Tavallisuudesta tyylikkyyteen? : Sukupuoli ja maku kodinmuutosohjelmissa

The study focuses on the Finnish home makeover shows Inno (2004 , Nelonen) and Kodin kääntöpiiri (2001 2005; YLE TV2) and their episodes broadcast in spring 2004. The research material also includes the websites of both shows and messages concerning Inno from an online discussion forum. As people decorate their homes and reflect on them, they engage in negotiations of taste and in the construction of the ideal self. The main question of the study is: how are representations of the gendered self produced in home makeover shows? The broader theoretical and methodological context of the study is based on intersectionality, or simultaneous study of different identity categories. In this study, the main focus is on the intersections of gender, class and sexuality. Hence, the secondary research question is: how do ways of doing gender intersect with producing the ideas of class and sexuality in the representations of home makeover shows? The theoretical framework of the study combines Judith Butler s theory of gender performativity and Pierre Bourdieu s theory of taste. The analysis is founded upon a close reading focusing on the details and ambiguous meanings contained in the televisual representation. Home makeover shows are explored as a part of contemporary television culture, which is characterised by a significant increase in the number of both television channels and global television formats, as well as the hybridisation of programme types. Researchers on lifestyle television have paid attention to male designers and their ability to reconstruct meanings related to domesticity and home decoration as feminine spheres. The dissertation contributes to this discussion by analysing the representations of the male interior decorator in Inno and the four female interior decorators in Kodin kääntöpiiri. The focus is on the professional self and how it is both gendered and defined as an arbiter of taste. The programme concepts produce the impression that the makeover homes and their occupants are ordinary . The manufactured sense of ordinariness often conceals differences between the participants. One argument of the study is that the ordinariness of participants on lifestyle television should not be taken for granted without further reflection on the implications of labeling something as ordinary. Updating of interior decoration in home makeover shows can be interpreted as an area of doing gender that requires deliberation, effort, expert knowledge and a sufficient budget. The ideal lay decorator is portrayed as culturally omnivorous, brave and receptive to new ideas. The ability to reflect on ways of representing masculinity and femininity through decoration is also implied. In home makeover shows, greater self-awareness regarding the ways in which gender is produced does not lead to repeating gender differently. The idea of normative heterosexuality is in a hegemonic position in the representations of the participants. In Inno and Kodin kääntöpiiri questions of class are not made explicit. However, the idea of class is produced indirectly e.g. by describing the apartments and houses of the participants, by discussing their hobbies or interest in cultural products. In Inno, home decoration is primarily depicted as an individualistic consumer choice, while in Kodin kääntöpiiri it is often defined as a way to strengthen the ties of nuclear families. In Kodin kääntöpiiri, the ethos of familism is combined with pleasures gained from consumption and DIY activities. As a whole, the multidisciplinary study indicates a great number of differences between the two shows.

Constructions and situations : a constructivist reading of Hegel's System

The object of this work is Hegel's Logic, which comprises the first third of his philosophical System that also includes the Philosophy of Nature and the Philosophy of Spirit. The work is divided into two parts, where the first part investigates Hegel s Logic in itself or without an explicit reference to rest of Hegel's System. It is argued in the first part that Hegel's Logic contains a methodology for constructing examples of basic ontological categories. The starting point on which this construction is based is a structure Hegel calls Nothing, which I argue to be identical with an empty situation, that is, a situation with no objects in it. Examples of further categories are constructed, firstly, by making previous structures objects of new situations. This rule makes it possible for Hegel to introduce examples of ontological structures that contain objects as constituents. Secondly, Hegel takes also the very constructions he uses as constituents of further structures: thus, he is able to exemplify ontological categories involving causal relations. The final result of Hegel's Logic should then be a model of Hegel s Logic itself, or at least of its basic methods. The second part of the work focuses on the relation of Hegel's Logic to the other parts of Hegel's System. My interpretation tries to avoid, firstly, the extreme of taking Hegel's System as a grand metaphysical attempt to deduce what exists through abstract thinking, and secondly, the extreme of seeing Hegel's System as mere diluted Kantianism or a second-order investigation of theories concerning objects instead of actual objects. I suggest a third manner of reading Hegel's System, based on extending the constructivism of Hegel's Logic to the whole of his philosophical System. According to this interpretation, transitions between parts of Hegel's System should not be understood as proofs of any sort, but as constructions of one structure or its model from another structure. Hence, these transitions involve at least, and especially within the Philosophy of Nature, modelling of one type of object or phenomenon through characteristics of an object or phenomenon of another type, and in the best case, and especially within the Philosophy of Spirit, transformations of an object or phenomenon of one type into an object or phenomenon of another type. Thus, the transitions and descriptions within Hegel's System concern actual objects and not mere theories, but they still involve no fallacious deductions.

