Sakari Kukko - elämä, ura ja tuotanto : Pala suomalaisen populaarimusiikin historiaa vuodesta 1953 nykypäiviin

Pro gradu -tutkielmassani paneudun yhden suomalaisen populaarimusiikin toimijan elämään, uraan, tuotantoon sekä hänen käsityksiinsä musiikista ja musiikintekemisestä. Tutkimukseni on suomalaisen populaarimusiikin historian perustutkimusta Sakari Kukon henkilöhistorian kautta. Tutkimuskysymyksiäni ovat: 1. Kuinka Sakari Kukosta tuli muusikko ja musiikintekijä? 2. Minkälainen on ja on ollut hänen tapansa toimia? Vastaan edellisiin kysymyksiin, mutta sijoitan vastaukset myös ajallisesti suomalaiseen musiikki- ja yhteiskuntakontekstiin. Ongelmanasettelu tähtää siihen, että selvitän sekä Kukon omat sisäiset motiivit ja päämäärät muusikkona ja musiikintekijänä että hänen ympäristönsä tarjoamat virikkeet ja vaikutteet. Ongelman ratkaisemiseksi kartoitan hänen elämänvaiheensa lapsuudesta tähän päivään, ympäristöt, joissa hän on kulloinkin toiminut sekä ne yhteiskunnalliset tilanteet, joihin hänen ja hänen ympäristönsä toiminta on sijoittunut. Tutkimus sijoittuu vuosien 1953 ja 2003 väliselle ajalle. Kuvailen Kukon tuotantoa levy levyltä edeten kronologisesti vuosikymmenittäin. Lisäksi kokoan tuotannon yhteen ja etsin hänen säveltämästään, sovittamastaan ja esittämästään musiikista muutamia erityisen vahvoja elementtejä. Tuloksena esittelen kahdeksan kategoriaa, joista jokainen on yhdistettävissä hänen elämänvaiheisiinsa ja asetettavissa vuorovaikutukseen lähiympäristön kanssa. Tutkielmassani käytän apuna mikrohistoriallista tutkimusotetta, joka sopii mainiosti työni toteuttamiseen. Tutkimusaineisto on hyvin laaja ja monipuolinen, ja olen poiminut tietoja muun muassa lehtiartikkeleista, arkistoista, levyjen kansista, festivaaliesitteistä ja kirjallisuudesta; kaikista ei löydy edes mainintaa päivästä, vuodesta tai kirjoittajasta. Tärkein aineistoni on kuitenkin muistinvarainen tieto eli Kukon haastattelumateriaali. Mikrohistorialliseen tutkimusotteeseen nojaten olen päässyt Kukon henkilöhistorian kautta käsiksi hieman yleisemmänkin tason asioihin ja ilmiöihin. Olen selvittänyt muun muassa Kajaani Big Bandin vaiheita 1950-luvulta 1970-luvulle sekä suomalaisen pop/jazz -koulutuksen kehitystä erilaisista musiikkileireistä Sibelius-Akatemian oppiaineeksi samalla, kun olen selvittänyt Kukon kehitystä muusikoksi. Lisäksi olen esitellyt esimerkiksi studiomuusikkoutta 1970-luvun Suomessa sekä senegalilaisen musiikkielämän piirteitä 1970- ja 1980-lukujen taitteessa. Mikrohistorioitsija Carlo Ginzburgin johtolanka-ajatusta mukaillen olen koonnut pienistä tiedon palasista, johtolangoista kokonaiskertomuksen. Avainsanat: Sakari Kukko, Piirpauke, suomalainen populaarimusiikki, jazz, mikrohistoria, henkilöhistoria

Koko talo soi : Klemetti-Opisto suomalaisen musiikkikulttuurin kehittäjänä 1953-1968

