Rikottu hiljaisuus : Intialaisten sanomalehtien normista poikkeavia seksuaalisuuksia ja sukupuolia käsittelevät artikkelit heteromatriisin horjuttajina ja tabun uudelleenjärjestäjinä

Tutkielmassa tarkastellaan niitä tapoja, joilla intialaisissa englanninkielisissä sanomalehdissä käsitellään normista poikkeavia seksuaalisuuksia ja sukupuolia. Aineistona ovat vuosina 2003-2006 seuraavissa lehdissä ilmestyneet kirjoitukset: The Hindu, The Telegraph, Deccan Herald ja The Times of India kaupunkiliitteineen. Lisäksi aineistoon kuuluu yksi artikkeli The Statesman -lehdestä. Aineisto on jaettu kuuteen aiheryhmään: 1. Intian rikoslain 377. pykälä ja homoseksuaalisuuden dekriminalisointi, 2. hijrat, 3. Pushkin Chandran murha, 4. parisuhde, perhe ja avioliitto, 5. elokuvat ja lesbous, 6. homojen elämää. Ryhmien ulkopuolelle jää kuusi artikkelia, joita analysoidaan erikseen. Tutkielman lähtökohtana ja kysymyksenasettelun taustalla vaikuttaa queer-teoria. Tähän liittyy ajatus, ettei ole mitään muuttumatonta, olemuksellista sukupuolta, vaan sukupuoli on kulttuurista fiktiota, joka syntyy toiston ja tavoittamattoman ideaalin jäljittelyn kautta. Tutkielmassa tarkastellaan heteroseksuaalista matriisia - sitä kulttuuristen ymmärrysten verkkoa, jossa tietyt ruumiit, sukupuolet ja halut luonnollistuvat - Mary Douglasin kulttuurijärjestelmiä ja saastumista käsittelevien teorioiden sekä tabun käsitteen avulla. Aineistoa analysoidaan retoriseen diskurssianalyysiin tukeutuen. Analyysissa keskitytään artikkeleiden kielenkäyttöön ymmärrettäviksi tarkoitettuina argumentteina ja huomioidaan samalla rivien välistä luettavat merkitykset. Artikkeleita, joista suurin osa puolustaa homoseksuaalisuuden dekriminalisointia, tarkastellaan tabun uudelleenjärjestäjinä ja heteroseksuaalisen matriisin huojuttajina: ne pyrkivät homoseksuaalisuuden tabuun liittyvän hiljaisuuden rikkomisella kyseenalaistamaan vallitsevan järjestyksen, jossa vain heteroseksuaaliset halut hyväksytään. Toisaalta ne pyrkivät luomaan uudenlaisen järjestyksen, jonka katveisiin myös jää sopimatonta materiaalia. Silmiinpistävin uuteen järjestykseen sopimaton ihmisryhmä ovat hijrat, joilla on entisessä järjestelmässä ollut määrätty paikkansa järjestelmää ylläpitävänä anomaliana. Hijroja tarkastellaan artikkeleissa sekä osana transsukupuolisuuden teemaa että intialaista mytologiaa. Pyrkiessään muokkaamaan yleisön asenteita suvaitsevammiksi seksuaalista ja sukupuolista monimuotoisuutta kohtaan artikkelit käyttävät monenlaisia retorisia keinoja. Seksuaali- ja sukupuolivähemmistöjen edustajat pyritään esittämään niin sankareina kuin uhreinakin. Seksuaalivähemmistöihin pyritään liittämään luonnollisuuden ja normaaliuden määreet. Hijrojen kohdalla muistutetaan heidänkin olevan ihmisiä. Suvaitsevaisuuden puolesta käytetään argumenttina niin intialaista perinnettä kuin modernia länsimaista kulttuuria. Nyky-Intian homofobiasta ja kolonialistisesta perinnöstä sen sijaan pyritään erottautumaan.

