Certainty or Faith? Arendt's and Merleau-Ponty's Critique of Cartesian Foundationalism

Epistemological foundationalism has for centuries attempted to unify all scientific inquiry into the context of one grand science, the first philosophy. One of the most important tasks of this tradition has been to ground all knowledge on absolutely certain foundations. In this master s thesis I ask the following question: To what extent and under what conditions is it possible to achieve absolute certainty in the sense of the attempts of Cartesian foundationalism? By examining how the 20th century philosophers, Edmund Husserl (1859-1938), Hannah Arendt (1906-1975) and Maurice Merleau-Ponty (1908-1961) interpret the epistemological methodology of René Descartes, I claim that the Cartesian achievement of absolute certainty rests on the implicit presupposition of an epistemologically prior form of faith in the world and trust (pistis) in other conscious beings. I show that knowledge is possible only within the context of a common world that is inhabited by several conscious beings that share a common linguistic system. This threefold element is shown to be the bedrock condition for any kind of philosophical inquiry. The main literature sources for this thesis are The Life of the Mind by Hannah Arendt, Le Visible et l invisible by Maurice Merleau-Ponty, Meditationes de Prima Philosophiae by René Descartes and Erfahrung und Urteil by Edmund Husserl.

Vilijonkka ikkunassa - Tove Janssonin muumiteosten kuva, sana ja liike

Tove Jansson (1914--2001) was a Finnish illustrator, author, artist, caricaturist and comic artist. She is best known for her Moomin Books, written in Swedish, which she illustrated herself, and published between 1945 and 1977. My study focuses on the interweaving of images and words in Jansson s picturebooks, novels and short stories situated in the fantasy world of Moomin Valley. In particular, it concentrates on Jansson s development of a special kind of aesthetics of movement and stasis, based upon both illustration and text. The conventions of picturebook art and illustration are significant to both Jansson s visual art and her writing, and she was acutely conscious of them. My analysis of Jansson s work begins by discussing her first published picturebooks and less familiar illustrations (before she began her Moomin books) and I then proceed to discuss her three Moomin picturebooks, The Book about Moomin, Mymble and Little My; Who Will Comfort Toffle?, and The Dangerous Journey. The discussion moves from images to words and from words to images: Barthes s (1982) concept of anchoring and, in particular, what he calls relaying , form a point of reading and viewing Moomin texts and illustrations in a complementary relation, in which the message s unity occurs on a higher level: that of the story, the anecdote, the diegesis . The eight illustrated Moomin novels and one collection of short stories are analysed in a similar manner, taking into account the academic discourse about picturebooks which was developed in the last decade of the 20th century and beginning of the 21st century by, among others, scholars such as Nodelman, Rhedin, Doonan, Thiele, Stephens, Lewis, Nikolajeva and Scott. In her Moomin books, Jansson uses a wide variety of narrative and illustrative styles which are complementary to each other. Each book is different and unique in its own way, but a certain development or progression of mood and representation can be seen when assessing the series as a whole. Jansson s early stories are happy and adventurous but her later Moomin novels, beginning from Moominland Midwinter, focus more on the interiority of the characters, placing them in difficult situations which approximate social reality. This orientation is also reflected in the representation of movement and space. The books which were published first include more obviously descriptive passages, exemplifying the tradition of literary pictorialism. Whereas in Jansson s later work, the space develops into something that is alive which can have an enduring effect on the characters personalities and behaviour. This study shows how the idea of an image a dynamic image -- forms a holistic foundation for Jansson s imagination and work. The idea of central perspective, or frame, for instance, provided inspiration for whole stories or in the way that she developed her characters, as in the case of the Fillyjonk, who is a complex female figure, simultaneously frantic and prim. The idea of movement is central to the narrative art of picturebooks and illustrated texts, particularly in relation to the way that action is depicted. Jansson, however, also develops a specific choreography of characters in which poses and postures signify action, feelings and relationships. Here, I use two ideas from modern dance, contraction and release (Graham), to characterise the language of movement which is evident in Jansson s words and images. In Jansson s final Moomin novels and short stories, the idea of space becomes more and more dynamic and closely linked with characterisation. My study also examines a number of Jansson s early sketches for her Moomin novels, in which movement is performed much more dramatically than in those illustrations which appeared in the last novels to be published.

