Lausunta taiteena ja tapahtumana : Tekstikeskeisyys, esittäjäkeskeisyys ja lausunnan positiot lausuntaa koskevan kirjallisen aineiston ja teatterintutkimuksen viitekehyksessä

The research is analyzing the Finnish tradition on poetry elocution both from the discource analytical and theatrical and view point. The main questions are, whether there still is a fixed position for elocution in the field of art or are we dealing with just one form of thearte? -- The art of elocution has been considered as an independent art form, sometimes even in opposition to theatre, which has been regarded as a very physical and emotional art form by the elocutionists themselves. The self-image of the Finnish elocution art has been born and firmly sustained from the notion that elocution is linked to literature. Elocution as an art form has been seen as "pure" and humbly serving literature and poetry. The main function of an elocutionist has been to understand and vocally express the meanings found in a poem to larger audience. -- This function has changed over the time. There have been a transition from the traditonal text-centeredness to performer-centeredness, even to performance-centeredness as a new wave of theatrical elements and methods have reached the circle of elocution. New forms of poetry performances, such as poetry reading and poetry slam are new challenges to elocution as it must reconsider it´s traditional function in a new artistic and cultural context.

Tanssi Möbiuksen renkaalla : Alain Robbe-Grillet'n romaani Djinn ja kirjallisuuden välitila

Ranskalaisen uuden romaanin isän, Alain Robbe-Grillet'n romaani Djinn (1981) on alun perinilmestynyt ranskan kielen oppikirjana nimellä Le Rendez-vous (1981). Oppikirjaelementti tulee selkeimmin esiin siinä, että tarinan edetessä verbit esitellään helpoimmasta konjugaatiosta vaikeimpaan, eri aikamuodot ja modukset esitellään järjestelmällisesti indikatiivin preesensistä alkaen,jne. Tästä kieliopillisen kehityksen periaatteesta generoituu myös itse tarina. Ts. kieliopillinen aineisto ja didaktisuus tunkeutuvat vastustamattomasti myös tarinan tasolle. Viime kädessä Djinn on siis kertomus kielestä. Toisaalta, vaikka Djinn väistää kaikki genre-luokitukset, voisi sitä luonnehtia eräänlaiseksi salapoliisiromaaniksi tai mysteeriksi, sillä siinä päähenkilö Simon Lecœur saa vallankumoukselliselta organisaatiolta omituisen toimeksiannon. Tehtävän luonnetta ei kuitenkaan paljasteta, mutta vähitellen selviää, että kysymys on kielen arvoituksesta. Matkansa varrella romaanin päähenkilö ja lukija ikään kuin vihitään kieltä ja kirjallisuutta koskevaan pyhään tietoon. Mukaansavetävän kerronnan ja kertomuksen "takaa" paljastuu siis myös metakirjallinen ja (kirjallisuuden)filosofinen teos. Djinn-romaanissa toimiva vallankumouksellinen organisaatio taistelee ihmiskunnan koneistumista ja mekanisaatiota vastaan, sillä ne ovat vieraannuttaneet ihmisen todellisesta elämästä. Samalla tavalla koko romaani taistelee kielen jähmettyneisyyttä, atomisoitumista ja mekanisoitumista vastaan. Aivan kuten lingvistis-didaktinen elementti sekoittuu romaanissa fantastiseen fiktioon, sekoittuvat siinä vastaansanomattomasti toisiinsa myös länsimaisen populaarikulttuurin stereotypiat ja mytologinen aineisto, aika ja kielen aikamuodot, fiktio ja todellisuus, jne. Romaanissa purkautuvat myös monet dikotomiset oppositioparit - mm. mies vs. nainen, puhe vs. kirjoitus, järjestys vs. epäjärjestys ja jopa lukija vs. kirjailija. Teoksen vallankumouksellisuus on välitilassa, joka on kohtaamisen (rendez-vous) tila. Ts. romaani pyrkii kaikilta osin siihen kielen ja merkityksen syntymän tilaan, jossa mieli ja merkitys (sens) ei vielä ole erottautunut "mielettömyydestä" ja "merkityksettömyydestä" (non-sens). Välitilanvapaus on siinä, että ihmisen jähmettyneet käsitykset ja konstruktiot maailmasta rikkoutuvat ja korvautuvat sisäisellä liikkeellä, jossa ihminen ja maailma kohtaavat toisensa välittömällä tavalla. Pyrkimys välitilaan yhdistää Djinnin myös Gilles Deleuzen filosofiaan. Tässä välitilassa kieli ei ole enää todellisuudesta vieraantunutta. "Simulaatio" tai "kommunikaation ekstaasi" ei ole mahdollista kielellä, joka kieltäytyy kommunikoimasta, kieltäytyy olemasta pelkkä väline. Sen sijaan tämä kieli vaatii lähikosketusta, tuntoaistia, osallistumista. Tätä tapahtumaa välitilassa voi kutsua tanssiksi Möbiuksen renkaalla. Avainsanat: Alain Robbe-Grillet, Gilles Deleuze, Djinn, nouveau roman (uusi romaani)

