Other Side of This Life : Death, Value, and Social Being in Thomas Pynchon's Fiction

This dissertation analyzes the interrelationship between death, the conditions of (wo)man s social being, and the notion of value as it emerges in the fiction of the American novelist Thomas Pynchon (1937 ). Pynchon s present work includes six novels V. (1963), The Crying of Lot 49 (1966), Gravity s Rainbow (1973), Vineland (1990), Mason & Dixon (1997), Against the Day (2006) and several short stories. Death constitues a central thematic in Pynchon s work, and it emerges through recurrent questions of mortality, suicide, mass destruction, sacrifice, afterlife, entropy, the relationship between the animate and the inanimate, and the limits of representation. In Pynchon, death is never a mere biological given (or event); it is always determined within a certain historical, cultural, and ideological context. Throughout his work, Pynchon questions the strict ontological separation of life and death by showing the relationship between this separation and social power. Conceptual divisions also reflect the relationship between society and its others, and death becomes that through which lines of social demarcation are articulated. Determined as a conceptual and social "other side", death in Pynchon forms a challenge to modern culture, and makes an unexpected return: the dead return to haunt the living, the inanimate and the animate fuse, and technoscientific attempts at overcoming and controlling death result in its re-emergence in mass destruction and ecological damage. The questioning of the ontological line also affects the structuration of Pynchon's prose, where the recurrent narrated and narrative desire to reach the limits of representation is openly associated with death. Textualized, death appears in Pynchon's writing as a sudden rupture within the textual functioning, when the "other side", that is, the bare materiality of the signifier is foregrounded. In this study, Pynchon s cultural criticism and his poetics come together, and I analyze the subversive role of death in his fiction through Jean Baudrillard s genealogy of the modern notion of death from L échange symbolique et la mort (1976). Baudrillard sees an intrinsic bond between the social repression of death in modernity and the emergence of modern political economy, and in his analysis economy and language appear as parallel systems for generating value (exchange value/ sign-value). For Baudrillard, the modern notion of death as negativity in relation to the positivity of life, and the fact that death cannot be given a proper meaning, betray an antagonistic relation between death and the notion of value. As a mode of negativity (that is, non-value), death becomes a moment of rupture in relation to value-based thinking in short, rationalism. Through this rupture emerges a form of thinking Baudrillard labels the symbolic, characterized by ambivalence and the subversion of conceptual opposites.

Metsäpirulainen : Liikemies Erik Johan Längman (1799-1863) talousjärjestelmän murroksessa

The Forest devil. Businessman Erik Johan Längman (1799 1863) in the transition of economic system In Finnish historiography, Erik Johan Längman (1799-1863) bears a bad reputation of his own level: a mean, profit-seeking businessman who did not care too much about methods in his operations. Although little known, Längman has been praised as one of the pioneers of modern industry in the Grand Duchy of Finland, which belonged to the Russian Empire. From the mid 1830s Längman owned iron mill and several sawmills around the country. The growing demand of the markets in the 1830s, especially in Great Britain, marked a strong stimulus to Finnish lumber industry. At the same time claims for stricter rule over the sawmill industry were raised by high officials. The momentum of the conflict, the Forest Act of 1851, brought an end to illegal overproduction. In this biography, particular emphasis is laid on the entrepreneurial behaviour of Längman, but also on the effect the entrepreneurs had on the Crown s policies. On the other hand, how did the limitations imposed by the Crown guide the actions of the sawmill owners? The solutions adopted by the sawmill owners and the manoeuvring of the government are in a constant dialogue in this study. The Finnish sawmill industry experienced a major change in its techniques and methods of acquiring timber during the 1830s. Längman particularly, with his acquisition organisation, was able to find and reach faraway forests with unexpected results. The official regulating system with its strict producing quotas couldn t follow the changes. When the battle against the sawmill industry really started on, in 1840, it didn t happen for the benefit of iron industry, as argued previously, but to save Crown forests from depletion. After the mid 1840s Längman and the leader of the Finnish nationalistic movement, J. V. Snellman questioned the rationality of the entire regulation system and in doing so they also posed a threat against the aristocratic power. The influential but now also badly provoked chairman of the economic division of senate, Lars Gabriel von Haartman, accused the sawmill-owners harder than ever and took the advantage of the reactionary spirit of imperial Russia to launch the state forest administration. Längman circumvented the conditions of privileges, felled Crown forests illegally and accusations were brought against him for destroying his competitors. The repeated conflicts spoke primarily about a superior business idea and organisational ability. Although Längman spent his last years mostly abroad he still had interests in Finnish timber business when the liberation of sawmill-industry was established, in 1861. Surprisingly, the antagonism around the Crown forests continued, probably even more heated.

