Methis最新文献

{"title":"Keskkondlus / Environmentalism","authors":"Timothy Morton","doi":"10.7592/methis.v24i30.22114","DOIUrl":"https://doi.org/10.7592/methis.v24i30.22114","url":null,"abstract":"Reproduced only in the print version of the journal Methis with permission of the Licensor through PLSclear .","PeriodicalId":37565,"journal":{"name":"Methis","volume":"90 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87118228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kuidas jääda ellu? Jaan Kaplinskiga antropotseenis / How Are We to Survive? With Jaan Kaplinski in the Anthropocene","authors":"M. Tamm","doi":"10.7592/methis.v23i29.19034","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19034","url":null,"abstract":"Jaan Kaplinski kireva loomingu kese on ökoloogiline mõtlemine. Nii tema luule, proosa, esseistika kui ka laiemalt eluhoiak põhineb dünaamilise tasakaalu otsimisel inimese ja looduse vahel. Põhiküsimus, millega ta oma loometöös tegeleb, on küsimus elu järele – kuidas elu mõista, kuidas tagada elu mitmekesisus ja jätkumine ning kuidas saavutada mõtestatud elu. Artikkel esitab visandi Kaplinski ökoloogilisest mõtlemisest, tuginedes peamiselt tema esseedele. Fookuses on küsimus, mida on Kaplinskil öelda meile praegu, keset süvenevat keskkonnakriisi: mida me saame õppida tema tekstidest eluks – ellujäämiseks – antropotseenis. \u0000--- \u0000Ecological thinking lies at the core of Jaan Kaplinski’s (1941–2021) diverse catalogue. His poetry, prose and essays were grounded in the quest to achieve a dynamic balance between humans and nature. Life was Kaplinski’s primary focus: how it can be understood, how to ensure its continuity, and how to attain a meaningful existence. \u0000Today, Kaplinski’s ecological writing has acquired new relevance. An ever-keener awareness of human responsibility for the environmental crisis, the declaration of a new geological era (the Anthropocene), and a re-evaluation of the relationship between nature and culture give us an opportunity to read Kaplinski from a fresh perspective. \u0000Kaplinski’s ecological worldview essentially boils down to three principles. \u0000The first of these is holism. As Kaplinski saw it, life forms a complete network in which everything is interconnected and interdependent. The clearest expression of this belief appeared in his 2000 travelogue Spring on Two Coasts, or A Sentimental Journey to America: “In fact, Life on Earth is not a chain, but a web, a network. If a knot or an eyelet breaks then it is still a web, albeit broken. Earth’s biosphere is currently a broken web, one so vital to us all. It is broken, but still working.” (Kaplinski 2000, 25) \u0000Secondly, there is the principle of anti-economism. Life cannot be subjected to economic thinking, which tends to view people as creators of value, and thus believe that more work equals more value. Economic thinking leads to environmental destruction and devastation. Ecology is uneconomic. Kaplinski wrote his main essay on this topic,  titled: “Ecology and Economy”, in 1972. \u0000Thirdly, there is the principle of pluralism. In much of his writing, Kaplinski emphasised that reducing nature’s diversity weakens its self-regulating mechanisms. As a member of a tiny nation, he expressed equal appreciation for natural and cultural diversity, writing in 1972: “The biosphere is very strange and our cautious existence in it can be summarised with the slogan ‘reverence for information’. For not one genotype, community, language, or culture can be restored if they should disappear.” (Kaplinski [1972] 1996, 71) \u0000Kaplinski’s perception of today’s global ecological situation was highly pessimistic. The preservation of natural diversity was one of his greatest concerns, as he was convinc","PeriodicalId":37565,"journal":{"name":"Methis","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88188210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vana ja uus kvantitatiivne formalism: kõrvutused ja väljavaated (Moskva Lingvistiline Ring ning Stanfordi Kirjanduslabor) / “Old” and “New” Quantitative Formalism: Comparisons and Perspectives (The Moscow Linguistic Circle and the Stanford Literary Lab)","authors":"Igor Pilshchikov","doi":"10.7592/methis.v23i29.19036","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19036","url":null,"abstract":"Kümme