Across the Oceans : Development of Overseas Business Information Transmission, 1815-1875

Earlier studies have shown that the speed of information transmission developed radically during the 19th century. The fast development was mainly due to the change from sailing ships and horse-driven coaches to steamers and railways, as well as the telegraph. Speed of information transmission has normally been measured by calculating the duration between writing and receiving a letter, or between an important event and the time when the news was published elsewhere. As overseas mail was generally carried by ships, the history of communications and maritime history are closely related. This study also brings a postal historical aspect to the academic discussion. Additionally, there is another new aspect included. In business enterprises, information flows generally consisted of multiple transactions. Although fast one-way information was often crucial, e.g. news of a changing market situation, at least equally important was that there was a possibility to react rapidly. To examine the development of business information transmission, the duration of mail transport has been measured by a systematic and commensurable method, using consecutive information circles per year as the principal tool for measurement. The study covers a period of six decades, several of the world's most important trade routes and different mail-carrying systems operated by merchant ships, sailing packets and several nations' steamship services. The main sources have been the sailing data of mail-carrying ships and correspondence of several merchant houses in England. As the world's main trade routes had their specific historical backgrounds with different businesses, interests and needs, the systems for information transmission did not develop similarly or simultaneously. It was a process lasting several decades, initiated by the idea of organizing sailings in a regular line system. The evolution proceeded generally as follows: originally there was a more or less irregular system, then a regular system and finally a more frequent regular system of mail services. The trend was from sail to steam, but both these means of communication improved following the same scheme. Faster sailings alone did not radically improve the number of consecutive information circles per year, if the communication was not frequent enough. Neither did improved frequency advance the information circulation if the trip was very long or if the sailings were overlapping instead of complementing each other. The speed of information transmission could be improved by speeding up the voyage itself (technological improvements, minimizing the waiting time at ports of call, etc.) but especially by organizing sailings so that the recipients had the possibility to reply to arriving mails without unnecessary delay. It took two to three decades before the mail-carrying shipping companies were able to organize their sailings in an optimal way. Strategic shortcuts over isthmuses (e.g. Panama, Suez) together with the cooperation between steamships and railways enabled the most effective improvements in global communications before the introduction of the telegraph.

Reconsidering Relativism and Intentionalism in Interpretation : Donald Davidson, Hermeneutics, and Pragmatism

This study focuses on two philosophical issues related to the interpretation of art. Firstly, it considers the role of authorial intentions in interpretation. Secondly, the study raises the issue of relativism in interpretation through a discussion of the relativistic tendencies apparent in the views of three major figures of contemporary philosophy: Joseph Margolis, Hans-Georg Gadamer, and Richard Rorty. The major goal of the thesis is to develop a theory of interpretation supporting the role of authorial intentions in interpretation on the basis of Donald Davidson s late philosophy of language and the holistic account of interpretation that underlies different parts of his philosophy. It is my belief that an intentionalist view of interpretation built on Davidsonian elements manages to form the most convincing defense of that interpretive position against the skepticism present in the views of Margolis, Gadamer, and Rorty. The theoretical issues addressed in the thesis are illuminated by discussions of case-examples, most importantly Richard Wagner s The Valkyrie, Thomas Adés America: A Prophecy, and some symphonies by Dimitri Shostakovich. In chapter one, I present a critical discussion of Margolis robust relativism. While finding Margolis criticism of the self-refutive argument plausible, I, nevertheless, argue that the relativistic logic Margolis offers should not be favored in interpretation. The first parts of chapter two outline Davidsonian intentionalism by presenting a reading of Davidson s later work in philosophy of language and mind, and by indicating its relationship to Davidson s views of literature. Then, I shall compare Davidson s ideas with some recent modest forms of intentionalism found in analytic aesthetics, and argue that Davidsonian intentionalism is in many respects more satisfactory compared to them. Chapter three engages Gadamer s hermeneutics by defending E.D. Hirsch s criticism of Gadamer. Uncovering the shortcomings in the replies of Gadamer s followers to Hirsch s criticism serves as a basis for the defense of intentionalism in interpretation carried out in the chapter. That defense is then extended with a discussion of some recent hermeneutic readings of Davidson s views. Chapter four deals with the standing of intentionalism through Rorty s pragmatist approach to literature. By indicating the position of pragmatist notions of aesthetic experience and imagination in Davidsonian intentionalism, it is shown that an intentionalist approach need not be as impoverished with regard to the value Rorty attributes to literature as he assumes. The concluding chapter outlines some ways in which one can be a pluralist with regard to art and interpretation without falling into relativism.

