bluuebunny/crossref_metadata_2025 huggingface dataset:
Ülevaade Soome palkehituse ajaloost
Authors: Jokelainen Janne
Published: April 2022

This article takes a look at the history of Finnish log construction and log architecture. Logs have been used as a building material in Finland for as long as the country has been inhabited. The modern corner-notching technique arrived in Finland in the late Iron Age (600−800 AD) from the east, leading to a building type that survived until the 20th century.During the era of church builders (1620−1810), log construction achieved its highest form: the churches built during this period represent Finnish log architecture of the highest quality. Church builders had an excellent command of log construction techniques and knew logs as a building material extremely well, which allowed them to use the forms of the buildings and the decorative elements for the architectonic expression characteristic of logs.Church architecture adapted to other Western style trends in the 19th century. Although outstanding churches were still being built at the time, their technical developments did not lead to further developments in log construction techniques.The architecture of the Finnish artists’ (Akseli Gallen-Kallela et al) villas built in the late 19th century relied on the expressive power of logs, corner joints and handicraft. The walls were stylistically rough-hewn and there was no weatherboarding. The corner notches played a central architectural role and decorative elements were borrowed from Finnish log construction heritage. Artists’ villas have a unique position in Finnish architecture: for the first time, logs consciously emerged as a main architectural element. Contemporary industrial log construction began to develop in the 1950s. Product quality has improved considerably since then as a result of development work, and the prefabricated log has become a generally accepted building material. However, these logs no longer have the essence of a natural material and they have therefore lost their power of expression. The emphasis of industrial log construction and architecture is predominantly on manufacturing as economically as possible using existing production technology. In the 2000s industrial log construction finally started losing its romantic and historical burden and finding its own architectural expression.Contemporary hand-crafted log construction can be regarded as a continuation of the vernacular log construction tradition. Training in hand-crafted log construction has been organised since the late 1970s. The level of training has been highly uneven and the lack of a connection between such training and construction education has been one of its problems. The future of log construction is associated with product quality and energy efficiency. Development work and opening up new cooperation channels is important for the future of log construction as a craft.
Rakendusantropoloogia perspektiividest - ülevaade Euroopa sotsiaalantropoloogide konverentsist / Perspectives of applied anthropology an overview of the European Social Anthropologists' Conference
Authors: Uibu Marko
Published: April 2022

University of Tartu doctoral candidate Marko Uibu provides an overview of topic and development problems in modern applied anthropology on the basis of a conference of European social anthropologists held in Tallinn in summer 2014. The goal for applied anthropologists is to find solutions to specific problems by getting to know a phenomenon or group through comprehensive field work. Anthropologists can use their skills in very different fields, such as product development, seeking solutions to social problems or documenting fading traditions and helping them endure. The Tallinn conference mainly presented research aimed at resolving and/or raising awareness of social problems. The meeting of European applied anthropologists noted that the discipline was not sufficiently visible in Europe and that it did not receive enough support from universities; anthropologists themselves are cautious about taking applied approaches. Developing a more applied direction would be a reasonable course, however. This would open up new avenues for researchers and allow solutions to be offered for specific questions and social problems.

Keywords: applied anthropology, Anthropology in Europe, EASA biennial conference in Tallinn
Visuaalne dokument sõnas ja pildis / Visual Documentation in Words and Images
Authors: Annus Imre
Published: April 2022

Today’s ethnographers have high-tech recording gear for documenting the skills passed from one generation to the next. With the help of skilful production, the visual recording can be an invaluable source for research conducted decades later. Documentalists seeking to achieve scientifically valuable results must master the recording technology as well as the topic being covered. They must be a journalist who can manage sources skilfully, a competent ethnographer, an artistically inclined cinematographer and a lighting specialist.Imre Annus provides insight into how the documentation of native techniques should start and which problems should be focused on, based on several decades of his experience as a director, cinematographer and editor.
Tohtpits pole tohust pits / Birch Bark Lace is not Lace Made of Birch Bark
Authors: Jõgi Jane
Published: April 2022

Birch bark lace is Estonian needle lace. Structurally it resembles needle lace as it is known elsewhere in Europe. It uses the same stitches and there are similarities in the material used in the embroidery. However, the technology employed is unique in certain remarkable respects – it has adapted to local needs and possibilities. Whereas traditionally contour thread was tightened onto a strong textile, or in earlier times also onto parchment, in Estonia a strip of birch bark was used as a base material instead. Birch bark has many advantages as a base material: it was always available on farms and cost nothing; also, it was easy to process into a suitable size. While European lace makers were forced to cover a light-coloured base material with a dark textile or paper, the lower surface of the birch bark used for making lace was naturally darker and as such provided a suitable background for the white thread. Birch bark also gave this type of lace its name – birch bark lace.Birch bark lace is characterised by a simple geometric pattern. The joining of various motifs is not used in the birch bark lace technique. To the best of our knowledge, birch bark lace was embroidered in one piece between contour threads. Of the various lace stitches, birch bark lace uses the buttonhole stitch and twisted buttonhole stitch. The pattern is formed from the holes left between tight buttonhole stitches. Birch bark lace net differs from other birch bark laces for its net-like material of paired buttonhole stitches that could be decorated with running stitch embroidery. Ornaments are characterised by geometrical motifs that can be stitched with either white or red thread.The birch bark lace technique is not particularly well known in Estonia. No distinctive surveys have been published, but birch bark lace has been comparatively discussed alongside other lace techniques used in Estonia or introduced with a brief overview in descriptions of how to make national costumes. Hence, neither the region where it was once used nor its uses are known. The problem is that Estonian language literature has never given accounts of systematic instructions on how to use the technique. Therefore, there are few experts who are familiar with the techniques of making birch bark lace and who can distinguish objects in this technique from other museum textiles. Birch bark lace may, depending on the stitches used, be visually similar to crochet lace or filet lace. For this reason, it is possible that our museums hold more objects decorated with birch bark lace than we are currently aware. This article provides an overview of the objects decorated with birch bark lace identified in the collections of the Estonian National Museum and describes three birch bark lace techniques.
Bellows-type tobacco pouches from the perspective of native crafts
Authors: Hellat Triin
Published: April 2022

