#kirjandus

[rp2rlisilm]

MINU HURMAV SÕJARD

lol, forgot about this for a while

#rp2rlisilm #KUHU MA LÄHEN KUI MA UNELEN ? #kirjandus #i forgor

[magalarajoonideprohvetid]

99 Allahi nime ja musttuhat muud asja

minu usk ei ole puruks pommitatud kehad tsemendi vahel verest tilkuvad inimesed minu usk ei ole vaikides pealtvaatamine minu usk ei ole karjudes ähvardamine minu usk ei ole laste röövimine teise inimese vangistus ja orjapidamine minu usk ei ole näljutamine ja tapmine inimeste varuosadeks kasutamine nende naha ja elundite vargus kodude, maade ja elude vargus tuumarakettide taha varjuv argus minu usk ei ole pidada pühaks süütute verega väetatud maad

-

minu usk on võrdsus ja vabadus kannatlikkus, armulisus ja heldus minu usk on südame puhtus rahu, täiuslikkus ja turvalisus loomine ja kõrgendatud suursugusus kunst, millest kõik algas lõppematu andeksand ja almus teadmiste väravate avamine minu usk on kurjuse häbistamine ja au ülendamine minu usk on kurjuse takistamine ja headuse laiendamine

-

minu usk on kõike nägev ja kuulev otsekohese õiglusega läbistav kaalukausse rihtivaid otsuseid valdav peensuse ja õrnusega alistav kõiketeadev ja kõikeandestav kaitset ja eestkostet taastav minu usk on leebus ja väärikus võimas ja ülendav tänulikkus toitev, õiglust toov ja üllas igavesti hiilgav ja igavesti valvas  minu usk on vastus piiritu tarkus ja armastus minu usk on tõde ja äratus loendus, tugevus, tunnistus minu usk on kindel ja vankumatu ta on sõber ja abistaja, sõltumatu minu usk on elu andev  minu usk on lõppu kandev ainulaadne, üks, jagamatu ja igavene ilmne ja peidetud, esimene ja viimane

-

minu usk on musttuhat muud asja  kui see jälkus, mida sa aegade algusest selle peale ropsind ja sitund oled

-

bismilläähi r-rahmääni r-rahiim qul jää äjjuhä l-kääfiruun lää ä’budu mää tä’buduun wa lää äntum ‘ääbiduuna mää ä’bud wa lää änää ‘ääbidum-mää ‘äbättum wa lää äntum ‘ääbiduuna mää ä’bud lääkum diinukum wa-lijä diin

-

ou, kaafir, kuuled v? mina ei teeni seda, mida sina teenid, nagu sina ei ole Tema teener, keda mina teenin, ja mina ei saa teenima seda, mida sina teenid, ja sinust ei saa Tema teenrit, keda mina teenin. sinule jäägu sinu usk ja minule minu oma.

-

mina ja sina ei ole sama,  unusta ära sellised mõtted  ma olen sündinud Eevast kui sind meisterdati Lilithist sa ei ole minu verest sa ei ole minu perest sa ei ole minu hõimust ega isegi samast liigist ma olen 20 aastat pidanud tõestama, et ma ei ole terrorist nüüd on sinu kord tõestada, et sa oled inimene

-

metsik Lääne-Tallinn 30.11.2023

#99 names of allah #islam #punkmuslim #anarchomuslim #eesti kirjandus #transgression #transgressive #free palestine #free gaza #Youtube

[setokaubamajapakkumised]

Lasteraamatud seto keeles

Lasteraamatud on need, mis panevad aluse meie järglaste kirjaoskusele ja keelekasutusele. Seetõttu on eriti oluline, et lastel oleks kättesaadavad raamatud oma emakeeles. Kahjuks on seto laste olukord selles osas vähe rõõmustav. Häid setokeelseid lasteraamatuid on vähe.

Arendavad raamatud lastele

Raamatud on jätkuvalt üheks oluliseks lugemis- ja kirjaoskuse allikaks lastele, kuigi raamatute roll on taandumas elektroonilise kirjaoskuse ees. Lisaks kirja- ja lugemisoskuse allikale on lasteraamatute roll: - aidata kujundada motoorikat; - arendada tähelepanuvõimet; - panna lapsi mõtlema; - arendada laste kõnet; - treenida mälu. Klassikaliselt on laste jaoks, üheks esimeseks, kõige tähtsamaks raamatuks olnud Aabits. Seto lastel on täiesti võimalik oma emakeelt õppida seto Aabitsa abil. Kahjuks pole seda kõigil seto lastel ja sellel on raske konkureerida eestikeelse Aabitsaga, mis on esimese klassi laste jaoks riiklike õppekavadega ettenähtud õpik. Seto Aabitsa saate hankida oma lastele Seto Kaubamajast. Osta kohe

Populaarsed ja tuntud lasteraamatud

"Kõik suured on kunagi lapsed olnud. Aga mäletavad seda neist vaid vähesed." Jah, see on tsitaat Väikesest Printsist. Antoine de Saint-Exupéry "Väike prints" on üks loetumaid 20. sajandi raamatuid. Oma suure elutarkuse, sügavuse ja mitmekihilisusega võiks seda pidada rohkem täiskasvanute kirjanduseks. Siiski on see üks tuntumaid ja populaarsemaid lasteraamatuid. Õnneks on seto lastel seda võimalik lugeda oma emakeeles ja see kõlab seto keeles väga kaunilt. Võid selles veenduda kui soetad endale Tsillokõsõ Printsi audioraamatu. Osta kohe 2021 jaanuaris ilmus kirjastuselt Seto Kiri teine väga oluline setokeelne lasteraamat: Karupoeg Puhh ehk siis seto keeles Kahropoig Puhh. Raamat on oluliseks täienduseks setokeelsele kirjavarale. Osta kohe 2021.aasta oktoobris ilmus kirjastuselt Avita koostöös kirjastusega Seto Kiri Silvi Väljal menukas lasteraamat Jussikese seitse sõpra (Jussikõsõ säitse sõpra) seto keeles. Kindlasti on see raamat hea setokeelne lugemisvara näiteks Värska lasteaia setokeelsele rühmale. Osta kohe

Eesti lasteraamatud või seto lasteraamatud?

