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”Yksin Syntyi Väinämöinen”
0 ”Yksin syntyi Väinämöinen” Tarkastelussa Kalevalan Maailmansyntyruno Maaret Peltonen Kirjallisuuden kandidaatintutkielma Taiteiden ja kulttuurintutkimuksen laitos Jyväskylän yliopisto Ohjaaja: Anna Helle Opponentti: Hannamari Kilpeläinen Kevät 2016 1 SISÄLTÖ 1 Johdanto ................................................................................................. 2 2 Kalevalan synty ...................................................................................... 3 2.1 Runolaulajat ........................................................................................ 4 2.2 Runolaulajan maailma ......................................................................... 6 3 Myytit ja Kalevala .................................................................................. 6 4 Aineiston kuvaus ja analyysi ................................................................. 9 4.1 Aineiston kuvaus ................................................................................. 9 4.2 Aineiston analyysi ............................................................................... 11 5 Johtopäätökset ..................................................................................... 16 6 Päätäntö ................................................................................................ 17 Lähteet 2 1 Johdanto Tutkin kirjallisuuden kandidaatin tutkielmassani Kalevalan ja Raamatun välistä suhdetta ja yhteyttä. Etenen Kalevalan tutkimisessa myyttien kautta Raamattuun. Mielenkiintoni Kalevalan ja Raamatun väliseen yhteyteen on -
Visits to Tuonela Ne of the Many Mythologies Which Have Had an In
ne of the many mythologies which have had an in fluence on Tolkien's work was the Kalevala, the 22000- line poem recounting the adventures of a group of Fin nish heroes. It has many characteristics peculiar to itself and is quite different from, for example, Greek or Germanic mythology. It would take too long to dis cuss this difference, but the prominent role of women (particularly mothers) throughout the book may be no ted, as well as the fact that the heroes and the style are 'low-brow', as Tolkien described them, as opposed to the 'high-brow' heroes common in other mytholog- les visits to Tuonela (Hades) are fairly frequent; and magic and shape-change- ing play a large part in the epic. Another notable feature which the Kaleva la shares with QS is that it is a collection of separate, but interrelated, tales of heroes, with the central theme of war against Pohjola, the dreary North, running through the whole epic, and individual themes in the separate tales. However, it must be appreciated that QS, despite the many influences clearly traceable behind it, is, as Carpenter reminds us, essentially origin al; influences are subtle, and often similar incidents may occur in both books, but be employed in different circumstances, or be used in QS simply as a ba sis for a tale which Tolkien would elaborate on and change. Ibis is notice able even in the tale of Turin (based on the tale of Kullervo), in which the Finnish influence is strongest. I will give a brief synopsis of the Kullervo tale, to show that although Tolkien used the story, he varied it, added to it, changed its style (which cannot really be appreciated without reading the or iginal ), and moulded it to his own use. -
Laura Stark Peasants, Pilgrims, and Sacred Promises Ritual and the Supernatural in Orthodox Karelian Folk Religion