Nuori konservatiivi : Tuure Junnila ja hänen poliittinen toimintansa vuoteen 1956

Tuure Junnila, PhD (1910-1999) was one of Finland's most renowned conservative politicians of the post-war period. Junnila is remembered primarily as a persistent opponent of Urho Kekkonen, a long-term Member of Parliament, a conspicuous opposition member and a prolific political writer. Junnila's ideologies and political views were conservative, and he is one of the most outstanding figures in the history of the National Coalition Party. Junnila also made an extensive career outside of politics, first as an economist and then as an executive of Finland's leading commercial bank Kansallis-Osake-Pankki. The Young Conservative is a partial biography written using traditional historical research methods, which examines Junnila's personal history and his activity in public life up to 1956. The study begins by investigating Junnila's background through his childhood, school years, university studies and early professional career. It also looks at Junnila's work as an economist and practical banker. Particular attention is paid to Junnila's political work, constantly focusing on the following five often overlapping areas: (1) economic policy, (2) domestic policy, (3) foreign and security policy, (4) Junnila and Urho Kekkonen, (5) Junnila, the Coalition Party and Finnish conservatism. In his economic policy, Junnila emphasised the importance of economic stability, opposed socialisation and the growth of public expenditure, defended the free market system and private entrepreneurship, and demanded tax cuts. This policy was very popular within the Coalition Party during the early 1950s, making Junnila the leading conservative economic politician of the time. In terms of domestic policy, Junnila demanded as early as the 1940s that a "third force" should be established in Finland to counterbalance the agrarian and labour parties by uniting conservative and liberal ideologies under the same roof. Foreign and security policy is the area of Junnila's political activity which is most clearly situated after the mid-1950s. However, Junnila's early speeches and writings already show a striving towards the unconditional neutrality modelled by Switzerland and Sweden and a strong emphasis on Finland's right to internal self-determination. Junnila, as did the Coalition Party as a whole, adopted a consistently critical approach towards Urho Kekkonen between 1951 and 1956, but this attitude was not as bluntly negative and all-round antagonistic as many previous studies have implied. Junnila was one of the leading Finnish conservatives of the early 1950s and in all essence his views were analogous to the general alignment of the Coalition Party at the time: conservative in ideology and general policy, and liberal in economic policy.

Questions to Artificial Nature: A Philosophical Study of Interdisciplinary Models and their Functions in Scientific Practice

This thesis presents an interdisciplinary analysis of how models and simulations function in the production of scientific knowledge. The work is informed by three scholarly traditions: studies on models and simulations in philosophy of science, so-called micro-sociological laboratory studies within science and technology studies, and cultural-historical activity theory. Methodologically, I adopt a naturalist epistemology and combine philosophical analysis with a qualitative, empirical case study of infectious-disease modelling. This study has a dual perspective throughout the analysis: it specifies the modelling practices and examines the models as objects of research. The research questions addressed in this study are: 1) How are models constructed and what functions do they have in the production of scientific knowledge? 2) What is interdisciplinarity in model construction? 3) How do models become a general research tool and why is this process problematic? The core argument is that the mediating models as investigative instruments (cf. Morgan and Morrison 1999) take questions as a starting point, and hence their construction is intentionally guided. This argument applies the interrogative model of inquiry (e.g., Sintonen 2005; Hintikka 1981), which conceives of all knowledge acquisition as process of seeking answers to questions. The first question addresses simulation models as Artificial Nature, which is manipulated in order to answer questions that initiated the model building. This account develops further the "epistemology of simulation" (cf. Winsberg 2003) by showing the interrelatedness of researchers and their objects in the process of modelling. The second question clarifies why interdisciplinary research collaboration is demanding and difficult to maintain. The nature of the impediments to disciplinary interaction are examined by introducing the idea of object-oriented interdisciplinarity, which provides an analytical framework to study the changes in the degree of interdisciplinarity, the tools and research practices developed to support the collaboration, and the mode of collaboration in relation to the historically mutable object of research. As my interest is in the models as interdisciplinary objects, the third research problem seeks to answer my question of how we might characterise these objects, what is typical for them, and what kind of changes happen in the process of modelling. Here I examine the tension between specified, question-oriented models and more general models, and suggest that the specified models form a group of their own. I call these Tailor-made models, in opposition to the process of building a simulation platform that aims at generalisability and utility for health-policy. This tension also underlines the challenge of applying research results (or methods and tools) to discuss and solve problems in decision-making processes.

