Philologia Estonica Tallinnensis最新文献

{"title":"Kunstiliste maailmade kehastamine Karl Ristikivi „Hingede öö” näitel [Embodiment of Artistic Worlds on the Basis of Karl Ristikivi’s Novel \"Night of Souls\"]","authors":"A. Saro, Hedi-Liis Toome","doi":"10.22601/pet.2019.04.04","DOIUrl":"https://doi.org/10.22601/pet.2019.04.04","url":null,"abstract":"Artikkel lahtub teatriteaduses populaarsest ja kirjandusteaduses marginaalsest kehastamise ( embodiment, embodied experience ) moistest ning vaatleb kirjandusliku maailma kehastamist kui taju-, tolgendus- ja koosloomeprotsessi kahel tasandil: lavastaja-etendaja ja vastuvotja (lugeja/vaataja/osaleja) vaatepunktist. Naiteteosteks on Karl Ristikivi eesti kirjanduse klassikasse kuuluv romaan „Hingede oo“ (1953) ja Laburintteatriuhenduse G9 samanimeline osavotuteatri lavastus (2018), mida vastuvotjad pidasid romaani kongeniaalseks tolgenduseks. Vordleme romaani ja lavastust ning etenduse vastuvotjate tajukogemusi romaani lahilugemisel sundivate meeleliste kogemustega. Analuus toetub nimetatud teostele ning lavastuse trupi ja 20 vastuvotjaga labi viidud fookusgrupi intervjuudele. Votmesonad: eesti kirjandus, kehastamine, osavotuteater, retseptsioon ----------- The article explores embodiment as a process of perception, interpretation and co-creation of a literary world from the point of view of producer (director/performer) and receiver (reader/spectator/participant). Estonian classic novel Night of Souls by Karl Ristikivi and the participatory theatre project of the same title by Labyrinth Theatre Group G9 serve as the empirical material of the research. The article compares the literary work with the production and the perceptions of the novel and the production. The analysis relies on a close reading of the novel and on interviews with the producers and 20 spectators. Three forms of embodiment were detected. First, embodiment as a sensuous concretisation of a literary work, through which storyteller’s or main character’s bodily experiences are taken on by the reader/spectator, i.e. gradual immersion into a fictional world and identification with a character takes place. The second form is related to the embodiment of a textual/ fictional world on stage. In theatre theory, embodiment usually only depicts a relationship between a performer and his/her role, but in this article the term denotes materialisation of the whole fictional world. Thus staging is a specific process of perception, interpretation and co-creation that transforms a script into a stage production. The third form of embodiment is characteristic for participatory theatre, where spectators have the possibility to perform somebody in a fictional world or theatre game. The reception research of Night of Souls demonstrated that predominantly the spectators embodied themselves, i.e. a performation of individual existence was realised. Since open participatory theatre works enable receivers to fill gaps with their personal mental and psychical material, spectators interpreted the production either as an artistic environment/world, an exciting role play, a psychotherapeutic trip into personal worlds, or a metaphor for life pilgrimage. Embodiment as a research instrument highlights the embeddedness of body and soul in perception and cognition of an environment/the world. The main character o","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48046377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"García Márqueze „Patriarhi sügis“ traditsiooni ja uuenduse vahel [“The Autumn of the Patriarch” by García Márquez − Between Tradition and Modernity]","authors":"M. Kotta","doi":"10.22601/pet.2019.04.06","DOIUrl":"https://doi.org/10.22601/pet.2019.04.06","url":null,"abstract":"Luule ja proosa piirile jaav Gabriel Garcia Marqueze romaan „Patriarhi sugis“ on naide Ladina-Ameerika 1970. aastate diktaatoriromaanist, mis andis uue kirjandusliku nao vanale uhiskondlikule probleemile. Artikkel paigutab koigepealt teose kirjandusloolisesse konteksti, vottes arvesse selle intertekstuaalsust, seost diktatuuriromaani žanri ning ladinaameerika uue ajalooromaaniga. Seejarel keskendub uurimus kusimusele, kuidas sona- ja motiivikordused aitavad moista traditsiooni ja uuenduse suhet romaani struktuuri ja loo tasandil. Kordused, mis lahendavad proosat luulele ja konele, viitavad regulaarsusele, identiteedile ja traditsioonile, aga juhatavad meid ka muutumatuse ja ainutoe kriitikani, kui