{"id":811,"date":"2024-04-03T23:40:21","date_gmt":"2024-04-03T20:40:21","guid":{"rendered":"https:\/\/sisu.ut.ee\/ewod\/ivanov\/"},"modified":"2025-05-05T10:08:11","modified_gmt":"2025-05-05T07:08:11","slug":"ivanov","status":"publish","type":"page","link":"https:\/\/sisu.ut.ee\/ewod\/i\/ivanov\/","title":{"rendered":"\u0410\u043d\u0434\u0440\u0435\u0439 \u0418\u0432\u0430\u043d\u043e\u0432 (Andrei Ivanov)"},"content":{"rendered":"

Poem<\/strong><\/a>s<\/strong>\"Andrei<\/a><\/span><\/span><\/h4>\n\n\n\n

Novels<\/strong><\/a><\/span><\/span><\/h4>\n\n\n\n

Short stories<\/strong><\/a><\/span><\/span><\/h4>\n\n\n\n

Non-fiction<\/strong><\/a><\/span><\/span><\/h4>\n\n\n\n

About Andrei Ivanov<\/strong><\/a><\/span><\/span><\/h4>\n\n\n\n

\u00a0<\/p>\n\n\n\n

Andrei Ivanov (b. 24 XII 1971) is the best-known contemporary Russian-Estonian writer, the one whose works have most been translated into Estonian and other languages.<\/span><\/span><\/span><\/p>\n\n\n\n

Ivanov was born in Tallinn, and graduated from the Tallinn Pedagogical University with a degree in Russian philology. For many years he lived in Denmark and elsewhere in Scandinavia; impressions and experiences from those years have been reflected in several of his works. Early in the new millennium he returned to Estonia and set about working more consistently as a writer. He has been a member of the Estonian Writers\u2019 Union since 2013.<\/span><\/span><\/span><\/p>\n\n\n\n

He has found recognition from many quarters in both Estonia and Russia: for example Ivanov\u2019s best-known and most-translated novel \u041f\u0443\u0442e\u0448\u0435\u0441\u0442\u0432\u0438\u0435 \u0425\u0430\u043d\u0443\u043c\u0430\u043d\u0430 \u043d\u0430 \u041b\u043e\u043b\u043b\u0430\u043d\u0434<\/em> (2009, in Estonian 2012, in English as \u2018Hanuman\u2019s Travels\u2019 in 2018) was one of the finalists for the Russian Booker Prize in 2010, and the novel \u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438<\/em> (\u2018The Butterflies of Harbin\u2019, 2014, in Estonian 2013) in 2013. The latter also won the Russian NOS prize for literature in 2014. Ivanov has received Estonian Literature Endowment Annual Award for a Russian author three times \u2013 in 2011 for the short story collection \u041a\u043e\u043f\u0435\u043d\u0433\u0430\u0433\u0430<\/em> (\u2018Copenhagen\u2019, 2011), in 2014 for \u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438<\/em> and in 2019 for the novel \u041e\u0431\u0438\u0442\u0430\u0442\u0435\u043b\u0438 \u043fo\u0442\u0435\u0448\u043d\u043e\u0433\u043e \u043a\u043b\u0430\u0434\u0431\u0438\u0449\u0430<\/em> (\u2018The Curious Inhabitants of the Graveyard\u2019, 2018, in Estonian 2019). The Tallinn Order of Merit was awarded in 2015 for his outstanding contribution to the cultural life of Tallinn. In two years (2011 and 2018) he earned the literature prize of the University of Tallinn. In 2016 Ivanov received the Estonian National Culture Award for his outstanding cultural activity. The absence of the novel \u0413\u043e\u0440\u0441\u0442\u044c \u043f\u0440\u0430\u0445\u0430<\/em> (\u2018A Handful of Dust\u2019; first edition in Estonian 2011; in Russian 2014) from the nominations for the Estonian Literature Endowment Annual Awards was followed by a lively debate about the definitions of Estonian and Estonian-Russian literature. Largely thanks to Ivanov\u2019s works, people in Estonia are aware of the existence of Estonian-Russian literature, and it has received an energetic response.<\/span><\/span><\/span><\/p>\n\n\n\n