Patterns of Transcendence : Classical Myth in Marina Tsvetaeva's Poetry of the 1920s

This study examines the position and meaning of Classical mythological plots, themes and characters in the oeuvre of the Russian Modernist poet Marina Tsvetaeva (1892-1941). The material consists of lyric poems from the collection Posle Rossii (1928) and two longer lyrical tragedies, Ariadna (1924) and Fedra (1927). These works are examined in the context of Russian Modernism and Tsvetaeva s own poetic development, also taking into account the author s biography, namely, her correspondence with Boris Pasternak. Tsvetaeva s appropriations of the myths enter into a dialogue with the Classical tradition and with the earlier Russian and Western literary manifestations of the source material. Her Classical texts are inextricably linked with her own authorial myth, they are used to project both her ideas about poetry as well as the authored self of her poems. An important context for Tsvetaeva s application of the Classical myths is the concept of the Platonic ladder of Eros. This plot evokes the process of transcendence of the mortal subject into the immaterial realm and is applied by the author as an extended metaphor of the poet s birth. Emphasizing the dialectical movement between the earthly and the divine, Tsvetaeva s Classical personae foreground various positions of the individual between these two realms. By means of kaleidoscopic reformulations of similar metaphors and concepts, Tsvetaeva s mythological poems illustrate the poet s position between the material and the immaterial and the various consequences of this dichotomy on the creative mission. At the heart of Tsvetaeva s appropriation of the Sibyl, Phaedra, Eurydice and Ariadne is the tension between the body and disembodiment. The two lyrical tragedies develop the dichotomous worldview further, nevertheless emphasizing the dual perspective of the divine and the earthly realms: immaterial existence is often evaluated from a material perspective and vice versa. The Platonic subtext is central for Ariadna, focussing on Theseus development from an earthly hero to a spiritual one. Fedra concentrates on Phaedra s divinely induced physical passion, which is nevertheless evoked in a creative light.

Gde moi kryl'ja? Analiz fil'ma Alekseja Balabanova »Brat»

Tutkielma on analyysi Aleksej Balabanovin ohjaamasta elokuvasta Brat (1997). Ensimmäisessä osassa tarkastellaan Brat-elokuvaa satuna jäsentämällä sen henkilöhahmoja ja rakennetta Vladimir Proppin satujen morfologisen analyysin pohjalta. Tärkeimmille henkilöhahmoille on mahdollista löytää vastineet satujen perushahmoista, mutta elokuvasta löytyy näille hahmoille myös erityisiä valheellisia variantteja, selkeimpänä esimerkkinä veljespari Danila – sankari ja Vitja – valheellinen sankari. Myös juonenkulusta on jäsennettävissä sekä varsinainen, että valheellinen juonenkulku: varsinainen juonenkulku käsittelee päähenkilön suhdetta veljeensä, sekä heidän yhteiseen viholliseensa, valheellinen juonenkulku puolestaan päähenkilön suhdetta tarinan potentiaaliseen sankarittareen. Lisäksi elokuvasta löytyy myös kolmas, vaihtoehtoinen juonenkulku, joka liittyy musiikin funktioon elokuvassa. Toisessa osassa analysoidaan päähenkilön suhdetta muihin henkilöhahmoihin sekä ympäröivään yhteiskuntaan käsitteiden horisontaali ja vertikaali avulla. Nämä käsitteet osittain limittyvät Vladimir Papernyin teoriaan Kul’tura 2. Analyysin lähtökohtana on, että elokuvan toiminta käynnistyy sankarin pyrkimyksestä löytää oma viiteryhmänsä ja sitä kautta identiteettinsä. Isän menetyksestä, niin konkreettisesti perheen kuin symbolisesti yhteiskunnan tasolla, seuraa horisontaalin ja vertikaalin oppositio; perheyhteisön ja yhteiskunnan hajoaminen. Päähenkilön kohtaamat henkilöhahmot voidaan jakaa vertikaali- ja horisontaalivariantteihin sen mukaan, mitä arvoja nämä edustavat. Tässä yhteydessä käsitellään myös sitä, miten veljeyteen ja kansallisuuten pohjautuvat identiteetinmuodostamiskeinot epäonnistuvat, sekä miten horisontaalius ja vertikaalius, auktoriteetin ja veljeyden teemat, toteutuvat elokuvan kuvakompositioissa. Kolmannessa osassa tarkastellaan elokuvan tapahtumapaikkoja ja minkälaisia oppositioita ne muodostavat. Konkreettisesti edustettujen oppositioiden maaseutu – kaupunki, sekä Pietari – Moskova lisäksi asettuvat vastakkain myös rikollisten ja tavallisten ihmisten Pietari, ulko- ja sisätilat, sekä yleinen ja yksityinen tila. Pietarin kuvaamiseen käytetyillä oppositioilla on selviä yhtymäkohtia Vladimir Toporovin esittämään pietarilaistekstien traditioon. Viimeisessä osassa käsitellään musiikin diegeettistä funktiota Bratissa. Se toimii elokuvassa vaihtoehtoisena juonenkulkuna, konkreettisena viiteryhmän etsimisen ja identiteetin muodostamisen keinona, sekä omana, erillisenä ’fantastisena’ tilanaan. Toiminta-/rikoselokuva oli vielä 1990-luvulla suhteellisen vieras genre venäläisessä elokuvassa. Tämä analyysi osoittaa, miten tiiviisti Brat kuitenkin asettuu venäläisen kulttuurin kontekstiin. Se käy dialogia niin venäläisen kansansatuperinteen, kuin 1800-luvun pietarilaistekstien kanssa, ja soveltuu tarkasteltavaksi myös kahden venäläisen kulttuurin vaihtelun teoriaa vasten. Vaikka Bratilla ei suoria elokuvallisia edeltäjiä Venäjällä olekaan, sen teemat ovat perivenäläisiä.

