Romanssien ja runouden aikakausi. Thomas Warton keskiaikaa määrittelemässä 1750–1790

Tutkimukseni käsittelee keskiajan nousua historian tärkeäksi periodiksi 1700-luvun Englannissa näkökulmanaan Thomas Wartonin (1726–1790) kirjoitukset. Warton oli Oxfordin yliopistossa toiminut oppinut antikvaari. Wartonin pääteos History of English Poetry (1774–1781) ei nimestään huolimatta ollut moderni kirjallisuushistoria vaan 1000–1500-luvun kirjoitettua kulttuuria laajasti käsitellyt vernakulaariin kirjallisuuteen pohjautunut esitys. Warton ja hänen lähipiiriinsä kuuluneet tutkijat tarjoavat erityisen mahdollisuuden tarkastella, miten käsitys keskiajasta omana aikakautenaanmuodostui 1700-luvun lopulla. Tutkin Wartonin ja hänen aikalaistensa toisen vuosituhannen alusta kirjoittamia arvioita Michel de Certeaun historiografisen operaation käsitteen avulla. Se koostuu kolmesta vaiheesta: Alue määrittelee sosiaaliset riippuvuussuhteet ja vaikuttimet, jotka ohjaavat tutkimusta. Käytäntö viittaa siihen, miten historioitsija valitsee materiaalinsa ja muokkaa siitä historiankirjoituksena hahmottuvan kokonaisuuden. Lopuksi kirjoitus konkreettisena ja fyysisenä ilmiönä luo illuusion lopullisuudesta ja huonosti sopivien osien yhteenkuuluvuudesta. de Certeaun teoria soveltuu paremmin vanhemman historiankirjoituksen ja oppineisuuden tarkasteluun kuin historiantutkimuksen narratiiveja analysoivat teokset, koska se kontekstualisoi laajemmin historiankirjoitukseen vaikuttavat ilmiöt. Thomas Warton ja muut 1700-luvun puolivälin oppineet määrittelivät keskiajan fiktiivisten tekstien avulla. Warton tutustui tarkasti romansseihin ja kronikoihin. Erityisen suuri merkitys keskiajan hahmottamisen kannalta oli Geoffrey Monmouthilaisen kronikalla Historia regum britanniae, joka esitteli Englannin myyttisen varhaisen historian yhdistämällä Rooman ja oman kansallisen perinteen. Geoffreyn kronikan avulla Warton huomasi keskiaikaisten tarinoiden laajan vaikutuksen; hän kirjoitti erityisesti kuningas Arthuriin liittyneiden kertomusten merkityksestä, joka jatkui aina 1500-luvulle asti. Näin Warton löysi antiikin perinteelle haastajan keskiaikaisesta kulttuurista. Wartonin tapa esitellä keskiaikaa perustui osittain valistusajan sulavasti kirjoitetuille universaalihistorioille, osittain oppineelle luettelomaiselle esitystavalle. Käytännössä Wartonin pitkät johdantotutkielmat kuitenkin johdattavat lukijaa keskeisiin teemoihin. Niitä ovat mielikuvituksen väheneminen uusimmassa kirjallisuudessa ja toisaalta hienostuneisuuden ja tiedon kasvu. Warton ei missään vaiheessa kerro, liittyvätkö nämä teemat yhteen, mutta tulkintani mukaan ne liittyivät. Warton ajatteli kirjallisuuden menettäneen olennaisen mielikuvituksen samaan aikaan, kun yhteiskunta oli kehittynyt. Tämä auttaa hahmottamaan koko kirjallisuuden historiaa: Warton etsi alkuperäistä mielikuvitusta niin antiikin Kreikasta, Orientista kuin muinaisesta Skandinaviasta. History of English Poetry ei pohtinut vain kirjallisuuden ja yhteiskunnan suhdetta, sillä Warton ajatteli voivansa tutkia keskiajan yhteiskuntaa kronikoiden ja romanssien avulla. Hänen käsityksensä feodalismista, hovien elämästä ja keskiaikaisista tavoista perustuivat niihin. Warton ei huomannut, että hänen käyttämänsä lähteet olivat tietoisia kirjallisia konstruktioita vaan hän piti niitä totuudenmukaisina kuvauksina. Toisaalta Wartonin tulkintaan heijastuivat myös 1700-luvun käsitykset yhteiskunnasta. Keskiajan lähteiden kuvaukset ja 1700-luvun ideaalit vaikuttivat lopulta siihen, millaiseksi populaari kuva keskiajasta kehittyi.