Among the collections of ethnographic artefacts in Estonian museums, there can be found several tobacco pouches, made from textile as well as leather. While tobacco pouches can vary greatly depending on the cutting method, sewing technique, and decoration, it is the technique and design of the bellowstype pouches which make them the most fascinating kind. These pouches gain their name from the inset that has been folded together like a pair of bellows; this inset allows one to open the pouch more conveniently when stuffing the pipe. Such pouches typically consist of three pieces. The front and back sides (‘cheeks’) are usually fastened together, and the pieces with a curved shape (whether of the same leather or of a different kind) are sewn on to the two sides between the cheeks, and folded to make a bellows. It is running or overcast stitch using linen thread that have chiefly been used. Machine-sewn pouches also exist. Leather patches, which are round, or which may resemble a rhombus or a heart, etc. in shape, are referred to as ‘ears’ when attached to the front and back of the pouch. They may be of the same leather as the cheeks or can be extras sewn onto the sides. Among the decorations that have been used we can find debossed ornamentation, copper rings, appliqué, and cut-out. The combination of the main material with seal fur and with fabrics or leather of a contrasting colour has also been used. Pouches that are lavish and require a technically more elaborate method of preparation are often embellished with bead embroidery. A floral ornament similar to that which appears on the beaded belts fashionable in the same period was usually used. Tobacco pouches were made at home for personal use, or could be ordered from craftsmen, and could be purchased at fairs and from pedlars. In addition to the collections explored in this article, leather tobacco pouches can be found in several museums across Estonia, and these pouches too warrant closer examination in the future.Keywords: ethnographic leather bags, tobacco pouch, bellows-type tobacco pouch, purse, leather, bead embroidery
Hemp-lime – contemporary usage of traditional materials
Authors: Pau Markus
Published: April 2022

Hemp-lime is a comparatively unknown building material in Estonia. Scientific interest in this material is increasing remarkably quickly around the world, yet the practical competence regarding its usage is lacking in Estonia as far as the construction industry is concerned.

Hemp occupies an important place amongst crops that have traditionally been cultivated in Estonia, but its use has not been typically associated with the construction industry. Owing to its strong fibre, hemp has primarily been seen as raw material for the production of textile products, particularly rope, and the inner core of the plant or ‘hemp hurd’, has been cast aside as a by-product. Since the porosity of hemp hurds results in a relatively low thermal conductivity, hemp-lime, the composite material made by mixing hemp with lime, is suitablefor insulating pre-existing building envelopes as well as for installing insulation for new buildings during construction. Lime creates an alkaline environment around the hemp hurds, making it difficult for fungi and pest insects to thrive. Compared to other natural insulation materials, hemp-lime therefore has a rather good balance between durability and cost-effectiveness.

The essential feature of hemp-lime relevant to construction engineering is that the material is monolithic – any occurrences of sparsity and the resultant risk of thermal bridging in building envelopes is kept to a minimum, since the hemp-lime filling that surrounds the load-bearing structure forms a solid external surface, when properly installed. Owing to its high level of air-tightness, external structures made from hemp-lime can reduce the risk both of excessive cooling and of overheating. In addition to creating a comfortable indoor climate for residents, mitigating any sharp fluctuations also protects the wooden construction elements surrounded by the hemp-lime, which thus also reduces the risk of moisture and frost damage.

Reducing the annual energy consumption of buildings and ensuring healthy indoor air quality pose significant challenges to the construction industry, since according to the current building code, the energy performance indicator of the buildings being put up from 1st January, 2021, should not exceed the limit established for nearly zero-energy buildings. In short, this calls for a more efficient use of resources, including the production, transport, installation, and recycling of materials. Compared to the majority of contemporary building materials, hemp-lime is relatively eco-friendly, and its energy content is low.

Keywords: industrial hemp, lime, clay, hemp-lime
On the philosophy of work and tools
Authors: Sisa Kristjan
Published: April 2022

This article presents the Estonian translation of the book Hammer and Silence. A Short Introduction to the Philosophy of Tools by the Finnish artist andresearcher Jyrki Siukonen.

The topics covered in the book range from observing a tool as such to existential questions about human activity. It is a good guide for anyone with manual dexterity, and of great assistance to the rest who wish to understand them.