ilmuvad teisenevas kontekstis voi kui uks teoses korduvaid kusimusi on: kust uldse algab teadmine? Votmesonad: diktaatoriromaan, ladinaameerika uus ajalooromaan, kordus, hispaaniakeelne kirjandus -------------- As a social-protest genre of literature, the Latin American dictator novel has always created a rupture of the discourse that legitimizes an antidemocratic regime or otherwise denies its antidemocratic character. When Garcia Marquez published The Autumn of the Patriarch (written between 1958 and 1975), the tradition of pondering literarily on dictatorships was more than 120 years old. However, it was due to the fact that, in a short time, The Recourse to the Method  by Carpentier and I, the Supreme by Roa Bastos also appeared, that researchers started to consider it worthy of study as a genre. That research continues into the present day. As an example of the experimental protest literature of the 1970s, The  Autumn of the Patriarch blurs the lines between prose and poetry, delving into the unreliable discourse around a dead despot and his power. First, this article specifies the place of the novel within the literary tradition, taking into account the development of the dictator novel and the Latin American new historical novel, as well as intertextuality. Next, the article, working from the essay  Children of the Mire. Modern Poetry from Romanticism  to the Avant-Garde  (1974) by Paz, focuses on the question of how the repetition of words and situations helps us to understand the relationship between tradition and modernity in Marquez’s book. The repetitions bring prose closer to poetry and oral communication, and refer to continuity, regularity, identity and tradition. However, paradoxically, when the context of these repetitions changes, we are led to a criticism of immutability and of any kind of absolute truth. In the end, the question asked again and again in the book is: Between lies and beliefs, where is the truth to be found? Keywords: dictator novel, Latin American new historical novel, repetition, literature in Spanish language","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46863212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Traditsioonist ja modernismist eesti sonetis [Modernism and Tradition in the Estonian Sonnet]","authors":"Rebekka Lotman","doi":"10.22601/pet.2019.04.01","DOIUrl":"https://doi.org/10.22601/pet.2019.04.01","url":null,"abstract":"Artikkel vaatleb modernismi ja traditsiooni kohtumist eestikeelses sonetis. Sonetti nimetatakse kirjandusteaduses sageli traditsiooniliseks vormiks, ometi on see laane kirjanduses luulemurrangute ajal esile kerkinud olulise poeetilise ruumina, milles neid uuendusi labi viiakse: asi on selles, et traditsiooni enda sees tulevad modernistlikud nihked kontrastselt esile, olgu tegu uutlaadi subjekti ja maailmapildi voi varsi-, riimi- voi keeleuundusega. Eesti sonetti joudis modernism 1905. aastal, kuid mingit eesti soneti traditsiooni ei olnud selleks ajaks veel valja kujunenud. Nii seisid siinsed modernistid silmitsi kahetise ulesandega: luues uhte traditsiooni, uuendasid nad eesti luulekeelt laiemalt. Modernismi ja traditsiooni duaalne loomus ilmneb ka Underi sonettides, mis korraga tekitasid katkestuse petrarkistlikusse traditsiooni ja panid aluse eesti lembesonettide traditsioonile. Noored luulekultuurid, nagu eesti oma, olid eelmisel sajandil huvitavas positsioonis: naeme, kuidas eesti sonett ning laiemalt terve siinne luule ei tegelenud 20. sajandil mitte uksnes modernistlike ja kaasaegsete kusimuste, teemade ja žanridega, vaid ka vanade luulekultuuride sajanditepikkuste traditsioonide tutvustamise ja arendamisega. Artiklis jareldatakse, et traditsiooni ja modernismi ei saa kasitleda kui midagi etteantut, vaid kui pidevalt ajas muutuva piiriga ja vastastikku defineeritavaid nahtusi, mistottu nouavad need historistlikumat lahenemist. See tuleb eriti esile eesti soneti puhul, kus arhaism ja novaatorlus on kainud kasikaes. Votmesonad: traditsiooniline luulevorm, modernistlik sonett, eesti luule, kirjanduslik perspektivism, petrarkism ---------------- The sonnet, like other forms of poetry that follow prescribed formal patterns, is also referred to as a classic or traditional poetic form. Nevertheless, during the periods of great changes in the poetic discourse, this traditional form has gained significant importance. It emerged during the modernist and vanguard era both in the age-old