Rauta ja Ristilukki : Vilho Helasen salapoliisiromaanisarja

Vilho Helanen (1899 1952) was a right-wing opinion leader in interwar Finland. But following the Second World War, the political situation in the country changed dramatically, and Helanen lost his job as well as his influential social station. He began to write detective fiction, and between 1946 and 1952 published seven novels (one had already been published in 1941). The novels protagonist is Kaarlo Rauta, a lawyer who acts as a private investigator. This doctoral dissertation analyzes the Rauta series from three different points of view. It investigates the extent to which the author s life and his strong political background appears in the series. The study also situates the series within Finnish society during and after the war. Finally, the study examines the Rauta series in terms of the genre conventions of detective fiction, that is, the study compares the Rauta series with other Finnish crime fiction and international crime fiction written during the 1940s. The Iron and The Cross Spider uses the term citizenship education when analyzing how Helanen implicitly continued his political teaching when writing crime fiction. The series includes a didactic register, which instructs the middle class in appropriate behaviour and manners, and the social roles entailed by gender. A special area of focus in this didacticism are norms of correct masculinity and femininity. The study devotes specific attention to the status of character in the series. The masculine detective and his beautiful wife are prominent, as is the fictive community and the tensions that criss-cross it. After the war, the Rauta series takes on a positive tone. Men can earn their place in society by fighting at the front, and after the war a homosocial bond exists between all the former soldiers. Women are shut out of the war experience. The detective hero has served in the war, but he is physically and psychologically untouched by it. The community is threatened by artists and immoral bohemians, but not the working class. Artists have affairs outside of marriage and abnormal sexual habits. The members of the upper class are also described as immoral in the series. Sadistic sexuality is often characteristic of the criminals, who are mostly femme fatales in the fashion of hard-boiled detective stories and film noir. Also, strong feelings have a negative connotation in the series, and showing them is forbidden behaviour. Men become criminals when they are insufficiently masculine or when they have not carried out their duty by fighting in the war. Helanen portrayed the communists, his political opponents from the 1930s, as criminals in his post-war series, but they were not openly represented as Russians or communists. Instead, Helanen used the cross spider as their symbol, a symbol which the readers of the time would recognize.

Genus i östra Nyland : från dialektutjämning till dialektmarkör

Gender in eastern Nyland – from dialect levelling to identity marking The study of dialect leveling in eastern Nyland focuses on variation and change in the Swedish dialects of Nyland (Fi. Uusimaa) on the south coast of Finland. During the last century the grammatical gender system of the dialects in the area has been reduced from a three-gender system to a two-gender system (cf. Corbett 1991). The present study is based on five linguistic variables in the gender system: the anaphoric pronouns (han, hon, den) when used for inanimates; the neuter pronouns he(t) and de(t) – when used anaphorically or as expletives; and three different types of morphological postposed definite articles. For all these variables, both dialect variants and standard variants are used in the dialects. Within the study of processes of variation and change, the work focuses on the mechanisms of leveling, simplification and reallocation; cf. Trudgill (1986) and Hinskens, Auer Kerswill (2005). With regard to the reductions of the gender system, the possibility that some of these variables might have turned into becoming dialect markers (Labov 1972) in the modern varieties of eastern Nyland is given special attention. The primary data consist of tape recordings with 25 informants done in the 1960s and 1970s. The informants were born in 1881–1913. In addition, recent changes were investigated in detail in tape recordings from 2005–2008 with 15 informants, who were born in the period 1927–1947 or 1976–1988. The study combines quantitative and qualitative methods in the systematic analysis of the data. Theoretically and methodologically the study relies on methods and results from variation studies and socio-dialectology, as well as on methods and results from traditional dialectology; cf. Ahlbäck (1946) and the dictionary of Swedish dialects, Ordbok över Finlands svenska folkmål, (1976–). The results show that there are different strategies among the informants in their use of the features studied. In the modern varieties of the dialects, most of the informants use only two genders, uter and neuter. Of the variables, the masculine pronoun for inanimates, the traditional neuter pronoun he(t) and some variants of the traditional definite articles have received a new function as dialect markers in my data. These changes first affect the gender distinctions, and the function of marking gender is lost; gradually the features then get new functions as dialect markers through processes of dialect leveling and reallocation. These processes are connected to changes taking place in the communities in eastern Nyland because of urbanization. When the dialect speakers experience that the traditional values of both the dialects and the culture are threatened, they begin to mark their dialectal identity by using dialect markers in their speech.

