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Journal articles on the topic 'Art, Estonian'
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1
Sibul, Mari. "The Fine Arts Information Centre of the National Library of Estonia." Art Libraries Journal 26, no. 1 (2001): 12–15. http://dx.doi.org/10.1017/s0307472200011986.
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Key to the provision of art information in Estonia is the National Library’s Fine Arts Information Centre, offering services to some 60,000 visitors each year as well as producing the national bibliographic databases of maps, posters, postcards, sound recordings and sheet music. But co-operation with other major art libraries in Estonia is also flourishing, beginning with the selection of new material for the art and architectural history collections in consultation with scholars in other arts organizations, and culminating in 1999 in the foundation of the Estonian Art Libraries Society. This year, Estonian Book Year, marking the 475th anniversary of the very first known Estonian book, seems an excellent opportunity to describe what is happening in art librarianship in this country.
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Martynova, D. O. "“Hysterical” Bodies in Contemporary Art of Estonia." Art & Culture Studies, no. 2 (June 2021): 322–43. http://dx.doi.org/10.51678/2226-0072-2021-2-322-343.
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After 1991, the proclaimed Second Republic of Estonia restores individual freedoms, which leads to the problems of individualism, personal borders, transgressive behavior, identity, equality and corporeality in Estonian art after the 1990s. In this article, the author will examine the works of key Estonian contemporary artists who address the problems of identity crisis and “split personality”, which are so characteristic of modern Estonia, where issues of cultural memory, national identity and disciplinary authority are acutely relevant. Marge Monko and Liina Siib analyze the construct of “femininity” and various female cliché images through the sociocultural phenomenon of hysteria. As a result, the author comes to the conclusion that in the context of the identity crisis that reigns in modern Estonian society due to historical and geographical circumstances, artistic representations of a split, “hysterical” personality, embodying established social and cultural patterns that affect individuals, become especially relevant. Through both self-analysis and analysis of the collective unconscious, the artists seek to reveal the reasons for the oppression of “deviant” behavior, as well as the influence of “foreign” culture on Estonia.
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Kallas, Jelena, Margit Langemets, Kristina Koppel, and Maria Tuulik. "State-of-the-art on monolingual lexicography for Estonia." Slovenščina 2.0: empirical, applied and interdisciplinary research 7, no. 1 (April 18, 2019): 25–38. http://dx.doi.org/10.4312/slo2.0.2019.1.25-38.
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The paper describes the state of the art of monolingual lexicography in Estonia. Firstly, we describe the current situation in Estonia and the main public functions performed by the Institute of the Estonian Language. Secondly, we provide an overview of the primary types of monolingual academic dictionaries (dictionaries of Standard Estonian and explanatory dictionaries) published in Estonia since the 20th century. Monolingual learner’s lexicography has emerged as a new field in the 2010s, focusing on basic vocabulary and collocations. Thirdly, we give a short overview of accessibility policy and availability of language resources for Estonian. Finally, we envisage the future work in the field of lexicography in the Institute. Within the framework of the new dictionary writing system Ekilex the Institute is moving away from presenting separate interfaces for different dictionaries towards a unified data model in order to provide the data in the aggregated form.
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Pushaw, Bart. "Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914." International Journal for History, Culture and Modernity 4, no. 1 (March 28, 2016): 42–72. http://dx.doi.org/10.18352/hcm.503.
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In the areas now known as Estonia and Latvia, art remained a field for the Baltic German minority throughout the nineteenth century. When ethnic Estonian and Latvian artists gained prominence in the late 1890s, their presence threatened Baltic German hegemony over the region’s culture. In 1905, revolution in the Russian Empire spilled over into the Baltic Provinces, sparking widespread anti-German violence. The revolution also galvanized Latvian and Estonian artists towards greater cultural autonomy and independence from Baltic German artistic institutions. This article argues that the situation for artists before and after the 1905 revolution was not simply divisive along ethnic lines, as some nationalist historians have suggested. Instead, this paper examines how Baltic German, Estonian and Latvian artists oscillated between common interests, inspiring rivalries, and politicized conflicts, questioning the legitimacy of art as a universalizing language in multicultural societies.
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Asmer, Kadri. "Letters from the Past: Armin Tuulse’s Archive in Tartu." Baltic Journal of Art History 13 (October 9, 2017): 219. http://dx.doi.org/10.12697/bjah.2017.13.10.
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In 2015, the correspondence of Professor of Art History Armin Tuulse (1907–1977) and his wife Liidia Tuulse (1912–2012), which dates back to 1944 when the family escaped to Sweden, arrived at the Estonian Literary Museum. A significant part of the archive is comprised of the correspondence between the spouses, along with frequent contacts with exile Estonian cultural figures and Armin Tuulse’s work-related communications with colleagues in Europe, the U.S. and Australia. The main objective of this article is to take a first look at the material and highlight the main points of emphasis in the correspondence of the exile Estonians in the 1940s and 1950s. At that time, the main issue (in addition to worries about everyday hardships and living conditions) was related to the continuation of their work and keeping Estonian culture alive in a foreign cultural and linguistic space.In order to understand Armin Tuulse’s position in Sweden, the article also takes a look back onto his activities in the Department of Art History of the University of Tartu in the 1930s and 1940s, when Sten Karling (1906–1987) from Sweden came to teach in Tartu. Under Karling’s guidance, Tuulse became a dedicated scholar and later the first Estonian to become a professor of art history.
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Kreem, Tiina-Mall. "Johann Caspar Lavater in Estland. Über seinen Einfluss, einige Portraits und einige Gedanken über die Portraitkunst." Baltic Journal of Art History 12 (December 8, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.12.02.
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The article focuses on Johann Caspar Lavater (1741–1801), the Enlightenment-era thinker, pastor and writer, art collector and physiognomist, whose work and activities affected thinking from Zurich to America and Russia, including the Baltic countries. Of Lavater’s Estonian acquaintances, Johann Burchard VII, the Tallinn Town Council pharmacist, is the one that primarily emerges from the article. The famous Swiss maintained a correspondence with the latter for over ten years, and in 1792, gifted him a miniature portrait of himself (now in the Estonian History Museum).In addition to the miniature portrait after Johann Heinrich Lips (?), there were two graphic portraits of Lavater in Estonia that were associated with Georg Friedrich Schmoll (Tallinn City Museum, University of Tartu Library) as well as a masterful oil portrait by August Friedrich Olenhainz (Art Museum of Estonia’s Kadriorg Art Museum). The article examines all of these against the background of Lavater’s successful book of the day “Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe” (“Physiognomic Fragments for Furthering the Knowledge and Love of Man”, 1775–1778) and in regard to Lavater’s discussions about people and the art of portraiture.An attempt is made thereby to see Enlightenment-era portrait art through the eyes of Enlightenment-era people – Lavater and his audience. While the author of the article is convinced of the impact of Lavater’s physiognomic research on the portraiture of the day (on the artists, clients, viewers) and also more indirectly on the history of art, she emphasis that, for Lavater, portrait art was primarily a tool for his physiognomic research and even if Lavater’s teachings lost their popularity after his death and were relegated to the periphery of science, Lavater should not be excluded from the history of art and culture in the Baltic countries.
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Jääts, Indrek. "Eesti etnograafid lõunavepsa külades 1965–1969." Eesti Rahva Muuseumi aastaraamat, no. 61 (October 11, 2018): 44–79. http://dx.doi.org/10.33302/ermar-2018-002.
