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Allusions and Reflections : Greek and Roman Mythology in Renaissance Europe
- 2015
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- In June 2012, scholars from a number of disciplines and countries gathered in Stockholm to discuss the representation of ancient mythology in Renaissance Europe. This symposium was an opportunity for the participants to cross disciplinary borders and to problematize a well-researched field. The aim was to move beyond a view of mythology as mere propaganda in order to promote an understanding of ancient tales and fables as contemporary means to explain and comprehend the Early Modern world.With the Renaissance, pagan religion ceased to pose a threat to Christianity and its mythologies found a way to coexist with Christian doctrine. Old Greek and Roman tales came to play a crucial role in Renaissance culture, partly because the ancient sources, both literary and artistic, many of them recently uncovered, provided rich material for the writers and artists of the period. Mythology provided a network of allusions and references for contemporary poetry and art, reinforcing the possibilities of allegorical interpretation. Furthermore, it offered moral guidance since deities could easily be materialized into personifications of vices and virtues. All artistic expressions, visual and textual, whether they belonged to a secular or a religious tradition, made use of mythology. This volume exemplifies how Renaissance writers’ and artists’ acquaintance with mythological accounts from Homer to Apuleius was of utmost importance for their creative work, as it was for their readers and those contemporary patrons of art who saw themselves as the living embodiment of some remote ancient deity. By posing new questions and suggesting alternative answers to old ones, the contributors to this volume provide a better and more detailed understanding of the struggles and strategies of recycling, recuperating and transforming ancient mythology during the Renaissance. All chapters here have a common focus on the re-configuration of classical myths in Early Modern Europe, in political, erotic and ceremonial contexts. By returning to the classical world of cosmic strife and harmony, of gods and metamorphoses, Renaissance poets and artists were able to express their aesthetic ideals, personal preoccupations and moral attitudes. Ancient mythology offered them a full set of useful metaphors, which could take on new meanings in a new cultural context.
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Codex and Code : Aestethcis, Language and Politics in an Age of Digital Media, NORLIT 2009, Stockholm, August 6-9, 2009
- 2010
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The conference Codex and Code: Aesthetics, Language and Politics in an Age of Digital Media (NorLit 2009)was held at the Royal Institute of Technology (KTH) in Stockholm, August 6–9, 2009. The conference was organized by the Nordic Association for Comparative Literature (NorLit); the Department of Culture and Communication, Linköping University; the School of Computer Science and Communication, Royal Institute of Technology (KTH); the Department of Comparative Literature, Stockholm University; the Department of Culture and Communication, Södertörn University College; and the Department of Comparative Literature, Uppsala University. The aim of the conference was to develop the study of Comparative Literature through Nordic collaboration both in its own discipline and in Modern Language and Cultural studies. As the title for the conference suggests, the principal question for the conference was the challenge that the study of literature encounters in an age of digitalization and globalization. It was our aim to encourage discussion of how literary studies respond to the ongoing changes in media and technology, politics and economy. Many have argued that the Humanities currently are in a state of crisis. We believe that the discipline seldom has found itself in such an interesting and fruitful historical moment. Several of these questions have surfaced during earlier media system changes, in particular during Romanticism and Modernism, which provided the conference with an historical frame. The conference Codex and Code also addressed questions of authenticity and originality, identity and gender, literary genres and reading practices, media and materiality, culture and popular culture, language and history, world literature, work aesthetics, translations, and canon formation. The conference Codex and Code wanted to stimulate interdisciplinary scholarly research of the literary in a broad sense. The conference was open to scholars in Comparative Literature and in Classical and Modern Languages, Aesthetics, Media and Communication studies, Film and Theatre studies, Philosophy and adjacent disciplines. The conference was organized around a number of thematic sessions in which researchers and scholars presented and discussed papers. The conference has received generous financial support from the Bank of Sweden Tercentenary Foundation, Magnus Bergwall foundation, Granholms foundation, Linköping University, School of Computer Science and Communication, Royal Institute of Technology, Svenska litteratursällskapet; the Swedish Academy, Swedish Science Council, and Vitterhetsakademien.