The book resembles a literary version of a meticulously detailed sculpture. Jyrki Siukonen presents the sculptor’s viewpoint. The author seems to havesympathy for a person like him: a bricoleur, a DIY enthusiast, a person who works with their hands and who, unlike most craftsmen, never takes the easy way out. The discussion of the relationship between tools and human beings is very enlightening: when do tools serve humans and when are humans at the service of tools? The book also examines the prospect of humanity’s manual and mental development. This discussion culminates in the following question: “What happens if people are offered the possibility of renouncing the selffulfilment they find in doing things with their hands?“ In other words, once the Industrial Revolution has reached its peak – what then?

This essayistic text has been structured into coherent paragraphs. The more the ideas of the book are thrown around, the more well-grounded the book itself is. The focal points of the discussion include visionaries such as Eva Hesse, Constantin Brâncuşi, Auguste Rodin, Antti Hyry, and Ludwig Wittgenstein. The translation into Estonian has been made with pinpoint accuracy. The translator, Jaan Pärnamäe, conveys the details of the source text with great finesse.

Siukonen argues that learning is not only a process of developing innate abilities by imitation. It is something more, something that seeps into a person through birth, space, time, and place; in some instances, this is successful. The author describes the indescribable in the context of human activity and creativity. He examines his topic from several viewpoints until his understanding assumes a clear shape in the readers’ minds.

The text is easier to understand if the reader has had contact with handicraft and creative work beforehand. The book provides a mental reference point for creative minds who express themselves by doing things with their hands now, in the twenty first century.
Thoughts about a book on the folk costumes of Mulgimaa
Authors: Värv Ellen
Published: April 2022

Tiina Jürgen’s substantial volume The Folk Costumes of Mulgimaa was published in the autumn of 2015, in collaboration with the Estonian Native Crafts Department at the University of Tartu Viljandi Culture Academy and Viljandi Museum.

The numerous books about folk costumes that have been published in the last decade have had different emphases, ranging from parish-level overviews to discussions on the component parts of the costumes (footwear, skirts, etc.).

Collecting information relating to the folk costumes of Mulgimaa – artefacts, photographs, descriptions preserved in the archives – has taken a tremendous amount of work. People fascinated by folk costumes have been rewarded with a delightful book and the extensive collections of the Viljandi Museum have reached the craftsmen. The detailed views of the artefacts, pattern schemes, and illustrations showing the cuts of the clothes are invaluable in helping those who wish to make a national costume for themselves.

The book begins with a brief overview of the history of Mulgimaa by Ain-Andris Vislapuu, followed by a short description of the folk costumes of Mulgimaa by Tiina Jürgen. The bulk of the book has been divided into four large chapters, thus adhering to the principle of parochial division: Halliste, Karksi, Helme, Paistu, and Tarvastu. The discussion on each parish begins with a characterisation of the region and presentation of the distinctive features of local clothing, and is followed by the descriptions of the component parts of the costumes by first concentrating on women’s and then on men’s clothing. Since the information has been scattered across different parishes, seeing the big picture is very difficult. Content related repetitions are to a certain extent mitigated by the excerpts from archival material and captions that are used when describing the component parts of the costumes.

Several sources, for example the references to A. W. Hupel or the materials available at the Estonian Folklore Archives of the Estonian Literary Museum, have been referred to via newer works and therefore the overviews contain some inaccuracies, which could have been avoided if primary sources would have been consulted instead.

Despite some drawbacks, we should celebrate the fact that those skilled in handicraft now have a valuable handbook and an overview of the history of local clothing.
The collection The Folk Costumes of Mulgimaa in the context of the literature on Estonian national costume from the viewpoint of a researcher and craftsman
Authors: Raud Inna
Published: April 2022

Estonian folk costumes were foregrounded as a cultural phenomenon in the records written by the leaders of the Estonian national awakening already in the late 19th century. The statements made by them emphasised the importance of wearing and preserving folk costumes.

The main research activity based on museum collections has historically been centred primarily on artefacts, with the aim of the reconstruction of the historical development of each type, taking the origin of the artefacts found in the collections into account. Approaching the subject matter by focusing on the artefacts and classifying them into certain types does help one to gain an understanding of regional specificities, but not of an outfit as a whole. As a researcher and seamstress of folk costumes, I recognise the need for both artefact-centred studies and regional studies.

 Estonian folk costumes have previously been treated in three nationwide monographs that have focused on different regions. In addition to instructions on how to make folk costumes, the monographs also contain a selection of technical instructions and illustrations showing the cuts and patterns of sample outfits. At present, there is a need for conducting an in-depth research that would concentrate on each parish separately.

The greatest value of Tiina Jürgen’s book The Folk costumes of Mulgimaa (2015) is the presentation of the variations between the five parishes, together with stories and legends through which we understand people’s relationship to clothing. In addition to such formal aspects, the book also pays attention to clothing as a social phenomenon.

It would make sense to use the book for the purpose of putting together an outfit. After mentioning the component parts of the costumes by concentrating on each parish separately, detailed descriptions of the artefacts are presented in chronological order. Although the repetitions may at first glance appear superfluous, they are needed for those readers who are only interested in their own region.

