| 1. |
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| 2. |
- Rosengren, Cecilia, 1962, et al.
(författare)
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Inledning: Den kontroversiella barocken
- 2020
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Ingår i: Lychnos: Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 85-94
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Zillén, Erik
(författare)
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Den första svenskspråkiga fabelsamlingen som konfessionaliseringsprojekt
- 2005
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 126, s. 5-50
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Tidskriftsartikel (refereegranskat)abstract
- Literary scholars have taken very little interest in the first collection of fables published in Swedish, Hundrade Esopi Fabler (A Hundred Fables of Aesop, 1603), compared to the interest shown its European counterparts. Based on research in the interdisciplinary field of ecclesiastical history, the present paper relates Hundrade Esopi Fabler to the concept of confessionalization, elaborated in recent studies on the fusion of state and religion that took place in Europe after the reformation. In Sweden, this process reached its peak at around the turn of the 16th century. The paper’s main line of argument claims that the first fable collection in Swedish made a contribution to the ongoing process of Lutheran confessionalization, which, since the Uppsala Assembly in 1593, was clearly intensifying as it aimed not only at conjoining the state and the church but also at shaping a homogenous national-confessional identity by means of education and social discipline. The paper investigates a set of contextual and textual factors determining Hundrade Esopi Fabler as a confessionalization project. It can be proved that the Swedish collection is a faithful translation of a German fable collection composed in the 1570s by Nathan Chytraeus, a Latin professor at the Lutheran University of Rostock and also the younger brother of the famous Rostock theologian David Chytraeus. The latter had an exceptional impact on religious life in Sweden, as most Swedish clergymen during the second half of the 16th century were educated by him. Nathan Chytraeus’ Hundert Fabeln aus Esopo was translated into Swedish by Nicolaus Balk, a student in Rostock in the 1560s and later a vicar in the county of Södermanland, which, under the reign of Duke Karl, was the center of orthodox Lutheranism (or the so-called Rostock orthodoxy) within the kingdom of Sweden. Between 1596 and 1611 Nicolaus Balk published five translations, four of them being strictly religious volumes with a clear Lutheran bias and the fifth being Hundrade Esopi Fabler. It is established that the first fable collection in Swedish owes a significant part of its character as confessionalization project to the fact, firstly, that it was a Chytraeus product from Rostock and, secondly, that it formed part of the expanding Lutheran book printing that followed the Uppsala Assembly. Several important textual factors that are scrutinized in the paper show Hundrade Esopi Fabler to be an element of the confessionalization process. The Swedish fable collection systematically refers to the authority of Martin Luther and his high esteem for the fable genre; in 1530 Luther himself set out to compose a morally edifying, though never completed, fable collection in German. The Swedish translator’s preface praises Luther as fable reviser and Luther’s own foreword of 1530, which is a veritable apology for the usefulness of the genre, is in extenso translated and included in the Swedish volume. Moreover, the fable collection proper begins with 15 fables as revised by Luther. These 15 texts, placed within the body of fables as initial reading instruction, represent what might be termed a Lutheran fable model, which functions, in form as well as in content, as the norm for the collection in its entirety. When this model is sometimes abandoned, the outcome, strikingly, often serves to reinforce the collection’s Christianizing and Lutheranizing tendencies. The analyses of a number of individual fable texts demonstrate that when compared to earlier vernacular collections of fables, the Lutheran outlook in Hundrade Esopi Fabler distinctly manifests itself by stressing the supremacy of God, the hierarchy of society and the principle of patriarchy. The paper concludes by discussing some aspects, two of them being effects of strong genre conventions, that might have complicated Hundrade Esopi Fabler as confessionalization project: the presence of mythological deities in the fable stories, the inclusion of the Aesop novel in the collection, and finally, the conversion of Nathan Chytraeus in the 1590s from Lutheranism to Calvinism. The paper shows that the first two aspects are played down to suit the overall Lutheran approach of the collection, whereas the religious reorientation of the elderly Nathan Chytraeus probably played only a marginal role, if any, for Swedish readers. The final conclusion hence remains that the ancient genre of Aesopic fable was initially received in Swedish through the filter of German Lutheranism.
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| 4. |
- Bak, Krzysztof, 1958-, et al.
(författare)
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Carl Snoilsky’s Svenska bilder and Cultural Memory in the 19th Century
- 2023
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Ingår i: Studia Litteraria Universitatis Iagellonicae Cracoviensis. - 1897-3035 .- 2084-3933. ; 18:1, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- This article presents the research project “Searching for a New National Identity: TheConstruction of Swedish Cultural Memory in Carl Snoilsky’s Poems Svenska bilder”, and functions as an introduction to the four subsequent articles in this issue of Studia Litteraria, whichare the result of the project. The principal aim of the project was a comprehensive analysis ofthe construction of cultural memory in Carl Snoilsky’s cycle of poems Svenska bilder (SwedishPictures) for many decades being part of the core canon of Swedish literature, but which remainslargely forgotten today. In part one, the article outlines the complex process of the creation andpublication of Svenska bilder. It also reviews the state of research on Snoilsky’s cycle, justifyingthe need for new theoretical perspectives. In part two, the article analyses ways in which nationalmemory is portrayed in Svenska bilder at different intra- and extranarrative levels, arguing thatcultural memory and its preservation are among the central themes of the cycle. In part three,the article illuminates the construction of cultural memory in Svenska bilder as an example ofnineteenth-century European cultural memory. The article considers three features, typical ofnineteenth-century collective memory culture, to be particularly important for Snoilsky’s poems:subjectivisation, historicisation, and nationalisation. In part four, the article discusses Svenskabilder as an attempt to democratise the model of Swedish national memory created by the Romantics. The article argues that the cultural memory in Svenska bilder in many ways reflects the liberal ideas of the second half of the nineteenth century advocated by Snoilsky. In part five,the article examines the place of Polishness in the construction of Swedish cultural memory inSvenska bilder. Although Snoilsky considered himself a friend of Poland and an advocate forthe Polish independence movements, in his cycle he assigns Polishness the role of the negativeOther that serves to consolidate a positively characterised Swedish national identity. The articleconcludes with a short presentation of the four articles that are the fruits of the presented project.