Hur och värför ändras Mumin med tiden? : Adaptationer i Tove Janssons muminböcker

Tutkimuksessa olen tarkastellut Tove Janssonin muumikirjojen adaptaatioita, eli uudelleen kirjoitettuja muumikirjoja. Työn tavoitteena on ollut selvittää, miten ja miksi Tove Jansson on muokannut alkuperäisiä muumikirjojaan. Lisäksi työssä on pohdittu, onko uudelleen kirjoittamisella ollut tietty tavoite eli, ovatko muutokset samansuuntaisia kaikissa uudelleen kirjoitetuissa muumikirjoissa. Aineistona minulla on ollut neljä Tove Janssonin alkuperäistä ja neljä uudelleenkirjoitettua muumikirjaa: Kometjakten (1946) ja uudelleen kirjoitettu Kometen kommer (1968), Trollkarlens hatt (1948, 1968), Muminpappans Bravader (1950) ja uudelleen kirjoitettu Muminpappans memoarer (1968) sekä Farlig midsommar (1954, 1969). Olen tarkastellut, millaisia kielellisiä ja kuvallisia eroja alkuperäisten ja uudelleen kirjoitettujen muumikirjojen välillä on. Koska materiaali on niin laaja, olen rajannut tutkimustani. Uudelleen kirjoitetut Farlig midsommar (1969) ja Trollkarlens hatt (1968) eivät sisällä yhtä paljon adaptaatioita kuin kirjat Muminpappans memoarer (1968) ja Kometen kommer (1968). Sen vuoksi olen käyttänyt kirjojen analysoinnissa erilaista tutkimusmenetelmää. Kirjoja Farlig midsommarja Trollkarlens hatt olen tutkinut kokonaisuudessaan. Kirjojen Kometen kommer sekä Muminpappans memoarer kohdalla olen puolestaan käyttänyt kvalitatiivista metodia. Kyseisten kirjojen kohdalla olen ottanut otoksia kirjojen alusta, keskeltä ja lopusta. Kaikkien kielellisten adaptaatioden kuvaamisessa, vertailussa ja analysoimisessa olen käyttänyt apuna sanakirjoja ja aikasempaa tutkimusta. Kuvatutkimuksesa olen keskittynyt tarkastelemaan kuvien näkyvyyttä muumikirjoissa. Olen tarkastellut kuvien sijoittelua, kokoa, määrää ja osittain sisältöä alkuperäisten ja uudelleen kirjoitettujen muumikirjojen välillä. Kielelliset adaptaatiot on jaettu niiden pituuden ja rakenteen mukaan kolmeen luokkaan: parafraasit, lisäykset ja poistot. Jaottelu perustuu osittain omiin havaintoihini materiaalista ja osittain aiempaan tutkimukseen. Tutkimuksessa kävi ilmi, että Tove Jansson on tehnyt samankaltaisia muutoksia kaikissa uudelleen kirjoittamissaan muumikirjoissa. Kaikki uudelleen kirjoitetut kirjat sisältävät niin parafraaseja, lisäyksiä kuin poistojakin. Muutoksilla onmyös samankaltaisia funktioita kaikissa kirjoissa. Parafraasit tekevät kirjoista muun muassa ajanmukaisia ja helppolukuisia. Lisäyksillä on ennen kaikkea selittävä funktio. Poistojen avulla taas lastenkirjallisuuteen soveltumattomia sanoja ja tapahtumia on karsittu. Myös kuvien muutokset ovat samankaltaisia kaikissa uudelleenkirjoitetuissa muumikirjoissa. Ensinnäkin kuvien sijoittelun muutokset ovat parantaneet kuvan ja tekstin vuorovaikutusta kaikissa uudelleen kirjoitetuissa muumikirjoissa. Muokatuissa muumikirjoissa teksti ja kuvat ovat keskimäärin lähempänä toisiaan ja vastaavat tarkemmin toisiaan kuin alkuperäisissä muumikirjoissa. Toiseksi kuvien koon ja lukumäärään muutokset tekevät uudelleen kirjoitetut kirjat visuaalisesti nautittavammiksi kuin alkuperäiset kirjat. Kaiken kaikkiaan adaptaatiot uudenaikaistavat muumikirjoja ja tekevät ne uudelle kohderyhmälle paremmin soveltuviksi. Adaptaatioiden avulla Tove Jansson on luonut jatkumon muumikirjojensa välille, minkä ansiosta ensimmäiset muumikirjat ja myöhemmin kirjoitetut muumikirjat eivät ole ristiriitaisia, vaan ne ovat yhtenäisiä niin sisällön, henkilöiden, kirjoitustyylin ja kuvituksen suhteen. Vaikuttaa siltä, että adaptaatiot ovat hyvin yleinen kielellinen ilmiö. Lähes jokainen kirjoittaja joutuu jossain vaiheessa muokkaamaan omaa tekstiään. Uusien versioiden julkaiseminen on kuitenkin harvinaisempaa. Ottaen huomioon, kuinka kielteisesti adaptaatioihin yleisesti suhtaudutaan, on mielenkiintoista, että nimenomaan uudelleen kirjoitetut muumikirjat ovat saaneet "aitojen" muumikirjojen aseman. Moni ei todennäköisesti tiedä lukevansa muokattua muumikirjaa. Mielenkiintoista onkin, että suomenkieliset käännökset on käännetty ainoastaan alkuperäisistä muumikirjoista. Pohdittavaksi jääkin, millainen kuva suomenkielisellä lukijalla on esimerkiksi muumikirjojen yhtenäisyydestä. Kun jo lähdeteoksia on muokattu niin paljon kuin tämä työ on osoittanut, olisi ehkä käännöksiäkin jo korkea aika päivittää.