Raamatuid, mida tunneme eesti lasteraamatutena on meie raamatupoodides, raamatukogudes ja kodukogudes ikka päris suurtes kogustes. Setokeelseid lasteraamatuid annab kahjuks otsida pirrutulega. Setomaal oli veel hiljuti peaaegu totaalne kirjaoskamatus ja seda oma emakeele kontekstis. Seto keel kirjakeelena polnud lihtsalt välja kujunenud ning puudus setokeelne kirjaoskus ja ka setokeelne kirjandus. Kirjanduse aset täitis muinasjutu vestmine, jutuste jutustamine ja rahvaluule laiemas tähenduses. Suulist pärimust toetas perede koosseis, kuhu tavaliselt kuulus ikka kolm põlvkonda. Vanavanemate roll oli olla peres "lasteraamatuks" ehk lugude jutustajana kanda edasi suulist pärimust. Tänaseks on kõik muutunud ja selliseid setokeelse vanaema jutuõhtuid on jäänud väga-väga väheseks. Õnneks on kogutud Setomaalt väga palju pärimust ja talletatud meie erinevatesse arhiividesse. Seto keele säilimise huvides tuleks kogu see rikkus tuua tänapäevases vormis seto lastele. Eesti lasteraamatud ei asenda seto lasteraamatuid - seto lasteraamatud ootavad veel oma produtsente.

Lasteraamatute top

Tartu Linnaraamatukogu 2019.aasta enimlaenutatud 15 raamatut koos laenutuste arvuga olid: - 498 Kalevipoeg / lastele ümber jutustanud ENO RAUD - 400 Sööbik ja pisik / THORBJÖRN EGNER - 395 Tobias ja teine B / PIRET RAUD - 381 Meisterdetektiiv Blomkvist / ASTRID LINDGREN - 374 Harry Potter ja tarkade kivi.  / J. K. ROWLING - 361 Vahetuslaps / CHRISTINE NÖSTLINGER - 357 Kunksmoor / AINO PERVIK - 354 Sipsik / ENO RAUD - 339 Pal-tänava poisid / FERENC MOLNaR - 321 Timm Thaler, ehk, müüdud naer : romaan peamiselt noorele lugejale / JAMES KRÜSS - 312 Kuidas elad, Ann? / AIDI VALLIK - 294 Väike prints / ANTOINE DE SAINT-EXUPERY - 291 Arabella, mereröövli tütar / AINO PERVIK - 282 Veel üks Lotte / ERICH KÄSTNER - 280 Kaka ja kevad / ANDRUS KIVIRÄHK Nendest raamatutest on seto keeles kättesaadav ainult Tsillokõnõ Prints. Päris tinglikult võib öelda, et seto laste jaoks on kättesaadav ka oma rahvuseepos ja seda omas emakeeles. Selleks on seto rahvuseepos PEKO. Eepose lihtsam ümberjutustus on leitav Seto Kirävara sarja raamatuna. Osta kohe

Uued lasteraamatud

Jussikõsõ säitse sõpra, Silvi Väljal populaarne lasteraamat on nüüd ilmunud seto keeles. Esmakordselt 1966 aastal ilmavalgust näinud lasteraamat on nüüd suurepärases Piret Tillo tõlkes saadaval seto keeles. Autori enda illustratsioonidega raamat räägib väikesest Jussikesest, kellele üle kõige meeldib pühapäev. Pühapäeva otsides kohtub poiss aga teiste nädalapäevadega, kellelt kõigilt on midagi huvitavat õppida. Raamatut võivad lugeda kõik, kellel trükitähed juba selged. Raamat on I klassi soovitusliku kirjanduse nimekirjas. Autor ja illustratsioonid: Silvi Väljal Tõlge seto keelde: Piret Tillo Väljaandja: Kirjastus Avita koostöös kirjastusega Seto Kiri, 2021 Köide: vihikköide Read the full article

#lasteraamatud #raamatud #setokeelnekirjandus

[estonian-is-horrible]

Tänane WOTD Kirjandus - Nimisõna / Noun kirjandus, kirjanduse, kirjandust; kirjandused, kirjanduste, kirjandusi Lühike Sisseütlev: kirjandusse

Tähendused / Meanings

🔵 kirjutatud ja trükitud sõnaline looming, selle üks liik (nt ilukirjandus); vastavad trükised ja kirjutised

vastav õppeaine

.

⚪ literature, written and printed literary works, one type of literary work (e.g. fiction); corresponding publications and writings

the corresponding subject

Näited / Examples: ● Meditsiinikirjandus. Medical literature. ● Head eesti kirjanduse päeva! Happy Estonian literature day! ● Ta sai autasu poola kirjanduse eesti keelde tõlkimise eest. He received an award for translating Polish literature into Estonian. ● Mati Undi" Tühirand" on kahtlemata eesti kirjanduse pärl. Mati Und's 'An Empty Beach' is undoubtedly a pearl of Estonian literature. ● Ta loeb ainult klassikalist kirjandust ja käib vähemalt korra nädalas teatris. He reads only classical literature and goes to the theatre at least once a week. ● Tunniplaani järgi pidi mul olema kirjanduse tund. According to the timetable, I was supposed to have a literature class.

Hääldus / Pronunciation: https://forvo.com/word/kirjandus/#et

Sõnaveeb: https://sonaveeb.ee/search/unif/dlall/dsall/kirjandus/1

---

These come from the Learning Estonian Discord server, thanks to Leemur, who painstakingly makes these. Used with kind permission.

#word of the day #eesti keel #learning estonian

[messee]

kirjaoskusest

Lugesin Ismatu Gwendolyni esseed "you've been traumatized into hating reading (and it makes you easier to opress", mis nagu pealkirigi ütleb, räägib kirjaoskusest ja lugemisest.