Kirurgisen operaation teatteri : Teatterillinen kuva ja ihmismuodon esitettävyys avantgardistisen väkivallan näkökulmasta

Dissertation considers the birth of modernist and avant-gardist authorship as a reaction against mass society and massculture. Radical avant-gardism is studied as figurative violence done against the human form. The main argument claims avant-gardist authorship to be an act of masculine autogenesis. This act demands human form to be worked to an elementary state of disarticulateness, then to be reformed to the model of the artist's own psychophysical and idiosyncratic vision and experience. This work is connected to concrete mass, mass of pigment, charcoal, film, or flesh. This mass of the figure is worked to create a likeness in the nervous system of the spectator. The act of violence against the human figure is intended to shock the spectator. This shock is also a state of emotional and perceptional massification. I use theatrical image as heuristic tool and performance analysis, connecting figure and spectator into a larger image, which is constituted by relationships of mimesis, where figure presents the likeness of the spectator and spectator the likeness of the figure. Likeness is considered as both gestural - social mimetic - and sensuous - kinesthetically mimetic. Through this kind of construction one can describe and contextualize the process of violent autogenesis using particular images as case studies. Avant-gardist author is the author of theatrical image, not particular figure, and through act of massification the nervous system of the spectator is also part of this image. This is the most radical form and ideology of avant-gardist and modernist authorship or imagerial will to power. I construct a model of gestural-mimic performer to explicate the nature of violence done for human form in specific works, in Mann's novella Death in Venice, in Schiele's and Artaud's selfportaits, in Francis Bacon's paintings, in Beckett's shortplat NOT I, in Orlan's chirurgical performance Operation Omnipresense, in Cindy Sherman's Film/Stills, in Diamanda Galás's recording Vena Cava and in Hitchcock's Psycho. Masspsychology constructed a phobic picture of human form's plasticity and capability to be constituted by influencies coming both inside and outside - childhood, atavistic organic memories, urban field of nervous impulses, unconsciousness, capitalist (image)market and democratic masspolitics. Violence is then antimimetic and antitheatrical, a paradoxical situation, considering that massmedias and massaudiences created an enormous fascination about possibilities of theatrical and hypnotic influence in artistic elites. The problem was how to use theatrical image without coming as author under influence. In this work one possible answer is provided: by destructing the gestural-mimetic performer, by eliminating representations of mimic body techniques from the performer of human (a painted figure, a photographed figure, a filmed figure or an acted figure, audiovisual or vocal) figure. This work I call the chirurgical operation, which also indicates co-option with medical portraitures or medico-cultural diagnoses of human form. Destruction of the autonomy of the performer was a parallel process to constructing the new mass media audience as passive, plastic, feminine. The process created an image of a new kind of autotelic masculine author-hero, freed from human form in its bourgeois, aristocratic, classical and popular versions.

Expected Performance of the ATLAS Experiment - Detector, Trigger and Physics

A detailed study is presented of the expected performance of the ATLAS detector. The reconstruction of tracks, leptons, photons, missing energy and jets is investigated, together with the performance of b-tagging and the trigger. The physics potential for a variety of interesting physics processes, within the Standard Model and beyond, is examined. The study comprises a series of notes based on simulations of the detector and physics processes, with particular emphasis given to the data expected from the first years of operation of the LHC at CERN.

