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Papers by Madis Arukask

Research paper thumbnail of Kultuurilisest omastamisest maailmas ja meil: saateks / On cultural appropriation in the world and in Estonia: a preface
Kultuurilisest omastamisest maailmas ja meil: saateks / On cultural appropriation in the world and in Estonia: a preface
Studia Vernacula, Nov 14, 2022
Research paper thumbnail of Medžanrska prehajanja žalostink in ljudskih stopičnih pesmi epske pesnitve Kalevala v baltsko-finskem kulturnem prostoru
Medžanrska prehajanja žalostink in ljudskih stopičnih pesmi epske pesnitve Kalevala v baltsko-finskem kulturnem prostoru
The present paper discusses the connection of necromantic songs, spread in the Kalevala-metric tr... moreThe present paper discusses the connection of necromantic songs, spread in the Kalevala-metric tradition of the Balto-Finnic peoples, with burial laments as a possible source genre. The ways and reasons of how and why originally religious themes have taken on an increasingly ballad-like character, are examined. Differences are observed in the folkloric genre systems of various peoples. Also, the connection of such differences with peculiarities of way of life are discussed. *** Članek govori o povezavi med nekromantičnimi pesmimi, razširjenimi v t. i. stopični tradiciji ljudskih pesmi epske pesnitve Kalevala med baltsko-finskim prebivalstvom, s pogrebnimi žalostinkami, slednje pa naj bi bile žanrska podlaga za prve. Raziskane so poti in razlogi, kako in zakaj so izvirno verske teme dobile prevladujoč baladni značaj. Avtor je opazoval različnosti v žanrskem sistemu in pri različnih narodih. Prav tako je bilo raziskano, kakšne so bile povezave med temi razlikami glede na način življen...
Research paper thumbnail of 단군신화와 서양신화의 비교연구
단군신화와 서양신화의 비교연구
종교문화연구, Oct 1, 2002
Research paper thumbnail of Setu lüro-eepiliste regilaulude ruumi-mudel kui traditsiooni süvastruktuuri oluline element
Sissejuhatuseks Käesoleva arutelu lähtekohaks setu lüro-eepiliste regilaulude mee-lespidamise ja ... moreSissejuhatuseks Käesoleva arutelu lähtekohaks setu lüro-eepiliste regilaulude mee-lespidamise ja taasesitamise jätkuvast võimalikkusest viimaste aega-deni on oletus, et laulude intertekstuaalne keha on traditsioonis põ-hinenud millelgi enamal kui vaid kitsamalt süžeel/sündmustikul. Mui-dugi ei välista see sugugi, et paljude laulikute jaoks on põhiliseks teadvustusvahendiks olnud sündmustik ja seda kandev traditsioonili-ne sõna. Lauldud ja kuulatud on ju "tavaliselt" ikka vististi seda, mis juhtub. Siinkohal oleme me elimineerinud mingis mõttes sugugi mitte võimatu oletuse, et lugude jutustamine oli viimaste aastasadade nai-selikus traditsioonis juba suhteliselt kõrvaline tegevus võrreldes ise-enda mina intensiivse esitamisega, mille materjaliks muuhulgas häs-ti kõlbasid ka regilaululised narratiivsed "kehad". Niisiis lauldi sünd-musi ja haagiti nende külge omi tundmusi ja kogemusi. Kuid väita, et rahvalaul põhineb vaid sõnal ja narratiivil, logosel, oleks võrreld...
Research paper thumbnail of Resurrection, revenance, and exhumation
Resurrection, revenance, and exhumation
The problematics of the dead body in songs and laments 1. Different types of folklore texts diffe... moreThe problematics of the dead body in songs and laments 1. Different types of folklore texts differ from each other by their function.1 We can distinguish between genres meant to be believed (like legend) and genres recognized in advance as fiction (fairy-tale). At the same time, textual fiction may also have served practical purposes—such as the telling of fairy-tales during the late autumn and early winter for purposes of fertility magic—as used to be the case in the Estonian folk tradition. There are folklore genres that have functioned, among other things, as an accompaniment, comment on, or support to rituals or practices being carried out—for instance, an in-cantation during a cure, or a lament in death-related procedures, when a person must be separated from his familiar environment. The same textual formulae fulfil different tasks in different genres, which means that they also carry a different meaning. Side by side with the criterion of truth versus fictionality, there exis...
