Bibliografías temáticas / Art, Estonian

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Literatura académica sobre el tema "Art, Estonian"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 2 de febrero de 2022

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Artículos de revistas sobre el tema "Art, Estonian"

1

Sibul, Mari. "The Fine Arts Information Centre of the National Library of Estonia". Art Libraries Journal 26, n.º 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, n.º 2 (junio de 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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3

Kallas, Jelena, Margit Langemets, Kristina Koppel y Maria Tuulik. "State-of-the-art on monolingual lexicography for Estonia". Slovenščina 2.0: empirical, applied and interdisciplinary research 7, n.º 1 (18 de abril de 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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4

Pushaw, Bart. "Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914". International Journal for History, Culture and Modernity 4, n.º 1 (28 de marzo de 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 (9 de octubre de 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 (8 de diciembre de 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, n.º 61 (11 de octubre de 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 (13 de noviembre de 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 (30 de noviembre de 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, n.º 30 (20 de diciembre de 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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Tesis sobre el tema "Art, Estonian"

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Summatavet, Kärt. "Folk tradition and artistic inspiration : a woman's life in traditional Estonian jewelry and crafts as told by Anne and Roosi /". [Helsinki] : University of Art and Design Helsinki, 2005. http://www.loc.gov/catdir/toc/fy0805/2008400416.html.

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Kivimaa, Katrin. "Nationalism, gender and cultural identities : the case of Estonian art from the impact of modernity to the post-Soviet era 1850-2000". Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402534.

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Koponen, Eino. "Eteläviron murteen sanaston alkuperä : Itämerensuomalaista etymologiaa /". Helsinki : Suomalais-ugrilainen seura, 1998. http://catalogue.bnf.fr/ark:/12148/cb39035487f.

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Vikat, Andres. "Family formation in Estonia /". Helsinki : Finnish demographic society, 1994. http://catalogue.bnf.fr/ark:/12148/cb357330687.

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Raag, Virve. "The effects of planned change on Estonian morphology /". Uppsala : Acta Universitatis Upsaliensis, 1998. http://catalogue.bnf.fr/ark:/12148/cb390605785.

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Verschik, Anna. "Estonian Yiddish and its contacts with coterritorial languages /". Tartu : Tartu university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb40940843b.

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Texte remanié de: Doctor of philosophy--General linguistics--Tartu--University of Tartu, 1999.
Mention parallèle de titre ou de responsabilité : Eesti jidiš ja selle kontaktid Eestis kneldavate keeltega / Anna Verschik. Dans l'introd. : "The dissertation consists of ten articles in three languages... the summary, where the most important conclusions will be presented, the list of informants and text samples" Bibliogr. à la fin de chaque article.
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Nemvalts, Peep. "Case marking of subject phrases in modern standard Estonian /". Uppsala : Acta Universitatis Upsaliensis, 1996. http://catalogue.bnf.fr/ark:/12148/cb413031949.

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Peil, Tiina. "Islescapes : Estonian small islands and islanders through three centuries". Doctoral thesis, Stockholm : Almqvist & Wiksell international, 1999. http://catalogue.bnf.fr/ark:/12148/cb39913972f.

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Söderman, Tiina. "Lexical characteristics of the Estonian North Eastern coastal dialect /". Uppsala : Acta Universitatis Upsaliensis, 1996. http://catalogue.bnf.fr/ark:/12148/cb41303681b.

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Laar, Mart. "Äratajad : rahvuslik ärkamisaeg Eestis 19. sajandil ja selle kandjad /". Tartu : Kirjastus Eesti Ajalooarhiv, 2005. http://catalogue.bnf.fr/ark:/12148/cb41084238g.

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Libros sobre el tema "Art, Estonian"

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Inge, Teder y Hain Victoria, eds. The State Art Museum of the Estonian SSR: Estonian and Soviet Estonian Art. 3a ed. Tallinn: Perioodika, 1989.

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Viiroja, Lehti. Eesti kunstist ja kunstikäsitusest 19. sajandi lõpust kuni aastani 1916: Uurimusi Eesti kunstist ja kunstielust. Tallinn: Eesti Teaduste Akadeemia, Ajaloo Instituut, 1993.