Suomi kasvitieteen kieleksi : Elias Lönnrot termistön kehittäjänä

The development of botanical Finnish: Elias Lönnrot as the creator of new terminology In the 19th century the Finnish language was intentionally developed to meet the demands of civilised society and Finnish-language science. The development of the language involved several people from different fields of science. This study examines this enormous project in the field of botany. By which methods were scientific terms formed, and for which reasons were those terms used? Why has a certain word been chosen to represent a particular concept? The material of this study is the terminology of plant morphology in Finnish that Elias Lönnrot developed in the middle of the 19th century. The terms of plant morphology denote and describe the parts of the plant and the relationships between those parts. For instance, the terms emi pistill , hede stamen , terälehti petal and verholehti sepal , which are nowadays familiar in the general language, were used for the first time in Lönnrot s texts. The study integrates the methods of lexicology and terminology. In lexicology, the word and its various meanings serve as the focus, whereas the theory of terminology focuses on the concept and concept systems. A new, consciously developed terminology can be understood through the old, familiar vocabulary and structures as well as through the new, logical term system. Lönnrot s botanical terminology can be divided into three groups depending on their origin: 1) 19% of all terms have been accepted from the existing vocabulary and used in their original meanings, 2) 11% of all terms have been chosen from the existing vocabulary and used in the new, specific botanical meanings, and 3) 70% of all terms have been created on the basis of the existing vocabulary and used in the new, specific botanical meanings. Therefore, the study reveals that domestic materials primarily morphosemantic neologisms form the Finnish terminology of plant morphology. Characteristic of Lönnrot s botanical terms is the utilisation of the vocabulary of various Finnish dialects and particular repeating elements. Repeating elements include, for example, the prefixes that come from botanical Latin or Swedish as well as the particular Finnish derivation types. Such structures form term systems that reflect scientific concept systems. Two thirds of the created new words are formed loosely or precisely according to either Latin or Swedish terms; one third is formed completely differently from its equivalents in the foreign languages. Approximately half of the chosen terms are formed differently from the Latin and Swedish terms. It is worth noting that many loan translations use rare vocabulary from Finnish dialects as equivalents to foreign parts of terms. Lönnrot aimed to inspire scientific terminology with Finland s own language, thus making scientific text accessible to the Finnish agricultural population.

Olla elävän sanat : Roolirunon laji Maila Pylkkösen teoksessa Arvo. Vanhaäiti puhuu runonsa

Maila Pylkkönen (1931 1986) was one of the most important modernist poets in Finland and a central figure in developing the dramatic monologue in Finnish literature. The study examines Pylkkönen s poetic work Arvo. Vanhaäiti puhuu runonsa (Value. An old woman speaks her poem, 1959) as an example of the dramatic monologue, approaching it from three perspectives: its generic features and background, and the poetic framework to which it connects in the context of Pylkkönen s poetry. In addition to methods of literary scholarship, the poetic analysis benefits from a linguistic approach. The study shows that the dramatic monologue genre drives Pylkkönen s first work, Klassilliset tunteet (Classical feelings, 1957), in a context of finding poetic identity, characterised by the expression to be the words of a living creature . The study demonstrates that important generic features of the dramatic monologue, namely, a poem representing a speech-event and a hierarchical structure, are also Arvo s most significant generic features. Arvo s poems as speech-events are examined for their internal progressive, pragmatic unity constructed through single line units; for their function as narratives dealing with the life story of an old woman, Arvo s speaker; and from the perspective of the communication between the old woman and the poems other characters. Arvo s speech-events can also be seen as semantic shifts from one poem to another: the poems construct semantic stages representing different phases of the old woman s life. The study demonstrates that analysis of Arvo s hierarchical structure, that is, the relationship between the speaker and the rhetorical levels, reveals the work s structural and ideological wholeness by focusing on the old woman s emotions: longing, loneliness and alienation from the world. In other words, the contradictions between the explicit level of the speaker and an implied rhetorical level open up the tragedy of an old woman s daily life. Study of Arvo s hierarchical structure also highlights the special position of the reader in the framework of a dramatic monologue. The elements of a dramatic present in which the old woman s emotions are conveyed, an italicized opening poem, and the work s title Value invite the reader to consider Arvo as a structural and ideological whole. The function of Arvo s hierarchical structure is to ask the reader to recognise the hopelessness of the old woman s situation, understand it, and even identify with it.

Infinitiivi ja sen infiniittisyys : Tutkimus suomen kielen itsenäisistä A-infinitiivikonstruktioista