Kuvan ja tekstin välissä : Kuvateksti uutiskuvan ja lehtijutun elementtinä

The study focuses on picture captions: their grammar and interplay with photographs and their position as semi-independent elements of the news stories. The research was conducted in the framework of critical discourse analysis, social semiotic visual theory and fennistic syntactical research. The data consist of 441 press photographs, 1,815 captions and a number of news items from Finnish dailies. The generic structure potential of the caption includes the caption headline, the caption proper, i.e. the verbalization of the picture content, and the frame. In the data, 41 per cent of the captions have a headline, and 44 per cent contain a caption proper. Characteristic of the caption proper is omission of the finite verb and the use of the present tense, both of which have decreased in Finnish papers during the 20th century. The caption proper is typically a main clause, and both subordinate clauses and participal phrases occur mostly in the frame. While comparing caption variants attached to the same pictures, the processes and their participants proved to be identified considerably identically, following the news agency captions. Instead, the reader?s interpretations of a picture could be directed by framing it in different ways. For example, the caption may focus on the only person depicted, deal with a whole group, or give an abstract account of the situation. The caption is a paratext, a typographically marked, semi-independent element of a news story. Between the headline and the caption, four semantic relations have been identified. The caption may be a paraphrase of the headline, or a close-up illustrating an abstract headline with a concrete example. If the name of the person depicted is their only common factor, the relation between the caption and the headline is additive. A specifying caption will give more details than the headline. The caption may complete, repeat, or summarize the body copy. Naturally, most captions completing the story verbalize the content of the picture. As the caption is often based on the story, it may even repeat the body copy verbatim. The summarizing function is probably becoming increasingly important, as most Finnish newspapers have abandoned the use of a separate standfirst.

Indian developments in ultrasonics and acoustic emission methods

Fundamental investigations in ultrasonics in India date back to the early 20th century. But, fundamental and applied research in the field of nondestructive evaluation (NDE) came much later. In the last four decades it has grown steadily in academic institutions, national laboratories and industry. Currently, commensurate with rapid industrial growth and realisation of the benefits of NDE, the activity is becoming much stronger, deeper, broader and very wide spread. Acoustic Emission (AE) is a recent entry into the field of nondestructive evaluation. Pioneering efforts in India in AE were carried out at the Indian Institute of Science in the early 1970s. The nuclear industry was the first to utilise it. Current activity in AE in the country spans materials research, incipient failure detection, integrity evaluation of structures, fracture mechanics studies and rock mechanics. In this paper, we attempt to project the current scenario in ultrasonics and acoustic emission research in India.

Post-industrial Intervention : An Activity-Theoretical Expedition Tracing the Proximal Development of Forms of Conducting Interventions

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Kouluromaanien opettajakuva 1930-luvulta 1990-luvulle : ihanteellisia, kapinallisia ja oman tien kulkijoita

The aim of this research is to define what kind of characters and images of teachers appear in Finnish school novels describing social changes and educational political reform from the 1930s to the 1990s written by teachers, particularly grammar school teachers. As comparison material, I use school novels written by Swedish school teachers, in which the changes in Swedish society and educational system and their expressions in the characters of teachers of the school novels are studied. The main focus of my study is centred particularly on school novels in which the images of grammar school teachers are described during times of school reform. From these starting points, the main objectives of the study are novels written by Finnish school teachers Anneli Toijala and Sampo Haahtela and Swedish school teacher Hugo Swensson, who was inspired by Haahtela. The research is qualitative multidisciplinary case analysis. The research method is content analysis, and the approach is hermeneutic. The research is divided into eight main chapters. After the introduction I introduce the essential concepts of my research. In the third main chapter I define the research function. In that context, besides the research objectives, I introduce former research on character description in literature, I define the methodological solutions with grounds and present the research material. Both literary research methods and sociological terminology are applied in the research alongside with pedagogical research. The research results show that images of teachers are diverse. At one end of the spectrum these represent immature pictures of teachers withdrawn into the routines of everyday life; at the other, they advance and reflect the reformist teacher. This becomes clearly evident when comparing the teacher "monsters" of the classic authors to the educational optimists at the end of the 20th century. The results show that the images of teachers in school novels are almost without exception coherent, psychologically credible and consistent, and hardly any different from the images of teachers in the Swedish school novels used as comparison material. On the contrary, plenty of similarities are found. The comprehensive school reform, educational political discourse and teachers' feelings are realistically clarified in the school novels that describe the period. Keywords: literature image, school reform, school novel, teacher image, reflection, internal co-operation in school

Exterior view of store J. Meyerhof am Platze; Hildesheim, Germany.

