{"id":888,"date":"2022-11-08T18:03:36","date_gmt":"2022-11-08T18:03:36","guid":{"rendered":"https:\/\/igorkotjuh.com\/literary-work\/reception\/"},"modified":"2023-04-14T16:06:24","modified_gmt":"2023-04-14T16:06:24","slug":"reception","status":"publish","type":"page","link":"https:\/\/igorkotjuh.com\/en\/literary-work\/reception\/","title":{"rendered":"Reception"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-cmzyi-9c66d168762a40dfe953fd9d2e2cd994\">\n.avia-section.av-cmzyi-9c66d168762a40dfe953fd9d2e2cd994{\nbackground-repeat:no-repeat;\nbackground-image:url(https:\/\/igorkotjuh.com\/wp-content\/uploads\/2022\/03\/s1-1500x430.jpg);\nbackground-position:50% 100%;\nbackground-attachment:scroll;\n}\n.avia-section.av-cmzyi-9c66d168762a40dfe953fd9d2e2cd994 .av-section-color-overlay{\nopacity:0.5;\nbackground-color:#0a0a0a;\n}\n.avia-section.av-cmzyi-9c66d168762a40dfe953fd9d2e2cd994 .av-extra-border-element .av-extra-border-inner{\nbackground-color:#ffffff;\n}\n<\/style>\n<div id='av_section_1'  class='avia-section av-cmzyi-9c66d168762a40dfe953fd9d2e2cd994 main_color avia-section-default avia-no-shadow  avia-builder-el-0  el_before_av_section  avia-builder-el-first  avia-full-stretch avia-bg-style-scroll av-section-color-overlay-active av-arrow-down-section container_wrap sidebar_right'  data-section-bg-repeat='stretch'><div class=\"av-section-color-overlay-wrap\"><div class=\"av-section-color-overlay\"><\/div><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-888'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-cfxpq-084e6e669a633256e3b02cd1b41eb01b\">\n#top .av-special-heading.av-cfxpq-084e6e669a633256e3b02cd1b41eb01b{\npadding-bottom:0px;\ncolor:#ffffff;\nfont-size:60px;\n}\nbody .av-special-heading.av-cfxpq-084e6e669a633256e3b02cd1b41eb01b .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n#top #wrap_all .av-special-heading.av-cfxpq-084e6e669a633256e3b02cd1b41eb01b .av-special-heading-tag{\nfont-size:60px;\n}\n.av-special-heading.av-cfxpq-084e6e669a633256e3b02cd1b41eb01b .special-heading-inner-border{\nborder-color:#ffffff;\n}\n.av-special-heading.av-cfxpq-084e6e669a633256e3b02cd1b41eb01b .av-subheading{\nfont-size:18px;\n}\n<\/style>\n<div  class='av-special-heading av-cfxpq-084e6e669a633256e3b02cd1b41eb01b av-special-heading-h1 custom-color-heading blockquote modern-quote  avia-builder-el-1  avia-builder-el-no-sibling  av-inherit-size'><h1 class='av-special-heading-tag'  itemprop=\"headline\"  >Reception<\/h1><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<\/div><\/div><\/main><!-- close content main element --><\/div><div class='av-extra-border-element border-extra-arrow-down'><div class='av-extra-border-outer'><div class='av-extra-border-inner'><\/div><\/div><\/div><\/div><\/div><div id='av_section_2'  class='avia-section av-15qya-dc2f0a1c54c0fc8c130d61e0844a1de0 main_color avia-section-default avia-no-shadow  avia-builder-el-2  el_after_av_section  avia-builder-el-last  avia-bg-style-scroll container_wrap sidebar_right'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-888'><div class='entry-content-wrapper clearfix'>\n<div class='flex_column av-8j1l8-55b5a4084bd074ee94b9e976bdd92f6c av_one_full  avia-builder-el-3  avia-builder-el-no-sibling  first flex_column_div '   ><section  class='av_textblock_section av-l8mudw5x-0a5b6214fa8740b32d9c658257f3ae1c'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>RECEPTION<\/h2>\n<p><b>Theses, monographs, academic texts<\/b><\/p>\n<p>2017 Ekaterina Belozerova. \u0411\u0438\u043b\u0438\u043d\u0433\u0432\u0438\u0437\u043c \u0432 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0435 \u042d\u0441\u0442\u043e\u043d\u0438\u0438: \u043f\u0438\u0441\u0430\u0442\u0435\u043b\u0438 \u0431\u0438\u043b\u0438\u043d\u0433\u0432\u044b \u0418\u0433\u043e\u0440\u044c \u041a\u043e\u0442\u044e\u0445 \u0438 \u042f\u043d \u041a\u0430\u043f\u043b\u0438\u043d\u0441\u043a\u0438\u0439. \u0411\u0430\u043a\u0430\u043b\u0430\u0432\u0440\u0441\u043a\u0430\u044f \u0440\u0430\u0431\u043e\u0442\u0430. \u0422\u0430\u043b\u043b\u0438\u043d\u0441\u043a\u0438\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442. (<a href=\"https:\/\/www.etera.ee\/s\/TCkCWsEaU0\" target=\"_blank\" rel=\"noopener\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2017 Zum Beispiel Estland. Das eine Land und die vielen Sprachen \/ Olga Bazilevi\u010da, Aija Sakova. Die Frage nach dem \u203aAnderen\u2039. Literatur als Spiegel und Gegenbild nationaler Identit\u00e4ten am Beispiel der estnischen und lettischen Gegenwartsliteratur <a href=\"https:\/\/www.etis.ee\/Portal\/Publications\/Display\/0ae55c69-c34e-47df-9557-6c762fba11a8\" target=\"_blank\" rel=\"noopener\">(READ<\/a>)<\/p>\n<p>2018 Priit Kruus. The silent avant-garde. The wave of Estonian young writers\u2019 groups and new media formations: From Erakkond to ZA\/UM. Doctoral thesis Tallinn University <a href=\"https:\/\/www.etera.ee\/s\/dQor3R5J3L\" target=\"_blank\" rel=\"noopener\">(READ<\/a>)<\/p>\n<p>2018 Methis \/ Irina Belobrovtseva. The Bilingual Writer: Two Estonia-Russian Cases and One Russian-Estonian Case (<a href=\"https:\/\/ojs.utlib.ee\/index.php\/methis\/article\/view\/14582\">READ MORE<\/a>)<\/p>\n<p>2019 \u0415\u043a\u0430\u0442\u0435\u0440\u0438\u043d\u0430 \u042f\u0448\u0438\u043d\u0430. \u00ab\u0421\u0432\u043e\u0451 \u0438 \u0447\u0443\u0436\u043e\u0435\u00bb: \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u044b\u0439 \u0431\u0438\u043b\u0438\u043d\u0433\u0432\u0438\u0437\u043c \u0432 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0435 \u042d\u0441\u0442\u043e\u043d\u0438\u0438 (\u0441\u043b\u0443\u0447\u0430\u0439 \u0418\u0433\u043e\u0440\u044f \u041a\u043e\u0442\u044e\u0445\u0430). \u041c\u0430\u0433\u0438\u0441\u0442\u0435\u0440\u0441\u043a\u0430\u044f \u0440\u0430\u0431\u043e\u0442\u0430. \u0422\u0430\u043b\u043b\u0438\u043d\u0441\u043a\u0438\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442. (<a href=\"https:\/\/www.etera.ee\/s\/IDYgSr49eC\">READ<\/a>)<\/p>\n<p>2022 <i>Between Fatherland And Mother Tongue<\/i>: <i>Etudes from Estonian Contemporary Literature in Russian <\/i>\/ Aija Sakova. The transnational or multi-ethnic subject of Estonian literature: The case of Igor Kotjuh (<a href=\"https:\/\/www.etis.ee\/Portal\/Publications\/Display\/d8ff7850-651d-4d1c-9d83-36eb2bf5eb29\">INFO<\/a>)<\/p>\n<h3><b>Reviews and criticism<\/b><\/h3>\n<p>2005 Sirp \/ Aija Sakova. Tomorrow cannot mean dissolution (<a href=\"https:\/\/sirp.ee\/s1-artiklid\/c7-kirjandus\/homne-ei-saa-t-hendada-lahustumist\/\">READ<\/a>)<\/p>\n<p>2007 Sirp \/ Ivar Sild. Moving from the individual to the general (<a href=\"https:\/\/sirp.ee\/s1-artiklid\/c7-kirjandus\/liikumine-ksikult-ldisele\/\">READ<\/a>)<\/p>\n<p>2007 Sirp \/ Peeter Helme. Another language and other thoughts (<a href=\"https:\/\/sirp.ee\/s1-artiklid\/c7-kirjandus\/teine-keel-ja-teised-m-tted\/\">READ<\/a>)<\/p>\n<p>2008 Sirp \/ Jukka Mallinen. One can try (<a href=\"https:\/\/sirp.ee\/s1-artiklid\/c7-kirjandus\/proovida-ju-voib\/\">READ<\/a>)<\/p>\n<p>2016 Looming \/ Doris Kareva. How to depict goodness? (<a href=\"https:\/\/www.looming.ee\/artiklid\/kuidas-kujutada-headust\/\">READ<\/a>)<\/p>\n<p>2018 