This study aims to examine the operations and significance of the Klemetti Institute (Klemetti-Opisto) as a developer of Finnish music culture from 1953 to 1968 during the term of office of the Institute s founder and first director, Arvo Vainio. The Klemetti Institute was originally established as a choir institute, but soon expanded to offer a wide range of music courses. In addition to providing courses for choir leaders and singers, the Institute began its orchestral activities as early as the mid-1950s. Other courses included ear training seminars as well as courses for young people s music instructors and in playing the kantele (a Finnish string instrument) and solo singing. More than 20 types of courses were offered over the 16-year period. The Klemetti Institute s courses were incorporated into the folk high school courses offered by the Orivesi Institute (Oriveden Opisto) and were organised during the summer months of June and July. In addition to funding based on the Folk High School Act, financial assistance was obtained from various foundations and funds, such as the Wihuri Foundation. This study is linked to the context of historical research. I examine the Klemetti Institute s operations chronologically, classifying instruction into different course types, and analyse concert activities primarily in the section on the Institute s student union. The source material includes the Klemetti Institute archives, which consist of Arvo Vainio s correspondence, student applications, register books and cards, journals and student lists, course albums and nearly all issues of the Klemettiläinen bulletin. In addition, I have used focused interviews and essays to obtain extensive data from students and teachers. I concentrate on primary school teachers, who accounted for the majority of course participants. A total of more than 2,300 people participated in the courses, nearly half of whom took courses during at least two summers. Primary school teachers accounted for 50% to 70% of the participants in most courses and constituted an even larger share of participants in some courses, such as the music instructor course. The Klemetti Institute contributed to the expansion throughout Finland of a new ideal for choral tone. This involved delicate singing which strives for tonal purity and expressiveness. Chamber choirs had been virtually unheard of in Finland, but the Klemetti Institute Chamber Choir popularised them. Chamber choirs are characterised by an extensive singing repertoire ranging from the Middle Ages to the present. As the name suggests, chamber choirs were originally rather small mixed choirs. Delicate singing meant the avoidance of extensive vibrato techniques and strong, heavy forte sounds, which had previously been typical of Finnish choirs. Those opposing and shunning this new manner of singing called it ghost singing . The Klemetti Institute s teachers included Finland s most prominent pedagogues and artists. As the focused essays, or reminiscences as I call them, show, their significance for the students was central. I examine extensively the Klemetti Institute s enthusiastic atmosphere, which during the early years was characterised by what some writers described as a hunger for music . In addition to distributing a new tonal ideal and choir repertoire, the Klemetti Institute also distributed new methods of music education, thus affecting the music teaching of Finnish primary schools, in particular. The Orff approach, which included various instruments, became well known, although some of Orff s ideas, such as improvisation and physical exercise, were initially unfamiliar. More important than the Orff approach was the in-depth teaching at the Klemetti Institute of the Hungarian ear training method known as the Kodály method. Many course participants were among those launching specialist music classes in schools, and the method became the foundation for music teaching in many such schools. The Klemetti Institute was also a pioneer in organising orchestra camps for young people. The Klemetti Institute promoted Finnish music culture and played an important role in the continuing music education of primary school teachers. Keywords: adult education, Grundtvigian philosophy, popular enlightenment, Klemetti Institute, Kodály method, choir singing, choir conducting, music history, music education, music culture, music camp, Orff approach, Orff-Schulwerk, Orivesi Institute, instrument teaching, free popular education, communality, solo singing, voice production

Ylirajaisia suhteita : Helsingin olympialaiset, Armi Kuusela ja ylikansallinen historia

