埃的《诉诸方法》，罗娅·巴斯托斯的《至高无上》也出现了，研究人员开始认为它值得作为一种流派来研究。这项研究一直持续到今天。作为20世纪70年代实验性抗议文学的一个例子，《族长的秋天》模糊了散文和诗歌之间的界限，深入探讨了围绕一个死去的暴君及其权力的不可靠话语。本文首先从独裁者小说和拉丁美洲新历史小说的发展以及互文性的角度，明确了小说在文学传统中的地位。接下来是这篇文章，摘自散文《沼泽中的孩子》。帕兹的《从浪漫主义到先锋花园的现代诗歌》（1974）在马尔克斯的书中着重探讨了词语和情境的重复如何帮助我们理解传统与现代的关系。重复使散文更接近诗歌和口头交流，并指代连续性、规律性、同一性和传统性。然而，矛盾的是，当这些重复的背景发生变化时，我们会受到对不变性和任何绝对真理的批评。最后，书中反复提出的问题是：在谎言和信仰之间，真相在哪里？关键词：独裁者小说，拉丁美洲新历史小说，重复，西班牙语文学
{"title":"García Márqueze „Patriarhi sügis“ traditsiooni ja uuenduse vahel [“The Autumn of the Patriarch” by García Márquez − Between Tradition and Modernity]","authors":"M. Kotta","doi":"10.22601/pet.2019.04.06","DOIUrl":"https://doi.org/10.22601/pet.2019.04.06","url":null,"abstract":"Luule ja proosa piirile jaav Gabriel Garcia Marqueze romaan „Patriarhi sugis“ on naide Ladina-Ameerika 1970. aastate diktaatoriromaanist, mis andis uue kirjandusliku nao vanale uhiskondlikule probleemile. Artikkel paigutab koigepealt teose kirjandusloolisesse konteksti, vottes arvesse selle intertekstuaalsust, seost diktatuuriromaani žanri ning ladinaameerika uue ajalooromaaniga. Seejarel keskendub uurimus kusimusele, kuidas sona- ja motiivikordused aitavad moista traditsiooni ja uuenduse suhet romaani struktuuri ja loo tasandil. Kordused, mis lahendavad proosat luulele ja konele, viitavad regulaarsusele, identiteedile ja traditsioonile, aga juhatavad meid ka muutumatuse ja ainutoe kriitikani, kui ilmuvad teisenevas kontekstis voi kui uks teoses korduvaid kusimusi on: kust uldse algab teadmine? Votmesonad: diktaatoriromaan, ladinaameerika uus ajalooromaan, kordus, hispaaniakeelne kirjandus -------------- As a social-protest genre of literature, the Latin American dictator novel has always created a rupture of the discourse that legitimizes an antidemocratic regime or otherwise denies its antidemocratic character. When Garcia Marquez published The Autumn of the Patriarch (written between 1958 and 1975), the tradition of pondering literarily on dictatorships was more than 120 years old. However, it was due to the fact that, in a short time, The Recourse to the Method by Carpentier and I, the Supreme by Roa Bastos also appeared, that researchers started to consider it worthy of study as a genre. That research continues into the present day. As an example of the experimental protest literature of the 1970s, The Autumn of the Patriarch blurs the lines between prose and poetry, delving into the unreliable discourse around a dead despot and his power. First, this article specifies the place of the novel within the literary tradition, taking into account the development of the dictator novel and the Latin American new historical novel, as well as intertextuality. Next, the article, working from the essay Children of the Mire. Modern Poetry from Romanticism to the Avant-Garde (1974) by Paz, focuses on the question of how the repetition of words and situations helps us to understand the relationship between tradition and modernity in Marquez’s book. The repetitions bring prose closer to poetry and oral communication, and refer to continuity, regularity, identity and tradition. However, paradoxically, when the context of these repetitions changes, we are led to a criticism of immutability and of any kind of absolute truth. In the end, the question asked again and again in the book is: Between lies and beliefs, where is the truth to be found? Keywords: dictator novel, Latin American new historical novel, repetition, literature in Spanish language","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46863212","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}
Artikkel vaatleb modernismi ja traditsiooni kohtumist eestikeelses sonetis. Sonetti nimetatakse kirjandusteaduses sageli traditsiooniliseks vormiks, ometi on see laane kirjanduses luulemurrangute ajal esile kerkinud olulise poeetilise ruumina, milles neid uuendusi labi viiakse: asi on selles, et traditsiooni enda sees tulevad modernistlikud nihked kontrastselt esile, olgu tegu uutlaadi subjekti ja maailmapildi voi varsi-, riimi- voi keeleuundusega. Eesti sonetti joudis modernism 1905. aastal, kuid mingit eesti soneti traditsiooni ei olnud selleks ajaks veel valja kujunenud. Nii seisid siinsed modernistid silmitsi kahetise ulesandega: luues uhte traditsiooni, uuendasid nad eesti luulekeelt laiemalt. Modernismi ja traditsiooni duaalne loomus ilmneb ka Underi sonettides, mis korraga tekitasid katkestuse