Hallintasuhteet symbolien ja seremonioiden avulla näkyviksi

Kirjallisuusarvostelu

Perusteos Suomen sodasta 1808-09

Kirjallisuusarvostelu

Kung Karls jakt

Saksalaissyntyisen säveltäjän ja kapellimestarin Fredrik Paciuksen (1809 - 1891) ooppera Kaarle-kuninkaan metsästys (Kung Karls jakt) on ensimmäinen Suomessa sävelletty ja aiheeltaan Suomeen liittyvä ooppera. Zacharias Topeliuksen librettoon sävelletty teos sai kantaesityksensä vuonna 1852, ja sen pioneerityön luonne on Suomen musiikin historiassa kiistaton. Ooppera kertoo 16-vuotiaan kuninkaan Kaarle XI:n vuonna 1671 Ahvenanmaalle tekemästä hirvenmetsästysmatkasta. Sen juoni rakentuu aatelismiesten salaliitosta kuningasta vastaan, mutta teemana on myös salametsästys. Oopperassa on isänmaallista henkeä, ja musiikillisesti sitä on kiitelty täysipainoisena ja vakuuttavana näytteenä Paciuksen osaamisesta kansainväliselläkin tasolla. Pacius on saanut kunnianimen "Suomen musiikin isä". Hän muutti Suomeen vuonna 1835 toimiakseen musiikinopettajana Keisarillisessa Aleksanterin yliopistossa. Pacius toi eurooppalaista musiikkia Helsinkiin ja vaikutti monin tavoin maan musiikkielämän nousuun. Parhaiten hänet tunnetaan Maamme-laulun säveltäjänä. Paciuksen syntymästä tulee kuluneeksi 200 vuotta vuonna 2009. Pacius laati vuoden 1852 Kaarle-kuninkaan metsästyksen kantaesityksen jälkeen teoksesta yhteensä neljä eri versiota, joista Kansalliskirjaston käsikirjoituskokoelmassa on kolme.

Svenskt, finskt och ryskt : nationens, språkets och historiens dimensioner hos E. G. Ehrström 1808–1835

Avhandlingen handlar om hur E.G. Ehrström (1791–1835) under tidsperioden 1808–35 förhöll sig till finskt, svenskt och ryskt. Då Finland år 1809 förvandlades från svensk riksdel till ryskt storfurstendöme tvingades finländarna att i den nya situationen reflektera över hur man skulle definiera nation, språk och historia. Det fanns inget givet svar på vad Finlands invånare hade blivit genom den geopolitiska omvälvningen. E.G. Ehrström var en individ som i ovanligt många sammanhang var tvungen att brottas med de nationella frågorna. Som ung student deltog han i finska kriget år 1808 och år 1812 studerade han som stipendiat i Moskva. År 1815 blev han lektor i ryska vid akademin i Åbo och som romantiker betonade han samtidigt det finska språkets roll som Finlands enda nationalspråk. Åren 1826–35 var han slutligen kyrkoherde i den svenska församlingen i S:t Petersburg. I alla de olika rollerna och kontexterna måste han anpassa sina nationella ställningstaganden till den specifika situation och roll i vilken han verkade. Avhandlingens syfte är att dra slutsatser om de faktorer som gör att en individ i olika sammanhang betonar olika aspekter av det nationella. I det allmänna medvetandet uppfattas nationella identiteter ofta som stabila och enhetliga, medan den teoretiska litteraturen i dag lyfter fram att de i själva verket är föränderliga och flytande. Finland strax efter 1809 är intressant att studera ur detta perspektiv. Eftersom det var oklart vad Finland och dess invånare hade blivit, var man tvungen att skapa ett innehåll för den nya enheten. En analys av hur man resonerade i sammanhanget kan lära oss något hur nationella identiteter skapas och fungerar också i dag.

A northern summer; or travels round the Baltic, through Denmark, Sweden, Russia, Prussia, and part of Germany in the year 1804 : by John Carr, esq.

