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Lõunaeesti kirjanduslugu kahe lugemiku sees ja vahel

Author(s): Mart Velsker / Language(s): Estonian Issue: 05/2014

The article discusses literary historical surveys of South Estonian literature, which were published from 1920s through 1990s. There are several reasons – historical, geographical, cultural and, in particular, linguistic – that individuate South Estonian literature. The language variety spoken in South-Estonia differs considerably from the North Estonian one; the difference is remarkably pronounced in comparison with the vernaculars of Võrumaa and Setumaa, earlier also with those of Tartumaa and Mulgimaa. The study addresses two literary canons and two readers providing a background for telling a literary history. The readers analysed represent Setu subdialect (the two volumes of the reader are Seto lugõmik (1923) and Kodotulõ’ (1925)) and Võru dialect (the reader has been published in two editions under different titles: Võrokõstõ lugõmiseraamat (1993) and Võrokiilne lugõmik (1996)). In the 1920s Paulopriit Voolaine initiated a vigorous effort to create a vernacular Setu literature with a history of its own. The attempt remained unparalleled for many decades. A new and more robust South Estonian cultural movement and the ascent of Võru literature began only in the late 1980s. In the early 1990s standard literary Võru was established, of which the second edition of the reader was the first major representation. There are twelve texts, written in the period of 1930-1960, which offer a historical survey of South Estonian literature or some part of it. Most of this material belongs to local studies or literary tourism. Striking exceptions are the survey of the literature of Mulgimaa by August Annist and the historical survey of the poetry written in South Estonian, by Viktor Kõressaar. Those two texts suggest some interpretational assumptions that emerged alongside the proclamation of a separate Võru literature, of which the Võru reader was one of the first signs.

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Kultuurimälu transmeedialisus. Rand Teise maailmasõja paadipõgenemisi vahendavates kunstitekstides

Author(s): Maarja Ojamaa / Language(s): Estonian Issue: 08-09/2013

The article assumes that history is kept in cultural memory by reduplication into different languages or media. Each new duplicate version includes a variable part influenced by its author’s contemporary socio-cultural background as well as by the particular medium or language used. On the other hand, transmedia analysis enables to find the invariable core contained in all of the versions. One of the repeatable wholes in Estonian cultural memory is made up of the artistic texts mediating the escapes over the sea in 1944. The article analyses fragments of three relevant works, namely, August Gailit’s novel Üle rahutu vee („Over troubled waters”, 1951), Sulev Keedus’s feature Somnambuul („Somnambulance”, 2003) and Eerik Haamer’s oil on canvas Perekond vees („The family in water”, 1941). The focus of the comparison is the coast motif. This is, firstly, the space where the events are set and, secondly, a symbolic space with a strong poetic potential, which is perceptible even intuitively. The coast is a border zone between the own and strange, the past and the future; but it is also a memory site harbouring hope as well as despair, both for an individual and the whole nation. Thus, in all three works the motif can also be associated with a loss of personal and national identity, a theme varied by each author according to his own artistic means. Those variations underline the inevitable polyphony of recollection, which is the underlying mechanism of transmedial cultural memory.

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Eksiil, trauma ja nostalgia Bernard Kangro "Sinises väravas"

Author(s): Maarja Hollo / Language(s): Estonian Issue: 10/2013

This article examines exile trauma and the poetics of its representation in Bernard Kangro’s novel „The Blue Gate” (Sinine värav). Exile was first thematized in Bernard Kangro’s poetry, in the first collection he published in Sweden, „The Burned Tree” (1945). However, it was not until 1957, in the novel „The Blue Gate” that exile became a thematic concern in his prose. The working through of his personal trauma in prose fiction, instead of the so-called pure autobiographical genres continued throughout Kangro’s Tartu novels, culminating in his Joonatan trilogy in the beginning of the 1970s. The main reason for this sequence may be the small size of the Estonian exile readership, which required careful reckoning of how to articulate the painful past that affected all who had fled Estonia as World War II refugees. The process of acting out exile trauma as represented in „The Blue Gate” is activated and directed by the protagonist’s nostalgic memories, one of which keeps recurring. This extraordinarily beautiful and bright recollection of a blue gate at home enables the protagonist to gain access to other memories, which are connected to traumatic experiences. The image of the blue gate is semantically situated alongside other images and motifs designating the process of acting out, such as the blue butterfly, drowning, and the tree of life. Three levels of meaning can be discerned in each of these images. The first is the protagonist’s nostalgia for his home and his youth along with a possible future; the second is related to exile trauma as a communal experience which generates hopes and visions for the future of the homeland; the third entails a longing for a better and more secure world.