Tiedostumaton nykytaiteessa : Katse, ääni ja aika vuosituhannen taitteen suomalaisessa nykytaiteessa

Leevi Haapala explores moving image works, sculptures and installations from a psychoanalytic perspective in his study The Unconscious in Contemporary Art. The Gaze, Voice and Time in Finnish Contemporary Art at the Turn of the Millennium . The artists included in the study are Eija-Liisa Ahtila, Hans-Christian Berg, Markus Copper, Liisa Lounila and Salla Tykkä. The theoretical framework includes different psychoanalytic readings of the concepts of the gaze, voice and temporality. The installations are based on spatiality and temporality, and their detailed reading emphasizes the medium-specific features of the works as well as their fragmentary nature, heterogeneity and affectivity. The study is cross-disciplinary in that it connects perspectives from the visual culture, new art history and theory to the interpretation of contemporary art. The most important concepts from psychoanalysis, affect theory and trauma discourse used in the study include affect, object a (objet petit a) as articulated by Jacques Lacan, Sigmund Freud s uncanny (das Unheimliche) and trauma. Das Unheimliche has been translated as uncanny in art history under the influence of Rosalind Krauss. The object of the study, the unconscious in contemporary art, is approached through these concepts. The study focuses on Lacan s additions to the list of partial drives: the gaze and voice as scopic and invocative drives and their interpretations in the studies of the moving image. The texts by the American film theorist and art historian Kaja Silverman are in crucial role. The study locates contemporary art as part of trauma culture, which has a tendency to define individual and historical experiences through trauma. Some of the art works point towards trauma, which may appear as a theoretic or fictitious construction. The study presents a comprehensive collection of different kinds of trauma discourse in the field of art research through the texts of Hal Foster, Cathy Caruth, Ruth Leys and Shoshana Felman. The study connects trauma theory with the theoretical analysis of the interference and discontinuity of the moving image in the readings by Susan Buck-Morss, Mary Ann Doane and Peter Osborn among others. The analysis emphasizes different ways of seeing and multisensoriality in the reception of contemporary art. With their reflections and inverse projections, the surprising mechanisms of Hans-Christian Berg s sculptures are connected with Lacan s views on the early mirroring and imitation attempts of the individual s body image. Salla Tykkä s film trilogy Cave invites one to contemplate the Lacanian theory of the gaze in relation to the experiences of being seen. The three oceanic sculpture installations by Markus Copper are studied through the vocality they create, often through an aggressive way of acting, as well as from the point of view of the functioning of an invocative drive. The study compares the work of fiction and Freud s texts on paranoia and psychosis to Eija-Liisa Ahtila s manuscripts and moving image installations about the same topic. The cinematic time in Liisa Lounila s time-slice video installations is approached through the theoretical study of the unconscious temporal structure. The viewer of the moving image is inside the work in an in-between state: in a space produced by the contents of the work and its technology. The installations of the moving image enable us to inhabit different kinds of virtual bodies or spaces, which do not correspond with our everyday experiences. Nevertheless, the works of art often try to deconstruct the identification to what has been shown on screen. This way, the viewer s attention can be fixed on his own unconscious experiences in parallel with the work s deconstructed nature as representation. The study shows that contemporary art is a central cultural practice, which allows us to discuss the unconscious in a meaningful way. The study suggests that the agency that is discursively diffuse and consists of several different praxes should be called the unconscious. The emergence of the unconscious can happen in two areas: in contemporary art through different senses and discursive elements, and in the study of contemporary art, which, being a linguistic activity is sensitive to the movements of the unconscious. One of the missions of art research is to build different kinds of articulated constructs and to open an interpretative space for the nature of art as an event.