petrarkistlikusse traditsiooni ja panid aluse eesti lembesonettide traditsioonile. Noored luulekultuurid, nagu eesti oma, olid eelmisel sajandil huvitavas positsioonis: naeme, kuidas eesti sonett ning laiemalt terve siinne luule ei tegelenud 20. sajandil mitte uksnes modernistlike ja kaasaegsete kusimuste, teemade ja žanridega, vaid ka vanade luulekultuuride sajanditepikkuste traditsioonide tutvustamise ja arendamisega. Artiklis jareldatakse, et traditsiooni ja modernismi ei saa kasitleda kui midagi etteantut, vaid kui pidevalt ajas muutuva piiriga ja vastastikku defineeritavaid nahtusi, mistottu nouavad need historistlikumat lahenemist. See tuleb eriti esile eesti soneti puhul, kus arhaism ja novaatorlus on kainud kasikaes. Votmesonad: traditsiooniline luulevorm, modernistlik sonett, eesti luule, kirjanduslik perspektivism, petrarkism ---------------- The sonnet, like other forms of poetry that follow prescribed formal patterns, is also referred to as a classic or traditional poetic form. Nevertheless, during the periods of great changes in the poetic discourse, this traditional form has gained significant importance. It emerged during the modernist and vanguard era both in the age-old European poetic cultures and also in newer literary cultures like that in Estonia. There are two main reasons for this. The first lies in the strict rules of the sonnet, as every rule offers the possibility to bend it or even break it entirely. The other reason is in its vast popularity – from its birth in the 13th century, the Sicily sonnet has become the most often used prescribed poetic form in Western literature, and has given rise to many new poetic traditions and subgenres. The modernist schools of poetry have adopted this centuries-old and powerful symbol of traditional poetry to showcase within it their fresh ideas, subjectivity and renewed poetic devices. Thusly the tradition has been altered or even deconstructed within the tradition itself. The situation was, however, completely different in Estonian literature. The first Estonian-language sonnets were published in 1881 and by the time the first modernist sonnets emerged in Estonia in 1905 the Estonian sonn
{"title":"Traditsioonist ja modernismist eesti sonetis [Modernism and Tradition in the Estonian Sonnet]","authors":"Rebekka Lotman","doi":"10.22601/pet.2019.04.01","DOIUrl":"https://doi.org/10.22601/pet.2019.04.01","url":null,"abstract":"Artikkel vaatleb modernismi ja traditsiooni kohtumist eestikeelses sonetis. Sonetti nimetatakse kirjandusteaduses sageli traditsiooniliseks vormiks, ometi on see laane kirjanduses luulemurrangute ajal esile kerkinud olulise poeetilise ruumina, milles neid uuendusi labi viiakse: asi on selles, et traditsiooni enda sees tulevad modernistlikud nihked kontrastselt esile, olgu tegu uutlaadi subjekti ja maailmapildi voi varsi-, riimi- voi keeleuundusega. Eesti sonetti joudis modernism 1905. aastal, kuid mingit eesti soneti traditsiooni ei olnud selleks ajaks veel valja kujunenud. Nii seisid siinsed modernistid silmitsi kahetise ulesandega: luues uhte traditsiooni, uuendasid nad eesti luulekeelt laiemalt. Modernismi ja traditsiooni duaalne loomus ilmneb ka Underi sonettides, mis korraga tekitasid katkestuse petrarkistlikusse traditsiooni ja panid aluse eesti lembesonettide traditsioonile. Noored luulekultuurid, nagu eesti oma, olid eelmisel sajandil huvitavas positsioonis: naeme, kuidas eesti sonett ning laiemalt terve siinne luule ei tegelenud 20. sajandil mitte uksnes modernistlike ja kaasaegsete kusimuste, teemade ja žanridega, vaid ka vanade luulekultuuride sajanditepikkuste traditsioonide tutvustamise ja arendamisega. Artiklis jareldatakse, et traditsiooni ja modernismi ei saa kasitleda kui midagi etteantut, vaid kui pidevalt ajas muutuva piiriga ja vastastikku defineeritavaid nahtusi, mistottu nouavad need historistlikumat lahenemist. See tuleb eriti esile eesti soneti puhul, kus arhaism ja novaatorlus on kainud kasikaes. Votmesonad: traditsiooniline luulevorm, modernistlik sonett, eesti luule, kirjanduslik perspektivism, petrarkism ---------------- The sonnet, like other forms of poetry that follow prescribed formal patterns, is also referred to as a classic or traditional poetic form. Nevertheless, during the periods of great changes in the poetic discourse, this traditional form has gained significant importance. It emerged during the modernist