Roy Kenzie Kiyooka

Roy Kenzie Kiyooka Canadian, born 1926 Roy Kiyooka was born in Moose Jaw, Saskatchewan in 1926. Throughout his career, he was known as a painter, photographer, sculptor, poet, musician, filmmaker and teacher. He studied at the Provincial Institute of Technology and Art in Calgary from 1946-49, and then at the Instituto Allende in Mexico in 1955. During the summers of 1958 - 1960 he attended the Emma Lake Workshops in Saskatchewan, where he worked closely with Barnett Newman and Clement Greenberg. In 1959 he executed his first series of abstract paintings, The Hoarfrost Series, which assume a disciplined minimal quality. In the late 1960's Kiyooka began to push beyond painting and created mixed media works, including collage, photography, film and poetry. Kiyooka’s art is born out of personal experience and through it he records his relationship to the surrounding landscape; a night in a motel, a trip to the coast, or hoarfrost on the trees. Through the unfolding of Kiyooka’s interior/exterior landscapes he shares his personal journeys with us all. The Art Gallery of Ontario's collection of Roy Kiyooka's work began with the purchase of two paintings; Barometer No. 2, in 1964 and Surya, in 1987.

The politics of race, class and special education: The selected works of Sally Tomlinson

Upon reading this esteemed collection of Sally Tomlinson’s works, published in Routledge’s prestigious World Library of Educationalists series, I was struck by three things. First, Sally is one of only three women among the 26 scholars whose collections have been published in this series to date, and the only scholar researching questions relating to disability and special education. Second, her early work on the sociology of special education Tomlinson, 1982) is just as pertinent today as her most recent research on the political scapegoating of low-attainers in a global knowledge economy (Tomlinson, 2012). Third, I was reminded of the extent to which her research has both inspired and guided me as I now grapple with the same research problems, albeit in a different country and at a different time, but always from a similar sociological standpoint (Graham & Jahnukainen, 2011; Graham & Sweller, 2011; Graham, 2012; Graham, 2014; Graham, Van Bergen & Sweller, 2014). Not surprisingly, the phrase that kept echoing through my head as I read through the 11 chapters chronicling a rich and immensely productive academic career was: ‘history repeats’. And, throughout the book are numerous examples and observations as to why it does. To paraphrase, the answer is power, status and politics.

