Untitled

More documents

Recommendations

Info

148 LITERATÛRZINÂTNE, FOLKLORISTIKA, MÂKSLA starp cilvçkiem un lîdzekïiem, kurus tie izmanto, pierâdot, ka ir personîbas, kas tiek iekïautas cilvçciskâs saziòas procesâ. Analîzç izmantoti galvenokârt vçstîjuma prozas teksti, kas pârstâv daþâdu kultûru uzskatus un dzîves formas. Vai ðâdu tekstu dialogs spçj atspoguïot un panâkt izmaiòas cilvçku praktiskajâ dzîvç to dzimtenes teritorijâs, kur valda atðíirîgi, kaut arî visai tuvi priekðstati par daþâdiem kultûras aspektiem? Kâ atðíirîgie dzimumi var izpaust savas specifiskâs îpaðîbas savas valsts reâlajâ dzîvç un ârpus tâs? Pçtîjumâ galvenâ uzmanîba pievçrsta postkomunistiskâs çras pârmaiòâm un multikulturâlajai integrâcijai. Vai bez tekstu dialoga eksistç vçl kâdi spçcîgi lîdzekïi pârmaiòu panâkðanai?!
LATVIJAS UNIVERSITÂTES RAKSTI. 2004. 666. sçj.: LITERATÛRZINÂTNE, FOLKLORISTIKA, MÂKSLA, 149.–157. lpp. Americanization of Estonia: social mechanisms and literary manifestations Igaunijas amerikanizâcija: sociâlais mehânisms un literârie manifesti Krista Vogelberg (Estonia) Department of English, University of Tartu 18 Ülikooli St., Tartu 50090, Estonia e–mail: vkrista@ut.ee The article argues for an analysis of processes of cultural Americanization on the basis of a broad sociological notion of culture, i.e. culture as a “way of life”, via a dialectic of deep– seated processes of value change and the reception of cultural icons as mediated through these processes. An attempt to articulate socio–economic mechanisms operant in recent Americanization of the dominant Estonian value system is checked against tracing the resultant new ethos in the work of the Estonian best–selling author Kaur Kender. Keywords: Americanization, Estonia, culture. The discourse of cultural Americanization, be it couched in negative terms (as “a discourse of rejection to point to the variety of processes through which America exerts its dismal influence on European cultures” 1 ) or in positive ones (American culture as a “zone of liberation or democracy”, America as “a locus for pleasure”, America as utopia or “a fantasy zone” 2 ), tends to deal with culture in the relatively narrow sense of the term, as one area of human activity alongside others such as economy, politics, etc., all of them closely interrelated, of course, yet in the final analysis separate. Hence the focus on dichotomies such as popular culture/high culture with the attending laments of American popular culture “invading” European high culture and undermining its authority or, on the positive side, the exultation over Whitman’s “word democratic, word en masse” challenging the cozy high cultural consensus of Europe3 . Within the bounds of this approach to cultural influence, cultural iconography, symbols, objects, artifacts, operate on their own – via the media, advertising and other channels – and can be either passively absorbed by the recipients, contested and resisted, or, to take the middle ground, freely “taken out of their historical and cultural contexts and juxtaposed with other signs from other sources” 4 . What seems to be lacking, however, is an explanation for the predilection of representatives of recipient cultures in particular contexts of one or another of the wide range of possible responses. It is the present author’s conviction that reception of culture in the narrower sense is predicated on culture understood far more broadly – one might say, sociologically or anthropologically – as “behavior patterns associated with particular groups of people, that is, /…/ ‘customs’ or /…/ a people’s ‘way of life’” 5 . This broad unified concept of culture, originally borrowed from anthropologists, in particular Margaret Mead and Ruth Benedict, a concept that encompasses not only works of art – be it high or popular – but also institutions, behavior, values, and mentalities, has indeed
Page 4 and 5:
UDK 82.0:821+398+7(082) Li 848 Galv
Page 6 and 7:
6 LITERATÛRZINÂTNE, FOLKLORISTIKA
Page 8 and 9:
8 LITERATÛRZINÂTNE, FOLKLORISTIKA
Page 10 and 11:
10 LITERATÛRZINÂTNE, FOLKLORISTIK
Page 12 and 13:
Page 14 and 15:
Page 16 and 17:
Page 18 and 19:
Page 20 and 21:
Page 22 and 23:
Page 24 and 25:
LATVIJAS UNIVERSITÂTES RAKSTI. 200
Page 26 and 27:
Page 28 and 29:
Page 30 and 31:
Page 32 and 33:
Page 34 and 35:
Page 36 and 37:
Page 38 and 39:
Page 40 and 41:
Page 42 and 43:
Page 44 and 45:
Page 46 and 47:
Page 48 and 49:
Page 50 and 51:
Page 52 and 53:
Page 54 and 55:
Page 56 and 57:
Page 58 and 59:
Page 60 and 61:
Page 62 and 63:
Page 64 and 65:
Page 66 and 67:
Page 68 and 69:
Page 70 and 71:
Page 72 and 73:
Page 74 and 75:
Page 76 and 77:
Page 78 and 79:
Page 80 and 81:
Page 82 and 83:
Page 84 and 85:
Page 86 and 87:
Page 88 and 89:
Page 90 and 91:
Page 92 and 93:
Page 94 and 95:
Page 96 and 97:
Page 98 and 99: LATVIJAS UNIVERSITÂTES RAKSTI. 200
Page 100 and 101: 100 LITERATÛRZINÂTNE, FOLKLORISTI
Page 198 and 199:
198 LITERATÛRZINÂTNE, FOLKLORISTI
Page 200 and 201:
Page 202 and 203:
Page 204 and 205:
Page 206 and 207:
Page 208 and 209:
Page 210 and 211:
Page 212 and 213:
Page 214 and 215:
Page 216 and 217:
Page 218 and 219:
Page 220 and 221:
Page 222 and 223:
Page 224 and 225:
Page 226 and 227:
Page 228 and 229:
Page 230 and 231:
Page 232 and 233:
Page 234 and 235:
Page 236 and 237:
Page 238 and 239:
Page 240 and 241:
Page 242 and 243:
Page 244 and 245:
Page 246 and 247:
Page 248 and 249:
Page 250 and 251:
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
Page 264 and 265:
Page 266 and 267:
Page 268 and 269:
Page 270 and 271:
Page 272 and 273:
Page 274 and 275:
Page 276 and 277:
Page 278:
LU Akadçmiskais apgâds Baznîcas
show all

Untitled

Create successful ePaper yourself

Delete template?

Save as template?