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    Wyświetlanie 1-4 z 4
    Tytuł:
    Memoriał Ofiar Komunizmu w Tallinie. Symbolika miejsca pamięci
    Memorial to the Victims of Communism in Estonia: the significance of the monument
    Autorzy:
    Zaborski, Marcin
    Powiązania:
    https://bibliotekanauki.pl/articles/1871469.pdf
    Data publikacji:
    2020-06-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    komunizm
    Estonia
    historia Estonii
    pomnik
    pamięć zbiorowa
    kultura pamięci
    communism
    Estonian history
    monument
    collective memory
    culture of memory
    Opis:
    Autor przedstawia genezę i analizuje symbolikę Memoriału Ofiar Komunizmu w Tallinie. Skupia się na założeniach koncepcyjnych przyjętych przez jego autorów, ale też bierze pod uwagę dokonywane później interpretacje przesłania monumentu. Przywołuje wydarzenia, do których odnosi się to miejsce pamięci. Opisuje okres sowieckiej okupacji Estonii i przedstawia bilans dokonywanych w tamtym czasie represji - masowych aresztowań, potajemnych egzekucji, deportacji ludności i brutalnej kolektywizacji rolnictwa. Tak zarysowany kontekst historyczny pozwala lepiej zrozumieć znaczenie opisywanego pomnika i jego miejsce na mapie pamięci współczesnej Estonii. Autor zwraca jednocześnie uwagę, że talliński pomnik stanowi istotny element nie tylko estońskiej, ale też - szerzej - europejskiej pamięci o ofiarach stalinizmu i komunizmu.
    The author presents a genesis and analyzes the symbolism of the Memorial to the Victims of Communism in Tallinn. It focuses on conceptual assumptions adopted by its authors, but also takes into account later interpretations of the monument’s message. It recalls historical events the memorial site relates to. It describes the period of the Soviet occupation of Estonia and presents the balance of repressions made at that time - mass arrests, secret executions, deportations of people, and brutal collectivization of agriculture. The historical context outlined in such way allows for a better understanding of significance of the monument in question and its place on the memory map of contemporary Estonia. The author also notes that Tallinn’s monument is an important element of not only Estonian, but also - more broadly - of the European memory of the victims of Stalinism and Communism.
    Źródło:
    Athenaeum. Polskie Studia Politologiczne; 2020, 66; 87-100
    1505-2192
    Pojawia się w:
    Athenaeum. Polskie Studia Politologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Faces of Estonian Sovietisation: A Look Back. Notes on the publication: Sovietisation and violence: the case of Estonia. 2018. Tartu: University of Tartu Press, ed. Meelis Saueauk, Toomas Hiio. Proceedings of the Estonian Institute of Historical Memory. Eesti Mälu Instituudi toimetised 1 (2018). 335 pp. ISBN 9789949778249. ISSN 2613–5981
    Autorzy:
    Bułhak, Władysław
    Powiązania:
    https://bibliotekanauki.pl/articles/2108336.pdf
    Data publikacji:
    2022
    Wydawca:
    Instytut Pamięci Narodowej, Komisja Ścigania Zbrodni przeciwko Narodowi Polskiemu
    Tematy:
    Sovietisation
    Sovietisation and violence
    Communism
    Estonia
    Estonian history 1917–1990
    forced resettlement
    Estonian political emigration
    active measures
    Communist repression apparatus
    security apparatus
    CPSU
    Communist Party of the Soviet Union
    Estonian Communist Party
    Soviet occupation
    Baltic countries
    south Scandinavia
    Opis:
    This article critically discusses the publication entitled Sovietisation and violence: the case of Estonia, edited by Meelis Saueauk and Toomas Hiio, published in 2018 by the University of Tartu Press as the first volume of the Proceedings of the Estonian Institute of Historical Memory series. The author of this article refers in detail to several of the studies and articles published in the volume, most of which were written by researchers associated with its publisher, the Estonian Institute of Historical Memory. In terms of content, as the reviewer notes, the publication’s aim is to introduce the international academic reader to the topic of the forced Sovietisation of Estonia in the 20th century. The author will attempt to assess to what extent the discussed volume lives up to the hopes placed in it. Overall, he concludes that despite all the errors and omissions noted, the publication’s desired aim was achieved, while also showing the above-named institution’s potential as a scholarly research unit with ambitions reaching beyond the local academic market.
    Źródło:
    Institute of National Remembrance Review; 2021-2022, 3; 371-397
    2658-1566
    Pojawia się w:
    Institute of National Remembrance Review
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Enn Tarvel’s International Reach Through His Works on the Polish Rule in Livonia
    Autorzy:
    Seppel, Marten
    Powiązania:
    https://bibliotekanauki.pl/articles/32388145.pdf
    Data publikacji:
    2023-12-31
    Wydawca:
    Towarzystwo Naukowe w Toruniu
    Tematy:
    Enn Tarvel
    Polish rule in Livonia
    Soviet academic system
    agrarian history
    Marxist-Leninist historiography
    Polish-Estonian scholarly cooperation
    Opis:
    Enn Tarvel (1932–2021) is widely regarded as one of the greatest and most erudite Estonian historians. His expertise encompassed a wide range of historical topics, including medieval and early modern history, with a particular focus on the Polish rule in Livonia. This article provides insights into Tarvel’s educational background, his self-taught approach to research, and the challenges he faced during his career due to his reluctance to join the party. Despite his significant impact on Estonian scholarship, Tarvel’s international reach was somewhat limited due to the constraints of the Soviet academic system. Notably, Poland played a crucial role in his academic career. Tarvel’s first dissertation, later published as a book, focused on the management of Polish state manors and the peasantry in southern Estonia during the late sixteenth and early seventeenth centuries. This research earned him recognition in Estonia and abroad, particularly in the Eastern Bloc. Tarvel was one of the first Estonian historians to submit his contributions to Polish historical journals. He published articles and other pieces in, for example, Kwartalnik Historyczny and Zapiski Historyczne. The vital role played by his Polish contacts for his academic development is emphasised not only by those articles but also by his research stays in Poland in 1959 and 1969 and his correspondence with Polish scholars in the 1960s and 1970s. Access to Polish archives and libraries facilitated his meticulous research. Tarvel also participated in numerous international conferences. However, he was not always able to attend them due to the constraints imposed by the Soviet regime.
    Źródło:
    Zapiski Historyczne; 2023, 88, 4; 93-117
    0044-1791
    2449-8637
    Pojawia się w:
    Zapiski Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case
    Autorzy:
    Kodres, Krista
    Powiązania:
    https://bibliotekanauki.pl/articles/909522.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Socialist art history and historiography
    Soviet studies
    Thaw era and modernisation
    centre (Moscow) and periphery (Estonian SSR) relations
    art and ideology
    progressiveness in art
    Opis:
    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.
    Źródło:
    Artium Quaestiones; 2019, 30; 211-223
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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