Kirjanduslikest kontaktidest läbi raudse eesriide / Literary contacts through the iron curtain

The article deals with the relationship between the literature of the Estonian diaspora in the West and Soviet Estonia during the 1960s, and explores the possibility, from the literary historiographical perspective, of integrating the two bodies of Estonian literature.Near the end of The Second World War close to 70,000 Estonians fled their homeland, fearing Soviet repression; among them were numerous members of the academic and artistic intelligentsia as well as eminent poets and writers. By the late 1940s national organizations, publications and other activities were already well underway in the displaced persons camps. During the 1950s, Estonian exiles who settled in Sweden, Canada, United States, and elsewhere in the West quickly formed national cultural centres, publishing houses and numerous organizations that helped maintain their national and cultural identity. The centre of literary activity in the West was Sweden, which most Estonian writers had chosen as their new home. The Estonian Writers’s Co-operative publishing house, established in Lund in 1950, started the mail-order distribution of Estonian literature throughout the world; elsewhere, the publisher Orto operated in Toronto.While no propaganda-free literature or literature of any artistic merit was published in the 1940s and 1950s in Estonia during the Soviet occupation, exile literature flourished. Then, the Khrushchev Thaw brought about changes to Soviet society in the late 1950s. As their world became more free, a new generation of talented young poets emerged who generated innovations in poetry and modernized literature. This article maps literary contacts between the Estonian homeland and her exiles, and, using archival material, focuses on personal contacts among the literati during the 1960s.Literary historiography began investigating the possibility of treating Estonian literature in the homeland and in the West as one body of literature, when, after a 45-year interruption, Estonian and emigré writers met again for the first time in 1989 in Helsinki.Afterward, critics began describing Estonian literary history with the metaphor of a tree with two branches. Treating the two bodies of literature as one and integrating their literary histories was seen as impossible due to vast differences both in writers’ circumstances and the role of literature in their communities during the past 45 years.For example, while emigré writers had to find time for creativity after their workday, Estonian authors in the homeland earned their bread by writing – literature being highly regarded and honoured – since the Soviet regime valued the role of literature (and other arts) as a propaganda tool.The article points out that although literature retained its major „official“ role and was subject to ideological control even after Soviet society became relatively freer in the 1960s, a considerable amount of homeland Estonian literature nevertheless carried on the ideas of cultural identity and resistance „between the lines“.After the independent Republic of Estonia was reestablished in 1991, the Estonian Cultural History Archives of the Estonian Literary Museum started receiving the personal archives of exile writers; researching these materials has resulted in many discoveries. It became apparent that among the correspondence between the homeland and diaspora communities there was a steady stream of letters between Estonian writers, especially the younger generation of authors, but also academic researchers, as well as many other creative individuals, artists and musicians. Although exiles’ contacts with the homeland generally began on the basis of family relations, the intelligentsia of occupied Estonia was also looking for professional and creative contacts.Many Estonian writers abroad carried on „cultural correspondences“ with their contemporaries back in the homeland in which they discussed literary problems and exchanged large quantities of books: much new Estonian literature from the homeland quickly reached the West; similarly, Estonian literature published in the West reached the homeland, from where it was distributed by unofficial channels and often through multiple typewritten copies. This cultural practice resulted in an interesting paradox: while young emigré writers (Enn Nõu and others) often protested against the literary values of the older generation, writers in Estonia admired the works of major Estonian writers in exile (Marie Under, Bernard Kangro, Kalju Lepik and others).Using archival materials, the article raises questions about the two branches of Estonian literature, relationships between homeland and exile literature, and mutual influences during the 1960s and 1970s. The shift in generations changed the existing literary balance: beginning in the 1960s, literature in the homeland blossomed while writers in exile began talking about a crisis. Numerous strategies were suggested, including officially passing the torch to homeland Estonian writers and ending the publication of emigré literature. Another response to the situation was consolidation of the younger generation of exile writers.In analyzing the relationship between the two bodies of Estonian literature, the article examines the archived manuscripts and correspondence related to publishing the short story anthology Who The Hell Knows, issued by the Estonian Writers’ Co-operative in Lund, Sweden in 1968. The manuscript archive was handed over to the Estonian Cultural History Archives by the anthology compiler, writer Enn Nõu. The archive contains over a hundred letters exchanged while collecting the short stories, and which illustrate the attitudes of the second generation of exile writers toward both the occupied homeland and literature at large.Analysis of the correspondence reveals that the inspiration for issuing the short story collection in Sweden was drawn from a series titled „Young Authors“ (1962–1968), paperback poetry books by young authors issued in Estonia; there was a need among young exile writers to respond to their contemporaries in the homeland. This revealing fact verifies that regardless of shadow of the iron curtain, good relationships existed between the two literary and artistic worlds, despite the absence of official relationships, and that from the literary historiographical perspective there are grounds for treating Estonian literature as a single process.