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Estonian ethnographers in southern Vepsian villages, 1965–1969 Estonian ethnographers have taken an interest in Finno-Ugric peoples since the dawn of ethnography, and to the extent possible, they have made trips to the regions in question to study their culture. Starting in the 1960s, the State Ethnography Museum of the Estonian SSR in Tartu (the past and present Estonian National Museum) became the hub of Finno-Ugric ethnography under its director, Aleksei Peterson. Expeditions to the linguistic relatives in the east began at the initiative and with the support of linguists (chiefly, Paul Ariste) and continued in later years independently. The article looks at five expeditions made by Estonian ethnographers to southern Vepsian villages in the years 1965–1969. The central source is the fieldwork diaries maintained on the expeditions. In addition, the article examines the photographs, film footage and drawings from these expeditions, along with collected items and ethnographic descriptions. The scholarly and popular science-oriented texts based on the material acquired on the expeditions and coverage of the expeditions in the Estonian media of that era are analysed. Interviews were conducted with a few of the people who took part in the trips. The southern Veps region was poorly connected with the rest of the world in the 1960s, and the people there led quite an isolated existence. For this reason, the villages in the region had an abundance of extant or only recently defunct aspects (such as slash and burn agriculture, dugout canoe construction or use of twigs to heat the stove), which captivated the ethnologists. The southern Veps region was a unique window to the past for Estonian researchers, who in that period dealt with questions of ethnogenesis. The material culture had received little study and Peterson saw this as his calling and an opportunity. Modernisation was already under way and everything old was at risk of fading. Ethnographers interested in these matters had to hurry to save for science what could be salvaged. The traditional peasant culture of the Vepsians was documented using still cameras and film cameras, ethnographic interviews were conducted, ethnographic drawings prepared, and artefacts were collected with great verve. Quantity was important, and the field work was generally a collective pursuit – many people could after all accomplish more than just one. The material recorded in the course of fieldwork reached academic circulation quite rapidly – presentations were delivered at international conferences, and journal articles were published. The coverage of the expeditions in the Estonian media was quite lively as well. Newspapers published accounts of various lengths and on at least once occasion the ethnographers’ activities in the Vepsian region was discussed on television. Estonian scholars perceived and conveyed the southern Veps villages as some kind of Baltic-Finnic fairy tale land. In general, researchers relished the opportunity to go on an expedition. It was felt that this was a noble thing, which in some sense also tied in with the Estonian national cause. Research into the linguistic relatives was positively received by Estonian society for this reason – i.e. it was linked to the national identity. Local authorities in the destination regions generally took a positive attitude toward the ethnographers. The zeitgeist favoured science and expeditions. The Veps people – especially those in more remote and isolated villages – frequently greeted the Estonian ethnographers with initial scepticism. The Estonians had to explain their objectives and use documents to prove their bona fides. Later the alienation dissipated and once the close kinship of the Vepsian and Estonian languages was revealed, the newcomers received a rapturous reception as if they were long-lost relatives. At Sodjärv Lake, which served on multiple occasions as the ethnographers’ base camp, Estonian researchers became accepted by the Vepsians as their own people. It is difficult to gauge precisely the influence that those and later expeditions had on the Vepsian peoples. The Estonians’ visits probably helped to bolster the generally weak self-identity of the Veps people. While the Russians in the region all too often took a supercilious view of the Veps and their language, the ethnographers from Estonia had come to study them precisely because of their identity and held in high regard everything from old peasant culture to the language. Some local people still speak positively about Estonians. The five expeditions to the villages of the southern Vepsian region discussed in this article, their outcome and resonance make up a key part of a cultural current that sprang from Finno-Ugric studies in Soviet Estonia, the best-known examples of which are Lennart Meri’s ethnographic documentary films, the choral music of Veljo Tormis and the graphic art of Kaljo Põllu. Emphasising their Finno-Ugric roots was for Estonians an additional way to express their Estonian identity independent of Soviet rule and ethnographers made a significant contribution to this trend.
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Parmas, Andres. "Superior Responsibility in Estonian Criminal Law and its Compliance with International Law." Juridica International 28 (November 13, 2019): 64–78. http://dx.doi.org/10.12697/ji.2019.28.08.
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If a domestic criminal-law system is to be equipped to operate in conformity with the underlying idea of complementarity that is among the International Criminal Court’s underpinnings, it is vital that, amongst other aspects of general principles of responsibility, the superior responsibility doctrine be transposed into domestic law properly. Accordingly, the paper deconstructs Art. 88 (1) of the Estonian Penal Code, which stipulates the superior responsibility concept in the Estonian legal system, for the purpose of assessing whether it exhibits compliance with customary international law on superior responsibility or Art. 28 of the Rome Statute. The analysis presented reveals considerable differences between the Estonian regulatory scheme and relevant international norms: it appears that there are several respects in which Estonian regulation does not meet the international standard and, hence, large lacunae are to be found in Estonian law on superior responsibility. For this reason, the article concludes with a recommendation that Estonian regulation of superior responsibility be complemented in such a way that it is rendered consistent with international law – specifically, with the requirements of Art. 28 of the Rome Statute – while simultaneously taking into consideration the demands stemming from Estonian criminal-law dogmatics, especially the guilt principle.
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Päll, Janika. "Meremotiiv üleva pildikeeles: paari näitega eesti luulest." Baltic Journal of Art History 11 (November 30, 2016): 37. http://dx.doi.org/10.12697/bjah.2016.11.03.
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The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion (pathos) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho. In the latter, we also see a quotation from Beattie’s Minstrel, whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Hölderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors, in which ruins or the sea were just a slight accent underlining general harmony.The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Mägi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Mägi or paintings by Aili Vint.After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accord with the ode genre, thereby causing a shift from the serene to the grand sublime, by focusing on the depth of water and feelings, the greatness of the ocean, and most of all, the rupture of the soul, which has been the most important factor in the sublime theory of Pseudo-Longinus. Her translation also seems influenced by her era of post-war Soviet Estonia (so that Byron’s allusions to the divine word have been replaced by the might of nature). In the same period, Estonia’s most vivid description of the romantic sublime appears in the choral poem Northern Coast (1958) composed by Gustav Ernesaks, with lyrics by another Estonian poet, Kersti Merilaas.Coastline in a leap, on the spur of attacking; each other tightly the sea and the land here are holding The rocky banks, breast open to winds, are hurling downwards the pebbles and chunks. Its adversary’s waves now grasp for its feet, gnawing and biting into the shores. Stop now! No further from here, neither of you can proceed any more! Full of might is the sea, more powerful is the land.
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Kodres, Krista. "Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case." Artium Quaestiones, no. 30 (December 20, 2019): 211–23. http://dx.doi.org/10.14746/aq.2019.30.10.
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The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.
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Talvik, Merle. "Art Deco in Estonian and Latvian Graphic Design Journals." Folklore: Electronic Journal of Folklore 30 (2005): 43–64. http://dx.doi.org/10.7592/fejf2005.30.talvik.
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Ефимова, Нина, and Nina Efimova. "ON ISSUES OF ICO AND CRYPTOCURRENCY REGULATION IN FOREIGN COUNTRIES: ESTONIAN EXPERIENCE." Journal of Foreign Legislation and Comparative Law 4, no. 5 (November 26, 2018): 1. http://dx.doi.org/10.12737/art.2018.5.10.
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Kurisoo, Merike, and Aivar Põldvee. "The Appearance of Hans and Jaan. A 17th Century Epitaph Painting Donated by Estonian Peasants." Baltic Journal of Art History 14 (December 27, 2017): 117. http://dx.doi.org/10.12697/bjah.2017.14.05.
