Between Dugin’s Eurasianism and Mahan’s Sea Power Concept: Russia’s Geopolitical Discourse within Foucault’s ‘Discursive Tree’ before and After the Incorporation of the Crimea

The fall of 2013 could be characterized as a crossroad in the geopolitics of Eastern Europe, namely Ukraine. Two rivalry geopolitical projects have been developing throughout the post-Cold War years, and it seems that they reached a collision point in Ukraine; a country whose authorities have been for long switching sides between the European Union and the Russian Federation in their foreign policy commitments. The refusal/postponing to sign the Association Agreement with Brussels, an expected event by a large category of the Ukrainian society, by Yanukovich’s government led to the outset of the latter; and brought a pro-Western, anti-Russian government in Kyiv. It seems that Ukraine, after those events, has embarked definitively on the path of integration into the West (European Union and possibly NATO). The Russian Federation, who has been throughout Putin’s years engaged into the re-integration of post-Soviet space, reacted to these developments in an assertive manner by violating borders, agreements and the territorial integrity of Ukraine. Thus, the incorporation of the Crimea into the Russian Federation is the first in its kind in the post-Soviet space, despite the existence of various other conflicts that broke out in the region after the Soviet Union broke up. I will investigate in this thesis the nature of what will be labelled, in this work, the Crimean issue. I argue that the incorporation of the Crimean peninsula into the Russian Federation marks a new era in Russian geopolitical thinking that shapes, to a far extent, Russian foreign policy. Discourse analysis will be the methodological basis for this study, with a special focus on Michel Foucault’s Archaeology of Knowledge. The innovation that this research brings is the fact that it discusses Russian geopolitical discourse within the scope of Foucault’s ‘discursive tree’, with a reference to the Crimean issue. A wide range of primary sources will be consulted in this study such as presidential addresses to the Federal Assembly (2000-2014), Foreign Policy Concepts of the Russian Federation (2000, 2008), Russian maritime doctrines, as wells as Dugin’s Osnovy Geopolitiki (Foundations of Geopolitics), Mahan’s (The Influence of Sea Power Upon History, 1660–1783) and other Eurasianism related literature.

Erkki Huhtamon magnum opus

Kirjallisuusarvostelu

Secular Possession: Cinematic Iconography of Addiction

Addiction, and the experience of being addicted, is notoriously difficult to describe verbally and explain rationally. Would multifaceted and multisensory cinematic images work better in making addiction understandable? This study enquires how cinematic expression can render visible the experience of being addicted which is invisible as such. The basic data consists of circa 50 mainly North American and European fiction films from the early 1900s to the early 2000s that deal with addictive disorders as defined in the psychiatric DSM-V classification (substance dependence- and gambling disorders). The study develops an approach for analyzing and interpreting a large volume of digital film data: digital cinematic iconography is a framework to study the multifaceted cinematic images by processing and viewing them in the “digital image-laboratory” of the computer. Images are cut and classified by editing software and algorithmic sorting. The approach draws on early 1900s German art historian Aby Waburg’s image research and media archaeology, that are connected to film studies inspired by the phenomenology of the body and Gilles Deleuze’s film-philosophy. The first main chapter, “Montage”, analyses montage, gestural and postural images, and colors in addiction films. The second main chapter, “Thingness”, focuses on the close-ups of material objects and faces, and their relation to the theme of spirituality in cinema and art history, The study argues that the cinema engages the spectator to "feel" what addiction is through everyday experience and art historical imagery. There is a particular, historically transmitted cinematic iconography of addiction that is profane, material, thing-centered, abject, and repetitive. The experience of being addicted is visualized through montages of images characterized by dark and earthy colors, horizontal compositions and downward- directed movements. This is very profane and secular imagery that, however, circulates image-historical traces of Christian iconography, such as that of being in the grip of an unknown power.