aastat tagasi leidsid Franco Moretti ja tema kolleegid oma uurimismeetodile mahuka määratluse – kvantitatiivne formalism, vastandades seda vene formalismile, mis nende arvates oli kvalitatiivne. Formalistliku teadusprogrammi tuumaks on kunstilise teksti struktuurilis-funktsionaalne analüüs, mida formalistid ise nimetasid morfoloogiliseks, ja seda võib pidada kvalitatiivseks. Kuid väide kvantitatiivse formalismi uudsuse kohta vastab tõele vaid osaliselt. Selle tõestamiseks keskendub autor kahe Moskva Lingvistilise Ringi liikme – Boriss Tomaševski ja Boriss Jarho – kvantitatiivse poeetika käsitlustele ning pöörab erilist tähelepanu Jarho leiutisele, mida hiljem nimetati kauglugemiseks. Kahe kvantitatiivse formalismi võrdlusel pole mitte ainult ajaloolis-teaduslik tähtsus, vaid ka metodoloogiline väärtus, kuna see tutvustab palju lähenemisviise, mis osutuvad tänapäeva digihumanitaariale kasulikuks. \u0000--- \u0000Ten years ago, Franco Moretti and his co-authors described their research method as “quantitative formalism”, in contrast to Russian Formalism of the 1910s and 1920s. The structural and functional analysis of poetic texts is the nucleus of the formalist agenda, and it can indeed be considered “qualitative”. However, quantitative formalism’s novelty depends upon narrowly construing “formalism” as it was understood by the Petrograd association Obshchestvo izucheniya poeticheskogo yazyka (Society for the Study of Poetic Language) or Opoyaz. Other formalist groups had previously approached the question of quantitative formalism, but this fact is not known to many scholars for whom the canon is limited to the Opoyaz variant of formalism presented in Tzvetan Todorov’s anthology (1965) and the later collections of formalist essays, from the “standard” published by Ladislav Matejka and Krystyna Pomorska in English in 1971 to the recent collection of Russian Formalists in Estonian translations edited by Märt Väljataga in 2014. \u0000To demonstrate the historical development of quantitative analysis within Russian formalism, this essay focuses on the approaches to quantitative poetics developed by Boris Tomashevsky (1890–1957) and Boris Yarkho (1889–1942). Both Tomashevsky and Yarkho were members of the Moscow Linguistic Circle (MLC), co-founded by Roman Jakobson in 1915; the two scholars were recommended for membership in the MLC by Jakobson himself and elected unanimously at the same meeting on 21 June 1919. In 1960, Jakobson called Tomashevsky’s approach to verse “an example of the longest and, until recently, perhaps the most spectacular ties between linguistics, in particular the study of poetic language, on the one hand, and the mathematical analysis of stochastic processes on the other”. This approach “gave surprising clues for descriptive, historical, comparative, and general metrics on a scientific basis”. For example, Tomashevsky pioneered a statistical method of -his own invention that compares empirical indicators of verse rhythm with a theoretic","PeriodicalId":37565,"journal":{"name":"Methis","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87232107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"„Kunstiteoses kohtub subjekt Teisega“: Ilmar Laabani muusikameel / „In a Work of Art, the Subject Meets the Other“: Ilmar Laaban’s Sense of Music","authors":"Hasso Krull","doi":"10.7592/methis.v23i29.19038","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19038","url":null,"abstract":"","PeriodicalId":37565,"journal":{"name":"Methis","volume":"116 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79739412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ilmar Laabani (luule)dialoog Paul Celani ja Nelly Sachsiga / Ilmar Laaban’s (poetic) dialogue with Paul Celan and Nelly Sachs","authors":"T. Kirss, A. Sakova","doi":"10.7592/methis.v23i29.19031","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19031","url":null,"abstract":"Ilmar Laabani pärandi hulgas Eesti Kirjandusmuuseumi Eesti Kultuuriloolises Arhiivis on säilinud mõned näited tema saksakeelsest kirjavahetusest kahe saksa-juudi luuletajaga: kolm koopiat kirjadest tema eakaaslasele Paul Celanile (1920–1970) ja mõned kirjamustandid Nelly Sachsile (1891–1970), kes mõned aastad hiljem pälvis Nobeli kirjanduspreemia. Laaban