Elämän ja entisyyden maisemat : Kolgujev nenetsien arjessa, muistelussa ja kerronnassa

The dissertation discusses the conceptions of place and landscape amongst Nenets living on the island of Kolguyev or being of Kolguyev descent. The conceptions are examined through the everyday life of the community, oral recollections and narration that unfold meanings related to the island. The research material has been collected in ethnographic fieldwork in 2000 2005. The duration of individual fieldworks varies from two weeks to three months and their total duration is nearly six months. The fieldwork has been conducted both on the island and in the city of Nar yan-Mar. The main methods have been participant observation and recorded and unrecorded informal interviews. In addition to the field work data, archive materials, travel accounts, and other historical texts by outsiders about Kolguyev or the Nenets living in the European side of Russia have been used as a research material. The analysis is based on the idea of the place as a meeting point of the physical features, experiences in them and collective narration about them. The concept sense of place is used to describe the interaction of these three. Lived space manifests individual s or collective sense of place. The places form different kinds of networks of meanings which are called landscapes. Hot spots are places where different meanings accumulate. Furthermore, the material is analysed using the concepts of Tale World and Story Realm by Katherine Young. The Tale World is a realm created during the Story Realm, i.e. the event of narrations. The Tale Worlds are true as such but become evaluated in the Story Realm. The Tale Worlds are seen to arise both from the physical features of a place and from oral tradition, but at the same time these worlds give meanings to the place. The Tale Worlds are one of the central ingredients for the sense of place. One of the most central hot spots in Kolguyev is the arok harbour, where most of the themes of the pre-Soviet Tale Worlds are placed: trade and interaction with the Russians, rituals of the popular religion and arrival of the first Nenets to the island. arok is also part of the landscape of the coast where the meetings of Nenets and the other(s) are generally connected. Furthermore, arok is connected to the network of amans graves but also more generally to the landscape of collective sacred and sacrificial places. Another hot spot is the population centre of Bugrino which unfolds through the evaluations of the Tale Worlds. It also is the centre of the everyday life of the community studied. The Tale Worlds of the radiant past fastens on the population centre which is described through the negative models within the genre of litany. Sacred places, that represent the possibility to meet the Otherworld or mark places were encounters with the Otherworld have taken place, generate many kinds of landscapes in the island. They fasten on the graves of the amans, sirtya tradition, and to collective sacred places with their associations. The networks are not closed systems but are given meanings and new associations continuously in narration and recollection. They form multi-level and significant landscapes which reflect the fastening of the Kolguyev Nenets in the tundra of the island. In the research material the holy places and the popular religiousness are emphasised which is one of the most significant research results. It can be seen to reflect collective resistance and the questioning of the atheistic propaganda of the Soviet years. The narration and the recollection often refer also to the discourse of the anti-religious propaganda or use its strategies. The centrality of the holy places is also based on the tenacity of the religious Tale Worlds and sense of place and to the collective significance of the religion in general.

Proofs, Paradoxes, and Probabilities : The Logical Turn of Philosophy in Finland

This monograph describes the emergence of independent research on logic in Finland. The emphasis is placed on three well-known students of Eino Kaila: Georg Henrik von Wright (1916-2003), Erik Stenius (1911-1990), and Oiva Ketonen (1913-2000), and their research between the early 1930s and the early 1950s. The early academic work of these scholars laid the foundations for today's strong tradition in logic in Finland and also became internationally recognized. However, due attention has not been given to these works later, nor have they been comprehensively presented together. Each chapter of the book focuses on the life and work of one of Kaila's aforementioned students, with a fourth chapter discussing works on logic by authors who would later become known within other disciplines. Through an extensive use of correspondence and other archived material, some insight has been gained into the persons behind the academic personae. Unique and unpublished biographical material has been available for this task. The chapter on Oiva Ketonen focuses primarily on his work on what is today known as proof theory, especially on his proof theoretical system with invertible rules that permits a terminating root-first proof search. The independency of the parallel postulate is proved as an example of the strength of root-first proof search. Ketonen was to our knowledge Gerhard Gentzen's (the 'father' of proof theory) only student. Correspondence and a hitherto unavailable autobiographic manuscript, in addition to an unpublished article on the relationship between logic and epistemology, is presented. The chapter on Erik Stenius discusses his work on paradoxes and set theory, more specifically on how a rigid theory of definitions is employed to avoid these paradoxes. A presentation by Paul Bernays on Stenius' attempt at a proof of the consistency of arithmetic is reconstructed based on Bernays' lecture notes. Stenius correspondence with Paul Bernays, Evert Beth, and Georg Kreisel is discussed. The chapter on Georg Henrik von Wright presents his early work on probability and epistemology, along with his later work on modal logic that made him internationally famous. Correspondence from various archives (especially with Kaila and Charlie Dunbar Broad) further discusses his academic achievements and his experiences during the challenging circumstances of the 1940s.