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The epitaph donated by Hans and Jaan, two peasants from Türi parish, is evidence of the acceptance of ecclesiastic values and religious devotion among the Estonian peasantry. Other examples of this tendency from the Swedish era also exist. For instance, the grand wheel crosses, typical for North Estonia, that were once located in the Türi churchyard; and a chandelier (1659) donated by a peasant in the Keila church, the size of which exceeds those gifted by manor lords. From a later period, the stained-glass coats of arms of the peasantry in the Ilumäe chapel (1729) are also an example of this heightened sense of self-awareness and its display in houses of worships.Along with the hundreds and hundreds of works donated to churches by nobles, the epitaph painting depicting the Adoration of the Shepherds is a rare example of a painting gifted to a church by farmers, which also commemorates them. Hans and Jaan have now earned a place in Estonian (art) history: the pictures of the two simple men are the first known portraits of peasants whose names we know.
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Kangilaski, Jaak. "Postcolonial theory as a means to understand Estonian art history." Journal of Baltic Studies 47, no. 1 (January 2, 2016): 31–47. http://dx.doi.org/10.1080/01629778.2015.1103556.
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Talvik, Merle. "Schools of Estonian Graphic Art in Journalism in the 1930s." Folklore: Electronic Journal of Folklore 34 (2006): 103–30. http://dx.doi.org/10.7592/fejf2006.34.talvik.
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Oja, Martin. "Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film." Baltic Screen Media Review 2, no. 1 (November 1, 2014): 76–95. http://dx.doi.org/10.1515/bsmr-2015-0016.
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Abstract The main purpose of the article is to bring more clarity to the concept of art film, shedding light on the mechanisms of subjective reception and evaluating the presence of subjectivity-inducing segments as the grounds for defining art film. The second aim is to take a fresh look at the littlediscussed Estonian art cinema, drawing on a framework of cognitive film studies in order to analyse its borders and characteristics. I will evaluate the use of darkness as a device for creating meaning, both independently of and combined with other visual or auditory devices. The dark screen, although not always a major factor in the creation of subjectivity, accompanies the core problem both directly and metaphorically: what happens to the viewer when external information is absent? I will look at the subjectivity- inducing devices in the films of two Estonian directors, Sulev Keedus and Veiko Õunpuu. For the theoretical background, I rely mostly on Torben Grodal’s idea about the subjective mode as a main characteristic of art film, and the disruption of character simulation as the basis for the film viewer’s subjectivity.
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Vahter, Edna. "Changes in visual art education – a challenge for Estonian kindergarten teachers?" Education 3-13 46, no. 5 (May 30, 2017): 578–86. http://dx.doi.org/10.1080/03004279.2017.1329332.
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Viires, Ants. "Discovering Estonian folk art at the beginning of the 20th century." Journal of Baltic Studies 17, no. 2 (June 1986): 79–97. http://dx.doi.org/10.1080/01629778600000011.
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Sepp, Anu, Urve Läänemets, Katrin Kalamees-Ruubel, and Kristi Kiilu. "ART SUBJECTS IN NATIONAL CURRICULA – IDEAS FOR FUTURE DEVELOPMENTS IN GENERAL EDUCATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2017): 197. http://dx.doi.org/10.17770/sie2017vol2.2441.
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International trends of globalisation, changing learning environments as well as particular socio-cultural contexts and educational policy making are constantly shaping selection of the content for national curricula (NC) of general comprehensive schools. Art subjects (music, literature and art education) have been compulsory elements in Estonian NC for a century already making a significant contribution to identity and personality development of all population. Traditionally, learning art subjects has been well supported by extra-curricular activities or hidden curriculum so far. Today, primarily due to changing cultures and new values, learning motivation and decline of reading and expressive skills of students have become an issue. A pilot research (students’ essays, n=367) was carried out in Estonian general comprehensive basic schools (level 3, students aged 13–16) in 2016 with the aim to specify how students perceive the role and meaning of art subjects in their life. The students’ interesting ideas and presented opinions deserve attention when designing syllabi in NCs as well as supportive learning environments for both formal and informal learning activities. Accordingly, an increasing role of art subjects in future curricula should be considered as integrative, balancing and enriching tools for socialization of each individual. Awareness of arts has the potential to contribute to cultural sensitivity and understanding – the meta-skills for future lifelong learning and sustainable developments.
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Nurme, Sulev. "The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century." Forestry Studies 72, no. 1 (September 18, 2020): 75–90. http://dx.doi.org/10.2478/fsmu-2020-0007.
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AbstractNot much is known about the 17th-century Estonian and Livonian landscape architecture. Most of the information is based on the descriptions found in historical archival and literary sources and on some of the well-known engravings. According to these, a common idea of that era's landscape architecture is that it was humble in scale and design, and was similar to the practice of late-medieval times when there was no space or ambition to grow woody plants in small gardens of castles. But when diving into the Swedish manor plans dating back to the last decades of the 17th century, it can be noted that the layouts of manorial hearts are inherent to the spatial design of early baroque, which is characterized by a landscape that has strongly been redesigned and includes a decorative garden, kitchen garden and a park. This article focuses on the spatial composition of Estonian and Livonian manor parks of the second half of the 17th century and observes the role of trees and their use in these landscapes. This article is based on the results of a study about the planning of baroque manor hearts Understanding the Role of 18th Century Estonian Manor Ensembles in Contemporary Planning and Conservation (Eesti 18. sajandi mõisaansamblid 21. sajandi maastikuplaneerimises: avastamine, mõistmine, tõlgendamine) which was carried out by the author of this article. The map analysis results deal with the spatial structure of manor ensembles and the observations made during the analysis. The article examines the possible ways of using woody plants in 17th-century Estonian manors while looking at the manor ensemble as an architectonic of early baroque. Based on the research results it can be said that by the last decades of the 17th century the wealthiest manors had already built manor hearts with a modest but a clearly baroque style layout which is characterized by a regular and symmetrical ensemble core, a garden axially connected to the main building and avenues heading into the landscape. This type of approach enables to broaden the common conception of the era's garden and park architecture in the manor hearts of Estonia and Livonia. Based on what is highlighted in the article it can be said that the tradition and practice of garden art that has shaped the image of Estonian landscape had already been developed by the end of the 17th century.
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Volodina, A. V. "BILINGUALISM IN ESTONIA: POLITICS, EDUCATION, CULTURE, AND MENTALITY." Siberian Philological Forum 14, no. 2 (May 30, 2021): 47–56. http://dx.doi.org/10.25146/2587-7844-2021-14-2-77.
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In Estonia, there is only one official language. At the same time about 25–29 % of the population in Estonia considers Russian as their native language. The area of the Russian language in Estonia is located mostly in the northeastern county (Ida-Virumaa). Trying to integrate the region into the Estonian-speaking space leads to the building of Estonian-language cultural and educational institutions, while the country leaders seem to be ready to use the Russian language in the communication with Russian-speaking minority. At the same time, there is a tendency to reduce the share of Russian language education: opposition requires complete and immediate liquidation, while the government still insists on the gradual changes in the system, when there will be only a small number of Russian-language educational institutions. However, programs with partial teaching in Russian have remained at higher educational institutions, and some Russian-language conferences are still held at research centers. Estonia uses Russian speakers to attract foreigners who want to study Russian in Europe and to be taught by Russian native speakers. The Language Act regulates the correlation of Estonian and Russian in official institutions and the service sector. The Language Inspectorate constantly checks the compliance of services with the Language Act, at the same time infringing on the rights of the Russian-speaking population, which are also specified in the Framework Convention for the Protection of National Minorities. The popularity of recently appeared Russian-language channel ETV+ cannot be compared with Russian federal channels. At the same time, the appearance of the TV programs “My Estonias” and “My Truth”, which create dialogue between the communities, is a good sign. These programs were launched due to the cultural interaction, in which the theater played a role of a platform for negotiations between Estonians and Russians. The problems of the Russian-speaking population outlined in theatrical productions are also caused by its heterogeneity, since language is not an unequivocal sign of national identity.