Research paper thumbnail of Burial Lamenting in a 21st Century Vepsian Village: The Collective and the Individual
Burial Lamenting in a 21st Century Vepsian Village: The Collective and the Individual
Mapping the Perimeter of Death and Dying, 2014
This chapter analyses a lament session recorded in 2005 in Russian Karelia. Attention is paid to ... moreThis chapter analyses a lament session recorded in 2005 in Russian Karelia. Attention is paid to how the content of a traditional genre (expressed in the lament text) has become more personality-centred instead of carrying and expressing earlier collective interests.
Research paper thumbnail of The Personal Rituals of the Finnic Peoples with Forest Trees
Anthropology & Archeology of Eurasia, 2017
The article examines communication with trees in Votian and Vepsian folk culture. Two cases are d... moreThe article examines communication with trees in Votian and Vepsian folk culture. Two cases are discussed when a person gathering mushrooms and berries in the forest has made sacrificial gifts in the form of produce to a tree to request a good mushroom and berry harvest or for good health. In the Votian case, persons who have gone missing in the forest are memorialized. Trees are regarded as not only a conversation partner or a mediator, but in a broader religious (cosmogonic) and ritual context as well. These incidents are significant for how they reflect the animistic worldview of the Finnic peoples. A discussion of Finnic ontology is invited, suggesting that the cultural type centered on the folk healer [the-one-who-knows] came to replace the shamanic cultural type latest in the Iron Age.
Research paper thumbnail of Resurrection, revenance, and exhumation: the problematics of the dead body in songs and laments
Scripta Instituti Donneriani Aboensis, 2011
Different types of folklore texts differ from each other by their function. We can distinguish be... moreDifferent types of folklore texts differ from each other by their function. We can distinguish between genres meant to be believed (like legend) and genres recognized in advance as fiction (fairy-tale). At the same time, textual fiction may also have served practical purposes—such as the telling of fairy-tales during the late autumn and early winter for purposes of fertility magic—as used to be the case in the Estonian folk tradition. There are folklore genres that have functioned, among other things, as an accompaniment, comment on, or support to rituals or practices being carried out—for instance, an incantation during a cure, or a lament in death-related procedures, when a person must be separated from his familiar environment. The same textual formulae fulfil different tasks in different genres, which means that they also carry a different meaning. The present paper considers some themes related to the bodily aspect of humanity in various genres of folklore, particularly in song...
Research paper thumbnail of Uuekuueline Viljandi paadimees
Uuekuueline Viljandi paadimees
Those interested in newer popmusic need not be introduced the song "The Boatman of Viljandi&... moreThose interested in newer popmusic need not be introduced the song "The Boatman of Viljandi" sang by the band "Untsakad" - an innovated version of a wellknown folksong that has caused somewhat controversiary feelings in the listeners of the older generation. The song was in the radio tops of 1996 and in the TV show "The 7 Bold Ones" and it can also be found on the double CD of "Untsakad" "Päälinna laiv Von Krahlis" (1996). But now you can already acquaint with a newer version of the "The Boatman of Viljandi" sang-played by Üllar Meriste in the end of 1996.A couple of words about the author and how the song came to be. Üllar Meriste studied in the former Viljandi Culture School at the same time as Margus Põldsepp, the later founder of "Untsakad". He reformed "The Boatman of Viljandi" in the last year of his studies -1989. According to him, the older version of the song had seemed to oldfashioned to him and as a rocklover he had reformed the song accordingly. The song became popular in the whole school and as its creator left Viljandi after graduating the song was still sung there - in the campus corridors and at parties, at fist accompanied by a guitar.As folkmusic became more popular, also professional bands became more interested in "The Boatman of Viljandi". In the end of 1994, the band "Ummamuudu" wanted to own it and "Untsakad", too, asked and were ready to let the author himself sing in the song in the studio. Stories stayed stories till Margus Põldsepp himself changed the destiny of the song with a stern hand in 1995.Üllar Meriste thinks the arrangement done by "Untsakad" very pleasant and not too far away form teh original version. More questionable is the introductory part of the song imitating runo song accompanied by drumbeat but obviously this has not lowered teh value of the song.But now let us listen to the original beauty.