Lively photographs and illustrations, which, for example, depict clearly the ways of tying a headscarf, wrapping girdles, and attaching wide textile girdles, allow us to visualise the outfits as process. The foregrounding of both summer and winter clothing is commendable. Children’s clothing has unfortunately been disregarded, although it certainly deserves special attention with the Estonian Song and Dance Festival in mind.

In addition to mentioning certain techniques, the process of making folk costumes requires exact descriptions of the materials, cuts, and patterns involved. The most precise information craftsmen can find in this book is related to girdles and edges, but at times questions remain over the nuances of craftwork. Although it is well-known that it is difficult to create faithful reproductions of old pieces of clothing with modern materials, creating a piece that resembles the original as much as possible is more and more often the goal.
Handwerk / Kunsthandwerk
Authors: Muthesius Stefan
Published: April 2022

What is the difference between handicraft (Handwerk) and Arts and Crafts (Kunsthandwerk)? Which is better, craft or mass production? Terms should help us create order in the world around us, so it becomes easier for us to orientate ourselves, but terms are nevertheless always particular to a specific time and place. This essay will present a brief outline of the disciplinary patterns that have shaped the terminology relating to the creation of artefacts, as well as describing Muthesius’s own analysis, before discussing the corresponding terms in Estonian with the help of a few examples.

In the present article, Stefan Muthesius has examined the specialised terminology relating to the creation of artefacts that has been used in the German cultural sphere and has explained the semantic field of each of these terms as shown by their etymology and usage. Rather than making clear distinctions, Muthesius’s approach blurs the lines between art, design, and handicraft and concentrates upon their common features. Furthermore, he illustrates how the terminology of a creative sphere (i.e. art) has, amongst other things, been influenced by economic processes, for example by the commercial price and quality of different types of products. The large number of terms used, especially since the nineteenth century, clearly reflects the changes in both material culture and in society in general.

Kunsthandwerk of post-industrial societies has been greatly influenced by the discourse of modernisation and industrialisation. It was nostalgically and ideologically associated with the era preceding industrialisation and mass culture. The need to redefine oneself gave way to modern applied arts (studio craft) which have artistic ambitions, and at the same time make use of traditional materials and techniques to a greater or lesser extent.

In the post-war Estonian context, it is possible to draw a parallel with the term ‘applied arts’ (tarbekunst in Estonian) that rather declaratively replaced the previously used term, rakenduskunst. During the Soviet period, artists specialising in applied arts created unique objects and limited-edition items, as well as mass-produced designs. In the 1960s, ‘decorative arts’ came to be thought of as a subcategory of applied arts. Nowadays, the relevant semantic field in question is almost completely covered by the umbrella term ‘design’.

The term Handwerk (käsitöö in Estonian) has made a fascinating, yet somewhat peculiar comeback. The term no longer refers to a phenomenon that could be described as primitive and related to folk art and peasant culture, but instead it expresses criticism against neoliberal capitalism: a sense of nostalgia for an honest and fair mode of production. This analysis of terminology related to the creation of artefacts graphically demonstrates how various power relations have shaped this field of activity where tradition, creation, and art intersect with institutional frameworks, economics, politics, and national identities.
Rahvarõiva võlu ja valu / The beauty and pain of folk costumes
Authors: Praks Ele
Published: April 2022

Last year, Estonian folk costume enthusiasts were blessed with two new comp-rehensive handbooks: a volume on Pärnu County folk costumes published by Saara Publishing House and Pärnu Museum (written by Ülli Kont, Anu Randmaa and Inna Raud, 280 pp), and a volume on Viru County folk costumes published by the Estonian National Museum based on Kersti Loite’s Master’s thesis defended at the University of Tartu Viljandi Culture Academy (415 pp).

Folk costumes have unquestionably been the most striking and distinctive part of Estonian material culture, an integral part of, and a tangible basis for, Estonian identity. Owning, making and wearing folk costumes has been a means of non-violent political struggle and the silent expression of attitude. In a problematic world of blurring borders and increasing lack of variety, we seem to be facing a new eruption in nationalist sentiment, so the appearance of these books is rather symbolic.Both volumes seek to lend a hand to those making and wearing folk costu-mes, and to provide as detailed a picture as possible of the diversity of patterns and styles; in other words – to improve current practices.

The volume on Pärnu folk costumes is dramatic, attractive, and aesthetically well devised, containing diagrams of the patterns used, as well as gripping desc-riptions of the items.

The short foreword and conclusion of Kersti Loite’s book on Viru folk costu-mes also indicate a desire to provide assistance to enthusiasts – this is supported by some diagrams, as well as the sewing patterns included with the book. But Loite’s hefty tome (hefty, in the literal sense) is also a comprehensive study of the museology of the Estonian National Museum, mapping in detail not only all the items and the information available on them but also the collectors, donors, and previous studies.

