Le naturalisme finlandais : Une conception entropique du quotidien

Le naturalisme finlandais. Une conception entropique du quotidien. Finnish Naturalism. An Entropic Conception of Everyday Life. Nineteenth century naturalism was a strikingly international literary movement. After emerging in France in the 1870s, it spread all over Europe including young, small nations with a relatively recent literary tradition, such as Finland. This thesis surveys the role and influence of French naturalism on the Finnish literature of the 1880s and 1890s. On the basis of a selection of works of six Finnish authors (Juhani Aho, Minna Canth, Kauppis-Heikki, Teuvo Pakkala, Ina Lange and Karl August Tavaststjerna), the study establishes a view of the main features of Finnish naturalism in comparison with that of French authors, such as Zola, Maupassant and Flaubert. The study s methodological framework is genre theory: even though naturalist writers insisted on a transparent description of reality, naturalist texts are firmly rooted in general generic categories with definable relations and constants on which European novels impose variations. By means of two key concepts, entropy and everyday life , this thesis establishes the parameters of the naturalist genre. At the heart of the naturalist novel is a movement in the direction of disintegration and confusion, from order to disorder, from illusion to disillusion. This entropic vision is merged into the representation of everyday life, focusing on socially mediocre characters and discovering their miseries in all their banality and daily grayness. By using Mikhail Bakhtin s idea of literary genres as a means of understanding experience, this thesis suggests that everyday life is an ideological core of naturalist literature that determines not only its thematic but also generic distinctions: with relation to other genres, such as to Balzac s realism, naturalism appears primarily to be a banalization of everyday life. In idyllic genres, everyday life can be represented by means of sublimation, but a naturalist novel establishes a distressing, negative everyday life and thus strives to take a critical view of the modern society. Beside the central themes, the study surveys the generic blends in naturalism. The thesis analyzes how the coalition of naturalism and the melodramatic mode in the work of Minna Canth serves naturalisms ambition to discover the unconscious instincts underlying daily realities, and how the symbolic mode in the work of Juhani Aho duplicates the semantic level of the apparently insignificant, everyday naturalist details. The study compares the naturalist novel to the ideological novel (roman à these) and surveys the central dilemma of naturalism, the confrontation between the optimistic belief in social reform and the pessimistic theory of determinism. The thesis proposes that the naturalist novel s contribution to social reform lies in its shock effect. By means of representing the unpleasant truth the entropy of everyday life it aims to scandalize the reader and make him aware of the harsh realities that might apply also to him.

Kirottua työtä: kuvaus Savon kansan elämästä

Ilmestyi alunperin kahtena vihkona (vihot 2 ja 4) otsikolla Kuopion laulujuhlassa palkitut teokset. Vihkoissa 1, 3 ja 5 teos Kruunun metsissä / Kyösti.

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.

"Suomen Laulu" ("The Song of Finland"), mixed chorus from Helsingfors, Finland; conductor, Heikki Klemetti, M.A.; soloist, m:me Maikki Järnefelt

Signatur des Originals: S 36/F07894

Halun häilyvät rajat : Magnus Enckellin maalausten maskuliinisuuksien ja feminiinisyyksien representaatioista ja itsen luomisesta

My PhD-thesis The uneasy borders of desire Magnus Enckell's representations of masculinities and femininities and the question how to create the self concentrates on the works of Finnish fin-de-siècle artist Magnus Enckell (1870-1925). My thesis deals with representations of masculinities, femininities, sexualities and different identity-positions. My research is about questions concerning representational ways of melancholy, androgyny, narcissism, themes of Golden Age and Double in Enckell s ouvre. These themes are analyzed by contextualizing them with different, but intersecting, discourses of varied scientific, artistic and occult ideas in the fin-de-siècle. The main point is analyze how the subject is constructed in both Foucauldian and Freudian sense and what one has to know about oneself. My approaches are based on ideas expressed in different discourses as queer-theory, Michel Foucault s genealogical epistemology and knowledge-power theory, psychoanalysis, art history and visual culture studies. My starting point lays is Foucault s idea expressed in his The History of Sexuality that the constitution of homosexual or as well as heterosexual subject inaugurates possibilities for transgressive activities e.g. by giving own voice to the sexualized subject. My main thesis is to suggest that Enckell s works in their multiple and ambiguous ways construct a phantasmatic position for viewer who may identify oneself to different desires, may construct or deconstruct a sexual identity for oneself or try to define the truth about oneself. Enckell s works should be considered as a contradictory processes which both seduce person to construct an identity and as well as lure person to pursue for the deconstruction of specific and permanent identity by celebrating the ambiguousness and discontinuity in one s identity. I m suggesting that the gazing subject feels pleasure in finding one s identity but the one must face the exposure of the melancholic structure which forms the basis of sexual desire. The subject may try to resolve one s melancholy by creating a phantasy about the original and unisexual being where desires, sexualities, phantasies and identities haven t been diverged. This can be fantasized in terms of art which forms a double for the melancholic subject who is in this limited and imaginary way able to forget for a while one s existential solitude.