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Rosenberg, Tiit, and Priit Pirsko. "Ajaloolane ja arhiivinduse professor Aadu Must - 65 [Historian and professor of Archival Studies Aadu Must - 65]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 2 (September 8, 2016): 155. http://dx.doi.org/10.12697/aa.2016.2.01.
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Aadu Must, an Estonian politician and the University of Tartu’s first Professor of Archival Studies, turned 65 on 25 March. When he went to study history at Tartu State University in 1973, Must initially proceeded along the paths of settlement history under the supervision of Professor Herbert Ligi. Over the years, the range of topics that he has dealt with has grown a great deal, encompassing family and local neighbourhood history, the colonial policy of the tsarist empire and Soviet repressions, the Estonian diaspora and Baltic German compatriots, and much more. After completing his basic university education, Must became Professor Ligi’s assistant at the university, a lecturer at the Department of General History, and later senior lecturer (1976–87). The history of the factory and town of Sindi, located in the vicinity of his home in Pärnu County, emerged at the centre of his attention, culminating in the completion of a monograph on this subject in 1985. At the end of the 1980’s, Must actively set about having his say in the ensuing political struggle, participating first in the Estonian Popular Front. He also worked for six months in Stockholm in 1991, setting up the Republic of Estonia’s information bureau there, which developed into Estonia’s embassy when the country’s independence was restored. Upon his return from Stockholm, he continued his usual work as a university lecturer while also continuing to participate in politics as time permitted, this time as a member of the Estonian Royalist Party. Since 1996, Must has been active primarily as a leading member of Estonia’s Centre Party, serving as a member of its council and board of directors, and as head of the party’s Tartu section. Must has also served as chairman of Tartu’s municipal council in 2002–07, 2009–11 and 2013–15. The intervening time periods have also included work in the Estonian Parliament, where he has served primarily on the cultural commission. At the same time, he has consistently continued his work at the university, where he built up and headed the Chair of Archival Science (1993–2014) and also served as head of the University of Tartu History Department in the interval 2004–06. In the 1990’s he completed a monograph of Estonian family names, which was issued on CD-ROM as an electronic publication (Corpus Nominum Gentilium Estonicorum). Aadu Must subsequently wrote out his broad knowledge and experiences of the study of family and local neighbourhood history in systematised form, publishing in the year Sources for the Family History of Estonians, a book providing instruction on historical sources. A new, updated edition of this book with a somewhat more popular and less academic approach (Handbook for the Researcher of Family History) was published in 2014. In the 1990’s, Must also began researching the repressive policies of the Soviet regime. Of his students, Aigi Rahi-Tamm defended her doctoral degree in 2004 (Post-Second World War Mass Repressions in Estonia: Sources and State of Research), Lea Leppik defended her dissertation in 2006 (Social Mobility of Employees of the University of Tartu in 1802–1918), and Indrek Paavle defended his doctoral dissertation in 2009 (Sovietisation of Local Administration in Estonia 1940–1950). Aadu Must is without a doubt the prime expert on Estonia’s archives and on archives concerning Estonians. As a historian and professor of archival studies, he has always been concerned by the condition of archives and access to historical sources. As a politician, he has time and again stressed the importance of the archive as an attribute of state. Must was one of the persons who drafted Estonia’s Archives Act. The gathering of material related to Estica in both the east and the west, however, has become his biggest project. This undertaking that has expanded from its initial form as the history of the fate of repressed Estonians to the current more general research of the diaspora of Estonians and persons from Estonia in the former Russian and Soviet empires has taken him to archives in St. Petersburg, Novgorod, Pskov, Tomsk, Omsk, Irkutsk, Krasnoyarsk, Vladivostok, Kazakhstan and elsewhere in Russia. All of this has placed an extensive base of sources at his disposal for planning and carrying out large-scale research projects. In recent years, many substantial studies have started emerging from Must’s pen on the history of Estonian settlers and settlements, Estonians who made careers in Russia, and Baltic German compatriots who shaped the Russian Empire’s colonial policy. Starting up the Kleio periodical for historians in 1988 is also part of the enumeration of A. Must’s accomplishments. Ten years later, Kleio restored itself as the successor of the Ajalooline Ajakiri (Estonian Historical Journal) that was first started up in 1922. Must was also part of the group that relaunched the Akadeemiline Ajalooselts (Academic Historical Society), which had been shut down in 1940.
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Orav, Kristin. "The Role of Visualizing Failure in Estonian Art, 1987–1999: The “Winners’ Generation”." Signs and Society 3, no. 1 (March 2015): 103–31. http://dx.doi.org/10.1086/680343.
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ARUKASK, Madis. "CONTACTS OF ESTONIAN SCHOLARS WITH THE VEPS, RELATIONS WITH THE KINDRED PEOPLES AND AN AUTOETHNOGRAPHIC PERSPECTIVE." Nordic and Baltic Studies Review, no. 5 (December 2020): 94–114. http://dx.doi.org/10.15393/j103.art.2020.1651.
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Mark, Reet. "Endel Kõksi abstraktsetest maalidest." Baltic Journal of Art History 11 (November 30, 2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.
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The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.
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Mihailova, Sandra, and Viktorija Perepjolkina. "COMPARISON OF RUSSIAN-SPEAKING SECONDARY SCHOOL STUDENTS’ VALUE CONFLICTS IN THE BALTIC STATES." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 7 (May 20, 2020): 118. http://dx.doi.org/10.17770/sie2020vol7.5129.
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In this research differences between discrepancies in evaluations of value importance and reachability of Russian-speaking high school students from Estonia, Lithuania and Latvia were examined. The study sample included 30 high school students from Latvia, 30 from Estonia and 30 from Lithuania aged 16 to 18. All students completed value-rating survey developed by Fantalova (Fantalova, 2011) and demographic questionnaire. Results have shown that the key values in all the Baltic countries are similar: health, love, happy family and friends. There is basically no statistically significant difference between value importance, value reachability, and value conflicts. Statically significant differences between Latvian and Lithuanian pupils are in the following values: beauty of nature and art, but there are statistically significant differences between Latvian and Estonian pupils in the following values: materially secured life, interesting work. It was found that in these three samples value conflicts don’t creates enough tension to motivate action. It can thus be assumed that the migration of school graduates possibly is not linked to the inability to realize the values that are important to them in their country. As the tension between values grows, the reasons why young people emigrate from one of the Baltic countries may be different.
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Ratnik, Marika, and Eha Rüütel. "THE FIELD OF WORK OF THE SCHOOL ART THERAPIST AND ITS UNIQUE POTENTIAL FOR THE SCHOOL’S SUPPORT TEAM." Problems of Education in the 21st Century 77, no. 1 (February 14, 2019): 142–55. http://dx.doi.org/10.33225/pec/19.77.142.