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| 5. |
- Cullhed, Anna, 1966-
(författare)
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A World of Fiction. Bengt Lidner and Global Compassion in Eighteenth-Century Sweden
- 2013
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Ingår i: Sweden in the eighteenth-century world. - Farnham : Ashgate. - 9781409465881 - 9781409465898 - 9781409465904 ; , s. 299-324
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Eighteenth-century Sweden was deeply involved in the process of globalisation: ships leaving Sweden’s central ports exported bar iron that would drive the Industrial Revolution, whilst arriving ships would bring not only exotic goods and commodities to Swedish consumers, but also new ideas and cultural practices with them. At the same time, Sweden was an agricultural country to a large extent governed by self-subsistence, and - for most - wealth was created within this structure. This volume brings together a group of scholars from a range of disciplinary backgrounds who seek to present a more nuanced and elaborated picture of the Swedish cosmopolitan eighteenth century. Together they paint a picture of Sweden that is more like the one eighteenth-century intellectuals imagined, and help to situate Sweden in histories of cosmopolitanism of the wider world.
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| 8. |
- Cullhed, Anna, 1966-
(författare)
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Blonda själar : Johan Runius, maskulinitet, nation och genre i litteraturhistorien
- 2018
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Ingår i: Sjuttonhundratal. - : UiT The Arctic University of Norway. - 1652-4772. ; 15, s. 34-58
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Tidskriftsartikel (refereegranskat)abstract
- This paper shows that the historiographical accounts of Johan Runius (1679-1713) remain remarkably stable, from the early stages of national literary history of the nineteenth century to the late twentieth century, despite the radical theoretical shifts taking place during the period. The poet Runius is generally described as an occasional poet, a rhyme virtuoso, a good-tempered man, and as a precursor of the celebrated Carl Michael Bellman, considered a uniquely Swedish genius. These features are connected to nineteenth- and early twentieth-century ideals of masculinity and the nation. Whereas Runius in the early nineteenth century was described as childish, during the later nineteenth century his good temper was interpreted as an ideal, steadfast masculinity in the face of the hardships of early eighteenth-century Sweden. Further, the historiographical tradition set greater store by poems defined as lyrical. The hailed poems were, in fact, occasional poems, but they were recontextualised by the literary historians as proof of Runius' personal feelings. The article ends with new suggestions for reading Runius beyond the nation as the ordering principle of literary history.
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| 12. |
- Cullhed, Anna, 1966-
(författare)
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'Horace is dead, but I am alive' : Epic Failure and Satiric Authority in Eighteenth-Century Sweden
- 2021
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Ingår i: The Long Quarrel. - Leiden : Brill Academic Publishers. - 9789004444652 - 9789004471979 ; , s. 118-137
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Bokkapitel (refereegranskat)abstract
- In 1737, Carl Carlsson (Carleson) edited a volume of Swedish poetry, the first of its kind, with the revealing title: “Attempt at the Improvement of Swedish Poetry,” in Swedish “Försök til Swänska Skalde-Konstens uphielpande.” In his introduction to the reader, Carlsson specifically mentions one of the poets included in the collection, Samuel Triewald: “A Swedish Poet has quite enjoy-ably painted and sharply refuted our verse-mongers , just as a certain Boileau did in France [...].”1 Already in 1737, Triewald gained the title “the Swedish Boileau,” and the designation has been repeated by most literary historians since.2 Boileau’s presence does suggest some connection between the famous Quarrel of the Ancients and the Moderns and the Swedish anthology of 1737. Whereas Carlsson used Boileau, one of the leading Ancients, as an authority strengthening his defense of good poetry, and as a praiseworthy model for Triewald, the French critic’s function within the Swedish literary context of the early eighteenth century remains somewhat obscure. Indeed, Carlsson’s eager appeal for the improvement of Swedish poetry rather seems to imply poetics aligned with the Modern camp.