Research paper thumbnail of The Estonian National Epic, Kalevipoeg: Its Sources and Inception
The Estonian National Epic, Kalevipoeg: Its Sources and Inception
The Voice of the People
Research paper thumbnail of Suheldes üle piiri: ekshumatsioon ja surnuitkude žanriline mälu
Mäetagused, 2011
Artikkel käsitleb surnuhirmu ületamist, seda ennekõike seoses itkude kui folkloorižanri ja itkemi... moreArtikkel käsitleb surnuhirmu ületamist, seda ennekõike seoses itkude kui folkloorižanri ja itkemise kui riituspraktikaga. Vaatluse all on läänemeresoome-põhjavene traditsioonid, kus itkemisel on säilinud esmane funktsioon elavate ja surnute vaheliste suhete balansseerimisel ning piiride kehtestamisel, samuti katkenud sotsiaalse sidususe taastamisel. Itkutekstid on vaadeldavad multifunktsionaalsete folkloorižanridena, mille adresseerituski võib olla erisuunaline, kuid kus esikohal on siiski kollektiivsed kogukondlikud huvid. Vaatluse all on ka itkeja roll ja funktsioon ühiskonnas. Surnukartuse ületamisega seoses leiab käsitlemist ekshumatsiooni fenomen, mida põhjapoolse Euroopa itkukultuurides säilinud pole, kuid mille kunagist esinemist Eestiski võib arheoloogiliste leidude põhjal oletada.
Research paper thumbnail of Setu lüroeepiliste regilaulude eepilisest kihist
Mäetagused, 1998
Üht osa eesti ja setu regilauluvaramust on traditsiooniliselt peetud lüroeepiliseks. Jakob Hurda ... moreÜht osa eesti ja setu regilauluvaramust on traditsiooniliselt peetud lüroeepiliseks. Jakob Hurda "Setukeste laulude" esimeses köites oli see osa jagatud nelja erinevasse rubriiki ja pealkirjastatud muinasusuliste, ristiusuliste, muinasjutuliste ja ilujutuliste lauludena (vt Hurt 1904). Kirjandusteadusliku definitsiooni järgi on lüroeepika puhul tegemist liitliigiga, milles põimuvad lüürika ja eepika, kusjuures lürism avaldub ennekõike lüüriliste kõrvalepõigetena eepilisest teemaarendusest. Käesoleva ettekande eesmärgiks on mõnevõrra lähemalt vaadelda setu lüroeepiliste regilaulude eepilise poole mõningaid aspekte. Regilaulu vanust on hinnatud kuni mõne aastatuhandega. On ilmne, et see on vaid regilaulu vormipoole umbkaudne vanus. Kuigi kalevalameetrilised värsid, mida läänemeresoomlased laulnud on, pole vanemad kui 3000-3500 aastat, võivad selle tagapõhjaks olnud proosavormis müüdid, mida rahvad on rääkinud, tantsinud või muul moel esitanud, vanemad olla (Pentikäinen 1986: 203). Juri Lotmani järgi olid mütoloogilised tekstid kõrge ritualiseeritusastmega ning käsitlesid maailmakorralduse aluseid, maailma tekkimise ja eksisteerimise seaduspärasusi (Lotman 1991: 323). Ka regilaulus on tuttavad loomise, taevaste kosjade, ilmakorra rikkumise jms motiivid. Seega võib olla kindel, et vanima eepilise kihi laulus moodustab müüt ja müüdiline mõtlemine.
Research paper thumbnail of Communicating Across the Border: What Burial Laments Can Tell Us About Old Beliefs
Estonian Journal of Archaeology, 2011
The present article discusses how archaic cultures eliminated their fear of the dead; first and f... moreThe present article discusses how archaic cultures eliminated their fear of the dead; first and foremost in connection with laments as a folklore genre and lamenting as a ritual practice. Primarily, we examine the relevant Balto-Finnic and North Russian traditions, in which lamenting has retained its original function of balancing the relations between the spheres of the living and the dead, and of establishing borderlines, as well as of restoring the interrupted social cohesion. Lament texts can be viewed as a multifunctional genre that may even be addressed in various ways, but wherein nevertheless the interests of the community stand foremost, whereas personal psychological problems come only after, and related to them. The lamenter's role and function in the society will be viewed, too. The second part of the article will, in connection with overcoming the fear of the dead, discuss exhumation-a phenomenon that has not been preserved in north European cultures but that can, in the light of treated bones or incomplete skeletons in the graves of Bronze and Iron Ages, be assumed to have at one time existed even in Estonia. In cultures where exhumation has remained a living practice up to the present (the Greek culture, for instance), it has probably also solved problems linked to the fear of the dead, since part of the person's skeleton is posthumously reincorporated into the society of the living, in the shape of an amulet or a talisman. The relevant rituals have been performed to the accompaniment of laments. The final part of the article will take a look at certain textual examples of the Setu laments for the dead, which may have preserved a distant memory of the practices connected with exhumation.