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Eesti kirjanduse tähetund Moskvas. "Must raamat" kolmkümmend kuus aastast hiljem

Author(s): Irina Z. Belobrovtseva / Language(s): Estonian Issue: 10/2014

Usually, literary history looks no closer than 50 years ago. Yet, as in Estonian literature the Soviet period is over it seems expedient to start studying its major facts and phenomena. One of them was the Russian-language collection of short stories „Estonskaja molodaja prosa” (Estonian young prose) published in 1978. It attracted a large response at the time – and it still does. In 1978 the collection was the focus of a two-day discussion at the USSR Union of Writers in Moscow. Modern re-semiotization of what was said and published on those authors and their oeuvre as well as on Estonian young literature in general will certainly serve an understanding of the working conditions of Estonian writers under censorship, and of their creative courage enabling them to write the avant-garde overlooking certain Soviet taboos.

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Aleksander Kesküla kirjandustegelasena

Author(s): Mart Kuldkepp / Language(s): Estonian Issue: 12/2014

The article discusses three literary characters inspired by historical Estonian politician Aleksander Kesküla, found in the novels „Tõde ja õigus” III (Truth and Justice III, 2009 [1936]) by Anton Hansen Tammsaare, „Dr. H. Rejsende i revolution” (Dr. H. Traveler in Revolution, 1986) by Tørk Haxthausen, and „Volta annab kaeblikku vilet” (The Plaintive Whistle of the Volta Factory, 2001) by Aarne Ruben. In all three novels, Kesküla is a secondary character, yet fulfills a significant role in the context of the author’s more general ambitions. The depiction of Kesküla, stressing mysteriousness as his main characteristic trait, is relatively realistic in the sense that it remains faithful to the memoirs and historical sources used by the authors. Nevertheless, this mysterious character functions quite differently in the different novels. Notably, Tammsaare uses him as an anti-hero opposing the protagonist, Haxthausen places him in the background thus contextualizing the activities of the main character, while Ruben makes him an epitome of the rest of the novel.

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Kodukoht ja teeleidmine. Kaplinski kirjutatust

Author(s): Ene-Reet Soovik / Language(s): Estonian Issue: 02/2015

The article observes the depiction of home as an intimately experienced spatial node in three works by Jaan Kaplinski: a collection of poetry entitled Evening Brings Everything Back (1985); a piece of poetic prose Through the Forest (1991); and a contemplation written in South Estonian dialect Into the Forest and Back (2014). The framework against which the texts are read is informed by the phenomenologically minded school of human geography (Yi-Fu Tuan), merged with insights from architecture (Juhani Pallasmaa) and semiotics (Juri Lotman, Kalevi Kull) as well as from points of convergence of sensory perception studies with anthropology (Tim Ingold) and geography (Paul Rodaway). The focus is on the scope and the shifting boundaries of the varying representations of home in the texts, with special attention being paid to the role of different senses and modes of perception in experiencing the home space. Additional topics touched upon include the home conceptualised as a mid-earth node on a vertical cosmic axis; the firmness vs flexibility of the boundary between home and non-home in varying circumstances (changing of seasons; home in town as compared to home in the countryside) that are also discussed in relation with home, seen as essentially representing culture, and the forest, conceived of as the Other, nature par excellence. Finally, home also emerges as a set of places that is dynamically being brought into being by wayfinding among them.