In 1952 Helsinki hosted the Summer Olympic Games and Armi Kuusela, the current “Maiden of Finland”, was at the same time crowned Miss Universe. In popular history writing, these events have been designated as a crucial turning point – the end of an era marked by war and deprivation and the beginning of a modern, Western nation. Symptomatically, both events were marked by Finnish women’s sexual relationships with foreign men. The Olympics were shadowed by a concern over Finnish women’s “undue friendliness” with the Olympic guests, and Armi Kuusela's world tour was cut short by her surprise marriage in Tokyo and subsequent emigration to the Philippines. This study is an inquiry into the Helsinki Olympics and the public persona of Armi Kuusela from the point of view of transnational heterosexuality and the constitution of Finnish national identity. Methodologically the two main components of the study are intersectionality, defined here as a focus on the mutual histories and effects of discourses of gender, sexuality, race and nation; and transnational history as a way of exploring the ways that both nations and sexual subjects are embedded in global relations of power. The analysis proceeds by way of contextual and intertextual readings of various sources. Part one, centering on the Olympics, involves a campaign mounted by certain women’s organizations before the Games in order to educate young women about the potential dangers of the forthcoming international event as well as magazine and newspaper articles published during and after the Games concerning the encounter between young Finnish women and foreign, especially “Southern,” men. It places the debates during the Olympics within the framework of wartime understandings of women’s sexuality; the history of the concept of decency (siveellisyys); post-war population policy; the intersectional histories of conceptions pertaining to race and sexuality; and finally, the post-war concerns over women’s migration from rural areas to the capital city and their potential emigration abroad. Part two deals with the persona of Armi Kuusela and the public reception of her world tour and marriage, based on material from both Finland and the Philippines (newspapers, magazines, advertisements, books and films). It examines the persona of Armi Kuusela as a figure of national import in terms of the East/West divide; the racialized images of different geographic climates and Oriental “Others;” the meaning of whiteness in the Philippines; the significance of class and colonial history for the domestication of sexual and racial transgressions implied by an unconventional transnational marriage; as well as the cultural logics of transnational desire and its possible meanings for women in 1950s Finland. The study develops two arguments. First, it suggests that instead of being purely oppositional to national discourses, transnational desire may also be viewed as a product of these very discourses. Second, it claims that the national significance of both the Olympics and the persona of Armi Kuusela was due to the new points of comparison they both offered for national identity construction. In comparison with the sexualized Southern men at the Olympics and the racialized Orient in the representations of Armi Kuusela’s travels and marriage, Finland emerged as part of the civilized North, placed firmly within the perimeters of Western Europe. As such, both events mark a “whitening” of the Finnish people as well as a distancing from their previous designations in racial hierarchies. At the same time, however, the process of becoming a white nation inevitably meant complying with and reproducing racial hierarchies, rather than simply abolishing them.

Ruumiinkuvia! : Suomalainen performanssi- ja kehotaide 1980- ja1990-luvulla psykoanalyysin valossa