Research paper thumbnail of Runo songs, Kalevipoeg, and Peko in the question of national identity
Runo songs, Kalevipoeg, and Peko in the question of national identity
The Kalevala and the world's traditional …, 2002
Research paper thumbnail of Death and Afterwards
Folklore: Electronic Journal of Folklore, 1998
Research paper thumbnail of Paul Ariste ürgvadjaluse kontseptsioon ja Oudekki Figurova
Mäetagused, 2002
Kui Paul Ariste 1942. aasta sõjasuvel esimest korda vadjalaste asuala külastas, leidis ta eest ve... moreKui Paul Ariste 1942. aasta sõjasuvel esimest korda vadjalaste asuala külastas, leidis ta eest veel jõulise põlvkonna, kes vaatamata sotsialistlikule sundkollektiviseerimisele, ateismipropagandale, vahepealsetele repressioonidele ja alanud sõjavintsutustele mäletas ja tundis hästi seda talupojakeskset maailma, milles olid elanud nende esivanemad pikki aegu. Sellel külaõigeusklikul ühiskonnal oli silmanähtavalt loodust hingestav ja lahkunud esivanematega suhtlev maailmavaade, mida ta jagas samaaegselt muude etniliste rühmadega multinatsionaalsel Ingerimaal. Toona lahkus Paul Ariste rinde tagalast sooviga pöörduda Vadjamaale veel tagasi. Tema ekspeditsioonipäevikus on kirjas: Vadja innustab. Ja peaasi on, et peab kiirustama. Järgmised uurijad võivad siit leida küll vadja keele kõnelejaid, kuid kiiresti kaovad need, kes tunnevad vana maailma (VE I: 290). Keeleteadusliku ja folkloristliku ettevalmistuse tõttu jagus Paul Aristel alati huvi ja tähelepanu rahva vaimse pärandi vastu laiemalt. Tänu sellele huvile on säilinud rikkalik etnoloogiline materjal, ilma milleta meie teadmised sellest kaduvast rahvast oleksid määratult õhemad. Käesoleva lühiartikli põhiallikateks ongi Paul Ariste vastavad käsikirjalised talletused (VE). Paul Ariste tundeline suhe vadjalastega sai alguse juba gümnaasiumipõlves 1920. aastail, mil ta Estonia kontserdisaalis Eesti Ingerist esinema tulnud Daarja Lehtile esitatud küsimusele Oletteko inkeriläinen? sai vastuseks En õlõ. Miä õlõn vana vad'jalain! (Ariste 1970: 89). Just Eesti Ingerisse elama sattunud keelejuhid (Daarja Lehti ja Kigoria Kuzmin) olid Paul Ariste peamised informandid 1942. aastani. Pärast Teise maailmasõja lõppu muutus Eestiga samass hiidriiki inkorporeeritud Vadjamaa külastamine mõneti lihtsamaks, mistõttu Paul Ariste viibis seal üliõpilastega paljudel suvedel 1947. aastast 1970. aastate lõpuni. Kaheldamatult polnud see enam see Vadja
Research paper thumbnail of Kaamera ümber dünaamikat otsides. Ühe põhja itku audiovisuaalse talletamise juhtum
Kaamera ümber dünaamikat otsides. Ühe põhja itku audiovisuaalse talletamise juhtum
Looking for Dynamics around the Camera. The Case of Audiovisually Recording One Northern LamentВо... moreLooking for Dynamics around the Camera. The Case of Audiovisually Recording One Northern LamentВокруг камеры в поисках динамики. История аудиовизуального запечатления одного северного причитанияThe article deals with an episode that occurred in the context of ethnographic field work during the making of Buried Alive, a 2006 ETV documentary, focusing on the performance of an occasional lament included in the film. A group of several people took part in the shooting of scenes involving a single female informant in the village of Yashezero in a Vepsian ethnic parish in Russian Karelia in July 2005. Besides the researchers, the event involved two members of a professional TV crew, whose role in recording and later editing of the footage proved very important. The vision of the professional director, which was formed visually, was, as might be expected, different from the “authenticity” that reflected back to the researchers. This was largely determined by the different background, the d...