Olen maa johon tahdot : Timo K. Mukan maailmankuvan poetiikkaa

The dissertation deals with the prose texts of the Finnish writer Timo K. Mukka, renowned for his depictions of his native Lapland. This research concerns the creation of world view in Mukka s prose, which is approached by studying what Mikhail Bakhtin calls generic change. Such genre change is the most characteristic feature of Mukka s prose. His prose is permeated with two genres in particular and changes between them: the ballad-like, archaistic and romantic prose-poem style and naturalistic, even grotesque expressions. In addition, these genres are associated with sublime and grotesque styles so that generic change tends to involve also stylistic changes in Mukka s prose. This study probes the tension-filled interrelationships between the ballad and naturalistic prose by examining the discourse of Mukka s characters. It is shown that these characters invariably find themselves in what Bakhtin calls the chronotope of the threshold; that is, the plots of Mukka s novels and short stories depict situations in which the characters are faced with decisions and deeds that will profoundly impact their lives. The discourse of the threshold affects the characters speech by filling it with dialogical dimensions. This makes their communication ethically loaded and polyphonic. This study is based on Mikhail Bakhtin s theory of the novel and international Bakhtin s studies. I also take into consideration the theoretical developments of Bakhtin s work; for example, the concept of ressentiment, adapted from the Bakhtin scholar Michel André Bernstein, plays an important role. In order to explicate on the psychology of Mukka s characters such as melancholy, abjection, sadism, and taboo I use the concepts familiar from Freudian psychoanalysis. The corpus of my research consists of the following texts: the long prose texts Maa on syntinen laulu. Balladi (1964), Tabu (1965), Täältä jostakin. Romaani (1965), Laulu Sipirjan lapsista. Romaani (1966), Ja kesän heinä kuolee. Kertomus sairaudesta (1968) ja Kyyhky ja unikko (1970) and the short story collections Koiran kuolema (1967) ja Lumen pelko (1970), and with Tabu published short story Sankarihymni , the short story Katkelma laajemmasta laulelmasta from the collection Rakastaa: Kaksitoista novellia rakkaudesta (1965) and also the short stories which were published in various Finnish journals: Yöt (1965), Liisa (1967), Tyttö (1967) ja Näin hetki sitten ketun (1970). I pay particular attention to the novel Maa on syntinen laulu, because it expresses the generic change characteristic of Mukka s world view in a specifically clear and lively way. The dissertation is in Finnish. Key words: Timo K. Mukka, world view, genre change, ballad, naturalism, grotesque realism, Mikhail Bakhtin, dialogism, polyphony, chronotope, sublime, grotesque, ressentiment, Sigmund Freud, melancholy, taboo, abject, sadism, reduced laughter, modern parody.

Moderneja ryijyjä, metritavaraa ja käsityötä : Tekstiilitaide ja nykyaikaistuva taideteollisuus Suomessa maailmansotien välisenä aikana

Modern ryijys, fabric by the yard and handicrafts. Finnish textile art and modernizing applied art during the inter-war years Textile art was in the 1920s and 1930s in the front rank of Finnish applied art and design. Modern ryijys, tapestries and fabrics by the yard by contemporary textile artists were on show in Finland and abroad. Textile art had also become interesting commercially, especially in interior textiles of modern homes. The research uses sources of the Ornamo Association of Decorative Artists, for example the Ornamo year books published from 1927, the Finnish Society of Crafts and Design and the country s only school of applied arts, the Central School of Arts and Crafts and the Museum of Applied Arts maintained by the society and also the national specialist organisation the Friends of Finnish Handicraft. It also refers to the magazines Käsiteollisuus and Kotiliesi. The art historical dissertation studies the renaissance of weaving art of the inter-war years in Finland. It problematizes the relation of the succesfull and appreciated textile art to the concept of breakthrough of Modernism (Functionalism). With the material from textile artists activities it questions the prevailing idea of slow modernization of Finnish applied art and design and challenges the polarization of craft and industry in the discourses of Modernisms of design. The public discussions about modernization of design and applied art where textile art and especially the ryijy got sometimes into difficult positions are interpreted as power struggles. After taking independence in 1917 the Finnish tradition of ryijy rugs was set as a symbol of the original culture of the young nation. The research studies the development of the so called art ryijy and the notions and meanings of hand weaving in the national context and also in relation to contemporary events in international applied art and design. It highlights the continuity of hand crafted production of textiles and the strong position of textile artists working in this field. The research opens new perspectives to Finnish textile artists by showing their activities as entrepreneurs in their own weaving studios or design studios and referring to their many relations and functions as pattern designers and educators in the growing handicraft industries.

