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Journal articles on the topic 'Finnish Arts'
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1
Cardullo, Bert. "FINNISH CHARACTER." Film Quarterly 59, no. 4 (2006): 4–10. http://dx.doi.org/10.1525/fq.2006.59.4.4.
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ABSTRACT This is an interview with the Finnish filmmaker Aki Kaurismääki, the leading talent in his country's miniscule motionpicture industry. Kaurismääki's films——among them The Match Factory Girl and The Man Without a Past——are straightforward, seriocomic studies infused with a unique sense of the ridiculous and even the absurd. As an interviewee, their maker himself is just such a seriocomic ““study.””
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Keinonen, Heidi. "Arts and Advertising: Aesthetics of Early Commercial Television in Finland." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 165–77. http://dx.doi.org/10.2478/ausfm-2014-0010.
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Abstract Finnish television was launched by a commercial company in 1956. TES-TV, the first television station, was later followed by a programming company called Tesvisio and joined by the television channel of YLE, the Finnish Broadcasting Company. The TES-TV/Tesvisio years are a unique period in television history, since they witnessed the creation of a connection between commercial television and the arts. In this article I aim to study early Finnish television aesthetics by analyzing television as art and also the relations between television and other art forms. My focus is on the representations of high and low culture and the search for a television style. TES-TV aired both popular programmes and high culture, like ballet, while on Tesvisio, these cultural extremities were gradually replaced by a middle-brow culture. The early programming included both filmed and live material, which had a contribution to the evolution of Finnish television aesthetics. The television style was further developed by Tesvisio’s first professional set designer and his experimental work. Therefore I claim that in these commercial companies television was seen as an art form in its own right, not only as a mediator of art
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Austin, Paul M. "Soviet Karelian: The Language That Failed." Slavic Review 51, no. 1 (1992): 16–35. http://dx.doi.org/10.2307/2500259.
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On January 1, 1938 virtually every trace of anything Finnish, including the language, disappeared in the Karelian ASSR, where until the day before Finnish had been one of the two official languages (with Russian) and the language of instruction in schools and of a wide variety of published materials—newspapers, literary journals and almanacs, J educational texts, translated belles lettres (both Russian and foreign) and official documents.The history of Finnish in the Karelian ASSR dates from the Peace of Tartu (1920) which established the Finnish-Soviet border. It also stipulated that the "language of administration, legislation and public education" in the newly formed Karelian Workers Commune should be the "local popular language and designated Finnish that language. This might seem strange, since in 1923 there were in Soviet Karelia only 1,051 Finns, half of whom lived in the capital, Petrozavodsk.
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Komulainen, Kauko Pekka, Sara Sintonen, Seija Kairavuori, and Aleksi Ojala. "Approaching the renewed Finnish basic education curriculum as a potential and an option for aesthetics." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 34–52. http://dx.doi.org/10.24834/educare.2020.1.3.
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This article provides an overview of how aesthetics is treated in the current Finnish basic education core curriculum document. Relatively little research has been conducted on aesthetics in Finnish curricula, particularly from an interdisciplinary approach. In the broader picture, the position of aesthetics and the appreciation of arts subjects in curricula has paradoxically weakened globally over recent decades, particularly in English-speaking cultures. At the same time, the significance of aesthetics has increased in postmodern culture with, for instance, increasingly more commercial brands. Finland has a broad national core curriculum, and although aesthetics (as a school subject) is not officially part of it the traditional arts subjects (arts, music, crafts), aspects of aesthetics are nevertheless involved in the curriculum. In this study, we investigate how aspects of aesthetics feature in the renewed Finnish curriculum text for basic education. Our analysis shows that only a few specific references to aesthetics can be found in the Finnish renewed curriculum. Conceptually, the lack of postmodern aesthetics is noticeable, particularly in the subject of art, where one can see features of it without the concept being explicitly mentioned. In order to successfully incorporate aesthetics into basic education curricula, we conclude that the subject needs to better reflect notions of participation, self-expression, and divergent thinking.
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Baryshnikov, Vladimir. "Finnish White Movement in Petrograd at the Beginning of 1918: Aims, Objectives and Results." ISTORIYA 12, no. 7 (105) (2021): 0. http://dx.doi.org/10.18254/s207987840016472-8.
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The emergence of the Finnish White movement in Petrograd has hardly been studied by historians. Nevertheless, during the Civil War in Finland (January — May 1918), the “Finnish Whites” organized quite effective support for the “White Finland” from Petrograd. For the army of C. G. E. Mannerheim the “White Finns” organized the transfer of volunteers across the border. About ten group crossings of the state border were carried out. They also delivered weapons to the White Army. Terrorist activities were also organized on Soviet territory. For this purpose, a Special Petrograd company was organized from the Finns. The Finnish White movement in Petrograd completed its most active phase of the struggle only with the suppression of the revolution in Finland and the beginning of the Red Terror in Russia.
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Capkova, Viola. "Gendering seekers and upstarts in early twentieth-century Finnish literature." Approaching Religion 11, no. 1 (March 20, 2021): 28–44. http://dx.doi.org/10.30664/ar.98282.