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Qualitative research was carried out to examine the first experiences of the implementation of art therapy in Estonian schools. The aim was to ascertain the facets of the activities of the school art therapists and the potential of art therapy in the work of a school’s support team. Within the framework of the research, art therapists and management staff from four general education schools were interviewed. The work foci and specifics of the art therapist’s work were described on this basis, and the potential of school art therapy in reaching educational goals was highlighted. The interviewees characterised the work of a school art therapist in terms of the artistic and creative nature of art therapy, the co-operation-based supportive therapeutic relationship; the variability of the forms of work; and the mitigating, relaxing, and school-adaptation-supporting effect of art therapy. Management staff indicated that the art therapist enriches the work of the school’s support system, as creativity-based methods make the strengths and development potential of students more visible, it is possible to choose from among various specialists to help children, and art therapy can be applied as a primary preventive intervention. Keywords: school art therapy, artistic expression, art therapeutic relationship, content of school art therapy.
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Maiste, Juhan. "THE CONCEPT OF RUSSIAN ARCHITECTURE IN THE BALTIC PROVINCES BETWEEN THE GREAT NORTHERN WAR AND THE COSMOPOLITANISM OF THE 19TH CENTURY." Baltic Journal of Art History 17 (May 15, 2019): 85–150. http://dx.doi.org/10.12697/bjah.2019.17.05.
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The goal of this article is to examine the role of the new Russian rulingpower as it related to cultural policy in the Baltic provinces betweenthe Great Northern War (1700–1721) and the Russian Revolution (1917),in order to engender a discussion about the Russian influence inEstonia’s architectural history – its content and meaning – based onprimary sources in the archives of Estonia, St Petersburg and Moscow.The historiography of this topic dates back nearly a century; as aneighbouring country and an important centre of political power andculture, the influence of St Petersburg as the main Russian metropolishas been always been taken into consideration and studied in thehistory of Estonian art history. The articles by Sergey Androsovand Georgy Smirnov that appear in this volume have provided theinspiration to try and re-examine the entire spectrum of Estonia’sposition between East and West, and to point out the main subjectsin this new context and the relationship to the new geography ofarchitecture in the Age of Enlightenment and the stylistic changesof the 19th century.
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Tannberg, Tõnu. "“Tsensuuri töö on väga vastutusrikas.” Dokumentaalne pilguheit Eesti NSV Glavliti tegevusele aastatel 1941–1948 [Abstract: “The work of censorship carries a great deal of responsibility”. A documentary glimpse of the activity of the Estonian SSR Glavlit]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 4 (September 10, 2019): 337–53. http://dx.doi.org/10.12697/aa.2018.4.04.
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Abstract: “The work of censorship carries a great deal of responsibility”. A documentary glimpse of the activity of them Estonian SSR Glavlit in 1941–1948"
Censorship was one of the important social control mechanisms of the Communist Party of the Soviet Union. The Main Administration for Literary and Publishing Affairs, or Glavlit (in Russian Glavnoe upravlenie po delam literaturȳ i izdatel’stv), was established under the jurisdiction of the People’s Commissariat for Education on 6 June 1922 by decree of the Russian SFSR Council of People’s Commissars. Its task was to combat the ideological opponents of the Soviet regime. The censorship of essentially all printed works published in the Soviet Union was gradually placed under Glavlit’s jurisdiction. By the end of the 1930s, Glavlit was transferred to the jurisdiction of the USSR Council of People’s Commissars (starting in 1946 the Council of Ministers), but substantially, censorship officials were placed under the direction of subordinate institutions and officials of the Communist Party, and of the state security organs. The same kind of institutions in the Soviet republics and oblasts were subordinated to the central Glavlit of the USSR. The Glavlit of the Estonian SSR was established by decree of the Estonian SSR Council of People’s Commissars on 23 October 1940.
The task of Glavlit was to prevent the disclosure in print and in the media of Soviet military, state and economic secrets with the overall objective of banning the publication of all manner of ideas and information that was unacceptable to the regime. It was also to prevent such ideas and information from reaching libraries. To this end, both pre-publication censorship (the review of control copies of printed works before their publication) and post-publication censorship (review of published printed works, the physical destruction or obstruction of access to works that have proven to be unsuitable) were implemented. In order to carry out censorship, lists of banned literature were drawn up in cooperation with the state security organs, along with enumerations of information that was forbidden to publish in print. These formed the basis for the everyday work of Glavlit’s censors, in other words commissioners. Not a single printed work or media publication could be published during the Soviet era without Glavlit’s permission (departmental publishing houses practiced self-censorship). In addition to scrutinising printed works, the monitoring of art exhibitions, theatre productions and concert repertoires, the review of cinema newsreels, and provision of guidelines for publishing houses and libraries also fell within Glavlit’s jurisdiction. Censors also read mail sent by post and checked the content of parcels (first and foremost the exchange of postal parcels with foreign countries).
In the latter half of the 1980s, when Mikhail Gorbachev rose to lead the Soviet Union, Glavlit’s control functions in society gradually started receding. State censorship was done away with in the Soviet Union on 12 June 1990, depriving the former censorship office of its substantial functions. Glavlit was disbanded in Estonia on 1 October 1990.
The Estonian SSR Glavlit activity overview for the years 1940–1948 is published below. This is a report dated 20 October 1948 from Leonida Päll, the head of the Estonian SSR Glavlit (in office in 1946–1950), to Nikolai Karotamm, the Estonian SSR party boss of that time. This document provides a brief departmental insight into the initial years of the activity of the Estonian SSR Glavlit. It outlines the censorship agency’s main fields of activity, highlights the key figures of that time, and describes the agency’s concrete achievements, including recording the more important works and authors that had been caught between the gearwheels of censorship.
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Talvoja, Kädi. "The official art of the Khrushchev Thaw: The Severe Style as an ambassador of the Estonian national school at Baltic art exhibitions in Moscow." Journal of Baltic Studies 49, no. 3 (April 13, 2018): 333–50. http://dx.doi.org/10.1080/01629778.2018.1459756.
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Balodis, Kaspars, and Daiga Deksne. "FastText-Based Intent Detection for Inflected Languages." Information 10, no. 5 (May 1, 2019): 161. http://dx.doi.org/10.3390/info10050161.
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Intent detection is one of the main tasks of a dialogue system. In this paper, we present our intent detection system that is based on fastText word embeddings and a neural network classifier. We find an improvement in fastText sentence vectorization, which, in some cases, shows a significant increase in intent detection accuracy. We evaluate the system on languages commonly spoken in Baltic countries—Estonian, Latvian, Lithuanian, English, and Russian. The results show that our intent detection system provides state-of-the-art results on three previously published datasets, outperforming many popular services. In addition to this, for Latvian, we explore how the accuracy of intent detection is affected if we normalize the text in advance.
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Anderson, Jaanika, and Hilkka Hiiop. "The Triple Pompejanum Possessed by the von Stryk Family: The Manor Houses of Vana-Võidu, Suure-Kõpu and Voltveti." Baltic Journal of Art History 13 (October 9, 2017): 165. http://dx.doi.org/10.12697/bjah.2017.13.08.