rootsindas mõlema luuletaja tekste ning tõlkis valiku nende luuletustest ka eesti keelde. Artikkel käsitleb Laabani kirjanduslikku dialoogi Celani ja Sachsiga, mis kujunes kirjade, kohtumiste ning eeskätt luuletõlgete kaudu. Artikli teises pooles analüüsitakse Celani luule eestindusi, mille Laaban avadas Manas 1957–1958. \u0000--- \u0000In the archive of the Estonian poet Ilmar Laaban, conserved at the Estonian Literary Museum in Tartu, we find three copies of his drafts of letters (in German) to his contemporary, the German Jewish poet Paul Celan (1920–1970) and four drafts (in German) of letters to the German Jewish poet and Nobel laureate Nelly Sachs (1901–1970). Laaban was personally acquainted with both Celan and Sachs, translated their poetry into Swedish, and published a small selection of each in Estonian translation. Celan’s first meeting with Laaban in Paris in 1951 is mentioned in Celan’s letter to Hannelore Scholz (Celan 2019, 94), and in one of Laaban’s letters (1952). Their correspondence began in 1954 and lasted until Celan’s death in 1970. \u0000Though it might seem that such a spare, if not to say skeletal group of letters barely constitutes an analysable sample, this article responds with the claim that it offers significant traces of these poets’ “elective affinities”. Indeed, this portion of Laaban’s epistolarium stands as a synecdoche of much richer dialogues. “Dialogical moments” occur both in epistolary communication and in the translation process.  Letters usually carry metacommunicative signals, references to other letters, or other texts, expanding the possibilities of interpretation and contextualisation. \u0000When researching epistolaria it is not unusual to find only the letters of one party. Reasons are varied: general carelessness with one’s papers, improper sorting of a personal archive, an accident, or an intentional culling and erasure of epistolary texts. In Laaban’s case it is difficult to decide on the reason, as his correspondence (and the whole of his personal archive) only became better tended when he began living with Aino Tamjärv in 1981. There is a tone of warmth in Laaban’s drafts of letters to Sachs, and they both use the informal personal pronoun Du. The only surviving letter from Sachs to Laaban, a postcard for his birthday in 1955 points to a long-lasting friendship, including visits. Laaban’s letters to Celan are more distant, use the formal pronoun Sie and are primarily concerned with choices about translations into Swedish from Celan’s first published poetry collection, Mohn und Gedächtnis (The Poppy and Memory). \u0000The first part of this article closely examines the","PeriodicalId":37565,"journal":{"name":"Methis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83661549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Muusika, ühiskond, revolutsioon. Perspektiivne visand mõttevahetusse / Music, Society, Revolution. Perspective Sketch on a Current Discussion","authors":"Ilmar Laaban","doi":"10.7592/methis.v23i29.19037","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19037","url":null,"abstract":"","PeriodicalId":37565,"journal":{"name":"Methis","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88462167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pagulase suhtlusvõrgustiku kujunemisest lähikondsetega. Ilmar Laabani juhtum / On the Formation of a Refugee’s Contact Network with Kith and Kin: The Case of Ilmar Laaban","authors":"Triinu Ojamaa","doi":"10.7592/methis.v23i29.19032","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19032","url":null,"abstract":"Artiklis rekonstrueeritakse luuletaja, tõlkija ja kultuurikriitiku Ilmar Laabani suhtlusvõrgustiku kujunemisprotsess lähikondsetega tema paguluses elamise ajal ning analüüsitakse selle toimimist aastatel 1946–1999. Juhtumiuurimus põhineb Laabanile saadetud kirjadel. Laabani suhtlusvõrgustik tervikuna on struktuurilt ebatüüpiline: domineerib rahvusvaheline segment ning kõige nõrgemalt on välja kujunenud kontaktid lähikondsetega, mis üldjuhul moodustab pagulaste suhtlusvõrgustikes kõige olulisema osa. Artiklis arutletakse võrgustiku eripära põhjuste üle, mis võisid olla nii isiklikku laadi kui ka generatsiooni-spetsiifilised. \u0000--- \u0000During WWII Ilmar Laaban (1921–2000) fled Estonia for Sweden