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The search for truth and spirituality, intertwined with the search for one’s self, has been a perennial theme in arts and literature. In some works of Finnish literature at the turn of the twentieth century, the figure of a person seeking for spiritual fulfilment tended to intertwine with that of the upstart (nousukas in Finnish). At first sight, it might seem odd that these two figures should overlap in literary works, but as I show, especially in early twentieth-century Finnish literature, such cases are not rare, given the wide range of meanings that the word nousukas would denote.
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Koski, Pirkko. "National Trauma on a Foreign Stage." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 26–39. http://dx.doi.org/10.7146/nts.v32i2.124346.
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This article surveys the performance of the play Departure (Lähtö in Finnish, Minek in Estonian) by Estonian Rein Saluri at the Finnish National Theatre in 1988 during the last few years of the Cold War. The play depicts the deportation of an Estonian family to Siberia in the fall of 1946. The Finnish National Theatre invited Estonian Mati Unt to act as the director. The actors were Finnish, as were the audience, apart from a few individual spectators and during a short visit when Departure was performed in Estonia. The aim is to analyze how a theatre performance connected with an aspect of Estonian traumatic history and national memory was understood and felt by a country with a different historical and contemporary background. The performances of Departure show the ways in which repetition, memory, and re-appearance work and function in the theatre. Departure as theatre had power over history in its ability to reshape the image of the past through physical presence and affection. It increased in Finland the knowledge of and empathy toward Estonia and the presence of Estonian culture before the great political upheavals. However, the Finnish audience constructed the meanings of the play without the interaction between the collective memory, that is, the Finnish “memory” was historical and theatrical. Concerning national collective memory, it was not possible to cross the border.
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Ashby, C. "Finnish Design: A Concise History *." Journal of Design History 24, no. 2 (May 1, 2011): 195–97. http://dx.doi.org/10.1093/jdh/epr009.
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Maskulin, Nina, and Raija Talvio. "Poker faces and smooth operators: The social space for women professionals in the Finnish screen industry in financing negotiations." Journal of Scandinavian Cinema 12, no. 2 (June 1, 2022): 145–64. http://dx.doi.org/10.1386/jsca_00070_1.
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The article examines the positions of professional women in negotiations for early development in Finnish film and television production. According to recent studies, closed evaluation practices exclude women professionals and narrow the diversity of women’s representations and narratives on screen. We argue that women in the Finnish screen industry encounter prolonged psychological and economic constraints during their active careers. We analyse the qualitative data of 40 active professional women using Pierre Bourdieu’s concepts of social space and symbolic power. We find that gender-based economic harm is constructed and implemented in the discourses of the institutionalized undervaluation of professional women’s work. Three recurring discourses shape the practice of decision-making in early development and position women professionals on the margins of the social space of the Finnish screen industry. The analysis illustrates the construction of gendered symbolic power in the Finnish screen industry that can be developed and applied to other national contexts.
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Sky Hiltunen, Sirkku M. "Meditative Vail Painting: A Finnish Creative Arts Therapist's Transpersonal Journey." Art Therapy 23, no. 2 (January 2006): 73–80. http://dx.doi.org/10.1080/07421656.2006.10129641.
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Ashby, C. "Nation Building and Design: Finnish Textiles and the Work of the Friends of Finnish Handicrafts." Journal of Design History 23, no. 4 (November 23, 2010): 351–65. http://dx.doi.org/10.1093/jdh/epq029.
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Ertiö, Titiana, Iida Kukkonen, and Pekka Räsänen. "Social media activities in Finland: A population-level comparison." Convergence: The International Journal of Research into New Media Technologies 26, no. 1 (June 10, 2018): 193–209. http://dx.doi.org/10.1177/1354856518780463.
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In the Web 2.0 era, consumers of media are no longer mere recipients of digital content, but rather active commentators and cocreators online. However, the Internet rule predicts that 90% of users are passive ‘lurkers’, 9% edit content, and 1% actually create content. This study investigates Finns’ social media activities that apply to content creation, as well as the level of content engagement and sharing. The data come from Statistics Finland and are representative of the Finnish population between the ages of 16 and 74. The results show that Finnish users perceive themselves predominantly as occasional commentators of social media posts. Dissecting the social media activities users engage in, commenting posts is the most popular activity. Gender, age, and education best explain the differences between the types of social media activities investigated. Overall, the study shows that Finns actively engage in different types of online activities as well as the pervasiveness of sociodemographic variables in Finland.
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Hong, Barbara. "The Järnefelts, Finnish National Romanticism, and Sibelius." Journal of Finnish Studies 21, no. 1-2 (November 1, 2018): 108–20. http://dx.doi.org/10.5406/28315081.21.1.2.05.
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Abstract The family of General, Governor, and Senator August Alexander Järnefelt (1833–96) was remarkable for the members' combined cultural leadership and their powerful influence on the arts during a time of growing Finnish nationalism in the late nineteenth century. A look at their lives and works shows how Sibelius, married to the daughter Aino, also became caught up in their endeavors and chose a similar path. But for them, he may have gone a different way and missed the overwhelming public acclaim for his nationalist musical works.
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Pajala, Mari. "“Images from beyond the Eastern Border”: Socialist Television in Finland, 1963 to 1988." Television & New Media 19, no. 5 (August 11, 2017): 448–66. http://dx.doi.org/10.1177/1527476417721749.