European poetic cultures and also in newer literary cultures like that in Estonia. There are two main reasons for this. The first lies in the strict rules of the sonnet, as every rule offers the possibility to bend it or even break it entirely. The other reason is in its vast popularity – from its birth in the 13th century, the Sicily sonnet has become the most often used prescribed poetic form in Western literature, and has given rise to many new poetic traditions and subgenres. The modernist schools of poetry have adopted this centuries-old and powerful symbol of traditional poetry to showcase within it their fresh ideas, subjectivity and renewed poetic devices. Thusly the tradition has been altered or even deconstructed within the tradition itself. The situation was, however, completely different in Estonian literature. The first Estonian-language sonnets were published in 1881 and by the time the first modernist sonnets emerged in Estonia in 1905 the Estonian sonn","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44821071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ajalooline müüt Jaan Kaplinski draamas „Neljakuningapäev“ [Historical Myth in Jaan Kaplinski’s \"Day of the Four Kings\"]","authors":"Paavo Põldmäe","doi":"10.22601/pet.2019.04.05","DOIUrl":"https://doi.org/10.22601/pet.2019.04.05","url":null,"abstract":"Ajalooline naidend voimaldab end žanrina erinevalt tolgendada – nii sužeepohise rekonstruktsiooni kui ka kaasaegse allegooriana. 1960.–1970. aastate eesti draamas kasutasid mitmed autorid umberutleva moistukone vormi, et kasitleda teemasid, mille otsene valjendamine olnuks keeruline voi isegi voimatu. Uht kujukamat naidet pakub siin Jaan Kaplinski draama „Neljakuningapaev“, milles 1343. aasta Jurioo ulestousu sundmused on asetatud kaasaegse suvilapeo konteksti. Tekkinud paralleel osutus sedavord konekaks, et naidendi esmalavastus Tallinna Draamateatris 1977. aastal peaaegu maha vaikiti ning sisuliselt isegi keelustati. Kumme aastat hiljem Eesti NSV Riiklikus Noorsooteatris lavale joudnud „Neljakuningapaeva“ uustolgendus, mis lahtus uksnes valisest sundmusekujutusest, ei omandanud aga esmalavastusele ligilahedastki tahendust. Seega eeldab ajalooline muudidraama tolgendajatelt nii allegooriale sobivat kunstilist nagemust kui ka selle kontseptuaalselt veenvat lahtimotestamist. Votmesonad: muudidraama, Jurioo ulestous, Jaan Kaplinski, ajalooline muut, allegooriline draama ----------- This paper examines the phenomenon of historical myth, presented in the form of a piece of theatre. Jaan Kaplinski’s historical and allegorical drama  Day of the Four Kings is presented as a prime example. The play is based on a well-known historical event, namely the brutal murder of ancient Estonian chiefs by German conquerors during the rebellion of 1343 (St. George’s Night Rebellion). As Estonian theatre researcher Piret Kruuspere has noted, during the 1970s, re-tellings of national history on the Estonian theatre stage were clothed in metaphors, allusions and secret codes – Aesopian language. In addition to this secret code, the author of Day of the Four Kings used a kind of doubling, placing historical events into the setting of a contemporary house party. This change of perspective causes some degree of alienation as well as amplifies the essential allegorical message of the drama. Representing the real run of historical events, the play is effectively communicating with a contemporary audience, dealing with the problems and themes closely connected with contemporary society. In addition to its allegorical meaning, the play underlines the importance of maintaining ethnical and archaic values and warns against sacrificing these in return for short-time utilitarian purposes. The allegory of the play was even too obvious, so that the first production of the play (in 1977) was practically banned by the official powers of Soviet Estonia. Contrary to the first stage performance of the play, the second attempt – which took place a decade later – was an unfortunate example of the disappearance of the mythical dimension of the drama. This kind of poor production was no longer able to overcome the historical-cultural and national psychological contradictions inherent in the play. The analysis is mainly based on reviews of the play from the period as well as the social and c","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41375097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Traditsioon