I would like to hope that in coming years, the alumni of the University of Tartu Viljandi Culture Academy continue to publish works of equal quality on local folk costumes – books that are fascinating and stimulating to read in themselves, but which can also be consulted for creating an authentic, wea-rable, distinctive, yet maximally ‘accurate’ set of clothes. Why the scare quotes? Because someone feeling safe and secure with their heritage should not be afraid of moving on from the nineteenth century. Hopefully, the birthing of the next handbooks will be that much easier, now that these two, with both specific vir-tues and small deficiencies, have paved the way.
Spiral tube decorations on garments: Restoring a lost technique
Authors: Rammo Riina , Ratas Jaana
Published: April 2022

Spiral tubes made from coiled wire have been used as decorative elements on garments in Estonia for the last thousand years (from the 10th to 19th centuries). Decorations using this technique can be found in both archaeological and ethnographic collections. The tradition documented in Estonia is part of a larger phenomenon that spread across the eastern shores of the Baltic Sea (Finland, Northwestern Russia, Latvia, and Lithuania, in addition to Estonia) from the 6th century AD. Thus far, archaeologists have regarded spiral tube decorations mainly as a source for garment history, and not much attention has been paid to understanding their construction. This article focuses on the techniques used to make spiral tube decorations, from wiredrawing to constructing the ornaments.

The results from metal analysis prove that the main raw materials used in wiredrawing have been copper alloys, with additives being mainly zinc and tin, and in lesser amounts, lead and other elements. Woollen and linen yarn and horsehair have been used as materials for constructing patterns. The woollen yarns used are usually fine and of high quality. Two main techniques used to make the ornaments can be observed: weaving the spiral tubes into a tablet-woven band and the use of various types of braided mesh and bands. When considering this very long period as a whole, it is possible to discern many regional differences both in techniques and pattern combinations. Behind the archaeological examples, makers of different skill levels and with different purposes can be seen, from professional craftsmen to women who made spiral tube decorations at home for personal use.

Keywords: Spiral tube decorations, ancient craft, tabletwoven bands, archaeological textiles
Hemp-lime – contemporary usage of traditional materials
Authors: Pau Markus
Published: April 2022

Hemp-lime is a comparatively unknown building material in Estonia. Scientific interest in this material is increasing remarkably quickly around the world, yet practical competence regarding its usage is lacking in Estonia, as far as construction is concerned.´

Hemp occupies an important place amongst crops that have traditionally been cultivated in Estonia, but its use has not been typically associated with the construction industry. Owing to its strong fibre, hemp has primarily been seen as raw material for the production of textile products, particularly rope, and the inner core of the plant, or ‘hemp hurd’, has been cast aside as a by-product. Since the porosity of hemp hurds results in relatively low thermal conductivity, hemp lime, the composite material made by mixing hemp with lime, is suitable for insulating pre-existing building envelopes as well as for installing insulation for new buildings during construction. Lime creates an alkaline environment around hemp hurds, making it difficult for fungi and pest insects to thrive. Compared to other natural insulation materials, hemp-lime therefore has a rather good balance between durability and cost-effectiveness.

The essential feature of hemp-lime relevant to construction engineering is that the material is monolithic – any occurrences of sparsity and the resultant risk of thermal bridging in building envelopes is kept to a minimum, since the hemp-lime filling that surrounds the load-bearing structure forms a solid external surface when properly installed. Owing to its high level of air-tightness, external structures made from hemp-lime can reduce the risk both of excessive cooling and of overheating. In addition to creating a comfortable indoor climate for residents, mitigating any sharp fluctuations protects the wooden construction elements surrounded by the hemp-lime, which also reduces the risk of moisture accumulation and frost damage.

Reducing the annual energy consumption of buildings and ensuring healthy indoor air quality pose significant challenges to the construction industry, since according to the current building code, the energy performance indicator of buildings constructed from 1st January 2021 should not exceed the limit established for nearly zero-energy buildings. In short, this calls for more efficient use of resources, including the production, transport, installation, and recycling of materials. Compared to the majority of contemporary building materials, hemp-lime is relatively eco-friendly, and its energy content is low.

Keywords: industrial hemp, lime, clay, hemp-lime, sustainable building materials
Craft as cultural ecologically located practice. Comparative case studies of textile crafts in Cyprus, Estonia and Peru
Authors: Dillon Patrick , Kokko Sirpa
Published: April 2022

This paper reports comparative case studies in three countries, Estonia, Cyprus and Peru. Through these, the cultural ecologies of six textile craft practitioners, two in each country, were investigated using interview-based situational analysis. Cultural ecology is concerned with transactional relationships between people and the environments they inhabit. It provides a lens on the processes of continuity and change that shape cultural patterns and cultural traditions. Interviews were conducted in open format around questions about biographical and professional practice. Relationships between practitioners’ personal histories and their craft practices were explored. Outcomes suggest that the cultural ecologies are profoundly shaped by the transmission of customs, beliefs and values from generation to generation which, in turn, are located within a place of social interaction conferring a sense of belonging and an environment for the formation of social identities. These attachments powerfully influence continuity in the craft traditions. The interrelated processes of globalisation and technological development are the dominant agents of change. Responses to these pressures vary with the practitioners in the three countries and are linked to factors associated with cultural resilience.

Keywords: craft practice, cultural ecology, textiles, case studies, Cyprus, Estonia, Peru
Maailma suurim Muhu sukkade näitus / The world’s greatest Muhu stocking exhibition
Authors: Piiri Reet
Published: April 2022

The Estonian National Museum offers everyone who wants to share their interests with others in the form of exhibition an option to do so in the participation hall with the size of 130 sq. metres. What you need to do is to come up with an idea and take part in the contest. The public gave the largest number of their votes to the proposal to hold an exhibition of traditional stockings.