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| 13. |
- Cullhed, Anna
(författare)
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"Hur grufligt -----O Natur! - - hur ljuft, at vara Mor!" : Moderskapets blick i Bengt Lidners operalibretto Medea
- 2006
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 127, s. 5-40
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Tidskriftsartikel (refereegranskat)abstract
- Anna Cullhed, "Hur grufligt - - - - O Natur! – – hur ljuft, at vara Mor!" Moderskapets blick i Bengt Lidners operalibretto Medea. ("How dreadful - - - - O Nature! – – how sweet to be a Mother!" The Gaze of Motherhood in Bengt Lidner's Opera Libretto Medea.) This essay focuses on the Swedish 18th-century poet Bengt Lidner's libretto Medea from the early 1780's. His early manuscript version is seen as a radical experiment with emotional expression, as it turns the classical myth into a drama about motherhood, the family and the problem of sentimental communication. The mother's gaze becomes a focal point for the interpretation, as it stands for an ideal connection between the good mother and her child. The lack of attachment, on the other hand, anticipates disaster: the mother slays her own child. Lidner's version of the ancient Medea tale is interpreted in connection with the debate on child murder in the late 18th century. The Medea theme was common in 18th-century drama in several European countries, as in Goethe's Faust. The literary representation of the Medea/ child-murder theme shows important differences in comparison to legal sources. Medea as mother and the murderous mothers of the court cases were met with an increasing degree of sympathy in the late 18th century. In contrast, the fictional fathers were condemned to a greater extent, while real fathers of illegitimate children were generally freed by the courts towards the end of the century. The Swedish historian Karin Hassan Jansson suggests that while men of the 17th century were expected to control their passions, especially in their roles as heads of the household, 18th-century men were defined as naturally sexual beings, and thus less responsible for acts such as rape. Rank and lineage, important drives in the ancient Medea tragedies by Euripides and Seneca, are replaced by the purely emotional ties of the intimate 18th-century family. Jason turns into an inconstant husband, who abandons Medea in favour of a younger bride. Medea, on the other hand, is in Lidner's version fully transformed into a loving and caring mother and wife. Medea's expressions of conflicting emotions towards her sons and her husband reveal the obstacles to sincere communication. In accordance with Rousseau, in his early essay on the origin of language, Lidner suggests that gestures are to be seen as more authentic compared to conventional language. Jean Starobinski's term "transparency" is crucial to the argument that 18th-century authors are concerned with the issue of communicative means, and the relation between language, gestures, and music. Rousseau developed the genre melodrama to meet his own ideals. The French dramatist Baculard d'Arnaud is of specific importance to the study, since his theoretical discussions of the expression of emotions on stage use Medea as an example. Lidner depends on several models, such as the already mentioned Baculard d'Arnaud, but also the German author Friedrich Wilhelm Gotter. In contrast to the ancient tragedies, the two sons of Medea and Jason enter the stage as speaking characters in the 18th century. They speak, they act, and they plead in their function as carriers of innocence and virtue. Lidner's version is exceptional in its emotional address. At one point, Medea calls herself a pelican, and expresses her wish to nourish her children with her own blood. The pelican is an age-old symbol for Christ. Further, she wishes to envelop her children in her open breast, a wish that explores the Christian allegory even further. The side wound of Christ is considered a hiding place for the soul, a metaphorical expression favoured by the Moravian movement. In his search for an adequate emotional expression, Lidner transgresses not only the borders between divine and worldly spheres, but also of gender. The same kind of transgression concerns the members of the family. Medea wants to take revenge on Jason, and she claims to see Jason when she threatens her own sons. One of the sons replies that the dagger will pierce herself, Medea, should she thrust the dagger into his heart. The issues of transparency, of paternal guilt and of motherhood are related to the historian Lynn Hunt's study The Family Romance of the French Revolution. However, in Lidner's libretto, Medea is absolved of guilt. The intensity of her love, according to Lidner, acquits her, even though she kills her own sons. Paradoxically, the murderous mother is at the same time the ideal mother in this late 18th-century version of the Medea myth.
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| 15. |
- Cullhed, Anna, 1966-
(författare)
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"I känslofulla sköna!" Bengt Lidner, Göttingen och den kvinnliga läsaren [The emotional beauty!]
