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Enregistrements réalisés lors d'enquêtes de terrain en Estonie, au Groenland, à Saint-Pierre et Miquelon, etc., qui ont permis l'observation ethnographique de cérémonies religieuses orthodoxes à travers le pays.

Le chœur de femmes chante des chants runiques et en langue de Kihnu (Kihnu kiel) durant une messe orthodoxe pascale au sein de l'église Saint-Nicolas (Püha Nikolai kogudus), située dans le village de Linaküla. En l'honneur de l'occasion, c'est l'archiprêtre (praost ülempreester), venu du Setomaa, qui anime la cérémonie. Chants runiques lors d'une messe de Pâques en l'église de l'île de Kihnu

This PhD thesis examines the Baltic art field during the Enlightenment, focusing on the amateur pictorial legacy. By turning our attention from the professional-institutional art world, which was still quite limited in the 18th century, to the broader circle of dilettanti, and from artistically high-quality pictures to everyday drawing practices (travel and scientific drawings, cartographical records, pictures related to local history and archaeology, journal vignettes, etc), the sudden increase of art appreciation and drawing skills among the Baltic nobility and educated class in the second half of the 18th century has been traced, along with the noteworthy role played by pictorial media during the Baltic Enlightenment. In the thesis, this change of perspective and a certain re-evaluation of the descriptive patterns related to the local art field help to highlight the special features of Baltic art, by allowing the limited aesthetic quality and the modest creative flight of the early local pictorial legacy to be treated without an inferiority complex and for its inherently Enlightenment-based pragmatic attitude and applied nature to be viewed as one of the main features of Baltic German art culture. Along with the mapping of the local art lovers’ pictorial experiences and prototypes, the topographies of Baltic sights and landscapes that were the most important and most characteristic pictorial genre of the Baltic Enlightenment, and which created the local visual identity, are examined. Various articles explore the aspect of female dilettanti, the theme of art collections and the art market, and provide a view based on the history of mentality as it relates to the various functions and art/artist positions in Baltic society. Attention is separately paid to distinguishing between an artist’s hobby and artist’s profession and the awareness thereof in the Baltic mentality; and to several, cultural self-determinations that developed locally during the Enlightenment, and which continued to feed the amateur, Enlightenment-based and pragmatic attitude toward artistic creation during the 19th century. Doktoritöö võtab vaatluse alla Balti valgustusaegse kunstivälja, keskendudes harrastuslikule pildipärandile. Pöörates fookuse 18.sajandi veel tagasihoidlikult professionaalselt-institutsionaalselt kunstielult laiemale harrastajate ringile ja kunstiliselt kõrgetasemelistelt piltidelt harrastuslikele, argistele, rakenduslikele joonistuspraktikatele (reisi- ja teadusjoonistused, kartograafilised ülestähendused, koduloolised ja muinasteaduslikud pildid, päevikuvinjetid jpm) on jälgitud kunstitundmise ja joonistusoskuse hüppelist kasvu Balti aadli- ja haritlaskonna seas 18.sajandi teisel poolel – ja veel enam, pildimeedia märkimisväärset rolli Balti valgustuses. Selline vaatenurga muutmine ja seniste kohalikku kunstivälja kirjeldavate mustrite teatav ümbermängimine on töös abiks balti kunsti erijoonte esiletoomisel, lubades alaväärsuskompleksita käsitleda siinse varase pildipärandi vähest esteetilist kvaliteeti ja madalat loomelendu ning hinnata sellele omast valgustuslik-pragmaatilist suhtumist ja rakenduslikku-harrastuslikku iseloomu kui baltisaksa kunstikultuuri ühte põhijoont. Koos siinsete harrastajate pildikogemuse ja -eeskujude kaardistamisega võetakse fookusesse Balti valgustuskunsti kõige tähtsam ja iseloomulikum, kohalikku visuaalset identiteeti loov pildižanr – muististe ja vaatamisväärsuste pildilised topograafiad ning maastikujoonistused. Erinevates artiklites lisandub naisuurimuse aspekt, kunstikogude ja –turu teema ning mentaliteediajaloost lähtuv pilk joonistamise erinevatele funktsioonidele ja kunsti/kunstniku positsioonile Balti ühiskonnas. Omaette tähelepanu saavad kunstiharrastuse ja kunstnikuprofessiooni eristamine ja teadvustamine balti mentaliteedis ning mitmed just valgustusajas siinmail väljakujunenud kultuurilised enesedeterminatsioonid, mis jäävad harrastuslikku, valgustuslik-pragmaatilist suhtumist kunstiloomesse toitma ka 19. sajandi edenedes. Väitekirja elektrooniline versioon ei sisalda publikatsioone https://www.ester.ee/record=b5249289~S1