laura stark Peasants, Pilgrims, and Sacred Promises Ritual and the Supernatural in Orthodox Karelian Folk Religion Studia Fennica Folkloristica The Finnish Literature Society (SKS) was founded in 1831 and has, from the very beginning, engaged in publishing operations. It nowadays publishes literature in the fields of ethnology and folkloristics, linguistics, literary research and cultural history. The first volume of the Studia Fennica series appeared in 1933. Since 1992, the series has been divided into three thematic subseries: Ethnologica, Folkloristica and Linguistica. Two additional subseries were formed in 2002, Historica and Litteraria. The subseries Anthropologica was formed in 2007. In addition to its publishing activities, the Finnish Literature Society maintains research activities and infrastructures, an archive containing folklore and literary collections, a research library and promotes Finnish literature abroad. Studia fennica editorial board Anna-Leena Siikala Rauno Endén Teppo Korhonen Pentti Leino Auli Viikari Kristiina Näyhö Editorial Office SKS P.O. Box 259 FI-00171 Helsinki www.finlit.fi Laura Stark Peasants, Pilgrims, and Sacred Promises Ritual and the Supernatural in Orthodox Karelian Folk Religion Finnish Literature Society • Helsinki 3 Studia Fennica Folkloristica 11 The publication has undergone a peer review. The open access publication of this volume has received part funding via Helsinki University Library. © 2002 Laura Stark and SKS License CC-BY-NC-ND 4.0 International. A digital edition of a printed book first published in 2002 by the Finnish Literature Society. Cover Design: Timo Numminen EPUB: eLibris Media Oy ISBN 978-951-746-366-9 (Print) ISBN 978-951-746-578-6 (PDF) ISBN 978-952-222-766-9 (EPUB) ISSN 0085-6835 (Studia Fennica) ISSN 1235-1946 (Studia Fennica Folkloristica) DOI: http://dx.doi.org/10.21435/sff.11 This work is licensed under a Creative Commons CC-BY-NC-ND 4.0 International License. -
The Songlands of the Kalevala
© I.K. INHA JUMINKEKO In Kainuu, the trees reach up to the sky and the dappled light filters down through their branches. The murmuring of forest streams and the soothing hum of the verdant forest greet you and lead you to the mystical beauty of this northern wilder- ness. It is here you find the inspiration for the Finnish national epic, The Kalevala. The Kalevala is the Finnish national epic compiled from old Finnish ballads, lyrical songs, and oral poetry, all part of Finn- ish tradition. The Kalevala was compiled by Elias Lönnrot who published the folk material in two editions. Kalevala, the dwelling place of the poem’s chief characters, is a poetic LOCAL DELICACIES name for Finland, meaning “land of heroes.” The leader of the “sons of Kaleva” is the wise old Väinämöinen, a powerful sage with intuitive powers, who is a master of the kantele, a Finnish stringed instrument. In the Songlands of the Kalevala, you tread the paths once tak- en by Elias Lönnrot, and witness first hand where the Karelian artists of the Kalevala found their inspiration. Kuhmo brings the Kalevala to life, with history and modernity living side by side. Kuhmo is a UNESCO City of Literature be- ROWING A cause of the Kalevala. Maybe you will be the one who finally CHURCH BOAT solves the great riddle of our national epic: “Goes round the sun, goes round the moon, but cannot go round juminkeko.” Could it really be about Polaris? You may reflect on this conundrum whilst enjoying a tradition- al Kalevala dinner and learning about fishing lures and ancient hunting rhymes. -
Seven Stages of Womanhood: a Contemporary Healing Ritual from the Finnish Mythology of the Kalevala
SEVEN STAGES OF WOMANHOOD: A CONTEMPORARY HEALING RITUAL FROM THE FINNISH MYTHOLOGY OF THE KALEVALA Sirkku M. Sky Hiltunen Virtasalmi, Finland Washington, D.C. ABSTRACT: The purpose of this article is to introduce a healing ritual, which is inspired by and draws from the ancient Finnish epic Kalevala’s poetry of affirmations and its seven stages of womanhood. The seven stages are metaphors for female ego stages of maiden, wife, mother, crone, sage, warrior, and heal- er. Participants select these ego stages for cycles of affirmations, which are laments, charms, positive affirmations, affirmations of transcendence, affirmations of transformation, and prayers. The healing components of the ritual incorporate interpretive frames from Baldwin’s transactional system and the author’s differentiation of personal, transpersonal, and universal perspectives. The larger context of the oral tradition, the “poetry of affirmations” that gave birth to the Kalevala, is presented. The traditional mythological figures of the Kalevala exemplify the seven