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Recent research has criticized a tradition of seeing socialist media cultures as strictly separated from the West. While scholars have analyzed how socialist television institutions reacted to influences from Western media, there is little research on how socialist television culture traveled outside the socialist bloc. This article analyses the ways in which state socialist television culture appeared in Finland on the basis of the main Finnish TV guide magazine Katso in 1963, 1968, 1973, 1978, 1983, and 1988. The article argues that socialist television was a significant influence in the Finnish television environment. Finnish audiences were introduced to socialist television cultures through means such as cross-border access to Soviet broadcasts and journalistic depictions. Both public service and commercial television companies imported Eastern European programs of various genres. Thus, the Finnish case shows that a strict East/West binary is not helpful for understanding European television history.
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Reinola, Kirsi. "Violence against women in contemporary Finnish audio-visual fiction: The decision-making process." Journal of Scandinavian Cinema 12, no. 2 (June 1, 2022): 187–200. http://dx.doi.org/10.1386/jsca_00072_1.
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Violence against women (VAW) in Finnish audio-visual fiction had a significant peak in 2018. The article examines the financiers’ and filmmakers’ decision-making processes that resulted in scenes containing brutal VAW in Finnish TV series and films. Were the decisions rational or emotional, and were these different decision modes separable? The article draws from a study based on two sets of data: first, sequences from Finnish films and TV series that portray VAW, and second, interviews and questionnaire responses from the makers of these scenes covering various stages in the film and TV productions. The results provide insights into the themes of identification, empathy and the normalization of filmic violence, pose a question about the demand for brutalization in AV productions and give suggestions for future research in audio-visual decision-making.
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Westinen, Elina, Sanna Karkulehto, and Mervi Tervo. "Localized hip hop authenticity in early 2000s Finland: Retaining representations of race, class and gender in Beauty and the Bastard." Journal of Scandinavian Cinema 13, no. 1 (March 1, 2023): 27–45. http://dx.doi.org/10.1386/jsca_00087_1.
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Beauty and the Bastard (), a pioneering and award-winning youth film set within the emerging Finnish hip hop culture, draws on early twenty-first-century music-related youth films produced in the United States and reaches out thematically and musically to both African American and Finnish hip hop culture and rap music. Set in a predominantly White Finnish society, the film confronts many representational challenges concerning diversity, whether racial, class or gender. Based on contextual analysis of audio-visual representations, we discuss how such categories contribute to the construction of the film’s ‘authenticity’ – a key notion of hip hop culture – as a localized representation. We argue that in its project of localizing hip hop authenticity in early 2000s Finland, the film retains, rather than challenges or questions, representations of normative Whiteness, oppressive class distinctions and unequal gender norms.
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Kortti, Jukka. "Finnish history documentaries as history culture." Studies in Documentary Film 10, no. 2 (May 3, 2016): 130–44. http://dx.doi.org/10.1080/17503280.2016.1221673.
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Aerila, Juli-Anna, Marja-Leena Rönkkö, and Tuula Stenius. "Humour-themed holistic learning processes in a Finnish primary school." European Journal of Humour Research 11, no. 4 (December 31, 2023): 75–92. http://dx.doi.org/10.7592/ejhr.2023.11.4.841.
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Although humour in education has shown positive research results, its use in Finnish classrooms is not common and is not included in Finland’s curricula. In this study, pupils’ humour is utilised as part of a holistic learning process in Finnish primary education. Implementing holistic learning processes means focusing on child-centredness, dissolving subject boundaries and concentrating on learning-to-learn skills, overall growth and traditional subject-learning goals. As a framework for the learning process, this study follows the guidelines of the Narratives and Crafts model, which aims to connect arts-based activities with different themes. This study aims to investigate the role of humour in the context of an arts-based learning process and to assess opportunities for its more conscious use in learning. The data were taken from the outcomes of 36 pupils during a holistic learning process and were analysed using qualitative content analysis. The results indicated that creative or arts-based activities and humour worked well together as a means for pupils to incorporate their inner thoughts and personal perceptions into their assignments. Furthermore, humour can be a source of a long-term process, and expressions of pupils’ humour can be steered by assignments and preliminary materials, as well as by collaboration with other pupils and the teacher. However, teachers should have more research-based information about humour in the classroom and about the importance of humour in the community and for pupils.
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Dow, James R., and Satu Apo. "The Narrative World of Finnish Fairy Tales: Structure, Agency, and Evaluation in Southwest Finnish Folktales." Asian Folklore Studies 56, no. 1 (1997): 203. http://dx.doi.org/10.2307/1178816.
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Suominen, Seppo. "On the optimal level of theatre subsidies." Kulttuuripolitiikan tutkimuksen vuosikirja 6, no. 1 (December 23, 2022): 37–48. http://dx.doi.org/10.17409/kpt.125642.
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This article examines public subsidies and ticket pricing in Finnish theatre institutions by using the principal-agent model. The model follows the ideas presented by Prieto-Rodríguez and Fernández-Blanko (2006) in their article on the British museum sector. The idea of this article is to test how well their theoretical model is in line with the data on Finnish theatres. The aim of this paper to justify the high share of public subsidies to theatre sector and to show that ticket pricing should be in the inelastic segment on the demand schedule. The data on Finnish theatres covers years 2007 – 2011 with 58 theatres subsidised by the law, including the Finnish National Opera. The results of the empirical examination show that the demand of theatre services is price inelastic. According to the results, an increase in the number of visitors increases also optimal subsidies but less than proportionally indicating that the share of public subsidies should be lower in larger towns where the potential for theatre visits is higher due to a larger population. The article argues that even though using economic approaches in examining arts and culture is not unproblematic, they should be used and further developed.