"Infinitive and its infinity" advocates an approach to infinitives that differs from most previous descriptions in several ways. Infinitives are generally considered to be an illustrative example of an inherently subordinated verb category. This is due to the fact that they are morphologically reduced and are allegedly not able to function as the only predicate of an independent clause. While former descriptions have thus treated infinitives as a linguistic category heavily dependent on the finite verb, my claim is that Finnish A-infinitives (e.g. juosta to run , olla to be ) can be used as independent grammatical units: they need not be either dependent or subordinated, but can have an equal status with finite constructions. In other words, they can be conceptually and interactionally non-dependent. Theoretically, the main objective of the thesis is to discover the nature of non-finite conceptualization and the ways in which it is utilized in everyday interactions. This is accomplished by contrasting finite and non-finite conceptualization with respect to the morphosyntactic marking of person, tense and modality. I argue that the morphologically reduced nature of infinitives can be used as an interactional resource. Independent A-infinitive constructions designate verbal processes that profile no participants, lack any connection with time, and present states of affairs as intensional, structural spaces. Consequently, they provide the interactants with a conceptual alternative in contrast to finite predications that are in Finnish always grammatically anchored to time, modality and person. The deictically unanchored character of A-infinitive constructions makes them highly affective and reflexive in nature. I discuss my findings primarily in the light of Cognitive Grammar. I have drawn insight from various other fields, too: among the theories that are touched upon are interactional linguistics, functional-typological linguistics, and studies on the poetic and metapragmatic use of language. The study is based on empirical data interpreted in qualitative terms. Analyses are based on 980 examples coming mainly from written language. Some 20 examples of spoken data are analyzed as well. In sum, the thesis presents a critical statement towards the finite-verb centred outlook on language and shows that analyzing non-finite elements as such reveals new aspects of grammar and interaction. This is to acknowledge the fact that infinitives, albeit prototypically participating in the coding of dependent events, can also be used outside of the context of the finite verb. Such a view poses several new research questions, as a linguistic category generally seen to code dependent, less prominent states of affairs , now is viewed on as possessing a full cognitive and pragmatic potential.

Drag på parnassen. Två sextiotalsstudier. : Del I: Medelklass med mänskligt ansikte. Medelklassradikalism i fyra romaner av Christer Kihlman, Jarl Sjöblom, Marianne Alopaeus och Ulla-Lena Lundberg. Del II: Modernistdebatten. Sak, person och fält i en finlandssvensk litteraturdebatt år 1965.

The objective of my dissertation Pull (or Draught, or Moves) at the Parnassus , is to provide a deeper understanding of Nordic Middle Class radicalism of the 1960 s as featured in Finland-Swedish literature. My approach is cultural materialist in a broad sense; social class is regarded a crucial aspect of the contents and contexts of the novels and literary discussions explored. In the first volume, Middle Class With A Human Face , novels by Christer Kihlman, Jarl Sjöblom, Marianne Alopaeus, and Ulla-Lena Lundberg, respectively, are read from the points of view of place, emotion, and power. The term "cryptotope" is used to designate the hidden places found to play an important role in all of these four narratives. Also, the "chronotope of the provincial small town", described by Mikhail Bakhtin in 1938, is exemplified in Kihlman s satirical novel, as is the chronotope of of war (Algeria, Vietnam) in those of Alopaeus and Lundberg s. All the four novels signal changes in the way general "scripts of emotions", e.g. jealousy, are handled and described. The power relations in the novels are also read, with reference to Michel Foucault. As the protagonists in two of them work as journalists, a critical discussion about media and Bourgeois hegemony is found; the term "repressive legitimation" is created to grasp these patterns of manipulation. The Modernist Debate , part II of the study, concerns a literary discussion between mainly Finland-Swedish authors and critics. Essayist Johannes Salminen (40) provided much of the fuel for the debate in 1963, questioning the relevance to contemporary life of the Finland-Swedish modernist tradition of the 1910 s and 1920 s. In 1965, a group of younger authors and critics, including poet Claes Andersson (28), followed up this critique in a debate taking place mainly in the newspaper Vasabladet. Poets Rabbe Enckell (62), Bo Carpelan (39) and others defended a timeless poetry. This debate is contextualized and the changing literary field is analyzed using concepts provided by sociologist Pierre Bourdieu. In the thesis, the historical moment of Middle Class radicalism with a human face is regarded a temporary luxury that new social groups could afford themselves, as long as they were knocking over the statues and symbols of the Old Bourgeoisie. This is not to say that all components of the Sixties strategy have lost their power. Some of them have survived and even grown, others remain latent in the gene bank of utopias, waiting for new moments of change.

Kognitiva system i namngivningen av finländska handelsfartyg 1838-1938

This dissertation is an onomastic study of Finland s stock of ship names (nautonomasticon) recorded over the period 1838 1938. The primary material investigated consists of 2 066 examples of ship names from the fleets of coastal towns, distributed over five sample years. The material is supplemented with two bodies of comparative data; one that consists of 2 535 examples of boat names from the archipelago area at the corresponding time, and another that comprises 482 examples of eighteenth century Finnish ship names. This study clarifies the categories of names that appear the frequency of the names, formation, morphology, linguistic origin, functions, and semantic qualities. By comparing the material with boat names from previous centuries, and from other countries, the characteristics of Finnish vessel names are further highlighted. Additional clarification is brought to the chronological, regional, and social variations, and to the emergence of various forms of systematic naming. This dissertation builds on older research from other countries, and uses traditional onomastic methods alongside a more modern methodology. The approach is interdisciplinary, meaning that the names are explored using facts not only from nautical history, but also from a range of other historical disciplines such as economics, culture, art, and literature. In addition, the approach is socio-onomastic, i.e. that the variations in names are studied in a societal context. Using a synchronised perspective, cognitive linguistic theories have provided the tools for this exploration into the metaphorical and the prototypical meaning of the names, and the semantic domains that the names create. The quantitative analysis has revealed the overall picture of Finnish boat names. Personal names, names from mythology, and place names, emerge as significant categories, alongside nonproprial names in Swedish and Finnish. The interdisciplinary perspective has made it possible to explain certain trends in the stock of boat names, for example, the predisposition towards names from classical mythology, the breakthrough of names taken from the national epos Kalevala, names in the Finnish language from around the middle of the nineteenth century, and the continuing rise of place names during the latter part of the period 1838 1938. The socio-onomastic perspective has also identified clear differences between those ship names used in towns, and those ship names used in the archipelago, and it has clarified how naming conventions tend to spread from town centres to peripheral areas. The cognitive linguistic methods have revealed that the greater part of the vessel names can be interpreted as metaphors, in particular personifications, and that many names are related in their content and also form semantic networks and cognitive systems. The results indicate that there is a mental nautonomasticon that consists of a standard set of traditional ship names, but they also reveal the existence of conscious or unconscious cognitive systems (rules and conventions) that guide the naming of boats.