Messe pascale orthodoxe au monastère de Kuremäe

The current short but very important Sumerian literary text, which was written in the Sumerian language at the end of the reign of Ur III (2112–2004 BCE) or at the beginning of the Isin-Larsa epoch (ca 21st or 20th century BCE), consists of only 33 lines.The temple of Tummal is dedicated to the goddess Ninlil, spouse of the god Enlil, who was the main god of Mesopotamia, the protector of kingship, and the king of all deities. Tummal was a very significant sanctuary for Sumerians and played an important role not only in religion, but also in royal ideology. The texts of Tummal Inscription known as “The History of Tummal” mention the rulers of Sumer, who had done building and renovating works in this temple complex.Yet, the kings-builders are not listed chronologically and these texts are quite tendentious and propagandistic, as some important kings are not even mentioned because of ideological reasons; for example, Akkadian kings (2334–2154 BCE) or rulers of Lagash.The reason why Akkadian kings were not mentioned as builders in Tummal, might probably be that some Akkadian kings like Naram-Su´en became prototypes of evil and cursed kings. They were believed to rebel against divine norms and rules and were later cursed and punished by all the great gods of Sumer and Akkad. The kings of Lagash were not mentioned for a different reason: Gudea, who belonged to the 2nd dynasty of Lagash, had probably very good relations with Gutian tribes, who destroyed the Akkadian Empire in ca 2200–2154 BCE, conquered Akkad and Sumer and controlled these territories for 60–70 years. Sumerians and Akkadians hated Gutians and after Sumer and Akkad became free from the Gutian invaders, kings of the 3rd dynasty of Ur decided that for political and ideological reasons the kings of Lagash would not be mentioned at all.