and vanguard era both in the age-old European poetic cultures and also in newer literary cultures like that in Estonia. There are two main reasons for this. The first lies in the strict rules of the sonnet, as every rule offers the possibility to bend it or even break it entirely. The other reason is in its vast popularity – from its birth in the 13th century, the Sicily sonnet has become the most often used prescribed poetic form in Western literature, and has given rise to many new poetic traditions and subgenres. The modernist schools of poetry have adopted this centuries-old and powerful symbol of traditional poetry to showcase within it their fresh ideas, subjectivity and renewed poetic devices. Thusly the tradition has been altered or even deconstructed within the tradition itself. The situation was, however, completely different in Estonian literature. The first Estonian-language sonnets were published in 1881 and by the time the first modernist sonnets emerged in Estonia in 1905 the Estonian sonn","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44821071","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}
Ajalooline naidend voimaldab end žanrina erinevalt tolgendada – nii sužeepohise rekonstruktsiooni kui ka kaasaegse allegooriana. 1960.–1970. aastate eesti draamas kasutasid mitmed autorid umberutleva moistukone vormi, et kasitleda teemasid, mille otsene valjendamine olnuks keeruline voi isegi voimatu. Uht kujukamat naidet pakub siin Jaan Kaplinski draama „Neljakuningapaev“, milles 1343. aasta Jurioo ulestousu sundmused on asetatud kaasaegse suvilapeo konteksti. Tekkinud paralleel osutus sedavord konekaks, et naidendi esmalavastus Tallinna Draamateatris 1977. aastal peaaegu maha vaikiti ning sisuliselt isegi keelustati. Kumme aastat hiljem Eesti NSV Riiklikus Noorsooteatris lavale joudnud „Neljakuningapaeva“ uustolgendus, mis lahtus uksnes valisest sundmusekujutusest, ei omandanud aga esmalavastusele ligilahedastki tahendust. Seega eeldab ajalooline muudidraama tolgendajatelt nii allegooriale sobivat kunstilist nagemust kui ka selle kontseptuaalselt veenvat lahtimotestamist. Votmesonad: muudidraama, Jurioo ulestous, Jaan Kaplinski, ajalooline muut, allegooriline draama ----------- This paper examines the phenomenon of historical myth, presented in the form of a piece of theatre. Jaan Kaplinski’s historical and allegorical drama Day of the Four Kings is presented as a prime example. The play is based on a well-known historical event, namely the brutal murder of ancient Estonian chiefs by German conquerors during the rebellion of 1343 (St. George’s Night Rebellion). As Estonian theatre researcher Piret Kruuspere has noted, during the 1970s, re-tellings of national history on the Estonian theatre stage were clothed in metaphors, allusions and secret codes – Aesopian language. In addition to this secret code, the author of Day of the Four Kings used a kind of doubling, placing historical events into the setting of a contemporary house party. This change of perspective causes some degree of alienation as well as amplifies the essential allegorical message of the drama. Representing the real run of historical events, the play is effectively communicating with a contemporary audience, dealing with the problems and themes closely connected with contemporary society. In addition to its allegorical meaning, the play underlines the importance of maintaining ethnical and archaic values and warns against sacrificing these in return for short-time utilitarian purposes. The allegory of the play was even too obvious, so that the first production of the play (in 1977) was practically banned by the official powers of Soviet Estonia. Contrary to the first stage performance of the play, the second attempt – which took place a decade later – was an unfortunate example of the disappearance of the mythical dimension of the drama. This kind of poor production was no longer able to overcome the historical-cultural and national psychological contradictions inherent in the play. The analysis is mainly based on reviews of the play from the period as well as the social and c