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Industriemuseum, Westfälisches. Estnisches Glas: Estonian glass. Essen: Klartext, 2010.

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Society of Estonian Artists in Toronto. EKKT 1956-1990 art album. [Toronto]: The Society, 1990.

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Society of Estonian Artists in Toronto. EKKT 1956-1990 art album. [Toronto]: The Society, 1990.

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Koll, Kersti. Eesti kunst paguluses =: Estonian art in exile. Tallinn: KUMU, 2010.

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Kõiv, Reeli. Lapsepõlv: Laps eesti kunstis = Childhood : child in Estonian art. Tartu: Lasteikaitse liit, 2003.

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Mark, Reet y Reet Pulk-Piatkowska. Eesti kunstnikud Pariisis. Tartu]: Tammerraamat, 2010.

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Loodus, Rein. Kunstielu Eestis 19. sajandil. Tallinn: Eesti TA Toimetus- ja Kirjastusnõukogu, 1990.

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Hain, Jüri. Usutlusi kunstnikega. Tallinn: Arlekiin, 1995.

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Capítulos de libros sobre el tema "Art, Estonian"

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Talvoja, Kädi. "(Re)nationalizing Estonian Art During the Thaw". En A Socialist Realist History?, 170–99. Köln: Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412516673.170.

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Porri, Anneli. "Two Images of a Spaceman in Estonian Art". En Soviet Space Culture, 266–80. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307049_20.

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Untiks, Inga. "Performing Identities and Convergent Aesthetics in Contemporary Estonian Video Art". En Göttinger Schriften zur Englischen Philologie, 65–76. Göttingen: Göttingen University Press, 2015. http://dx.doi.org/10.17875/gup2021-1700.

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Tire, Gunda. "Estonia: A Positive PISA Experience". En Improving a Country’s Education, 101–20. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-59031-4_5.

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AbstractAccording to Programme for International Student Assessment (PISA) run by Organization of Economic Cooperation and Development (OECD), Estonian education system stands out as a high performing system where students from different socio-economic backgrounds achieve high results. In PISA 2018 Estonian students ranked first in reading and science and third in mathematics among the OECD countries. What has Estonia done to be at the top of the PISA league tables? There are many aspects that have contributed to the success of Estonian education. The following chapter will look at the historical background, describe the factors, policies and conditions that have contributed to the current educational landscape that has attracted considerable attention from all over the world.
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Ainsaar, Mare y Ave Roots. "Migrants’ Access to Social Protection in Estonia". En IMISCOE Research Series, 137–48. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51241-5_9.

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Abstract This chapter analyses the social protection system in Estonia mainly from the immigration viewpoint. Perhaps because of low immigration rates in recent decades, immigration and emigration issues are seldom explicitly regulated in the Estonian legal system. Our findings indicate that social security rights are based mostly on legal resident status in Estonia, although EU foreign residents sometimes benefit from some better conditions, mainly in terms of taking into account employment records in other EU countries. Missing waiting periods for entitlement to social benefits guarantee that newly arrived immigrants have similar rights with long-term residents.
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Saar, Ellu y Triin Roosalu. "Inverted U-shape of Estonian Higher Education: Post-Socialist Liberalism and Postpostsocialist Consolidation". En Palgrave Studies in Global Higher Education, 149–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-52980-6_6.

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AbstractThis chapter provides a description of the basic features of the higher education system in Estonia in the historical perspective, paying special attention to the period during the Soviet time right before the USSR collapse and exploring the developments during the following period up to 2015. It is understood that both the social and political system during the period of socialism, as well as changes in the society during the postsocialist period right after the country became independent, have an impact on the current period. On the other hand, changes in the Estonian higher education system are greatly impacted by external factors, especially processes of Europeanisation and internationalisation of higher education. Tendencies towards standardisation of higher education provision, on the one hand, as well as maintaining differentiation between higher education institutions will be highlighted.The analysis distinguishes four periods of the postsocialist higher education system in Estonia, characterised by different traits. 1988–1992 can be considered a period of chaotic, individually and institutionally driven changes; 1993–1998 saw the major expansion of the higher education system in combination with the development of legal frameworks and quality assurance mechanisms; 1999–2005 indicated the wave of reforms, including following the principles of the Bologna process; from 2006 onwards, new measures are put in place to strengthen the (international) competitiveness and sustainability of the shrinking higher education sector. The main strand of differentiation between the higher education institutions largely follows their formal statuses that stem from the soviet period: the applied higher education institutions on the one hand and the academic universities providing bachelor, master’s and doctoral level education on the other. The further differentiation can be made based on the research intensity of the universities as well as based on their legal status, with some being declared national universities by their dedicated laws.
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Pushaw, Bart. "Art and Multiculturalism in Estonia and Latvia, circa 1900". En A Companion to Nineteenth-Century Art, 353–69. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch21.

