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A Cultural History of the Avant-Garde in the Nordic Countries Since 1975
The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 brings the series of cultural histories of the avant-garde in the Nordic countries up to the present. It discusses revisions and continuations of historical practices since 1975.
Finnegans Wakes
James Joyce's astonishing final text, Finnegans Wake (1939), is universally acknowledged to be entirely untranslatable. And yet, no fewer than fifteen complete renderings of the 628-page text exist to date, in twelve different languages altogether – and at least ten further complete renderings have been announced as underway for publication in the early 2020s, in nine different languages. Finnegans Wakes delineates, for the first time in any language, the international history of these renderings and discusses the multiple issues faced by translators. The book also comments on partial and fragmentary renderings from some thirty languages altogether, including such perhaps unexpected languages as Galician, Guarani, Chinese, Korean, Turkish, and Irish, not to mention Latin and Ancient Egyptian. Excerpts from individual renderings are analysed in detail, together with brief biographical notes on numerous individual translators. Chronicling renderings spanning multiple decades, Finnegans Wakes illustrates the capacity of Joyce's final text to generate an inexhaustible multiplicity of possible meanings among the ever-increasing number of its impossible translations.
Encounters and Practices of Petty Trade in Northern Europe, 1820–1960
This open access book uncovers one important, yet forgotten, form of itinerant livelihoods, namely petty trade, more specifically how it was practiced in Northern Europe during the period 1820–1960. It investigates how traders and customers interacted in different spaces and approaches ambulatory trade as an arena of encounters by looking at everyday social practices. Petty traders often belonged to subjugated social groups, like ethnic minorities and migrants, whereas their customers belonged to the resident population. How were these mobile traders perceived and described? What goods did they peddle? How did these commodities enable and shape trading encounters? What kind of narratives can be found, and whose? These questions pertaining to daily practices on a grass-root level have not been addressed in previous research. Encounters and Practices embarks on hidden histories of survival, vulnerability, and conflict, but also discloses reciprocal relations, even friendships.
Displacement and (Post)memory in Post-Soviet Women’s Writing
The book examines prominent literary works from the past two decades by Russian women writers dealing with the Soviet past. It explores works such as Daniel Stein, Interpreter by Ludmilla Ulitskaya, The Time of Women by Elena Chizhova, Secondhand Time: The Last of the Soviets by Svetlana Alexievich, and In Memory of Memory by Maria Stepanova, and uncovers connecting thematic structures and features. Focusing on the concepts of displacement and postmemory, the book shows how these works have given voice to those on the margins of society and of ‘great history’ whose resistance was often silent. In doing so, these women writers portray the everyday experiences and trauma of displaced women and girls during the second half of the twentieth century. This study offers new insights into the importance of these women writers’ work in creating and preserving cultural memory in post-Soviet Russia.
Suolavesitoffeekone
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Home Front in the American Heartland
This collection offers a multifaceted exploration of World War One and its aftermath in the northern American Heartland, a region often overlooked in wartime histories. The chapters feature archival and newspaper documentation and visual imagery from this era. The first section, “Heartland Histories,” explores experiences of conscription and home front mobilization in the small communities of the heartland, highlighting tensions associated with patriotism, class, ethnicities, and locale. In one chapter, the previously unpublished cartoon art of a USAF POW displays his Midwestern sensibilities. Section Two, “Homefront Propaganda,” examines the cultural networks disseminating national ...
Toisaalta
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Ruoka, valta ja nälkä 1900-luvun diktatuureissa
”Kansakuntien kohtalo riippuu niiden tavasta ruokailla.” (Jean Anthelme Brillat-Savarin, Maun fysiologia) Herkullinen ja yököttävä kattaus suurten diktatuurien jokapäiväistä elämää notkuvista pitopöydistä murhaaviin nälänhätiin. Millaista oli natsien arkiruoka? Miksi lihaa pidettiin Neuvostoliitossa tärkeänä? Oliko kommunistisella Kiinalla pakkomielle chiliin? Ville-Juhani Sutien esittelee kiinnostavasti ja runsaiden esimerkkien avulla, mikä oli ruoan, vallan ja nälän suhde totalitaarisissa maissa ja millainen se on yleisemmin yhteiskunnissa. Hänen ruokakulttuuria koskevat pohdintansa eivät jää pelkkään menneeseen ja nykyhetkeen vaan kurottavat myös tulevaan. ...
Teatteripäiväkirja
Teatteripäiväkirja on itsenäistä jatkoa Pertti Julkusen Kirjastopäiväkirjalle (ntamo 2013). Tekijä kertoo teatterikokemuksistaan ja keskustelee julkisuuden ja teatterin filosofiasta, journalismista ja politiikasta – ja edelleen myös edellisen teoksen huolenaiheestaan, kirjastojen kohtalosta. Keskeisinä syväteemoina ovat empatia ja ideologia. Teatteri hahmottuu paikkana, jossa yhteiskuntaa katsotaan ”ulkopuolelta”, mutta joka myös rinnastuu moniin sen ”esityksellisiin” rakenteisiin. ”Teatterin poliittisuus ei ole niissä aiheissa, joita se valitsee, eikä varsinkaan niissä tiedoissa, joita se mahdollisesti välittää. Poliittisuus on näyttelijässä ja näyttämössä. Se on siinä tavassa, jolla näyttelijät astuvat yleisön ja yleisön kautta koko sen yhteiskunnan eteen, josta he ovat esityksen ajaksi karanneet pois.” ”(...) sanomalehden numero on näyttämöteos, (...) toimittajalla on oltava oma mielensisäinen journalistinen näyttämö (...)”
Das Leben der Anderen
Facebook status updates and other notifications from Fall 2009 as collected by the Finnish poet, Karri Kokko. “Here Comes Everybody. This one goes to all my friends.”