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Vilde kui maltsvetluse konstrueerija

Author(s): Riho Saard / Language(s): Estonian Issue: 05/2015

This study proves, more than ever, that in addition to Joosep Freimann’s and Gustav Malts’ manuscripts as well as articles critical of Maltsevism, which appeared in the newspaper „Perno Postimees”, important material for constructing Maltsevism was acquired by borrowing the term „re-born” from Free Church and Baptist spirituality. Eduard Vilde investigated the spirituality of the Free and Baptist congregations born in Estonia in the 1880s, trying to discover the basic pattern of spirituality of the Maltsevians formed in the late 1850s. However, the construction of a picture of Maltsevism with „re-birth”, practice of rebaptism and an independent practice of the Lord’s Supper, is not authentic because these three terms came into use only in the early 1880s among the Free Believers movement and the Baptist congregations that separated from them. As appears from various records, the image of the „White Ship” was neither a product of Maltsvet’s nor his assistant-prophet Miina Renning’s (prototype of the Miina Reining of the novel) fantasy. It was a result, perhaps, of the imagination of a Maltsevian who has remained anonymous or even of the mockery of the movement which circulated in newspapers since June 1861. Vilde’s novel branded this image in people’s minds as well as in literature. The authenticity of this powerful belief was never doubted by the religious historian Uku Masing, who thence derived the paranoia religiosa found in the Estonian history of religion as a spiritual symbol of our entire people. A closer look at Juhan Leinberg’s (resp. Maltsvet’s) historical-folkloristic descriptions of conversion provides a vivid evidence that anything of revolutionary importance is typically placed in the sphere of dreams and angels, thus leading one to conclude that Biblical influence has been at work in its formation. Thus, Vilde’s novel saved from oblivion the folklore created around Maltsvet. In conclusion, although Vilde collected material from oral sources and documented material about Maltsvet as well as the movement inspired by him, his novel does not describe the historical person or movement; rather, he illustrates a Marxistic theory of religion where religious movements are born as a result of socio-economic factors. „The Prophet Maltsvet” can truly be called a description of the Estonian history of oppression.

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Kassi maja. Kodu kuvand ja inimsuhted Mati Undi 1960.-1970. aastate loomingus

Author(s): Maarja Vaino / Language(s): Estonian Issue: 04/2015

Mati Unt’s image as a writer is closely related to existentialism, which is evidenced by his portrayal of home. Many of Unt’s characters live in temporary rooms, without really feeling at home anywhere, and their relations with other people are complicated and often violent. And yet, Unt’s existentialism is not absolute. His alienation is often conditioned by the public sphere, the (Soviet) system and its influence on human relations. Rather, the characters created by the young Unt are trying to bridge the crevice of alienation, to catch „a signal of help”, to make contact with other levels or spheres. This is why the representation of home and space by the young Unt is never just everyday, containing metaphysical, even religious subtexts as well as psychoanalytic traces. Surprisingly, although Unt liked introducing himself as a city person, his archetypal home is a farmhouse. However rare the farmhouse motive in Unt’s works, the toponymics in those few texts is extremely similar to the author’s childhood home.

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Aardepärimuse tüpoloogiline tegelikkus

Author(s): Mare Kalda / Language(s): Estonian Issue: 08-09/2015

The article gives an overview of the content units – motifs and episodes – found in Estonian treasure tales. The main aim of the study was to find a method to cover the regional repertoire of the theme in all its diversity. This can be achieved by using a typological approach to search through the no less than 3000 relevant texts from the Estonian Folklore Archives for similar core motifs (motif groups) and use them as a basis for classifying the texts. The analysis, based on a previous classification of the treasure tales into 86 groups, continues the classical folkloristic tradition of compiling thematic lists based on various principles of classification. Also, the article is aiming at a clearer emphasis on the analytic and interpretational nature of such a typological reality, notably, a previously prepared classification enables addressing individual texts as well as large text groups, thereby describing the relevant tales within as well as across cultures. Like tales and story-telling, studies thereof also participate in the folklore process. From now on the treasure tale typology resulting from this study will be another part of Estonian culture description, referring to popular themes and beliefs related to property and treasures.