Musiikkianalyysimetodien synteesi nykyjazzin tutkimuksessa : Esimerkkinä Pat Methenyn ’The Red One’

Tarkastelen pro gradu -työssäni perinteisten, lähinnä duuri-mollitonaalisen musiikin analysoimiseen kehitettyjen metodien synteesin soveltuvuutta nykyjazzin tutkimisessa. Musiikkianalyysin kohteena on amerikkalaisen jazzkitaristin Pat Methenyn (s. 1954) säveltämä kappale 'The Red One' levyltä I Can See Your House From Here (1994). Nykyjazz rakentuu paljolti länsimaisen taidemusiikin tonaalisille ja modaalisille käytänteille, joten sitä on perusteltua tutkia länsimaisen taidemusiikin analysointiin kehitetyin metodein. Jazzin runsas lisäsävelisyys ja improvisointi aiheuttavat kuitenkin perinteisille analyysimetodeille ongelmia – olenkin analyyttisissä ongelmatapauksissa kiinnittänyt huomion metodien tarkasteluun ja kehittämiseen jazzin musiikillisia käytänteitä vastaaviksi. 'The Red Onesta' on saatavana ainakin kaksi erilaista painettua nuottia (Liite 3), mutta analyysin olen tehnyt kappaleen esitykseen perustuvan transkription pohjalta (Liite 1), joka poikkeaa ajoittain huomattavastikin painetuista nuoteista. Työni pohjalta väitänkin, että jazzkappaleita on mielekkäintä analysoida transkriptioon tai tarkkaan analyyttiseen kuunteluun tukeutuen: jazz on luonteeltaan improvisatorista ja esittäjälähtöistä; painetuista nuoteista on tavallisesti poistettu useita yksityiskohtia. Läpi tutkimuksen painotan musiikin historian ja analyysimetodien tuntemista: Luvussa kaksi esittelen jazzin historiaa aina varhaisesta bluesista nykyiseen elävään musiikkitraditioon. Luvussa kolme käyn läpi työni kannalta merkittävimmät analyysimetodit. Varsinaisessa käsittelyluvussa yhdistän perinteisen sointuanalyysimetodin sointu-asteikkoteoriaan ja esittelen uuden analyyttisen merkintätavan. Uusi merkintätapa koostuu kolmesta hierarkkisesta osiosta, joiden merkitystä voidaan muuttaa aina kulloinkin analysoitavan kappaleen ehdoilla siten, että osioiden välinen suhde korostaa mielekkäästi tutkittavan kappaleen tekstuuria; usean osion käyttäminen mahdollistaa musiikillisen kontekstin huomioimisen oli analyysin painopiste sitten harmoniassa, melodiassa tai esimerkiksi tietyssä instrumentissa.

Herakleitos, filosofia ja metafysiikka : Collin ja Heideggerin tulkintojen valossa