Research paper thumbnail of Uurimusi vepsa rahvausust
Uurimusi vepsa rahvausust
Sator, 2016
Research paper thumbnail of Kultuurilisest omastamisest maailmas ja meil: saateks / On cultural appropriation in the world and in Estonia: a preface
Kultuurilisest omastamisest maailmas ja meil: saateks / On cultural appropriation in the world and in Estonia: a preface
Studia Vernacula, Nov 14, 2022
Research paper thumbnail of Medžanrska prehajanja žalostink in ljudskih stopičnih pesmi epske pesnitve Kalevala v baltsko-finskem kulturnem prostoru
Medžanrska prehajanja žalostink in ljudskih stopičnih pesmi epske pesnitve Kalevala v baltsko-finskem kulturnem prostoru
The present paper discusses the connection of necromantic songs, spread in the Kalevala-metric tr... moreThe present paper discusses the connection of necromantic songs, spread in the Kalevala-metric tradition of the Balto-Finnic peoples, with burial laments as a possible source genre. The ways and reasons of how and why originally religious themes have taken on an increasingly ballad-like character, are examined. Differences are observed in the folkloric genre systems of various peoples. Also, the connection of such differences with peculiarities of way of life are discussed. *** Članek govori o povezavi med nekromantičnimi pesmimi, razširjenimi v t. i. stopični tradiciji ljudskih pesmi epske pesnitve Kalevala med baltsko-finskim prebivalstvom, s pogrebnimi žalostinkami, slednje pa naj bi bile žanrska podlaga za prve. Raziskane so poti in razlogi, kako in zakaj so izvirno verske teme dobile prevladujoč baladni značaj. Avtor je opazoval različnosti v žanrskem sistemu in pri različnih narodih. Prav tako je bilo raziskano, kakšne so bile povezave med temi razlikami glede na način življen...
Research paper thumbnail of 단군신화와 서양신화의 비교연구
단군신화와 서양신화의 비교연구
종교문화연구, Oct 1, 2002
Research paper thumbnail of Setu lüro-eepiliste regilaulude ruumi-mudel kui traditsiooni süvastruktuuri oluline element
Sissejuhatuseks Käesoleva arutelu lähtekohaks setu lüro-eepiliste regilaulude mee-lespidamise ja ... moreSissejuhatuseks Käesoleva arutelu lähtekohaks setu lüro-eepiliste regilaulude mee-lespidamise ja taasesitamise jätkuvast võimalikkusest viimaste aega-deni on oletus, et laulude intertekstuaalne keha on traditsioonis põ-hinenud millelgi enamal kui vaid kitsamalt süžeel/sündmustikul. Mui-dugi ei välista see sugugi, et paljude laulikute jaoks on põhiliseks teadvustusvahendiks olnud sündmustik ja seda kandev traditsioonili-ne sõna. Lauldud ja kuulatud on ju "tavaliselt" ikka vististi seda, mis juhtub. Siinkohal oleme me elimineerinud mingis mõttes sugugi mitte võimatu oletuse, et lugude jutustamine oli viimaste aastasadade nai-selikus traditsioonis juba suhteliselt kõrvaline tegevus võrreldes ise-enda mina intensiivse esitamisega, mille materjaliks muuhulgas häs-ti kõlbasid ka regilaululised narratiivsed "kehad". Niisiis lauldi sünd-musi ja haagiti nende külge omi tundmusi ja kogemusi. Kuid väita, et rahvalaul põhineb vaid sõnal ja narratiivil, logosel, oleks võrreld...
Research paper thumbnail of Resurrection, revenance, and exhumation
Resurrection, revenance, and exhumation
The problematics of the dead body in songs and laments 1. Different types of folklore texts diffe... moreThe problematics of the dead body in songs and laments 1. Different types of folklore texts differ from each other by their function.1 We can distinguish between genres meant to be believed (like legend) and genres recognized in advance as fiction (fairy-tale). At the same time, textual fiction may also have served practical purposes—such as the telling of fairy-tales during the late autumn and early winter for purposes of fertility magic—as used to be the case in the Estonian folk tradition. There are folklore genres that have functioned, among other things, as an accompaniment, comment on, or support to rituals or practices being carried out—for instance, an in-cantation during a cure, or a lament in death-related procedures, when a person must be separated from his familiar environment. The same textual formulae fulfil different tasks in different genres, which means that they also carry a different meaning. Side by side with the criterion of truth versus fictionality, there exis...
Research paper thumbnail of Burial Lamenting in a 21st Century Vepsian Village: The Collective and the Individual
Burial Lamenting in a 21st Century Vepsian Village: The Collective and the Individual
Mapping the Perimeter of Death and Dying, 2014
This chapter analyses a lament session recorded in 2005 in Russian Karelia. Attention is paid to ... moreThis chapter analyses a lament session recorded in 2005 in Russian Karelia. Attention is paid to how the content of a traditional genre (expressed in the lament text) has become more personality-centred instead of carrying and expressing earlier collective interests.