Noor-Eesti rollist eesti kirjandus- ja kultuuriloos. The Role of Young Estonia in Estonian Literary and Cultural History

From the beginning of the 20th century on, the activities of the Young Estonia literary movement have had a significant influence on the development of Estonian culture. The group published five Young Estonia albums (1905–1915), the magazine Young Estonia, devoted to science, literature, and the arts (1910– 1911), and the newspaper Vaba Sõna (1914–1916, Free Word). The core of the group was composed of five or six active writers who maintained lively interactions with art and theatre circles. The publications of the Young Estonia Press brought about a revolutionary turn in the design and printing styles of the Estonian-language book. The questions of Young Estonia’s role and meaning have intrigued the Estonian cultural public at different times and in different ways. Young Estonia brought to cultural consciousness liberal views on the interpretation of art as well as an elitist aesthetics. At different times their openness to Europe irritated both the nationalist-minded and internationalists; thus the reception of the Young Estonia movement has been polemical throughout Estonian cultural history. Elapsed time has both opened the way for broader generalizations and, conversely, created a need to reconstruct the cultural context of the beginning of the 20th century. Polemic around Young Estonia was certainly caused by the group as a whole; however, in this article the role of individual members is also highlighted. It is emphasized that the political and aesthetic ideas of the Young Estonians changed synchronously with social conditions, from the 1905 Russian revolution to the world war that ravaged Europe. If the early part of this period saw a more social and nationalist bent to their thinking, then in the years of reaction, positions were taken that were more in keeping with l’art pour l’art. Young Estonia was not a hierarchical organization; rather, its small core group was composed of a narrow circle of friends with various political and aesthetic views: linguist Johannes Aavik, poets Villem Grünthal and Gustav Suits, prose writer and critic Friedebert Tuglas, and critic and translator Bernhard Linde; Finnish-Estonian writer Aino Kallas also belonged to the inner circle. As shown by private correspondences, personal relationships played a major role in the group’s activities; statements on behalf of the group as a whole were only made in the context of parrying the attacks of conservative critics. The main force unifying the members of the Young Estonia group was dissatisfaction with the state of Estonian language, literature, and mentality at the beginning of the 20th century. In addition to their call for a new aesthetic, members of the group wished to hold up their own original work as models. Writers of the Young Estonia group produced little in the way of original literature: their main strength was as critics and essayists, theoretical articulators of a new direction. First and foremost among their contributions – particularly in the case of Johannes Aavik, was a steady, principled struggle for the cultivation of the Estonian language: on this topic they published manifestoes, explanatory articles, and writings of a linguistic-theoretical nature. Along with supplementing the language, there was a joint commitment to the style and form of the work of art. Thus, the second major contribution of Young Estonia was giving a new meaning to the concepts of ”author” and ”writer”. Following the example of Georg Brandes, they began writing a new type of biography of Estonian writers, and oriented themselves to the concept of national literature. For example, Gustav Suits glorified Kristian Jaak Peterson (1801-1822) as the ”first Estonian poet”. The Young Estonian slogan, ”Let us be Estonians, but let us also become Europeans!” lost its meaning during the First World War, when the ideal of Europe collapsed. Those who had been rebels up to that point now became the leaders of Estonian literary life; Gustav Suits became the first university professor of Estonian literature. The Young Estonians had shown their force and established a place for themselves. In Estonian criticism today, approaches drawn from postcolonialism (such as self-colonization) have often been used. In this article, analysis is based rather, and alternatively, on cultural influence and culture transfer. In a time of great cultural ruptures, searching for external models from European modernist culture was the only way imaginable for Young Estonia. One of the most important questions in this regard is the role of German and Russian culture, and this topic is elaborated upon in the current collection of articles. In order to provide a context for the articles in this collection, the co-editors initially provide a panoramic overview of the reception of Young Estonia in the different periods of Estonian history (Young Estonia’s contemporaries, 1905–1915; the Estonian republic, 1918–1940; Soviet Estonia and the literature of the exile 1944–1991). For example, in the Stalinist period in the 1950s, Young Estonia was condemned along with other decadent-bourgeois movements; at the same time, Estonian literary scholars in exile focused their research on the major figures of Young Estonia, particularly Gustav Suits. In the 1960s through the 1980s, the Young Estonians became widely anthologized authors – Young Estonia was canonized, though its political and social context could only be broached with caution. On the 100th anniversary of Young Estonia (2005), it once again became a focus of interest for Estonian literary studies; topics formerly difficult to discuss due to censorship or the lack of sources came to the fore. Based on Young Estonia’s clarion call, ”More European culture!” researchers began systematically to search for a European context for the Estonian intellectual world at the beginning of the 21st century. Literary scholars were joined in this search by historians, semioticians, gender studies scholars, art historians, and new, exciting points of view have emerged for the understanding of Young Estonia. Two international conferences were held at the Estonian Literary Museum in Tartu in celebration of the 100th anniversary of Young Estonia: ”Ten Years of Young Estonia: Time and Literature”, 2005; and ”Ten Years of Young Estonia II: Ideals, Aesthetics, Meaning”, 2007. The current collection gathers 20 articles on Young Estonia which have not been previously published. Together with articles published elsewhere by Epp Annus, Lea Pild, Sirje Olesk, and Katre Talviste, based on their presentations at the same conferences, the contributions in this volume are shaping a new 21st century discourse of Young Estonia. The main message of the collection is valorizing the cultural openness of Young Estonia, and the opportunity to consider the movement as a whole in the context of the collision and adaptation of different ideologies