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The article is inspired by the fascinating findings and conservationwork done on the Pompeian style murals in Estonian manor housesduring the last few decades. The focus is on the murals in the manorhouses of Voltveti, Suure-Kõpu and Vana-Võidu – all of whichbelonged to different members of the von Stryk family of BalticGermans. The article focuses on the figurative paintings and the styleof the murals, as well as on an art-history-related interpretation anda wider contextual analysis of the Vana-Võidu wall paintings. Thesefinds are the most recent, and this article will study the possiblemodels and ideas for them, search for their art history context andimportance among the triple Pompejanum of the von Strycks. Thewall paintings in the Suure-Kõpu and Voltveti manor houses areused as reference material.The Vana-Võidu, Suure-Kõpu and Voltveti manor houses wererebuilt in the late neoclassical style between 1830s and 1840s. Thewall paintings in these late neoclassical manor houses were madeduring the second half of the 19th century and were inspired, in allcases, by a desire to achieve the look of an ancient interior. There arePompeian-style murals in all three manors. In Suure-Kõpu and Vana-Võidu, can see figurative paintings as well as the division of the wallsinto panels, which is characteristic of the Pompeian style. In Voltveti,there are no figurative paintings and the colour palette – alternatingwarm and cool pastel shades – is not characteristic of the Pompeianstyle, but the ornamental motives are derived from antiquity. It isknown that different publications about the excavated Campaniancities, were available in Estonia in the 19th century. Apparently, thevon Stryk brothers and the painter(s) were able to use the publishedmotifs, because the figurative paintings at Vana-Võidu and Suure-Kõpu are very accurately detailed.
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Veenre, Anu. "Beyond Polystylism." Musicological Annual 54, no. 2 (November 15, 2018): 141–63. http://dx.doi.org/10.4312/mz.54.2.141-163.
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Developments in the Estonian music and musical life of the late Soviet period may be interpreted as attempts on the part of musicians and composers to alienate themselves from the Soviet system and from the ideology that was attributed to the arts at the time. The article examines the reasons for and the various facets of this process by analysing the activities of the different musical communities of the time and the influence of these on the development of art music. The discussion is framed using the concept of polystylism, the concepts of living in vnye and unofficial music as proposed by Alexei Yurchak (2006) and Peter Schmelz (2009) for examining the Soviet era are used to discuss the relations between music and politics.
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Vahter, Edna. "Potential teaching model for applying novel approaches of renewed Estonian national curriculum into visual art classes in primary school." Education 3-13 43, no. 3 (July 2, 2013): 263–78. http://dx.doi.org/10.1080/03004279.2013.811435.
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Rajavee, Holger. "On Tõnis Tatar’s PhD thesis The Third Way in Soviet Estonian Art: Between the Avant-garde and the Power-minded." Baltic Journal of Art History 9 (September 15, 2015): 255. http://dx.doi.org/10.12697/bjah.2015.9.10.
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Mihkelev, Anneli. "Emigration in Estonian Literature: “Self” and “Other” in the Context of European Literature." Interlitteraria 22, no. 2 (January 16, 2018): 341. http://dx.doi.org/10.12697/il.2017.22.2.12.
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The experience of emigration generated a new paradigm in Estonian culture and literature. After World War II Sweden became a new homeland for many people. Estonian culture and literature suddenly became divided into two parts. The political terror imposed restrictions on literature in homeland and the national ideology limited literature in the initial years of exile. Both were closed communities and were monolingual systems in a cultural sense because these systems avoided dialogue and the influence of other signs. It was a traumatic experience for nation and culture where the totalitarian political power and trauma have allied. The normal cultural communication was destroyed. But the most important thing at this time was memory, not just memory but entangled memory, which emigrants carried with them to the new homeland and which influenced people in Estonia. The act of remembering becomes crucial in the exile cultures.Estonian literature in exile and in the homeland presents the fundamental images of opening or closing, escaping or staying, and of flight or fight. Surrealism as well as fantasy and science fiction as the literary styles reveal what is hidden in the unconscious of a poet or a person or even in the collective memory of a nation. Surrealism has played a certain role in our literature, but it has been different from French surrealism, it is a uniquely Estonian surrealism. At the same time Estonia was already a new homeland for many refugees from Russia who had escaped during the Revolution of 1917 and World War I. August Gailit and Oskar Luts wrote about that issue in different literary works. Luts entangled different memories in his novel Tagahoovis (In the Backyard, 1933): the memories of Estonians and the memories of Russian emigrants. He also entangled historical narratives about World War I, the Russian revolution and the young Estonian state in the 1920s. Luts wrote about common people who interpret historical narratives. The novel was also published in exile in 1969 in Toronto.
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Eenmaa, Ivi. "The National Library of Estonia." Alexandria: The Journal of National and International Library and Information Issues 3, no. 3 (December 1991): 169–78. http://dx.doi.org/10.1177/095574909100300305.
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The National Library of Estonia, established in 1918, is now undergoing a revolutionary period of undoing the disastrous effects of the cultural policies of the communist regime. The library was the first in the Soviet Union to destroy the institution of banned books, the so-called ‘special collection’. Its democratic reconstruction follows from the cultural policies of the Estonian Republic, whose Supreme Council passed a National Library Act in 1990. The library is the central public research library of Estonia, acting at the same time as the library of Parliament. It collects, preserves and makes publicly accessible all printed matter published in Estonia, in the Estonian language, and relating to Estonia. It is the main coordinating centre for compiling the national bibliography, as well as for library and information research, and serves as a repository for the whole country. It also compiles and publishes statistics of Estonian publications. At present the library is scattered among several 18th- and 19th-century buildings, but the end of 1991 will see the completion of a new building, the largest and most modern library building in Eastern Europe, which will incorporate computer technology for all areas of library work.
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Saar, Johannes. "Cultural imaginaries of the postcolony: a critical discourse analysis of cross-cultural references in Estonian art history through a postcolonial lens." Journal of Baltic Studies 49, no. 4 (May 18, 2018): 463–86. http://dx.doi.org/10.1080/01629778.2018.1473264.
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KUUSIK, R., M. UIBU, K. KIRSIMÄE, R. MÕTLEP, and T. MERISTE. "OPEN-AIR DEPOSITION OF ESTONIAN OIL SHALE ASH: FORMATION, STATE OF ART, PROBLEMS AND PROSPECTS FOR THE ABATEMENT OF ENVIRONMENTAL IMPACT." Oil Shale 29, no. 4 (2012): 376. http://dx.doi.org/10.3176/oil.2012.4.08.
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Koski, Pirkko. "National Trauma on a Foreign Stage." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 26–39. http://dx.doi.org/10.7146/nts.v32i2.124346.
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This article surveys the performance of the play Departure (Lähtö in Finnish, Minek in Estonian) by Estonian Rein Saluri at the Finnish National Theatre in 1988 during the last few years of the Cold War. The play depicts the deportation of an Estonian family to Siberia in the fall of 1946. The Finnish National Theatre invited Estonian Mati Unt to act as the director. The actors were Finnish, as were the audience, apart from a few individual spectators and during a short visit when Departure was performed in Estonia. The aim is to analyze how a theatre performance connected with an aspect of Estonian traumatic history and national memory was understood and felt by a country with a different historical and contemporary background. The performances of Departure show the ways in which repetition, memory, and re-appearance work and function in the theatre. Departure as theatre had power over history in its ability to reshape the image of the past through physical presence and affection. It increased in Finland the knowledge of and empathy toward Estonia and the presence of Estonian culture before the great political upheavals. However, the Finnish audience constructed the meanings of the play without the interaction between the collective memory, that is, the Finnish “memory” was historical and theatrical. Concerning national collective memory, it was not possible to cross the border.
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Sahk, Ingrid. "Aus Dorpat (Tartu) nach Italien und zurück. Über die Bildungsreise Woldemar Friedrich Krügers vermittelt durch die an Karl Eduard von Liphart von 1832 bis 1834 gesandten Briefe." Baltic Journal of Art History 12 (December 8, 2016): 73. http://dx.doi.org/10.12697/bjah.2016.12.05.
