Abstract The objective of this doctoral thesis is to examine Anu Kaipainen’s literary strategy and to find out what kind of questions she thematises using the strategy. The articles focus on two novels from the 1960s, seen as routes leading to her production. Perspective is widened towards her other works. This dissertation seeks methodological and contextual routes to the interpretation of the multiple layers and elements present in her novels. The objective is to create a more holistic ‘map’ of her literary strategy and its functions. Mirroring Kaipainen’s allegory of maps, the articles included in this thesis can also be seen as maps drawn at different stages on tracing paper, placed one on top of the other. This ‘atlas’ made of tracing paper depicts the following issues as thematic condensations and clarifying questions connecting the articles: 1) the positioning of a bourgeois female subject in the upheavals of modern life and 2) the heterology of contexts related to these transitions that represent the increasingly complex nature of social reality and challenges in perceiving it. This thesis contextualises and discusses this dialectic tension between post-modern multiplicity and the positioning of feministic identity politics. 3) the third question synthetises the first two: how and in what direction is this tension taken in Kaipainen’s works? This third theme originates from Kaipainen’s allegory of maps, which is a thematic condensation as such and illustrates her literary strategy. The examination of literary strategy carries reflection towards a research result. The literary strategy of Kaipainen’s works from the 1960s and 1970s — the politics of maps drawn on tracing paper — is found to be the answer to the heterology of contexts and the problems in positioning a female subject. The objective of her cartographic strategy is shown to be her political-pedagogic aim to help a (female) subject to position herself in an increasingly complex, fast-changing and globalising world. Ultimately, the objective of her strategy is to awaken or restore the subject’s social awareness and ability to function. This thesis draws a clearer picture of Kaipainen’s literary strategy and the nature of her earlier works. The result is methodological and refers to the routes found relevant in the study of literary strategy: feminist research orientation, Mikhail Bakhtin’s dialogism, and Urpo Kovala’s model of heterological contextualism. The latter outlines this study as its metatheoretical framework, but the objective is also to develop the model of heterological contextualism towards practical analysis. In addition to the abovementioned theoretical routes, this thesis makes reference to Fredric Jameson’s cognitive mapping. / Tiivistelmä Tutkimustehtävänä on selvittää, millainen on Anu Kaipaisen kirjallinen strategia ja millaisia kysymyksiä hän sen avulla tematisoi. Tutkimusartikkeleissa keskitytään kahteen Kaipaisen 1960-luvun romaaniin, jotka nähdään reiteiksi hänen tuotantoonsa. Työn johdannossa tarkastelu laajennetaan kohti muuta tuotantoa. Tutkimuksessa etsitään eri suunnista metodisia ja kontekstuaalisia reittejä Kaipaisen romaanien moniaineksisuuden tulkintaan. Tavoitteena on luoda aiempaa kokonaisvaltaisempi ”kartta” hänen kirjallisesta strategiastaan ja sen funktioista. Kaipaisen karttavertausta mukaillen tutkimusartikkelit ovat kuin eri vaiheissa piirrettyjä, päällekkäin aseteltuja kuultokuvakarttoja. Hahmottuvasta ”kuultopaperien kartastosta” erottuvat temaattisina tihentyminä ja tarkentavina tutkimuskysymyksinä 1) keskiluokkaisen naissubjektin paikantuminen modernin elämän murroksessa ja 2) tuohon murrokseen liittyvä kontekstien heterologia, joka representoi yhteiskunnallisen todellisuuden monimutkaistumista ja hahmottamisen haasteita. Johdannossa kontekstualisoidaan ja pohditaan tätä jälkimodernin moninaistumisen ja feministisen identiteettipoliittisen paikantumisen dialektista jännitettä. 3) Kolmas tarkentava tutkimuskysymys tuo syntetisoivasti yhteen kahta edellistä: millaisin keinoin ja mihin suuntaan tuota jännitettä työstetään Kaipaisen teoksissa? Kolmas tutkimuskysymys nousee mainitusta Kaipaisen kuultopaperikarttavertauksesta, joka on itsessään temaattinen tihentymä ja kuvaa hänen kirjallisen strategiansa luonnetta. Kirjallisen strategian avaaminen vie reflektiota kohti tutkimustulosta. Kaipaisen 1960- ja 1970-luvun tuotannon kirjallinen strategia — ”kuultopaperikarttojen politiikka” — paljastuu vastaukseksi kontekstien heterologian ja naissubjektin paikantumisen ongelmiin. Hänen kartografisen strategiansa tavoitteeksi osoitetaan poliittis-pedagoginen pyrkimys auttaa (nais)subjektia paikantumaan monimutkaistuvassa, nopeasti muuttuvassa ja globalisoituvassa maailmassa. Viime kädessä tavoitteena on herättää tai palauttaa (nais)yksilön yhteiskunnallinen tietoisuus ja toimintakyky. Tutkimus piirtää entistä täsmällisemmän kuvan Kaipaisen kirjallisesta strategiasta ja erityisesti varhaisemman tuotannon ominaisluonteesta. Tulos on myös menetelmällinen osoittaen reitteihin, jotka on kirjallisen strategian avaamisessa relevanteiksi todettu: feministiseen tutkimusorientaatioon, Mihail Bahtinin dialogismiin sekä Urpo Kovalan heterologiseen kontekstualismin malliin. Viimeksi mainittu kehystää työtä metateoreettisesti, mutta kehittelen heterologisen kontekstualismin mallia myös käytännön analyysin suuntaan. Mainittujen teoreettisten reittien lisäksi tutkimustulokseen pääsemiseksi johdannossa sovelletaan Fredric Jamesonin käsitystä kognitiivisesta kartoittamisesta.