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Teichmann, Mare y Merle Lõhmus. "Employee Representatives in Estonia. How Are They Perceived and What Are the Expectations by Employers in Estonia?" En Promoting Social Dialogue in European Organizations, 53–65. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08605-7_4.

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Schihalejev, Olga. "Religious Education at Schools in Estonia". En Religious Education at Schools in Europe, 75–104. Göttingen: V&R Unipress, 2014. http://dx.doi.org/10.14220/9783737002738.75.

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Nogales, Alberto, Ermo Täks y Kuldar Taveter. "Ontology Modeling of the Estonian Traffic Act for Self-driving Buses". En Information Management and Big Data, 249–56. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11680-4_24.

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Actas de conferencias sobre el tema "Art, Estonian"

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Lobjakas, Kai. "Building design history. Estonian Museum of Applied Art and Design". En 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0043.

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Roostalu, Lea. "BAPTISTS IN THE ESTONIAN PARLIAMENT DURING THE FIRST PERIOD OF ESTONIAN INDEPENDENCE". En 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/12/s02.043.

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ARIVA, Jelena, Katri KALL, Liis OPER y Ants-Hannes VIIRA. "EFFECTS OF THE RESTRICTIONS OF PRACTICES USED FOR THE MAINTENANCE OF PERMANENT GRASSLANDS". En RURAL DEVELOPMENT. Aleksandras Stulginskis University, 2018. http://dx.doi.org/10.15544/rd.2017.163.

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From 2004-2015, the utilised agricultural area (UAA) in Estonia increased by 25%. Half of the UAA growth arose from the increase in the area of permanent grassland temporarily not used for production purposes. The main driver of growth in such land has been single area payment (SAP) paid in Estonia since the EU accession in 2004. While subsidising the maintenance of permanent grassland not used for agricultural production is in line with the objectives of the EU Common Agricultural Policy (CAP), it fuels discussions about the effects of this policy on agricultural producers. For every year, member states establish practices equivalent to maintenance of permanent grassland. Until 2014, in Estonia, the minimum activity for the maintenance of permanent grassland under the SAP, was harvesting the grass or chopping it and leaving on the ground. In 2015 and 2016 options for chopping and leaving the grass on the ground were restricted with an aim to target SAP more towards active land users, i.e. agricultural producers. Both agricultural producers and non-producers maintain permanent grassland not used for production purposes. Research on the practices used by different types of actors helps in understanding the variety of practices and potential effects of restrictions of these practices. The survey data was combined with the data from the registries of Estonian Agricultural Registers and Information Board (ARIB), to analyse the potential effects of restrictions of practices on agricultural producers and the area of permanent pasture in Estonia. The results indicate that both agricultural producers and non-producers use grass harvesting and chopping practices. Therefore, restrictions that have effect on both groups of land users are not the most efficient way of targeting SAP towards agricultural producers, and potentially reduce the area of permanent grasslands. This result would be in conflict with the aims of the CAP.
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Küttim, Merle, Jelena Hartšenko y Iivi Riivits-Arkonsuo. "Added value of post-secondary education in Estonia". En Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9437.