Although discussion of Ivanov and his works tends to concentrate on the Russian-Estonian aspect, in his own prose he does not specifically dwell on the Russian-Estonian theme, but depicts the contemporary world with its alienation, existential isolation and spatial dislocation. Alienation, being foreign, as well as forbearance and suffering are central themes in his prose. His characters have been defined as \u2018a man between\u2019, existential outsiders. The Russian-Estonian subject-matter may heighten the sense of this (see for example the novel \u0413\u043e\u0440\u0441\u0442\u044c \u043f\u0440\u0430\u0445\u0430<\/em>, or the stories \u041c\u043e\u0439 \u0434\u0430\u0442\u0441\u043a\u0438\u0439 \u0434\u044f\u0434\u044e\u0448\u043a\u0430<\/em> (\u2018My Danish Uncle\u2019) and \u0417\u043e\u043b\u0430<\/em> (\u2018Ashes\u2019)). Ivanov\u2019s works enable one to draw autobiographical parallels with the author: the main character in his works is often a (non-citizen) Russian born in Estonia, who leaves Estonia in the turbulent nineteen-nineties, has some adventures in Scandinavia and returns to his homeland. Thus a Scandinavian trilogy is made up of the novels \u2018Hanuman\u2019s Travels\u2019, \u0411\u0438\u0437\u0430\u0440<\/em> (\u2018Bizarre\u2019, 2014, in Estonian 2014) and \u0418\u0441\u043f\u043e\u0432\u0435\u0434\u044c \u043b\u0443\u043d\u0430\u0442\u0438\u043a\u0430<\/em> (\u2018The Lunatic\u2019s Confession\u2019, 2014, in Estonian 2015). What predates the trilogy is dealt with in the novel \u0411\u0430\u0442\u0438\u0441\u043a\u0430\u0444<\/em> (\u2018Bathyscaphe\u2019, in Estonian 2017). The subject of different types of refugee is found in the works \u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438<\/em>, which deals the wanderings and doings of refugees from Russia to Estonia in the nineteen-twenties and thirties, and \u041e\u0431\u0438\u0442\u0430\u0442\u0435\u043b\u0438 \u043fo\u0442\u0435\u0448\u043d\u043e\u0433\u043e \u043a\u043b\u0430\u0434\u0431\u0438\u0449\u0430<\/em>, at the centre of which are Russian emigrants in 20th-century France. The novel \u0413\u043e\u0440\u0441\u0442\u044c \u043f\u0440\u0430\u0445\u0430<\/em> gives an insight into the Estonia of the new millennium through the eyes of a Russian-Estonian.<\/span><\/span><\/span><\/p>\n\n\n\n

Consciousness that never relaxes, compulsive urge to write and writing about writing are the themes to which much of the novels \u041c\u0435\u043b\u0430\u043d\u0445\u043e\u043b\u0438\u044f \u0441\u0443\u043c\u0435\u0440\u0435\u043a<\/em> (\u2018Melancholie of Twilight\u2019, 2022, in Estonian 2023) and Untermensch: \u043c\u043e\u044f \u0440\u0430\u0437\u043e\u0440\u0432\u0430\u043d\u043d\u0430\u044f \u0447\u0430\u0441\u0442\u044c<\/em> (\u2018Untermensch: The Ripped Up Part of Me\u2019, published in Estonian in 2021) focus. Together with the novels \u0422\u0435\u0430\u0442\u0440 \u0443\u0436\u0430\u0441\u043e\u0432<\/em> (\u2018Theatre of Horrors\u2019, 2021, in Estonian 2022) and \u041f\u043e\u0434 \u043b\u0430\u0441\u043a\u043e\u0432\u043e\u0439 \u0437\u0432\u0435\u0437\u0434\u043e\u0439<\/em> (\u2018Under the Gentle Star\u2019, 2023) they form a series.<\/p>\n\n\n\n

What has been emphasized about Ivanov is his style; his use of language is characteristically rich, and has even been called baroque, his texts have abundant intertextual references and hints, special images, contexts and hooks, which are often accompanied by an ironical or grotesque measure.<\/span><\/span><\/span><\/p>\n\n\n\n

A. K. (Translated by C. M.)<\/span><\/span><\/em><\/span><\/p>\n\n\n\n


Books in Russian<\/strong><\/span><\/span><\/span><\/p>\n\n\n\n

Poems<\/em><\/strong>
\u041d\u043e\u0447\u044c \u0432 \u0421\u0435\u043d-\u041a\u043b\u0443<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d: Avenarius, 2012, 205 pp. [Contents: \u2019\u041a\u0440\u0438\u0437\u0438\u0441\u2019, \u2019\u0425\u043e\u043b\u043e\u0434 \u043f\u043e\u0434 \u0441\u0435\u0440\u0446\u0435\u043c\u2019, \u2019\u041d\u043e\u0447\u044c \u0432 \u0421\u0435\u043d-\u041a\u043b\u0443\u2019.]<\/span><\/span><\/span><\/p>\n\n\n\n