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Nieminen, Pipsa. "Stereotypes and Self-ratings among Finnish Dancers." Research in Dance Education 1, no. 2 (December 2000): 133–54. http://dx.doi.org/10.1080/713694262.
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Keinänen, Nely. "Canons and Heroes: The Reception of the Complete Works Translation Project in Finland, 2002-13." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 109–25. http://dx.doi.org/10.1515/mstap-2017-0022.
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This essay examines the reception of the ten-year Complete Works translation project undertaken by the Finnish publishing company Werner Söderström Oy (WSOY) in 2004-13. Focusing on reviews published in the first and last years of the project, the essay details ongoing processes of Shakespeare (re-)canonization in Finland, as each new generation explains to itself what Shakespeare means to them, and why it continues to read, translate and perform Shakespeare. These processes are visible in comments from the series editors and translators extolling the importance of Shakespeare’s work and the necessity of creating new, modern translations so Finns can read Shakespeare in their mother tongue; in discussions of the literary qualities of a good Shakespeare translation, e.g. whether it is advisable to use iambic pentameter in Finnish, a trochaic language; and in the creation of publisher and translator “heroes,” who at significant cost to themselves, whether in money in terms of the publisher, or time and effort in terms of the translators, labour to provide the public with their Shakespeare in modern Finnish. While on the whole reviewers celebrated the new translations, there was some resistance to changes in familiar lines from older translations, such as Macbeth’s “tomorrow” speech, suggesting that there are nevertheless some limits on modernizing “classic” translations.
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Bielecki, Robert. "Voice and case in finnish in the light of Zabrocki’s theory of person." Lingua Posnaniensis 54, no. 1 (October 1, 2012): 21–34. http://dx.doi.org/10.2478/v10122-012-0002-4.
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Abstract Robert Bielecki. Voice and Case in Finnish in the Light of Zabrocki’s Theory of Person. Lingua Posnaniensis, vol. L IV (1)/2012. The Poznań Society for the A dvancement of the Arts and Sciences. PL ISSN 0079-4740, ISBN 978-83-7654-103-7, pp. 21-34. This paper attempts to demonstrate the properties of the categories of voice and case in Finnish in the light of Zabrocki’s theory of Person. The presented morphosyntactic, syntactic and semantic properties of words taking part in diathesis lead us to formulate sentences (theorems) belonging to the sphere of the postulated grammar of person of this language. In Finnish, particular personal meanings undergo both lexicalization (in the form of appropriate personal pronouns) and grammaticalization (in the form of personal endings). Moreover the Finnish language seems to operate with a collective personal meaning, where three particular communicative statuses do not undergo differentiation. This kind of personal meaning seems to be only grammaticalized in Finnish; it lacks a pronoun lexifying such a collective personal meaning. Because of the high degree of syncretism of the nominative and (endingless) accusative on the one hand and the passive and impersonal voice on the other, Finnish contains significant overlapping between passive structures - where the three personal meanings undergo specification - and impersonal structures - where the three personal meanings undergo unification. Notwithstanding, only in sentences of the type Kana on tapettu ‘One has killed the hen’, ‘The hen has been killed’ (and with smaller probability Kana tapetaan ‘One kills (will kill) the hen’, (‘The hen is (will be) killed’)) do we encounter total ambiguity in respect of the personal meaning semified by the predicate (the collective person vs. third person).
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Saarenmaa, Laura. "Midsummer of sex: Airing Emmanuelle on Finnish television." Journal of Scandinavian Cinema 5, no. 2 (June 1, 2015): 129–35. http://dx.doi.org/10.1386/jsca.5.2.129_1.
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Seppälä, Mikko-Olavi. "Theatre Against Stagnation." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 119–37. http://dx.doi.org/10.7146/nts.v32i2.124355.
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This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.
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Korsberg, Hanna. "Theatrical Exchanges across the Baltic Sea in the 1930s." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 106–18. http://dx.doi.org/10.7146/nts.v32i2.124353.
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This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.
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Keinonen, Heidi. "From television genre to film genre: Finnish Schlager music on small and big screens." Journal of Scandinavian Cinema 13, no. 1 (March 1, 2023): 51–57. http://dx.doi.org/10.1386/jsca_00081_1.
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Schlager shows were one of the main attractions on early Finnish television. Featuring a popular music genre, the shows were soon followed by a wave of Schlager films. In this article, I discuss Schlager film as an intermedial genre that sheds light on the early forms of cooperation between television, film and record industries. Focusing on the Schlager film Hit parade (1959), I suggest that while television was often seen merely as a competitor of the film industry, contributing to the crisis of Finnish film production, the relation between the two was more ambiguous than that: the case of Hit parade indicates that the film industry was also interested in the potential provided by the new medium.
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Verigin, Sergey. "Economic Aspects of the Finnish Occupation of Karelia (1941—1944)." ISTORIYA 12, no. 7 (105) (2021): 0. http://dx.doi.org/10.18254/s207987840016508-7.
