Ylirajainen kirjallisuus ja yksikielinen kirjallinen elämä Suomessa

Nissilä, Hanna-Leena

doi:10.17409/kpt.60105

Cited by 7 publications

(6 citation statements)

References 7 publications

(7 reference statements)

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“…Naisten ohittaminen oli ajan suo malaisessa taidemaailmassa varsin tyypillistä, mutta kun koko näytte ly käytännössä tyrmättiin, ei hiljaisuus ehkä johtunut vain sukupuo leen kohdistuneesta vihamielisyydestä. 168 Mahdollisia syitä arvostelijoiden käytökseen voi etsiä sekä kat sojista että teoksista. Miten valovoimaisia esimerkiksi Münterin maalaukset (tai niin ikään maininnatta jääneet Heckelin, Kleen ja Pechsteinin teokset) olivat kriitikoiden silmissä?…”

Section: Näkymättömät Naiset?unclassified

Humpuukia ja hulluutta: Uuden taiteen vastaanotto 1910-luvun Suomessa

Siukonen¹

2023

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Humbuggery and madness. The reception of new art in the 1910s in Finland If the artworld is a battlefield of meanings, the fortunes of discourse did not favour avant-garde art in Finland in the 1910s. The latest trends, introduced by German and Russian artists in three pioneering exhibitions in Helsinki in 1914 and 1916, were dismissed by the Finnish press as foolish and unworthy. This book researches the contemporary reactions and contents of these exhibitions. The works shown in Helsinki included masterpieces from artists such as Chagall, Jawlensky, Kandinsky, Marc, Münter and Rozanova. Today these works can be found in the collections of leading museums in Europe, Russia and the USA. From the Finnish perspective, the turndown in the 1910s proved effective and irreversible. Never again have the local collections had similar opportunities to make a purchase. The rejection of radical international developments and emphasis on narrow nationalistic views left Finnish art lagging behind. This trend was already apparent in 1917 in St. Petersburg, where the Finnish artists were celebrated but their paintings deemed sombre and superannuated.

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Section: Näkymättömät Naiset?unclassified

Humpuukia ja hulluutta: Uuden taiteen vastaanotto 1910-luvun Suomessa

Siukonen¹

2023

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“…There is a lack of consensus among scholars regarding the usage of the word "Ingrian." Some associate "Ingrians" only with the Ingrian Finns [Karanov 2015;Rappu 2008], some with the Izhors [Kuznetsova, Markus, and Muslimov 2015;Kalinitchev 2011;Kurs 1994], while still others identify all of the indigenous population of Ingria as "Ingrians" [Nissilä 1961and Grünthal 1997quoted in Rappu 2008. In this article, I use "Ingrians" as a common name for all three groups (the Votes, the Izhors, and the Ingrian Finns) that are associated with the historical territory of Ingria.…”

Section: Concluding Thoughtsmentioning

confidence: 99%

Decoloniality and Russian Music: Finno-Ugric Legacies in Contemporary St. Petersburg

Shatilova

2023

Folklorica

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This article presents two case studies examining the musical groups Talomerkit and Ingervala in the context of the late Soviet and post-Soviet reawakening of Finno-Ugric culture in St. Petersburg, Russia. Coming from different ethnic backgrounds, these two groups demonstrate different ways of engaging with local Finno-Ugric traditions. While Talomerkit uses a so-called tradition-based approach with minimal alteration of primary material, Ingervala looks for alternative stylistic choices through electric instruments and electronic sounds. Based on my fieldwork done in June 2018 and May 2019, I present ethnographic observations about Talomerkit and Ingervala’s musical activities and focus on issues related to the repatriation of Finno-Ugric musical heritage to a local community in St. Petersburg after the interruption of these traditional musical practices during the Soviet period. By using ethnomusicological approaches of decolonization, my aim is to foreground the voices of artists and activists who engage with the legacy of a small, non-Slavic Finno-Ugric population indigenous to the lands of present-day St. Petersburg and Leningrad Oblast. I argue that those autochthonous perspectives are instrumental in challenging the cultural discourse in Anglophone Russian music studies, which predominantly focuses on musical knowledge production through the lens of the Slavic population.

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“…Na jedné straně se zdá, že dekonstrukce pojmu "národní literatury", kterou ve Finsku před několika desetiletí-mi iniciovaly inspirace poststrukturalistickými a postkoloniálními teoriemi, proběhla tak důkladně, že se pojem "národní" literatury zcela vyprázdnil. Na druhé straně žije tento pojem velmi intenzivně v rámci fi nských literárních institucí a exportu "fi nské literatury" mimo fi nské hranice (Nissilä 2016b). I v této věci se však situace rychle vyvíjí, jak o tom svědčí i různé překladatelské počiny, například antologie překladů fi nských autorů s "multikulturním" zázemím do němčiny, nazvaná Invasion Paradies (Domokos 2014).…”

Section: Závěremunclassified

Postcolonial Look at Finland Through the Lens of Literary Studies - Development, Present Situation, Critical Reflection

Parente-Čapková¹

2017

GaV

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Ylirajainen kirjallisuus ja yksikielinen kirjallinen elämä Suomessa

Cited by 7 publications

References 7 publications

Humpuukia ja hulluutta: Uuden taiteen vastaanotto 1910-luvun Suomessa

Humpuukia ja hulluutta: Uuden taiteen vastaanotto 1910-luvun Suomessa

Decoloniality and Russian Music: Finno-Ugric Legacies in Contemporary St. Petersburg

Postcolonial Look at Finland Through the Lens of Literary Studies - Development, Present Situation, Critical Reflection

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