Symbolinen representaatio: taidetta paperilla : Tanssinotaation käytön tarkastelua musiikkitieteellisten ja tanssitieteellisten teorioiden valossa

Tässä tutkielmassa tutkin tanssin liikemateriaalin kirjoittamista suomalaisessa tanssitaiteessa. Tutkielman tarkoitus on pohtia 1) mikä tanssista taiteenlajina tekee sellaisen, että virallinen notaatio on katsottu tarpeettomaksi, 2) mitä keinoja Suomessa tanssin parissa työskentelevät ovat kehittäneet selviytyäkseen ilman yhteistä notaatiota, sekä 3) miten yhteisen tanssinotaation laajempi käyttö voisi mahdollisesti hyödyttää tanssia. Tutkielman näkökulma on poikkitaiteellinen: vertaan tanssia ja sen käsittämistä taiteena sen sisartaiteeseen, musiikkiin. Tärkeimmät käsitellyt teoreetikot ovat musiikkipsykologi John A. Sloboda, symbolista representaatiota käsitelleet Marc Leman ja Kari Kurkela sekä musiikin ruumiillisuutta tutkinut musiikkitieteilijä Suzanne Cusick. Tanssin tutkimuksen piiristä ammennan teoreettista materiaalia ennen kaikkea Rudolf Labanin ja Valerie Preston-Dunlopin liikkeen analyysista sekä tanssinotaatiota käsitelleiden Claudia Jeschken, Judy Van Zilen, Victoria Wattsin ja Grahm McFeen artikkeleista. Toista tutkimuskysymystä varten keräsin v.2009 kyselyaineiston, jota käytän tukemaan teoreettisia väitteitäni notaation käytöstä. Aineiston keruumetodini oli kyselykaavake, joka lähetettiin jokaiseen Suomen tanssioppilaitokseen ja tanssiteattereihin sekä niille ammattimaisesti toimivien tanssiryhmien tanssijoille ja koreografeille ja itsenäisille toimijoille, joiden yhteystiedot olivat saatavilla Tanssin tiedotuskeskuksen tai Tanssin aluekeskusten kautta. Pienen vastausprosentin vuoksi aineistoa ei ollut mielekästä tutkia kvantitatiivisin menetelmin, vaan vastauksia käsitellään havainnollistavina esimerkkeinä tanssin kentältä. Yleisesti suomalaisen tanssitaiteen kentällä yhteisellä notaatiosysteemillä käsitetään labanotaatiota. Notaatio koetaan varsinaisen tanssin päälle liimattuna asiana, ei taiteenlajin ytimeen kuuluvana tekstinä. Suzan Cusackin ruumiillisuusteoriaa mukaillen huomioin, että musiikki on totuttu käsittämään mielen aktiviteettina, kun taas tanssi on nähty lähes täysin ruumiillisena toimintana. Tätä mielen ja kehon vastakkainasettelua vasten notaatiota on perinteisesti sovellettu musiikkiin, mutta tanssiin ei. Kaikki kyselyyn vastanneet suomalaisen tanssitaiteen ammattilaiset kuitenkin kirjoittivat tanssia muistiin paperille. Kerätty materiaali osoitti siihen suuntaan, että symbolinen representaatio tanssista on tärkeä silloin, kun halutaan kuvata tanssin rakennetta: esimerkiksi teoksen muotoa ja dramaturgiaa. Liikemuistin tukena sen rooli korostuu erityisesti opetustyössä. Niin John A. Sloboda kuin Kari Kurkelakin korostavat symbolisen representaation roolia kommunikaation välineenä; lisäksi sen käyttö voi Graham McFeen mukaan selventää teosidentiteettiä sekä luoda arkistoa paitsi valmiista teoksista, myös koreografisesta prosessista ja esitystavoista. Myös nämä molemmat näkökulmat tulivat esiin aineistossa. Toisin kuin musiikin piirissä, notaatiota ei yleensä opeteta tanssijoille. John A. Slobodaa mukaillen esitän, että minkä tahansa notaation osaaminen saattaa muuttaa tanssin tekijän kognitiivisia prosesseja ja ajattelutapaa tanssista, ja suullisesta kulttuurista kirjoitettuun kulttuuriin siirtyminen pitää sisällään niin etuja kuin riskejäkin. Jos notaation siitä huolimatta halutaan tulevan eläväksi osaksi tanssia ja hyödyntävän sitä taiteenlajina, olisi notaatiokysymykseen otettava uudenlainen pedagoginen lähestymistapa: tanssinotaatiota olisi opetettava alkeistasolta lähtien ja kyseenalaistettava ajatus, jonka mukaan koreologi tai notaattori on erillinen ammatti.