On the 7th of August 2020, the Estonian National Museum opened the biggest exhibition of Muhu stockings in the world called „Meie argipäeva vidussepidamise aeg” (“Our everyday knitting circle”) in the participation hall. The curators of the exhibition were Anu Pink, Anu Kabur, Anneli Kenk, Heli Kiverik and Knitters’ reproduction club (Kudujate Koopiaklubi). In 2018, Anu Pink posted on the Facebook page of the Knitters’ reproduction club an invitation to knit a pair of Muhu stockings. These stockings are knitted with 1.25-millimetre knitting needles making 160–180 stitches in each circle. The exhibition displays about 150 stockings. The museum collections all over the world comprise a total of approximately one hundred pairs of Muhu stockings. The exhibition displays 70 old and 85 new stockings made by the members of the Knitters’ reproduction club.

The design of the exhibition is simple and visitor-friendly. Each theme and every single stocking stands out. The historical background of colourwork Muhu stockings can be seen; a video demonstrates the dyeing of Muhu pink yarn, the drawing and the puzzle show how to follow the unwritten rules of pattern assembly, when placing the pattern in the stocking.

For knitting, Muhu women used the favourite colours of the period – orange, pink, dark red, leaf green, and yellow. Muhu women never knitted similar pairs of stockings, so taken separately – every stocking is a piece of art.

The biggest exhibition of Muhu stockings in the world displays the traditional values of the Estonian cultural space for viewers coming from the outside too. Here we can see the permanence of our knitting tradition, our thorough skills, and the fact that such things can be created only when you are aware of and respect the tradition. In order to get hold of tradition, old items are studied to enable proper insight.
Teated eestlaste pärandoskuste kohta baltisakslanna Martha Bielensteini raamatus „Die altlettischen Färbmethoden” ja eksperimentaalne etnograafia / Information on Estonian traditional dyeing skills in the book Die altlettischen Färbmethoden by Martha Biel
Authors: Karlsone Anete
Published: April 2022

The use of natural dyes is a traditional craft skill that has been passed down over many generations. Although dyeing with plants is still practiced, much of the ancient knowledge and skill has already been lost. Today, with the growth in interest in the use of natural dyes, ancient traditional skills must be rediscovered via written sources and experiments. It is a kind of indirect inheritance of a craft, where the apprentice learns not just from a master but from the finished product (Kelly-Buccellati 2012). This is in many ways in line with the research methods of experimental archaeology (Coles 1979, Andersson Strand 2009) now applied to ethnographic material. The adoption of dyeing methods from written or ‘inanimate’ sources makes it possible to improve and restore the craft quality of traditional skills, thus strengthening the tradition itself. This is important today in the context of nurturing cultural identity. One of the sources that provides valuable ethnographic information not only on the use of natural dyes in textile dyeing but also on other topics too is Martha Bielenstein’s book Die altelettische Färbmethoden. This article provides an overview of the book, introducing the author, and summarizing the information found in the book about Estonian dyeing techniques. The last part of the article describes some dyeing experiments based on the descriptions found in both Estonian and Latvian ethnographic material.

Keywords: natural dyes, traditional skills, Martha Bielenstein, experimental ethnography
Is the difference between remote psychotherapy and psychotherapy with direct client contact relevant?
Authors: Wojdała Błażej , Barska Katarzyna
Published: April 2022

Cel pracy

W sytuacji pandemii na dużą skalę proponowano pacjentom psychoterapię w formie wideorozmów, w środowisku psychoterapeutów wyrażano przy tym często przekonanie co do niższej jakości takiej formy pracy z pacjentem. Podjęliśmy badania nad zweryfikowaniem racjonalności tych przeświadczeń, pytając: czy różnica pomiędzy psychoterapią w formie wideorozmów a psychoterapią świadczoną w gabinecie jest istotna, to znaczy, czy dotyczy istoty tego, czym jest psychoterapia.

Metoda

W badaniach posiłkowaliśmy się analizą fenomenologiczną własnych doświadczeń związanych z prowadzeniem psychoterapii w formie wideorozmów, korzystaniem z psychoterapii szkoleniowej w tej formie oraz uczestniczeniem w szkoleniach z psychoterapii prowadzonych z użyciem kanałów audio i wizualnego. Badaliśmy szczegółowo dwa fenomeny potencjalnie różniące obie formy praktyki, jakimi są: niebezpośredniość spotkania i komunikacja na odległość.

Wyniki

Za istotną różnicę pomiędzy psychoterapią w gabinecie i w formie wideorozmów uznaliśmy to, że w przypadku tej drugiej zanurzeniu pacjenta w rzeczywistość wirtualną, w której spotyka terapeutę, musi towarzyszyć zakotwiczenie w przestrzeni fizycznej, w której wystawiony jest na kontakt z innymi. Udzielanie przez terapeutę pacjentowi zamkniętej przestrzeni gabinetu jest co do zasady tworzeniem lepszych warunków dla procesu zdrowienia, jednak proponowanie psychoterapii online w sytuacji pandemii — gdy gabinet przestał być bezpiecznym miejscem — jest w zgodzie z istotą psychoterapii.