The photograph was taken in the late 19th century or early 20th century before the streetcar tracks were laid and a third floor added to the store. Members of the Meyerhof family lived in the 3rd floor apartment. Note the faces of the seamstresses on the second floor who were producing sheets, etc.

Exterior view of store J. Meyerhof am Platze; Hildesheim, Germany.

The photograph was taken in the late 19th century or early 20th century before the streetcar tracks were laid and a third floor added to the store. Members of the Meyerhof family lived in the 3rd floor apartment. Note the faces of the seamstresses on the second floor who were producing sheets, etc.

Exterior view of store J. Meyerhof am Platze; Hildesheim, Germany.

The photograph was taken in the late 19th century or early 20th century before the streetcar tracks were laid and a third floor added to the store. Members of the Meyerhof family lived in the 3rd floor apartment. Note the faces of the seamstresses on the second floor who were producing sheets, etc.

Exterior view of store J. Meyerhof am Platze; Hildesheim, Germany.

The photograph was taken in the late 19th century or early 20th century before the streetcar tracks were laid and a third floor added to the store. Members of the Meyerhof family lived in the 3rd floor apartment. Note the faces of the seamstresses on the second floor who were producing sheets, etc.

Familiengeschichte und Lebenserinnerungen 1800-1937

Genealogy reaching back to his great-grandparents in 18th century; history of the family's wine business until its liquidation in 1931; primary and secondary education; military service; activities in various associations; president of the "Israelitische Oberkirchenbehoerde" (Federation of Wuerttemberg Jewish communities); information about Stuttgart Jewish community.

Memoirs of an immigrant and his ashtray

The memoirs were written in 1999. Childhood memories in a small town in Lower Austria. Passion for playing football (soccer). Recollections of daily life with rituals of coffeehouse visits and family dinners in the countryside. First experiences of antisemitism in the mid 1930s. Rising Nazi movement and illegal meetings in the local community. Annexation of Austria in 1938. First encounters with anti-Jewish regulations and discrimination by neighbors and acquaintances. Walter experienced severe difficulties at school and was frequently insulted and beaten up. Decision to leave school. The family was forced to leave Eggenburg soon thereafter, and the town declared itself "Judenfrei" (free of Jews). Move to Vienna, where they stayed with relatives. Walter, who had been brought up as a Catholic, suddenly saw himself confronted with orthodox Jewish people of different customs. Increasing restrictions for Jews. Walter was enrolled in a program at the Vienna Jewish community to learn carpentry. Recollections of the terror of Kristallnacht. Walter and his brother Ludwig were signed up for a children transport to England by the Quaker organization and left Vienna in December 1938. Difficult feeling to depart from their parents. Arrival in Harwige. They were taken to a camp in Lowestoft. Cultural differences. Walter and his brother were sent to a training farm in Parbold. Simple living conditions and difficult circumstances. Farm work and school lessons. Outbreak of the war. Scarce news of their parents, who tried to leave for Argentina. Walter's older brother Ludwig was sent to an internment camp in Adelaide, Australia. After two years he volunteered in the Pioneer Corps and returned to England. In 1941 their parents finally managed to emigrate to Argentina. Walter decided to join them, and in 1943 he left for Buenos Aires. During the passage on the Atlantic the ship was sunk by a German submarine. Rescue by the US Army. Continuation of his trip via New York.

Ecological processes and large-scale climate relationships in northern coniferous forests

Ilmasto vaikuttaa ekologisiin prosesseihin eri tasoilla. Suuren mittakaavan ilmastoprosessit, yhdessä ilmakehän ja valtamerien kanssa, säätelevät paikallisia sääilmiöitä suurilla alueilla (mantereista pallopuoliskoihin). Tämä väistöskirja pyrkii selittämään kuinka suuren mittakaavan ilmasto on vaikuttanut tiettyihin ekologisiin prosesseihin pohjoisella havumetsäalueella. Valitut prosessit olivat puiden vuosilustojen kasvu, metsäpalojen esiintyminen ja vuoristomäntykovakuoriaisen aiheuttamat puukuolemat. Suuren mittakaavan ilmaston löydettiin vaikuttaneen näiden prosessien esiintymistiheyteen, kestoon ja levinneisyyteen keskeisten sään muuttujien välityksellä hyvin laajoilla alueilla. Tutkituilla prosesseilla oli vahva yhteys laajan mittakaavan ilmastoon. Yhteys on kuitenkin ollut hyvin dynaaminen ja muuttunut 1900-luvulla ilmastonmuutoksen aiheuttaessa muutoksia suuren mittakaavan ja alueellisten ilmastoprosessien välisiin sisäisiin suhteisiin.