Suomen ja Liettuan kielen nominaalimuodoista : vertaileva näkökulma

Tämän maisterintutkielman tutkimusalueena on liettuan kielioppi. Liettua on yksi vanhakantaisimmista yhä puhuttavista indoeurooppalaisista kielistä, joiden balttilaiseen ryhmään kuuluu sen ohella enää ainoastaan latvia. Liettuan kieli on Suomessa varsin tuntematon, vaikka valtaosa sen puhujista asuu täältä verrattain lyhyen matkan päässä. Siitä ei tätä kirjoitettaessa ole ilmestynyt suomen kielellä juuri muuta oppimateriaalia kuin yksi suppeahko asiointisanasto ja pieni sanakirja. Mitään varsinaista oppikirjaa tai kielioppia ei ole kirjoitettu. Tämän työn yhtenä tarkoituksena onkin siten paikata kielen melkoista suomeksi painetun oppimateriaalin puutetta. Työn varsinaiseksi tutkimuskohteeksi on otettu osa suomen ja liettuan kielten verbijärjestelmästä – nominaalimuodot ja niiden käyttö. Nominaalimuodoilla tarkoitetaan ei-finiittisiä verbimuotoja, jotka eivät voi yksinään esiintyä lauseen predikaattina ja joita käytetään nimensä mukaisesti nominien tavoin. Työssä luodaan ensinnä verrattain laaja katsaus suomen kielen infinitiiveihin ja partisiippeihin, minkä jälkeen siirrytään perusteellisesti tarkastelemaan liettuan kielen tärkeimpiä nominaalimuotoja: infinitiiviä, partisiippia, puolipartisiippia, adverbiaalipartisiippia ja supiinia. Tarkastelun pääpaino kohdistuu partisiippeihin. Yhtenä työn tavoitteista on esitellä, mitä eri nominaalimuotoja kielissä esiintyy, miten ne muodostetaan ja mihin tarkoituksiin niitä käytetään. Tämän lisäksi työhön sisältyy vertaileva näkökulma: siinä halutaan selvittää, millaisia tärkeimpiä yhtäläisyyksiä ja eroja kielten nominaalimuotojen välillä esiintyy. Käytetty lähestymistapa on siten kontrastiivinen eli kielten synkroniseen vertailuun perustuva. Kielten nominaalimuotojen välisten erojen ja yhteisten piirteiden valaisemiseksi työhön on sisällytetty molemmilla kielillä runsaasti esimerkkejä ja muotojen muodostamissääntöjä kuvaavia taulukoita. Suomen kielen osalta työn tärkeimpinä lähteinä ovat Nykysuomen käsikirja ja Iso suomen kielioppi. Liettuan verbimuotoja kuvaavat taulukot ja lisäksi monet esimerkkilauseista perustuvat puolestaan Liettuan kielen instituutin julkaisemaan teokseen Dabartinės lietuvių kalbos gramatika. Työn loppuosassa on laajahko liettuankielinen tiivistelmä, joka tekee työstä käyttökelpoisen myös liettuaa äidinkielenään puhuvalle, suomen kielestä kiinnostuneelle henkilölle. Tehtyjen vertailujen tärkeimpinä johtopäätöksinä voidaan todeta, että suomen kielen nominaalimuodoista infinitiivien käyttöalue on liettuan infinitiivin sovellusaluetta laajempi. Erityisesti suomen toisen ja kolmannen infinitiivimuodon eri käyttötarkoituksia kohti löytyy liettuan kielestä useita eri nominaalimuotoja. Sen sijaan suomen I ja II partisiippi sekä liettuan partisiippi ovat verrattain usein käyttötavoiltaan toisiaan muistuttavia. Avainsanat: liettuan kieli, verbit, nominaalimuodot, vertaileva kielentutkimus