Autor ise on pärit Sierra Leone'ist ning sealse vähese kirjaoskuse tõttu peab oskust ja võimalust lugeda oluliseks. Seal on viimatiste andmete järgi kirjaoskus 49% peal, Eestis on see 100% peal [X]. Siin on kirjaoskus püsinud kõrge juba kaua, seega on keeruline ette kujutada olukorda, kus see oleks madalam.

Kirjaoskust on mitut liiki, igal alal (meedia, digimaailm jm) on oma kirjaoskus. Lisaks on see ka erineval tasemel, ehk lihtne lugemisoskus erineb kriitilisest tekstianalüüsist. Seda teist aga ei mõõdeta. Lähim mõõdik on PISA testi funktsionaalse lugemise osa, kuid seda on keeruline üldistada kogu ühiskonna peale. Siiski on selle tulemused olnud Eesti puhul head [X].

Nüüd asjast ka. Autor seab endale neli põhiteesi, mida püüab tõestada:

valitsev klass saab kasu lugemisoskamatusest;

lühivideod lahutavad meelt, aga ei hari;

lugemine erineb kuulamisest, vaatamisest ja muudest kirjaoskustest, see on oskus, mida tuleb eraldi arendada;

keegi peale meie endi ei tule meid päästma.

Neist esimesed kaks tõestab ta hästi ära, lugemise erinevus muudest kirjaoskustest jääb minu hinnangul kahtlaseks ning viimane tees on niikuinii maailmavaateline.

Autor seletab, et valitsevale klassile on oluline, et töölised oskaksid piisaval tasemel lugeda ja kirjutada. Just nii palju, et töö saaks hästi tehtud, aga ülejäänud on ebavajalik. Ka Eesti koolilt oodatakse, et see toodaks inimesi, kes tööd teevad, mitte inimesi, kes mõelda oskavad [X]. Valitsevale klassile pole oluline, et inimesed oskaksid päriselt lugeda varasemaid filosoofilisi tekste. Mõtted sellest, kuidas maailm töötab ja kuidas seda muuta paremaks meie jaoks on nende jaoks tähtsusetud.

Essee pealkiri annab aimdust, et me ei taha lugeda, sest meil on sellest trauma. Gwendolyn kirjeldab, kuidas paljud saavad koolis lugemisest trauma. Kohustuslik kirjandus ja selle põhjal enesehinnangu kujundamine jätab jälje kogu eluks. Kas sa oled mõelnud, kui kummaline on fakt, et paljud inimesed ütlevad "mulle ei meeldi lugeda"?

Lühivideod on kasutud inimeste harimiseks, on essee järeldus. Peamiselt on praegu levinud TikToki formaat, kuid autor mõtleb ka Youtube'i videoid, mis jätavad mulje, et õppisid midagi uut, kuid tegelikult ununeb see kiiresti. Paljud, mina kaasa arvatud, veedavad videoid vaadates tunde. Gwendolyn küsib õigustatud küsimuse: "Mida sa neist mäletad?"

Probleem lühivideotega on nende pikkus. Lugedes, vaadates dokumentaale, kuulates taskuhäälinguid jms, pead sa keskenduma palju pikemaks ajaks. Kaheminutiline TikToki video läheb ühest kõrvast sisse ja teisest välja. Selle ajaga pole võimalik ka asja süvitsi minna ning kõik käsitlused jäävad pinnapealseteks. Nende tundidega võiks hoopis lugeda.

Lugemine on emotsioonidest lahutatud viis infot saada. Nii peab lugeja ise päriselt mõtlema oma peaga teksti tähenduse üle ja sellest tegema järeldused, millega nõustub ja millega mitte. Kõik muud vormid kasutavad veenmiseks ja tähelepanu hoidmiseks muid tehnikaid: emotsionaalsus, muusika, subway surfersi / seebi lõikamise videod, visuaalid jpm. Autori sõnul jõuad sa lugedes päriselt ise ka mõelda ning uusi seoseid luua.

See on raske, aga lugemine on oskus, mida saab arendada, mitte talent. Küll aga ei ole ma täielikult veendunud, et muud kirjaoskused pole (vähemalt osaliselt) ülekantavad. Olen nõus, et kirjalikes tekstides on palju häid mõtteid, kuid kas see on ka üldiselt parim viis info saamiseks on juba kahtlane. Autor toob välja häid argumente lugemise kasuks, kuid vastandab lugemist ainult lühivideotele. Kas lugemine on parem kui dokumentaalfilmi vaatamine?

Gwendolyn leiab, et lugemine on vastuhakk ühiskondlikule korrale. Valitsev klass ei taha, et keegi püüaks muud moodi mõelda, kui nemad soovivad. Kui sa loed, siis on sul võimalik avada enda jaoks uus võimalus maailma näha ja ehk nii ka seda muuta. Meil Eestis on võimalus kirjaoskuse kaudu maailma muuta. Meie raamatukogud on hästi varustatud ja tasuta. Ka ülikoolide raamatukogud on enamasti avatud kõigile. Seega tasub võtta kinni sellest võimalusest kuniks meil seda on.

#kirjaoskus #eesti keel #estonia #literacy #ismatu gwendolyn

[reposted-yura15cbx]

Норвежский язык, литература на норвежском языке

Norsk språk, litteratur på norsk, norske bøker, norsk litteratur, norske lærebøker, Norge, Norwegian language, literature in Norwegian, Norwegian books, Norwegian literature, Norwegian textbooks, Norway, Норвезька мова, література норвезькою мовою, норвезькі книги, норвезька література, норвезька підручники, Норвегія, норвежские книги, норвежская литература, учебники норвежского, Норвегия

Эстонский язык, литература на эстонском

Eesti keel, eestikeelne kirjandus, eesti raamatud, eesti kirjandus, eesti õpikud, Eesti, Естонська мова, література естонською, Естонські книги, естонська література, підручники естонської, Естонія Estonian language, literature in Estonian, Estonian books, Estonian literature, Estonian textbooks, Estonia Эстонские книги, эстонская литература, учебники эстонского, Эстония