The thesis deals with Reval(i)sche Post-Zeitung, a newspaper printed periodically in Tallinn during the end of the Swedish reign (approx. 1689–1710). So far the newspaper has been examined as a separate institution in the historiography, but in the thesis the conception of the approach has been changed by viewing it in the broader context of early modern Swedish Empire and the European press history. The papers constituting the thesis review different aspects of the study object. The periodically issued (Tallinn) newspaper is at first reviewed together with other early modern information vehicles (pamphlets, etc) as a possible source of publicism and historiography of that time. Thereafter the thesis focuses on the person of the typographer of Reval(i)sche Post-Zeitung and his other everyday activities. Newspaper publishing wasn’t an activity per se or a separate task for the typographer but one aspect of information communication and reproduction of news vehicles. Commercial and other announcements published in the newspaper are dealt with separately. As a methodological innovation Reval(i)sche Post-Zeitung was for the first time reviewed in parallel with newspapers published in the Livonian Province – Montags (Donnertstags) Ordinari Post Zeitung (1690–1681), Rigische Novellen (1681–1710), and other German newspapers, for example those published in Königsberg and Hamburg. As a result of the comparison it became clear thet Reval(i)sche Post-Zeitung was a abbreviated reedition of the newspaper printed in Riga. This knowledge compels us to revise the current outlook on the Baltic early modern press history. The publishing of the newspapers in Estonian and Livonian Province centres should be viewed as an integral process initiated by the volition of the central government to control the ways and channels of the information communication aimed at the public. Väitekirjas käsitletakse Rootsi aja lõpul (u 1689–1710) Tallinnas perioodiliselt ilmunud trükitud ajalehte Reval(i)sche Post-Zeitung. Senises historiograafias on lehte vaadeldud omaette institutsioonina, kuid väitekirjas muudeti ainesele lähenemisel kontseptsiooni, käsitledes seda laiemalt varauusaegse Rootsi suurriigi ja Euroopa pressiajaloo kontekstis. Väitekirjaks koondatud artiklid avavad uurimisobjekti erinevaid tahke. Perioodiliselt ilmunud (Tallinna) ajalehte vaadeldakse esmalt koos teiste varauusaegsete infokandjatega (lendlehtede jms) kui tollase publitsistika ning ajalookirjutuse üht võimalikku allikat. Seejärel keskendutakse Reval(i)sche Post-Zeitungi trükkali isikule ja tema muudele igapäevastele tegevustele. Ajalehe väljaandmine polnud trükkalile asi iseeneses või eraldi ülesanne, vaid üks tahk informatsiooni edastamises ja uudiskandjate reprodutseerimises. Eraldi käsitletakse ajalehes avaldatud reklaam- ning muid teateid. Metodoloogilise uuendusena vaadeldi Reval(i)sche Post-Zeitungit esmakordselt paralleelselt Liivimaa kindralkubermangus välja antud ajalehtedega Montags (Donnertstags) Ordinari Post Zeitung (1690–1681), Rigische Novellen (1681–1710) ning teiste Saksa ajalehtedega, näiteks Königsbergis ja Hamburgis ilmunutega. Võrdluse tulemusena selgus, et Reval(i)sche Post-Zeitungi näol on tegemist Riias ilmunud ajalehe lühendatud ümbertrükiga. See teadmine sunnib revideerima Balti varauusaegse pressi ajaloo seniseid seisukohti. Eesti- ja Liivimaa kubermangukeskuste ajalehtede väljaandmist tuleb vaadelda ühtse protsessina, mida initsieeris keskvõimu tahe kontrollida avalikkusele suunatud info edastamise viise ja kanaleid. Väitekirja elektrooniline versioon ei sisalda publikatsioone.