stages of womanhood and are guides for inspir- ing imagination and free associations among participants in a healing ritual. The procedure for the ritu- al is outlined, followed by concluding observations. The wisdom and healing practices of ancient cultures were often transmitted orally. The rituals and chants that passed these practices on were imbued with the living power of direct oral expression. Shamans, spiritual heroes, and heroines of sung sto- ries also acknowledged the power of chanted poetry. As written languages were developed and literacy among ancient peoples increased, the power and efficacy of the ancient traditions, which depended on oral transmission, was all but lost. -
PANTHEON Finnois
PANTHEON OUGRO-FINNOIS AARNIVALKEA: flamme éternelle qui marque l'emplacement d'un trésor enterré. AHTI (ou Ahto): dieu des eaux, des lacs, des rivières et des mers et de la pêche. AJATTARA (ou Ajatar): esprit maléfique des forêts. AKKA: (vielle femme) déesse-mère de la fécondité féminine, de la sexualité et des moissons, consort de Ukko ÄKRÄS: dieu de la Fertilité et de la Végétation. ANTERO VIPUNEN: géant défunt, protecteur de la Connaissance et de la Magie. ATHOLA : château d’Athi. HALTIA: esprit, gnome, gardien d’une personne ou d’un lieu. Maan-haltiat (esprits terrestres), Veden-haltiat (esprits de l'eau), et Ilman-haltiat (esprits de l'air) HIISI : démon, gobelin et homme de main de Lempo. IHTIRIEKO: protecteur des enfants illégitimes privés de vie. IKU-TURSO: monstre marin maléfique sans doute identique à Tursas. ILMA : dieu de l'air, père d’Ilmatar. ILMARINEN : grand forgeron qui créa le ciel et le Sampo. ILMATAR: esprit féminin de l'air, créatrice du Monde; Mère de Väinämöinen dans le Kalevala. JOUKAHAINEN : garçon qui défia Vâinâmôinen à un concours de chant. JUMALA : nom générique des divinités majeures ; dieu. KALEVANPOIKA : géant qui abattit les forêts et faucha les immenses prairies. En Estonie : Kalevipoeg. KAVE: ancien dieu du ciel puis divinité du cycle lunaire. Père de Väinämöinen. KALEVALA : grande épopée composée par Elias Lönnrot au milieu du XIXe siècle. KALMA : déesse de la Mort et de Décomposition. KANTELE : magie faite à partir de la gueule d’un brochet par Väinämöinen. KIED-KIE-JUBMEL: dieu des troupeaux de rennes KILLIKKI : épouse de Lemminkainen qui aimait faire la fête KIPU-TYTTÖ : déesse de la Mort et de la Maladie, sœur de Kivutar, Vammatar, et Loviatar. -
Semantics of Wainamoinen's Proper Names in Kalevala
Utopía y Praxis Latinoamericana ISSN: 1315-5216 ISSN: 2477-9555 [email protected] Universidad del Zulia Venezuela Semantics of Wainamoinen’s Proper Names in Kalevala BULINA, Evgeniya Nicolaevna; SOLNYSHKINA, Marina Ivanovna; BAHTIOZINA, Marina Georgievna Semantics of Wainamoinen’s Proper Names in Kalevala Utopía y Praxis Latinoamericana, vol. 25, no. Esp.7, 2020 Universidad del Zulia, Venezuela Available in: https://www.redalyc.org/articulo.oa?id=27964362050 DOI: https://doi.org/10.5281/zenodo.4009780 This work is licensed under Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International. PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative Utopía y Praxis Latinoamericana, 2020, vol. 25, no. Esp.7, Septiembre, ISSN: 1315-5216 2477-9555 Artículos Semantics of Wainamoinen’s Proper Names in Kalevala Semántica de los nombres propios de Wainamoinen en Kalevala Evgeniya Nicolaevna BULINA DOI: https://doi.org/10.5281/zenodo.4009780 Kazan Federal University., Rusia Redalyc: https://www.redalyc.org/articulo.oa? [email protected] id=27964362050 http://orcid.org/0000-0002-0296-815X Marina Ivanovna SOLNYSHKINA Kazan Federal University., Rusia [email protected] http://orcid.org/0000-0003-1885-3039 Marina Georgievna BAHTIOZINA Moscow State University, Rusia [email protected] http://orcid.org/0000-0003-4376-3553 Received: 03 August 2020 Accepted: 07 September 2020 Abstract: e article presents semantic analysis of proper names of Wainamoinen, one of the major characters of the Finnish epos Kalevala. e comparative analysis revealed the following layers of information in Wainamoinen’s proper names: a transparent inner form of names (Väinämäinen / Wainamoinen, Väinö / Waino, Suvantolainen / Suwantolainen, Uvantolaynen, Osmoynen, Kalevainen, Kalevalainen) of finnish origin, language and lack of transparency of Wainamoinen’s names in English, an additional connotation formed by the morphological structures of the names and a social status, dependent on the relationship of the addresser and the addressee. -