Латышский язык, latviešu valoda

Latvian language, Латвійська мова, Латвийский язык

Old English, Древнеанглийский язык, Ænglisc, Anglisc, Englisc

Давньоанглійська мова, англосаксонский, Anglo-Saxon

Голландский язык, Nederlandse taal en letterkunde in het Nederlands,

Dutch language and literature in Dutch, нидерландский, Голландська мова

Португальский язык, Portuguese

Português, Португальська мова

English Books Graded Readers Collection

Английский язык, книги на английском языке

[kaantevahel]

2023.a kava

Veebruar: ulme Stanislaw Lem "Solaris" Märts: romantika Julia Quinn "Romancing Mr. Bridgerton" Aprill: naljakas Mai: Juuni: pride month LGBT+ kirjandus Juuli: August: September: Oktoober: õuduskirjandus November: Detsember:

Žanrid: krimka, triller, YA, fantaasia, müsteeriumid , romantika, klassika, ajalooline romaan, alternatiivajalugu, memuaarid, õuduskirjandus, muinasjutt, romaan, reisikiri, spiooniromaan, tragöödia, näidend, populaarteadus

#klubikoosolek

[k2rbesv6is]

eelmine aasta

puudus tüdruk kõigist tunnist

tal pohhui oli paarist punnist

eesti keel tal oli neli

mata 3 loodus 3 musa 3

kekas 5 ajaloos 4

poiss nüüd otsis enda hinded

loodus 4 mata 4 musa 3

kirjandus 4 aja 3 ainult rahuldav käitumine

bioloogia 5

tüdrukuga tekkis silmkontakt

matas viied teenis tunnikast

seda enam aru ta ei saa

kuidas tegemata koolis nii palju ka

tuubi luuletus sa pähe

nõustab poisikene vähe

saabunud on Kaarepere

tüdruk ikka kurdab mure

et kui ta puudus bioloogias

siis kuidas tema teada saab

kuhu istuda ta võib

ja kas õigustud on sõim

et õps vist oli täitsa pede

aga selgus palju hiljem

et oli tal naine ja ka laps

käib peastarvutamine nüüd kraps

Berit küsib mis on viis plus neli

nüüd on jälle uudne heli

jagada ei mõista kumbki

kuid pudeli šampunni

jõi tüdruk üksi eile verre

ja kohe ongi Tabivere

[elizabethanism]

“a cycle has ended, unconsumed projects return home, and ‘l’éternel retour’ scratches at your door”

Nora Iuga

#Nora Iuga #Cycle #Project #Home #l’éternel retour #Kirjandus

[p2rituul]

Tule, leegid

Õitsvad lilled

ümber pea,

Olid nõnda

armas, hea

.

Nüüd on leegid

aknaklaasis,

Minu veri

laual vaasis

.

Määrdun’d riided

kausis leos,

Nätsin’d rootsud

sinu peos

.

.

.

Tuleleegid

aknaklaasis,

Sinu veri

laual vaasis

.

Otsin kohta, kuhu seda valada…

[suine-tuul]

mul on head ja vead põhiliselt vead paar head paar halba kes neid jõuab lugeda ma ei viitsi pugeda siin ausalt tunnistan mu iseloom on sitt

#luule #luuletus #eesti #eesti keel #eesti luule #kirjandus #suine tuul #sitt

[kuukuninganna]

#eesti keel #eesti #eesti luule #eestimaa #Estonia #Estonian #poetry #wall art #tartu #luule #luuletus #kirjandus #poeesia #europe #urban #Aesthetic #sügis #autumn #tulepeeker #mine

[fuusikavihikumonoloogid]

Istun kesk lagedaid välju Jälgides, kuis minema ruttad Ei tea, kust tuled, kuhu lähed Nii kiiresti kogu aeg tõttad

Tule siia, istu mu kõrvale Hetkeks sa peatu vaid olen sind oodanud kaua Keset trööstituid tühermaid

Räägime minevikust, olevikust Tulevikku puudutada ei julge Tahaks jäädagi sinuga siia Kuid ei tea, kuis rada kulgeb

Saadan sind natuke maad Kui taas minema pead Nukrameelsus valitseb hinges Mõistan, et tahad vaid head

Ainus lohutus on teadmine Et südames oled sa minuga Kui vahemaa meid lahutab Siis tea, et püsin sinuga

#luule #eesti luule #luuletus #füüsika vihiku monoloogid #poetress #poetry #poets of tumblr #kirjandus #armastus #igatsus #eesti luuletus

[rp2rlisilm]

SURFÁ

#rp2rlisilm #KUHU MA LÄHEN KUI MA UNELEN ? #kirjandus

[magalarajoonideprohvetid]

blackouts [transgressive anthropology]

«Wow! I thought the lights went out!» (sudden exclamation by prof. Carlo Cubero at Debates in Anthropology lecture on the 15th of March 2018)

This moment is embedded in my memory, an ultimate manifestation of honesty, said out loud with no restraints, the peak of the lecture, the peak of the whole course – a sudden darkness. I do not know about you but I have on several occasions felt a sudden blackout, like the blink of an eye and I am not sure – did I just blink, did the lights go out for a micro-second, did my brain shutdown for a second, did I have a stroke, did only I (not) see it? Usually I have had others around me to calm me down, «Yes, we saw it also, I think the electricity flickered for a moment.» Is it you, Niko, sending us inter-dimensional messages through your most known invention, chthonic news through alternative current? If there would not be electricity in our households, would I even be writing about this phenomena, is momentary blackout a ‘thing’ without the light bulb? Or am I writing about something completely different, the blackout our unconsciousness creates when our consciousness is not ready for the incoming message?

writing culture

If there are any dogmas in anthropology, it is the inclusion of fieldwork into the methodological frame - for it to count as anthropology, a researcher needs to step out of academia and come back with outsourced data. Yes, it is extremely valuable that there is something new added to the usual academics circular referencing, agency has been given to the unheard and original voices. But in the same time questions arises - what is and when is anthropology? Is it students reading the theories? Or is it anthropologist on the fieldsite? James Clifford analyzes the cover picture of Writing Culture, where Stephen Tyler is writing during his fieldwork:

«In this image the ethnographer hovers at the edge of the frame—faceless, almost extraterrestrial, a hand that writes. It is not the usual portrait of anthropological fieldwork. We are more accustomed to pictures of Margaret Mead exuberantly playing with children in Manus or questioning villagers in Bali. Participant observation, the classic formula for ethnographic work, leaves little room for texts.» (Clifford, 1)

This picture gives the impression than an anthropologist does everything in the field, he participates, observes and simultaneously writes. In reality the ‘real’ writing happens retrospectively, and that might be one of the biggest problems of anthropology – there is no anthropology of the present, the reproducible anthropology is classically done in the post-fieldwork stage. This is valid for both ethnographic writing and film, as both ‘texts’ are produced afterwards. Doing currently auto-fieldwork, being on ‘ramadan-mode’, I am deeply stressed as I cannot do much writing, my notes are scribbles bearing no great weight, I am too heavily influenced and too stuck in the actual experience to do any reflective writing. Vincent Crapanzano says similar things about Goethe’s experience of the carnival:

«A conventional Ash Wednesday meditation, perhaps, Goethe's conclusion marks are turn to contemplation, introspection, and concern for the meaning of what we do. His “return” parallels a return in the ceremony he describes. During the carnival there is no reflection, just play, masquerading, and, as we say nowadays, acting out. With Ash Wednesday begins a period of penitence, and, we must presume, a return to introspection, order, and individuality.» (Crapanzano, 68)

After the experience thou, the author becomes active and starts to describe the lived experiences; how the description is done, how it is reflected and to whom it is directed, that depends on the author. Crapanzano describes the ethnographic encounters of George Caitlin with the Mandan tribe in North America and their initiation rituals of O-Kee-Pa:

«Here Catlin moves from his (objectifying) metaphorical perspective to that of the tortured; despite this move, his intention is not phenomenological, but rhetorical: He does not describe either the Indian's or his own experience of the torture. The «imps and demons as they appear» (to whom? to Catlin? to the Mandan?) is stylistically equivalent to «there is no hope of escape from it.» They are directed to the reader, and it is the reader's reaction that will guarantee Catlin's perceptions.» (Crapanzano, 57)

So Caitlin’s intention was to captivate the reader, to tell the story in a way that it works specifically on the reader, it is not him nor Native Americans in the story he has written, it is the reader he is trying to drag into the story. In Caitlin’s case, the author is playing around with the reader’s morality and the reader’s possible endeavor toward morality. Crapanzano gives another example, where the author is more inclined to play on the ‘dirty’ thoughts of the reader by using contemporary puns:

«The title of Clifford Geertz’s essay «Deep Play: Notes on a Balinese Cockfight,» written about the time the film Deep Throat was all the rage, announces a series of erotic puns—puns, Geertz maintains, the Balinese themselves would understand—used throughout his essay. Puns are frequent in ethnography. They position the ethnographer between his world of primary orientation, his reader's world, and the world of those others, the people he has studied, whom at some level, I believe, he is also addressing (Crapanzano 1977a). Through the pun he appeals collusively to the members of one or the other world, usually the world of his readership, there by creating a hierarchical relationship between them. He himself, the punster, mediates between these worlds.» (Crapanzano, 68-69)

Crapanzano’s general theme for the article in Writing Culture is anthropologist/ethnographer as god Hermes, someone who is always bringing messages, someone who is a translator between ‘gods’ and ‘humans’, but whose messages might not contain the whole truth, they (singular!) might be lying for the sake of themself, the informants or for the sake of the readers, they needs to make a convincing case (Ibid, 52).

transgressive fiction

If I have to name three books from high school that really influenced me (both literally and literary), then these books were not and most probably will not be in the obligatory reading list. Two of them were loaned to me by friends, they had read them and suggested that I would be interested – Dead Babies by Amis Martin and The Beach by Alex Garland. Both stories travel in closed communities where sex and drug usage is common among the characters, where atrocities happen to them, and in general the environment of the book, its locus is a degenerate one. If one is to make charts, then Dead Babies is in my opinion a few grades more on the transgressive fiction side than The Beach. Now the third book was Check-out by Estonian author Kaur Kender, the first and last book in Estonia that has had «PARENTAL ADVISORY EXPLICIT CONTENT» sticker on it (only for advertisement reasons, there has not yet been such restrictions in the literary scene). The protagonist of this book is a filthy rich business-man, whose main efforts in life revolve around fornication and intoxication, both fueled by boredom and leading to the humiliation of others as he is capable to do whatever he wants with other people, it is self-destruction and liberation, mirroring society back at itself. Having grown up watching movies like Pulp Fiction and Dobermann, where protagonists are the ‘baddest’ on the conventional moral and ethical paradigm but in the same time there is something likable about them, they stand on the right side of life whilst doing bad things, Check-out did come as a shocker because there was nothing good about the main character, he was utterly bad, none of that misunderstood Robin Hood type of ‘badness’. For the first time I had been transgressed by the author, and I transgressed into the character. In retrospective Kender has said (heard it on a public event of the re-release of the Check-out in 2016), that the character was based on the stories he had witnessed and heard of local businessmen, and of his own alcohol and drug addictions (especially the ending of the book, where the protagonist starts using heroin). His book was based on participant observations and autoethnographical method.