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The article is devoted to an insufficiently studied problem in Russian and Finnish historiography — the economic policy of the Finnish regime in the occupied territory of Soviet (Eastern) Karelia in 1941—1944. Taking into account that this territory was to become an integral part of Greater Finland, the occupation administration in the first period of occupation set the task of economic restoration and development of the occupied regions of Karelia. But during this period, first of all, industrial and economic facilities were restored, which met the needs of the Finnish army. The central place in the economic policy of the Finnish occupation regime was occupied by the plans of intensive harvesting of Karelian timber and its export to Finland. Economic policy has been changing since 1943, when Finland realized that Germany would be defeated by the USSR. A direct plunder of the natural and material wealth of Karelia begins, the destruction of industrial facilities and the export of equipment to Finland. After Finland's withdrawal from the war in September 1944, the Finnish government partially compensated for the damage caused to the economy of Karelia.
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Talaskivi, Katri. "Ammattitaiteilijuus ja kirjailijana olemisen ehdot muunkielisten kirjailijoiden näkökulmasta." Kulttuuripolitiikan tutkimuksen vuosikirja 5, no. 1 (December 29, 2020): 6–25. http://dx.doi.org/10.17409/kpt.92259.
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In this article I describe the results of a questionnaire survey done on non-dominant language writers in Finland, and reflect this on the criteria by which a professional artist has been traditionally defined in Finland. The background data consists of reports and studies on artists' social standing conducted by Arts Promotion Center Finland, Cupore and the Finnish Writers' Union.
There were 31 responses to the study from non-dominant language residents of Finland who identify themselves as writers. Among these writers, the most often mentioned factor to define a professional writer were published works. Published works have also been central when a professional artist / writer has been defined in the Finnish art support system since its beginning in the late 1960's and early 1970's, and indirectly they are important also when professionalism is defined through memberships of trade unions, grants, main income source etc. as in all these evaluation in based on work that has been approved as part of the art world, i. e published by a publishing house.
According to this reflection, the Finnish way of defining a professional writer to a great extent excludes writers who are unable to publish their work on paper through commercial publishing houses, let alone in Finnish or Swedish. This is the case with most writers with refugee, assylum seeker or voluntary exile background, or writers who come from countries with a different publishing industry from the Finnish model, or whose audiences are spread in all parts of the globe; instead, they publish online for political, financial, or practical reasons.
My article strengthens the argument that the Finnish institutionalist way of defining a professional artist needs to be modified, especially on the level of institutional practises, to meet the reality of a quickly multilingualized society.
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Ihde, Don. "A Finnish turn: Digital and synthesiser musical instruments." Journal of New Music Research 50, no. 2 (March 15, 2021): 165–74. http://dx.doi.org/10.1080/09298215.2021.1906709.
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Isomäki, Irmeli. "Documenting art in Finland." Art Libraries Journal 13, no. 1 (1988): 20–22. http://dx.doi.org/10.1017/s0307472200005514.
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Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many of these organisations are active in gathering and publishing information. The Fine Arts Academy of Finland administers the Art Musum of the Ateneum, Finland’s national gallery, and maintains extensive collections of visual resources, exhibition catalogues, periodicals, and press clippings.
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Menin, Sarah. "A gateway to the ‘backwoods’: Aalto and the matter of rooting modernity." Architectural Research Quarterly 9, no. 2 (June 2005): 145–55. http://dx.doi.org/10.1017/s1359135505000187.
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Dániel, Laczó. "Egy modern finnugor építészet felé •." Építés - Építészettudomány 50, no. 1-2 (March 4, 2022): 153–68. http://dx.doi.org/10.1556/096.2021.00018.
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Vargha Lászlóban (1904–1984) az utókor elsősorban a néprajztudóst tiszteli, jóllehet szakmai pályája kiterjedt a muzeológiára és az építészettörténetre is. E három tudományterülettel életszakaszonként eltérő mértékben foglalkozott. Tevékenységét mindhárom diszciplína esetében áthatotta a finnek építészete iránti érdeklődés. Cikkemben életútját e szempontból vizsgálom, felhasználva a Szentendrei Szabadtéri Néprajzi Múzeumban őrzött archívumát. Fiatalkorának meghatározó élmenyei kötődnek a finnekhez. Személyes visszaemlékezése alapján Vargha a finn építészettel és művészettel gyermekkorában ismerkedett meg egy magyar folyóiratban. Pályakezdőként csereprogrammal jut el Finnországba és köt barátságot finnekkel. A második világháború idején közreműködik egy finnugor kiállítás összeállításában Budapesten és Kolozsvárott. Mindeközben gyűjti és jegyzeteli a finn néprajzi szakirodalmat. A háborút követően a nemzetközi kapcsolattartás lehetőségei szűkülnek, Vargha is csak később tér viszsza a finn kultúrához. A hatvanas években a helyszínen tanulmányozza a szabadtéri néprajzi gyűjteményeket – köztük számos északit –, melynek tanulságaival hozzájárul a Szentendrei Szabadtéri Néprajzi Múzeum – svéd szóval: a skanzen – létrejöttéhez. Oktatóként az egyetemi órákon is tanítja a kortárs finn építészetet. Előadásokon, kiállításokon mutatja be itthon Finnország építészetével kapcsolatos ismereteit. Emellett szakmailag legkiemelkedőbb fellépései a finnugor kongresszusokhoz köthetők, melyekben visszatér egy őt korábban is foglalkoztató témakörhöz; melynek