were not human conventions." Indeed, this characterisation is mainly brought forward by typical Turgenev's literary tools; he presents his `fathers' with a radically different generation of `nihilists' and from this contrast, the main critique and description of the very generation of Turgenev himself arises. Freeborn (1960:99) comments that radicalism/nihilism (Turgenev used radicalism) aimed to "to present as objectively as possible the ideological and class antagonisms existing between the fathers and the sons in that crucial year on 1859 when the two wings of the intelligentsia were in open disagreement". 1 From the beginning of the novel, Turgenev allows the reader to unveil the similarities and differences between the generations by portraying their interactions, moods, thoughts and eby their manners of speaking. At the beginning, as Nikolai is waiting for his son, some of the
intellectuals, extended literary links with Europe and heightened aesthetic awareness. Eduard Vilde continued as Estonia’s prominent novelist, even in the midst of a new generation of writers that included Anton Hansen Tammsaare and Mait Metsanurk (1879-1957). In poetry, Tuulemaa (Land of the Winds, 1913) by Gustav Suits was innovative both in thematics and form: reflections on Man, homeland, world and universe in their connections and antagonisms, scepticism and disillusionment are illustrated in a mature and individual formulation. Drama was rising to a new level tackling complicated social problems: August Kitzberg’s tragedy Libahunt (The Werewolf, 1912). Before the historic watershed of 1917, the main genres of Estonian literature had attained a notable artist level. At the same time Estonian cinematography took its first steps. Cinematographic achievements had been first demonstrated in Tartu and Tallinn in 1896
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