Tutkielmani aiheena on noin 2500 vuotta sitten Efesoksen kaupungissa eläneen Herakleitoksen ajattelu. Selvitän, mikä suhde Herakleitoksen ajattelulla on filosofiaan ja metafysiikkaan. Lähestyn tätä kysymystä pääasiassa kahden uuden ajan filosofin italialaisen Giorgio Collin (1917-1979) ja saksalaisen Martin Heideggerin (1889-1976) esittämien tulkintojen pohjalta. Osoitan, että Herakleitoksen ajattelu eroaa olennaisesti Platonin ja Aristoteleen jälkeisestä filosofisesta ja metafyysisestä ajattelusta. Perusteluna tarkastelen Herakleitoksen ajattelua neljästä näkökulmasta: 1) historiallisesti filosofian syntyä edeltäneen viisauden ja uskonnollisen ajattelun edustajana, 2) loogisesti olevan käsitteeseen keskittyvästä metafysiikasta poikkeavana ajatteluna, 3) välittömän kokemuksen ajatteluna ja 4) fenomenologisena ilmiön ja kätkeytymättömyyden ajatteluna. Ensimmäinen ja kolmas näkökulma edustavat Collin tulkintaa, toinen ja neljäs näkökulma puolestaan Heideggerin tulkintaa. Tärkeimpinä lähteinäni ovat Collin teokset Filosofian synty (1975), Filosofia dell'espressione (1969) ja La sapienza greca (1977-80) sekä Heideggerin teokset Oleminen ja aika (1927), Einführung in die Metaphysik (1935/53), Aletheia (1951), Logos (1951) ja Heraklit Seminar (1966-67).

Pekka Pohjolasta : Fuusiosäveltäjän musiikillinen tyyli

Tutkimus pureutuu fuusiosäveltäjä Pekka Pohjolan musiikilliseen tyyliin. Pohjolan soololevytuotantoa tarkastellaan ensin tyylikausittain ja sitten keskittymällä hänen musiikkinsa erityispiirteisiin. Pohjolan tyyliä verrataan taidemusiikkiin ja jazziin, ja kyseenalaistetaan hänen tuotantonsa itsestään selvänä pidetty paikka progressiivisen rockin kategoriassa. Pohjolan musiikin vahvoja emotionaalisia kontrasteja analysoidaan erittelemällä hänen tuotannolleen tunnusomaisten emootioiden ja niitä välittävien musiikillisten keinojen suhdetta kolmessa esimerkkisävellyksessä. Pohjolalle ominaisia sävellysteknisiä piirteitä hahmotellaan erillisessä case-analyysissa. Pääasiallisten tutkimuskysymysten ohella käydään läpi Pohjolan musiikkisukutausta sekä urapolku viulistiopiskelijasta sähköbasistiksi ja viimein säveltäjäksi. Tutkimus on vahvasti aineistolähtöinen. Menetelmällisesti nojaudutaan triangulaatioon eli näkökulmien ja metodien monipuolisuuteen; tutkijan tärkeinä pitämät asiat nostetaan esiin kuhunkin tilanteeseen sopivan menetelmän avulla. Tutkimuksessa käytettyjä metodeja ovat analyyttinen kuuntelu, säveltäjän syvähaastattelu sekä musiikkianalyysi, joka on sekä nuotinnoksiin perustuvaa että kuulonvaraista. Pekka Pohjolan uraa kronologisesti tarkasteltaessa käy ilmi, että hänen kokoonpanoratkaisuissaan on ollut selvä akustisia soittimia suosiva trendi. Säveltäjäidentiteetti on vahvistunut yhtä jalkaa instrumentalisten ambitioiden hälvenemisen kanssa ja Pohjola on vähitellen keskittynyt entistä suurimuotoisempiin teoksiin levytysten ja esiintymisten kustannuksella. Musiikkimuodin virtaukset sekä niitä seuranneet levyyhtiöiden asettamat taloudelliset reuna-ehdot ovat vaikuttaneet Pohjolan tyyliin. Sen persoonallinen ydin on kuitenkin säilynyt muuttumattomana. Pohjolan sävellystuotannossa on paljon yhtymäkohtia klassis-romanttiseen musiikkiin ja jazziin, mutta myös mm. salonki- ja kirkkomusiikkiin. Pohjolan tyylin suhde progressiiviseen rockiin on kaksijakoinen. Yhtäältä hänen tyylillään on paljon yhteistä progressiivisen rockin kirjallisuuden asettamien tyylimääritelmien kanssa, toisaalta Pohjolan musiikki ei ole luonteeltaan kovin kokeellista, pikemminkin perinteisempiä aineksia tuoreella tavalla yhdistelevää. Emotionaalisuus on tunnusomaista Pohjolan musiikille. Analyysikappaleissa tyypillisimmiksi emootioiksi paljastuivat – tutkijan termejä käyttäen – mahtipontisuus ja lapsenomaisuus. Mahtipontisuuden emootiota toteuttavia musiikillisia keinoja olivat mm. kova äänenvoimakkuus, legatofraseeraus, matalan rekisterin käyttö, paksu soitinnus ja säestyksen fanfaarimaisuus. Lapsenomaisuutta kuvattiin mm. hiljaisen äänenvoimakkuuden, staccatofraseerauksen, korkean rekisterin ja ohuen soitinnuksen avulla. Emootiot tulevat Pohjolan musiikissa esiin toistensa kontrasteina, peräkkäisinä ja usein valmistelemattomina. Tutkimuksen päättävä Impun tangon case-analyysi esittelee Pohjolan sävellysteknisiä tunnusmerkkejä, motiivitekniikan ja sekvenssitekniikan runsasta käyttöä. Analyysi toimii myös esimerkkinä Pohjolan musiikin monipuolisista tyylivaikutteista. Impun tangossa on aineksia niin tangosta, jazzista, klassisesta musiikista, hard rockista kuin heavystakin.