értelmében a magyar népi építészetnek létezik egy ősi, finnugor rétege. Sikereit árnyalja, hogy pályája végén több jelentős publikációs lehetőséggel nem élt. Egyéb érdemei mellett Vargha László kiemelkedő alakja a finn–magyar kulturális kapcsolatoknak, a finnekkel kapcsolatos kiemelkedő munkássága pedig önálló fejezettel gazdagíthatja pályája értékelését. László Vargha (1904–1984) is considered a prominent ethnographer in Hungary, albeit he was active in museology and history of architecture as well. During his career he had shifted between these topics. His contribution to all three disciplines was affected with a profound interest in Finnish art and architecture. My article investigates his professional career in the light of his appeal, using the sources preserved in his personal archive in the Hungarian Open-Air Museum. Vargha had determinative experience related to Finland during his youth. His first encounter with Finnish art was in the pages of a Hungarian periodical in his childhood. In an exchange programme he visited Finland and made friends with his peers. During the Second World War he contributed to an exhibition on Finno-Ugric peoples. The archives reveal that he had studied Finnish ethnographic literature in this period. Possibilities for maintaining international relationships were reduced after the fall of the Iron Curtain. Vargha returned to Finnish culture only after a significant interval. In the sixties he conducted a study trip to various open-air museums. Many of those destinations were in Sweden and Finland. The study trip contributed to the foundation of the Hungarian Open-Air Museum, which still borrows its name in Hungarian from the Nordic Museum: skanzen. As a university lecturer he introduced Finnish architecture to the curriculum. Vargha presented Finnish architecture in lectures and exhibitions across Hungary. He also participated in the International Congress for Finno-Ugric Studies, where he revisited the concept that an archaic Finno-Ugric layer is present in Hungarian vernacular architecture. Despite the possibilities offered and his thorough knowledge he failed to publish significant publications at the end of his career. Apart from his other achievements László Vargha was also an important character in the relationship of Finnish and Hungarian architecture, and his outstanding oeuvre related to Finland could enrich his professional evaluation.
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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.
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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.
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Hintikka, Jaakko. "Finnish Philosophy at Home and Abroad." Diogenes 53, no. 3 (August 2006): 40–44. http://dx.doi.org/10.1177/0392192106069004.
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Lander, Patricia Slade. "Finnish identity in a changing Europe*." Ethnos 56, no. 3-4 (January 1991): 242–55. http://dx.doi.org/10.1080/00141844.1991.9981439.
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Anna Mähönen, Tuuli, and Inga Jasinskaja-Lahti. "Anticipated and Perceived Intergroup Relations as Predictors of Immigrants’ Identification Patterns." European Psychologist 17, no. 2 (January 2012): 120–30. http://dx.doi.org/10.1027/1016-9040/a000114.
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The present study among Ingrian-Finnish remigrants (N = 153) from Russia to Finland examined the effects of anticipated discrimination in the pre-migration stage on the way intergroup relations are perceived and multiple cultural identities are formed in the post-migration stage. First, the results indicated that anticipated discrimination in the pre-migration stage affected perceived discrimination, permeability of group boundaries, and group status legitimacy in the post-migration stage. Second, anticipated discrimination in the pre-migration stage was not directly associated with any of the identities in the post-migration stage, but it was indirectly associated with national identification, via perceived discrimination and permeability of group boundaries. Perceived discrimination and impermeability of group boundaries in the post-migration stage were associated with lower levels of remigrants’ national (Finnish) identification in the new homeland. Third, the perceived legitimacy of Ingrian-Finns’ low status was associated with increased Russian minority identification. The findings extend previous research on the effects of anticipated intergroup contact on actual intergroup encounters on the one hand, and on the effects of perceived discrimination, status legitimacy, and permeability of group boundaries on national and ethnic identification among immigrants, on the other.
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Kurikka, Kaisa. "In-between Baby Janes: From book to film to book to film." Journal of Scandinavian Cinema 11, no. 1 (March 1, 2021): 75–87. http://dx.doi.org/10.1386/jsca_00039_1.
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This article is concerned with adaptation as a ‘process of in-betweenness’, a movement of connections, in which the ‘original’ work and adaptations are thought of through analogy, i.e. as similarities born from difference. The connections between two American versions of the story of Baby Jane ‐ Henry Farrell’s novel, What Ever Happened to Baby Jane? (1960) and Robert Aldrich’s film of the same title (1962) ‐ and two Finnish versions ‐ a novel by internationally acclaimed author Sofi Oksanen (2005) and a film directed by Katja Gauriloff (2019), both titled Baby Jane ‐ are discussed emphasizing their narratological and thematic analogies. While the American versions focus on the relationship between two ageing sisters, the Finnish versions tell the lesbian love story of two young women living in contemporary Helsinki. In addition, the article comments on some conceptual questions, such as the relationship between appropriation, adaptation, intertextuality and transfictionality.
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Hongisto, Ilona. "Impossible objectivity: free indirect perspectives in Finnish documentary cinema." Studies in Documentary Film 10, no. 2 (May 3, 2016): 198–211. http://dx.doi.org/10.1080/17503280.2016.1221672.