Kulttuurierot ja kielimuuri valtanäkökulmasta suomalais-puolalaisessa työyhteisössä

The thesis deals with cultural differences and language barrier in a Finnish-Polish working environment. The object is to find out what kind of language and cultural practices prevail and what are their consequences. This qualitative research focuses on problem solving strategies used to manage language barrier and cultural differences and their effect on power relations within the working environment and in relation to e.g. parent company, business partners or customers. The research data was collected by half-structured individual interviews of 24 Finns and Poles in seven companies in Poland. The research indicates that language practices as well as Polish employees' language skills significantly affect information flows: those Poles, who have good language skills, are less dependent on their Finnish superior and thanks to their contacts with Finnish parent company they gain adequate information. Different time perceptions next to the perceived slowness of Finns are one of the most important factors causing cultural conflicts in the researched working environments. Most often mentioned by Finns were issues of trust. However, the problematic issues brought up most were often things that the respondents could not influence since they did not concern the closest working environment but others. It seems that the contrast that used to be strong between superiors and subordinates in Poland has - partly due to the Finns' informal management style - in these mixed working environments transformed into a contrast between own working environment and the outsiders.

Kiinan kielen automaattinen käsittely ja kieliteknologia

Tutkielma käsittelee kiinan kielen automaattista käsittelyä ja kieliteknologiaa. Kieliteknologian osa-alueista keskitytään kiinan kielelle tyypilliseen sanarajatunnistus- eli segmentointiongelmaan, joka kumpuaa kiinan kielen kirjoitusjärjestelmän erityispiirteistä. Tutkielma on aihepiiriä esittelevä pilottitutkimus, jonka tarkoitettu lukijaryhmä on kiinan kieliteknologisesta tutkimuksesta kiinnostuneet opiskelijat ja tutkijat. Lähdemateriaali koostuu englannin- ja kiinankielisestä kirjallisuudesta, lähinnä konferenssiartikkeleista. Tutkielma esittelee kiinan kirjoitusjärjestelmää automaattisen käsittelyn näkökulmasta, käsittelee perinteisten ja yksinkertaistettujen merkkien eroja, merkkikoodauksia sekä erilaisia lähestymistapoja käyttäviä syöttöjärjestelmiä. Kirjoitusjärjestelmän esittely tarjoaa esitietoja kielen rakenteen ymmärtämiseksi sekä rakentaa pohjaa sanarajatunnistusta käsitteleviä osuuksia varten. Sanarajatunnistus- eli segmentointiongelma johtuu kiinan kirjoitusjärjestelmästä, jossa sanojen välejä ei merkitä välilyönneillä. Kielen kieliteknologista käsittelyä varten sanojen rajat tulee kuitenkin selvittää. Sanarajatunnistusjärjestelmät ovat tietokoneohjelmia, jotka etsivät ja merkitsevät nämä rajat automaattisesti. Tehtävä ei kuitenkaan ole yksinkertainen kielen monitulkintaisuuksien ja ns. tuntemattomien sanojen vuoksi. Joissain tilanteissa ei ole olemassa yksiselitteisen oikeaa segmentointia. Tutkielmassa esitellään kaksi segmentointijärjestelmää, keskittyen erityisesti niiden toiminnan kuvaukseen lukijalle ymmärrettävässä muodossa. Tärkeää on menetelmien ymmärtäminen, ei tekniset yksityiskohdat. Lopuksi paneudutaan segmentointijärjestelmien evaluaation ongelmiin. Sanarajatunnistusta suorittavien ohjelmien vertailu on usein hankalaa, koska monissa tapauksissa järjestelmät eivät tuota yhteismitallisia tuloksia. Tutkielmassa esitellään yritys saada aikaan yhteismitallisia evaluaatiomenetelmiä segmentointiohjelmien Chinese Word Segmentation Bakeoff -kilpailujen muodossa. Tutkielmassa todetaan sanarajatunnistusongelman olevan tärkeä tutkimuskohde. Ratkaisemattomia ongelmia on kuitenkin edelleen, tärkeimpänä evaluaatio. Avainsanat – Nyckelord – Keywords kiinan kieli, sanarajatunnistus, segmentointi,kirjoitusmerkit, merkkikoodaukset, kiinan syöttötavat