Research paper thumbnail of The Personal Rituals of the Finnic Peoples with Forest Trees
Anthropology & Archeology of Eurasia, 2017
The article examines communication with trees in Votian and Vepsian folk culture. Two cases are d... moreThe article examines communication with trees in Votian and Vepsian folk culture. Two cases are discussed when a person gathering mushrooms and berries in the forest has made sacrificial gifts in the form of produce to a tree to request a good mushroom and berry harvest or for good health. In the Votian case, persons who have gone missing in the forest are memorialized. Trees are regarded as not only a conversation partner or a mediator, but in a broader religious (cosmogonic) and ritual context as well. These incidents are significant for how they reflect the animistic worldview of the Finnic peoples. A discussion of Finnic ontology is invited, suggesting that the cultural type centered on the folk healer [the-one-who-knows] came to replace the shamanic cultural type latest in the Iron Age.
Research paper thumbnail of Resurrection, revenance, and exhumation: the problematics of the dead body in songs and laments
Scripta Instituti Donneriani Aboensis, 2011
Different types of folklore texts differ from each other by their function. We can distinguish be... moreDifferent types of folklore texts differ from each other by their function. We can distinguish between genres meant to be believed (like legend) and genres recognized in advance as fiction (fairy-tale). At the same time, textual fiction may also have served practical purposes—such as the telling of fairy-tales during the late autumn and early winter for purposes of fertility magic—as used to be the case in the Estonian folk tradition. There are folklore genres that have functioned, among other things, as an accompaniment, comment on, or support to rituals or practices being carried out—for instance, an incantation during a cure, or a lament in death-related procedures, when a person must be separated from his familiar environment. The same textual formulae fulfil different tasks in different genres, which means that they also carry a different meaning. The present paper considers some themes related to the bodily aspect of humanity in various genres of folklore, particularly in song...
Research paper thumbnail of Uuekuueline Viljandi paadimees
Uuekuueline Viljandi paadimees
Those interested in newer popmusic need not be introduced the song "The Boatman of Viljandi&... moreThose interested in newer popmusic need not be introduced the song "The Boatman of Viljandi" sang by the band "Untsakad" - an innovated version of a wellknown folksong that has caused somewhat controversiary feelings in the listeners of the older generation. The song was in the radio tops of 1996 and in the TV show "The 7 Bold Ones" and it can also be found on the double CD of "Untsakad" "Päälinna laiv Von Krahlis" (1996). But now you can already acquaint with a newer version of the "The Boatman of Viljandi" sang-played by Üllar Meriste in the end of 1996.A couple of words about the author and how the song came to be. Üllar Meriste studied in the former Viljandi Culture School at the same time as Margus Põldsepp, the later founder of "Untsakad". He reformed "The Boatman of Viljandi" in the last year of his studies -1989. According to him, the older version of the song had seemed to oldfashioned to him and as a rocklover he had reformed the song accordingly. The song became popular in the whole school and as its creator left Viljandi after graduating the song was still sung there - in the campus corridors and at parties, at fist accompanied by a guitar.As folkmusic became more popular, also professional bands became more interested in "The Boatman of Viljandi". In the end of 1994, the band "Ummamuudu" wanted to own it and "Untsakad", too, asked and were ready to let the author himself sing in the song in the studio. Stories stayed stories till Margus Põldsepp himself changed the destiny of the song with a stern hand in 1995.Üllar Meriste thinks the arrangement done by "Untsakad" very pleasant and not too far away form teh original version. More questionable is the introductory part of the song imitating runo song accompanied by drumbeat but obviously this has not lowered teh value of the song.But now let us listen to the original beauty.
