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- Ekedahl, Nils
(author)
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Det svenska Israel : Myt och retorik i Haquin Spegels predikokonst
- 1999
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Doctoral thesis (other academic/artistic)abstract
- This dissertation deals with the art of preaching of Haquin Spegel (1645-1714) from a political and rhetorical perspective. Spegel was one of the leading churchmen during the period of Carolingian autocratic rule. He was close to Karl XI and had good contacts with the Court and the political elite. The dissertation contains analyses of a number of Spegel's sermons. The theoretical points of departure include in part the theory of `confessionalization' as a basic feature of political culture in Early Modern times, and in part the emphasis of classical rhetoric on the persuasive functions of language. The concept of confessionalization is used to place the sermons in a political context; the terminology of classical rhetoric is used to describe their linguistic formulation.The first two chapters deal with speeches and sermons held in connection with the official manifestations of the Carolingian regime, among them, a celebration in memory of the adoption of the Confessio Augustana as the national Confession and the coronation of Karl XII in 1697. A prime feature in these sermons is the figurative interpretation of history and the myth of Sweden as a latterday counterpart to Israel in the Old Testament, as well as the theocratic teachings on the divine authority of royal power. The purpose of the Confession was, however, not only to convey certain ideas, but also to stimulate the emotional engagement of the listeners and persuade them to live in accordance with confessional morality How Spegel attempted to achieve this is examined in the following two chapters. One of them is devoted to his sermons on the history of the Passion, the moralizing presentation of which is analysed against the background of Lutheran meditation practice. The other chapter is devoted to his funeral sermons for public officials in the service of the state and their wives. A regular feature of the latter are the reminders about a subject's duty to obey the authorities and to work for the country and 'the general good'. In a concluding chapter the results of the textual analysis are placed within the wider perspective of the political culture of Carolingian autocracy and it is shown how Spegel's sermons can be understood as a factor in the spreading of a confessionally stamped national myth which bound the people to God and promoted the maintenance of social discipline among subjects.
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- Granath, Sara
(author)
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Käket & Moralen : teatersällskapet Proteus/Mercurius från studentteater till länsteater
- 1997
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Doctoral thesis (other academic/artistic)abstract
- The aim of this dissertation is to study the development of a so called free theatre group in the south of Sweden. This group, here called Proteus/Mercurius, started out as a travelling amateur theatre, emanating from the Student Theatre of Lund, in 1965, and waas finally established as the regional theatre of the county of Skaraborg, in 1988. The group' s leadeer and director Ulf Gran became the head of the new theatre.The French sociologist Pierre Bourdieu uses the concept of cultural field to characterize the arena,where agents and institutions fight over the correct definition of, in this case, Good Theatre. My main objective is to find and correlate the various factors contributing to the changing legitimacy of Proteus/Mercurius within the Swedish theatre field.Placing myself within this field I have studied the traje´ctory of ProteusMercurius in relation to the other theatre groups that made up the free theatre movement from the mid-sixties onwards.I have found that Proteus/Mercurius differed frommany other groups at a time when leftist political declarations were common. It also had a clearly defined leader and director, when team work was the word of the day. When other groups wrote their own plays, Proteus/Mercurius specialized in classics, such as Shakespeare, Marivaux, Strindberg, Holbnerg and so on. It seems to be a matter of timing; Proteus/Mercurius was nevdr in the mainstream of the theatre groups.But viewed from a distance many similarities between Proteus/Mercurius and other groups have become evident. One of the reasons for Proteus/Mercurius' changing legitimacy seems to be that various kinds of symbolic capital such as education and social relations proved valuable at different moments.When the groups, thanks to generous state subsidies, overflowed the market, factors such as state educated actors became more important. And, even though Proteus/Mercurius actually managed to form the basis of a new regional theatre, its tradition of using amateurs or student actors in productions became an increasingly negative factor.Still, I have found that Proteus/Mercurius over the years kept to its initial goal of interacting with the audience in new and unusual ways, often in psaces not ordinarily used for theatre. The most appreciated part of the group' s work was aLWAYS THE OUTDOOR SUMMER performances, REACHING AUDIENCES OUTSIDE THE GROUP OF habitual theatre-goers. The same went for performances for specific groups, such as improvisations with nurses and Winnie-the-Pooh for mentally handicapped children. Even if Proteus/Mercurius did not reach lasting fame within the field, it med with some very appreciative audiences.
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