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Education is seen in the human capital literature as one of the determining factors for labour market outcomes (Blázquez et al., 2018), measured through multiple variables. The aim of the current study is to examine the change in the earnings of graduates from Estonian post-secondary education institutions. This is achieved by comparing graduates who had studied from 2013 to 2016 in four fields: engineering, information technology, economics and natural sciences. To assess the change in pre- and post-entry earnings difference-in-differences regression was used. The results indicate there are differences between disciplines in terms of added value. In economics gender differences have the smallest and entrepreneurial activities the largest impact for the change in earnings. The study contributes to our understanding of added value of post-secondary education by combining educational, tax and social data, and analysing the change in graduates’ earnings pre- and post-entry. Keywords: Post-secondary education; earnings; value added; Estonia; labour market success
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Pashkevich, Maria, Anna Krasilnikova y Dago Antov. "Method for Pedestrian Crossing Risk Assessment and Safety Level Determination: the Case Study of Tallinn". En CIT2016. Congreso de Ingeniería del Transporte. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/cit2016.2016.4124.

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Pedestrians are a part of vulnerable road users which safety requires a special attention. Official statistics in Estonia from the last decade returns the following numbers: around 30 % of all road traffic accidents in the country were accidents with pedestrians, 32 % of all traffic fatalities were finished with pedestrian death. Pedestrian crossing has the biggest risk level between all kinds of pedestrian facilities, because it includes a direct conflict point between vehicle and pedestrian traffics. The article presents a method to assess risk of pedestrian crossing users and to determine safety level of this road infrastructure element. This approach is based on observation and collection of infrastructural as well as traffic data, which includes: (1) information about each pedestrian crossing facility, its location and state, (2) data about accidents with pedestrians and their features, (3) data from road traffic measurements. The main advantages of the described method are universality and comprehensiveness. The case study was done in Kristiine district of the city Tallinn, which was chosen as the most typical average district of Estonian capital. Results of this study are also presented in the article.DOI: http://dx.doi.org/10.4995/CIT2016.2016.4124
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Jürgenson, Evelin, Armands Auzinš y Marija Burinskienė. "Land Value Capture to Promote Local Development in Baltics: a Comparative study of Estonia, Latvia and Lithuania". En Environmental Engineering. VGTU Technika, 2017. http://dx.doi.org/10.3846/enviro.2017.106.

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By capturing value increase, it should be used for specific purposes in the way that would support implementation of infrastructure projects and promote local development. Accordingly, the stakeholders’ interests have to be balanced and fair decision-making promoted. The research emphasises on comparative analysis of Estonian, Latvian and Lithuanian experiences in covering development costs and absorbing value increase. The purpose of the study is to give an overview of the land value capture as well as to discuss how it promotes local development and what is an institutional environment supporting it in three Baltic countries with similar historical evolution during last two decades. The functions of local authorities and spatial planning systems have been analysed in the study. The comparative analysis and synthesis, the logical-constructive and graphical methods mainly are used for the research. Direct and indirect models, which are used for the absorption of the surplus value of developed land, have been observed in the study. The outcome of the research shows an interim conclusion for Estonia, Latvia and Lithuania, and it may contribute to comparative analysis in larger – European context – in order to get an overview of land value capture across Europe.
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Kadak, Tarmo. "SUSTAINABILITY REPORTING IN ESTONIAN LOCAL GOVERNMENTS: ARE WE NEARLY THERE YET?" En SGEM 2014 Scientific SubConference on POLITICAL SCIENCES, LAW, FINANCE, ECONOMICS AND TOURISM. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b21/s4.049.

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Seglins, Valdis, Agnese Kukela y Baiba Lazdina. "STONE PILES AND SIGNS ON STONE SURFACES IN NORTHERN ESTONIA". En 7th SWS International Scientific Conference on ART and HUMANITIES - ISCAH 2020 Proceedings. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.2020.7.1/s19.04.

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Pars, Maarja. "VALUATION PRACTICES OF INTANGIBLE ASSETS IN ESTONIA". En 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b22/s6.071.

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Roostalu, Lea. "MEASURING SUSTAINABILITY PERFORMANCE ON THE EXAMPLE OF ESTONIAN STATE-OWNED FOUNDATIONS". En 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/12/s01.014.

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Informes sobre el tema "Art, Estonian"

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Kangro, Kirke, Oliver Laas y Madis Luik. PhD Vitamin at the Estonian Academy of Arts. Jar-online.net, julio de 2020. http://dx.doi.org/10.22501/jarnet.0032.

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