For a historian the early modern chronicle is most commonly a historical source – good or bad, reliable or untrustworthy. Based on this information the historian decides how much he or she can use the events recorded and historical figures described in the chronicle to reconstruct the past. For those researchers who study the history of historiography, the chronicle represents the reflections of the historical knowledge and the idea of history of the period in question. He or she is interested in the author, his or her motives, circumstances concerning the creation of the work, author’s sources and the reception of the work by its peers and followers. Historians and historians of historiography have studied the early modern chronicles written in Estland, Livland and Courland and agreed upon their trustworthiness, however, equal attention has not been given to the chronicles as reflectors of the historical knowledge of the period and to how the chronicles received new developments in Western European historiography. This dissertation contains seven articles on the early modern historiography which look at the influence of social factors (such as power, wars, spreading of printing presses), Western European ideas (idea of history, antiquarianism, Gothicism) and author’s personal choice of sources on historiography in Estland, Livland and Courland. In summary it can be said that historians received different ideas from Western Europe, however, none of them rose to the level of fame as some of their contemporaries in Europe. In the dialogue with the cultural centre, they were at the receiving end and not an equal partner. Concerning the societal factors, there is usually a combination of aspects influencing the writing of history at any given time. Thus, we cannot say that warfare or the establishment pf printing shops definitely encouraged or discouraged the writing of history, printing and distribution of historical works. When in 16th century the authors were more concerned with descriptions of contemporary events for future generations then in 17th century some authors aspired to write a more comprehensive overview on local history from the earliest times. Ajaloolasele on varauusaegne kroonika enamasti allikas – hea või halb, usaldusväärne või ebausaldusväärne – ning sellest lähtuvalt otsustab ajaloolane kui palju saab ta kasutada kroonikas kirjeldatud sündmusi ja inimeste tegusid selleks, et minevikku rekonstrueerida. Ajalookirjanduse ajaloo uurijale on kroonika oma ajastu ajaloo teadmiste ja ajaloo idee peegeldus. Teda huvitab autori isik, tema motiivid, kroonika valmimisega seotud asjaolud, krooniku allikad ja selle edasine saatus ajaloomaastikul. Mis puudutab kroonika allikalist väärtust, siis selles osas on ajalookirjutuse ajaloo uurijad ja ajaloolased varauusaegsete kroonikaid uurinud ning neile hinnangu andnud. Vähem on uuritud kroonikaid kui oma ajastu ajalookirjutuse peegleid ning seda, kuidas võtsid need vastu Lääne-Euroopas levinud ajalooteaduse arenguid või kuidas ühiskondlikud tegurid ajalookirjutust mõjutada võisid. Käesolev doktoriväitekiri sisaldab seitset sissevaadet varauusaegsesse ajalookirjutusse uurides ühiskondlike tegurite (võim, sõda, trükikunsti levik), Lääne-Euroopast tulnud ideede (ajaloo idee, antikvaarne liikumine, gootitsism) ning autori individuaalse allikavaliku mõju ajalookirjutusele Eestimaal, Liivimaal ja Kuramaal. Kokkuvõttes võib tõdeda, et Eestimaa, Liivimaa ja Kuramaa ajalookirjutajad võtsid vastu erinevaid Lääne-Euroopas levinud ideid ning lugesid uuemat kirjandust, kuid nende endi keskelt ei kerkinud esile ajaloolast, kes oleks olnud üle Euroopa tuntud. Dialoogis Euroopa kultuuri keskusega jäädi pigem vastuvõtjaks kui võrdseks partneriks. Ühiskondlike tegurite mõju avaldus enamasti paljude tegurite kombinatsioonis kui selgelt üheselt. Näiteks ei saa väita, et sõjategevus või trükikodade asutamine Eesti-, Liivi- ja Kuramaale alati julgustas või vastupidi pärssis ajalooteoste sündi, trükkimist või levikut. Kui 16. sajandil oli ajalookirjutajate jaoks esiplaanil oma eluajal toimunud sündmuste kirjeldamine järeltulevate põlvede jaoks, siis 17. sajandil asusid mitmed autorid koostama terviklikumat käsitlust kohalikust ajaloost. Väitekirja elektrooniline versioon ei sisalda publikatsioone

Messe pascale orthodoxe au monastère de Kuremäe

This dataset contains data collected and organised at Tallinn University, as a part of the MetDect project ("Metal-detected past: a study of long-term developments in settlement patterns, technology and visual culture on the example of metal-detector finds from Estonia" funded by the European Commission, Grant Agreement ID: 101003387). The main dataset contains information on metal-dected artefacts found in Estonia and identified by local archaeologists in the form of expert opinions (EH for short). Each record corresponds to one artefact, regardless of its condition (e.g. fragmented, burnt) or determination (e.g. unidentifiable), as long as it is recorded in the EH. Information is provided on artefact types, dates, contexts and general location. The MetDect dataset contains nearly 42,000 records. Sensitive information (excat location information) is not publicly available. The supplementary dataset shows how the EH-s are systematised for the main dataset. The number of EH-s is almost 800 and all EH-s were completed between 2013-2021.

Le chœur de femmes chante des chants runiques et en langue de Kihnu (Kihnu kiel) durant une messe orthodoxe pascale au sein de l'église Saint-Nicolas (Püha Nikolai kogudus), située dans le village de Linaküla. En l'honneur de l'occasion, c'est l'archiprêtre (praost ülempreester), venu du Setomaa, qui anime la cérémonie. Chants runiques lors d'une messe de Pâques en l'église de l'île de Kihnu