My PhD-thesis Body Images! Psychoanalytical Analysis of Finnish Performance and Body Art in the 1980s and 1990s considers Finnish performance and body art performed mainly by visual artists. In Part I, I chart the historical construction of performance art and its extension since the beginning of the 21st century. There are several wievs of the historical background of performance art. I introduce three different genealogies of performance art. One is Rose-Lee Goldberg s view. She connects performance art with the European avant-garde already at the beginning of the 20th century from futurists and dadaists to Russian avant-garde and the Bauhaus. I prefer to present performance art as contemporary art, which began to take shape in connection with visual arts in the 1950s and 1960s. The focus on the body is apparent in nearly all performance art. Nevertheless, throug the concept of body art I want to empasize the artist s body as the place of art. Body art (as part of performance art) functions as thematic and interpretive concept, which allows me to focus on performances where the questions of body image, narcissism, desire, language and pleasure are incorporated in particular intensive ways. In Part II, I explore the arrival of performance art in Finnish visual arts in the 1980s. I study the new generation s relation to earlier Finnish happenings (1960s) and performative actions in 1970 s. I briefly introduce performance groups of the 1980s art scene and consider their reception in media. The main focus is on the group Jack Helen Brut, in which I see many similarities to the so- called Theatre of Images. The goal of this part II is to provide historical context for the performance analysis that follows. In Part III, I develop the concept of body image which is my main theoretical term. The concept of body image is used according to Lacanian psychoanalytical theory, especially his considerations of mirror stages. My first mapping of body image, which I call imaginary body image, is based on Lacan s famous mirror stage article (1949). According to my reading, body image is narcistic and aggressive. The important concepts here are ego, imaginary, méconnaisance and alienation. In 1953 Lacan began to develop different version on mirror stage, in which he emphasized the primacy of symbolic dimension. It is not image, but language which constructs the foundations of body image. Central concepts in this chater are Other as language, ego-ideal, demand and desire. In the last chapter I connect the third version of the mirror stage to concepts of gaze, phantasy, real, jouissance and object a. In previous chapters I had considered body image in relation to ego. Now I explore it in relation to subject. In my reading the body image is fragile phenomen, which oscillates between yearning for coherence and phantasies of fragmented images. Part IV of the thesis begins with an introduction to the central concepts and debates in performace studies over the last few decades. Important concepts are presence, performativity and theatricality. The main substance of my thesis, however, is the performance analysis, which focuses on works by three Finnish artists and one Finnish group. The first analysis concerns the performance (1992) of Kimmo Schroderus. I discuss the relationship between narcissism and body art and the changes in demands projected on body images of men in recent decades in a Euro-American context. I also explore this performance in relation to the myth of Narcissus, which I reinterpret through Narcissus s aggression against his own body. The group Homo S is the main subject of the next analysis. I discuss the relationship between feminist art and performance art, especially in the United States in the 1960s and 1970s. Homo S is different from this early performance art because of its anarchism, humor and rejection of all ideals. Homo S characterizes its performance Body Body (1983) as liberating vulgar feminism . Sociality and performance of erotic relations between women are central in Body Body. Pia Lindman s performances are the subjects of my third analysis. I study three of her performances: Olen muoto (1993), 17 and in love (1994) and Arranged views (1995). I interpret these performances as efforts to disperse the imaginary and symbolic structures of the body image. She constructs the peculiar object a and phantasy space of her own. In the last analysis I move from questions of image and gaze to a study of language, sound and jouissance. I discuss at a general level the performance of orality and helplesness (Hilflosigkeit) in body art. The central elements in Pentti Otto Koskinen s performances are the ear, listening and receptive gestures and postions. Perseveraatio (1998) can be understood representing as submission to the super-ego s power, which compels one to enjoy. I examine particularly closely the performance Maissi on hyvää ei missään nimessä maissia (1995), which I interpret as the return of a baby s body image to the liminal site of choice: language or jouissance?

Groteski suomalaisessa kirjallisuudessa : Neljä tapaustutkimusta

The grotesque in Finnish literature. Four case studies The topic of the dissertation is the grotesque in Finnish literature. The dissertation is twofold. Firstly, it focuses on the genre tradition of the grotesque, especially its other main branch, which has been named, following in Bakhtin s footsteps, subjective ( chamber ) grotesque, to be distinguished from carnivalistic ( public square ) grotesque. Secondly, the dissertation analyses and interprets four fictional literary works within the context of the grotesque genre, constructed on the basis of previous research and literature. These works are the novel Rakastunut rampa (1922) by Joel Lehtonen, the novel Prins Efflam (1953, transl. into Finnish as Kalastajakylän prinssi) by Sally Salminen, the short story Orjien kasvattaja (1965) by Juhani Peltonen, and the novel Veljeni Sebastian (1985) by Annika Idström. What connects these stirring novels, representing early or full modernism, is the supposition that they belong to the tradition of the subjective grotesque, not only due to occasional details, but also in a more comprehensive manner. The premises are that genre is a significant part of the work and that reading a novel in the context of the genre tradition adds something essential to the interpretation of individual texts and reveals meanings that might otherwise go unnoticed. The main characteristic of the grotesque is breaking the norm. This is accomplished through different means: degradation, distortion, inversion, combination, exaggeration and multiplication. The most significant strategy for breaking the norm is incongruence: the grotesque combines conflicting or mutually exclusive categories and elements on different levels. Simultaneously, the grotesque unravels categorisations and questions our way of perceiving the world. The grotesque not only poses a threat to one s identity, but can also pose a threat to the cognitive process. An analysis of the fictional works is presented as case studies of each chosen work as a whole. The analysis is based on the method of close reading, which draws on both classical and postclassical narratology, and the analysis and interpretation are expanded within the genre tradition of the grotesque. The grotesque is also analysed in terms of its relationship to the neighbouring categories and genre traditions, such as the tragic, the sublime, the horror story and the coming-of-age story. This dissertation shows how the grotesque is constructed repeatedly on deviations from the norm as well as on incongruence, also in the works analysed, and how it stratifies in these novels on and between different levels, such as the story, text, narration, composition and the world of the novels. In all the works analysed, the grotesque reduces and subverts. Again and again it reveals different sides of humanity stripped of idealisation and glorification. The dissertation reveals that Finnish literature is not a solitary island, even regarding the grotesque, for it continues and offers variations of the common tradition of grotesque literature, and likewise draws on grotesque visual arts. This dissertation is the first monograph in Finnish literature research focusing on the subjective grotesque.

