Kansallista vai modernia : Taidegrafiikka osana 1930-luvun taidejärjestelmää

The theme of this doctoral thesis is the Finnish printmaking in the years 1930-1939. During this decade, there were approximately 100 artists making prints in Finland. Indeed, the period was an especially important one for printmaking. Associations for printmakers were founded in Helsinki and Turku, training in the field was launched, and the number of printmaking exhibitions increased considerably. Through their national organisations, Finnish printmakers participated in many exhibitions abroad, interaction with Nordic printmakers being especially intense. Thus, a firm basis for post-war developments was created. However, printmakers' activity- which had continued throughout the 1930s - declined notably after the Winter War broke out in the autumn of 1939. As a result, the period 1930-1939 forms a coherent and distinct unity in Finnish printmaking history. The study consists of two parts: the main text and an appendix in which the production of each printmaking artist active in the 1930s is examined separately. The study also includes a comprehensive list of the prints made in the course of the decade. One of the central themes is the printmakers' relationship to "Finnish nationalist" art and concepts of art in the 1930s. I analyse the various manifestations of this way of thinking in the visual arts of the period. Finnish fine art in the period between the world wars has usually been characterised as conservative, introverted and spiritually isolated from the modern European trends of the time. On the basis of this study, such a view is too simple. Many artists and printmakers adopted a modernistic notion of art that approached the newest in European modernism, including such trends as avant-garde classicism and general European new Objective Realism (Die neue Sachlichkeit). On the other hand, choosing Finnish nationalist motifs did not necessarily mean that the artist was opposed to modernism: modernist artists could still be interested in national themes. The relationship of 1930s printmaking to the world of nationalist ideas is examined in this doctoral thesis from several perspectives. Towards the end of the main text, I examine the issue from the point of view of selected artists. Another feature that emerged during the study and turned out to be surprisingly widespread was the close relationship of many artists to religious, theosophical and pantheistic views. I deal with this issue in greater detail through a few representative printmakers.

Att tolka namn i tiden. Om det socioonomastiska greppet

Abstract (The socio-onomastic approach and translation): The article adopts an onomastic perspective on the translation, and highlights the challenges posed by the given names. The newer socio-onomastic research has drawn attention to the emotive, appealing, ideological and integrative functions of the names, showing strong links with both the period and with society. In the article this is exemplified with ship names from the nineteenth century, which partly reflect classicism (Argo, Hercules, Juno, Neptunus) and national romanticism (Aallotar, Aino, Sampo, Wellamo). A special challenge is posed by the transparent names that evoke the actual words used, such as Penningdraken ('Money Dragon'), a ship that brought big money, and Människoätaren ('The man killer'), a ship where many sailors lost their lives. Names raise time-bound and culture-bound associations and the translator should be able to interpret the names as an embodiment of the society and the culture from which they originate.