Francis Watsonin teologinen hermeneutiikka

Tämän tutkimuksen tehtävänä on selvittää Francis Watsonin käsitys teologisesta hermeneutiikasta. Tutkielmassa käytetään kolmea tarkentavaa tutkimuskysymystä: Miten Watson hahmottaa tieteellisen raamatuntutkimuksen ja Raamatun teologisen tulkinnan suhteen? Miten Watson näkee raamatuntutkimuksessa historiallisen ja kirjallisen lähestymistavan suhteen toisiinsa? Miten Watson suhtautuu postmodernismiin teologisessa hermeneutiikassaan? Tutkimusmetodina on systemaattinen analyysi. Watsonin teologista hermeneutiikkaa ei ole tutkittu suomeksi ennen tätä työtä ja kansainvälistäkin tutkimusta aiheesta on hyvin vähän. Sen vuoksi tutkimuksessa on pyritty käsittelemään Watsonin teologista hermeneutiikkaa mahdollisimman kattavasti, mutta samalla on jouduttu rajaamaan työn ulkopuolelle osa Watsonin käsittelemistä teemoista, kuten Raamatun feministinen kritiikki ja VT:n ja UT:n suhde. Tutkimuksen päälähteinä ovat Watsonin kirjat Text, Church and World ja Text and Truth, joissa hän analysoi modernia historiallis-kriittistä raamatuntutkimusta, postmodernismia ja kirjallista lähestymistapaa Raamattuun. Watson kritisoi niissä näkemiään ongelmia ja kritiikkinsä pohjalta rakentaa omaa teologista hermeneutiikkaansa. Toissijaisina lähteinä tutkimuksessa on useita Watsonin artikkeleja, jotka tuovat lisävalaistusta Watsonin hermeneuttiseen ajatteluun. Päälähteiksi valitut teokset ja toissijaisiksi lähteiksi valitut artikkelit kattavat laajasti Watsonin hermeneutiikkaa käsittelevät kirjoitukset. Johdannon ja loppukatsauksen lisäksi tutkimus on jaettu neljään päälukuun. Tutkielman toisessa luvussa selvitetään Watsonin näkemys tieteellisen raamatuntutkimuksen ja Raamatun teologisen tulkinnan suhteesta ja havaitaan, että Watsonin mukaan raamatuntutkimuksen tulisi palvella teologista tulkintaa. Watson näkee ongelmallisena modernin raamatuntutkimuksen taipumuksen pitää erillään raamatuntutkimus ja -tulkinta ja luoda vastakkainasetteluja yliopiston ja kirkon, eksegetiikan ja systemaattisen teologian sekä neutraalin ja teologisen tulkinnan välille. Kolmannessa luvussa tarkastellaan Watsonin kritiikkiä historiallis-kriittistä tutkimusta kohtaan ja hänen perustelujaan päätökselle käyttää raamatuntulkinnassa ensisijaisesti tekstien lopullista, kanonista muotoa. Watson tukeutuu perusteluissaan Brevard Childsin kanoniseen lukutapaan ja tekstien yhteisölliseen käyttöön. Havaitaan, että Watson kuitenkin kritisoi kanonista lukutapaa sekä formalismista että sen teologisista sidonnaisuuksista. Watson hakee tukea myös Hans Frein narratiivisesta lähestymistavasta, jota Watson samalla kritisoi totuuskysymyksen ohittamisesta. Lopuksi käsitellään Watsonin yritystä liittää tekstin maailma ja sen taustalla oleva sosio-poliittinen todellisuus toisiinsa. Neljännessä luvussa käsitellään Watsonin yritystä yhdistää historiallinen ja kirjallisuustieteellinen lähestymistapa Raamatun teksteihin. Havaitaan, että Watsonin mielestä historiallis-kriittinen tutkimus polkee paikallaan ja siksi tarvitaan kirjallinen lähestymistapa, joka painottaa tekstin lopullista muotoa. Luvussa osoitetaan, ettei Watson kuitenkaan halua korvata puhtaasti historiallista lähestymistapaa puhtaasti kirjallisuustieteellisellä lähestymistavalla, sillä hän näkee ongelmallisena myös narratiivisen kritiikin taipumuksen käsitellä raamatunkertomuksia fiktiivisinä narratiiveina. Watson pyrkii ratkaisemaan ongelman yhdistämällä historiallisen ja kirjallisuustieteellisen lähestymistavan toisiinsa käsittelemällä evankeliumeja kerrottuna historiana. Viidennessä luvussa selvitetään miten Watson suhtautuu postmodernismiin teologisessa hermeneutiikassaan. Siinä havaitaan, että Watson näkee postmodernismin tarjoavan hyödyllisiä näkökulmia useissa hermeneuttisissa kysymyksissä. Samalla Watson vastustaa postmodernismin näkemystä, ettei teksteillä ole yhtä määrättyä merkitystä ja postmodernin teologian taipumusta viedä Raamatun kertomukselta sen universaali merkitys. Luvussa kuitenkin osoitetaan, että Watsonin antama kuva George Lindbeckin ja Stanley Hauerwasin postmodernista teologiasta on yksipuolinen ja osittain virheellinen.