Liivin kielen ajan perusyksiköihin perustuvat ajan adverbiaalit

Pro gradu –työni tutkimuskohteena ovat liivin kielen ajan adverbiaalit, jotka on muodostettu ajan perusyksiköiden pohjalta. Tutkimus on aineistolähtöinen ja perustuu 563:een esimerkkilauseeseen. Ne on koottu kolmesta kielennäytekokoelmasta: E. N. Setälän ja Väinö Kyrölän kokoelmasta Näytteitä liivin kielestä (1953), Seppo Suhosen kokoelmasta Liivin kielen näytteitä (1975) sekä Julius Mägisten kokoelmasta Muistoja Liivinrannasta (2006). Lisäksi esimerkkejä on Lauri Kettusen liivin sanakirjasta Livisches Wörterbuch (1938). Käsittelemäni ajan perusyksiköt ovat aikaa nimeäviä substantiiveja, kuten vuorokaudenaikojen, viikonpäivien, kuukausien ja vuodenaikojen nimitykset sekä merkitykset ’vuosi’, ’kuukausi’, ’viikko’, ’tunti’, ’minuutti’ ja ’sekunti’. Liivin kielessä näistä muodostetaan ajan adverbiaaleja leksikaalisin ja syntaktisin keinoin. Leksikaaliset ajan adverbiaalit rajautuvat semanttisin perustein: ne ovat sijamuodoissa taivutettuja substantiiveja. Syntaktiset ajan adverbiaalit ovat useampisanaisia adpositiolausekkeita ja kiinteitä sanaliittoja. Ne on muodostettu adpositioiden, kvanttoripronominien, demonstratiivipronominien tai muiden määritteiden avulla ajan perusyksiköiden pohjalta. Tutkielmassani käsittelen aikaa myös hieman laajemmasta näkökulmasta: käsittelen aikaa ilmaisevien yksiköiden muodostumista sekä ajan kielellistämistä. Esittelen myös aiempaa tutkimusta ajan adverbiaaleista sekä tähän mennessä laaditut liivin kieliopin kuvaukset. Ne ovat keskittyneet enemmän morfologian kuin syntaksin esittelyyn. Ajan adverbiaalit ovat jääneet vain maininnan asteelle, joten käsittelemäni aihe on varsin tutkimatonta aluetta liivin kielessä. Adverbiaalien ja tarkemmin ajan adverbiaalien määrittelyn olen perustanut Ison suomen kieliopin pohjalle. Yleisestikin läpi työni kulkee liivin kielen rakenteiden ja ilmiöiden vertailu erityisesti suomeen ja viroon. Taustaksi tutkimukselleni esittelen ajan perusyksiköt ja niiden etymologiaa Itämerenalueen kielistä suomessa, virossa, saksassa, ruotsissa, latviassa ja venäjässä. Liivin aineiston käsittely alkaa myös ajan perusyksiköiden ja niistä muodostettujen leksikaalisten ajan adverbiaalien esittelyllä. Leksikaaliset ajan adverbiaalit muodostetaan liivissä usean eri sijamuodon avulla. Yleisin on partitiivi-illatiivi. Muut käytetyt sijat ovat nominatiivi-genetiivi, illatiivi, inessiivi ja adessiivi sekä epäproduktiivinen essiivi. Leksikaalisten ajan adverbiaalien yhteydessä viittaan myös objektin sijaiseen määrän adverbiaaliin eli osmaan. Syntaktisten ajan adverbiaalien yhteydessä käsittelen sekä niiden muodostamista yleensä että niitä muodostavien elementtien muotoa. Adpositiolausekkeiden yhteydessä käsittelen myös adpositioiden ilmenemistä itämerensuomalaisissa kielissä. Aineistossani esiintyy 11 eri adpositiota tai adposition tavoin käytettyä nominia. Kuvaan sekä adpositioiden itsensä muotoa että adpositioiden täydennyksen muotoa. Ajan adverbiaaleja muodostavia kvanttoripronomineja esiintyy aineistossani viisi. Osa niistä ajan adverbiaaleina esiintyessään taipuu ja usein myös kongruoi täydennyksensä kanssa, osa on taipumattomia ja niiden täydennys on lähes aina nominatiivi-genetiivissä. Ajan adverbiaaleja muodostetaan myös kolmen demonstratiivipronominin avulla. Demonstratiivipronomini ja sen pääsana voivat kongruoida tai pääsana voi esiintyä samassa muodossa kuin yksin leksikaalisena ajan adverbiaalina. Muita määritteitä aineistossani on neljä. Kolme niistä on nomineja ja yksi on partisiippi. Ne eivät useimmiten itse taivu ja niiden täydennys on tavallisesti nominatiivi-genetiivissä, mutta joissakin tapauksissa myös paikallissijoissa. Työssäni olen viitannut myös leksikaalistumiseen. Liivissä useat muissa itämerensuomalaisissa kielissä esiintyvät sijamuodot ovat muuttuneet epäproduktiivisiksi. Tällaisia ovat ulkopaikallissijat sekä essiivi ja instruktiivi. Näitä kaikkia kuitenkin esiintyy ajan ilmausten yhteydessä ja ulkopaikallissijoista erityisesti adessiivilla näyttäisi olevan tärkeä asema sekä ajan että paikan ilmauksissa.