Wnioski

W dobie „pozabezpiecznego gabinetu” stworzenie możliwości korzystania z psychoterapii w formie wideorozmów jest wyrazem troski o pacjenta, która to wraz z postawą otwartości i gościnności konstytuuje istotę psychoterapii, natomiast forma, w jakiej psychoterapia się odbywa, wydaje się być drugorzędna.
Schema Therapy in the treatment of detention patients with antisocial personality structure. Effectiveness and management methods.
Authors: Oleśniewicz Magdalena
Published: April 2022

Autorka przedstawia modyfikację terapii poznawczo-behawioralnej, jaką jest tzw. terapia schematów, opracowana w latach 90. XX w., i jej zastosowanie w leczeniu antyspołecznego zaburzenia osobowości w środowisku kryminalnym. Celem terapii schematów przeznaczonej dla pacjentów detencyjnych ze strukturą osobowości antyspołecznej jest zredukowanie wczesnych nieprzystosowawczych schematów, które odpowiadają za psychologiczne czynniki ryzyka przestępczości i przemocy, oraz zbudowanie zdrowszych strategii radzenia sobie i poszerzanie czynników ochronnych. Skuteczność terapii schematów została częściowo potwierdzona empirycznie. W artykule krótko opisano cechy charakterystyczne pacjentów z antyspołecznym zaburzeniem osobowości. Przedstawiono możliwe interwencje terapeutyczne i korekcyjne, które mogą ograniczyć społeczne szkody kryminalne w omawianej grupie pacjentów. Podkreślono podstawowe założenia terapii schematów, jakimi są ograniczone korektywne rodzicielstwo i empatyczna konfrontacja. Opisano stosowane w trakcie terapii tryby schematów, proces budowania relacji terapeutycznej i zaufania, a także umiejętne wyznaczanie granic. Wskazano na różnice i pewne modyfikacje terapii schematów w tej grupie, przytoczono też konkretne techniki i narzędzia pracy, nakreślając przy tym pewne istotne kwestie i zalecenia oraz ograniczenia.
Development support program - looking for a model of community care for younger children
Authors: Solecka Dorota , Pilecki Maciej , Łachowska Anna , Wanat Katarzyna , Cofór-Pinkowska Paulina , Szwajca Krzysztof
Published: April 2022

Oddziaływania o charakterze środowiskowym stanowią jeden z najistotniejszych aspektów opieki psychiatrycznej nad dziećmi i młodzieżą z zaburzeniami psychicznymi. W doniesieniu przedstawione zostały doświadczenia zespołu terapii środowiskowej oferującego pomoc dzieciom w wieku wczesnoszkolnym. Przedstawiony model opieki obejmuje konsultacje psychologiczne, terapię pedagogiczną odbywającą się w szkole oraz w ramach wyjść do instytucji kultury, terapię rodzin, grupy wielorodzinne oraz terapię indywidualną. W zakresie działań zespołu są również konsultacje dla nauczycieli i pedagogów szkolnych. W proponowanym modelu w związku z reformą psychiatrii dzieci i młodzieży doszło do zasadniczej zmiany związanej ze zmianą formuły konsultacji psychiatrycznych z obligatoryjnych na wynikające z indywidualnych wskazań.
Celem niniejszego artykułu jest przedstawienie doświadczeń współpracy związanej z opieką środowiskową w szkole. Wśród pracowników szkół, z którymi współpracuje zespół, przeprowadzono ankietę dotyczącą oceny oferty zespołu skierowanej do szkół. Wyniki badania wskazują na pozytywną ocenę współpracy zespołu ze szkołą pod względem dostępności, elastyczności i kontaktu ze specjalistami. Opieka środowiskowa nad dziećmi w tak skonstruowanym modelu jest korzystna pod wieloma względami.
How do adolescents cope with crisis situations? Preliminary reports from a study of adolescents with depressive and anxiety disorders.
Authors: Lelek Agnieszka , Mostowik Joanna , Kwapniewska Anna , Adamczyk-Banach Magdalena
Published: April 2022

Cel pracy

Obecność zaburzeń psychicznych w adolescencji zwiększa ryzyko wystąpienia ich także w dorosłości. Celem badań była analiza zależności między symptomami lęku i depresji u nastolatków a rodzajem doświadczanych sytuacji kryzysowych dotyczących środowiska rodzinnego lub rówieśniczego, a także ich związków z wzorcami radzenia sobie.

Metoda

Do badania włączono 41 nastolatków w wieku od 11 do 18 lat zgłaszających się po pomoc psychologiczną do Poradni Psychologiczno-Pedagogicznej oraz Poradni Zdrowia Psychicznego z powodu zaburzeń depresyjnych i lękowych. Badani wypełniali zestaw kwestionariuszy: Kwestionariusz Wydarzeń Kryzysowych, Kwestionariusz do Diagnozy Depresji u Dzieci i Młodzieży — skrócona wersja do samoopisu (CDI2), Inwentarz Stanu i Cechy Lęku (STAIC/STAI — odpowiednio do wieku), Jak sobie radzisz?