Ajaoloine naidend voimaldab endžanrina erinevalt tolgendada–nii sužeepohise rekonstruktsiooni kui ka kaasaegse allegouriana。1960年至1970年。国家行政院院长卡苏塔希德（kasutasid mitmed autorid numberutleva moitukone vormi）和院长蒂梅塞德（kasitleda teemasid）、院长瓦尔詹达米恩·奥尔努克斯（mille otsene valjendamine olnuks keeruline voi isegi voimatu）。在1343年出版的《Neljakuningapaev》中。尤里奥奥·乌列斯托乌苏在一次技术会议上发表了讲话。Tekkinud paralleel osutus sedavord konekaks和naidendi esmalastus Tallinna Draamateatris 1977。这是一个很好的例子。Kumme aastat hiljem Eesti NSV Riiklikus Noorsoteatris lavale joudnud“Neljakuninagapaeva”“uustolgendus，mis lahtus uksnes validsest sundmusekujutust，ei omandanud aga esmalavastusele ligilahedastki tahendust。Seega eeldab ajalooline muudidraama tolgendajatt nii allegouriale sobivat kunstist managemust kui ka selle kontseptuaalselt veenvat lahtimotestamist。Votmesonad：muudidrarama，Jurioo ulestous，Jaan Kaplinski，ajaloolin muut，allegourine draama----------------这篇论文考试以戏剧形式呈现的历史神话现象。Jaan Kaplinski的历史寓言剧《四王之日》就是一个典型的例子。该剧根据一个著名的历史事件改编，即1343年叛乱（圣乔治之夜叛乱）期间，德国征服者残忍地谋杀了古代爱沙尼亚酋长。正如爱沙尼亚戏剧研究人员Piret Kruspere所指出的那样，在20世纪70年代，在爱沙尼亚戏剧舞台上讲述国家历史充斥着隐喻、典故和暗号——伊索语。除了这个密码，《四王之日》的作者还使用了一种加倍的方式，将历史事件置于当代家庭聚会的背景中。这种视角的变化导致了某种程度的异化，也放大了戏剧的基本寓言信息。该剧再现了历史事件的真实运行，有效地与当代观众交流，处理与当代社会密切相关的问题和主题。除了寓言意义外，该剧还强调了维护种族和古老价值观的重要性，并警告不要为了短期的功利目的而牺牲这些价值观。该剧的寓言性甚至过于明显，以至于该剧的第一部作品（1977年）实际上被苏联爱沙尼亚的官方权力所禁止。与该剧的第一阶段表演相反，第二次尝试——发生在十年后——是该剧神话维度消失的一个不幸例子。这种拙劣的制作已经无法克服剧中固有的历史文化和民族心理矛盾。分析主要基于对这一时期戏剧的回顾，以及戏剧版本上演时存在的社会和文化条件。很容易得出这样的结论：在这类舞台剧的制作过程中，强调各种典故和寓言隐喻远比简单地遵循外部情节的形式发展更有成效。如果神话的维度消失了，这部剧的信息就失去了本质意义。关键词：神话、神话剧、圣乔治之夜起义、贾安·卡普林斯基、历史神话、民族神话、解构、寓言剧
{"title":"Ajalooline müüt Jaan Kaplinski draamas „Neljakuningapäev“ [Historical Myth in Jaan Kaplinski’s \"Day of the Four Kings\"]","authors":"Paavo Põldmäe","doi":"10.22601/pet.2019.04.05","DOIUrl":"https://doi.org/10.22601/pet.2019.04.05","url":null,"abstract":"Ajalooline naidend voimaldab end žanrina erinevalt tolgendada – nii sužeepohise rekonstruktsiooni kui ka kaasaegse allegooriana. 1960.–1970. aastate eesti draamas kasutasid mitmed autorid umberutleva moistukone vormi, et kasitleda teemasid, mille otsene valjendamine olnuks keeruline voi isegi voimatu. Uht kujukamat naidet pakub siin Jaan Kaplinski draama „Neljakuningapaev“, milles 1343. aasta Jurioo ulestousu sundmused on asetatud kaasaegse suvilapeo konteksti. Tekkinud paralleel osutus sedavord konekaks, et naidendi esmalavastus Tallinna Draamateatris 1977. aastal peaaegu maha vaikiti ning sisuliselt isegi keelustati. Kumme aastat hiljem Eesti NSV Riiklikus Noorsooteatris lavale joudnud „Neljakuningapaeva“ uustolgendus, mis lahtus uksnes valisest sundmusekujutusest, ei omandanud aga esmalavastusele ligilahedastki tahendust. Seega eeldab ajalooline muudidraama tolgendajatelt nii allegooriale sobivat kunstilist nagemust kui ka selle kontseptuaalselt veenvat lahtimotestamist. Votmesonad: muudidraama, Jurioo ulestous, Jaan Kaplinski, ajalooline muut, allegooriline draama ----------- This paper examines the phenomenon of historical myth, presented in the form of a piece of theatre. Jaan Kaplinski’s historical and allegorical drama Day of the Four Kings is presented as a prime example. The play is based on a well-known historical event, namely the brutal murder of ancient Estonian chiefs by German conquerors during the rebellion of 1343 (St. George’s Night Rebellion). As Estonian theatre researcher Piret Kruuspere has noted, during the 1970s, re-tellings of national history on the Estonian theatre stage were clothed in metaphors, allusions and secret codes – Aesopian language. In addition to this secret code, the author of Day of the Four Kings used a kind of doubling, placing historical events into the setting of a contemporary house party. This change of perspective causes some degree of alienation as well as amplifies the essential allegorical message of the drama. Representing the real run of historical events, the play is effectively communicating with a contemporary audience, dealing with the problems and themes closely connected with contemporary society. In addition to its allegorical meaning, the play underlines the importance of maintaining ethnical and archaic values and warns against sacrificing these in return for short-time utilitarian purposes. The allegory of the play was even too obvious, so that the first production of the play (in 1977) was practically banned by the official powers of Soviet Estonia. Contrary to the first stage performance of the play, the second attempt – which took place a decade later – was an unfortunate example of the disappearance of the mythical dimension of the drama. This kind of poor production was no longer able to overcome the historical-cultural and national psychological contradictions inherent in the play. The analysis is mainly based on reviews of the play from the period as well as the social and c","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41375097","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}