Late results after paediatric cardiac surgery

Background: Congenital heart defects include a wide range of inborn malformations. Depending on the defect, the life expectancy of a newborn with cardiac anomaly varies from a few days to a normal life span. In most instances surgery, is the only treatment available. The late results of surgery have not been comprehensively investigated. Aims: Mortality, morbidity and the life situation of all Finnish patients who had been operated on for congenital heart defect during childhood were investigated. Methods: Patient and surgical data were gathered from all hospitals that had performed heart surgeries on children. Late mortality and survival data were obtained from the population registry, and the causes of deaths from Statistics Finland. Morbidity of patients operated on during 1953-1989 was assessed by the usage of medicines. The pharmacotherapy data of patients and controls were obtained from the Social Insurance Institute. The life situation of patients was surveyed by mailed questionnaire. Survival, causes of deaths and life situation of patients were compared with those of the general population. Results: A total of 7240 cardiac operations were performed on 6461 children during the first 37 years of cardiac surgery (1953-1989). The number of procedures constantly rose during this period, and the increase continued in later years. The patient material varied over time, as more defects became surgically treatable. During 1953-1989 the operative mortality (death within 30 days of surgery) was 6.9%. In the 1990s a slight rise occurred in early mortality, as increasingly complicated patients were surgically treated. During 2000-2003 practically no defects were beyond the operative range. Thus, the operative mortality of 4.4% was excellent, decreasing even further to 2.0% in 2004-2007. The overall 45-year survival of patients operated on in 1953-1989 was 78%, and the corresponding figure for the general population was 93%. Survival depended on the defect, being worst among patients with univentricular heart. Late survival was also better during the 1990s and at the beginning of the 21st century. Of the 6028 early survivors, 592 died late (>30 days) after surgery. A total of 397 deaths (67%) were related and 185 (31%) unrelated to congenital heart defect. The cause of death was unknown in 10 cases. Of those 5774 patients who survived their first operation and had complete follow-up, 16% were operated on several times. Seventeen percent of patients used medicines for cardiac symptoms (heart failure, arrhythmia, hypertension and coronary disease). Patients risk of using cardiac medicines was 2.16 (Cl 1.97-2.37) times higher than that of controls. Patients also had more genetic syndromes and mental retardation and more often used medicines for asthma and epilepsy. Adult patients who had been operated on as children had coped surprisingly well with their defects. Their level of education was similar and their employment level even higher than expected, and they were living in a steady relationship as often as the general population. Conclusions: Cardiac surgery developed rapidly, and nowadays practically all defects can be treated. The overall survival of all operated patients was 78%, 16% less than that of the general population. However, it was significantly better than the anticipated natural survival. However, many patients had health problems; 16% needed reoperations and 17% cardiac medicines to maintain their condition. Most of the patients assessed their general health as good and lived a normal life.