ja avangard eesti kirjandusõpetuse kujunemisloos [Tradition and Avant-garde in the Development of Estonian Literary Pedagogy]","authors":"Katre Talviste","doi":"10.22601/pet.2019.04.02","DOIUrl":"https://doi.org/10.22601/pet.2019.04.02","url":null,"abstract":"Artiklis tutvustatakse kaht traditsiooni, mis kujunesid eesti uldhariduskooli vanemate astmete kirjandusopetuses 20. sajandil. Esimene neist on tava kasitleda kirjandust kahe eraldi valdkonnana, millest uks on eesti kirjandus, teine holmab muude rahvaste kirjandusi. Teine traditsioon puudutab oppesisu, opitegevuste ja -valjundite laadi. Uldhariduses on kaua olnud esiplaanil ajaloolis eluloolised kasitlused kirjanduse kohta ning jaanud valja kujunemata susteemne opetus iseseisvast toost kirjandustekstidega. Artikli viimases osas vaadeldakse 21. sajandi alguse oppekavaarenduses esile kerkinud noudeid neid traditsioone muuta ja tasakaalustada ning arutletakse selle ule, milliseid ulesandeid need nouded nuudisaegse kirjandusopetuse ja kirjandusteaduse ette seavad. Votmesonad: kirjandusopetus, oppekavaarendus, kirjanduslugu, eesti kirjandus, maailmakirjandus --------- The paper discusses two traditions that developed in the Estonian literary pedagogy of the twentieth century. The first one concerns the structure of the subject matter. Literature was taught as two separate sub-disciplines, one of them being Estonian literature and the other covering other literatures using varying terms. The composition of this other field of study has varied over time. The early focus on the Western canon, with a diversifying preference for neighbour literatures as well as other Finno-Ugric literatures, was fueled by the national romanticist ideology. It was then forcibly replaced by a strong priority for Russian literature and other Soviet literatures during the Soviet occupation. This shift was in turn in the 1990s followed by restoration of former priorities and updating of the learning content. The second tradition is that of a strong preference for bio-historicist narratives as learning content. This tradition was inspired by the early twentieth-century literary scholarship and was necessitated by the conditions of the Estonian literary field at the time: a relative lack of available translations and the general public’s limited literary education. Focusing on narratives of literary history created a tendency to perceive literature as a field of positivist knowledge instead of interpretive competences and activities. The Soviet literary pedagogy perpetuated that tendency. Finally, the paper describes the efforts of the twenty-first-century curriculum development that aims to change these two traditions. The goal is to introduce an integral view of literature, and to develop teaching of interpretive skills and critical reading. These elements have so far depended mostly on individual teachers’ efforts, without sufficient systematic support from literary scholarship in the form of adequately adapted skillsets. It is important that the academic discipline renew its own perspectives in order to contribute to the development of such skillsets for general education. Keywords: literary pedagogy, curriculum development, literary history, Estonian literature, world litera","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43049055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On Cultural Contacts and their Impact on Literature in Tallinn in the Early 17th Century [Kultuurikontaktidest ja nende mõjust Tallinna kirjandusväljale 17. sajandi alguses]","authors":"Aigi Heero","doi":"10.22601/pet.2019.04.07","DOIUrl":"https://doi.org/10.22601/pet.2019.04.07","url":null,"abstract":"The present paper describes the literary field in Tallinn in the early modern period, specifically the early 1630s. It was a time when several cultural innovations reached this region (via social carriers as well as via the book trade). Hereby, the professors of the newly founded gymnasium (1631) played a crucial role. Thanks to these scholars completely new genres (such as the autobiography) are documented. Furthermore, new core texts were introduced, which had a huge impact on further cultural developments in Tallinn and in Northern Estonia: the formation of German-language (occasional) poetry and the emergence of Estonian-language literary culture. Keywords: early modern era, 17th century, Tallinn gymnasium, Germanlanguage