Artiklis tutvustatakse kaht traditsiooni, mis kujunesid eesti uldhariduskooli vanemate astmete kirjandusopetuses 20. sajandil. Esimene neist on tava kasitleda kirjandust kahe eraldi valdkonnana, millest uks on eesti kirjandus, teine holmab muude rahvaste kirjandusi. Teine traditsioon puudutab oppesisu, opitegevuste ja -valjundite laadi. Uldhariduses on kaua olnud esiplaanil ajaloolis eluloolised kasitlused kirjanduse kohta ning jaanud valja kujunemata susteemne opetus iseseisvast toost kirjandustekstidega. Artikli viimases osas vaadeldakse 21. sajandi alguse oppekavaarenduses esile kerkinud noudeid neid traditsioone muuta ja tasakaalustada ning arutletakse selle ule, milliseid ulesandeid need nouded nuudisaegse kirjandusopetuse ja kirjandusteaduse ette seavad. Votmesonad: kirjandusopetus, oppekavaarendus, kirjanduslugu, eesti kirjandus, maailmakirjandus --------- The paper discusses two traditions that developed in the Estonian literary pedagogy of the twentieth century. The first one concerns the structure of the subject matter. Literature was taught as two separate sub-disciplines, one of them being Estonian literature and the other covering other literatures using varying terms. The composition of this other field of study has varied over time. The early focus on the Western canon, with a diversifying preference for neighbour literatures as well as other Finno-Ugric literatures, was fueled by the national romanticist ideology. It was then forcibly replaced by a strong priority for Russian literature and other Soviet literatures during the Soviet occupation. This shift was in turn in the 1990s followed by restoration of former priorities and updating of the learning content. The second tradition is that of a strong preference for bio-historicist narratives as learning content. This tradition was inspired by the early twentieth-century literary scholarship and was necessitated by the conditions of the Estonian literary field at the time: a relative lack of available translations and the general public’s limited literary education. Focusing on narratives of literary history created a tendency to perceive literature as a field of positivist knowledge instead of interpretive competences and activities. The Soviet literary pedagogy perpetuated that tendency. Finally, the paper describes the efforts of the twenty-first-century curriculum development that aims to change these two traditions. The goal is to introduce an integral view of literature, and to develop teaching of interpretive skills and critical reading. These elements have so far depended mostly on individual teachers’ efforts, without sufficient systematic support from literary scholarship in the form of adequately adapted skillsets. It is important that the academic discipline renew its own perspectives in order to contribute to the development of such skillsets for general education. Keywords: literary pedagogy, curriculum development, literary history, Estonian literature, world litera
Artiklis tuttvustatakse kaht traditsiooni，mis kujunesid eesti uldhariduskooli vanemate astmete kirjandusopetus 20。萨詹迪尔。埃斯梅内·奈斯特（Esimene neist on tava kasitleda kirjandust kahe geradi valdkonnana），米尔斯特·尤克斯（millest uks on eesti kirjandus），泰恩·霍马布·穆德·拉赫瓦斯特·基尔詹杜西（teine holmab muude rahvaste kirjandusi）。在传统的反对意见中，反对意见是有价值的。Uldhariduses on kaua olnud esiplaanil ajaloolis eluloulized kasitlused kirjanduse kohta ning jaanud valja kujunemata susteemne opetus isesvast too kirjandstustekstidega。Artikli viimases osas vaadeldakse 21。这是一个很好的解决方案，因为它是一个传统的解决方案。Votmesonad:kirjandusopetus，oppekavaarendus，kirjanduslugu，eesti kirjandus，maailmakirjandus--------本文讨论了二十世纪爱沙尼亚文学教育学中发展起来的两种传统。第一个问题涉及主题的结构。文学是作为两个独立的子学科来教授的，其中一个是爱沙尼亚文学，另一个涵盖了使用不同术语的其他文学。另一个研究领域的组成随着时间的推移而变化。早期对西方正典的关注，以及对邻国文学和其他芬诺-乌戈尔文学的多样化偏好，是由国家浪漫主义意识形态推动的。在苏联占领期间，它被俄罗斯文学和其他苏联文学的强烈优先权所取代。这种转变反过来发生在20世纪90年代，随后恢复了以前的优先事项并更新了学习内容。第二个传统是强烈倾向于将生物历史主义叙事作为学习内容。这一传统受到20世纪初文学学术的启发，也是当时爱沙尼亚文学领域的条件所必需的：相对缺乏可用的翻译，公众的文学教育有限。对文学史叙事的关注产生了一种倾向，即将文学视为实证主义知识的领域，而不是解释能力和活动。苏联的文学教育法使这种倾向长期存在。最后，本文描述了21世纪课程开发旨在改变这两种传统的努力。目标是引入一种完整的文学观，并发展解释技能和批判性阅读的教学。到目前为止，这些要素主要取决于教师个人的努力，而没有文学学术以适当调整的技能形式提供足够的系统支持。重要的是，学术学科要更新自己的观点，以促进普通教育技能的发展。关键词：文学教育学、课程开发、文学史、爱沙尼亚文学、世界文学