The Freewheelin’ Bob Dylan was released in 1963, during the Cold War. Nuclear apocalypse was a big fear at the time and the fright deeply influenced the album. Therefore, this essay argues that the record contains a poetic narrative, with the overarching theme of contemporary apocalyptic death. The poetic narrative reveals an allusion to Noah’s Ark and the story of Judas, which is not present if the songs are analyzed independently. The narrative consists of five parts: “Blowin’ in the Wind” deals with the uncertainty of the 1960s; “Masters of War” describes the arming of the younger generation to fight a nuclear war; the actual apocalyptic event is chronicled in “A Hard Rain’s A-Gonna Fall”; “Talkin’ World War III Blues” narrates the post-apocalyptic event and the final part is “Corrina, Corrina”, which deals with the reproductive consequences. The material will be analyzed, and the conclusion supported, by recourse to historical contextualization and religious symbolism and allusions. The essay uses Beebee’s analysis of “A Hard Rain’s A-Gonna Fall” (1991) and Roos’ work on the entire Dylan canon from a thematic perspective (1982) to support the conclusions made, but compared to previous papers on The Freewheelin’ Bob Dylan, this essay takes the original mode of music consumption into account and studies the album as a greater whole. Through an analysis of the entire record, allusions are encoded that is not evident if each song is interpreted independently.

By conceptualizing repetition with the Swedish avantgarde aesthetics of the 1960s as a point of departure, this thesis argues that the repetition phenomena in the mature works of Per Olov Enquist (1934–2020) are indebted to the period. Hereby it brings together two major trends in the Enquist research that previously have been separate. In accordance with the main tendency of the period, the Enquistian repetitions reuse concrete constituents and are of technical and combinatory nature. According to the taxonomy introduced in the thesis, they are mainly internarrative, i.e., they transcend the limits of the individual stories. Thus, in Enquist, the superficial, anti-mimetic as well as anti-hermeneutical qualities pertaining to the period are a consequence of the specifically internarrative character of the repetitions, whereas the individual stories remain mimetically coherent. Furthermore, the thesis investigates a metapoetic discourse in the mature works; in part, it demonstrates a continuity between this discourse and the non-metapoetic notion of repetition in Enquist’s novels of the ‘60s. Altogether, the thesis proposes a way of historically situating the Enquist oeuvre as a whole; supposedly, it will contribute to further studies with similar aims.

This doctoral thesis deals with fundamental changes in West German foreign cultural policy during the 1960s and 1970s. Its objective is not only to examine how and under what circumstances the first (West) German conception of foreign cultural policy was conceived or which institutions and individuals participated most actively in its formation, but also to assess the understanding and definitions of foreign cultural policy and its role in the overall foreign policy of the Federal Republic of Germany. Further, the topic is analysed within a broad historical and international context. The research primarily uses the methodology of political history but has also been inspired by cultural history and political science.

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The thesis seeks to develop a more sophisticated view of the black power movement in twentieth century America by analysing the movement’s cultural legacy. The rise, maturation and decline of black power as a political force had a significant impact on American culture, black and white, yet to be substantively analysed. The thesis argues that while the black power movement was not exclusively cultural it was essentially cultural. It was a revolt in and of culture that was manifested in a variety of forms, with black and white culture providing an index to the black and white world view. This independent black culture base provided cohesion to a movement otherwise severely lacking focus and structural support for the movement’s political and economic endeavours. Each chapter in the PhD acts as a step toward understanding black power as an adaptive cultural term which served to connect and illuminate the differing ideological orientations of movement supporters and explores the implications of this. In this manner, it becomes possible to conceptualise the black power movement as something beyond a cacophony of voices which achieved few tangible gains for African-Americans and to move the discussion beyond traditional historiographical perspectives which focus upon the politics and violence of the movement. Viewing the movement from a cultural perspective places language, folk culture, film, sport, religion and the literary and performing arts in a central historical context which served to spread black power philosophy further than political invective. By demonstrating how culture served to broaden the appeal and facilitate the acceptance of black power tenets it is possible to argue that the use of cultural forms of advocation to advance black power ideologies contributed significantly to making the movement a lasting influence in American culture – one whose impact could be discerned long after its exclusively political agenda had disintegrated.