Dedicated to: James Mackintosh.

Les treize journées ou la Finlande : [par le prince Gagarin].

Includes six folded tables.

Finland und seine Bewohner : von Friechrich Rühs. Mit einer Charte von Finland.

Music annexed to p. 16.

Kort beskrifning om Åland : författad af Daniel Djurberg. Rector scholä, ledamot af Cosmogr. sällskapet i Upsala. Med karta.

Digital reproduction, The National Library of Finland, Centre for Preservation and Digitisation, Mikkeli

Ruotsille tärkeä Suomi

Kirjallisuusarvostelu

Sivistyksestä sivilisaatioon. Kulttuurikäsitys J. V. Snellmanin historiallisessa ajattelussa

From Bildung to Civilisation. Conception of Culture in J. V. Snellman’s Historical Thinking The research explores Johan Vilhelm Snellman’s (1806–1881) conception of culture in the context of his historical thinking. Snellman was a Finnish, Swedish-speaking journalist, teacher and thinker, who held a central position in the Finnish national discourse during the nineteenth century. He has been considered as one of the leading theorists of a Finnish nation, writing widely about the themes such as the advancement of the national education, Finnish language and culture. Snellman is already a widely studied person in Finnish intellectual history, often characterised as a follower of G. W. F. Hegel’s philosophical system. My own research introduces a new kind of approach on Snellman’s texts, emphasising the conceptual level of his thought. With this approach, my aim is to broaden the Finnish research tradition on conceptual history. I consider my study as a cultural history of concepts, belonging also to the field of intellectual history. My focus is on one hand on the close reading of Snellman’s texts and on the other hand on contextualising his texts to the European intellectual tradition of the time. A key concept of Snellman’s theoretical thinking is his concept of bildning, which can be considered as a Swedish counterpart of the German concept of Bildung. The Swedish word incorporated all the main elements of the German concept. It could mean education or the so-called high culture, but most fundamentally it was about the self-formation of the individual. This is also the context in which Snellman’s concept of bildning has often been interpreted. In the study, I use the concept of bildning as a starting point of my research but I broaden my focus on the cognate concepts such as culture (kultur), spirit (anda) and civilisation. The purpose of my study is thus to illustrate how Snellman used and modified these concepts and from these observations to draw a conclusion about the nature of his conception of culture. Snellman was an early Finnish philosopher of history but also interested in the practice of the writing of history. He did not write any historical presentations himself but followed the publications in the field of history and introduced European historical writing to the Finnish, Swedish-speaking reading audience in his newspapers. The primary source material consists of different types of Snellman’s texts, including philosophical writings, lecture material, newspaper articles and private letters. I’m reading Snellman’s texts in the context of other texts produced both by his Finnish predecessors and contemporaries and by Swedish, German and French writers. Snellman’s principal philosophical works, Versuch einer spekulativen Entwicklung der Idee der Persönlichkeit (1841) and Läran om staten (1842), were both written abroad. Both of the works were contributions to contemporary debates on the international level, especially in Germany and Sweden. During the 1840s and 1850s Snellman had two newspapers of his own, Saima and Litteraturblad, which were directed towards the Swedish-speaking educated class. Both of the newspapers were very popular and their circulations were among the largest of their day in Finland. The topics of his articles and reviews covered literature, poetry, philosophy and education as well as issues concerning the economic, industrial and technical development in Finland. In his newspapers Snellman not only brought forth his own ideas but also spread the knowledge of European events and ideas to his readers. He followed very carefully the cultural and political situation in Western Europe. He also followed European magazines and newspapers and was well acquainted with German, French and also English literature – and of course Swedish literature to with which he had the closest ties. In his newspapers Snellman wrote countless number of literary reviews and critics, introducing his readers to European literature. The study consists of three main chapters in which I explore my research question in three different, yet overlapping contexts. In the first of these chapters, I analyse Snellman’n theoretical thinking and his concepts of bildning, kultur, anda and civilisation in the context of earlier cultural discourse in Finland as well as the tradition of German idealistic philosophy and neo-humanism. With the Finnish cultural discourse I refer to the early cultural discussion in Finland, which emerged after the year 1809, when Finland became an autonomous entity of its own as a Grand Duchy of Russia. Scholars of the Academy of Turku opened a discussion on the themes such as the state of national consciousness, the need for national education and the development of the Finnish language as a national language of Finland. Many of these academics were also Snellman’s teachers in the early years of his academic career and Snellman clearly formulated his own ideas in the footsteps of these Finnish predecessors. In his theoretical thinking Snellman was a collectivist; according to him an individual should always be understood in connection with the society, its values and manners, as well as to the traditions of a culture where an individual belongs to. In his philosophy of the human spirit Snellman was in many ways a Hegelian but his notion of education or ‘bildning’ includes also elements that connect him with the wider tradition of German intellectual history, namely the neo-humanist tradition and, at least to some extent, to the terminology of