Chuck Palahniuk is most known for his novel Fight Club, made famous by movie adaption and Brad Pitts’ six-packs’. I have not read that novel but I have read Haunted by Palahniuk (that one also has a PARENTAL ADVISORY sticker on the cover, Kender’s book was released almost a decade earlier). It tells the story of a group of people who apply for an experimental creative writing course and are then locked up in an abandoned art-house cinema. Every chapter consists of a poem about the main character of that chapter, a story of her/his origin, and a part of the main narrative with her/him as the leading character in it. The first chapter tells the story of a character named Saint Gut-Free, it consists of three different stories about ‘masturbation gone wrong’, onanism that might have killed the onanists. On page 17 of this 400 page modern horror story I have a blackout, the story becomes so disturbing, so real in my head, every word brings me closer to the conclusion of the story, and in my mind I already know where it is leading, Palahniuk has given enough hints, there is no happy ending, and every word brings it closer and my heart is rushing and I feel noxious… I blackout, I skip a paragraph (of course I read it later), I calm myself and continue reading. Palahniuk writes in the afterword a longer explanation how this story came to life, and how the reception has been so far. We tend to hope that the craziest stories are not the ones taken from real life, that these are made up, the fruit of fantasy. Palahniuk ruins the illusion the same way Kender did:

«No, this week, my writer friends just laughed, and I told them how the three-act story of ‘Guts’ was based on three true anecdotes. Two had happened to friends, and the last had happened to a man I’d met while attending sex addict support groups to research my fourth novel. They were three funny, gradually more upsetting true stories about experiments with masturbation gone wrong. Horribly wrong. Nightmarishly wrong.» (Palahniuk, 407)

Without mudding the water, I say out that in my opinion he was performing a participant observation, he, as many other writers, are ethnographers without the academia and without theory. Palahniuk’s emphasis is not on the credibility, it is on style and on affect:

«Reading ‘Guts’ takes a full head of steam. You don’t get many moments to look up from the page. But when I did, the faces in the front row looked a little gray. Beyond that were questions and answers. The book signing. The End.

It wasn’t until I’d signed the last book that a clerk said two people had fainted. Two young men. They’d both dropped to the concrete floor during ‘Guts’ but they were fine now, with no memory of anything between standing, listening, and waking up surrounded by people’s feet.» (Ibid, 408)

I could have been one of these two fainters, or at least fluctuating between consciousness and blackout. The main question for me is in the affect of the text, how something that is usually considered ‘unreal’ can make us feel physically sick?

transgressive ethnography

In a way, ethnographers have always written transgressive texts, most of the texts describe social norms and activities very different from the one of the audience of these texts. One of the dogmas for transgressive fiction is that the protagonist emerges through the violations of norms as a free(er) individual. One way of describing anthropologist is that they are like translators, who translate different cultures to an understandable format (as a colonialist discipline it used to be for the Europeans but things should have changed?). Another way of describing anthropologists is not so much as an interpreter but an inventor, s/he invents a culture, dogmatizes its principles into an ethnographic ‘holy book’, how this culture should be, has been, and will be, not understanding that it is not how it used to be, that is not how every single person inside that environment and/or space relates to that culture, and people do not have to spend their lives fulfilling the dogmas set in the ethnographer’s ‘holy scripture’ (most probably half a year later there will be a missionary there and everyone is wearing pants and singing songs of our Saviour Jesus). Vincent Crapanzano unites these two description into one:

«Like translation, ethnography is also a somewhat provisional way of coming to terms with the foreignness of languages – of cultures and societies. The ethnographer does not, however, translate texts the way translator does. He must first produce them.» (Crapanzano, 51)

Lets take for instance the infamous case of Margaret Mead and the Samoans. As we know by now, Margaret Mead went to do fieldwork with Samoan, came back and wrote an awesome ethnography on how Samoan teenage girls are sexually liberated. Derek Freeman waits a few years after Margaret Mead’s death, publishes a book on how she was wrong and that Samoans have actually very strict rules for sexual conduct. Now, there are several interpretations for this controversy, and explanations, some of them, like Paul Shankman’s The History of Samoan Sexual Conduct and the Mead-Freeman Controversy gives more ambivalent interpretation to the sexual norms and behaviors in Samoa (Shankman 1996). It could be possible that both Mead and Freeman just saw different sides of the same society, if there only would not be this moment when one of Mead’s informants tells a retrospective view of the incident:

«Yes she asked us what we did after dark. We girls would pinch each other and tell her that we were out with the boys. We were only joking but she took it seriously. As you know Samoan girls are terrific liars and love making fun of people but Margaret thought it was all true.» (Heimans 1988, 3:36)

So what did she do – ‘translate’ the culture in the wrong way, had wrong data, or maybe she was in a way creating something the readers wanted to hear? Looking at both Mead and Palahniuk I must come to the following conclusions: Samoans lied and we were happy, Palahniuk presumably told the truth and it is disgusting. We as readers, we like to read about ‘sexually liberated’ women, and Samoan girls played that role in Mead’s ethnography really well. In a way, Mead’s ethnography tells more about her own society and herself than about the Samoans, she was giving liberation to the Western world and to herself.

In a discussion about transgressive fiction, we cannot continue without talking about Untitled 12, a modern horror story by Kaur Kender, where the first person protagonist is a pedophile (and sadistic sexual pervert in general). I read the whole story on Nihilist.fm on the night it came out and it was a devastating experience, I skipped parts of it as I was not capable to read even the obviously exaggerated and absurd descriptions of sexual violence, I felt hollowed after that experience, and that was something he wished to accomplish (Kender 2015). What happened was that someone reported to the police, that it might be child pornography (Estonian laws include a very wide range of material from pictures and videos to written text as it might depict underage children in pornographic situations), and police went after it. It was taken to court and got media coverage even outside of Estonia (as it is not usual any longer in Western societies that known writers have been taken to court for these specific charges) (ERR 2017). In the end he was declared innocent by two levels of court, and has since then left Estonia with a promise to never write in Estonian again. But what was very interesting with this case was the possibilities for alternative situations and how would they have been perceived. For instance, if it would have been someone’s personal experiences, someone who had been raped as a child and if that someone writes about this experience with graphic details, could that be also considered child pornography? Or if someone describes their sexual experience as a minor (depending on the explanation of the Penal Code it could be either under 14 or 18 years old), could that be considered child pornography? As a reader, was I consuming unknowingly child pornography if Kender would have been found quilty? These may sound as hypothetical questions, but if one is active in literary world (both as producer and consumer) then these questions become rather substantial.