Theorica Pantegni . Facsimile and Transcription of the Helsinki manuscript (Codex EÖ.II.14)

The Theorica Pantegni is a medieval medical textbook written in Latin. The author was Constantine the African (Constantinus Africanus), a monk of Tunisian origin. He compiled the work in the latter half of the eleventh century at the Benedictine monastery of Monte Cassino in Italy. - Manuscript Eö.II.14, containing the Theorica Pantegni published here, belongs today to the National Library of Finland. It can be dated to the third quarter of the twelfth century, which makes it one of the earliest surviving exemplars of the Theorica Pantegni: over seventy manuscripts of the work survive, of which about fifteen can be dated to the twelfth century. Manuscript Eö.II.14 is written in black ink on 210 parchment leaves (recto and verso), amounting to 420 pages, in pre-Gothic script. - The present text is a transcription of Ms Eö.II.14. The goal is to provide the reader with an accessible text that is faithful to the original.

Defining the art of grammar: Ancient perceptions of γραμματική and grammatical

The subject of this dissertation, which belongs to the field of Classical Philology, are the definitions of the art of grammar found in Greek and Latin sources from the Classical era to the second century CE. Definitions survive from grammarians, philosophers, and general scholars. I have examined these definitions from two main points of view: how they are formed, and how they reflect the development of the art itself. Defining formed part of dialectic, in practice also of rhetoric, and was perceived as important from the Classical era onwards. Definitions of grammar seem to have become established as part of preliminary discussions, located at the beginning of grammatical manuals (tékhnai, artes). These discussions included certain principal notions of the art; in addition to the definition, a list of the parts of the art was also typically included. These lists were formed by two different methods: division (diaíresis, divisio) and partition (merismós, partitio). Many of the grammarians may actually have been unfamiliar with these methods, unlike the two most important scholars of the Late Republic, Varro and Cicero. Significant attention was devoted to the question whether the art of grammar is based on lógos or empeiría. This epistemological question had its roots in medical theories, which were prominent in Alexandria. In the history of the concept of grammatiké or grammatica, three stages become evident. In the Classical era, the Greek term is used to refer to a very concrete art of letters (grámmata); from the Hellenistic era onwards it refers to the art developed by the Alexandrian scholars, a matter of textual and literary criticism. Towards the end of the Hellenistic era, the grammarian also becomes involved with the question of correct language, which gradually begins to appear in the definitions as well.

Ancient kings of Peru : the reliability of the Chronicle of Fernando de Montesinos

Doctoral dissertation, University of Turku

The theory of classical Greek music

Luettelointi kesken

SME internationalisation from a network perspective : an empirical study on a Finnish-Greek business network