{"title":"Traditsioon ja avangard eesti kirjandusõpetuse kujunemisloos [Tradition and Avant-garde in the Development of Estonian Literary Pedagogy]","authors":"Katre Talviste","doi":"10.22601/pet.2019.04.02","DOIUrl":"https://doi.org/10.22601/pet.2019.04.02","url":null,"abstract":"Artiklis tutvustatakse kaht traditsiooni, mis kujunesid eesti uldhariduskooli vanemate astmete kirjandusopetuses 20. sajandil. Esimene neist on tava kasitleda kirjandust kahe eraldi valdkonnana, millest uks on eesti kirjandus, teine holmab muude rahvaste kirjandusi. Teine traditsioon puudutab oppesisu, opitegevuste ja -valjundite laadi. Uldhariduses on kaua olnud esiplaanil ajaloolis eluloolised kasitlused kirjanduse kohta ning jaanud valja kujunemata susteemne opetus iseseisvast toost kirjandustekstidega. Artikli viimases osas vaadeldakse 21. sajandi alguse oppekavaarenduses esile kerkinud noudeid neid traditsioone muuta ja tasakaalustada ning arutletakse selle ule, milliseid ulesandeid need nouded nuudisaegse kirjandusopetuse ja kirjandusteaduse ette seavad. Votmesonad: kirjandusopetus, oppekavaarendus, kirjanduslugu, eesti kirjandus, maailmakirjandus --------- The paper discusses two traditions that developed in the Estonian literary pedagogy of the twentieth century. The first one concerns the structure of the subject matter. Literature was taught as two separate sub-disciplines, one of them being Estonian literature and the other covering other literatures using varying terms. The composition of this other field of study has varied over time. The early focus on the Western canon, with a diversifying preference for neighbour literatures as well as other Finno-Ugric literatures, was fueled by the national romanticist ideology. It was then forcibly replaced by a strong priority for Russian literature and other Soviet literatures during the Soviet occupation. This shift was in turn in the 1990s followed by restoration of former priorities and updating of the learning content. The second tradition is that of a strong preference for bio-historicist narratives as learning content. This tradition was inspired by the early twentieth-century literary scholarship and was necessitated by the conditions of the Estonian literary field at the time: a relative lack of available translations and the general public’s limited literary education. Focusing on narratives of literary history created a tendency to perceive literature as a field of positivist knowledge instead of interpretive competences and activities. The Soviet literary pedagogy perpetuated that tendency. Finally, the paper describes the efforts of the twenty-first-century curriculum development that aims to change these two traditions. The goal is to introduce an integral view of literature, and to develop teaching of interpretive skills and critical reading. These elements have so far depended mostly on individual teachers’ efforts, without sufficient systematic support from literary scholarship in the form of adequately adapted skillsets. It is important that the academic discipline renew its own perspectives in order to contribute to the development of such skillsets for general education. Keywords: literary pedagogy, curriculum development, literary history, Estonian literature, world litera","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43049055","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}
The present paper describes the literary field in Tallinn in the early modern period, specifically the early 1630s. It was a time when several cultural innovations reached this region (via social carriers as well as via the book trade). Hereby, the professors of the newly founded gymnasium (1631) played a crucial role. Thanks to these scholars completely new genres (such as the autobiography) are documented. Furthermore, new core texts were introduced, which had a huge impact on further cultural developments in Tallinn and in Northern Estonia: the formation of German-language (occasional) poetry and the emergence of Estonian-language literary culture. Keywords: early modern era, 17th century, Tallinn gymnasium, Germanlanguage casual poetry, early Estonian-language literature, autobiography, Timotheus Polus, Reiner Brockmann, David Gallus -------- Kaesolev artikkel kasitleb kultuurimuudatusi Tallinna ja