Environmental change and human history in the Jabal Harun area, Jordan

The research is related to the Finnish Jabal Harun Project (FJHP), which is part of the research unit directed by Professor Jaakko Frösén. The project consists of two interrelated parts: the excavation of a Byzantine monastery/pilgrimage centre on Jabal Harun, and a multiperiod archaeological survey of the surrounding landscape. It is generally held that the Near Eastern landscape has been modified by millennia of human habitation and activity. Past climatic changes and human activities could be expected to have significantly changed also the landscape of the Jabal Harun area. Therefore it was considered that a study of erosion in the Jabal Harun area could shed light on the environmental and human history of the area. It was hoped that it would be possible to connect the results of the sedimentological studies either to wider climatic changes in the Near East, or to archaeologically observable periods of human activity and land use. As evidence of some archaeological periods is completely missing from the Jabal Harun area, it was also of interest whether catastrophic erosion or unfavourable environmental change, caused either by natural forces or by human agency, could explain the gaps in the archaeological record. Changes in climate and/or land-use were expected to be reflected in the sedimentary record. The field research, carried out as part of the FJHP survey fieldwork, included the mapping of wadi terraces and cleaning of sediment profiles which were recorded and sampled for laboratory analyses of facies and lithology. To obtain a chronology for the sedimentation and erosion phases also OSL (optically stimulated luminescence) dating samples were collected. The results were compared to the record of the Near Eastern palaeoclimate, and to data from geoarchaeological studies in central and southern Jordan. The picture of the environmental development was then compared to the human history in the area, based on archaeological evidence from the FJHP survey and the published archaeological research in the Petra region, and the question of the relationship between human activity and environmental change was critically discussed. Using the palaeoclimatic data and the results from geoarchaeological studies it was possible to outline the environmental development in the Jabal Harun area from the Pleistocene to the present.It is appears that there was a phase of accumulation of sediment before the Middle Palaeolithic period, possibly related to tectonic movement. This phase was later followed by erosion, tentatively suggested to have taken place during the Upper Palaeolithic. A period of wadi aggradation probably occurred during the Late Glacial and continued until the end of the Pleistocene, followed by significant channel degradation, attributed to increased rainfall during the Early Holocene. It seems that during the later Holocene channel incision has been dominant in the Jabal Harûn area although there have been also small-scale channel aggradation phases, two of which were OSL-dated to around 4000-3000 BP and 2400-2000 BP. As there is no evidence of tectonic movements in the Jabal Harun area after the early Pleistocene, it is suggested that climate change and human activity have been the major causes of environmental change in the area. At a brief glance it seems that many of the changes in the settlement and land use in the Jabal Harun area can be explained by climatic and environmental conditions. However, the responses of human societies to environmental change are dependent on many factors. Therefore an evaluation of the significance of environmental, cultural, socio-economic and political factors is needed to decide whether certain phenomena are environmentally induced. Comparison with the wider Petra region is also needed to judge whether the phenomena are characteristic of the Jabal Harun area only, or can they be connected to social, political and economic development over a wider area.