Novels<\/em><\/strong>
\u041f\u0443\u0442\u0435\u0448\u0435\u0441\u0442\u0432\u0438\u0435 \u0425\u0430\u043d\u0443\u043c\u0430\u043d\u0430 \u043d\u0430 \u041b\u043e\u043b\u043b\u0430\u043d\u0434<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d\u043d: \u0410\u0432\u0435\u043d\u0430\u0440\u0438\u0443\u0441, 2009, 330 pp. [2nd print: \u041c\u043e\u0441\u043a\u0432\u0430: \u0410\u0421\u0422: \u0410\u0441\u0442\u0440\u0435\u043b\u044c, 2011, 412 pp.]
\u041a\u043e\u043f\u0435\u043d\u0433\u0430\u0433\u0430<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d\u043d: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u201c\u041a\u041f\u0414\u201d, 2011, 367 pp. [Contents: the novel \u2019\u0417\u043e\u043b\u0430\u2019 and five short stories.]
\u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d: Avenarius, 2013, 310 pp. [2nd print: \u2019\u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438: \u0440\u043e\u043c\u0430\u043d\u044b\u2019, \u041c\u043e\u0441\u043a\u0432\u0430: \u0410\u0421\u0422: \u0420\u0435\u0434\u0430\u043a\u0446\u0438\u044f \u0415\u043b\u0435\u043d\u044b \u0428\u0443\u0431\u0438\u043d\u043e\u0439, 2014, 573 pp.]
\u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438: \u0440\u043e\u043c\u0430\u043d\u044b<\/strong>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0410\u0421\u0422: \u0420\u0435\u0434\u0430\u043a\u0446\u0438\u044f \u0415\u043b\u0435\u043d\u044b \u0428\u0443\u0431\u0438\u043d\u043e\u0439, 2014, 573 pp. [Contents: \u2019\u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438\u2019, \u2019\u0413\u043e\u0440\u0441\u0442\u044c \u043f\u0440\u0430\u0445\u0430\u2019.]
\u0418\u0441\u043f\u043e\u0432\u0435\u0434\u044c \u043b\u0443\u043d\u0430\u0442\u0438\u043a\u0430<\/strong>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0410\u0421\u0422: \u0420\u0435\u0434\u0430\u043a\u0446\u0438\u044f \u0415\u043b\u0435\u043d\u044b \u0428\u0443\u0431\u0438\u043d\u043e\u0439, 2015, 348 pp. [2nd print: \u2019\u0418\u0441\u043f\u043e\u0432\u0435\u0434\u044c \u043b\u0443\u043d\u0430\u0442\u0438\u043a\u0430: \u0440\u043e\u043c\u0430\u043d\u044b\u2019, \u0422\u0430\u043b\u043b\u0438\u043d: \u0410\u0432\u0435\u043d\u0430\u0440\u0438\u0443\u0441, 2015, 494 pp.]
\u0411\u0438\u0437\u0430\u0440<\/strong>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0420\u0418\u041f\u041e\u041b \u043a\u043b\u0430\u0441\u0441\u0438\u043a, 2014, 349 pp. [2nd print: \u2019\u0418\u0441\u043f\u043e\u0432\u0435\u0434\u044c \u043b\u0443\u043d\u0430\u0442\u0438\u043a\u0430: \u0440\u043e\u043c\u0430\u043d\u044b\u2019, \u0422\u0430\u043b\u043b\u0438\u043d: \u0410\u0432\u0435\u043d\u0430\u0440\u0438\u0443\u0441, 2015, 494 pp.]
\u0410\u0440\u0433\u043e\u043d\u0430\u0432\u0442<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d: \u0410\u0432\u0435\u043d\u0430\u0440\u0438\u0443\u0441, 2016, 331 pp.
\u0411\u0430\u0442\u0438\u0441\u043a\u0430\u0444<\/strong>. \u041c\u043e\u0441\u043a\u0432\u0430: \u042d\u043a\u0441\u043c\u043e, 2018, 445 pp.
\u041e\u0431\u0438\u0442\u0430\u0442\u0435\u043b\u0438 \u043f\u043e\u0442\u0435\u0448\u043d\u043e\u0433\u043e \u043a\u043b\u0430\u0434\u0431\u0438\u0449\u0430<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d: A\u0432e\u043da\u0440\u0438\u0443\u0441, 2018, 572 pp. [2nd ed: 2019. E-book: 2018.]<\/span><\/span><\/span>
\u0422\u0435\u0430\u0442\u0440 \u0443\u0436\u0430\u0441\u043e\u0432<\/strong>. Tallinn: Avenarius, 2021, 351 lk
\u041c\u0435\u043b\u0430\u043d\u0445\u043e\u043b\u0438\u044f \u0441\u0443\u043c\u0435\u0440\u0435\u043a<\/strong>. Tallinn: Avenarius, 2022, 323 lk
\u041f\u043e\u0434 \u043b\u0430\u0441\u043a\u043e\u0432\u043e\u0439 \u0437\u0432\u0435\u0437\u0434\u043e\u0439<\/strong>. Tallinn: Avenarius, 2023, 551 lk<\/p>\n\n\n\n