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The article accompanies the comments and publication of letters written by an Estonian artist Woldemar Friedrich Krüger to his friend Karl Eduard von Liphart, an art collector and expert from Munich between 1832–1834. The main intention of the author has been to provide the reader with the necessary short biography of the Woldemar Krüger and to contextualize the years in which the letters were written. Also the paper aims to open up some subjects and keywords that occur in the letters sent by Krüger to Liphart. The letters that are deposited in the Herder Institute Dokumentesammlung (DSHI) illustrate the early years in the lives of Krüger and Liphart when they both were in their twenties and only in the very beginning with their professional career. Artist Krüger, who was able to study and travel abroad only with the help of the Lipharts family, was especially interested in acquiring technical skills in lithography and encaustic (wax painting). The letters from Munich reveal us a very practically minded and careful personality as Krüger even hesitates before travelling to Italy being afraid that it could lead him away from his routine and practicing. Unfortunately, the letters do not prove whether Krüger attended any official and regular art course during his stay in Munich. However, the letters add valuable information about the developing years of both of the artist Woldemar Krüger and art connoisseur Karl Eduard von Liphart. The correspondence enables us to have a glance at the ideas and acquaintances that they shared and how studying abroad could look like in the 19th century.
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Karu, Veiko, Angela Notton, Julia Gulevitš, Ingo Valgma, and Tiit Rahe. "Improvement of Technologies for Mining Waste Management." Environment. Technology. Resources. Proceedings of the International Scientific and Practical Conference 1 (August 6, 2015): 127. http://dx.doi.org/10.17770/etr2013vol1.811.
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Mining waste reduction methods include all mining processes beginning from resource distribution until final products in the plant. For comparing and testing possibilities of mine waste reduction, a cooperation project has been set up aiming to create a transnational network with regional networks. The activities carried out on the regional and transnational level will secure better access to knowledge, state-of-the-art technologies and good practice. The study addresses all the waste management challenges and opportunities facing the Baltic Sea Region mining industry, which should be understood as extending to all forms of extraction of natural non-renewable resources. In addition to the main mineral resource, oil shale, there are sufficient reserves of limestone and dolostone, peat, sand, gravel and clay. Phosphorite and granite are considered as occurrences in today's economic situation, in spite of the fact that phosphorite has been extracted for 70 years in the past. All previous mining activities have produced mining waste, e.g. the total volume of waste rock from Estonian oil shale mining is more than 76 million m3 and covers about 790 ha [31] [32] [33] [34]. From an environmental point of view Estonia is in good position, not having acidic reactions and having neutralising alkaline limestone present in all mining areas. Thanks to this, reclamation is easily done with the help of the same mining equipment. Water is purified in settling ponds and does not require additional chemical treatment. For underground mining, the main concern is the stability of the room and pillar mining area [35] [37]. Similar problems are found in Sweden and Finland. In Sweden, there are several old deposits from shale mining, the largest one (Kvarntorp) contains some 40 million m3 of crushed processed black shales and contains several metals of potential value.
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Alavi, Hamed, and Tatsiana Khamichonak. "Immigration of Highly–Skilled Workers to Estonia: Current Trends and Legislative Framework / Imigrácia Kvalifikovanej Pracovnej Sily Do Estónska: Súčasné Trendy A Právny Rámec." EU agrarian Law 4, no. 2 (December 1, 2015): 7–14. http://dx.doi.org/10.1515/eual-2015-0008.
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Abstract Estonian immigration policies have been largely influenced by its historical development. The figures from 1989 show that the population was only 61.5 percent Estonian by origin with the remaining 38.5 percent belonging to other ethnic backgrounds. Remarkably, 26 percent of the Estonian population were foreign born.(1) After joining the European Union in 2004, Estonia faced a high rate of outward migration, which was connected, inter alia, to the higher average salaries of the other Member States. The rapid expansion of the Estonian economy and growth of employment coupled with the negative population growth contributed to the need of foreign skilled labour.(2) Besides, the recent reform in the education system accounts for shortage of technical specialists in some labour areas.(3) It is thus not surprising that Estonian government employs focused, selective and demand-based immigration strategies to fight the ‘global war for talents’.(4),(5) The objective of the restrictive immigration policy is to attract first and foremost highly qualified professionals in the strategic economic areas while avoiding uncontrolled immigration and increase the sustainability and competitiveness of the Estonian economy. First part of current paper provides an overview of who falls under the classification of a ‘skilled’ worker and the Estonian perspective on talent attraction and retention. The second part lays down the existing legal framework, which covers the conditions and procedures of knowledge-worker’s immigration to Estonia. Particularly, this includes the relatively recent amendments to the Aliens Act 2004, which came into force in 2008 and set forth a facilitated approach towards entry and residence requirements.
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Karm, Svetlana, and Art Leete. "Uurali kaja Eesti Rahva Muuseumis." Eesti Rahva Muuseumi aastaraamat, no. 61 (October 11, 2018): 14–43. http://dx.doi.org/10.33302/ermar-2018-001.
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The Echo of the Urals exhibition at the Estonian National Museum Our objective was to analyse the process of preparing the Echo of the Urals permanent exhibition we produced for the Estonian National Museum. We focused on the historical background of the exhibition and the methodological and ideological positions that the exhibition committee relied on. In this article, we dealt with how the concept for the exhibition developed and the principles for the technical solutions used at the exhibition. We also tried to analyse the retrospective views taken by the exhibition’s content and design committees regarding their work. Many previous Finno-Ugric permanent exhibitions at the Estonian National Museum had focused on presenting folk art, and this aspiration was reflected even in the titles of the exhibitions. Moreover, the Finno-Ugric scholars at the National Museum also tried to use the exhibitions to gain an overview of the existing materials at the museum concerning a specific ethnic group. Such exhibitions also focused on the Finno-Ugric people and so as representative a set of artefacts as possible was placed on display, systematised in the spirit of scientific objectivity. From the second half of the 1990s on, the museum’s researchers started producing exhibitions on more experimental themes as well, testing the suitability of various ideas for an ethnographic exhibit. Some ideas are exciting on paper while artefacts can fail to express more abstract qualities. Our permanent exhibition was based on the historical legacy, and we tried to find a simple, relevant starting idea for the exhibition that made full use of the museum’s collections. After discussions, we chose Echo of the Urals as the title of the exhibition. In doing so, we tried to refer in a lyrical vein to the idea of an original home for the Finno-Ugrians and allow different peoples to be introduced in a single framework. The idea of linguistic kinship may be easy to understand for scholars and many Finno-Ugrians, but we also thought about visitors who did not know anything about the topic. We devoted the main part of the exhibit to the ethnographic representation of gender roles, trying to get viewers to think about everyday gender roles and cultural differences. We hoped that presenting the cultural roles of males and females would be a simple starting idea that would also be of interest to many. The exhibition design had to be state-of-the-art, a finely tuned machine, at the same time creating emotionally gripping, seemingly semi-natural ethnographic attractions. As a result of our research, we found that although we tried to create an emotionally captivating and conceptually balanced exhibition, we were criticised in the critical reception for allegedly haphazard choices (the gender theme was criticised) and having a romantic aim to find beauty (to the detriment of reflecting the situation faced by indigenous cultures today). Our analysis of the making of our ethnographic exhibition with ambitious and seemingly conflicting or even simultaneously unattainable goals is limited by the lack of a bystander’s perspective and the lack of temporal distance between the completion of the exhibition and the our meta-research. Our main conclusion regarding the process of creating the exhibition consists of thorough conceptualisation intertwined with intuitive aesthetic and intellectual prediction.