- 2014
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Ingår i: European Journal of Scandinavian Studies. - : De Gruyter. - 2191-9399 .- 2191-9402. ; 44:2, s. 299-316
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Tidskriftsartikel (refereegranskat)abstract
- The Swedish poet Bengt Lidner (1757‒1793) studied in Göttingen in 1780‒1781. A spatial analysis of the poet’s global biography and his poetical geography points to Enlightenment universalism as well as to the poetical ideals expressed in Göttingen – the Göttinger Hain, Göttinger Musenalmanach, and the teachings of Professor Christian Gottlob Heyne. Even Lidner’s opera libretto Medea displays connections to Göttingen, through Heyne’s focus on Greek tragedy and Lidner’s expressed source of inspiration, Friedrich Wilhelm Gotter. However, Lidner’s transcultural poetry failed in the Swedish context, lacking a proper literary market. In an attempt to create an audience in Stockholm, Lidner turned to female readers in his forewords and other paratexts. In fact, Lidner transformed the Medea character into a representation of his female Swedish reader, the ideal mother and spouse. The spatial analysis, including space both literally and in an imaginary sense, leads to the conclusion that Lidner’s sentimental mode of writing displayed transcultural traits interacting with – and even colliding with – local conditions
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| 16. |
- Cullhed, Anna, 1966-, et al.
(författare)
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Inledning
- 2009
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Ingår i: Poetens monopolium. - Lund : ellerströms. ; , s. 9-13
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Bokkapitel (populärvet., debatt m.m.)
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| 27. |
- Cullhed, Anna
(författare)
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Professors and Poetry (Professorer och poesi. Om den akademiska poetiken i sent 1700-tal)
- 1998
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Ingår i: Opplysning i Norden. Foredrag på den XXI. studiekonferanse i INTERNATIONAL ASSOCIATION FOR SCANDINAVIAN STUDIES (IASS) arrangert av Skandinavistische Abteilung, Germanistisches Seminar, Universität Bonn 5.–11. august 1996. Redigert av Heiko Uecker. - : Peter Lang, Frankfurt am Main. - 3631335792 ; , s. 167–173-
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 31. |
- Cullhed, Anna, 1966-
(författare)
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Språk
- 2015
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Ingår i: Grundbok i litteraturvetenskap. - Lund : Studentlitteratur AB. - 9789144096421 ; , s. 145-196
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 32. |
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| 33. |
- Cullhed, Anna, 1966-
(författare)
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The language of passion : the order of poetics and the construction of a lyric genre 1746-1806
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject of this dissertation is the construction of a lyric genre in academic poetics between 1746 and 1806, in handbooks and lectures by Ch. Batteux, J. A. Schlegel, J. G. Sulzer, H. Blair, J. J. Eschenburg, J. J. Engel, A. W. Schlegel, F. W. J. Schelling, F. Ast, and F. Bouterwek. The study also aims at a reconsideration of neoclassical versus romantic poetics. The first chapter investigates the relation between tradition and discourse. It argues that poetics as a discipline relies on an ancient legacy and on contemporary legitimising discourses, such as the natural sciences, moral philosophy, or idealist philosophy. The two levels indicate sites of interplay between continuity and change. The second chapter discusses the concept of genre. It is established that the lyric genre is not dependent on a triadic system of genres. All sources provide generic enumerations, even though they represent different approaches to systematic closure. The lyric genre consists of a classical canon paired with a more changeable set of contemporary lyrics. The lyric genre is defined as the language of passion in all sources and is connected with brevity, enthusiasm, metrical freedom, and disorder. In the third chapter lyrical expression is related to concepts such as imitation, authenticity, original poetry, and religious poetry. The lyric genre vacillates between the expression of universal and individual feelings. It is argued that the identification of lyric poetry as expression does not entail that the emotions in question are to be understood as authentic.