Käsitteellisestä ruumiilliseen, sitaatiosta paikkaan - maalaustaide ja nykytaiteen historia

The dissertation "From Conceptual to Corporeal, from Quotation to Site: Painting and History of Contemporary Art" explores the state of painting in contemporary art and art theory since the 1960s. The purpose of the study is to re-consider the dominant "end of painting" -narrative in contemporary art history, which goes back to the modernist ideology of painting as a reductive, medium-specific form of art. Drawing on Michel Foucault´s concepts of discursive formation and archive, as well as Jean-Luc Nancy´s post-phenomenological philosophy on corporeality, I suggest that contemporary painting can be redefined as a discursive-sensuous practice. Instead of seeing painting as obsolete or over as an avantgarde art genre, I show that there have been alternative, neo-avantgardist ways of defining painting since the end of the 1960s, such as French artist Daniel Buren´s early writings on painting as "theoretical practice". Consequently, the tendency of the canonical Anglo-American contemporary art narratives to underestimate the historical and institutional codes of art can be questioned. This tendency can be seen, for example, in Rosalind Krauss´s influential theory on index. The study also reflects the relations between conceptual art and painting since the 1960s and maps recent theories of painting, which re-examine the genre´s possibilities after the modernist rhetoric. Concepts of "flatbed", "painting in the extended field", "as painting" and so on are compared critically with the idea of painting as discursive practice. It is also shown that the issues in painting arise from the contemporary critical art debate while the dematerialisation paradigm of conceptual art has dissolved. The study focuses on the corporeal-material-sensuous -cluster of meanings attached to painting and searches for its avantgardist possibilities as redefined by postfeminist and post-phenomenological discourse. The ideas of hierarchy of the senses and synesthesia are developed within the framework of Jean-Luc Nancy´s and Luce Irigaray´s thought. The parameters for the study have been Finnish painting from 1990 to 2002. On the Finnish art scene there has been no "end of painting" ideology, strictly speaking. The mythology and medium-specificity of modernism have been deconstructed since the mid-1980s, but "the archive" of painting, like themes of abstraction, formalism and synesthesia have been re-worked by the discursive practice of painting, for example, in the works of Nina Roos, Tarja Pitkänen-Walter and Jussi Niva.

Teatterinjohtamisen dramaturgiaa : Keskeiset tehtävät, arjen ongelmat ja rakenteelliset muutostarpeet

DRAMATURGY OF THEATRE MANAGEMENT Essential tasks, everyday problems and the need for structural changes Theatre justifies its existence only through high quality performances. Maintaining the artistic level and organizing performances are the primary tasks of a manager, even though in everyday life this often seems to be overshadowed by all the other tasks of a manager s work. How does a theatre manager design strategies and make everyday decisions if aims are to have artistically meaningful performances, financial success and a socially healthy ensemble, when not only artistic work or leadership of an organization are to be taken into consideration, but also a manpower-based art institution with long traditions? What does theatre management consist of and what kind of dramaturgical movement happens in it? Based on interviews carried out in five different city theatres in Finland in the years 2004-2008, incident stories were written within a continuous comparison theory frame. Social constructionism within a dramaturgic framework enabled versatile dialog on a manager s work and problem areas. The result is an interpretative study, where instead of common regularities, many details are collected that can be taken into consideration when similar situations occur. Based on the interviews and historical data, four factors that influence a manager s work were chosen: ownership, media, work community and programme. Within theatre management, the central problems were 1) the inconsistent use of theatre resources and problems in corporate governance caused by the administrative models; 2) the theatre s image, based on the image of its manager, as presented by the media and its influence on the wellbeing of the staff; 3) unsolved problems between the staff left behind by the previous managers and problems related to casting; 4) knowledge of the audience. These points influence how the manager plans the artistic programme and divides the resources. The theatre manager s job description has remained quite the same since the early days of Kaarlo Bergbom. In the future, special attention should be placed on why managers face fairly similar problems decade after decade. Reducing these problems partly depends on whether structural improvements are made to a theatre s close network of owners, financers and labour unions. During this study clear evidence was seen that structural changes are necessary in the production of performances and in the creation of a more versatile programme. In this process, different kinds of co-operation, experiments, development projects, continuing education and international relations have special importance, especially if the aim is to make it possible for all citizens of Finland to enjoy a vibrant and revitalized theatre.