Short stories<\/em><\/strong>
\u041a\u043e\u043f\u0435\u043d\u0433\u0430\u0433\u0430<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d\u043d: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u201c\u041a\u041f\u0414\u201d, 2011, 367 pp. [Contents: the novel \u2019\u0417\u043e\u043b\u0430\u2019 and five short stories.]
\u041d\u043e\u0447\u044c \u0432 \u0421\u0435\u043d-\u041a\u043b\u0443<\/strong>. \u0422\u0430\u043b\u043b\u0438\u043d: Avenarius, 2012, 205 pp. [Contents: \u2019\u041a\u0440\u0438\u0437\u0438\u0441\u2019, \u2019\u0425\u043e\u043b\u043e\u0434 \u043f\u043e\u0434 \u0441\u0435\u0440\u0446\u0435\u043c\u2019, \u2019\u041d\u043e\u0447\u044c \u0432 \u0421\u0435\u043d-\u041a\u043b\u0443\u2019.]
\u041f\u0435\u0447\u0430\u0442\u043d\u044b\u0439 \u0448\u0430\u0440 \u0420\u0430\u0441\u043c\u0443\u0441\u0430 \u0425\u0430\u043d\u0441\u0435\u043d\u0430<\/strong>. \u041f\u043e\u0432\u0435\u0441\u0442\u044c, \u043d\u043e\u0432\u0435\u043b\u043b\u044b, \u044d\u0441\u0441\u0435. Tallinn: Avenarius, 2017, 252 pp.<\/p>\n\n\n\n

Non-fiction<\/em><\/strong>
\u041f\u0435\u0447\u0430\u0442\u043d\u044b\u0439 \u0448\u0430\u0440 \u0420\u0430\u0441\u043c\u0443\u0441\u0430 \u0425\u0430\u043d\u0441\u0435\u043d\u0430<\/strong>. \u041f\u043e\u0432\u0435\u0441\u0442\u044c, \u043d\u043e\u0432\u0435\u043b\u043b\u044b, \u044d\u0441\u0441\u0435. Tallinn: Avenarius, 2017, 252 pp.<\/span><\/span><\/span><\/p>\n\n\n\n