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Psühhoanalüütiline Unt

Author(s): Maarja Vaino / Language(s): Estonian Issue: 03/2016

A possible approach to the oeuvre of Mati Unt (1944-2005) has to do with psychoanalysis. Mati Unt’s interest in psychology and psychiatry developed during his student years at the University of Tartu, reaching its height during the theatre reform of the 1960s-1970s. A psychoanalytical substrate can be observed in both Unt’s prose and drama, as well as in his stage productions. The analysis is based on C. G. Jung’s theories and Unt’s creative interpretation of Jung’s views. Also, some light is thrown on how Unt’s interest in psychoanalysis was kindled by his sensitive nature and some facts of his personal life.

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Kroonupatriotism või rahvuslik mõtlemine? Friedrich Nikolai Russowi ja Friedrich Reinhold Kreutzwaldi Krimmi sõja ainelised teosed

Author(s): Ljubov Kisseljova / Language(s): Estonian Issue: 07/2016

The article examines the pragmatics of the Crimean War based texts by Friedrich Nikolai Russow and Friedrich Reinhold Kreutzwald, who were both figures of the early stage of the Estonian National Awakening. The texts analysed include Tallinna koddaniko ramat omma söbbradele male („A book from a citizen of Tallinn to his friends in the country”, 1854-1857) and the short poem Söalaul Eestima tüttarlastele („A war song to Estonian girls”, 1854) by Russow, to which F. R. Kreutzwald responded with his poem Sõda („War”, 1854). Although both authors glorify the Tzar and the double-headed eagle, they hardly deserve to be called government patriots. Considering the fate and future of the Estonian people those two figures of the early period of Estonian National Awakening sought support for their aspirations to cultivate the Estonian language, original Estonian literature and journalism, turning to whoever had the means and authority to realise such desires. Facing the dilemma: Baltic Germans versus the government sitting in in St. Petersburg and Russian public opinion, the national leaders of the time made their bets on the Russian side and guided their readers accordingly. However, their plans changed as soon as it turned out that the short-sighted imperial politics was not apt to support the views of the Estonian enlighteners, while the advent of Russification in a few decades brought a total restructuring of the relevant forces.

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„Jälle Uudist, Mis On Uus…” Rahvalik Ballaad Ja Jutud Sambla Anust

Author(s): Eda Kalmre / Language(s): Estonian Issue: 03/2017

In principle, the new folksongs or folk ballads telling about dramatic events could as well be called versified media news, as their aim was to mediate topical shocking events, in particular accidents or murders, thus serving as rumours, news and entertainment all in one. In Estonia, the late 19th and early 20th century could be seen as a period of convergence of the local folklore and literature: the verses of the country poets were sometimes published in press or in booklets. The popular spread of the songs was further fostered by the commonplace books compiled by Estonians since the late 19th century. One of the country poets was Mihkel Rätsep alias Laulu Mihkel. He was the author of the popular ballad Saatuse vangis ’Bound by Fate’. The ballad tells a sensational story from southern Estonia: A young girl was made to marry a rich old man. The man soon died, while the young widow inherited everything. The man’s kin, however, suspected murder and took the case to court. During the proceedings, the deceased was disinterred several times. The song spread together with hearsay concerning the central event, the circumstances of the making of the song, and the characters involved. Over time, there developed a specific type of story-telling, which mingled prose with parts of the song. More often than not, people would remember the culmination or the most pronounced part of the song, while the rest was told in prose. The ballad together with the pertaining lore allows to view the described events from different aspects, which creates a broader picture of the development and meaning of a popular text. The rumours, comments and personal memories accompanying the song helped both the contemporary and the subsequent generation to understand and interpret the event. The stories spreading in the community by word of mouth addressed various circumstances „beyond the song”, the narrator’s own emotions and opinions on the matter, hearsay about Anu’s further fate and about Laulu Mihkel as the author of the song. Thus, the song and the pertaining stories and comments have a clear social dimension.