Naiset rajalla : Kyöpeli, Nainen, Naara(s), Neitsyt, Morsian, Akka ja Ämmä Suomen paikannimissä

Women at the boundary. Kyöpeli ( ghost, devil, elf, fairy, enchantress, witch ), Nainen ( woman ), Naara(s) ( female animal, derogatory term for a woman ), Neitsyt ( young, [virgin] woman ), Morsian ( bride ), Akka ( old woman, wife, grandmother ) and Ämmä ( [old] woman, wife, grandmother ) in Finnish place names This study examines a total of about 4,000 Finnish place names which include a specific that refers to a woman: Kyöpeli, Nainen, Naara(s), Neitsyt, Morsian, Akka or Ämmä. The study has two main objectives. First, to interpret the place names in the data, that is, to examine the words included in the data and establish their background and to differentiate names of different ages. In establishing the background of a name, the type of place (e.g. lake, hill or marsh) and its location, as well as the semantics of the feminine specific, are taken into account. The connotations of words referring to a woman are also studied. Words that refer to a woman are often affective and susceptible to changes in meaning, which is reflected in the history of place names. The second main objective is to recognise and highlight mythological place names. Mythology is pivotal for the interpretation of many place names with a feminine specific. The criteria for mythological names have not been explicitly discussed in Finnish onomastics until now, and I seek to determine such criteria in this study with the help of the data. Mythological place names often refer to large and significant natural localities, which are in many cases important boundaries for the community. Names for smaller localities may also be mythological if they refer to a place with a key location or a special topography (e.g. steep or rocky places). I also discuss the stories involved with specific places in the data, such as stories about supernatural beings. Each of the name groups discussed in the study has its own profile. For example, Naara(s) names are so old that naara is no longer understood to refer to a woman. These names have thus often been misinterpreted in onomastics. Names beginning with Morsian, on the other hand, appear to be of fairly recent origin and may be attributed to an international cautionary tale. Names beginning with Nais, Neitsyt, Akka and Ämmä highlight the duality of the data. They include both old names for important natural localities or boundaries and more recent names for modest dwellings, small cultivated areas and useless marshy ponds. This distribution of place names may reflect a cultural shift that changed the status of women in the community.

Passion vallassa : Hermostunut aika Minna Canthin teoksissa

Under the power of passion. The age of nervousness in Minna Canth s works This research contemplates the psychology of Minna Canth s characters through the historical image of man in late 19th century Europe. The central operative term of the study is passion , understood as a twofold philosophical concept that includes both desire and suffering. The method of this study is historical and contextual. The study interprets the passions and the psychology of Canth s characters as they were understood in their own time. The indicator of the relevant contexts is the realist and naturalist genre of Canth s works. New research on the genre of the time is also the basis of a new kind of psychological approach to Canth s works. The most important context of passion in Canth s works is the positivistic and pathological image of man at the end of the 19th century. Then, passion was widely discussed, and was perceived as a physiological phenomenon that influenced humans neurologically and caused different kinds of physiological symptoms and nervous disorders. But at the same time, passion was understood as a manifestation of human instincts and drives. The naturalistic literature of the day aimed at creating deterministic studies of human morality and psychology following Émile Zola s application of experimental science methods in his writing. The pathological image of man is most explicitly manifested in Canth s formerly unknown short story Lääkäri (Doctor, 1891), in which a doctor who is interested in psychology visits a jail to meet a peculiar criminal, a girl who feels no remorse for her multiple crimes. In other works of Canth the medically motivated viewpoint is more hidden in the deterministic narrative and depiction of the characters. The present study approaches the passion in Minna Canth s works through five thematic chapters, in witch characters are interpreted suffering from blind love, ennui, crippling romantic idealism, melancholy, guilt and nostalgia, and their stories can be prescribed as medical histories which depict the born of the passion and its development towards ruin. All protagonists are also manifestations of their own time. Canth criticises the modern life and its demands as well as social defects through the tragic stories of individuals. The study demonstrates that Canth did not, like previous research has suggested, wait until the 1890s before writing works of a psychological nature but had already written according to the psychological paradigm of her time in Työmiehen vaimo (1885). The social and psychological interests intertwine in Canth s works and are not exclusionary as has formerly been interpreted. Canth is also critical of the medical power implicit in the naturalist experimental method and this shows itself especially in her depiction of working class women.