Pohja-Eesti kultuurivaljal varasel uusajal, tapsemalt 1630. aastate esimesel poolel. Kuigi majaduslikult pigem vilets, oli see aeg murranguline piirkonna kultuurielus. Nimelt saabus siia sel ajal hulgaliselt pogenikke peamiselt Pohja- Saksamaalt, kes pogenesid Euroopas mollava Kolmekumneaastase soja eest keeleliselt-kultuuriliselt lahedasse paika. Koos pogenikega saabusid ka uued, varsked ideed ning kultuurilised tuvitekstid, mis said maaravaks jargnevate aastate kultuuriliste arengute kujundamisel. Eraldi tuleks valja tuua 1631. aastal asutatud Tallinna Gumnaasiumi, mille professorid loid tanu hariduslikele uuendustele soodsa pinna moodsate ideede levikuks. Poeesiaprofessor ning tuntud luuletaja Paul Flemingi sober Timotheus Polus oli esimene, kes tutvustas Tallinnas Martin Opitzi poeetilist programmi, kasutas seda oma oppetoos ning pani seelabi aluse korgsaksakeelse kirjanduskeele tekkele ja levikule. Barokiaegse kirjanduse populaarsus ning olulisus ja tihedad kultuurilised sidemed Pohja-Saksamaaga kajastuvad ka Tallinna raamatukogudes, mis veel sada aastat hiljem sisaldasid hulgaliselt teoseid tollest perioodist (nt Paul Flemingi luulekogusid). Gumnaasiumi kantor David Gallus koostas teadaolevalt esimese autobiograafia siinses kultuuriruumis. Tanu kreeka keele professori Reiner Brockmanni aktiivsele tegevusele eestikeelsete kirikutekstide koostajana ning esimeste eestikeelsete juhuluuletuste loojana voime raakida sellest perioodist ka kui eestikeelse kirjanduse koidikust. Votmesonad: varane uusaeg, 17. sajand, Tallinna gumnaasium, saksakeelne juhuluule, varane eestikeelne kirjandus, autobiograafia, Timotheus Polus, Reiner Brockmann, David Gallus
{"title":"On Cultural Contacts and their Impact on Literature in Tallinn in the Early 17th Century [Kultuurikontaktidest ja nende mõjust Tallinna kirjandusväljale 17. sajandi alguses]","authors":"Aigi Heero","doi":"10.22601/pet.2019.04.07","DOIUrl":"https://doi.org/10.22601/pet.2019.04.07","url":null,"abstract":"The present paper describes the literary field in Tallinn in the early modern period, specifically the early 1630s. It was a time when several cultural innovations reached this region (via social carriers as well as via the book trade). Hereby, the professors of the newly founded gymnasium (1631) played a crucial role. Thanks to these scholars completely new genres (such as the autobiography) are documented. Furthermore, new core texts were introduced, which had a huge impact on further cultural developments in Tallinn and in Northern Estonia: the formation of German-language (occasional) poetry and the emergence of Estonian-language literary culture. Keywords: early modern era, 17th century, Tallinn gymnasium, Germanlanguage casual poetry, early Estonian-language literature, autobiography, Timotheus Polus, Reiner Brockmann, David Gallus -------- Kaesolev artikkel kasitleb kultuurimuudatusi Tallinna ja Pohja-Eesti kultuurivaljal varasel uusajal, tapsemalt 1630. aastate esimesel poolel. Kuigi majaduslikult pigem vilets, oli see aeg murranguline piirkonna kultuurielus. Nimelt saabus siia sel ajal hulgaliselt pogenikke peamiselt Pohja- Saksamaalt, kes pogenesid Euroopas mollava Kolmekumneaastase soja eest keeleliselt-kultuuriliselt lahedasse paika. Koos pogenikega saabusid ka uued, varsked ideed ning kultuurilised tuvitekstid, mis said maaravaks jargnevate aastate kultuuriliste arengute kujundamisel. Eraldi tuleks valja tuua 1631. aastal asutatud Tallinna Gumnaasiumi, mille professorid loid tanu hariduslikele uuendustele soodsa pinna moodsate ideede levikuks. Poeesiaprofessor ning tuntud luuletaja Paul Flemingi sober Timotheus Polus oli esimene, kes tutvustas Tallinnas Martin Opitzi poeetilist programmi, kasutas seda oma oppetoos ning pani seelabi aluse korgsaksakeelse kirjanduskeele tekkele ja levikule. Barokiaegse kirjanduse populaarsus ning olulisus ja tihedad kultuurilised sidemed Pohja-Saksamaaga kajastuvad ka Tallinna raamatukogudes, mis veel sada aastat hiljem sisaldasid hulgaliselt teoseid tollest perioodist (nt Paul Flemingi luulekogusid). Gumnaasiumi kantor David Gallus koostas teadaolevalt esimese autobiograafia siinses kultuuriruumis. Tanu kreeka keele professori Reiner Brockmanni aktiivsele tegevusele eestikeelsete kirikutekstide koostajana ning esimeste eestikeelsete juhuluuletuste loojana voime raakida sellest perioodist ka kui eestikeelse kirjanduse koidikust. Votmesonad: varane uusaeg, 17. sajand, Tallinna gumnaasium, saksakeelne juhuluule, varane eestikeelne kirjandus, autobiograafia, Timotheus Polus, Reiner Brockmann, David Gallus","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46054083","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}