Other Side of This Life : Death, Value, and Social Being in Thomas Pynchon's Fiction

This dissertation analyzes the interrelationship between death, the conditions of (wo)man s social being, and the notion of value as it emerges in the fiction of the American novelist Thomas Pynchon (1937 ). Pynchon s present work includes six novels V. (1963), The Crying of Lot 49 (1966), Gravity s Rainbow (1973), Vineland (1990), Mason & Dixon (1997), Against the Day (2006) and several short stories. Death constitues a central thematic in Pynchon s work, and it emerges through recurrent questions of mortality, suicide, mass destruction, sacrifice, afterlife, entropy, the relationship between the animate and the inanimate, and the limits of representation. In Pynchon, death is never a mere biological given (or event); it is always determined within a certain historical, cultural, and ideological context. Throughout his work, Pynchon questions the strict ontological separation of life and death by showing the relationship between this separation and social power. Conceptual divisions also reflect the relationship between society and its others, and death becomes that through which lines of social demarcation are articulated. Determined as a conceptual and social "other side", death in Pynchon forms a challenge to modern culture, and makes an unexpected return: the dead return to haunt the living, the inanimate and the animate fuse, and technoscientific attempts at overcoming and controlling death result in its re-emergence in mass destruction and ecological damage. The questioning of the ontological line also affects the structuration of Pynchon's prose, where the recurrent narrated and narrative desire to reach the limits of representation is openly associated with death. Textualized, death appears in Pynchon's writing as a sudden rupture within the textual functioning, when the "other side", that is, the bare materiality of the signifier is foregrounded. In this study, Pynchon s cultural criticism and his poetics come together, and I analyze the subversive role of death in his fiction through Jean Baudrillard s genealogy of the modern notion of death from L échange symbolique et la mort (1976). Baudrillard sees an intrinsic bond between the social repression of death in modernity and the emergence of modern political economy, and in his analysis economy and language appear as parallel systems for generating value (exchange value/ sign-value). For Baudrillard, the modern notion of death as negativity in relation to the positivity of life, and the fact that death cannot be given a proper meaning, betray an antagonistic relation between death and the notion of value. As a mode of negativity (that is, non-value), death becomes a moment of rupture in relation to value-based thinking in short, rationalism. Through this rupture emerges a form of thinking Baudrillard labels the symbolic, characterized by ambivalence and the subversion of conceptual opposites.

Kulttuurisia kohtaamisia : Suomalaiset kuvataiteilijat ja Rooma 1800-luvulla

Dozens of Finnish artists, practically all the professional sculptors and painters, travelled to and stayed in Rome during the 19th century. The study at hand concentrates for the first time on the Finnish artists in Rome in corpore, and analyses their way of life based on a broad variety of previously unknown and unexplored sources from a number of archives in both Scandinavia and Rome. The extensive corpus of source material is scrutinized with microhistorical precision from the point of view of cultural history. The new information thus achieved adds to the previous knowledge of Rome s often overlooked importance as a source of inspiration in Scandinavian culture in general and significantly clarifies our understanding of the development of Finnish artistic life and cultural identity in the 19th century. The study proves that in Finland, like in all of Europe, the stay in Rome was considered to be a necessary part of becoming a true artist. Already the journey was an integral part of the encounter with Rome, corresponding with the civilized ideal of the period. The stay in Rome provided a northern artist with overwhelming opportunities that were incomparable to the unestablished and modest forms of artistic life Finland could offer. Without domestic artistic institutions or traditions, the professional status of Finnish painters and sculptors took shape abroad, firstly through the encounter with Rome and the different networks the Finnish artists belonged to during and after their stay in the eternal city. The Finnish artists were an integral part of the international artistic community in the cultural capital of Europe, which gave a totally new impetus to their work and contributed to their cosmopolitan identification. For these early masters of Finnish art, the Scandinavian communality and universal artistic identity seemed to be more significant than their nationality. In all, the scrutiny of Finnish artists in their wide social, ideological and international framework gives an interesting aspect to the cultural ambiance of the 19th century, in both Rome and Finland. The study highlights many long-forgotten artists who were influential in shaping Finnish art, culture and identity in their time.