Tekstit viraston työssä : Tutkimus etuuspäätösten kielestä ja konteksteista

Texts in the work of a city department: A study of the language and context of benefit decisions This dissertation examines documents granting or denying the access to municipal services. The data consist of decisions on transport services made by the Social Services Department of the City of Helsinki. The circumstances surrounding official texts and their language and production are studied through textual analysis and interviews. The dissertation describes the textual features of the above decisions, and seeks to explain such features. Also explored are the topics and methods of genre studies, especially the relationship between text and context. Although the approach is linguistic, the dissertation also touches on research in social work and administrative decision making, and contributes to more general discussion on the language and duties of public administration. My key premise is that a text is more than a mere psycholinguistic phenomenon. Rather, a text is also a physical object and the result of certain production processes. This dissertation thus not only describes genre-specific features, but also sheds light on the work that generates the texts examined. Textual analysis and analyses of discursive practices are linked through an analysis of intertextuality: written decisions are compared with other application documents, such as expert statements and the applications themselves. The study shows that decisions are texts governed by strict rules and written with modest resources. Textwork is organised as hierarchical mass production. The officials who write decisions rely on standard phrases extracted from a computer system. This allows them to produce texts of uniform quality which have been approved by the department s legal experts. Using a computer system in text production does not, however, serve all the needs of the writers. This leads to many problems in the texts themselves. Intertextual analysis indicates that medical argumentation weighs most heavily in an application process, although a social appraisal should be carried out when deciding on applications for transport services. The texts reflect a hierarchy in which a physician ranks above the applicant, and the department s own expert physician ranks above the applicant s physician. My analysis also highlights good, but less obvious practices. The social workers and secretaries who write decisions must balance conflicting demands. They use delicate linguistic means to adjust the standard phrases to suit individual cases, and employ subtle strategies of politeness. The dissertation suggests that the customer contact staff who write official texts should be allowed to make better use of their professional competence. A more general concern is that legislation and new management strategies require more and more documentation. Yet, textwork is only rarely taken into account in the allocation of resources. Keywords: (Critical) text analysis, genre analysis, administration, social work, administrative language, texts, genres, context, intertextuality, discursive practices

Vilijonkka ikkunassa - Tove Janssonin muumiteosten kuva, sana ja liike

Tove Jansson (1914--2001) was a Finnish illustrator, author, artist, caricaturist and comic artist. She is best known for her Moomin Books, written in Swedish, which she illustrated herself, and published between 1945 and 1977. My study focuses on the interweaving of images and words in Jansson s picturebooks, novels and short stories situated in the fantasy world of Moomin Valley. In particular, it concentrates on Jansson s development of a special kind of aesthetics of movement and stasis, based upon both illustration and text. The conventions of picturebook art and illustration are significant to both Jansson s visual art and her writing, and she was acutely conscious of them. My analysis of Jansson s work begins by discussing her first published picturebooks and less familiar illustrations (before she began her Moomin books) and I then proceed to discuss her three Moomin picturebooks, The Book about Moomin, Mymble and Little My; Who Will Comfort Toffle?, and The Dangerous Journey. The discussion moves from images to words and from words to images: Barthes s (1982) concept of anchoring and, in particular, what he calls relaying , form a point of reading and viewing Moomin texts and illustrations in a complementary relation, in which the message s unity occurs on a higher level: that of the story, the anecdote, the diegesis . The eight illustrated Moomin novels and one collection of short stories are analysed in a similar manner, taking into account the academic discourse about picturebooks which was developed in the last decade of the 20th century and beginning of the 21st century by, among others, scholars such as Nodelman, Rhedin, Doonan, Thiele, Stephens, Lewis, Nikolajeva and Scott. In her Moomin books, Jansson uses a wide variety of narrative and illustrative styles which are complementary to each other. Each book is different and unique in its own way, but a certain development or progression of mood and representation can be seen when assessing the series as a whole. Jansson s early stories are happy and adventurous but her later Moomin novels, beginning from Moominland Midwinter, focus more on the interiority of the characters, placing them in difficult situations which approximate social reality. This orientation is also reflected in the representation of movement and space. The books which were published first include more obviously descriptive passages, exemplifying the tradition of literary pictorialism. Whereas in Jansson s later work, the space develops into something that is alive which can have an enduring effect on the characters personalities and behaviour. This study shows how the idea of an image a dynamic image -- forms a holistic foundation for Jansson s imagination and work. The idea of central perspective, or frame, for instance, provided inspiration for whole stories or in the way that she developed her characters, as in the case of the Fillyjonk, who is a complex female figure, simultaneously frantic and prim. The idea of movement is central to the narrative art of picturebooks and illustrated texts, particularly in relation to the way that action is depicted. Jansson, however, also develops a specific choreography of characters in which poses and postures signify action, feelings and relationships. Here, I use two ideas from modern dance, contraction and release (Graham), to characterise the language of movement which is evident in Jansson s words and images. In Jansson s final Moomin novels and short stories, the idea of space becomes more and more dynamic and closely linked with characterisation. My study also examines a number of Jansson s early sketches for her Moomin novels, in which movement is performed much more dramatically than in those illustrations which appeared in the last novels to be published.