Research paper thumbnail of The Estonian National Epic, Kalevipoeg: Its Sources and Inception
The Estonian National Epic, Kalevipoeg: Its Sources and Inception
The Voice of the People
Research paper thumbnail of Suheldes üle piiri: ekshumatsioon ja surnuitkude žanriline mälu
Mäetagused, 2011
Artikkel käsitleb surnuhirmu ületamist, seda ennekõike seoses itkude kui folkloorižanri ja itkemi... moreArtikkel käsitleb surnuhirmu ületamist, seda ennekõike seoses itkude kui folkloorižanri ja itkemise kui riituspraktikaga. Vaatluse all on läänemeresoome-põhjavene traditsioonid, kus itkemisel on säilinud esmane funktsioon elavate ja surnute vaheliste suhete balansseerimisel ning piiride kehtestamisel, samuti katkenud sotsiaalse sidususe taastamisel. Itkutekstid on vaadeldavad multifunktsionaalsete folkloorižanridena, mille adresseerituski võib olla erisuunaline, kuid kus esikohal on siiski kollektiivsed kogukondlikud huvid. Vaatluse all on ka itkeja roll ja funktsioon ühiskonnas. Surnukartuse ületamisega seoses leiab käsitlemist ekshumatsiooni fenomen, mida põhjapoolse Euroopa itkukultuurides säilinud pole, kuid mille kunagist esinemist Eestiski võib arheoloogiliste leidude põhjal oletada.
Research paper thumbnail of Setu lüroeepiliste regilaulude eepilisest kihist
Mäetagused, 1998
Üht osa eesti ja setu regilauluvaramust on traditsiooniliselt peetud lüroeepiliseks. Jakob Hurda ... moreÜht osa eesti ja setu regilauluvaramust on traditsiooniliselt peetud lüroeepiliseks. Jakob Hurda "Setukeste laulude" esimeses köites oli see osa jagatud nelja erinevasse rubriiki ja pealkirjastatud muinasusuliste, ristiusuliste, muinasjutuliste ja ilujutuliste lauludena (vt Hurt 1904). Kirjandusteadusliku definitsiooni järgi on lüroeepika puhul tegemist liitliigiga, milles põimuvad lüürika ja eepika, kusjuures lürism avaldub ennekõike lüüriliste kõrvalepõigetena eepilisest teemaarendusest. Käesoleva ettekande eesmärgiks on mõnevõrra lähemalt vaadelda setu lüroeepiliste regilaulude eepilise poole mõningaid aspekte. Regilaulu vanust on hinnatud kuni mõne aastatuhandega. On ilmne, et see on vaid regilaulu vormipoole umbkaudne vanus. Kuigi kalevalameetrilised värsid, mida läänemeresoomlased laulnud on, pole vanemad kui 3000-3500 aastat, võivad selle tagapõhjaks olnud proosavormis müüdid, mida rahvad on rääkinud, tantsinud või muul moel esitanud, vanemad olla (Pentikäinen 1986: 203). Juri Lotmani järgi olid mütoloogilised tekstid kõrge ritualiseeritusastmega ning käsitlesid maailmakorralduse aluseid, maailma tekkimise ja eksisteerimise seaduspärasusi (Lotman 1991: 323). Ka regilaulus on tuttavad loomise, taevaste kosjade, ilmakorra rikkumise jms motiivid. Seega võib olla kindel, et vanima eepilise kihi laulus moodustab müüt ja müüdiline mõtlemine.
Research paper thumbnail of Communicating Across the Border: What Burial Laments Can Tell Us About Old Beliefs
Estonian Journal of Archaeology, 2011
The present article discusses how archaic cultures eliminated their fear of the dead; first and f... moreThe present article discusses how archaic cultures eliminated their fear of the dead; first and foremost in connection with laments as a folklore genre and lamenting as a ritual practice. Primarily, we examine the relevant Balto-Finnic and North Russian traditions, in which lamenting has retained its original function of balancing the relations between the spheres of the living and the dead, and of establishing borderlines, as well as of restoring the interrupted social cohesion. Lament texts can be viewed as a multifunctional genre that may even be addressed in various ways, but wherein nevertheless the interests of the community stand foremost, whereas personal psychological problems come only after, and related to them. The lamenter's role and function in the society will be viewed, too. The second part of the article will, in connection with overcoming the fear of the dead, discuss exhumation-a phenomenon that has not been preserved in north European cultures but that can, in the light of treated bones or incomplete skeletons in the graves of Bronze and Iron Ages, be assumed to have at one time existed even in Estonia. In cultures where exhumation has remained a living practice up to the present (the Greek culture, for instance), it has probably also solved problems linked to the fear of the dead, since part of the person's skeleton is posthumously reincorporated into the society of the living, in the shape of an amulet or a talisman. The relevant rituals have been performed to the accompaniment of laments. The final part of the article will take a look at certain textual examples of the Setu laments for the dead, which may have preserved a distant memory of the practices connected with exhumation.