Blivande socionomers svar på ett yrkesetiskt dilemma - Hur klienten bemöts och hur dilemmat löses

Syftet med denna studie är att genom data-analys triangulation undersöka socionomstuderandes svar på ett yrkesetiskt dilemma av omsorgsetisk natur. Samplet består av 32 socionomer i början av sina studier som har svarat på ett hypotetiskt dilemma om hur de skulle bemöta en ung kvinna som ber om råd i en mycket svår situation. De huvudsakliga teoretiska utgångspunkterna för detta arbete är ECI (Ethic of Care Interview) som utvecklats av Eva Skoe som metod för att undersöka omsorgsetik, samt Osers och Althofs teori om diskursiva problemlösningsmetoder bland professionella. Som grundläggande teorier för all modern forskning om människans moralutveckling, presenteras också Carol Gilligans och Lawrence Kohlbergs teorier samt den huvudsakliga kritiken dessa bemött. Carol Gilligan är den som ursprungligen presenterade tanken om att det finns två olika typer av moraliskt tänkande där omsorgsetik är mer typisk för kvinnor och rättviseetik är mer typisk för män. Den första delen av analysen är en innehållsanalys där svaren på det yrkesrelaterade dilemmat på olika ECI stadium jämförs med varandra. Poängsättningen i ECI har varit grunden för denna analys. Den andra delen av analysen är en deduktiv teoribunden analys, där jag undersökt i fall Osers och Althofs modell om problemlösningsstrategier även går att tillämpa på ett yrkesetiskt dilemma. Slutligen tar jag också ställning till dessa två teoriers kompatibilitet. Resultatet visar att eleverna har svarat aningen sämre på det yrkesetiska dilemmat än vad deras allmänna ECI stadium är. Detta kan bero på att de är i början av sina studier men också på det allmänna klimat som råder inom socialbranschen. Teorin om diskursiva problemlösningsstrategier går inte heller att tillämpa på detta yrkesetiska dilemma, eftersom den hypotetiska klientens självbestämmanderätt gör en diskursiv lösning omöjlig. Till följd av detta har jag skapat en ny modell som baserar sig på 6 kategorier utgående från de faktorer de intervjuade lyfter fram som de viktigaste i den professionellas möte med klienten. Eftersom den nya modellen inte är hierarkisk, kan de två teorierna inte jämföras med varandra på så sätt att högre ECI nivå skulle innebära en viss typ av problemlösningsstrategi.

Finlandssvenska åsikter om och attityder till modern språkpåverkan

The study describes and analyzes Finland Swedes attitudes to modern-day linguistic influence, the relationship between informants explicitly reported views and the implicit attitudes they express towards language influence. The methods are primarily sociolinguistic. For the analysis of opinions and attitudes I have further developed and tested a new tool in attitude research. With statistical correlation analysis of data collected through a quantitative survey I describe the views that Swedish-language Finns (N=500) report on the influence of English, on imports, and on domain loss. With experimental matchedguise techniques, I study Finland-Swedes (N=600) subconscious reactions to English imports in spoken text. My results show that the subconscious reactions in some respects differ markedly from the views informants explicitly report that they have: informants respond that they would like English words that come into Swedish to be replaced by Swedish replacement words, but in a matched-guise test on their subconscious attitudes, the informants consider English words in a Swedish context to have a positive effect. The topic is further dealt with in interviews where I examine 36 informants implicit attitudes through interactional sociolinguistic analyses. This study comes close to pragmatic discourse analysis in its focus on pragmatic particles and modality. The study makes a rather strict distinction between explicitly expressed opinions and implicit, subconscious attitudes. The quantitative analyses suggest that the opinions we express can be tied to the explicit in language. The outcome of the matched-guise test shows that it is furthermore possible to find subconscious, implicit attitudes that people in actual situations rely on when they make decisions. The discourse analysis finds many subconscious signals, but it also shows that the signals arise in interaction with one s interlocutor, the situation, and the norms in the society. To account for this I have introduced the concept of socioconscious attitude. Socioconscious attitudes reflect not only the traditions and values the utterer grew up with, but also the speaker s relation to the social situation (s)he takes part in.