{"title":"Traditsioon ja avangard: lisandusi 1990. aastate kirjandusmuutustele [Tradition and Avant-garde: Some Additions to Literary Changes in the 1990s]","authors":"Piret Viires","doi":"10.22601/pet.2019.04.03","DOIUrl":"https://doi.org/10.22601/pet.2019.04.03","url":null,"abstract":"","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68228774","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}
Mõistepaari traditsioon – avangard on kultuuri arenguprotsesside käsiteludes laialt kasutatud; nende keerukate omavaheliste suhete ja vastastikmõjude kaudu on võimalik kunstide arengudünaamikat teljestada ja analüüsile allutada.1 Hiljemalt renessansist alates on traditsiooni ja uuenduse suhted olnud kultuurikriitiliste vaidluste teemaks, kuna tegemist ei ole mitte neutraalselt kirjeldavate, vaid ideoloogiliselt laetud mõistetega, mille abil väärtustatakse kunsti nähtusi. Arvukaid selleteemalisi uurimusi vaadeldes torkab aga silma teatav asümmeetria – avangardist kirjutatakse sootuks roh kem kui traditsioonist. Traditsioon tundub sageli olevat nimetatud mõistepaari justkui iseendast mõistetav osapool, mille najal tegel dakse põhiliselt ikka avangardi problemaatikaga. Ka eesti kirjan dusteaduse vallast on nimetada ennekõike Tiit Hennoste mahukas monograafia „Eesti kirjanduslik avangard 20. sajandi algul. Hüp ped modernismi poole I“ (2016). Niisiis on asjakohane küsida, mida mõistetakse kirjandusliku traditsiooni all. Sõna traditsioon pärineb ladina keelest: trāditio tähendab üle või edasiandmist, osutades seega protsesside jätkuvusele, pidevu sele. Esinduslikus Metzleri kirjandus ja kultuuriteooria leksiko nis (Metzler 2001: 641) defineeritakse traditsiooni väljakujunenu, pärimusliku, harjumuslikuks saanu kaudu ning osutatakse sellele, et traditsioonist räägitakse enamasti vastandmõistete, nagu (tradit siooni) uuendus, katkestus, murrang abil. Traditsioon on midagi vana, püsivat ja stabiilset, mis seatakse vastu millelegi uudsele, moodsale ja lühiajalisele. Traditsioon sünnib matkimise, kordamise ja kinnistamise tulemusel ning vastandub tavapärasest (normist)
{"title":"Traditsioon ja avangard kirjanduses","authors":"Luule Epner, Ave Mattheus, Piret Viires","doi":"10.22601/pet.2019.04.00","DOIUrl":"https://doi.org/10.22601/pet.2019.04.00","url":null,"abstract":"Mõistepaari traditsioon – avangard on kultuuri arenguprotsesside käsiteludes laialt kasutatud; nende keerukate omavaheliste suhete ja vastastikmõjude kaudu on võimalik kunstide arengudünaamikat teljestada ja analüüsile allutada.1 Hiljemalt renessansist alates on traditsiooni ja uuenduse suhted olnud kultuurikriitiliste vaidluste teemaks, kuna tegemist ei ole mitte neutraalselt kirjeldavate, vaid ideoloogiliselt laetud mõistetega, mille abil väärtustatakse kunsti nähtusi. Arvukaid selleteemalisi uurimusi vaadeldes torkab aga silma teatav asümmeetria – avangardist kirjutatakse sootuks roh kem kui traditsioonist. Traditsioon tundub sageli olevat nimetatud mõistepaari justkui iseendast mõistetav osapool, mille najal tegel dakse põhiliselt ikka avangardi problemaatikaga. Ka eesti kirjan dusteaduse vallast on nimetada ennekõike Tiit Hennoste mahukas monograafia „Eesti kirjanduslik avangard 20. sajandi algul. Hüp ped modernismi poole I“ (2016). Niisiis on asjakohane küsida, mida mõistetakse kirjandusliku traditsiooni all. Sõna traditsioon pärineb ladina keelest: trāditio tähendab üle või edasiandmist, osutades seega protsesside jätkuvusele, pidevu sele. Esinduslikus Metzleri kirjandus ja kultuuriteooria leksiko nis (Metzler 2001: 641) defineeritakse traditsiooni väljakujunenu, pärimusliku, harjumuslikuks saanu kaudu ning osutatakse sellele, et traditsioonist räägitakse enamasti vastandmõistete, nagu (tradit siooni) uuendus, katkestus, murrang abil. Traditsioon on midagi vana, püsivat ja stabiilset, mis seatakse vastu millelegi uudsele, moodsale ja lühiajalisele. Traditsioon sünnib matkimise, kordamise ja kinnistamise tulemusel ning vastandub tavapärasest (normist)","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68229224","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：