Books in Estonian<\/strong><\/span><\/span><\/span><\/p>\n\n\n\n

Novels<\/em><\/strong>
Peot\u00e4is p\u00f5rmu<\/strong>. T\u00f5lkinud Ilona Martson. Tallinn: Varrak, 2011, 286 lk. [\u2018\u0413\u043e\u0440\u0441\u0442\u044c \u043f\u0440\u0430\u0445\u0430\u2019.]\u00a0
Hanumani teekond Lollandile<\/strong>. T\u00f5lkinud Veronika Einberg. Tallinn: Varrak, 2012, 404 lk. [\u2018\u041f\u0443\u0442\u0435\u0448\u0435\u0441\u0442\u0432\u0438\u0435 \u0425\u0430\u043d\u0443\u043c\u0430\u043d\u0430 \u043d\u0430 \u041b\u043e\u043b\u043b\u0430\u043d\u0434\u2019.]
Harbini \u00f6\u00f6liblikad<\/strong>. T\u00f5lkinud Veronika Einberg. Tallinn: Varrak, 2013, 438 lk. [\u2018\u0425\u0430\u0440\u0431\u0438\u043d\u0441\u043a\u0438\u0435 \u043c\u043e\u0442\u044b\u043b\u044c\u043a\u0438\u2019.]
Bizarre<\/strong>. T\u00f5lkinud Veronika Einberg. Tallinn: Varrak, 2014, 402 lk. [\u2018\u0411\u0438\u0437\u0430\u0440\u2019.]
Kuut\u00f5bise pihtimus<\/strong>. T\u00f5lkinud Veronika Einberg. Tallinn: Varrak, 2015, 271 lk. [\u2018\u0418\u0441\u043f\u043e\u0432\u0435\u0434\u044c \u043b\u0443\u043d\u0430\u0442\u0438\u043a\u0430\u2019.]
Rasmus Hanseni kirjutuskera<\/strong>. T\u00f5lkinud Veronika Einberg. Tallinn: Kultuurileht (Loomingu Raamatukogu), 2015, 141 lk. [\u2018\u041f\u0435\u0447\u0430\u0442\u043d\u044b\u0439 \u0448\u0430\u0440 \u0420\u0430\u0441\u043c\u0443\u0441\u0430 \u0425\u0430\u043d\u0441\u0435\u043d\u0430\u2019.]
Argonaut<\/strong>. T\u00f5lkinud Veronika Einberg. Tallinn: Varrak, 2016, 326 lk. [\u2018\u0410\u0440\u0433\u043e\u043d\u0430\u0432\u0442\u2019.]
Bat\u00fcskaaf<\/strong>. T\u00f5lkinud Erle N\u00f5mm. Tallinn: T\u00e4nap\u00e4ev, 2017, 335 lk. [\u2018\u0411\u0430\u0442\u0438\u0441\u043a\u0430\u0444\u2019.]
Isev\u00e4rki kalmistu asukad<\/strong>. T\u00f5lkinud Veronika Einberg. Tallinn: Varrak, 2019, 534 lk. [\u2018\u041e\u0431\u0438\u0442\u0430\u0442\u0435\u043b\u0438 \u043f\u043e\u0442\u0435\u0448\u043d\u043e\u0433\u043e \u043a\u043b\u0430\u0434\u0431\u0438\u0449\u0430\u2019.]<\/span><\/span><\/span>
Untermensch: minu l\u00f5hkikistud osa<\/strong>. Loomingu Raamatukogu 1-2. Tallinn: Kultuurileht, 2021, 118 lk. [\u2018Untermensch: \u043c\u043e\u044f \u0440\u0430\u0437\u043e\u0440\u0432\u0430\u043d\u043d\u0430\u044f \u0447\u0430\u0441\u0442\u044c\u2019.]
\u00d5uduste teater<\/strong>. Tallinn: Varrak, 2022, 342 lk. [\u2018\u0422\u0435\u0430\u0442\u0440 \u0443\u0436\u0430\u0441\u043e\u0432\u2019]
H\u00e4mariku melanhoolia<\/strong>. Tallinn: Varrak, 2023, 374 lk. [\u2018\u041c\u0435\u043b\u0430\u043d\u0445\u043e\u043b\u0438\u044f \u0441\u0443\u043c\u0435\u0440\u0435\u043a\u2019.]<\/p>\n\n\n\n

Stories<\/em><\/strong>
Minu Taani onuke. Tuhk<\/strong>. T\u00f5lkinud Ilona Martson ja Jaan Ross. Tallinn: Kultuurileht (Loomingu Raamatukogu), 2010, 127 lk. [\u2018\u041c\u043e\u0439 \u0434\u0430\u0442\u0441\u043a\u0438\u0439 \u0434\u044f\u0434\u044e\u0448\u043a\u0430\u2019, \u2018\u0417\u043e\u043b\u0430\u2019.]<\/span><\/span><\/span>
\u00d6\u00f6 Saint-Cloud\u2019s<\/strong>. Tallinn: Varrak, 2021, 310 lk. [\u2018\u041d\u043e\u0447\u044c \u0432 \u0421\u0435\u043d-\u041a\u043b\u0443\u2019.]<\/p>\n","protected":false},"excerpt":{"rendered":"

Poems Novels Short stories Non-fiction About Andrei Ivanov \u00a0 Andrei Ivanov (b. 24 XII 1971) is the best-known contemporary Russian-Estonian writer, the one whose works have most been translated into Estonian and other languages. Ivanov was born in Tallinn, and …<\/p>\n","protected":false},"author":43,"featured_media":0,"parent":609,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-811","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/pages\/811","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/users\/43"}],"replies":[{"embeddable":true,"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/comments?post=811"}],"version-history":[{"count":5,"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/pages\/811\/revisions"}],"predecessor-version":[{"id":7142,"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/pages\/811\/revisions\/7142"}],"up":[{"embeddable":true,"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/pages\/609"}],"wp:attachment":[{"href":"https:\/\/sisu.ut.ee\/ewod\/wp-json\/wp\/v2\/media?parent=811"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}