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Karasov, Oleksandr, Stien Heremans, Mart Külvik, Artem Domnich, and Igor Chervanyov. "On How Crowdsourced Data and Landscape Organisation Metrics Can Facilitate the Mapping of Cultural Ecosystem Services: An Estonian Case Study." Land 9, no. 5 (May 19, 2020): 158. http://dx.doi.org/10.3390/land9050158.
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Social media continues to grow, permanently capturing our digital footprint in the form of texts, photographs, and videos, thereby reflecting our daily lives. Therefore, recent studies are increasingly recognising passively crowdsourced geotagged photographs retrieved from location-based social media as suitable data for quantitative mapping and assessment of cultural ecosystem service (CES) flow. In this study, we attempt to improve CES mapping from geotagged photographs by combining natural language processing, i.e., topic modelling and automated machine learning classification. Our study focuses on three main groups of CESs that are abundant in outdoor social media data: landscape watching, active outdoor recreation, and wildlife watching. Moreover, by means of a comparative viewshed analysis, we compare the geographic information system- and remote sensing-based landscape organisation metrics related to landscape coherence and colour harmony. We observed the spatial distribution of CESs in Estonia and confirmed that colour harmony indices are more strongly associated with landscape watching and outdoor recreation, while landscape coherence is more associated with wildlife watching. Both CES use and values of landscape organisation indices are land cover-specific. The suggested methodology can significantly improve the state-of-the-art with regard to CES mapping from geotagged photographs, and it is therefore particularly relevant for monitoring landscape sustainability.
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Konsa, Kurmo. "Kust pärinevad metaandmed: infoteoreetiline vaade." Ajalooline Ajakiri. The Estonian Historical Journal 172, no. 2 (December 31, 2020): 141–67. http://dx.doi.org/10.12697/aa.2020.2.03.
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According to the simplest and most common definition, metadata refers to a set of data that describes other data. Research on metadata is focused almost exclusively on solving practical issues. There are few theories on metadata that emphasise the lack of a common theoretical foundation to handle metadata, and there is also a lack of corresponding research. This article looks at metadata from a broad perspective of information technology and seeks an answer to a question that may, at first glance, seem simple: what is the origin of metadata? The article aims to present a conceptual model that connects metadata to communication processes, thereby creating an opportunity to treat metadata in a more systematic manner.
In memory institutions, different metadata schemes and standards are used to describe digital objects. In order to describe objects, libraries use bibliographical entries that correspond to valid entry and cataloguing rules. Objects are described by bibliographic entries and catalogued in a bibliographic format. Nowadays, cataloguing rules are mostly based on the ISBD (International Standard Bibliographic Description). The most common bibliographic formats are standards belonging to the MARC (Machine Readable Cataloguing) group. Some libraries, such as the Academic Library of Tallinn University and the University of Tartu Library use the Dublin Core metadata standard to describe the digital objects they preserve. A particular feature of the metadata systems used by libraries is that all objects in a collection are described to at least a minimum level. Archives in Estonia use the General International Standard Archival Description (ISAD(G)), which was developed by the International Council on Archives. Archives differ from libraries in that archives usually describe objects in detail on the levels of archive, series, and archive item, and preservation of the full context of information is prioritised. Estonian museums began introducing common structured metadata in 1992, when the Ministry of Culture commissioned a software company called AS GenNet Laboratories to develop KVIS (Information System of Cultural Values). The development of KVIS was based on the CIDOC (International Committee for Documentation) data model of the International Council of Museums, and on SWETERM, the Swedish standard of forming name attributes. This was an object-oriented data model, and the description was focused not on the object but the event. This type of description model is also supported by the CRM (Conceptual Reference Model) adopted by CIDOC in 2006. In 2005, the Ministry of Culture decided to create MuIS, a new information system for museums, although this new system was based on the same underlying data model as the previous system. The descriptions of museum objects are supported by central glossaries that ensure museum items are described as required and that searches can be made across museums. To describe natural scientific collections, other information systems are also used, such as the SARV database, used for managing data related to geocollections. Archaeological collections have their own databases as well, with specific metadata. The digital collection of the Art Museum of Estonia uses a bespoke system of metadata.
Metadata are connected to each of the elements in the communication process: metadata are the attributes describing these elements. Each element of a communication act is characterised by specific, fixed attributes that provide full information about the act. All the attributes of the set of elements pertaining to a specific communication act make up the full meta description of this communication act. In fact, a communication act can be characterised by various attributes. The selection of metadata attributes used to characterise a communication process is connected to the function of the metadata relevant for the particular case.
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Nugis, Karin. "A Catwalk for the People: Soviet Fashion During the Cold War. “Fashion and the Cold War,” Kumu Art Museum, Tallinn, Estonia (September 14, 2012–January 1, 2013). Mood ja külm sõda [Fashion and the Cold War]. Edited by Eha Komissarov and Berit Teeäär (Tallinn: Estonia Estonian Art Museum, 2012). ISBN 9789949485123, 272 pages, illustrated, softcover ($23.00)." Design Issues 31, no. 3 (July 2015): 106–8. http://dx.doi.org/10.1162/desi_r_00343.
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Raudsepp, Anu. "Eduard Wiiralt’s Unknown Matchbox Picture from Vienna, 24 December 1944." Baltic Journal of Art History 13 (October 9, 2017): 259. http://dx.doi.org/10.12697/bjah.2017.13.12.
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The main objective of the article is to introduce the matchbox picturecalled Girl Looking Up in Prayer created in Vienna on 24 December1944 and the bookplate based thereon that was produced in Estoniain 1960. In addition, based on archival sources, an explanation isprovided of the reception of Eduard Wiiralt’s work in occupiedEstonia until the end of the 1950s.Despite the common belief that Wiiralt was totally ignored duringthe Stalinist period in Estonia, he was still included in the art historycurricula of the official schools of higher education. Many of thestudents at that time were soon actively helping to restore publicrecognition to Wiiralt, which occurred after the artist’s death in1954. The introduction of Wiiralt’s oeuvre in Estonia was precededby an exhibition in Moscow in 1956. It is possible that the matchboxpicture that was sent to Estonia in a letter on 15 February 1959 wasnot the first original post-war work by Wiiralt to arrive here. Theowner had the picture made into a bookplate that was produced ina large run. Eduard Wiiralt himself is known to have made sevenbookplates between 1918 and 1936.It is also possible to document the changes that have occurred insociety and the moods of the times through art. From the matchboxpicture that Wiiralt drew on Vienna on Christmas Eve in 1944, theyear that Estonia lost its independence, one can surmise the artist’sbelief and hope that his beloved Estonia would someday becomefree again.
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Joamets, Kristi. "Marriage Capacity, Social Values and Law-Making Process." International and Comparative Law Review 12, no. 1 (June 1, 2012): 103–21. http://dx.doi.org/10.1515/iclr-2016-0081.
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Abstract This article explores capacity to marry in depth, beyond the literal statements presented by legal acts in Estonia. Th e discussion will be focusing on answering the following questions: What is the nature of marriage capacity and how it has been developed in Estonia? What are the values that the Estonian Family Law Act (2010) protects when regulating marriage capacity? In addition a brief comparative analysis will seek to explain how different regulations of the EU member states on the same matter (marriage capacity) are. Th is can also help discussions on whether is it justified to talk about cultural differences of EU member states in the context of marriage capacity or not.