where he would become an internationally known poet, translator and critic of culture. The present case study focuses on Laaban as a refugee. Its aim is to reconstruct the process of the development of his contact network with his kith and kin – relatives and close friends of the family – and describe its functioning. With this in mind I have studied the letters sent to Laaban in the years 1943–2000 both by Estonians in exile and people living in Estonia that are stored in the Laaban collection of the Estonian Cultural History Archives of the Estonian Literary Museum (EKM EKLA, f 352). Such letters of daily life were selected for study whose content revealed the writer’s family relations or close communication with Laaban. After the selection process, I studied (1) the letters’ content, while also detecting the temporal limits of the development of the contacts and the strategy of establishing them, as well as (2) the cryptic mode of writing of the correspondents which I commented on a far as possible. \u0000  \u0000On the basis of the letters analysed it appears that the first attempt to get in touch that could be related to close family and friends took place in Stockhom in 1946 when Laaban received a letter from Lilly von Pressentin – the only person from Laaban’s intimate circle who fled to the West during the German occupation. The communication that started turned out to be frequent and lasted for at least a year. There are no letters indicating any communication with the kith and kin from the following ten years. The process was re-initiated by Dagmar Normet who gave Laaban’s family in Tallinn news on his life in Stockolm after returning from a trip of representatives of Soviet Estonian creative people to Sweden in 1956. His father Eduard Laaban started to look for ways of getting in touch with his son via letter but received no reply. After several failed attempts, a successful contact was established by changing the strategy: Ilmar Laaban’s onetime nanny Minna wrote to his wife Cornelia in 1957 and received a reply. Judging by the handwriting, the letter was actually written by Eduard Laaban. In 1958 the contact between Ilmar Laaban and his family was cut off again; one of the reasons might have been connected with the fact that Eduard Laaban would pass away in ","PeriodicalId":37565,"journal":{"name":"Methis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88801857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Avatusse astudes. Jaan Kaplinski ja Ilmar Laabani loome kokkupuuted ja mitmekesisus. / Approaching Openness: Convergence and Diversity in the Creative Universes of the Poets Jaan Kaplinski and Ilmar Laaban.","authors":"Ene-Reet Soovik, Marin Laak","doi":"10.7592/methis.v23i29.19027","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19027","url":null,"abstract":"The special issue of Methis on literature and openness brings together the oeuvres of two remarkable Estonian authors with an international scope: Jaan Kaplinski and Ilmar Laaban. They were poets, translators, essayists, original thinkers and public intellectuals whose works have travelled far beyond the boundaries of Estonian literature. Jaan Kaplinski (1941–2021) published more than 60 books in Estonia and equally many abroad, as his work has been translated into more than 30 languages. Ilmar Laaban (1921–2000) fled Estonia for an exile in Sweden to escape Soviet occupation in the spring of 1943. He has left his mark on Estonian literary history with his surrealist collection of poetry Rroosi Selaviste (1957) and practising the genre of text sound poetry in Estonian, Swedish and French. \u0000  \u0000Jaan Kaplinski’s name was put forward as a possible candidate for the Nobel prize in literature on several occasions. Laaban, who was well acquainted with contemporary European literature and its authors, translated into Swedish poems by the German-Jewish poet Nelly Sachs who received the Nobel prize in 1966, while Kaplinski rendered into Estonian poetry by Tomas Tranströmer, the Swedish recipient of the prize in 2011. Kaplinski also pointed out that it was the anthology 19 moderna franska poeter (1948), co-edited by Laaban and Erik Lindegren, that had given Tranströmer an impetus towards becoming a poet. In addition, similarities of outlook have also been