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Mõnda baltisaksa elulugudest ja mis seal sees leida võib

Author(s): Reet Bender / Language(s): Estonian Issue: 08-09/2017

The article addresses Baltic-German autobiographical texts as an organic part of Estonian cultural history and memory literature, which is, however, a severed and forgotten part of the collective historical memory. First, the article introduces the volume of the survived Baltic-German textual heritage, and analyses, in a historical perspective, how, why and on what grounds Baltic-German autobiographies have been collected and published. Secondly, the article examines the available Estonian translations of and the present state of research into Baltic-German autobiographies. Thirdly, some concrete biographies are used to exemplify the variety of possible study approaches. The Baltic-German autobiographies offer a different, sometimes opposite view of what is found in their Estonian counterparts. They supplement and vary the general picture, revealing certain aspects which were beyond the Estonians’ experience. Also, they imply that the local cultural field may have been much more intervowen than some people can think of or wish to admit.

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"Ma laulan seni kui tuksub elu mu käte all". Trauma poeetika Bernard Kangro luules

Author(s): Maarja Hollo / Language(s): Estonian Issue: 11/2017

The article discusses six poems from the poetry collection Põlenud puu (Charred tree, 1945) and three cycles from the collection Varjumaa (Shadowland, 1966), both published in exile by Estonian author Bernard Kangro (1910-1994). Those autobiographical poems and cycles are interpreted as a testimony, testifying not only to the author’s personal experiences of the World War II, but also in the name of the other Estonian refugees and in the name of those who suffered and perished in their home country. The article analyses Kangro’s themes, motifs and figures of speech associated with traumatic experience and remembering, as well as the witness position of the lyrical I. The themes of Kangro’s testimony poems include the great escape from Estonia in 1944, loss of homeland, its violent occupation, and also remembering, commemoration, witnessing, testification and the sinking of the traumatic events into oblivion, which all brings sadness, anxiety and melancholy to his lyrical I. Melancholy is associated with motifs of death referring either to the death wish of the lyrical I or to the painful events caused to the homeland by war and occupation. The gist of Kangro’s testimonial poetry consists of traumatic memories and emotions of recalling them, mainly expressed by means of personification, symbols and depersonification, as well as allegory.

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Sõjakujutusest tänapäeva eesti kirjanduses. Leo Kunnase sõjad

Author(s): Piret Viires / Language(s): Estonian Issue: 12/2017

Unlike the traditional Estonian papers on war literature, which mainly deal with the so-called two big wars of the 20th century, the focus of this article lies on more recent wars and conflicts and their representations in modern Estonian literature, with closer attention to the works of Leo Kunnas. Modern Estonian literature is rich in war themes and representations of various conflicts (e.g. the Soviet-Afghan War, social upheavals, wars in Iraq and Afghanistan, hypothetical wars of the future, an abstract threat of war) while their genre diversity is also considerable (fiction, diaries, documentary works, sci-fi, etc). The present analysis is focused on the representation of war in the following three books by Leo Kunnas: Sõdurjumala teener (“Servant of the Soldier God”, 2001), Viiv pikas sõjas (“A Moment in the Long War”, 2006) and Sõda 2023 (“War 2023”, 2016). The wars depicted are the August Coup of 1991 in Soviet Union, the Iraq War, and a hypothetic future war against Russia, respectively. Based on Evelyn Cobley’s book “Representing War: Form and Ideology in First World War Narratives” (1993), the analysis is centered not on what is depicted but on representations, i.e. on how and by what textual means the depiction is done. In addition it is explored how the ways of war representation used by Kunnas may relate to his attitude to war and his ideological position. The conclusion is that in all three works analysed war is depicted realistically, the representation becoming even excessively detailed and documentary in places, which bears on Kunnas’ militant and heroic ideology. Leo Kunnas is a devoted warrior, determined to stand for his country and defend it whatever it takes, thus following the soldier’s path.