Murtuva säätyvalta, kestävä eliitti : Senaattori Lennart Gripenbergin sukupiiri ja sääty-yhteiskunnan muodonmuutos

This study examines the transformation of the society of estates in the Finnish Grand Duchy through the case study of Senator Lennart Gripenberg and his family circle. While national borders and state structures changed, the connections between old ruling elite families remained intact as invisible family networks, ownership relations, economic collaboration and power of military families. These were the cornerstones of trust, which helped to strengthen positions gained in society. Also, these connections often had a central if unperceivable impact on social development and modernization. Broadly speaking, the intergenerational social reproduction made it possible for this network of connections to remain in power and, as an imperceptible factor, also influenced short-term developments in the long run. Decisions which in the short term appeared unproductive, would in the long run produce cumulative immaterial and material capital across generations as long-term investments. Social mobility, then, is a process which clearly takes several generations to become manifest. The study explores long-term strategies of reproducing and transferring the capital accumulated in multinational elite networks. Also, what was the relationship of these strategies to social change? For the representatives of the military estate the nobility and for those men of the highest estates who had benefited from military training, this very education of a technical-military nature was the key to steering, controlling and dealing with the challenges following the industrial breakthrough. The disintegration of the society of estates and the rising educational standards also increased the influence of those professionals previously excluded, which served to intensify competition for positions of power. The family connections highlighted in this study overlapped in many ways, working side by side and in tandem to manage the economic and political life in Finland, Russia and Sweden. The analysis of these ties has opened up a new angle to economic co-operation, for example, as seen in the position of such family networks not only in Finnish, but also Swedish and Russian corporations and in the long historical background of the collaboration. This also highlights in a new way the role of women in transferring the cumulative social capital and as silent business partners. The marriage strategies evident in business life clearly had an impact on the economic life. The collaborative networks which transcended generations, national boundaries and structures also uncover, as far as the elites are concerned, serious problems in comparative studies conducted from purely national premises. As the same influential families and persons in effect held several leading positions in society, the line would blur between public and invisible uses of power. The power networks thus aimed to build monopolies to secure their key positions at the helm. This study therefore examines the roles of Lennart Gripenberg senator, business executive, superintendent of the Department of Industry, factory inspector, and founding member of industrial interest groups as part of the reproduction strategies of the elite. The family and other networks of the powerful leaders of society, distinguished by social, economic and cultural capital, provided a solid backdrop for the so-called old elites in their quest for strategies to reproducing power in a changing world. Crucially, it was easier for the elites to gain expertise to steer the modernization process and thereby secure for the next generation a leading position in society, something that they traditionally, too, had had the greatest interest in.

Suomen Taideyhdistyksestä Ateneumiin : Fredrik Cygnaeus, Carl Gustaf Estlander ja taidekokoelman roolit

From the Finnish Art Society to the Ateneum: Fredrik Cygnaeus, Carl Gustaf Estlander and the Roles of the Art Collection My dissertation deals with the Finnish Art Society and the development of its collection in the evolving field of the visual arts from the foundation of the society in 1846 to its exhibition in the Ateneum, a palace of art that was opened to the public in Helsinki in 1888. The main questions that it addresses are why and how the collection came into being, what its purpose was and what kind of future prospects were projected for it in the rapidly evolving field of the visual arts. I have examined the subject of my study from the perspectives of institutional history, the organisation of the field of art and the history of art collections. The prisms through which I have viewed the subject are the history of museums in Europe, the written history of art, the art association movement and the organisation of art education in relation to an ideology of enlightenment. Thus the activities of the Finnish Art Society are here mirrored for the first time in a wider context and the history of its collection located on the map of European collections. My research shows that the history of the collection of the Finnish Art Society initially depended on certain players in the visual arts and their particular leanings. The most important of these custodians were two long-serving chairmen of the society, Fredrik Cygnaeus (1807 1881) and Carl Gustaf Estlander (1834 1910). When the foundations for art activities had been laid through the establishment of the society, Cygnaeus and Estlander began to plan how the field of art might be moulded so as to improve the level of training for artists and to improve the quality of the collections and the opportunities for their display. Cygnaeus campaigned for the establishment of the Finnish Fine Arts Academy, while Estlander saw opportunities to combine the visual and applied arts. The findings of my research bring new information about the history of the collection of the Finnish Art Society, its profile, the professional abilities of those who were mainly responsible for developing it and the relationship between it and plans for reforming art education. The major findings are connected with the position of the collection in the field of art at different stages of its development. Despite the central monopoly of the Finnish Art Society in the field of art, the position of the collection was closely bound up with leading players in the field of art and their personal interests. This subservience also created an impediment to its full-blown enhancement and purposeful profiling, and it remained evident for a long time when the collection was seeking its own place in the Finnish art world.