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| 37. |
- Dahl, Alva, 1985-
(författare)
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I skriftens gränstrakter : Interpunktionens funktioner i tre samtida svenska romaner
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Punctuation is an indispensable element in formal and literary texts as well as everyday writing. Studying punctuation is therefore necessary in order to understand written language. Still, it does not fit easily into descriptions of language as an abstract, given system, composed of lexicon and grammar. Within the framework of Bakhtinian dialogism, however, linguists have started to study languaging as an interactive, situated process, meaningful in concrete, embodied utterances. While many such studies have focused on spoken language, this PhD dissertation is an attempt to study written language from a dialogical perspective. The aim of the study is to explore the functions of punctuation and to integrate the analysis of punctuation into a broader theoretical understanding of written language. This is achieved through qualitative analyses of three contemporary Swedish novels: DIVA by Monika Fagerholm (1998), Förvandling by Eva Adolfsson (2005) and Fadevår, tack för ljuset! by Fredrik Ekelund (2010). In order to discover the rich meaning of specific instances, linguistic details are studied in relation to different aspects of context: the local co-text of the sentence, paragraph, chapter and novel as a whole, relevant intertextual contexts, and, to some extent, contemporary literary movements and technological developments, etc.In all of the three novels, punctuation is an integrated element of style and characterization, and important thematic aspects of each novel are visible at the level of punctuation. General patterns are also to be seen, the most important of which concern, firstly, how punctuation divides the units of written language, and regulates the relationship between these units, and secondly, how shifts in voice and tone are constructed in the novels with the help of punctuation. Furthermore, punctuation can create visually iconic references. The results have many implications for further research. Punctuation is a necessary and integrated part of written meaning-making and should not be overlooked in text analyses. Moreover, punctuation plays a crucial role in the construction of aspects like viewpoint and discourse presentation, which can no longer be ignored. On the spatial surface of text, writers and readers create complex interplays of voices.
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| 40. |
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NORLIT 2009, Codex and Code: Aestethcis, Language and Politics in an Age of Digital Media : Stockholm, August 6-9, 2009
- 2010
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Proceedings (redaktörskap) (refereegranskat)abstract
- The aim of the conference was to develop the study of Comparative Literature through Nordic collaboration both in its own discipline and in Modern Language and Cultural studies. As the title for the conference suggests, the principal question for the conference was the challenge that the study of literature encounters in an age of digitalization and globalization. It was our aim to encourage discussion of how literary studies respond to the ongoing changes in media and technology, politics and economy. Many have argued that the Humanities currently are in a state of crisis. We believe that the discipline seldom has found itself in such an interesting and fruitful historical moment. Several of these questions have surfaced duringearlier media system changes, in particular during Romanticism and Modernism, which provided the conference with an historical frame. The conference Codex and Code also addressed questions of authenticity and originality, identity and gender, literary genres and reading practices, media and materiality, culture and popular culture, language and history, world literature, work aesthetics, translations, and canon formation.
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| 41. |
- Paulin, Lotta, 1964-
(författare)
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Den didaktiska fiktionen : Konstruktion av förebilder ur ett barn- och ungdomslitterärt perspektiv 1400–1750
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis investigates the construction of role models, more specifically literary didactics and constructions of subject positions, in literary works with exemplary stories in Swedish 1400–1750, from the perspective of literature for children and young adults.Childhood concepts, didactic concepts and subject positions presented to the reader are analyzed from the point of view of dominance and dissonance between different characters and messages. A number of themes have been chosen for a comparative study, for example: ideas about identification, the construction of subject positions and ideals for girls, the responsibility of adults, subversive tendencies, obedience or autonomy, the immoral role model as exemplary, conflicts between different childhood concepts, adults and children as role models.A central conclusion is that there is variation when it comes to the subject positions that are constructed for children and young adults, mainly through role models. There are examples of authoritative teachings that demands the subordination and obedience of the reader/recipient, as well as encouragement of questioning and even contra conventional subject positions. One conclusion is that premodern literature for the young does not just have an authoritative tone towards the reader, but the texts also negotiates with the reader. The messages are not just about obedience and religious fidelity, but also about learning, questioning and personal, moral responsibility. A critical perspective on adults is encouraged through critizism of adults and exemplary role models. Subject positions for girls also vary in the texts. Some texts convey conventional, passive gender roles while others present active subject positions, where chastity, wisdom and manliness are presented as ideal virtues for girls.
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| 45. |
- Öhrberg, Ann, et al.
(författare)
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Inledning
- 2004
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Ingår i: Sjuttonhundratal: Årsbok utgiven av Sällskapet för 1700-talsstudier. ; :1
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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