Kalevala: Land of Heroes
U II 8 u II II I II 8 II II KALEVALA I) II u II I) II II THE LAND OF HEROES II II II II II u TRANSLATED BY W. F. KIRBY il II II II II II INTRODUCTION BY J. B. C. GRUNDY II II II II 8 II II IN TWO VOLS. VOLUME TWO No. 260 EVEWMAN'S ME VOLUME TWO 'As the Kalevala holds up its bright mirror to the life of the Finns moving among the first long shadows of medieval civilization it suggests to our minds the proto-twilight of Homeric Greece. Its historic background is the misty age of feud and foray between the people of Kaleva and their more ancient neighbours of Pohjola, possibly the Lapps. Poetically it recounts the long quest of that singular and prolific talisman, the Sampo, and ends upon the first note of Christianity, the introduction of which was completed in the fourteenth century. Heroic but human, its men and women march boldly through the fifty cantos, raiding, drinking, abducting, outwitting, weep- ing, but always active and always at odds with the very perils that confront their countrymen today: the forest, with its savage animals; its myriad lakes and rocks and torrents; wind, fire, and darkness; and the cold.' From the Introduction to this Every- man Edition by J. B. C. Grundy. The picture on the front of this wrapper by A . Gallen- Kallela illustrates the passage in the 'Kalevala' where the mother of Lemminkdinen comes upon the scattered limbs of her son by the banks of the River of Death. -
Kielet Ja Kulttuuri Hanna-Mari Kakko KALEVALAN
KYMENLAAKSON AMMATTIKORKEAKOULU Johdon assistenttityö ja kielet/ Kielet ja kulttuuri Hanna-Mari Kakko KALEVALAN TAIKAMAAILMA – TAPAHTUMASARJAN JÄRJESTÄMINEN LAPSILLE KUHMOSSA JA TAPAHTUMAN JÄRJESTÄMINEN VUOKKINIE- MESSÄ Opinnäytetyö 2012 TIIVISTELMÄ KYMENLAAKSON AMMATTIKORKEAKOULU Johdon assistenttityö ja kielet KAKKO, HANNA-MARI Kalevalan taikamaailma -tapahtumasarjan järjestäminen lapsille Kuhmossa ja tapahtuman järjestäminen Vuokki- niemessä Opinnäytetyö 40 sivua + 22 liitesivua Työn ohjaaja Lehtori Päivi Korhonen Toimeksiantaja Juminkeko-säätiö Huhtikuu 2012 Avainsanat tapahtuman järjestäminen, lastentapahtuma, projektityö, Kalevala, Vuokkiniemi Tämän toiminnallisen opinnäytetyön aiheena on Kalevala-teemaan liittyvän tapahtu- masarjan järjestäminen lapsille Kuhmossa kulttuurikeskus Juminkeossa sekä suomen- kielisen tapahtuman järjestäminen Vuokkiniemen kylän lapsille Vienan Karjalassa. Kuhmossa järjestetyn tapahtumasarjan tavoitteena oli tapahtumien avulla lisätä lasten Kalevala-tietämystä mahdollisimman hauskalla ja mielenkiintoisella tavalla. Vuokki- niemen tapahtumalla pyrittiin saamaan aikaan suomenkielinen elämys kylän lapsille. Lisäksi sekä Kuhmossa että Vuokkiniemessä tavoitteena oli saada aikaan onnistunut tapahtuma. Tavoitteiden saavuttamisen selvittämiseen käytettiin ennakkohaastattelua sekä palau- telomakkeita. Kuhmossa järjestetty kolmipäiväinen tapahtumasarja toteutettiin projek- tityönä. Tapahtumasarjaa varten koottiin projektiryhmä ja projektille laadittiin aika- taulu. Opinnäytetyössä käsitellään projektityöskentelyn -
Finno-Ugric Rune Song Tradition Revisited: a Critical Discourse Analysis of Värttinä's "Äijö" Yrjö Heinonen