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Transgressiivne Kivisildnik – 2019. aasta seisuga, olulist

Author(s): Janek Kraavi / Language(s): Estonian Issue: 12/2019

Transgressiveness has always been one of the pivotal aspects of Kivisildnik’s creative project. Challenging taboos, a provocative attitude and the standpoint of an exceptional person are still essential for Kivisildnik’s recent poetry and publicist prose, but the changed political context and the impact of the new media now lends a different perspective to many of his themes, topics and tropes. The transgressive carnival trope described by Peter Stallybrass and Allon White has been replaced by a jeremiad announcing ruin, based on a depressive-realistic worldview conveyed by exhortational and allegoric visions of catastrophe. Yet today Kivisildnik’s transgressive attitude seems to be losing its strength to the obscene and hateful rhetoric which has become the norm in the public media. The right-wing transgressive rhetoric voicing political and cultural extremes robs Kivisildnik’s “artistic nihilism” from its protruding quality and makes it sound, in the context of left-leaning liberal criticism, politically incorrect and out of place. The rant building up in Kivisildnik’s texts over the past decade is reminiscent of a fierce square speech or the aggressive protest of some radical rappers. At the heart of Kivisildnik’s right-wing provocative attitude we find a literary super confident protagonist with an even stronger ego, who declares his mental and physical sovereignty. Kivisildnik’s ironical and nihilistic lyrical self is opposed to the liberal and global ideas of consumer capitalism, criticizes the demographic and cultural decadence of Estonia and the Western world, and attacks the principles of a multicultural society. Liberal ideology is counterbalanced by the powerful post-Christian thinking of the neo-religions, in which the self-image is associated with the idea of masculinity and sex, individual pride, non-conformism, and supreme knowledge. The transgressive meaning of the above attitudes manifests itself in the reversal of a stagnant world description and in aggressive rhetorical exaggeration, which can be at times unpleasant, disgusting and personally upsetting.

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Ottessoni Roosi vanamesi jutud

Author(s): Anu Korb / Language(s): Estonian Issue: 12/2019

The article discusses the folktales that were written down in villages of the Minusinsk region in Krasnoyarsk Krai, Russia by Rosalie Ottesson (1899-1979), an Estonian in Siberia and an informant and collaborator of the Department of Folklore, Estonian Literary Museum. The tales were written down in 1969-1976 when the tradition of telling folktales had more or less disappeared in Estonia. Ottesson, who grew up in a village community with a strong oral tradition, had heard folktales since her early childhood, first in the Estonian language, later in both Estonian and Russian. She translated the tales that she had heard in Russian into the Estonian language. It was only tens of years later that Rosalie Ottesson wrote down a majority of the folktales. Like many other collaborators of the folklore archives, she was simultaneously a storyteller and a collector of tales. Ottesson regarded her collaboration with the Department of Folklore both as her mission and a pleasant pastime. Despite the focus on collecting more archaic folklore in Estonia in the 1960s–1970s, the folktales written down by Ottesson should have attracted more attention of archive workers and researchers. The existing correspondence held in the archives suggests that although Ottesson’s rich knowledge of folklore was valued, she was often guided away from collecting folktales and was instructed to write down other types of folklore. It seems as if the workers at the Department of Folklore had felt that the time for collecting authentic folk tales was over and collecting secondary tradition was not important in the period at hand. The folklore department’s collecting strategies in the 1960s and 1970s were mostly aimed at recording the folklore of specific regions. Ottesson, however, chose to write down the folktales of Estonians in the region but noticed also those of her neighbours. The focus in these years was collecting primarily folklore texts and any additional notes or observations by the collectors were discouraged. For a modern-day researcher of folklore, however, collectors’ personal notes have turned into an invaluable source of help for understanding older folklore texts.

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Toomas Liiv: paradoks ja pettur

Author(s): Tiit Hennoste / Language(s): Estonian Issue: 02/2013

Review of: Toomas Liiv. Tekst teeb oma töö. Arvustusi, esseid ja artikleid 1976-2009. Koostanud Elo Lindsalu. Tallinn: Eesti Keele Sihtasutus, 2012. 479 lk.

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Mõneti ehk kriitiline

Author(s): Maarja Kangro / Language(s): Estonian Issue: 05/2013

Review of: Jan Kaus. Elu ja kirjandus. Tekste eesti kirjandusest 2004-2011. Saarde–Pärnu: Jumalikud Ilmutused, 2012. 187 lk.

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Maagiline Ehin

Author(s): Paavo Matsin / Language(s): Estonian Issue: 05/2013

Review of: Täiskui: Andres Ehin. Koostanud Arne Merilai. Tartu: Tartu Ülikooli Kirjastus, 2012. 439 lk.

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