Untitled 12 is made up, it is fictional, and from this fictional world it became very realistic, I was in court during a few of the open hearings and those benches, the jury and the prosecutor, they were all very real. But how is this all connected to anthropology? In some cases anthropologist are not the good guys, friendly scientist, who participate with respect and observe with sincerity. For instance José Padilha’s documentary Secrets of the Tribe deals with several controversial incidents what different anthropologist researching Yanomami tribe had caused. One of these anthropologist was Jacques Lizot, who according to his victims had raped and sexually abused several young Yanomami boys (Padilha, 42:44-55:08). This was known by other anthropologist and researchers, but it was overlooked for many years and until today there has been no court cases nor other serious consequences for his real transgressions. He transgressed in real life, not in a fictional world, his victims are real human beings and not made up characters. His contribution to anthropology? Yanomami dictionary, with specific terms for sexual activities like masturbation etc.

Lizot case is a real pedophilia case, this kind of behavior is not accepted in the current Western society nor in Yanomami society, it is a taboo. Gilbert Herdt’s case is a little bit different, but the similarities reside in the transgression, in his case it is the witnessing and writing part what matters. Herdt has done fieldwork with the ‘Sambia’ tribe (pseudoneum he created for the tribe) in Papua New Guinea and has published several articles on them and a collection of these articles Sambia Sexual Culture: Essays From the Field (Herdt, 1999). The Sambia tribe used to have a rather controversial initiation rituals for young boys (current situation with these rituals is unknown for me) – they were taken from their mothers at age 9, put through painful purification ritual of bloodletting from the nose, and then forced to perform oral sex on older boys. Later on they become the boys who receive oral sex, and after that they become adult man who will marry a woman and presumably only participate in heterosexual activity. Reasoning behind the ritual is that the bloodletting will purify them from the attachment to their mother (and women in general), and that men are born without semen and to have semen one has to digest semen. Herdt seems to view these rituals from a less negative stance, as a form of bisexuality and gives agency to free sexual desires. James Giles, who has written a review of Herdt’s book, is less enthusiastic about it and clearly questions the rituals as in his opinion they are not connected to desire at all:

«… sexual behavior can be engaged in for numerous reasons, many of which have nothing to do with sexual desire (Giles, 2004). This fact is especially important to be aware of when one is studying the sexual desires of people from a sexually nonpermissive and prescriptive culture like that of the Sambia.» (Giles, 2004, 414)

Now my point is neither condemning of Sambian rituals nor Herdt’s presentation and analyze of them, my point lies much more in the product, in the ethnography. If an anthropologist writes on a similar topic, something that is in generally considered a taboo topic, that s/he describes with graphic details, then there is a chance, at least in Estonia, that someone might complain to the police, as was the case with Kender’s book. Police will then forward it to the “Porn-committee”, expert committee in Ministry of Culture, who will then decide if it is pornographic or not. We might say “But this is science and it is protected by the constitution”, but this was also the case with Kender – both are protected by the constitution:

«§ 38. Science and art and their teachings are free. Universities and research institutions are autonomous within the limits prescribed by the law.» (The Constitution of the Republic of Estonia)

What is problematic, is the Penal Code, definition of child pornography is rather broad and thus it can include different forms of it:

Ǥ 178. Manufacture of works involving child pornography or making child pornography available

(1) Manufacture, acquisition or storing, handing over, displaying or making available to another person in any other manner of pictures, writings or other works or reproductions of works depicting a person of less than eighteen years of age in a pornographic situation, or a person of less than fourteen years of age in a pornographic or erotic situation, is punishable by a pecuniary punishment or up to three years’ imprisonment.» (Penal Code)

I have been so far talking only in the context of written text, most probably the situation becomes more difficult if the text includes pictures, Allah forbid if it is not text but a film. In case it includes pictures, or if it is a film, then we have a serious ethical and moral problem, and that is not even connected to the child pornography laws. It is a question for us anthropologist, can we and should we show visual data to others, are we abusing the right for privacy, are we exploiting our informants? A great friend of mine had a self-made zine which he called National Pornographic, he had taken old National Geographic editions, cut out all pictures of naked ‘indigenous’ people and glued them together with added sensual texts. He did it purposely to show how Western society has sexualized the ‘natives’, how their breasts and nipples can be shown without censoring, as if the same rules do not apply to ‘them’ as do to ‘us’. National Geographic is a safe haven for monsters like Lizot.

[non]clusion

There are occasions when anthropologists truly transgress. And there are occasions when anthropologists write truly transgressive ethnographies. Unfortunately it usually happens after they themselves have been transgressed. Such is the case when reading Eva Moreno’s chapter Rape in the field in collection Taboo: Sex, Identity, and Erotic Subjectivity in Anthropological Fieldwork (Moreno 1995). First, and basically the foremost, she builds the story (ibid. 219-232), like the rapist built the assault on her, she builds it the same way as Palahniuk built his story, the reader is obviously hinted from the title that there will be rape but she is calmly leading the reader toward the rape, adding with the suspension until one fatal page she hits us with it. And I do blackout again, skipping paragraphs ashamed as I have a privilege to do it, she did not have a chance to skip it. The reflection part of the chapter (Ibid, 236-248) adds other layers, it elongates the rape but in a weird way calms the reader as you will see the surviving after the rape. I do not know her feelings about the chapter and writing it, but it does feel as if she has done something that is more on the positive side than on the negative one, that this text has been written with traumatic emancipation.

What seems to be essential in this inner discussion is the role of the author. These texts (both literary and audiovisual ones) would not exist without the author, people and culture and practices and incidents would abide in their own realm as they are, but these texts need the author. And as much as these texts need the author, so does the author need the texts, it is a validation of their experience. Having just finished Michael Muhammad Knight’s Osama Van Halen, sequel for his debut novel Taqwacores, I feel compelled to do something with the author. Knight’s take on the author was that he included himself as character into a fictional story, as Michael Muhammad Knight and as ‘the author’, he tossed himself around in the novel until he is beheaded by one of the main characters, by ‘burqa wearing riot grrrl’ Rabeya (Knight 2009, 207). Is the symbolical beheading of the discipline, the removal of the ‘mind’ and revival of the body, is that something that I am after as an author? Sometimes we need to blackout to flashin.