Arthur Liebert, Albert Einstein, Franz Oppenheimer, Mrs. Kurt Goldstein, Fritz Medicus and Arthur Liebert's son walking outside the Grand Hotel Curhaus during the Davoser Hochschulkurse; Davos, Switzerland Portraits Groups

The Davoser Hochschulkurse took place for the first time in 1928. Mainly university teachers from Germany, France, Switzerland (perhaps elsewhere) offered lectures to students recovering from tuberculosis at the health resort in the Swiss mountains. The lecturers were accommodated at the Grand Hotel Curhaus, where the lectures also took place.

Lucien Levy-Bruehl, Albert Einstein, Franz Oppenheimer, Arthur Liebert and his son, Paul Tillich, unidentified woman and Mrs. Charles Blondel outside the Grand Hotel Curhaus during the Davoser Hochschulkurse; Davos, Switzerland Portraits Groups

The Davoser Hochschulkurse took place for the first time in 1928. Mainly university teachers from Germany, France, Switzerland (perhaps elsewhere) offered lectures to students recovering from tuberculosis at the health resort in the Swiss mountains. The lecturers were accommodated at the Grand Hotel Curhaus, where the lectures also took place.

Alfred Lichtenstein with his first wife Gerda; Parque Palermo, Buenos Aires.

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Genetic relationship between five psychiatric disorders estimated from genome-wide SNPs

Most psychiatric disorders are moderately to highly heritable. The degree to which genetic variation is unique to individual disorders or shared across disorders is unclear. To examine shared genetic etiology, we use genome-wide genotype data from the Psychiatric Genomics Consortium (PGC) for cases and controls in schizophrenia, bipolar disorder, major depressive disorder, autism spectrum disorders (ASD) and attention-deficit/hyperactivity disorder (ADHD). We apply univariate and bivariate methods for the estimation of genetic variation within and covariation between disorders. SNPs explained 17-29% of the variance in liability. The genetic correlation calculated using common SNPs was high between schizophrenia and bipolar disorder (0.68 +/- 0.04 s.e.), moderate between schizophrenia and major depressive disorder (0.43 +/- 0.06 s.e.), bipolar disorder and major depressive disorder (0.47 +/- 0.06 s.e.), and ADHD and major depressive disorder (0.32 +/- 0.07 s.e.), low between schizophrenia and ASD (0.16 +/- 0.06 s.e.) and non-significant for other pairs of disorders as well as between psychiatric disorders and the negative control of Crohn's disease. This empirical evidence of shared genetic etiology for psychiatric disorders can inform nosology and encourages the investigation of common pathophysiologies for related disorders.

Ernst Weill seated on a boat dock; Santa Barbara, California Portraits Men

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Oscar Fischl (standing eighth from left)

Oscar Fischl (standing eighth from left) in group portrait of the Paybill Section of the Chief Accountant's Office of the Great Western Railway (GWR); Great Britain

Group portrait, 10th Anniversary Dinner, Display Novelties Co. Ltd.; New York.

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Herbert Strauss standing along the water.

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Rabbi Leo Baeck, E.L. Ehrlich of Basel, Herbert Strauss of Bern, and Rabbi Eugen Messinger of Bern outside of the West End Synagogue, London, at the International Meeting of the World Union for Progressive Judaism.

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Rabbi Eugen Messinger of Bern, Dr. Herbert Strauss of Bern and E.L. Ehrlich of Basel outside of the West End Synagogue, London, at the International Meeting of the World Union for Progressive Judaism.

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