Heräämisten poetiikkaa : Lajeja ja intertekstejä Arvid Järnefeltin romaaneissa Isänmaa, Maaemon lapsia ja Veneh'ojalaiset

Poetics of Awakenings. Genres and Intertexts in Arvid Järnefelt s Novels Isänmaa, Maaemon lapsia and Veneh ojalaiset This doctoral dissertation focuses on Arvid Järnefelt s (1961 1932) novels Isänmaa (1893), Maaemon lapsia (1905) and Veneh ojalaiset (1909). The study applies the genre theory and concepts Alastair Fowler has introduced in his Kinds of Literature (1982). Fowler s theory of the novel is developed further and applied to Finnish realist novels. The generic analysis is supplemented by intertextual analysis, which is mainly based on the idea of specific intertextual relations as presented by Kiril Taranovsky. Generic and intertextual analyses form the basis for hermeneutic interpretation, in which attention is paid to the fact that the novels are written by the designated writer in specific historical and cultural circumstances. Instead of the author s intention , the study focuses on the realised intention , in other words the novels as they are published. Järnefelt s first novel Isänmaa is understood to be a classical Bidungsroman that depicts the socialisation of a young male protagonist. From an intertextual point of view, the novel appears to be a novel of conversion, too, due to the biblical allusions concealed in the depiction of the events. Furthermore, Isänmaa is seen to stand in an intertextual relation to Hegel s, Snellman s and Topelius s writings. Maaemon lapsia is argued to be a thesis novel, which persuades the reader to adopt a certain ideological and political stance, namely Henry George s view on the private ownership of land. The novel is modulated by the generic repertoires of fairy tale and tragedy. The mythical frame of the novel supports the thesis novel, as it gives universal validity to the particular events depicted in the novel. Maaemon lapsia also comments on the contemporary political debate on the relations between Finland and Russia by presenting the relationship as analogous to the relationship between tenant farmer and landowner. Veneh ojalaiset exhibits a wide range of genres. Comic, tragic and mythical mode is combined with, for example, family novel, romance, conversion novel and revolutionary novel. From a rhetorical viewpoint, the novel is an apology, which accuses society of generating criminality by means of unjust laws and procedures. The novel discusses the question of resistance to evil by using the themes of Faust and Job, as well as by confronting the philosophies of Epictetus and Nietzsche. The novel is a thesis novel, which disputes the possibility of violent revolution as a way to a better society and recommends passive resistance for an individual living in an unjust society. The poetics of Järnefelt s novels is regarded as the poetics of conversion, as all the novels in focus depict the protagonist s awakening to see the society in a new light, be it a patriotic vision of the reality or a conception of the unfairness of society.

Lagöversättning som process och produkt : Revideringar och institutioner vid lagöversättning till svenska i Finland

The thesis studies the translation process for the laws of Finland as they are translated from Finnish into Swedish. The focus is on revision practices, norms and workplace procedures. The translation process studied covers three institutions and four revisions. In three separate studies the translation process is analyzed from the perspective of the translations, the institutions and the actors. The general theoretical framework is Descriptive Translation Studies. For the analysis of revisions made in versions of the Swedish translation of Finnish laws, a model is developed covering five grammatical categories (textual revisions, syntactic revisions, lexical revisions, morphological revisions and content revisions) and four norms (legal adequacy, correct translation, correct language and readability). A separate questionnaire-based study was carried out with translators and revisers at the three institutions. The results show that the number of revisions does not decrease during the translation process, and no division of labour can be seen at the different stages. This is somewhat surprising if the revision process is regarded as one of quality control. Instead, all revisers make revisions on every level of the text. Further, the revisions do not necessarily imply errors in the translations but are often the result of revisers following different norms for legal translation. The informal structure of the institutions and its impact on communication, visibility and workplace practices was studied from the perspective of organization theory. The results show weaknesses in the communicative situation, which affect the co-operation both between institutions and individuals. Individual attitudes towards norms and their relative authority also vary, in the sense that revisers largely prioritize legal adequacy whereas translators give linguistic norms a higher value. Further, multi-professional teamwork in the institutions studied shows a kind of teamwork based on individuals and institutions doing specific tasks with only little contact with others. This shows that the established definitions of teamwork, with people co-working in close contact with each other, cannot directly be applied to the workplace procedures in the translation process studied. Three new concepts are introduced: flerstegsrevidering (multi-stage revision), revideringskedja (revision chain) and normsyn (norm attitude). The study seeks to make a contribution to our knowledge of legal translation, translation processes, institutional translation, revision practices and translation norms for legal translation. Keywords: legal translation, translation of laws, institutional translation, revision, revision practices, norms, teamwork, organizational informal structure, translation process, translation sociology, multilingual.