J. G. Herder or J. G. Fichte, for example. In this chapter, I also explore Snellman’s theory of history. In his historical thinking Snellman was an idealist, believing in the historical development of the human spirit (Geist in German language). One can characterise his theory of history by stating that it is a mixture of a Hegelian triumph of the spirit and Herderian emphasis on humanity (Humanität) and the relative nature of ‘Bildung’. For Snellman, the process of ‘bildning’ or ‘Bildung’ is being realised in historical development through the actions of human beings. Snellman believed in the historical development of the human civilization. Still Snellman himself considered that he had abandoned Hegel’s idea about the process of world history. Snellman – rightly or wrongly – criticised Hegel of emphasising the universal end of history (the realisation of the freedom of spirit) at the expense of the historical plurality and the freedom of each historical era. Snellman accused Hegel of neglecting the value and independency of different historical cultures and periods by imposing the abstract norm, the fulfilment of the freedom of spirit, as the ultimate goal of history. The historicist in Snellman believed in the individuality of each historical period; each historical era or culture had values, traditions and modes of thought of its own. This historicist in Snellman could not accept the talk about one measure or the end of history. On the other hand Snellman was also a universalist. He believed that mankind had a common task and that task was the development of ‘Bildung’, freedom or humanity. The second main chapter consists of two parts. In the first part, I explore the Finnish nationalistic discourse from the cultural point of view by analysing the notions such as a nation, national spirit or national language and showing how Snellman formulated his own ideas in a dialogic situation, participating in the Finnish discourse but also reacting to international discussions on the themes of the nation and nationality. For Snellman nationality was to a great extent the collective knowledge and customs or practices of the nation. Snellman stated that nationality is to be considered as a form of ‘bildning’. This could be seen not simply as affection for the fatherland but also for the mental identity of the nation, its ways of thinking, its practices, national language, customs and laws, the history of the nation. The simplest definition of nationality that Snellman gives is that nationality is the social life of the people. In the second part of the chapter I exam Snellman’s historical thinking and his understanding about historical development, interaction between different nations and cultures in the course of history, as well as the question of historical change; how do cultures or civilisations develop and who are the creators of culture? Snellman did not believe in one dominating culture but understood the course of history as a dialogue between different cultures. On the other hand, his views are very Eurocentric – here he follows the ideas of Hegel or for example the French historian François Guizot – for Snellman Europe represented the virtue of pluralism; in Europe one could see the diversity of cultures which, on the other hand, were fundamentally based on a common Christian tradition. In the third main chapter, my focus is on the writing of history, more precisely on Snellman’s ideas on the nature of history as a science and on the proper way of writing historical presentations. Snellman wrote critics on the works of history and introduced his readers to the writing of history especially in France, Sweden and German-speaking area – in some extend also in Britain. Snellman’s collectivistic view becomes evident also in his reviews on historical writing. For Snellman history was not about the actions of the states and their heads, nor about the records of ruling families and battles fought. He repeatedly stressed that history is a discipline that seeks to provide a total view of a phenomenon. A historian should not only collect information on historical events, since this information touches only the surface of a certain epoch or civilisation; he has to understand an epoch as totality. This required an understanding about the major contours in history, connections between civilisations and an awareness of significant turning points in historical development. In addition, it required a holistic understanding about a certain culture or historical era, including also the so-called inner life of a specific nation, a common people and their ways of life. Snellman wrote explicitly about ‘cultural history’ in his texts, referring to this kind of broad understanding of a society. In historical writing Snellman found this kind of broader view from the works of the French historians such as François Guizot and Jules Michelet. In all of these chapters, I elaborate the conceptual dimension of Snellman’s historical thinking. In my study I argue that Snellman not only adopted the German concepts of Bildung or Kultur in his own thinking but also developed the Swedish concepts in a way that include personal and innovative aspects. Snellman’s concept of bildning is not only a translation from ‘Bildung’ but he uses the Swedish concept in a versatile way that includes both the moral aspect of human development and social dimension of a human life. Along with ‘bildning’ Snellman used also the terms ‘kultur’ and ‘civilisation’ when referring to the totality of a certain nation or historical era, including both the so-called high culture (arts, science, religion) and the modes of thought as well as ways of life of the people as a whole. Unlike many of his Finnish contemporaries, Snellman did not use civilisation as a negative concept, lacking the moral essence of German term ‘Bildung’ or ‘Kultur’. Instead, for Snellman civilisation was a neutral term and here he comes close to the French tradition of using the term. In the study I argue that Snellman’s conception of culture in fact includes a synthesis of the German tradition of ‘Bildung’ and the French tradition of ‘civilisation’.

