Rene Mäe. Culture, Economy and Work in 2000s–2010s Estonia
7–25; >Summary 26–36<
The primary aim of this article is to consider the emerging representations of ‘cultural’ and ‘artistic’ work in 2000s–2010s Estonia. The paper draws on textual materials, such as Estonian creative industries mapping documents, promotional texts and special sections on the creative industries in daily and weekly newspapers. The paper starts by offering a sociologically informed framework wherein the problem of cultural and artistic labour emerges. Borrowing its theoretical and methodological framework from the discourse theory of Ernesto Laclau, the article then more specifically looks at the ways in which creative and cultural workers are constructed in the Estonian creative industries discourse.
Johannes Saar. Art Discourse of Melodrama. Discursive Analysis of Feature Stories in the Daily Newspaper Äripäev’s Monthly Supplement Gentleman
37–56; >Summary 57–60<
The article analyses the media representations in Estonian journalism that tend to downplay or even exclude the visual arts from socially meaningful interaction. Evidence of a patronising rhetoric is apparent, where the arts in general and the visual arts in particular are embedded in the discourse of personal charity, consumption and hobbies. This implicit privatisation of the visual arts is exemplified by means of discourse analysis in three representation strategies identified in journalistic texts connoting an essential similitude of the arts with mercantile rationales and the allegedly consequential proprietary right of economic agents to provide definitive claims on the valid meaning of the arts, their history and purpose.
Kadri Asmer. Neo-Conservative Cultural Theory
61–73; >Summary 74–76<
The article analyses the cultural theory of neo-conservatism, which concentrates on radical liberalism, the ideas of New Left intellectuals and criticism of innovative forms of art. It aims to explore the nature of this theory and the causes of its formation in order to show the influence of neo-conservative ideas in the contemporary art world and in liberal cultural politics. The cultural theory of neo-conservatism has most distinctly developed in the United States of America, and accordingly the article focuses on the USA.
Kadri Semm. Polygon Theatre as a Reflexive Method for Landscape Study
77–101; >Summary 102–104<
This article examines Polygon theatre, created by Erki Kasemets, which has similarities to performance art and environmental theatre. The analysis is made with reflexive and relational landscape study approaches in mind. It concentrates on the artist’s detected forgotten landscapes and the creation of them in imaginary Polygon theatre environments. The stories and activities of Polygon theatre are influenced by Erki Kasemets’s subjective autobiographical memory places, his general socio-political background and his own artistic character. Polygon theatre can be understood as a reflexive landscape study method giving information about a participant’s subjective meaning associations and sociotemporal changes in landscape, allowing for suppositions about the studied environment.
Anne Kokkov. Roman Ingarden’s Approach to the Perception of the Picture Juxtaposed with Edmund Husserl’s Approach
105–118; >Summary 119–122<
The paper treats Roman Ingarden’s and Edmund Husserl’s approaches to the structure and to the perception of the picture: the picture-consciousness as the premise for perceiving the picture; particularity of the apprehension of the picture in comparison with the apprehension of the reality; the particular features of the painting as a thing, and the conscious intentional picture; characteristic features of perception of the colour and form of the objects. Besides, the paper treats the principles of the analogy and symbolism in perceiving the pictures.
Marge Paas. The Experience of Empathy with a Subject Depicted in an Artwork: A Phenomenological Analysis
123–134; >Summary 135–137<
The objective of the article is to describe the experience of empathy with regard to a subject depicted in an artwork. Empathy involves access to another subject, the entry of ‘another’ into the being of the observer. In this situation, the person regarding an artwork feels that the ‘other’ depicted in the work is looking back at him or her and thereby senses that the subject has a real presence, affirmed by the feelings and emotions in the viewer. The feelings that arise attest to the possibility of empathy toward a fictitious subject. Often an observer will feel, following such an experience, that the depicted subject lives on inside of him or her, or is an invisible presence at his or her side. Such an experience also attests to the existence of empathetic experience in perceiving an artwork.
Gottfried Boehm. Teispool keelt? Märkmeid piltide loogika kohta
Translated by Anu Allas
CHRONICLE 1. I – 31. XII 2014