The study examines the internationalisation process of a contemporary SME firm and explores the impact of its business network on this development. The objective of the study is to understand SME internationalisation and its dynamics from a network perspective. The purpose of this research project is to describe and explore the development process of a firm and its business network by identifying the changes, critical events and influence factors that form this development. It is a qualitative case study, which focuses on a Finnish focal firm and its respective business network as it expands into the Greek market. It is a longitudinal research process, which covers a period of time from 1994 to 2004. The empirical study concentrates on the paper trading and converting business. The study builds on the network theory and the framework provided by Johanson and Mattsson's (1988) model on network internationalisation. The incremental internationalisation theories and network theories form the theoretical focus. The research project is organised according to a process view. The focal firm evolves from a domestically-oriented small subsidiary into an internationally experienced company, which has activities in several market areas and numerous business networks in various market segments and product categories. The findings illustrate the importance of both the domestic and foreign business network context in a firm's internationalisation process. The results of the study suggest theoretical modifications on a firm's internationalisation process by broadening the perspective and incorporating the strategic context of a firm. The findings suggest that internationalisation process is a non-linear process, which does not have a deterministic order in its development. The findings emphasise the significance of relational networks, both managerial and entrepreneurial, for establishing position in foreign markets. It implies that a firm's evolution is significantly influenced by its business network and by critical events. Business networks gain coherence due to common goals and they use accumulated capabilities to exploit market opportunities. The business network sets constraints and provides opportunities, which makes the related decision making strategically important. The firm co-evolves with its business network. The research project provides an instrumental case study with a description of an SME internationalisation process. It contributes to existing knowledge by illustrating dynamics in an international business network and by pinpointing the importance of suppliers, customers, partners, ownerships and competition to the internationalisation process.

Integration or a Greek tragedy?: How crisis spillovers affect Central and Eastern European States

Tutkielma siitä, miten Euroopan entisten sosialistivaltioiden markkinoiden integroituminen on edistynyt Kreikan ja EMU-alueen kanssa euron käyttöönoton ajalta. Tutkimus vertaa maiden markkinoiden reaktioita Kreikasta ja EMU-alueelta kantautuviin sokkeihin ennen ja jälkeen vuonna 2007 alkanutta kriisiä.

Imagining a New Society: Public Painting as Politics in Postwar Finland

The thesis is the first comprehensive study on Finnish public painting, public artworks generally referred to as murals or monumental paintings. It focuses on the processes of production of public paintings during the post-WWII decades in Finland and the complex relationships between the political sphere and the production of art. The research studies the networks of agents involved in the production of public paintings. Besides the human agents—artists, assistants, commissioners and viewers—also public paintings were and are agents in the processes of production and in their environments. The research questions can be grouped into three overlapping series of questions: First, the research investigates the production public paintings: What kinds of public paintings were realised in postwar Finland—how, where, by whom and for what purposes? Second, it discusses the publicness of these paintings: How were public paintings defined, and what aspects characterised them as “public”? What was their relation to public space, public authorities, and audience? And third, it explores the politics of public paintings: the relationship between Finnish public painting, nationalism, and the memory of war. To answer these questions, extensive archival work has been performed, and over 200 public paintings have been documented around Finland. The research material has been studied in a sociological framework and in the context of the political and economic history of Finland, employing critical theories on public space and public art as well as theories on the building of nationalism, commemoration, memory, and forgetting. An important aim of this research was to open up a new field of study and position public painting within Finnish art history, from which it has been conspicuous by its absence. The research indicates that public painting was a significant genre of art in postwar Finland. The process of creating a national genre of public painting participated in the defining of municipal and state art politics in the country, and paintings functioned as vehicles of carrying out the agenda of the commissioning bodies. In the formation of municipal art policies in Finland in the 1950s, public painting connected to the same tendency of democratising art as the founding of public art museums. Public painting commissions also functioned as an arena of competition and a means of support for the artists. Public paintings were judged and commissioned within the realm of political decision-making, and they suggested the values of the decision-making groups, generally conveyed as the values of the society. The participation of official agents in the production allocated a position of official art to the genre. Through the material of this research, postwar public painting is seen as an agent in a society searching for a new identity. The postwar public painting production participated in the creation of the Finnish welfare society as indications of a humane society. It continued a tradition of public art production that had been built on nationalist and art educational ideologies in the late 19th and early 20th century. Postwar public paintings promoted the new national narrative of unification by creating an image of a homogeneous society with a harmonious communal life. The paintings laid out an image of Finnishness that was modern but rooted in the agrarian past, of a society that was based on hard work and provided for its members a good life. Postwar public painting was art with a mission, and it created an image of a society with a mission.