Temple Mishkan Tefila Boston, Massachusetts collection, 1922-1996

Congregation Mishkan Tefila was founded in 1858 as Mishkan Israel, and is considered to be the oldest conservative synagogue in New England. Its founding members were East Prussian Jews who separated from Ohabei Shalom, which was predominately Polish at the time. In 1894, Mishkan Israel and another conservative synagogue, Shaarei Tefila, merged to form Congregation Mishkan Tefila. The synagogue moved its religious school to Walnut Street in Newton in 1955, and began planning for a new building in Chestnut Hill on Hammond Pond Parkway. The groundbreaking ceremony was on November 13, 1955. In 1958, services were held for the first time in the new synagogue building. This collection contains plays, annual reports, programs for events and dinners, and newsletters.

Hautamuistomerkki elämän ja kuoleman tulkitsijana : Heikki Häiväojan, Kain Tapperin ja Matti Peltokankaan tekemät hautamuistomerkit 1952-2002

Grave sculpture as interpreter of life and death. Grave sculptures done by Heikki Häiväoja, Kain Tapper and Matti Peltokangas 1952-2002. The thoughts of Philippe Ariès and Erwin Panofsky on western funeral art constitute the starting point of this study. These scholars speak about the 20th century as a period of decline regarding western funeral art. The reason for this situation lies, according to them, in the fact that death has been rejected and become a private affair in modern society. Especially Panofsky sees an important reason for the decay of funeral art also in the separation of death from religion. In this study, I approach the view of Ariès and Panofsky from the angle of Finnish funeral art. The subject of the study is grave sculptures of three Finnish sculptors: Heikki Häiväoja, Kain Tapper and Matti Peltokangas, from 1952 to 2002. (The analysis of the grave sculptures has been performed with the Iconology of Erwin Panofsky. The analysis has been deepened by the ideas of a graveyard as a semiotic text according to Werner Enninger and Christa Schwens. In order to confirm their argumentation, they analyse the graveyard text with the model of communicative functions of Roman Jakobson and verify that the graveyard is a cultural text according to Juri Lotman.) Results of the study In the grave sculptures of the sculptors, different worldviews appear alongside Christian thoughts indicating a new stage in the tradition of funeral art. In the grave sculptures characterised as Christian, the view of life after death is included. In these memorials the direction of life is prospective, pointing to the life beyond. Death is a border, beyond which one is unable to see. Nevertheless the border is open or marked by the cross. On this open border, death is absence of pain, glory and new unity. In memorials with different worldviews, the life beyond is a possibility which is not excluded. Memorials interpret life retrospectively; life is a precious memory which wakens grief and longing. Many memorials have metaphysical and mystic features. In spite of democratization the order and valuation of social classes appear in some memorials. The old order also materializes in the war memorials relating the same destiny of the deceased. Different burial places, nevertheless, do not indicate social inequality but are rather signs of diversity. The sculptors' abstract means of modern funeral art deepen the handling of the subject matter of death and reveal the mystery of it. Grave sculptures are a part of Finnish and sacral modern art, and there is an interaction between funeral art and modern art. Modern art acquires a new dimension, when grave sculptures become a part of its field. Grave sculptures offer an alternative to anonymous burying. The memorial is a sign of the end of life; it gives death significance and publicity and creates a relation to the past of the society. In this way, grave sculptures are a part of the chain of memory of the western funeral art, which extends throughout Antiquity until ancient Egypt. (In this study I have spoken of funeral art as a chain of memory using the thoughts of Danièle Hervieu-Léger.) There are no signs of decay in the grave sculptures, on the contrary the tradition of funeral art continues in them as a search for the meaning of life and death and as an intuitive interpretation of death. As such, grave sculptures are part of the Finnish discussion of death.