Research paper thumbnail of Runo songs, Kalevipoeg, and Peko in the question of national identity
Runo songs, Kalevipoeg, and Peko in the question of national identity
The Kalevala and the world's traditional …, 2002
Research paper thumbnail of Death and Afterwards
Folklore: Electronic Journal of Folklore, 1998
Research paper thumbnail of Paul Ariste ürgvadjaluse kontseptsioon ja Oudekki Figurova
Mäetagused, 2002
Kui Paul Ariste 1942. aasta sõjasuvel esimest korda vadjalaste asuala külastas, leidis ta eest ve... moreKui Paul Ariste 1942. aasta sõjasuvel esimest korda vadjalaste asuala külastas, leidis ta eest veel jõulise põlvkonna, kes vaatamata sotsialistlikule sundkollektiviseerimisele, ateismipropagandale, vahepealsetele repressioonidele ja alanud sõjavintsutustele mäletas ja tundis hästi seda talupojakeskset maailma, milles olid elanud nende esivanemad pikki aegu. Sellel külaõigeusklikul ühiskonnal oli silmanähtavalt loodust hingestav ja lahkunud esivanematega suhtlev maailmavaade, mida ta jagas samaaegselt muude etniliste rühmadega multinatsionaalsel Ingerimaal. Toona lahkus Paul Ariste rinde tagalast sooviga pöörduda Vadjamaale veel tagasi. Tema ekspeditsioonipäevikus on kirjas: Vadja innustab. Ja peaasi on, et peab kiirustama. Järgmised uurijad võivad siit leida küll vadja keele kõnelejaid, kuid kiiresti kaovad need, kes tunnevad vana maailma (VE I: 290). Keeleteadusliku ja folkloristliku ettevalmistuse tõttu jagus Paul Aristel alati huvi ja tähelepanu rahva vaimse pärandi vastu laiemalt. Tänu sellele huvile on säilinud rikkalik etnoloogiline materjal, ilma milleta meie teadmised sellest kaduvast rahvast oleksid määratult õhemad. Käesoleva lühiartikli põhiallikateks ongi Paul Ariste vastavad käsikirjalised talletused (VE). Paul Ariste tundeline suhe vadjalastega sai alguse juba gümnaasiumipõlves 1920. aastail, mil ta Estonia kontserdisaalis Eesti Ingerist esinema tulnud Daarja Lehtile esitatud küsimusele Oletteko inkeriläinen? sai vastuseks En õlõ. Miä õlõn vana vad'jalain! (Ariste 1970: 89). Just Eesti Ingerisse elama sattunud keelejuhid (Daarja Lehti ja Kigoria Kuzmin) olid Paul Ariste peamised informandid 1942. aastani. Pärast Teise maailmasõja lõppu muutus Eestiga samass hiidriiki inkorporeeritud Vadjamaa külastamine mõneti lihtsamaks, mistõttu Paul Ariste viibis seal üliõpilastega paljudel suvedel 1947. aastast 1970. aastate lõpuni. Kaheldamatult polnud see enam see Vadja
Research paper thumbnail of Kaamera ümber dünaamikat otsides. Ühe põhja itku audiovisuaalse talletamise juhtum
Kaamera ümber dünaamikat otsides. Ühe põhja itku audiovisuaalse talletamise juhtum
Looking for Dynamics around the Camera. The Case of Audiovisually Recording One Northern LamentВо... moreLooking for Dynamics around the Camera. The Case of Audiovisually Recording One Northern LamentВокруг камеры в поисках динамики. История аудиовизуального запечатления одного северного причитанияThe article deals with an episode that occurred in the context of ethnographic field work during the making of Buried Alive, a 2006 ETV documentary, focusing on the performance of an occasional lament included in the film. A group of several people took part in the shooting of scenes involving a single female informant in the village of Yashezero in a Vepsian ethnic parish in Russian Karelia in July 2005. Besides the researchers, the event involved two members of a professional TV crew, whose role in recording and later editing of the footage proved very important. The vision of the professional director, which was formed visually, was, as might be expected, different from the “authenticity” that reflected back to the researchers. This was largely determined by the different background, the d...
Research paper thumbnail of Uurimusi vepsa rahvausust
Uurimusi vepsa rahvausust
Sator, 2016
Research paper thumbnail of Beyond the Anthropological Texts: History and Theory of Fieldworking in the North (Sibirica. 2017. 16(1)) [guest ed. Dmitry V. Arzyutov]
Sibirica: Interdisciplinary Journal of Siberian Studies, 2017
https://www.berghahnjournals.com/view/journals/sibirica/16/1/sibirica.16.issue-1.xml

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