casual poetry, early Estonian-language literature, autobiography, Timotheus Polus, Reiner Brockmann, David Gallus -------- Kaesolev artikkel kasitleb kultuurimuudatusi Tallinna ja Pohja-Eesti kultuurivaljal varasel uusajal, tapsemalt 1630. aastate esimesel poolel. Kuigi majaduslikult pigem vilets, oli see aeg murranguline piirkonna kultuurielus. Nimelt saabus siia sel ajal hulgaliselt pogenikke peamiselt Pohja- Saksamaalt, kes pogenesid Euroopas mollava Kolmekumneaastase soja eest keeleliselt-kultuuriliselt lahedasse paika. Koos pogenikega saabusid ka uued, varsked ideed ning kultuurilised tuvitekstid, mis said maaravaks jargnevate aastate kultuuriliste arengute kujundamisel. Eraldi tuleks valja tuua 1631. aastal asutatud Tallinna Gumnaasiumi, mille professorid loid tanu hariduslikele uuendustele soodsa pinna moodsate ideede levikuks. Poeesiaprofessor ning tuntud luuletaja Paul Flemingi sober Timotheus Polus oli esimene, kes tutvustas Tallinnas Martin Opitzi poeetilist programmi, kasutas seda oma oppetoos ning pani seelabi aluse korgsaksakeelse kirjanduskeele tekkele ja levikule. Barokiaegse kirjanduse populaarsus ning olulisus ja tihedad kultuurilised sidemed Pohja-Saksamaaga kajastuvad ka Tallinna raamatukogudes, mis veel sada aastat hiljem sisaldasid hulgaliselt teoseid tollest perioodist (nt Paul Flemingi luulekogusid). Gumnaasiumi kantor David Gallus koostas teadaolevalt esimese autobiograafia siinses kultuuriruumis. Tanu kreeka keele professori Reiner Brockmanni aktiivsele tegevusele eestikeelsete kirikutekstide koostajana ning esimeste eestikeelsete juhuluuletuste loojana voime raakida sellest perioodist ka kui eestikeelse kirjanduse koidikust. Votmesonad: varane uusaeg, 17. sajand, Tallinna gumnaasium, saksakeelne juhuluule, varane eestikeelne kirjandus, autobiograafia, Timotheus Polus, Reiner Brockmann, David Gallus","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46054083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Traditsioon ja avangard: lisandusi 1990. aastate kirjandusmuutustele [Tradition and Avant-garde: Some Additions to Literary Changes in the 1990s]","authors":"Piret Viires","doi":"10.22601/pet.2019.04.03","DOIUrl":"https://doi.org/10.22601/pet.2019.04.03","url":null,"abstract":"","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68228774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Traditsioon ja avangard kirjanduses","authors":"Luule Epner, Ave Mattheus, Piret Viires","doi":"10.22601/pet.2019.04.00","DOIUrl":"https://doi.org/10.22601/pet.2019.04.00","url":null,"abstract":"Mõistepaari traditsioon – avangard on kultuuri arenguprotsesside käsiteludes laialt kasutatud; nende keerukate omavaheliste suhete ja vastastikmõjude kaudu on võimalik kunstide arengudünaamikat teljestada ja analüüsile allutada.1 Hiljemalt renessansist alates on traditsiooni ja uuenduse suhted olnud kultuurikriitiliste vaidluste teemaks, kuna tegemist ei ole mitte neutraalselt kirjeldavate, vaid ideoloogiliselt laetud mõistetega, mille abil väärtustatakse kunsti­ nähtusi. Arvukaid selleteemalisi uurimusi vaadeldes torkab aga silma teatav asümmeetria – avangardist kirjutatakse sootuks roh­ kem kui traditsioonist. Traditsioon tundub sageli olevat nimetatud mõistepaari justkui iseendast mõistetav osapool, mille najal tegel­ dakse põhiliselt ikka avangardi problemaatikaga. Ka eesti kirjan­ dusteaduse vallast on nimetada ennekõike Tiit Hennoste mahukas monograafia „Eesti kirjanduslik avangard 20. sajandi algul. Hüp­ ped modernismi poole I“ (2016). Niisiis on asjakohane küsida, mida mõistetakse kirjandusliku traditsiooni all. Sõna traditsioon pärineb ladina keelest: trāditio tähendab üle­ või edasiandmist, osutades seega protsesside jätkuvusele, pidevu­ sele. Esinduslikus Metzleri kirjandus­ ja kultuuriteooria leksiko­ nis (Metzler 2001: 641) defineeritakse traditsiooni väljakujunenu, pärimusliku, harjumuslikuks saanu kaudu ning osutatakse sellele, et traditsioonist räägitakse enamasti vastandmõistete, nagu (tradit­ siooni) uuendus, katkestus, murrang abil. Traditsioon on midagi vana, püsivat ja stabiilset, mis seatakse vastu millelegi uudsele, moodsale ja lühiajalisele. Traditsioon sünnib matkimise, kordamise ja kinnistamise tulemusel ning vastandub tavapärasest (normist)","PeriodicalId":52210,"journal":{"name":"Philologia Estonica Tallinnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68229224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}