Infinitiivi ja sen infiniittisyys : Tutkimus suomen kielen itsenäisistä A-infinitiivikonstruktioista

"Infinitive and its infinity" advocates an approach to infinitives that differs from most previous descriptions in several ways. Infinitives are generally considered to be an illustrative example of an inherently subordinated verb category. This is due to the fact that they are morphologically reduced and are allegedly not able to function as the only predicate of an independent clause. While former descriptions have thus treated infinitives as a linguistic category heavily dependent on the finite verb, my claim is that Finnish A-infinitives (e.g. juosta to run , olla to be ) can be used as independent grammatical units: they need not be either dependent or subordinated, but can have an equal status with finite constructions. In other words, they can be conceptually and interactionally non-dependent. Theoretically, the main objective of the thesis is to discover the nature of non-finite conceptualization and the ways in which it is utilized in everyday interactions. This is accomplished by contrasting finite and non-finite conceptualization with respect to the morphosyntactic marking of person, tense and modality. I argue that the morphologically reduced nature of infinitives can be used as an interactional resource. Independent A-infinitive constructions designate verbal processes that profile no participants, lack any connection with time, and present states of affairs as intensional, structural spaces. Consequently, they provide the interactants with a conceptual alternative in contrast to finite predications that are in Finnish always grammatically anchored to time, modality and person. The deictically unanchored character of A-infinitive constructions makes them highly affective and reflexive in nature. I discuss my findings primarily in the light of Cognitive Grammar. I have drawn insight from various other fields, too: among the theories that are touched upon are interactional linguistics, functional-typological linguistics, and studies on the poetic and metapragmatic use of language. The study is based on empirical data interpreted in qualitative terms. Analyses are based on 980 examples coming mainly from written language. Some 20 examples of spoken data are analyzed as well. In sum, the thesis presents a critical statement towards the finite-verb centred outlook on language and shows that analyzing non-finite elements as such reveals new aspects of grammar and interaction. This is to acknowledge the fact that infinitives, albeit prototypically participating in the coding of dependent events, can also be used outside of the context of the finite verb. Such a view poses several new research questions, as a linguistic category generally seen to code dependent, less prominent states of affairs , now is viewed on as possessing a full cognitive and pragmatic potential.

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.

Heräämisten poetiikkaa : Lajeja ja intertekstejä Arvid Järnefeltin romaaneissa Isänmaa, Maaemon lapsia ja Veneh'ojalaiset

Poetics of Awakenings. Genres and Intertexts in Arvid Järnefelt s Novels Isänmaa, Maaemon lapsia and Veneh ojalaiset This doctoral dissertation focuses on Arvid Järnefelt s (1961 1932) novels Isänmaa (1893), Maaemon lapsia (1905) and Veneh ojalaiset (1909). The study applies the genre theory and concepts Alastair Fowler has introduced in his Kinds of Literature (1982). Fowler s theory of the novel is developed further and applied to Finnish realist novels. The generic analysis is supplemented by intertextual analysis, which is mainly based on the idea of specific intertextual relations as presented by Kiril Taranovsky. Generic and intertextual analyses form the basis for hermeneutic interpretation, in which attention is paid to the fact that the novels are written by the designated writer in specific historical and cultural circumstances. Instead of the author s intention , the study focuses on the realised intention , in other words the novels as they are published. Järnefelt s first novel Isänmaa is understood to be a classical Bidungsroman that depicts the socialisation of a young male protagonist. From an intertextual point of view, the novel appears to be a novel of conversion, too, due to the biblical allusions concealed in the depiction of the events. Furthermore, Isänmaa is seen to stand in an intertextual relation to Hegel s, Snellman s and Topelius s writings. Maaemon lapsia is argued to be a thesis novel, which persuades the reader to adopt a certain ideological and political stance, namely Henry George s view on the private ownership of land. The novel is modulated by the generic repertoires of fairy tale and tragedy. The mythical frame of the novel supports the thesis novel, as it gives universal validity to the particular events depicted in the novel. Maaemon lapsia also comments on the contemporary political debate on the relations between Finland and Russia by presenting the relationship as analogous to the relationship between tenant farmer and landowner. Veneh ojalaiset exhibits a wide range of genres. Comic, tragic and mythical mode is combined with, for example, family novel, romance, conversion novel and revolutionary novel. From a rhetorical viewpoint, the novel is an apology, which accuses society of generating criminality by means of unjust laws and procedures. The novel discusses the question of resistance to evil by using the themes of Faust and Job, as well as by confronting the philosophies of Epictetus and Nietzsche. The novel is a thesis novel, which disputes the possibility of violent revolution as a way to a better society and recommends passive resistance for an individual living in an unjust society. The poetics of Järnefelt s novels is regarded as the poetics of conversion, as all the novels in focus depict the protagonist s awakening to see the society in a new light, be it a patriotic vision of the reality or a conception of the unfairness of society.