Document generated on 09/26/2021 10:58 p.m. Intersections Canadian Journal of Music Revue canadienne de musique Finno-Ugric Rune Song Tradition Revisited: A Critical Discourse Analysis of Värttinä's "Äijö" Yrjö Heinonen Northern Perspectives on Music and Culture Article abstract Volume 25, Number 1-2, 2005 Contemporary Finnish folk music, unlike internationally successful contemporary Finnish rock (HIM, Nightwish, The Rasmus), transmits Finnish URI: https://id.erudit.org/iderudit/1013309ar and Finno-Ugric tradition in a reinterpreted form to international audiences. DOI: https://doi.org/10.7202/1013309ar This article explores this transmission through a case analysis of Äijö, a song by Värttinä, "the brand name" of Finnish World Music. Critical Discourse Analysis See table of contents (CDA) provides a unified framework, which allows for tan examination of how different folk music traditions and the practices of Western popular music have been used in Äijö. The data with which this research was undertaken consists of publicly available media texts representing different stages of the Publisher(s) production, distribution and consumption of Äijö. Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this article Heinonen, Y. (2005). Finno-Ugric Rune Song Tradition Revisited: A Critical Discourse Analysis of Värttinä's "Äijö". Intersections, 25(1-2), 138–170. https://doi.org/10.7202/1013309ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2005 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Metsän Siimeksessä
Metsän siimeksessä Oheen on koottu kuvia huopanukeista, joiden suunnittelun lähtökohtana on ollut metsän taruolennot. Nuket on tehty neulahuovuttamalla ja märkähuovuttamalla. Nukkejen tekijät ovat Savonlinnan OKL:n opiskelijoita. Aiheeseen liittyviä idealähteitä: - Wikipedia: Suomalaiset taruolennot http://fi.wikipedia.org/wiki/ Suomalaiset_taruolennot - Hjelt & Aalto 2000: Taikametsä. Tarinoita ja taikoja suomalaisesta metsästä - Hjelt & Aalto 1995: Keijukaiset. Totta ja tarinaa toisesta maailmasta. Tarja Kröger 3/2010, päivitetty 7/2016. Maahinen Hetteen haltija Maahiset eli maanväki ovat pieniä, ihmisenmuotoisia Hetteen haltijan iho muistuttaa väriltään suoturvetta ja olentoja, joista on paljon suomalaisia kansantarinoita. hiukset ovat kuin tupasvillaa. Ihmekö tuo! Hetteen Maahiset asuvat maan alla omassa maailmassaan. haltijan koti on suo, jossa kasvavat tupasvillojen lisäksi Usein maahisten maailma koetaan todellisen maailman voimakkaan tuoksuiset suopursut, rahkasammaleeseen peilikuvaksi, joka voi olla jopa ylösalaisin. Maahiset kätkeytyvät karpalot ja suon kultainen aarre: lakka. voivat olla ilkikurisia. Joskus metsässä kulkija saattaa Hetteen haltijan taito parantaa vaikeitakin sairauksia joutua maahisten lumoihin, ja eksyä nurinkuriseen perustuu hänen parantajan kykyjensä lisäksi laajaan maailmaan, jota metsänpeitoksikin on kutsuttu. kasvitietämykseen. - Laura - - Kaisa - Loviisa Lintukotolainen Aarnivalkea, virvatuli, suon kaunotar Mielikki, metsän emäntä Loviisa Lintukotolainen asuu maailman reunalla Virvatulten uskotaan olevan -
Download Booklet
SIBELIUS SUPER AUDIO CD LUONNOTAR TAPIOLA SPRING SONG RAKASTAVA SUITE FROM ‘PELLÉAS OCH MÉLISANDE’ LISE DAVIDSEN SOPRANO BERGEN PHILHARMONIC ORCHESTRA EDWARD GARDNER Jean Sibelius, 1904 Sibelius, Jean Coloured drawing by Albert Gustaf Aristides Edelfelt (1854 – 1905) / Lebrecht Music & Arts Photo Library / Bridgeman Images Jean Sibelius (1865 – 1957) 1 Luonnotar, Op. 70 (1913)* 8:50 (Kalevala) in F sharp minor • in fis-Moll • en fa dièse mineur Tone Poem for Soprano and Orchestra An Aino Ackté Tempo moderato – Tranquillo assai – A tempo – Tranquillo assai – Poco a poco allargando 2 Tapiola, Op. 112 (1926) 18:02 in B minor • in h-Moll • en si mineur Tone Poem for Large Orchestra An Walter Damrosch Largamente – Allegro moderato – Allegro – Allegro moderato – Allegro – Allegro moderato 3 Pelléas och Mélisande, Op. 46 (1904 – 05)* 25:43 (Pelleas and Melisande) Suite from the Incidental Music to the Play Pelléas et Mélisande (1892) by Maurice Maeterlinck (1862 – 1949) Translated into Swedish by Bertel Gripenberg (1878 – 1947) 3 1 Vid slottsporten (At the Castle Gate, Prelude to Act I, Scene 1). Grave e largamente 2:20 4 2 Mélisande (Prelude to Act I, Scene 2). Andantino con moto 4:09 5 2a På stranden vid hafvet (At the Seashore, Melodrama from Act I, Scene 4). Adagio – 2:01 6 3 Vid en källa i parken (By a Spring in the Park, Prelude to Act II, Scene 1). Comodo – Un poco lento 2:13 7 4 De trenne blinda systrar (The Three Blind Sisters, Mélisande’s Song from Act III, Scene 2). Tranquillo 2:34 8 5 Pastorale (Melodrama from Act III, Scene 4).