Matkailututkimus <p>Matkailututkimus on monitieteinen matkailua, virkistystä ja vapaaaikaa käsittelevä tiedelehti. Lehdessä julkaistaan suomen-, ruotsin- ja englanninkielisiä vertaisarvioituja artikkeleita ja katsausartikkeleita (ns. kaksoissokkoarviointi) ja puheenvuoroja (avoin vertaisarviointi) sekä vertaisarvioimattomia kirjoituksia näkökulmia- ja lektiot-osastoilla.</p> Suomen matkailututkimuksen seura ry fi-FI Matkailututkimus 2490-2039 Minne suuntaat, Matkailututkimus? Olga Hannonen Juho Pesonen Copyright (c) 2022 Olga Hannonen, Juho Pesonen 2022-02-28 2022-02-28 17 2 4 5 10.33351/mt.114541 Souvenir in Motion: Cultural and Historical Perspectives on the Souvenir as a Research Object -konferenssin annista Matti-Pekka Karikko Copyright (c) 2021 Matti-Pekka Karikko 2022-02-28 2022-02-28 17 2 10 14 10.33351/mt.114547 Souvenirs: How They May Be or May Not Be Understood <p>This paper is based on a keynote lecture given by Michael Hitchcock, Emeritus Professor, Institute for Creative and Cultural Entrepreneurship at Goldsmiths, University of London, United Kingdom at the Souvenirs 2021 conference.</p> Michael Hitchcock Copyright (c) 2022 Michael Hitchcock 2022-02-28 2022-02-28 17 2 15 21 10.33351/mt.114548 Mikrokosmoksen matkaajat. Matkamuistot ja omakohtainen kokemus 1600-luvun englantilaisissa kuriositeettikokoelmissa <p>Royal gardeners and collectors of curiosities, father and son John Tradescant, were praised as world-travellers, who created a miniature world for their contemporaries to enjoy. But whose world was it based on – and whose world did it convey? In this article, I examine the objects and plants in seventeenth-century English cabinets of curiosities as both personal and culturally collective souvenirs, through which I reveal contemporary ideas about mobility, travel, and the concept of first-hand experience in Early modern England. As an example, I use the collection known as the Tradescant Ark with the help of diary entries, letters, and the 1656 catalogue. I especially analyse the catalogue as a form of reconstructing historical travel. The Tradescants, as was common at the time, were associated with God as creators of their private microcosm. Their subjective experiences of the world were also represented in the geographical as well as the social networks through which the objects had apparently travelled. However, the world of the collection was not only subjective; Collective, for example English and European, aspirations and geographical imaginations were also detectable in its contents. Moreover, a visitor to the collection carried their own personal worldviews that became influenced by the microcosm of the collection. Eventually, there is no such thing as a pure experience of the world, but always an endless combination of one’s own and others’ experiences, past and present, personal and collective – a collection such as The Ark being a perfect representation of such a mixture.</p> Saara Penttinen Copyright (c) 2022 Saara Penttinen 2022-02-28 2022-02-28 17 2 22 38 10.33351/mt.114550 Memories from Spain. The Finnish painter Albert Edelfelt’s (1854 – 1905) travel pictures as souvenirs <p>This article discusses two artworks by the Finnish painter Albert Edelfelt (1854 – 1905), related to a sixweek- long journey to Spain in 1881: San Telmo Sevilla – recuerdo de la feria (San Telmo Seville – A Memory from the Feria), and Remembrance of Spain (Jewish Girl), also known as A Memory from Spain. The approach is theoretical, with the aim to examine how the concept of the souvenir shapes our understanding of the paintings’ motifs. The main research questions pertain to how Edelfelt’s Spanish artworks refer to the differentiated object that attracted his tourist eye, containing also his experiences. Questions of metonymy and travel pictures’ parallels to (tourism) photography are addressed. The methodology is based on semiotics according to D. MacCannell (1999) and J. Culler (1981), with a particular interest in truth markers. An empirically anchored art historical aspect is contextualised within a framework of theories on tourist behaviour, such as Urry’s theory of the tourist gaze. The artworks are defined as souvenirs and analysed from a tourism perspective. The combination of the concept of the souvenir and empirical data as a base for art historical analysis of travel pictures is particularly successful: the pictures’ function as truth markers serves as proof of that ephemeral but real experiences have taken place; the artworks’ titles refer to the memory function, anchoring the pictures in time and place like truth markers do. This adds to art historical analysis, framing empirical evidence within a broader context of travel behaviour and souvenir production.</p> Marie-Sofie Lundström Copyright (c) 2022 Marie-Sofie Lundström 2022-02-28 2022-02-28 17 2 39 52 10.33351/mt.114551 Holidaying behind the Iron Curtain: The material culture of tourism in Cold War Eastern Europe <p>During the Twentieth Century, foreign travel underwent a process of democratisation. Increasingly, through the development of package holidays to ever more far-flung destinations, leisure tourism for the first time allowed ordinary people to experience different cultures first hand. With the increased availability and affordability of foreign travel, actively promoted by travel agencies with strong left-wing political affiliations and supported and facilitated by international friendship societies, the number of western tourists visiting Eastern Europe multiplied through the 1960s and 1970s despite the Cold War. This paper will explore western tourism in Eastern Europe during the Cold War in a Scottish context through the material culture of travel collected during this period, focusing on the collection of Miss Eileen Crowford (1913 - 1990) held by National Museums Scotland. Miss Crowford was a life-long Edinburgh resident and an avid collector. Her collection spans the 20th century and includes a significant collection of costume jewellery, mass-produced decorative arts and travel souvenirs. Drawing upon previously unresearched material in the archive and objects acquired on her travels, both items that she bought and things that she was given or obtained as part of the travel experience, provides a case study through which to explore engagement with communist culture and politics in a Scottish context. This paper discusses how these trips were being marketed to prospective Scottish travellers, and how souvenir production and distribution, as well as conditions of access, reflect an often-mediated experience of the Soviet East.</p> Carys Wilkins Copyright (c) 2022 Carys Wilkins 2022-02-28 2022-02-28 17 2 53 71 10.33351/mt.114552 Johdanto <p>The Faculty of Arts and Design at the University of Lapland in Rovaniemi Finland, and the Regional Museum of Lapland organized an international conference Souvenirs in Motion: Cultural and Historical Perspectives on the Souvenir as a Research Object with the support of the Finnish Cultural Foundation. The reason for organizing the conference was the observation that there is very few research on souvenirs in Finland. There are many souvenirs related to Lapland tourism in the collection of the museums, especially in the Regional Museum of Lapland. The conference was originally supposed to be in Rovaniemi in April 2020, but due to the Covid-19 pandemic, it was postponed for one year. In the end, the conference was held online from 22 April to 23 April 2021. The conference was well received and there were about 120 participants. The conference included five keynote presentations and nine inspiring and versatile parallel sessions (c.f. Karikko in this issue). Souvenirs proved to be diverse and contain many meanings. The articles of this publication are associated with the conference.</p> Tuija Hautala-Hirvioja Hanna Kyläniemi Maija Mäkikalli Heidi Pietarinen Copyright (c) 2022 Tuija Hautala-Hirvioja , Hanna Kyläniemi, Maija Mäkikalli, Heidi Pietarinen 2022-02-28 2022-02-28 17 2 6 9 10.33351/mt.114546