«Sun set a few hours ago, and moon is not around. Sky is striped with clouds, stratocumulus and stratus clouds, altocumulus and altostratus clouds, they are all there. Midnight prayer was already 2 hours ago and I look on horizon as the rays of dawn shine there. Smoke diffuses and the bud drops in the ashtray, I recede to lay on my bed and to watch the first season of Narcos. As the violence on screen escalates, I have doubts in my sanity, I think I am hallucinating as I continuously see flashes of lightning outside of my window. Delusions were happening already on the first week of Ramadan, I saw glimpses of movement, small swirls of energy in midair, flashes of something from the corner of my eye. Today there is lightning I see from the corner of my eye, moments of flash/ins instead of black/outs. It’s not raining and the clouds are not dark, air doesn’t feel as it has been electrified to that extent. Kristi is sleeping and I can’t get verification from anyone. After the first flash I think maybe it was some kind of trick my mind played on me, after second one I think maybe it was a reflection from TV, after the third one I assume it was an ambulance car light (I live next to a hospital). After the fourth and final flash I am afraid to look out from the window, instead I drink my last glass of water and pray dawn prayer. 17th day of Ramadan has a weird start. As I fall to sleep, I hear the rain arriving, it sooths my fears of going insane. I saw the lightning and heard the rain, but I didn’t hear the thunder nor see the drops.» (Fieldwork notes; 17th of Ramadan, 1439 / 2nd of June, 2018)

References

Clifford, James. 1986. Introduction: Partial Truths. In James Clifford & George E. Marcus (Eds.), Writing Culture: The Poetics and Politics of Ethnography ( 1 – 27 ). Berkeley, California and London, England: University of California Press.

The Constitution of the Republic of Estonia.

Retrieved June 5, 2018 from

https://www.riigiteataja.ee/en/eli/530102013003/consolide

Crapanzano, Vincent. 1986. Hermes’ Dilemma: The Masking of Subversion in Ethnographic Description. In James Clifford & George E. Marcus (Eds.), Writing Culture: The Poetics and Politics of Ethnography (pages of chapter). Berkeley, Los Angeles, London: University of California Press.

ERR. 2016. Finnish PEN club: Kender’s ‘U12’ is a ‘grotesque thriller’, not child porn. Eesti Rahvusringhääling (ERR). Retrieved June 5, 2018 from https://news.err.ee/118569/finnish-pen-club-kender-s-u12-is-a-grotesque-thriller-not-child-porn

Garland, Alex. 1999. Rand [The Beach] (Turu, Rein, Trans.). Tallinn, Estonia: Varrak.

Giles, James. 2004. Book Reviews: Sambia Sexual Culture: Essays From the Field. Archives of Sexual Behavior, 33(4), 413–417.

Heimans, Frank (Director). 1988. Margaret Mead and Samoa [Documentary]. Cremorne, New South Wales: Cinetel Productions. Retrieved June 5, 2018 from https://www.youtube.com/watch?v=S8puR-AaSrg

Herdt, Gilbert. 1999. Sambia Sexual Culture: Essays From the Field. Illinois: University of Chicago Press.

Kender, Kaur. 2001. Check out. Tallinn, Estonia: Pegasus.

Kender, Kaur. 2015, January 14. Mõned sõnad Untitled 12 kohta [Few words about Untitled 12] [Web log post]. Retrieved June 5, 2018 from http://nihilist.fm/moned-sonad-untitled-12-kohta/

Kender, Kaur. 2014. Untitled 12. Nihilist.Fm : ZA/UM

Knight, Michael Muhammad. 2009. Osama Van Halen. Brooklyn, New York: Soft Skull Press

Martin, Amis. 2000. Surnud lapsed [Dead Babies] (Metsaots, Kati, Trans.). Tallinn, Estonia: Olion.

Moreno, Eva. 1995. Rape in the field. In Don Kulick & Margaret Willson (Eds.), Taboo: Sex, identity, and erotic subjectivity in anthropological fieldwork. London, England: Routledge.

Padilha, José (Director). 2010. Secrets of the Tribe [Documentary]. Brazil: Avenue B Productions Zazen Produções. Retrieved June 5, 2018 from https://www.youtube.com/watch?v=zd7SXbsn0hU

Palahniuk, Chuck. 2006. Haunted. London, England: Vintage Books.

Penal Code of the Republic of Estonia. Retrieved June 5, 2018 from https://www.riigiteataja.ee/en/eli/522012015002/consolide

Shankman, Paul. 1996. The History of Samoan Sexual Conduct and the Mead-Freeman Controversy. American Anthropologist, 98(3), 555-567.

#anthropology #transgressive #transgression #autoethnography #literature #eesti kirjandus #kirjandus #ethnography

[v2ikekunstnik-blog]

“Sinust. . . “

Su juuksed on nagu elektritraadid,

põimiksin neist palmikuid, 

aga iga kord kui neid puudutan saan vastu näppe. 

Proovin sinuni jõuda erinevaid teid pidi, 

kuid pidevalt lõikad mu katsed kääridega puruks. 

Oled nagu majakas, seisad sirgelt tormituulte embuses

ja proovid eksinud hingi koju aidata, sageli unustades enda. 

Vahel sulgud endasse, poed teki alla kuudeks,

vaatad läbi kõik võimalikud seriaalid ja filmid. 

Sel perioodil tahad olla üksi nagu omapäine kass. 

Sul on alati õigus, isegi siis kui ei ole. 

Oled lahenduste entsüklopeedia, sul on kõikidele probleemidele alati vastus olemas. 

Mured kaovad kui küpsetad oma väikeses köögis pannkooke ja teed nurmenukuteed. 

Sa oled kodu, turvaline paik, mille avastasin juba lasteaias. 

Sellest ajast saati olen maganud sinu meresinistes silmades, pea hobuse mustriga padjal ning ümber erkpunane pleedtekk. 

Kuid mida rohkem kell edasi käib, seda enam tunnen, kuidas lahti lased minust, 

kuidas järjest enam ärritud pisikeste asjade peale. 

Tahad kaugeneda tulevikku ning kanda kontorihoonete pintsakuid. 

Mina, väike, väsinud kätega kunstnik, aga sinna maailma ei mahu.

#luule #luuletus #eesti #eesti luule #kirjandus #väikekunstnik