A Glimpse of Europe

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a glimpse of Europe Come to H4.35 Palais des Festivals for the full picture miptv 2013 media-stands.eu MIPTV is 50, and so are we! This MIPTV marks the 50 th time that the MEDIA Programme of the European Union has hosted European independents on a stand at MIPTV or MIPCOM. This catalogue showcases the productions of European companies on the stand at MIPTV 2013, and contains full details of all the companies to be found on the stand at H4.35 on the 4 th and media 5th floors of the Palais des Festivals. / You are welcome to stop by and meet some of the 250 producers, distributors and content providers gathered under the MEDIA umbrella. The catalogue contains information on companies with dedicated booths (and a plan of how to find them). Otherwise, the hostesses at the Welcome Desk on the 4th floor will be happy to set up meetings for you with anyone on the stand. We also have a who’s who console in the welcome area, so you can check what someone looks like and also send an e-mail message to anyone you want to contact. They can arrange to meet you in a room with screening facilities or you can have coffee together in the bar and lounge area. Or just stop by the bar on the 5th floor for a glass of wine during our Happy Hour from 5-7 p.m. each day. ec.europa.eu The MEDIA Programme aims to strengthen the European audiovisual industry. It is the largest public source of finance for the circulation for European audiovisual work – providing funding for training, development, distribution and promotion. miptv 08 > 11.04 2013 02 diary catalogue: a glimpse of Europe 08 animation 17 children | youth 19 documentary 47 factual | magazine 50 fiction 63 formats 64 interactive content | cross-media 65 sport | leisure 67 index of productions - a > z 71 index of companies on the stand - a > z 81 stand plan | dedicated booths NotEs – Production synopses are based on information provided by MEDIA umbrella stands participants. The content is the sole responsibility of the participant. – Mobile phone numbers are provided where this is the only number provided by the company representative. For contact phone numbers of all participants, including additional mobile phone numbers, please go to the database of participants on the MIPTV 2013 page of our website: www.media-stands.eu. – The cut-off date for information in this listing was March 10, 2013. sunday 07. 04 2013 08 :00. :30. 09 :00. :30. 10 :00 . :30. 11 :00. :30. 12 :00. :30. 13 :00. :30. 14 :00. :30 . 15 :00. :30. 16 :00. :30. 17 :00 . :30. 18 :00 . :30. 19 :00. :30 . 20 :00. :30. 2 a glimpsE of EuropE Monday 08. 04 2013 08 :00. :30. 09 :00. :30. 10 :00 . :30. 11 :00. :30. 12 :00. :30. 13 :00. :30. 14 :00. :30 . 15 :00. :30. 16 :00. :30. 17 :00 Happy Hour on the stand. stop by for a glass of wine and to mingle with European independents.. :30. 18 :00 . :30. 19 :00. :30 . 20 :00. :30. MIPTV 2013 3 TuEsday 09. 04 2013 08 :00. :30. 09 :00. :30. 10 :00 . :30. 11 :00. :30. 12 :00. :30. 13 :00. :30..

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Title: Year: Version
This is a self-archived version of an original article. This version may differ from the original in pagination and typographic details. Author(s): Heinämaa, Sara Title: Strange vegetation: Emotional undercurrents of Tove Jansson’s Moominvalley in November Year: 2018 Version: Published version Copyright: © 2018 Walter de Gruyter GmbH, Berlin/Boston. Rights: CC BY-NC-ND 4.0 Rights url: https://creativecommons.org/licenses/by-nc-nd/4.0/ Please cite the original version: Heinämaa, S. (2018). Strange vegetation: Emotional undercurrents of Tove Jansson’s Moominvalley in November. SATS: Northern European Journal of Philosophy, 19(1), 41-67. https://doi.org/10.1515/sats-2017-3002 SATS 2018; 19(1): 41–67 Sara Heinämaa* Strange vegetation: Emotional undercurrents of Tove Jansson’s Moominvalley in November https://doi.org/10.1515/sats-2017-3002 Abstract: This article investigates the emotional undercurrents of Tove Jansson’s Moominvalley in November. I argue that one of the main characters of Jansson’s book is the autumn forest that surrounds the abandoned Moomin house. The decomposing forest is not just an emblem of the inner lives of the guests that gather in the house but is an active character itself: an ambiguous life form that creeps in the house and must be expelled from its living core. I further demon- strate that the emotion of disgust has a crucial role in Jansson’s narrative, and that an adequate analysis of the intentional content of disgust allows us to see what is at issue in the relations between the characters. In my reading, the main insight of Tove Jansson’s last Moomin book is not about loss or sorrow but is about the human capacity to begin anew by composing novel wholes from scraps.
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