Konstruktioner och valens : Verbfraser med åt i ett jämförande perspektiv

Det har knappast undgått någon som är språkligt medveten att finlandssvenskan och sverigesvenskan skiljer sig åt till vissa delar. Olikheterna återfinns på olika språkliga nivåer. Mest kända och omskrivna är de lexikologiska skillnaderna, dvs. skillnaderna på ordplanet. Betydligt mindre uppmärksamhet har ägnats syntaktiska skillnader, dvs. skillnader i hur satser och meningar byggs upp. För att öka kunskapen om finlandssvensk syntax initierade Språkvetenskapliga nämnden vid Svenska litteratursällskapet i Finland projektet Svenskan i Finland – syntaktiska drag i ett jämförande perspektiv, som pågick åren 2004–2006. Min avhandling har kommit till inom ramen för det projektet. Prepositionerna (t.ex. av, i, på, för, till, åt osv.) är så kallade funktionsord som har till uppgift att binda samman de mer betydelsetunga orden till satser och meningar. Den finlandssvenska prepositionsanvändningen skiljer sig i viss mån från den sverigesvenska, och ”åt” är en av de prepositioner som ofta lyfts fram som exempel. Finlandssvenskarna säger t.ex. ”han gav en bok åt Lena” i stället för ”han gav en bok till Lena” eller ”han gav Lena en bok”. De säger ”berätta något åt någon” (i stället för ”för”) och de säger ”ringa åt någon” i stället för ”ringa någon”. Ett huvudsyfte med min undersökning är att ta reda på hur pass stora skillnaderna är om man ser till samtliga belägg på ”åt” i ett material och inte bara till sådana som man fäster sig vid för att man vet att de avviker i finlandssvenskan. Undersökningen är korpusbaserad. Det betyder att jag letat efter alla belägg på kombinationer av verb och prepositionen ”åt” i rätt stora textmassor som finns tillgängliga i elektronisk form. Materialet ligger i Språkbanken i Finland och omfattar huvudsakligen tidningstext och skönlitteratur. Jag har använt mig av en textmassa på sammanlagt ungefär 40 miljoner löpande ord, drygt 23 miljoner finlandssvenska och drygt 19 miljoner sverigesvenska. Det materialet gav ca 20 000 åt-belägg att studera, och det visade sig något oväntat att ”åt” inte alls är vanligare i finlandssvenskan än i sverigesvenskan när det gäller skriftspråk, åtminstone inte i professionella skribenters språk. Om man kompenserar för att den finlandssvenska och den sverigesvenska korpusen inte är helt lika i fråga om genrefördelning och ålder, kommer man fram till i stort sett samma frekvens för ”åt” i båda korpusarna. För den närmare analysen av vilka mönster åt-beläggen uppvisar har jag först och främst utnyttjat konstruktionsgrammatik men också ramsemantik och valensteori. Konstruktionsgrammatiken är ingen enhetlig teori, men tanken om grammatiska konstruktioner är gemensam. Konstruktioner representerar allt från generella syntaktiska mönster till specifika mönster för språkliga enskildheter. Uppfattningen om vad som ska inbegripas i begreppet varierar, men definitionen av ”konstruktion” som ”par (eller konstellationer) av form och betydelse” är gemensam. ”Konstruktion” avser aldrig konkreta belägg i texter eller yttranden utan alltid det abstrakta mönstret bakom dessa. Och varje yttrande är resultatet av att en stor mängd konstruktioner samverkar. I min analys har jag utgått ifrån att beläggen med ”åt” kan återföras på olika konstruktioner eller mönster utifrån vad som är gemensamt för grupper av belägg. Jag har sett på vad åt-frasen i samverkan med verbet har för funktion i beläggen. En åt-fras är syntaktiskt en prepositionsfras och består av en preposition och en rektion. Exempelvis utgör ordparet ”åt skogen” en prepositionsfras där ”skogen” är rektion. Ur mitt material har jag kunnat abstrahera fram fem övergripande mönster där referenten för rektionen har olika så kallade semantiska roller. Åt-frasen kan i kombination med verbet ange mål eller riktmärke, som i t.ex. svänga åt höger, dra åt helvete, ta sig åt hjärtat, luta åt en seger för IFK. Den kan för det andra ange mottagare (t.ex. ge varsin kaka åt hundarna, bygga en bastu åt sina svärföräldrar, skaffa biljetter åt en kompis). För det tredje kan åt-frasen avse en referent som har nytta (eller skada) av en aktion (t.ex. klippa häcken åt grannen, ställa in digitalboxen åt sin moster). Åt-frasen kan slutligen avse den eller det som är föremål antingen för en kommunikationsaktion (vinka åt sin son, skratta åt eländet) eller en attityd eller känsla (glädja sig åt framgången). Utöver dessa huvudmönster finns det ett antal smärre grupper av belägg som bildar egna mönster, men de utgör sammanlagt under 3 % i bägge korpusarna. Inom grupperna kan undermönster urskiljas. I t.ex. mottagargruppen representerar ”ge varsin kaka åt hundarna” överföringskonstruktion, ”bygga en bastu åt sina svärföräldrar” produktionskonstruktion och ”skaffa biljetter åt en kompis” ombesörjningskonstruktion. Alla typer är gemensamma för bägge