Luulesõrestik üle ookeani. Marie Underi ja Ivar Ivaski kirjavahetuse teemaanalüüsi poole

This article proposes to discuss the voluminous literary correspondence of the Estonian poets Marie Under (1883–1980) and Ivar Ivask (1927–1992), with a focus on its first year, 1957–1958. The whole correspondence comprises 550 letters, with an average length of 4000 (later 3000) words; it is held in the Cultural History Archive of the Estonian Literary Museum in Tartu. Both Under and Ivask had been war refugees, with Under and her husband, poet Artur Adson, finding an exile home near Stockholm, Sweden; Ivask and his wife Astrīde, a well-known Latvian poet emigrated to America after some years spent in DP camps in Germany. Marie Under was already a renowned poet during the Siuru movement in the Estonian Republic, and became a symbol during the Second World War, continuing to publish and hold a large reading audience in exile. In addition to her own poetry, she was a versatile translator of poetry from several languages into Estonian. Ivask, two generations younger than Under, had begun writing in Germany, but continued to search for his linguistic and cultural identity for some time: his mother tongue was Latvian, and the language of his father was Estonian; German was spoken at home. At length and around the time of the beginning of his correspondence with Under, he decided that Estonian would be his poetic language. Since coming to the United States, Ivask completed a PhD in comparative literature and established himself as a scholar and critic in Germanic Studies. He became associated with the publication Books Abroad, later renamed under his editorship as World Literature Today. Under’s and Ivask’s letters are rife with exchanges about core values in poetry, art and worldview, stylistics and poetics, as well as practicalities of publication. After a brief introduction to theoretical approaches to the analysis of letters and correspondences, the article turns to a topical close reading of the letters from Under and Ivask’s first year: main foci included translations of the poetry of Karl Čaks, translation priorities, discussion of the aims and planned trajectory of a new cultural journal in Estonian named Mana (to which both contributed), perspectives on Ivask’s debut as a young poet, the future of Baltic literatures abroad, and the cultural politics in the exile communities over what attitude to take toward literary production from the homeland. The second part of the article applies methods of digital humanities toward an extensive study of the Under-Ivask correspondence as a linguistic dataset, aiming to arrive at a thematic analysis of the text as a whole. The methods enable the identification of key words, word frequencies and thematic clusters, while making the whole corpus digitally accessible to the scholarly reader. The article concludes with proposals for a further study of the Under-Ivask correspondence, using the methods of digital humanities

