Moderneja ryijyjä, metritavaraa ja käsityötä : Tekstiilitaide ja nykyaikaistuva taideteollisuus Suomessa maailmansotien välisenä aikana

Modern ryijys, fabric by the yard and handicrafts. Finnish textile art and modernizing applied art during the inter-war years Textile art was in the 1920s and 1930s in the front rank of Finnish applied art and design. Modern ryijys, tapestries and fabrics by the yard by contemporary textile artists were on show in Finland and abroad. Textile art had also become interesting commercially, especially in interior textiles of modern homes. The research uses sources of the Ornamo Association of Decorative Artists, for example the Ornamo year books published from 1927, the Finnish Society of Crafts and Design and the country s only school of applied arts, the Central School of Arts and Crafts and the Museum of Applied Arts maintained by the society and also the national specialist organisation the Friends of Finnish Handicraft. It also refers to the magazines Käsiteollisuus and Kotiliesi. The art historical dissertation studies the renaissance of weaving art of the inter-war years in Finland. It problematizes the relation of the succesfull and appreciated textile art to the concept of breakthrough of Modernism (Functionalism). With the material from textile artists activities it questions the prevailing idea of slow modernization of Finnish applied art and design and challenges the polarization of craft and industry in the discourses of Modernisms of design. The public discussions about modernization of design and applied art where textile art and especially the ryijy got sometimes into difficult positions are interpreted as power struggles. After taking independence in 1917 the Finnish tradition of ryijy rugs was set as a symbol of the original culture of the young nation. The research studies the development of the so called art ryijy and the notions and meanings of hand weaving in the national context and also in relation to contemporary events in international applied art and design. It highlights the continuity of hand crafted production of textiles and the strong position of textile artists working in this field. The research opens new perspectives to Finnish textile artists by showing their activities as entrepreneurs in their own weaving studios or design studios and referring to their many relations and functions as pattern designers and educators in the growing handicraft industries.

Ett' varttuisi Suomenmaa : Suomalaisten kasvattaminen kulutusyhteiskuntaan kotimaisissa lyhytelokuvissa 1920-1969

The birth of the Modern Consumer Society in Finnish short films 1920-1969 The main subject of this research is Finnish short films in 1920-1969. These short films were produced by film studios for private enterprises, banks, advisory organizations, communities and the state. The evolution of short films on consumer affairs was greatly influenced by a special tax reduction system that was introduced in 1933 and lasted until 1964. The tax reduction system increased the production volumes of educational short films significantly. This study covers 342 Finnish short films, more than any other study in the field before this. The aim of this research is to examine how short films introduced Finns to modern consumer society. The cinemagoers were an excellent target group for different advisory groups as well as advertisers. Short films were used by organizations and private enterprises from very early on. In the 1920's Finns were still living in rural areas and agriculture was the dominant industry. Consumer society was still in its infancy, and the prevalent attitude to industrially produced goods was that of suspicion. From the cultural and ideological point of view the evolution of trust was one of the first steps towards the birth of the consumer society. Short films were an excellent means for helping to transform public attitudes. During the war period short films were an important means of propaganda. Short films were produced in abundance and shown for big audiences. They guided people how to survive shortages caused by the war. Even though the idea of rationalization was presented in short films somewhat in the 1920's and 1930's it became a national virtue during the war period. The idea of rationalization widened from the industry to households expecially in the late 1940's and the 1950's. New household apparati and the way in which daily chores were taken care of were presented not as luxury consumption but as a way of rationalization and saving money and effort. Banks and the advisory organizations guided the public to save their money for a specific target. Short films were use to help the public to acceps industrial goods and the notions of planning and saving. The ideological change from an agrarian society to consumer society was based on old acricultural ideas and self-sufficiency was evolved into rational and economizing consumerism. This made Finnish consumer society to value durable consumer goods and own homes. The public was also encouraged to consider their own decisions in the national context - especially after the second world war Finland laced capital, and personal savings were strongly presented as a way to help the whole nation. Modern hedonistic values were not dominant in Finland in the1950's and 1960's. Initial traces of modern hedonism can be seen in the films, but they were only marginal paths in the bigger.