Myndighetsperson, själasörjare eller driftkucku : en studie av prästgestalter i svenska romaner 1809–2009

Syftet med avhandlingen är att undersöka hur prästgestalter i svenska romaner skildras. Eftersom sockenprästerna under lång historisk tid har innehaft en långtgående världslig och andlig makt över församlingsborna i kraft av prästämbetet, var och är prästskildringar intressanta för många romanläsare. Prästen som romangestalt har många liknande drag från roman till roman och går att kategorisera. Mitt studium av lutherska prästgestalter i svenska romaner 1809–2009 tar sin utgångspunkt i följande kategorier: Prästen som myndighetsperson (ämbetsbärare, patriark och förebild), som själasörjare (församlingsherde, predikant, biktfader och troskämpe) och prästen som driftkucku (hycklare, hatobjekt och skrattspegel). Avhandlingens teoretiska utgångspunkter tar sikte på skildringen av prästgestalterna och utgår från Blakey Vermeule som har undersökt varför romaner och romangestalter är intressanta för läsaren. Jon Helt Haarder har formulerat teorin om den performativa biografismen som är givande i studiet eftersom många romaner med prästkaraktärer är (själv)biografiska. Med Eric Donald Hirsch Jr. hävdar jag att författaren har betydelse för texten och menar att författarens avsikter med en prästkaraktär kan påverka analysen av karaktärerna. Mitt typologiska studium genom cirka 150 romaner visar hur de humoristiska prästskildringarna finns representerade under hela perioden av 200 år. Tidigare teorier som förbundit vissa prästtyper till litterära epoker, till exempel den hycklande prästen vid det moderna genombrottet i Norden, blir genom min studie modifierade. Ett annat fynd är att prästers utomäktenskapliga förbindelser tenderar att skildras som en svårare synd i senare historiska romaner än i samtida 1800-talsromaner. ---------------------------------------------------------- Tutkimuksen tarkoituksena on selvittää, miten pappien hahmot eroavat toisistaan ruotsinkielisissä romaaneissa. Koska pitäjän papeilla on pitkään historiassa ollut mittavaa maallista ja hengellistä valtaa seurakuntalaisiin nähden pappisviran puolesta, ovat pappishahmojen eroavaisuudet mielenkiintoisia monille romaanien lukijoille. Papeilla romaanien hahmoina on monia romaanista toiseen toistuvia piirteitä, joita voi kategorisoida. Lähtökohtana tutkielmalleni luterilaisten pappien hahmoista ruotsalaisissa romaaneissa vuosina 1809-2009 ovat seuraavat kategoriat: papit viranomaisina (viranhaltijoina, patriarkkoina ja esikuvina), sielunpaimenina (seurakuntien paimenina, saarnaajina, rippi-isinä ja uskon taistelijoina) sekä papit pilkan kohteena (tekopyhinä, vihan ja naurun