Digidokumendist tekstikorpuseks: Semperi ja Barbaruse kirjavahetuse töötlemine masinanalüüsitavaks päringusüsteemis KORP

Kirjandusteadlaste ja arvutilingvistide koostöös katseprojektina valminud Johannes Semperi ja Johannes Barbaruse kirjavahetuse korpus on nii kirjanduslooliselt kui tekstilingvistiliselt huvipakkuv digitaalandmestik. Kirjandusteadlastele avab kaasaegsete digitaalsete meetodite kasutuselevõtt huvitavaid uurimisperspektiive ja vanade uurimistulemuste ülekontrollimise võimalusi arvutuslike meetoditega. Korpuslingvistidele on aga väljakutseks ajaloolise ja isikupärase keelekasutusega, erinevatest keeltest kubiseva ja rohkete koha-, aja- ja isikuviidetega tekstimaterjali ettevalmistamine rikkalikult märgendatud korpuseks. Artikkel peatub üksikasjalikumalt nii käsikirjalise materjali digitaalseks tekstiandmestikuks ettevalmistamise kui ka analüüsi- ja märgendamisprotsessi probleemidel ja nende võimalikel lahendustel. Kasutajatele tutvustatakse ka korpuste päringusüsteemi KORP võimalusi sarnaste tekstide uurimiseks. Abstract. Marin Laak, Kaarel Veskis, Kadri Vider, Neeme Kahusk, and Olga Gerassimenko: Turning from digital document to text corpus: conversion of correspondence between Semper and Barbarus to a machine-readable unit in KORP. The article describes a joined pilot project of literary scholars and language technologists that resulted in a correspondence corpus of Estonian avant-garde poets Johannes Semper and Johannes Barbarus. The corpus is an inspiring digital dataset both for literary and linguistic researches. Contemporary digital methods allow literary scholars to find new interesting research perspectives and to revise the old research results with computational methods. Corpus linguists can find interesting challenges in historically and personally unique language use of the correspondents, in multiple languages used for citations and language play, in multiple references to places, events and persons in the textual material that was transformed to an annotated corpus. The article describes the preparation of typed-in manuscript material for a digital dataset in detail, problems of annotation and analysis and their possible solutions. The reader will get an insight to the possibilities that corpus query system KORP offers for the research of similar textual material

Generation of a genetically modified chimeric plasmodium falciparum parasite expressing plasmodium vivax circumsporozoite protein for malaria vaccine development

Copyright © 2020 Miyazaki, Marin-Mogollon, Imai, Mendes, van der Laak, Sturm, Geurten, Miyazaki, Chevalley-Maurel, Ramesar, Kolli, Kroeze, van Schuijlenburg, Salman, Wilder, Reyes-Sandoval, Dechering, Prudencio, Janse, Khan and ̂ Franke-Fayard. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.Chimeric rodent malaria parasites with the endogenous circumsporozoite protein (csp) gene replaced with csp from the human parasites Plasmodium falciparum (Pf) and P. vivax (Pv) are used in preclinical evaluation of CSP vaccines. Chimeric rodent parasites expressing PfCSP have also been assessed as whole sporozoite (WSP) vaccines. Comparable chimeric P. falciparum parasites expressing CSP of P. vivax could be used both for clinical evaluation of vaccines targeting PvCSP in controlled human P. falciparum infections and in WSP vaccines targeting P. vivax and P. falciparum. We generated chimeric P. falciparum parasites expressing both PfCSP and PvCSP. These Pf-PvCSP parasites produced sporozoite comparable to wild type P. falciparum parasites and expressed PfCSP and PvCSP on the sporozoite surface. Pf-PvCSP sporozoites infected human hepatocytes and induced antibodies to the repeats of both PfCSP and PvCSP after immunization of mice. These results support the use of Pf-PvCSP sporozoites in studies optimizing vaccines targeting PvCSP.CM-M was, in part, supported by Colciencias Ph.D. fellowship (Call 568 from 2012 Resolution 01218 Bogotá, Colombia). TI was, in part, supported by Uehara Memorial Foundation grant. Work performed at IMM was supported by Fundação para a Ciência e Tecnologia (FCT-Portugal)’s grants PTDC/BBB-BMD/2695/2014 and PTDC-SAU-INF-29550-2017. AR-S is supported by the MRC-DPFS grant MR/N019008/1.info:eu-repo/semantics/publishedVersio