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CHARRINGTON, HARRY. "Finnish humanity and independence The breadth of Bawa's oeuvre." Architectural Research Quarterly 7, no. 2 (June 2003): 100–101. http://dx.doi.org/10.1017/s1359135503212045.
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By coincidence I lived for a couple of years in a small flat in Matti Välikangas' Olympic Village in Helsinki (1939–40) to which Hildi Hawkins referred in Insight: ‘Home, sweet home’ (arq 7/1, pp 94–96). I too reflected my time in such environments onto my home here: the hyper-efficient planning, daylighting, wet-floor bathrooms, double-rebated doors with lift-off hinges etc. Along with a quality that I also sense in some design of the same period here; seemingly quite ordinary buildings imbued with the hopes of an embryonic welfare state and the care of the architects and builders who built them.
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ROBSON, DAVID. "Finnish humanity and independence The breadth of Bawa's oeuvre." Architectural Research Quarterly 7, no. 2 (June 2003): 101–3. http://dx.doi.org/10.1017/s1359135503222041.
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I would like to respond to one of the points raised by Richard Murphy in his perceptive review of my book on Geoffrey Bawa (arq 7/1, pp86–88). His description of Bawa as an architect ‘in the Third World but decidedly not of it’ exercised by the fact that Bawa, like Luis Barragán, failed to address ‘pressing problems of population explosion and rapid urbanization’ in his work and that ‘with the exception of some work for the Catholic Church, Bawa's opus was built exclusively for the country's elite’.
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ORLOWSKI, RAFAL. "Finnish humanity and independence The breadth of Bawa's oeuvre." Architectural Research Quarterly 7, no. 2 (June 2003): 103. http://dx.doi.org/10.1017/s1359135503232048.
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Peter Blundell Jones' and Jian Kang's article ‘Acoustic form in the Modern Movement’ (arq 7/1, pp 75–85) eloquently describes how functional form may sometimes have been driven by acoustical requirements – the clearest example is perhaps the fruitful collaboration between Scharoun, the architect, and Cremer, the acoustician, in the design of the Berlin Philharmonie.
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Southgate, Laina. "“Shakespeare is a Finnish national poet:” Developing Finnish Shakespeare Scholarship from the Enlightenment to the Twentieth Century." Multicultural Shakespeare: Translation, Appropriation and Performance 27, no. 42 (November 23, 2023): 107–23. http://dx.doi.org/10.18778/2083-8530.27.07.
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In this article, I will take up the idea of “origins” as it pertains to Finnish Shakespeare during Finland’s time as an autonomous Grand Duchy of Russia from 1809-1917. While not technically the beginning of Shakespearean performances, the late eighteenth and early nineteenth centuries are the beginning of the rhetorical use of Shakespeare in public discourse used to establish cultural sovereignty distinct from Sweden and Russia. Beginning with a brief overview of Shakespearean mentions in the latter half of the eighteenth century, I will analyse the public discourse found in Finnish literary journals and newspaper articles in the 1810’s and 20’s. Following an analysis of J. F. Lagervall’s 1834 Ruunulinna, I will then briefly track how shifting attitudes towards translations such as those found in J. V. Snellman’s writings influenced the emerging Finnish literary and theatre tradition, most notably with Kaarlo Slöör and Paavo Cajendar’s Shakespeare translations and the establishment of the Finnish Theatre in 1871. Finally, an analysis of Juhani Aho’s untranslated essay in Gollancz’ 1916 A Book of Homage to Shakespeare will highlight the legacy of prior Finnish Shakespearean traditions, while also highlighting the limits of translation. Ultimately, I suggest that Shakespeare was appropriated early on as an accessible figure of resistance in the face of Swedish linguistic supremacy and the increasing threat of Russian assimilation and oppression.
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Verigin, Sergey. "New Archival Documents on the Finnish Occupation of Karelia (1941—1944)." ISTORIYA 14, no. 8 (130) (2023): 0. http://dx.doi.org/10.18254/s207987840027793-1.
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The relevance of the article is due to the special importance of preserving historical memory for modern society about the genocide of the Nazis and their allies in the occupied territory of the USSR during the Great Patriotic War. Its novelty is determined by the introduction of extensive archival material into scientific circulation, on the basis of which numerous aspects of the content of civilians in Finnish concentration camps are studied: the difficult situation with food; the nature of the work performed by prisoners; quarantine measures of the occupation regime in the camps; facts of war crimes of the Finnish occupiers against prisoners. Particular attention is paid to the causes of high mortality in Finnish concentration camps in 1941—1944.
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Grundström, Heidi, Jose Juan Cañas Bajo, and Ilkka Matila. "Catching up with our Nordic peers: The rising demand for Finnish drama series and its impact on local film and television production companies." Journal of Scandinavian Cinema 10, no. 2 (June 1, 2020): 101–19. http://dx.doi.org/10.1386/jsca_00017_1.
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Traditionally, the Finnish film and television industry has revolved around producing feature films and television series for local distribution. In the past five years, however, the industry has been transformed by a rising demand for high-end drama series. In addition to the positive developments for the economic stability of production companies, challenges are unfolding as the demand for new content keeps growing. This article introduces three recent and central developments, drawing on interviews with four local producers and an analysis of industry and media reports. First, new players have entered the market and introduced new financing opportunities, both domestic and international. Second, international co-production opportunities have grown through production companies’ new international focus. And finally, the introduction of the Finnish production incentive for the audio-visual industry has enabled more ambitious projects. These developments have led to two main challenges that the industry is currently facing: the imminent lack of experienced crew and the need for revised practices for screenwriting, development and production.