Kotitalouden opetustilat osana kehittyvää oppimisympäristöä : asumistoiminnot ja opetussuunnitelma muutoksen määrittäjinä

Home Economics Classrooms as Part of Developing the Environment Housing Activities and Curriculums Defining Change --- The aim of the research project was to develop home economics classrooms to be flexible and versatile learning environments where household activities might be practiced according to the curriculum in different social networking situations. The research is based on the socio-cultural approach, where the functionality of the learning environment is studied specifically from an interactive learning viewpoint. The social framework is a natural starting point in home economics teaching because of the group work in classrooms. The social nature of learning thus becomes a significant part of the learning process. The study considers learning as experience based, holistic and context bound. The learning environment, i.e. home economics classrooms and the material tools there, plays a significant role in developing students skills to manage everyday life. --- The first research task was to analyze the historical development of household activities. The second research task was to develop and test criteria for functional home economics classrooms in planning both the learning environment and the students activities during lessons. The third research task was to evaluate how different professionals (commissioners, planners and teachers) use the criteria as a tool. The research consists of three parts. The first contains a historical analysis of how social changes have created tension between traditional household classrooms and new activities in homes. The historical analysis is based on housing research, regulations and instructions. For this purpose a new theoretical concept, the tension arch, was introduced. This helped in recognizing and solving problems in students activities and in developing innovations. The functionality criteria for home economics classrooms were developed based on this concept. These include technical (health, safety and technical factors), functional (ergonomic, ecological, aesthetic and economic factors) and behavioural (cooperation and interaction skills and communication technologies) criteria. --- The second part discusses how the criteria were used in renovating school buildings. Empirical data was collected from two separate schools where the activities during lessons were recorded both before and after classrooms were renovated. An analysis of both environments based on video recordings was conducted. The previously created criteria were made use of, and problematic points in functionality looked for particularly from a social interactive viewpoint. The results show that the criteria were used as a planning tool. The criteria facilitated layout and equipment solutions that support both curriculum and learning in home economics classrooms taking into consideration cooperation and interaction in the classroom. With the help of the criteria the home economics classrooms changed from closed and complicated space into integrated and open spaces where the flexibility and versatility of the learning environment was emphasized. The teacher became a facilitator and counselor instead a classroom controller. --- The third part analyses the discussions in planning meetings. These were recorded and an analysis was conducted of how the criteria and research results were used in the planning process of new home economics classrooms. The planning process was multivoiced, i.e. actors from different interest groups took part. All the previously created criteria (technical, functional and behavioural) emerged in the discussions and some of them were used as planning tools. Planning meetings turned into planning studios where boundaries between organizations were ignored and the physical learning environments were developed together with experts. The planning studios resulted in multivoiced planning which showed characteristics of collaborative and participating planning as well as producing common knowledge and shared expertise. --- KEY WORDS: physical learning environment, socio-cultural approach, tension arch, boundary crossing, collaborative planning.

Choosing the Arranged One, Arranging the Chosen One – Imagining an Indian Modernity: Reconciling Love, Marriage and Family On and Off the Screen

This is a study on the changing practices of kinship in Northern India. The change in kinship arrangements, and particularly in intermarriage processes, is traced by analysing the reception of Hindi popular cinema. Films and their role and meaning in people´s lives in India was the object of my research. Films also provided me with a methodology for approaching my other subject-matters: family, marriage and love. Through my discussion of cultural change, the persistence of family as a core value and locus of identity, and the movie discourses depicting this dialogue, I have looked for a possibility of compromise and reconciliation in an Indian context. As the primary form of Indian public culture, cinema has the ability to take part in discourses about Indian identity and cultural change, and alleviate the conflicts that emerge within these discourses. Hindi popular films do this, I argue, by incorporating different familiar cultural narratives in a resourceful way, thus creating something new out of the old elements. The final word, however, is the one of the spectator. The “new” must come from within the culture. The Indian modernity must be imaginable and distinctively Indian. The social imagination is not a “Wild West” where new ideas enter the void and start living a life of their own. The way the young women in Dehra Dun interpreted family dramas and romantic movies highlights the importance of family and continuity in kinship arrangements. The institution of arranged marriage has changed its appearance and gained new alternative modes such as love cum arranged marriage. It nevertheless remains arranged by the parents. In my thesis I have offered a social description of a cultural reality in which movies act as a built-in part. Movies do not work as a distinct realm, but instead intertwine with the social realities of people as a part of a continuum. The social imagination is rooted in the everyday realities of people, as are the movies, in an ontological and categorical sense. According to my research, the links between imagination and social life were not so much what Arjun Appadurai would call global and deterritorialised, but instead local and conventional.