Sirp \/ Mihhail Trunin. In search of a natural language (<a href=\"https:\/\/sirp.ee\/s1-artiklid\/c7-kirjandus\/loomuliku-keele-otsingul\/\">READ<\/a>)<\/p>\n<p>2021 Sirp \/ Ekaterina Velmezova. Notes on Igor Kotjuh\u2019s <i>poems and notes <\/i>(<a href=\"https:\/\/sirp.ee\/s1-artiklid\/c7-kirjandus\/markmeid-igor-kotjuhi-luuletuste-ja-markmete-kohta\/\">READ<\/a>)<\/p>\n<p>2021 V\u00e4rske R\u00f5hk \/ Saara Lotta Linno. Reception of poets in the second language: the example of Jaan Kaplinski and Igor Kotjuh <a href=\"https:\/\/va.ee\/teiskeelsete-luuletajate-retseptsioon-jaan-kaplinski-ja-igor-kotjuhi-naitel\/\">(READ<\/a>)<\/p>\n<p>Quotes<\/p>\n<p>Kotjuh seems to advocate a sceptical and analytical attitude, he questions norms and established patterns of thought, whether discussing society, love or personal topics \/&#8230;\/ Being both oneself and a stranger is one of Kotjuh\u2019s main starting points \/&#8230;\/. (Aija Sakova)<\/p>\n<p>Igor Kotjuh&#8217;s written works and extensive activities convey the impression that he values two things above all: poetry and kindness. Good poetry and positive cooperation and relationships with others (Doris Kareva)<\/p>\n<p>Igor Kotjuh speaks clearly and empathetically, focusing not on himself, but on the time in which he lives \u2013 as a chronic shadowy figure who gets sick of the language of newspapers, who tries to use poetry to signal what is happening around us in a world where literature is not literature, theatre is not theatre, spring is not spring, yet avoids any pathos \/&#8230;\/. (Igor Kotjuh)<\/p>\n<p>A poet is born into the world to gather the most significant words and demonstrate to the \u2018silent street\u2019 how profound thoughts and immediate emotions can be conveyed simultaneously. And without the street itself, the shopkeeper has nowhere to get the words he needs. As Kotjuh succinctly puts it: <i>you fish poetry out of people\u2019s speech<\/i>. (Mikhail Trunin)<\/p>\n<p>So what is the pattern of this colourful tapestry of multilingual criticism? Interesting similarities emerged in the reception of both Kaplinski and Kotjuh. Creative work in a second language is seen as a strong gesture, not as a neutral \u2018tool exchange\u2019 \/&#8230;\/ In addition, the reception of both poetry collections showed a disconnect between different language readerships, with critics of work published in another language saying little about the author&#8217;s native work. (Saara Lotta Linno)<\/p>\n<h3><b>Criticism in Russian<\/b><\/h3>\n<p>2004\/5 \u0411\u043e\u0440\u0438\u0441 \u0411\u0430\u043b\u044f\u0441\u043d\u044b\u0439. \u041f\u0440\u0435\u0434\u0438\u0441\u043b\u043e\u0432\u0438\u0435 \u043a \u0441\u0431\u043e\u0440\u043d\u0438\u043a\u0443 \u0418\u0433\u043e\u0440\u044f \u041a\u043e\u0442\u044e\u0445\u0430 \u00ab\u041a\u043e\u0433\u0434\u0430 \u043d\u0430\u0441\u0442\u0443\u043f\u0438\u0442 \u0437\u0430\u0432\u0442\u0440\u0430?\u00bb (<a href=\"http:\/\/etekstid.blogspot.com\/2018\/06\/2004.html\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2014 \u041f\u043b\u0443\u0433 \/ \u041f. \u0418. \u0424\u0438\u043b\u0438\u043c\u043e\u043d\u043e\u0432. \u0418\u0433\u043e\u0440\u044c \u041a\u043e\u0442\u044e\u0445 \u0438 \u0435\u0433\u043e \u043c\u0430\u0439\u0435\u0432\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0438\u043d\u0444\u0430\u043d\u0442\u0438\u043b\u0438\u0437\u043c (<a href=\"https:\/\/plug.ee\/2014\/01\/igor-kotyuh-i-ego-mayevticheskiy-infan\/\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2014 \u0412\u043e\u0437\u0434\u0443\u0445 \/ \u0422\u0430\u0442\u044c\u044f\u043d\u0430 \u0429\u0435\u0440\u0431\u0438\u043d\u0430, \u0410\u043d\u043d\u0430 \u0413\u043e\u043b\u0443\u0431\u043a\u043e\u0432\u0430, \u041a\u0438\u0440\u0438\u043b\u043b \u041a\u043e\u0440\u0447\u0430\u0433\u0438\u043d \u041e\u0442\u0437\u044b\u0432\u044b \u043e \u043f\u043e\u044d\u0437\u0438\u0438 \u0418\u0433\u043e\u0440\u044f \u041a\u043e\u0442\u044e\u0445\u0430 (<a href=\"http:\/\/www.litkarta.ru\/projects\/vozdukh\/issues\/2014-1\/hronika\/\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2018 \u0414\u0440\u0443\u0436\u0431\u0430 \u043d\u0430\u0440\u043e\u0434\u043e\u0432 \/ \u042e\u043b\u0438\u044f \u041f\u043e\u0434\u043b\u0443\u0431\u043d\u043e\u0432\u0430. \u0421\u0435\u043b\u0444\u0438 \u043d\u0430 \u0444\u043e\u043d\u0435 \u0441\u043f\u0430\u043c\u0430 (<a href=\"https:\/\/magazines.gorky.media\/druzhba\/2018\/5\/selfi-na-fone-spama.html\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2018 \u0412\u043e\u0437\u0434\u0443\u0445 \/ \u041e\u043b\u044c\u0433\u0430 \u0411\u0430\u043b\u043b\u0430, \u0414\u0430\u0440\u044c\u044f \u0421\u0443\u0445\u043e\u0432\u0435\u0439. \u041e\u0442\u0437\u044b\u0432\u044b \u043e \u043f\u043e\u044d\u0437\u0438\u0438 \u0418\u0433\u043e\u0440\u044f \u041a\u043e\u0442\u044e\u0445\u0430 (<a href=\"http:\/\/www.litkarta.ru\/projects\/vozdukh\/issues\/2018-36\/hronika\/\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2019 \u041d\u043e\u0432\u044b\u0435 \u043e\u0431\u043b\u0430\u043a\u0430 \/ \u041c\u0438\u0445\u0430\u0438\u043b \u0422\u0440\u0443\u043d\u0438\u043d. \u0412 \u043f\u043e\u0438\u0441\u043a\u0430\u0445 \u0435\u0441\u0442\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0433\u043e \u044f\u0437\u044b\u043a\u0430 (<a href=\"https:\/\/www.oblaka.ee\/journal-new-clouds\/1-2-2019\/%d0%bc%d0%b8%d1%85%d0%b0%d0%b8%d0%bb-%d1%82%d1%80%d1%83%d0%bd%d0%b8%d0%bd-%d0%b2-%d0%bf%d0%be%d0%b8%d1%81%d0%ba%d0%b0%d1%85-%d0%b5%d1%81%d1%82%d0%b5%d1%81%d1%82%d0%b2%d0%b5%d0%bd%d0%bd%d0%be%d0%b3\/\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2021 \u041f\u043b\u0443\u0433 \/ \u0422\u0438\u043c\u0443\u0440 \u0413\u0443\u0437\u0430\u0438\u0440\u043e\u0432. \u00abThe Isolation Tapes. \u0421\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u044f \u0438 \u0437\u0430\u043c\u0435\u0442\u043a\u0438\u00bb: \u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u043f\u0441\u0438\u0445\u043e\u0442\u0435\u0440\u0430\u043f\u0438\u044f \u043e\u0442 \u0418\u0433\u043e\u0440\u044f \u041a\u043e\u0442\u044e\u0445\u0430 (<a href=\"https:\/\/plug.ee\/2014\/01\/igor-kotyuh-i-ego-mayevticheskiy-infan\/\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<p>2021 \u0417\u043d\u0430\u043c\u044f \/ \u0413\u0435\u043d\u043d\u0430\u0434\u0438\u0439 \u041a\u0430\u0446\u043e\u0432. \u00ab\u041c\u044b \u043f\u043e\u0440\u043e\u0437\u043d\u044c, \u043d\u043e \u043e\u0431\u044a\u0435\u0434\u0438\u043d\u0435\u043d\u044b\u2026\u00bb (<a href=\"https:\/\/magazines.gorky.media\/znamia\/2021\/9\/my-porozn-no-obedineny.html\">\u0427\u0418\u0422\u0410\u0422\u042c<\/a>)<\/p>\n<\/div><\/section><\/div><\/div><\/div><\/div><!-- close content main div --><\/div><\/div><div id='after_section_2'  class='main_color av_default_container_wrap container_wrap sidebar_right'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-888'><div class='entry-content-wrapper clearfix'>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":848,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-888","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - 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