Thomsenista Kalimaan : Vanhimpien itämerensuomalais-balttilaisten kielikontaktien tutkimushistoria vuoteen 1936

Itämerensuomalaisissa kielissä esiintyy suuri joukko sanoja, jotka muistuttavat balttilaisten kielten sanoja sekä muotonsa että merkityksensä puolesta. Yhtäläisyyksiä oli yritetty selittää eri tavoin 1700-luvulta lähtien, kunnes Vilhelm Thomsen vuonna 1869 osoitti tämän sanastokerrostuman olevan lainaa jostakin muinaisbalttilaisesta kielimuodosta nykyisten itämerensuomalaisten kielten yhteiseen kantakieleen. Vuonna 1890 Thomsen julkaisi aiheesta laajemman tutkimuksen, jossa hän esitti noin 200 muinaisbalttilaista lainaetymologiaa ja käsitteli lainojen äännevastaavuuksia sekä kielellisten kontaktien paikkaa, aikakautta ja kulttuurikontekstia. Nykykäsitys itämerensuomalaisten kielten vanhoista balttilaisista lainasanoista perustuu tähän Thomsenin esitykseen, ainoastaan kontaktien ajoituksia on arkeologian tulosten myötä siirretty taaksepäin. Thomsen sovelsi ensimmäisenä suomalais-ugrilaisten kielten tutkimukseen aikakautensa uusinta kielitieteellistä metodia, nuorgrammatiikkaa. Nuorgrammatiikka keskittyi kielihistoriaan ja antoi eksaktit välineet etymologialle. Suomeen nuorgrammatiikan toi E. N. Setälä, jonka johdolla metodi uudisti nopeasti koko fennougristiikan ja nosti Suomen tutkimuksen kärkeen. Suomalaistutkijat tarkensivat myös Thomsenin luomaa kuvaa vanhoista balttilaisista lainoista. Setälän ohella keskeisiä etymologeja olivat J. J. Mikkola ja Heikki Paasonen. Muualla tutkimus ei ollut yhtä intensiivistä: vain liettualainen Kazimieras Būga perehtyi mainittavasti aiheeseen, ja hänenkin tutkijan uransa jäi lyhyeksi. Vasta 1910-luvun puolessa välissä Thomsenin ja Setälän teesejä alettiin kritikoida. Torsten Karsten ja K. B. Wiklund esittivät vanhimmille balttilaiskontakteille paljon kauemmas menneisyyteen ulottuvia ajoituksia kuin Thomsen. Setälän auktoriteetti kuitenkin torjui uudet teoriat, jotka on vasta paljon myöhemmin yleisesti hyväksytty. Sotien välinen kausi oli erittäin vilkkaan etymologisen tutkimuksen aikaa, ja balttilaisiakin lainoja esitettiin kymmeniä lisää. Ajan uutterimmat tutkijat olivat Heikki Ojansuu, Yrjö Toivonen ja Jalo Kalima. Luonnollisesti myös monet Thomsenin balttilaiset etymologiat korvattiin paremmin sopivilla lainaetymologioilla tai rinnastuksilla sukukielistä. Mikkola arvosteli hyvin voimakkaasti Thomsenin lainaetymologioita. Mikkolan kritiikki osoittautui pääosin pätemättömäksi, mutta on päässyt epäsuorasti vaikuttamaan myöhempään tutkimukseen. Eino Nieminen taas esitti vuonna 1934 hypoteesin, jonka mukaan ainakin osa vanhoista balttilaislainoista voisi olla peräisin muinaiskuurin kielestä, jota baltologit olivat parin vuosikymmenen ajan pyrkineet rekonstruoimaan. Jalo Kalima julkaisi vuonna 1936 oppikirjan itämerensuomalaisten kielten vanhoista balttilaislainoista. Kalima pyrki antamaan kattavan kuvan aiheesta, mutta ei onnistunut kovin hyvin. Kaliman tiedot balttilaisista kielistä eivät olleet ajan tutkimuksen tasolla, ja hän jätti kirjassansa käsittelemättä suuren osan uudempaa tutkimusta, mm. Thomsenin ajoituksia kohtaan osoitetun kritiikin sekä kymmenittäin niin Thomsenin kuin myöhempienkin tutkijoitten esittämiä etymologioita. Kaliman kirja on kuitenkin selkeästi laadittu ja sisältää uusia, ansiokkaitakin etymologioita. Kaliman jälkeen kukaan ei ole kirjoittanut yleisesitystä aiheesta. Tämän tutkielman tavoite on antaa kattava kuva vanhimpien itämerensuomalais-balttilaisten kielikontaktien tutkimuksesta ennen Kaliman oppikirjaa. Näin se voisi tasoittaa tietä uudelle alan yleisesitykselle.