Wyniki

Wśród nastolatków istotne znaczenie ma subiektywne postrzeganie doświadczanych trudności, nie ich liczba. Wysokie nasilenie lęku i depresji koreluje z wyższą oceną subiektywnego wpływu doświadczeń kryzysowych. W ocenie nastolatków sytuacje kryzysowe w grupie rówieśniczej mają większe znaczenie niż te w środowisku rodzinnym. Trudności w relacjach z rówieśnikami wiążą się z wyższym nasileniem lęku-stanu oraz lęku- cechy. Z kolei subiektywny wpływ doświadczeń konfliktowych w rodzinie nie jest istotnie skorelowany z nasileniem lęku i depresji. Występuje związek pomiędzy rodzajem doświadczonych kryzysów (rodzinnych i rówieśniczych) a strategiami radzenia sobie ze stresem.

Wnioski

Wyniki pogłębiają stan wiedzy dotyczący prawidłowości występujących w okresie adolescencji. Pokazują zależności pomiędzy zaburzeniami lękowymi i depresyjnymi a doświadczanymi trudnościami oraz sposobami radzenia sobie ze stresem. Podkreślają szczególne znaczenie kryzysów w grupie rówieśniczej w okresie adolescencji. Wnioski mogą być pomocne w planowaniu oddziaływań terapeutycznych, w których należy uwzględnić relacje rówieśnicze i oddziaływania grupowe.
Działalność publiczna podkomorzego koronnego Kazimierza Ludwika Bielińskiego w świetle jego listów do Jana III z lat 1692–1695
Authors: Hundert Zbigniew
Published: April 2022

Artykuł przedstawia działalność polityczną Kazimierza Ludwika Bielińskiego (ok. 1660–1713), która wyłania się z jego listów do króla Jana III w latach 1692–1695. Podstawą rozważań jest siedem, w większości nieznanych listów Bielińskiego nadanych do władcy, a zachowanych w Archiwum Oławskim Sobieskich z Narodowego Archiwum Historycznego Białorusi w Mińsku. Całość artykułu kończy edycja krytyczna tych listów w formie aneksu źródłowego.
Los contornos de la discriminación
Authors: Rodríguez-Piñero Bravo-Ferrer Miguel
Published: April 2022

Partiendo de la necesaria distinción entre la acepción vulgar y jurídica del concepto de discriminación, imprescindible, para no hipertrofiarlo, se analizan, en estas páginas, dicho concepto, haciendo un recorrido por su evolución y diferenciación con otras figuras con la finalidad de delimitarlo y, al tiempo, hacerlo aplicable a las nuevas realidades. Todo ello, desde su incidencia, en los centros de trabajo; y construido sobre las bases de la libertad, la igualdad y la dignidad de la persona, puesto que son los efectos de la acción discriminatoria, y no la intencionalidad, los que cualifican el atentado a este derecho fundamental. Palabras claves: Discriminación, igualdad, derecho fundamental, tutela antidiscriminatoria, discriminación indirecta, intencionalidad, víctima, acomodamiento razonable, acción positiva, discriminación por asociación, discriminación múltiple
Las nuevas dimensiones de la desigualdad y las respuestas del derecho antidiscriminatorio
Authors: Barbera Marzia
Published: April 2022

El artículo describe cómo el derecho antidiscriminatorio responde a las nuevas desigualdades mediante la adaptación de sus categorías tradicionales y el uso de nuevas categorías, principalmente por parte de la jurisprudencia. Palabras Claves: Nuevas desigualdades; discriminación típica y atípica; discriminación interseccional; nuevas desigualdades; discriminaciones típicas y atípicas; discriminaciones interseccionales
La prohibición de toda forma de discriminación en el empleo en la jurisprudencia del comité europeo de derechos sociales derivada del procedimiento de reclamaciones colectivas (art. 1.2. Cser)1
Authors: Pérez Domínguez Fernando
Published: April 2022

Tras la ratificación por parte de España de la Carta Social Europea Revisada y su sometimiento al procedimiento de reclamaciones colectivas ante el Comité Europea de Derechos Sociales (CEDS), este trabajo recoge la doctrina del este último en relación con la prohibición de discriminación en materia de empleo. En particular, se analiza la doctrina emanada del procedimiento de reclamaciones colectivas, con el objeto de contribuir a su mejor conocimiento y promover su acogida por los operadores nacionales. Palabras clave: Prohibición de discriminación en el empleo, Carta Social Europea revisada (CSER), Comité Europeo de Derechos Sociales (CEDS), jurisprudencia.
How Are Students Learning in a Business Statistics Course? Evidence from Both Direct and Indirect Assessment
Authors: Mitra Sinjini
Published: April 2022

This paper studies how both direct and indirect assessment outcomes can determine how students are learning different concepts in business statistics. We explore connections between the outcomes from the two assessment approaches and how different student characteristics and background factors impact these two methods of assessment. The results based on a sample of 64 students enrolled in an undergraduate business statistics course at a large public university designated as a minority-serving institution show some similarities and some differences among the two types of assessment outcomes and the insights they provide about overall student learning in the course. Furthermore, factors like gender and background grade point average are seen to impact both direct and indirect assessment results, whereas others such as the type of business concentration and student status only impact one type of assessment. Finally, we show that some indirect assessment outcomes can predict direct assessment outcomes while controlling for demographic and other background variables.