Sisustaminen on kuin käsialaa : Carin Bryggman ja Lasse Ollinkari sisustusarkkitehdin ammatissa 1940- ja 1950-luvulla

"Interior Design is Like Handwriting." Carin Bryggman and Lasse Ollinkari as Interior Designers in the 1940s and 1950s My dissertation deals with the emergence of the interior designer's profession in Finland with focus on the 1940s and 1950s, the postwar years of reconstruction and modernism, as the historical context. The topic is addressed at both the collective and individual levels. Specific subjects of study are the training of interior designers (also known as interior architects), the association of Finnish interior architects (Sisustusarkkitehdit SIO), the professional field and its public image and two leading designers, Carin Bryggman (1920 1993) and Lasse Ollinkari (1921 1993). Though respected figures within the field, Bryggman and Ollinkari have otherwise remained little known and studied. My study presents a great deal of new empiria. The main materials consist of the documents of related institutions and the archives of Bryggman and Ollinkari, in which drawings and photographs figure prominently. The drawings illustrate in a new way the variety of professional tasks in the field. My results are also based on a large body of interviewed material. The materials are approached from two theoretical perspectives, with gender and margins as core concepts from the perspective of women's studies. The even gender division of Finnish interior designers revealed a difference with regard to neighbouring occupations and other countries. I claim that the division of tasks was not defined by gender. The second theoretical basis is the sociological study of professions. The high professional status achieved by interior designers is shown by the fact that of the many related titles in Finnish and Swedish, such as "furniture draughtsman" or "interior artist", interior architect became the established one, despite opposition from architects. My hypothesis that the professionalization of interior designers took place during the two postwar decades proved to be correct. The profession emerged through specialized education and became established with the founding of its own professional organization. From the outset, the goal was to mark a distinction between professionals of interior and furniture design and other designers and architects. Interior designers became a strong and successful modern professional group, involved in a wide range of projects from objects to interiors. Keywords: interior designers, interior architects, interior art, occupations, gender, professions, interior design, furniture, home, public space, Carin Bryggman, Lasse Ollinkari, the Sisustusarkkitehdit SIO association, 1940s and 1950s, reconstruction, modernism.

Isänmaa ja Ranska : Suomalainen frankofilia 1880-1914

In Finland the period 1880 -1914 constituted an essential phase in the creation of the great national project as well as it was a golden time of Francophilia. With Francophilia, i.e. French-mindedness, is here understood a collectively upheld strong sympathy towards France and French culture. However, the Francophilia of late nineteenth century Finland was free from apparent political intentions and remained a chosen disposition. The strength of its drive was not only based on the older European admiration of everything French, but also on the growing fascination for a novelty emerging besides the traditional influences of the Germanic culture. In Finnish society Francophilia mostly worked as an opposite force to the most confined conceptions of what was considered national ; as a consequence France came to denote more than a country and Francophilia contained an important symbolical meaning in the construction of the Finnish nation. The main tasks of the study are to introduce as the first large historical presentation of the subject a covering examination of the many descriptions of Paris-phases of assorted artists, authors, and intellectuals, to clarify the mental relationship of the Finnish intelligentsia to France prior to national independence, and finally to provide these developments with case studies of certain life paths. However, the examination is not biographical, because the starting point remains within the rhetoric arguments of Francophilia and patriotism as these appeared within the public sphere. Historical persons have thus been dealt with primarily as reflectors of the then-current French-minded mentality. Such Francophiles in Finland were first and foremost Werner Söderhjelm, Juhani Aho, L. Onerva and V. A. Koskenniemi. The networks of the Finnish cultural field are mostly displayed through these examples. In previous research the intensive relationship of Finnish artists and authors with France has not been connected with actual concepts of nationalism. The respective periods of the intellectuals in Paris have simply been viewed as devoid of ideological links with the contemporary advancement of the fatherland, or even as opposites to the patriotic pursuits in Finland. From the viewpoint of this study these now canonized creators of a Finnish culture are primarily seen as patriots and fellow countrymen, and only secondly as artists and artist s colleagues. The dissertation is constructed as both a regional survey of the idealization of France and a study of Finnish history through the mirror of Francophilia. As such France only held an instrumental role for the receiving culture, i.e. for the construction of Finland, as no "objective truths" were sought for in France. Keywords: France, francophilia, Finnishness, national project, Paris