Ainasta Sariin ja Otosta Kimmoon : Suomenkielistä homonyymiparista etunimistä 1800-luvun lopulta noin vuoteen 1980

Tutkielma selvittää homonyymiparisten suomalaisten etunimien suosionvaihtelua eri aikoina eri alueilla. Tarkastelu rajoittuu ajanjaksoon 1800-luvun lopulta noin vuoteen 1980. Tarkoituksenani on kuvata myös sitä ympäristöä, jossa nimenantajat ovat valintansa tehneet. Nimen on hyväksytyksi tullakseen noudatettava yhteisön senhetkisiä nimimalleja. Kulttuurissa tapahtuvat muutokset heijastuvat henkilönnimistöön, esimerkiksi varsinaisista etunimistä voi puhua vasta sitten, kun nimijärjestelmään kuuluu lisäksi sukunimi tai säännöllisesti käytetty lisänimi. Homonyymiparisella etunimellä tarkoitan sellaista etunimenä käytettyä tai sellaiseksi tarkoitettua propria, jolla on Nykysuomen sanakirjan mukaan yleiskielessä sitä äänteellisesti vastaava ei-proprinen, merkityksellinen sana. Tätä kutsun proprin homonyymipariksi. Nimen rinnalla olevan homonyymin merkitys ei useinkaan sinänsä ole vakiinnuttanut nimeä, mutta on nimiryhmiä, joiden homonyymiparit muodostavat merkityskenttiä: Ilta (< Mathilda) on saanut tukea nimistä Aamu ja Päivä. (Huom. *Yö ei ole etunimi.) Ajanjaksojen homonyymipariset suosikkinimet muistuttavat toisiaan ja ovat rakenteeltaan toistensa ja samaan aikaan suosiossa olleiden muiden nimien kanssa samankaltaisia.

Kiehtova epäloogisuus : Italiaa ja italialaisia koskevien mielikuvien diskurssianalyysiä.

Tutkimukseni aineistona on Työväenopiston italian kielen opiskelijoiden lyhyitä, vapaamuotoisia kirjoituksia ja muutama sähköpostiviesti hyvin Italiaa tuntevilta ihmisiltä. Teksteissä kerrotaan mielikuvista Italiasta ja italialaisista. Analysoin aineistoa sosiaalipsykologisen diskurssianalyysin menetelmin. Johtuen aineiston sisällön stereotyyppisyydestä käsittelen teorialle omistetussa kappaleessa menetelmän ohella aiempaa tutkimusta stereotypioista. Analyysi jakautuu kolmeen osaan: ensin käsittelen koko aineistossa toistuvia teemoja, sitten 11 kokonaista kirjoitusta ja lopuksi kokoan analyysin perusteella kolme diskurssia Italiasta ja italialaisista. Nämä diskurssit toteutuvat sekä aineistossani että monissa muissa teksteissä, joissa puhutaan Italiasta tai etelästä ylipäänsä. Diskurssien sosiaalinen funktio on luoda etäisyyttä sisä- ja ulkoryhmän välillä. Ensimmäiset kaksi diskurssia vahvistavat kirjoittajien paremmuuden tunnetta vertailussa "etelämaalaisten" kanssa. Kolmas diskurssi sen sijaan rakentaa kuvaa italialaisista suomalaisia inhimillisempinä. Diskurssit Italiasta voidaan sijoittaa laajempaan kontekstiin, joka koskee kansainvälisiä valtasuhteita. Tässä kontekstissa suomalaisten käyttämät diskurssit Italiasta ovat pieni osa isoa hegemonista diskurssia, joka jakaa planeettamme kehittyneeseen pohjoiseen/länteen ja kehittymättömään etelään, johon Italiakin usein sijoitetaan. Avainsanat: diskurssianalyysi, stereotypia, valtasuhteet.