kohteina). Väitöskirjan teoreettiset lähtökohdat ottavat näkökulmaa pappishahmojen eroavaisuuksiin, ja pohjautuvat Blakey Vermeulen tutkimukseen siitä, miksi romaanit ja romaanien hahmot ovat mielenkiintoisia lukijalle. Jon Helt Haarder on kehittänyt teorian performatiivisesta elämäkerrallisuudesta, joka on antoisaa tälle tutkielmalle, sillä monet pappishahmoja sisältävät romaanit ovat (oma)elämäkerrallisia. Väitän yhdessä Eric Donald Hirsch Jr.:n kanssa, että kirjailijan persoonalla on merkitystä tekstille, tarkoittaen sitä, että kirjailijan tarkoitusperät pappishahmoa kohtaan voivat vaikuttaa hahmojen analyysiin. Noin 150 romaanin typologinen tutkimukseni osoittaa, kuinka humoristiset pappishahmojen kuvaukset ovat esillä koko kahdensadan vuoden ajanjakson. Tulen käyttämään tutkielmassani muunnelmia aiemmista teorioista, jotka ovat liittäneet tietyt pappishahmojen tyypit kirjalliseen aikakauteen, kuten esimerkiksi tekopyhien pappien esiintulo modernissa läpimurrossa Pohjoismaissa. Toinen löytö on, että pappien avioliittojen ulkopuoliset suhteet ollaan taipuvaisia näkemään vakavampana syntinä myöhemmissä historiallisissa romaaneissa kuin samanaikaisissa 1800-luvun romaaneissa.

Runeberg, Johan Ludvig

J.L. Runeberg Johan Ludvig Runeberg f. 5.2.1804 i Jakobstad d. 6.5.1877 i Borgå Under flera decennier bidrog Johan Ludvig Runebergs diktning till att skapa det unga Finlands fosterländska patos. Runeberg påverkade också starkt den litterära smaken i hemlandet och fick som svenskspråkig författare stor uppskattning även i Sverige. Runeberg framträdde från 1830-talet framåt, både som diktare och som dominerande kulturpersonlighet i sin tids Finland. I sin produktion kombinerar han ofta en yttre realistisk stil och enkelhet med idealiserande skildring av Finland och det finska folket i nationell romantisk anda. Som författare till balladsamlingen Fänrik Ståls sägner (1848 ̶ 1860), om 1808 ̶ 1809 års krig, och den finländska nationalsången ”Vårt land” (1848) befäste han sin status som nationalskald. Runebergs dominerande ställning som litterär förebild och hans idealiserande skildring av t.ex. det finska folkets fattigdom och offervilja gav emellertid också upphov till kritik och litterära ”fadermord” i den senare finländska litteraturen, t.ex. i verk av författarna K.A. Tavaststjerna och Väinö Linna.

Nummi-suutarit: komedia 5:ssä näytöksessä

Impr.: L. Heimbürger.

Carte de la partie européenne de l'empire de Russie, avec l'indication des chemins de poste, ainsi que des douanes frontières et de la repartition actuelle en gouvernements et districts /

1 kartta kahdellatoista lehdellä :, käsinvär. ;, n. 136 x 158 cm, lehdet n. 34 x 52,5 cm