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Hiltunen, Kaisa. "feature article: Encounters with immigrants in recent Finnish feature films." Journal of Scandinavian Cinema 6, no. 3 (September 1, 2016): 235–52. http://dx.doi.org/10.1386/jsca.6.3.235_1.
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Wiśnicka, Anna. "Simple yet effective. Remarks on Finnish approach to design promotion." Załącznik Kulturoznawczy, no. 6 (2019): 263–84. http://dx.doi.org/10.21697/zk.2019.6.13.
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This paper gathers and analyses the main parts of the Finnish model of design promotion. It starts with providing the clear idea of division into global and national mechanisms as well as into commercial and cultural initiatives. Global mechanisms work on an international level, raising the design awareness and building the global perception of Finland as the country of design. They include works of the International Council of Societies of Industrial Design (now the World Design Organisation) and UNESCO. The promotional efforts taken on the national level focus on establishing the position of the designer and raising the understanding of the importance of design in public spaces. Those are supported by national organisations such as the Arts Promotion Centre Finland (Taike), the Finnish Association for Designers (ORNAMO) and Design Forum Finland (the official organisation of the Finnish Society of Crafts and Design), as well as local initiatives. The last section looks at the role of commercial initiatives, such as fares and marketing strategies, applied to design and the importance of cultural projects, such as museum exhibitions, publications, lectures, etc. All of the measures amalgamate to form a well-established model of design promotion which has been proven to work on many levels. Keywords: design promotion, marketing, d
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Aho, Laura-Elina. "Motherless Girls and the Orphan Myth in the Making of Nation: The Gendered Representation of a Nation in the Repertoire of the Finnish Theatre Company, 1872–76." Nineteenth Century Theatre and Film 47, no. 2 (November 2020): 179–208. http://dx.doi.org/10.1177/1748372720942774.
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In this article, I argue that orphanhood and motherlessness as presented in drama reinforce the gendered representations used in nationalist processes. I examine the plays presented by the Finnish Theatre Company (founded by the Finnish nationalists in 1872) in 1872–76 and analyse their contribution to the gendering of the nation. In Finland, the idea of collective nationality was established during the nineteenth century by defining an ideal ‘Finnishness’ and creating ‘national’ imagery, especially through the arts. One of the most enduring representations was the embodiment of Finland, the Finnish Maid. As the theatre was one of the nationalist’s central institutions, I argue that it had a strong role in producing imagery for their uses, and that its early repertoire reinforced the gendered representation of the nation, emphasising youth and virginity as its main features. The study’s focus is on orphanhood and motherlessness as vehicles for intensifying the feminine representation of nationality. The ubiquity of orphan girl characters and the absence of mothers emphasise the sexual metaphor of a defenceless virgin, the notions of ‘true’ origin and the nuclear family as a scale model of the nation. Simultaneously the representations naturalise the gender categorisations established in the Western cultures during the nineteenth century.
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Lahelma, Marja. "‘Rooted in the Native Soil’—Cultural Amnesia and the Myth of the ‘Golden Age’ in Finnish Art History." Arts 12, no. 4 (June 26, 2023): 129. http://dx.doi.org/10.3390/arts12040129.
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In Finnish art history, the period around the turn of the 20th century has been considered to be particularly significant for the formation of a national identity, and it has therefore come to be known as the ‘Golden Age’ of Finnish art. According to the commonly held historical narrative, artists in late nineteenth-century Finland, which at the time was an autonomous Grand Duchy of the Russian Empire, shared a patriotic mission that led to a blossoming of the arts. This narrative construction has become so well-established that its origins in the cultural debates of newly independent Finland in the 1920s and 1930s have faded out of sight. This article identifies some of the mechanisms of active and passive remembering and forgetting that have generated the myth of the ‘Golden Age’. The analysis is guided by perspectives created in the field of cultural memory studies that emphasize the role of remembering and forgetting in the construction of historical narratives. A brief overview of the vibrant cultural exchange between Finnish and Russian artists of the period is given in order to exemplify the richness of historical phenomena that has largely remained under the shadow of the powerful myth of the ‘Golden Age’.
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Valja, Heikka. "Games in the Finnish art teachers’ curriculum." International Journal of Education Through Art 18, no. 2 (June 1, 2022): 191–207. http://dx.doi.org/10.1386/eta_00094_1.
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This article takes part in the discussion that revolves around games and gaming and presents an example on how they have been implemented to the curriculum of Finnish art teacher training. The article explores the results of a nationwide survey for art teachers concerning games and gaming and how it supported the curriculum design for pre-serving art education students. The most significant addition to the curriculum was a master’s-level course ‘Games, Gaming and Game Design’. The article presents the course in detail and how it has evolved during four semesters between 2017 and 2020. The theoretical framework for the curriculum design was built on Deweyan pragmatist aesthetics and constructionist ludology. The article suggests that games and gaming are an integral part of art education and best addressed in a holistic manner, not only as visual representations or tools for learning.