observed between Tranströmer and Kaplinski himself. For instance, Ivar Ivask, a long-time editor-in-chief of the Oklahoma-based journal World Literature Today, underscored the significance of openness in Tranströmer’s poetry, while his dedicatory poems to Kaplinski and Laaban connect the authors with such notions as scope, infinity, openness, eternity and freedom. Openness appears as the core concept in this cluster of notions related to a lack of boundaries and contractedness in time, space and society that becomes manifest in the oeuvres of both Kaplinski and Laaban. Their works are also characterised by an intense engagement with the semantic possibilities afforded by different languages as well as employing linguistic regularities towards the end of formal innovation. \u0000  \u000020th-century intellectual history, that provided the context for the creative growth of both authors, involved remarkable cases of addressing of the openness concept, notably by figures such as the philosopher Karl Popper and the semiotician Umberto Eco. Popper famously launched his concept of open society as one in which an individual has to face personal decisions, which opposes it to a magical or tribal totalitarian society. In the artistic realm, Eco discussed the open work that involves the audience’s collaboration with the author in detecting meaningful arrangements in the work, making artistic response an interactive process. Such plurality and multiplicity accompanies formal innovation that correlates with a modern, avant-gard","PeriodicalId":37565,"journal":{"name":"Methis","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84735948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kaplinski joon ja Rummo sädemed. Struktuurivõrdlus / Kaplinski’s Line and Rummo’s Sparks: A Structural Comparison","authors":"Arne Merilai","doi":"10.7592/methis.v23i29.19029","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19029","url":null,"abstract":"Artikkel analüüsib Jaan Kaplinski ja Paul-Eerik Rummo luuletuste struktuuri visualiseeriva pragmapoeetika abil. Käsitlus lähtub Roman Jakobsoni loodud poeetilise funktsiooni lingvistilisest teooriast, mis tõlgendab luulet kui seotud kõnet. See tähendab keele paradigmavälja elementide projitseerimist kõne süntaksiteljele ehk keelevaramu parallelismide korrastatud suunamist värssidesse. Kaplinski tekstide semantiline kumulatsioon, mis koondub luuletuse kujundliku sõnumi kui juhtmotiivi ümber, ilmutab tavalisest suuremat paradigmaühtsust. Rummolik struktuur läheneb veelgi enam sünkroonilisele paradigmaväljale, millega kaasneb süžeelisuse tugevam fragmenteerumine. See võib viia nii narratiivi kui ka keelelise sidususe kohatise vaibumiseni. \u0000--- \u0000The article discusses the structure of Jaan Kaplinski’s and Paul-Eerik Rummo’s poetry through making use of visualising pragmapoetics. The discussion proceeds from Roman Jakobson’s linguistic theory of the poetic function that treats poetry as bound speech. This involves projecting elements from the paradigm field of language on the syntax axis of speech, that is, systematised directing into verse of parallelisms to be found language. \u0000The semantic accumulation of Kaplinski’s texts that condenses around the poems’ figurative message emerging as a leitmotif demonstrates a paradigmatic unity greater than that commonly found in traditional poetry, which finds expression in the amplification of catalogues or lists of words and concepts. For instance, the ballad “Üks kuningas oli kord maata” (“Once there was a king without a kingdom”) contains 22 references to the motif of land/earth and 27 to the king and his crown/throne. Around this, motifs of waiting, feeling sad, growing old, dying and decaying, as well as a rich vocabulary connected with burials become consolidated. The 18-sentence text “Luuletused on elanud maakeral juba eotseenist saadik…” (“Poems have  been living on Earth since the Eocene epoch”), that reminds of an entry in a reference work, includes altogether 23 references to the word/concept “poem” that is in a substitutive dialogue with the word and concept “elephant” that the text proceeds from; thus, it contains twice 23, that is altogether 46, accumulating references. These form a dense paradigmatic web (rhizome) with points of converence