Leikkikenttä : teatteri- ja draamakasvatus osana teatteritapahtumaa

Tarkastelen pro gradu -tutkielmassani teatteri- ja draamakasvatusta osana teatteritapahtumaa käyttämällä tapausesimerkkinä Nälkäteatteri ry:n syksyllä 2010 tuottamaa ala-asteikäisille suunnattua MUMMO-esitys ja draamatyöpajakokonaisuutta. Tutkimukseni on laadullinen tapaustutkimus, jonka tavoitteena on tutkia teatteritapahtuman käsitettä ja prosessia erityisesti lapsille suunnatun teatteri- ja draamakasvatuksen näkökulmasta. Työni tarkoituksena on antaa teatteri- ja draamakasvatukselle tilaa teatteritapahtumassa ilman, että ne jäisivät vain taiteellisen esityksen sivutuotteiksi. Esitän teatteritapahtuman käsitteen yhdeksi vaihtoehdoksi nähdä tämä kokonaisuus ilman, että mikään teatteri-ilmaisun alue jäisi muiden varjoon. Työni teoreettinen viitekehys perustuu Willmar Sauterin esittämään tapaan kokea teatteri tapahtumana. Pohdin teatteritapahtuman rakennetta ja mahdollisuuksia käyttämällä Sauterin sekä hänen teoriaansa tukeutuvien tutkijoiden esittämiä ajatuksia. Teoriataustana teatteri- ja draamakasvatukselle käytän Hannu Heikkisen draamakasvatuksen ja Tapio Toivasen koulussa tapahtuvan teatteritoiminnan määrittelyä ja analyysia. Tapausesimerkkini analyysissa esittelen myös Marvin Carlsonin ajatuksia muun muassa yleisöjen strategioista ja odotuksista sekä yleisön ja esiintyjien suhteesta. Menetelminä tapausesimerkkini tutkimuksessa ovat yleisötutkimus (työssäni havainnointi ja kyselyt) sekä draamakasvatuksen tutkimus (työssäni toimintatutkimus, osallistuminen, havainnointi ja kyselyt). Käytän aineistona MUMMO-esitys- ja draamatyöpajakokonaisuuteen laatimiani työpajasuunnitelmia sekä havaintojani, kokemuksiani ja muistiinpanojani esityöpajoista ja esityksistä sekä varsinaisista draamatyöpajoista. Näiden lisäksi materiaalinani on MUMMO-esityksen ohjaajan sekä projektiin osallistuneiden luokkien opettajien vastauksia heille laatimistani sähköpostikyselyistä. Tutkimukseni osoittaa, että teatteritapahtuman käsite voi sisällyttää myös teatteri- ja draamakasvatuksen toimintoja määritelmäänsä. Teatteritapahtuma voi olla tasaveroisesti myös teatteri- ja draamakasvatusta, jos se kehystetään taitavasti sellaiseksi. Niin draamakasvatuksen kuin yleisemminkin teatteritapahtuman onnistumisen kannalta, erityisen tärkeäksi osoittautuvat säännöt ja sopimuksen teko. Draamasopimus nousee tärkeäksi tekijäksi luottamuksen ja turvallisuuden vahvistamisessa. Draamakasvatukselliset tavoitteet toteutuvat tutkimukseni perusteella parhaiten, jos sisällöille ja toiminnalle annetaan draamatyöskentelyn vaatima aika kehittyä. Draamakasvatukselle pitää sallia myös tietynlainen keskeneräisyys, joka parhaimmillaan edistää siihen osallistuvien oppimista. Avainsanaksi teatteritapahtuman kommunikaatiolle muodostuu tutkimuksessani kokemuksellisuus. Se yhdistää niin teatteriesityksen kokonaisvaltaista kokemista kuin teatteri- ja draamakasvatuksen oppimiseen tähtäävää työtapaa ja sisältöjä. Esitän tutkimustuloksieni pohjalta vielä ehdotuksen, että teatteri- ja draamakasvatusta sisältävä teatteritapahtuma voisi olla vastavuoroinen ja produktiivinen symbioosi, jota ohjaisi ja kehystäisi opetussuunnitelman, draamasopimuksen, draamatekstin ja esitystekstin sisältävä tapahtumateksti.