Primary Fallopian tube carcinoma:occurrence, risk and prognostic factors

The aim of the study was to clarify the occurrence, and etiological and prognostic factors of primary fallopian tube carcinoma (PFTC). We studied the sociodemographic determinants of the incidence of PFTC in Finland and the role of chlamydial infections and human papillomavirus infections as risk factors for PFTC. Serum tumor markers were studied as prognostic factors for PFTC. We also evaluated selected reproductive factors (parity, sterilization and hysterectomy) as risk or protective factors of PFTC. The risks of second primary cancers after PFTC were also studied. The age-adjusted incidence of PFTC in Finland increased to 5.4 / 1,000,000 in 1993 97. The incidence rate was higher in the cities, but the relative rise was higher in rural areas. Women in the two highest social classes showed a 1.8 fold incidence compared with those in the lowest. Women in agriculture and those not working outside the home showed only half the PFTC incidence of those in higher socioeconomic occupations. Pretreatment serum concentrations of hCGβ, CA125 and TATI were evaluated as prognostic markers for PFTC. Elevated hCGβ values (above the 75th percentile, 3.5 pmol/L; OR 2.49, 95% CI 1.22 5.09), stage and histology were strong independent prognostic factors for PFTC. The effects of parity, sterilization and hysterectomy on the risk of PFTC were studied in a case control-study with 573 PFTC cases from the Finnish Cancer Registry. In multivariate analysis parity was the only significant protective factor as regards PFTC, with increasing protection associated with increasing number of deliveries. In univariate analysis sterilization gave borderline protection against PFTC and the protective effect increased with time since the operation. In multivariate analysis the protection did not reach statistical significance. Chlamydial and human papillomavirus (HPV) infections were studied in two separate seroepidemiological case-control studies with 78 PFTC patients. The incidence of women with positive HPV or chlamydial serology was the same in PFTC patients and in the control group and was not found to be a risk factor for PFTC. Finally, the possible risk of a second primary cancer after diagnosis and treatment of PFTC in a cohort of 2084 cases from 13 cancer registries followed for second primary cancers within the period 1943 2000 was studied. In PFTC patients, second primary cancers were 36% more common than expected (SIR 1.36, 95% CI 1.13 1.63). In conclusion, the incidence of PFTC has increased in Finland, especially in higher social classes and among those in certain occupations. Elevated serum hCGβ reflect a worsened prognosis. Parity is a clear protective factor, as is previous sterilization. After PFTC there is a risk of second primary cancers, especially colorectal, breast, lung and bladder cancers and non-lymphoid leukemia. The excess of colorectal and breast cancers after PFTC may indicate common effects of earlier treatments, or they could reflect common effects of lifestyle or genetic, immunological or environmental background.

