Ethnologia Fennica <p>Ethnologia Fennica is an international journal of the Association of Finnish Ethnologists (<a href="" target="_blank" rel="noopener">Ethnos</a>). The journal publishes original scholarly articles, review articles, congress reports, and book reviews from the field of ethnology and other related fields. The research articles undergo <a href="/index.php/ethnolfenn/about/editorialPolicies#peerReviewProcess" target="_self">double-blind peer review</a>. The language of the journal is English.</p> <p>Ethnologia Fennica is funded by the&nbsp;<a href="">Ministry of Education and Culture</a>. The journal has received <a href="">the Label for Peer-reviewed Scholarly Publications</a> by the Federation of Finnish Learned Societies<em>, </em>and is ranked at the level two in <a href="">the evaluation of the Finnish publication forum</a> (leading publication in its field). &nbsp;<em> <br></em></p> <p>Please follow the journal’s <a href="" target="_self">guidelines </a>when submitting your manuscript.</p> <p>Online ISSN&nbsp;2489-4982<br>Print ISSN&nbsp;0355-1776</p> en-US <p>Authors who publish with this journal agree to the following terms:</p> <p>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</p> <p>The license of the published metadata is Creative Commons CC0 4.0 Universal (CC BY 4.0)</p> <p>Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</p> (Maija Mäki) (Eino Heikkilä) Wed, 22 Dec 2021 09:44:35 +0200 OJS 60 Behind the Scene <p><span style="font-weight: 400;">In this article, I analyze teacher’s attire as a political phenomenon in the context of the Mari people, a Finno-Ugric minority living in Central Russia. The material for this study is based on observations and interviews made by the author during 1987‒2019 in different places of the Mari region. The Mari teacher’s dress code, a dark dress with a white collar, is usually considered self-evident, but as I argue in this article, in the Soviet Union, and in Russia at the post-socialist time, the Mari female teacher’s dress served two practices. Firstly, clothing represented position and agency of power, the socialist ideal, and later the political trend of the majority. Secondly, clothing represented traditional, everyday Mari life.</span></p> <pre class="western"><span style="color: #000000;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="en-GB"><br /><br /></span></span></span></span></pre> <p> </p> Ildikó Lehtinen Copyright (c) 2021 Ildikó Lehtinen Wed, 22 Dec 2021 00:00:00 +0200 Creating a “Lapp” Character <p>This article explores the ways in which the Sámi were represented in the early years of established theatre in Finland, starting with the Finnish Theatre (<em>Suomalainen Teatteri</em>) in 1872 and its successor the Finnish National Theatre (<em>Suomen kansallisteatteri</em>), 1902. Particular attention is paid to the role of costumes in the late nineteenth and early twentieth centuries, their designs often involving the consultation of ethnographers, archaeologists, historians and visual artists. The widest archival evidence for this study consists of theatre photographs and plays, supported by contemporary publications and newspaper articles. Textual sources were augmented by the study of Sámi garments. By identifying and analysing the relevant plays, related stage photographs and newspaper reviews, it becomes clear that recurrent ways developed for representing Sámi people on the stage. This development of “Lapp” characters was established through costume in conspicuous ways, with the exaggeration of particular features of Sámi dress leading to a recognizable trope of the “Lapp” costume.</p> Joanna Weckman Copyright (c) 2021 Joanna Weckman Wed, 22 Dec 2021 00:00:00 +0200 A Queer Perspective on Sexuality and Normality in Folk Legends Maria Bäckman Copyright (c) 2021 Maria Bäckman Wed, 22 Dec 2021 00:00:00 +0200 Half-gentlemen – Goal-Oriented and Rational Peasants Eija Stark Copyright (c) 2021 Eija Stark Wed, 22 Dec 2021 00:00:00 +0200 The Fashions of Snæfellsness <p><span style="font-weight: 400;">The sagas of Icelanders (Íslendingasögur) are an important part of European literary history. Both the sagas’ historical background and their literary techniques were studied intensely in the last century, but dress and fashion in Old Norse–Icelandic literature received comparatively little attention in this period. Moreover, the literary corpus and textile history have rarely been used to illuminate one another; however, as this article will demonstrate, synthesising data and methodological approaches from both fields can yield new knowledge about both historical textiles and the sagas.</span></p> <p><span style="font-weight: 400;">This article focuses on four of the sagas of Icelanders that are set on the Snæfellsnes peninsula: Bjarnar saga Hítdælakappa, Bárðar saga Snæfellsáss, Eyrbyggja saga, and Víglundar saga. The central question the article poses is, how are social norms and cultural ideas reflected in clothing and textiles in these sagas? This study presents a comprehensive and multifaceted view of the textile and clothing imagery by combining qualitative and quantitative textual analysis showing how the imagery is an integral part of the narrative rather than an embellishment. The article reveals that clothing and textiles serve an array of functions in the sagas which are linked to the societal order. Several themes — such as masculinity, social rank, and the practice of magic — are shown to have a close connection with clothing as well as other textiles. </span></p> Kait Sepp Copyright (c) 2021 Kait Sepp Wed, 22 Dec 2021 00:00:00 +0200 Diplomatic Wives, Cultures of Dress and Brita Kekkonen <p>In this article, I discuss the private dress collection of Brita Kekkonen (1927–2013), a diplomatic wife, who was a very well-known figure in Finland during the period of the Cold War. Brita Kekkonen was also a very talented dressmaker and a very fashionable figure in diplomatic circles. Some eighty outfits made by Brita Kekkonen have survived to this day, in addition to her voluminous pattern collection, containing more than 1,000 patterns from several decades. The aim of my new postdoctoral research project is to identify Brita Kekkonen’s dresses and examine their use, politico-cultural meanings and design in the context of the Cold War, diplomatic etiquette and Kekkonen’s own personal history.</p> Anna Niiranen Copyright (c) 2021 Anna Niiranen Wed, 22 Dec 2021 00:00:00 +0200 Politics of Dress and Appearance Eerika Koskinen-Koivisto, Arja Turunen, Tytti Steel Copyright (c) 2021 Eerika Koskinen-Koivisto, Arja Turunen, Tytti Steel Wed, 22 Dec 2021 00:00:00 +0200