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| 5. |
- Zillén, Erik
(författare)
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Den obarocka fabeln – eller den barocka? : Några turer kring en genre och ett litteraturhistoriskt begrepp
- 2020
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Ingår i: Lychnos. Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 227-246
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Tidskriftsartikel (refereegranskat)abstract
- As a contribution to the discussion on the relevance of the baroque concept in Swedish literary history, the article conducts a case study by testing the concept on the history of a specific genre: the Aesopic fable. The argument takes its starting point in the analysis of German fable history by the pioneering baroque scholar Wolfgang Kayser who asserted a lack of German fable writing during the baroque era of the seventeenth century. Applying Kayser’s rather narrow criteria of fable writing and the baroque to Swedish conditions, and, subsequently, altering some of them, the article reaches three conclusions: firstly, fable writing was absent also during the baroque epoch in Sweden; secondly, a baroque period in Swedish fable history could be uncovered, somewhat questionably, during the late eighteenth century; and, thirdly, an extensive, pragmatically aiming fable literature was, in fact, in circulation in seventeenth-century Sweden, though it is doubtful whether it should be termed ‘baroque’. In a second move, the case study tries out three more recent definitions of the baroque. Apparent correspondences are shown between on the one hand fable literature of the Swedish seventeenth century, and on the other hand, José Antonio Maravall’s view of the baroque as a conservative culture, Thomas Althaus’s conception of epigrammatic thought during the baroque, and John D. Lyons’s idea of a baroque anthropology of duplicity. However, the article concludes, none of these correspondences—all of which indicate a high functionality of the fable in a seventeenth century context—have to be explained with reference to the concept of the baroque.
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| 6. |
- Zillén, Erik, et al.
(författare)
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The Aesopic Fable and the Study of Greek in Early Modern Swedish Schools
- 2024
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Ingår i: Reading, Writing, Translating : Greek in Early Modern Schools, Universities, and beyond - Greek in Early Modern Schools, Universities, and beyond. - 1100-7931. - 9789189874374 - 9789189874381 ; 29, s. 89-121
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Bokkapitel (refereegranskat)abstract
- Focussing on the public school in early modern Sweden, this articleinvestigates the role of the Aesopic fable in elementary education in Greek. Asa background, the solid position of fable as genre in the teaching of Latin inmedieval Europe is sketched. When humanism launched Greek as schoolsubject, fable was adopted as reading material in the teaching of the newlanguage, partly for the same reasons it was used in the study of Latin—whereit continued to be central—and partly because of stronger aspirations forclassicality. With a certain delay, this general pattern also characterizes theways in which the Aesopic genre was made use of in Swedish schools duringthe early modern epoch. By analysing the prescriptions for classical languagesin the period’s school regulations, as well as the Greek fable books for schooluse produced in early modern Sweden, the article shows that fable managed towin a fairly firm position within the Greek curriculum during the seventeenthcentury. Nevertheless, as is also demonstrated, the implementation of readingfables in Greek was relatively slow and not without backlash. The use of fablein Greek education was, moreover, pedagogically dependent on the more well-established use of the genre in the teaching of Latin.
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| 7. |
- Zillén, Erik
(författare)
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Death of a Genre? : The Aesopic Fable and the Emergence of Modernity
- 2021
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Ingår i: Reinardus. Yearbook of the International Reynard Society. - : John Benjamins Publishing Company. - 0925-4757. ; 33:1, s. 151-167
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Tidskriftsartikel (refereegranskat)abstract
- Taking as its starting point the scholarly discussion about the possible death of the Aesopic fable towards the end of the eighteenth century, this article proposes a broadening of perspective, arguing for a thorough examination of the impact of modernity on some of the basic contexts and conditions of the genre. Four contextual factors are, subsequently, placed under scrutiny: the ethics of virtue, the rhetorical category of exemplum, the anthropomorphization of animals, and the poetological principle of prodesse et delectare. All of these factors may be considered as vigorous and interrelated components of premodern culture, and all four of them, moreover, constituted fundamental prerequisites for the conceptualization and functioning of the Aesopic genre. By analysing how the emerging paradigm of modernity diminished the position and importance of these contextual factors, the article seeks to demonstrate the existence of an undeniable dividing line in European fable history somewhere around 1800.
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| 8. |
- Zillén, Erik, et al.
(författare)
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Den bortvända Bellona. Om Fröding och kriget
- 2003
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Ingår i: I Karlfeldts spår. En vänbok till Jöran Mjöberg på 90-årsdagen. - 0453-3186. - 9163141019
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 9. |
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| 10. |
- Zillén, Erik
(författare)
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Den lekande Fröding
- 2001
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Annan publikation (populärvet., debatt m.m.)
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