that is brought together into a plotted narrative that dynamically sketches the semantic field and foregrounds it. \u0000The catalogue structure of Rummo’s poetry is similar to that of Kaplinski, but it often comes even closer to the synchronic paradigmatic field, which is accompanied by an increased fragmentation of a lyrical-narrative plot. This may lead to a noticeable decrease of both thematic and linguistic coherence, which on occasion can even approach glossolalia. If Kaplinski is consistent in retaining his ideological plotline that runs through the expanded paradigm field of his text as a leitmotif and keeps it together, Rummo in his “casting of sparks”, as h","PeriodicalId":37565,"journal":{"name":"Methis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89071555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Meisterlikud õpipoisid. Jaan Kaplinski ja tema hingesugulane Tomas Tranströmer / Masterful Servants: Jaan Kaplinski and his soulmate Tomas Tranströmer","authors":"Thomas Salumets","doi":"10.7592/methis.v23i29.19028","DOIUrl":"https://doi.org/10.7592/methis.v23i29.19028","url":null,"abstract":"Luuletajad Jaan Kaplinski (1941–2021) ja Tomas Tranströmer (1931–2015), keda lahutas raudne eesriie, kasvasid üles väga erinevates maailmades. Ent siiski said neist hingesugulased. Artiklis osutan, kuidas nende läheduse tuuma iseloomustas sügavalt juurdunud hoiak, mis põhines ökoloogiast inspireeritud maailmatunnetusel. Tugevasti lihtsustades võiks öelda, et oma egosse investeerimise asemel nägid mõlemad luuletajad end millegi suurema teenritena. Nad hindasid mõlemad kõrgelt avatuks jäävat vaadet enestele, oma tööle ja maailmale, millesse nad kuulusid. Kui nende egod viibisid pidevas taandumises, avardus nende vastuvõtlikkus maailma suhtes ning köitvus luuletajatena. \u0000--- \u0000Separated by the Iron Curtain, Jaan Kaplinski (1941–2021) and Tomas Tranströmer (1931–2015) grew up in very different worlds. And yet, they became soulmates. What then informed the core of their kinship? This article aims to show that it was above all a deeply rooted sentiment grounded in an ecologically inspired view that brought the two poets together. To put a complex matter all too simply, Jaan Kaplinski and Tomas Tranströmer saw themselves as servants of something bigger: they shared a profoundly felt sense of “openness,” something which also lies at the heart of their success as poets. \u0000In Jaan Kaplinski’s and Tomas Tranströmer’s work and habits of thought, this core sentiment left easily overlooked but nevertheless telling traces. They include, as this article points out, their conversation concerning the translation of an essential term in Eastern thought, namely śūnyatā (emptiness). Tranströmer followed Kaplinski’s unique suggestion, which was meant to capture more of the essence and spirit inherent in the term śūnyatā. As a consequence, in the final version of one of his best-known poems, entitled “Vermeer”, Tranströmer changed to “openness” what in Buddhism is commonly referred to as “emptiness”. \u0000            Yet probably more significantly, what above all held Kaplinski and Tranströmer captive, as this article also aims to show, is a reversal in our understanding of the ego. Collectively, both poets agreed, we, as human beings, would be well advised to embrace a less intrusive role in the world to which we belong. Importantly, what Kaplinski and Tranströmer advocated does not amount to an impoverishing stance. On the contrary: only when we step away from our previous deeply entrenched positions of human dominance, both poets agreed, a richer world and more sustainable sense of self can come into view. To at least gain a glimpse of the fuller complexity of what brought both poets together, the observations offered in this article are meant to help us understand how, for Kaplinski and Tranströmer, changes in our view of the ego embody “openness”. Instead of increased ego noise, they urged the merit of a more modest ego. Not preoccupied with themselves, their goals and desire to intervene, both poets wrote poems focussed on the diminished ego as a key value. The more w","PeriodicalId":37565,"journal":{"name":"Methis","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89326588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}