Pragmatismi poliittisena filosofiana. Yksilö ja yhteisö John Deweyn ajttelussa

John Dewey (1859-1952) oli yhdysvaltalainen filosofi, pedagogi ja julkinen keskustelija, jonka ajattelu on merkittävästi vaikuttanut pragmatismina tunnetun filosofisen suuntauksen kehittymiseen. Tässä Pro gradu -tutkielmassa tarkastellaan Devveyn poliittista filosofiaa ja ajattelua. Tarkoituksena on selvitellä, millaista on Devveyn poliittinen filosofia ja voiko hänen pragmatistinen poliittinen filosofiansa tarjota jotain mielenkiintoista myös tämän päivän poliittisen filosofian kentälle. Tutkielmassa tarkastellaan Devveyn esittämää kritiikkiä klassista liberalismia ja individualismia kohtaan, Devveyn omaa poliittisen filosofian projektia sekä sen kohtaama kritiikkiä ja arvioidaan Devveyn poliittista filosofiaa yleisesti. Tarkastelun kohteena ovat muun muassa Devveyn käsitykset yksilöstä, valtiosta, demokratiasta, vallasta ja tiedosta. Ensisijaisena lähteenä tutkielmassa on Devveyn koottujen teosten sarja vuosilta 1882-1953, ennen kaikkea 1920-30-lukujen tuotanto. Lisäksi lähteenä on useita tuoreita artikkeleita sekä kommentaareja. Keskeisin löytö tutkielmassa on, että Devveyn poliittisen filosofian oleellinen piirre on "anti-essentialismi", eli huomion siirtäminen pois jostain oletetuista yksilöiden ja ryhmien olemuksista tai sisäisestä luonnosta niiden välisiin suhteisiin ja näiden ilmauksiin. Tähän liittyen Devveyn poliittisen filosofian keskeiseksi lähtökohdaksi osoittautuu perinteisen yksilö-yhteisö jaottelun kyseenalaistaminen. Tutkielma tarjoaa laajan katsauksen Devveyn poliittiseen ajatteluun sekä pragmatistiseen poliittiseen filosofiaan.

Tibetan Written Images : A Study of Imagery in the Writings of Dhondup Gyal

Dhondup Gyal (Don grub rgyal, 1953 - 1985) was a Tibetan writer from Amdo (Qinghai, People's Republic of China). He wrote several prose works, poems, scholarly writings and other works which have been later on collected together into The Collected Works of Dhondup Gyal, in six volumes. He had a remarkable influence on the development of modern Tibetan literature in the 1980s. Examining his works, which are characterized by rich imagery, it is possible to notice a transition from traditional to modern ways of literary expression. Imagery is found in both the poems and prose works of Dhondup Gyal. Nature imagery is especially prominent and his writings contain images of flowers and plants, animals, water, wind and clouds, the heavenly bodies and other environmental elements. Also there are images of parts of the body and material and cultural images. To analyse the images, most of which are metaphors and similes, the use of the cognitive theory of metaphor provides a good framework for making comparisons with images in traditional Tibetan literature and also some images in Chinese, Indian and Western literary works. The analysis shows that the images have both traditional and innovative features. The source domains of images often appear similar to those found in traditional Tibetan literature and are slow to change. However, innovative shifts occur in the way they are mapped on their target domains, which may express new meanings and are usually secular in nature if compared to the religiosity which often characterizes traditional Tibetan literature. Dhondup Gyal's poems are written in a variety of styles, ranging from traditional types of verse compositions and poems in the ornate kāvya-style to modern free verse poetry. The powerful central images of his free verse poems and some other works can be viewed as structurally innovative and have been analysed with the help of the theory of conceptual blending. They are often ambiguous in their meaning, but can be interpreted to express ideas related to creativity, freedom and the need for change and development.