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The dissertation is concerned with the speeches of Vihtori Kosola (1884–1936), recruiter of jäger, strike breaker and activist. Kosola assumed the leadership of the Lapua Movement in 1929. His most significant speeches were delivered on the peasants’ march of 7 July 1930 and on the 15th anniversary of the war of independence on 16 May 1933. Kosola was a political speaker and the figurehead of the Patriotic people’s movement (IKL) founded in 1932. The Study focuses on Kosola’s speeches applying rhetorical-semantic concept analysis with regard to the changes occurring in the main concepts. Changes in the speeches are used to explore the concepts of democracy and application of the law in Finland in the 1930s. Analysis of the main concepts serves to reveal changes in the themes of the speeches and positions Kosola’s rhetoric as part of the activities and objectives of the movements he represented. The study comprises two levels. On the general level I scrutinize the rhetoric of the speeches and changes in their concepts, on the specific level I scrutinize the speeches in relation to Kosola’s personal network, as they are also an outcome of the actions of this network. Kosola did not write all his speeches himself; they were written by the activist Lieutenant-Colonel Artturi Vuorimaa, Pastor K. R. Kares and the popular scientist Lieutenant Kai Donner. In accordance with the theory of the British historian R. G. Collingwood, these speeches can be perceived as responses to questions emanating from society. Then, according to Quentin Skinner, they are a kind of hybrid combining several political discussions. Carl Schmitt, jurist and Kosola’s contemporary in Germany, determined modern politics to have originated from the exclusion of the enemy. Kosola in his speeches builds up an image of the enemy consisting of the Left Wing in general and Communism in particular. In the period 1932– 1933 Kosola’s speeches are an invective against all political parties, i.e. “party political power” and serve as tools bringing the Lapua Movement and the IKL to power, but in the period 1935–1936 they become more moderate. The image of the enemy is strengthened with a hatred of all things Russian and with anti- semitism. As part of the extreme Right Wing rhetoric Kosola equates the Russian Bolsheviks with the alleged endeavours of the Jews to gain world power.

Hiltunen tutki väitöskirjassaan puolalaisen elokuvaohjaajan Krzysztof Kie?lowskin (1941-1996) myöhäistuotannon kerrontaa erityisesti katsojan kokemuksen kannalta. Hän tarkasteli katsomistapahtumaa toisaalta tietopohjaisena älyllisenä prosessina, toisaalta kokemuksellisena ilmiönä.– Elokuvakerronta on katsojan ja elokuvan välinen vuorovaikutusprosessi, jossa katsojan omat kokemukset sekä tiedot maailmasta ja elokuvista kohtaavat elokuvantekijän luoman todellisuuden, Hiltunen määrittelee. Kie?lowskin tavoitteena oli synnyttää dialogi katsojan ja elokuvan välille. Hän etsi elokuvallisia keinoja toisinaan abstraktienkin teemojen ilmaisemiseksi sen sijaan, että olisi pukenut asiat sanoiksi. Tämä epäsuoraan puhuminen, tapa ilmaista asioita rakenteen ja tyylin keinoin, periytyy osittain kommunismin ajalta ja työskentelystä sensuurin alaisuudessa 1970–1980 -luvuilla. The thesis deals with narration and style in and the spectator’s experience of the late fiction films of the Polish director Krzysztof Kie?lowski. It analyses A Short Film About Killing (1988), A Short Film About Love (1988), the television series The Decalogue (1988/89), The Double Life of Véronique (1991), and The Three Colours trilogy (1993/94). The earlier documentary and fiction films are discussed briefly to establish a stylistic and thematic continuity between the socially conscious early films directed when Kie?lowski worked in the national Polish film industry and the late art films made as European co-productions.The narratives of these films are examined on the one hand as structures and on the other as processes, paying special attention to the spectator’s experience and understanding of them. Narration is analysed as a process taking place between the spectator and a film. Phenomenological approaches and cognitive film theory provide the theoretical framework for the study. A central question is how time is organised in Kie?lowski’s narratives and how it is connected with their meanings and the representation of their protagonists’ inner lives.His narratives are elliptic and ambiguous and focused on individual moments rather than on the final outcome. They demand the spectator’s active participation. They are thematically constructed and stylised, which makes them self-conscious. But instead of detachment the spectator experiences a sense of being in between: of being simultaneously aware both of the story and of the means of telling it.Kie?lowski’s main interest was to portray the inner lives of his contemporary main characters, resulting in very subjective stories. Kie?lowski represents the world as it is perceived from an individual subject’s point of view, creating films that appear as mindscreens of their characters. Maurice Merleau-Ponty’s philosophy is used to characterise the interconnectedness of the subjective and the objective, the internal and the external in Kie?lowski’s narratives. The relation between subjectivity, temporality and space in his stories is one of the key questions addressed.