materialen, men andelen belägg som representerar de olika typerna skiljer sig betydligt. I det sverigesvenska materialet står t.ex. det mönster där åt-frasen avser mål eller riktmärke för en mycket större andel av beläggen än i finlandssvenskan. Också andelen belägg där åt-frasen avser någon som har nytta (eller skada) av en aktion är mycket högre i det sverigesvenska materialet. I det finlandssvenska materialet står i gengäld mottagarbeläggen för över 50 % av beläggen medan andelen i det sverigesvenska materialet är bara 30 %. Inom gruppen utgör belägg av produktions- och ombesörjningstyp dessutom en mindre andel i det finlandssvenska materialet än i det sverigesvenska. Dessa står till sin funktion nära den typ som avser den som har nytta av aktionen. De konkreta beläggen på överföring (ge varsin kaka åt hundarna) utgör en större andel i det finlandssvenska materialet än i det sverigesvenska (ca 8 % mot 3 %), men typiskt för båda materialen är hög kollokationsgrad (”kollokation” avser par eller grupper av ord som uppträder oftare tillsammans än de statiskt sett skulle göra vid helt slumpmässig förekomst). Största delen av mottagarbeläggen utgörs av fraser av typen ”ge arbete åt någon, ge eftertryck åt något, ge liv åt något; ägna tid åt något, ägna sitt liv åt något, ägna uppmärksamhet åt något”. De här slutsatserna gäller alltså skriftspråk. I talspråk ser fördelningen annorlunda ut. Typiskt för prepositionen ”åt” är överhuvudtaget hög kollokationsgrad. Det förefaller som om språkanvändarna har tydliga, färdiga mallar för var ”åt” kan komma in. Det enda mönster som verkar helt produktivt, i den meningen att elementen är i stort sett fritt kombinerbara, är kombinationer av verb och åt-fras där åt-frasen avser den som har nytta av något. Att någon utför något för någons räkning verkar överlag kunna uttryckas med prepositionen ”åt”: t.ex. ”tvätta bilen åt pappa, ringa efter en taxi åt kunden”. Till och med belägg av typen ”hon drömde åt honom att bli ordinarie adjunkt” förekommer i någon mån. Konstruktionen är produktiv i båda språkvarieteterna men uppenbart är att konstruktion med mottagare har tolkningsföreträde i vissa fall i finlandssvenskan: ”Filip skrev ett brev åt sin syster” tolkas av sverigesvenskar som att Filip skrev brevet för systerns räkning, medan finlandssvenskar överlag uppenbarligen tolkar det som att Filip skrev till sin syster, att systern var mottagare av brevet. Ungefär 20 % av alla belägg i båda materialen representerar fall där ”åt” utgör partikel. Verb och ”åt” är närmare förbundna med varandra än när ”åt” utgör normal preposition. Exempel på partikelbelägg är ”han kom inte åt strömbrytaren, det gick åt mängder med saft, landet får dra åt svångremmen, de roffade åt sig de bästa platserna”. Också partikelmaterialet ser på ett generellt plan väldigt lika ut i båda språkvarieteterna. Den största skillnaden uppvisar den reflexiva typen ”roffa åt sig”. Medan typen är mycket homogen i det sverigesvenska materialet är variationen större i det finlandsvenska. Dels uppträder fler verb i kombinationen (han köpte åt sig ett par jeans), dels vacklar ordföljden (han nappade åt sig ett paraply ~ han nappade ett paraply åt sig). Att ”åt” används mer i vissa funktioner i finlandsvenskan brukar förklaras med påverkan från finskans allativ (ändelsen -lle: hän antoi kirjan Astalle > hon gav en bok åt Asta). Allt tyder dock på att den finlandssvenska åt-användningen delvis är en relikt. I äldre sverigesvenska källor träffar man på ”åt” i sådana kontexter som numera är typiska för finlandsvenskan. Det finlandssvenska språkområdet ligger ute i periferin i relation till det språkliga centrum som förändringar sprider sig från (för svenskans del främst Stockholmstrakten) och typiskt för perifera områden är att de uppvisar ålderdomliga drag också när inga kontaktfenomen spelar in. Allativen kan naturligtvis ha bidragit till att bevara användningen av ”åt” i finlandssvenskan. Att det är just ”åt” som används” beror antagligen på att prepositionen har flest funktioner gemensamt med allativen rent kognitivt om man jämför med de betydligt mer frekventa prepositionerna ”till” och ”för”. Uppenbart är också att åt-användningen därtill lever sitt eget liv i finlandssvenskan. I vissa varieteter av finlandssvenska kan man t.ex. höra yttranden av typ ”alla fiskarna dog åt dom”. Som språklig enskildhet har det ingen finsk förebild med allativ. Yttrandet är ett exempel på töjning av en svensk konstruktion. Modell finns dels i det mönster där åt avser den som har nytta eller skada av något, dels i relationell användning av ”åt”: han är hantlangare åt Eriksson ~ han är Erikssons hantlangare. Vid språkkontakt är det överlag konstruktioner som har förebild i det låntagande språket som lånas in från det långivande språket, medan konstruktioner som saknar förebild är betydligt mindre benägna att vinna insteg.