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Christina von Braun verspricht ihren Leserinnen und Lesern eine Kulturgeschichte von Verwandtschaftsvorstellungen im westlichen Kulturraum über die letzten ca. 3000 Jahre. Angesichts eines sich immer weiter ausdifferenzierenden Forschungsfeldes „Verwandtschaftsgeschichte“ erhoffte sich der Rezensent von dem Buch daher sowohl eine Synthese der aktuellen Forschungsliteratur als auch Thesen respektive Perspektiven, anhand derer sich die Geschichte der Verwandtschaft in der longue durée strukturieren und zukünftig erforschen ließe.

The subject of my thesis is a little-studied hagiographical work that gives important insights into rewriting processes and their significance in medieval textual culture. The anonymous Life of Christina of Hane, a thirteenth-century Premonstratensian nun from the Palatinate, is an example of bridal mysticism which combines the medieval tradition of the reception of the Song of Songs with hagiographic elements. A codicological and palaeographical analysis of the only manuscript shows it to be a sixteenth-century copy, but the type of mysticism and the theological questions that it discusses suggest that the text was initially composed in the thirteenth century, when Christina is thought to have lived. The theological and spiritual ideas in the text belong to the wider context of communicating the transcendental within the world. My thesis uses performative language analysis to address the problems of textuality and authorization in the Life of Christina of Hane. It yields new insights into the ways in which this mystical text makes use of hagiographic strategies, how gender and vernacular theology are linked, how liturgical elements support the text’s pragmatic nature, and how somatic spirituality is reflected on an allegorical level in the embodiment of God’s bride. An assessment of three communicative aspects – medial, narrative, and allegorical – highlights the textualization of the mystical experience. The appellative structure of Christina’s text invites the reader to engage with the text. This study provides the first comprehensive interpretation of the text on Christina of Hane. It compares it to other mystical texts, to a German–Latin prayerbook, and to a fragmentary legend about Mary Magdalene. It challenges existing judgments about Christina’s biography and offers alternative solutions founded in the latest scholarship on female mystical literature.

The aim for this thesis was to investigate how the rape narratives, where men are raped by women, are portrayed in Swedish youth literature to be able to discover whether the discourse of rape has been subjected to change over time. This is done through a comparative analysis of the male victims, the female perpetrators and how power structures determine the credibility of the victims in Glappet (1998) by Christina Herrström and Sebbe sa nej (2019) by Niclas Christoffer. The investigation is done against the context that shows how female on male rape has been constructed and reproduced as unlikely, based in culturally established norms that depict men as sexually active and women as sexually passive. A model combining Judith Butler’s theory regarding how penetration secures the sexes, with Gayle Rubin’s theory on the sexual value system, is developed and used to detect how the unintelligible rape is made intelligible. In addition to this Sandra M. Gilbert and Susan Gubars’ angel/monster dichotomy is used to explain the construction of the female perpetrator. Through the analysis it becomes visible that the narratives are shaped in certain ways to make the unintelligible rape intelligible. The understanding of sexual perpetrators and victims is deeply connected to the cultural understandings regarding gender norms and sexuality. In many ways female on male rape is constructed as an exception in the novels, and explained in terms that fit within a heteronormative framework. Despite this, the comparison of the narratives shows that the concept of rape has broadened enough to include female on male rape as a type of sexual violence.

Queen Christina of Sweden (1626-1689)--one of the most celebrated, if controversial, converts of all times--settled in the papal city after her abdication in 1654. Her palace--the Palazzo Riario (today Corsini)--became one of Rome's leading cultural institutions: a site where learned, artistic, and elite culture converged. This study examines Christina's practice of collecting, and argues that her ambition was to create a center for learning and the arts in the Palazzo Riario modeled on the ancient Musaeum of Alexandria. While Christina's importance as a patron of art and learning has long been recognized, this dissertation offers the first comprehensive discussion of Christina's practice of collecting, and the architecture and ambience of her Roman palace. Based on both published and unpublished architectural drawings, inventories, household accounts, and contemporary travel descriptions, this dissertation establishes the contents and the display of Christina's collection, and the architectural plan of the Palazzo Riario. This study examines the intersection between objects and their display, issues of etiquette and decorum, and the social use of architecture in seventeenth-century Rome. It aims to contribute to the history of collecting and early museums, and to the broader field of seventeenth-century culture.

In this essay, the author analyzes the Gothic of Christina Rossetti in such poems as A Coast Nightmare, Shut Out, but also the well-known Goblin Market and the Prince's Progress. Interested in what the imagery of these poems convey, and intent on declaring Rossetti as a prominent example of Gothic poets, the author makes a strong case for the including of Rossetti among the great Gothics.

The aim of the present dissertation is to investigate and discuss the political debate on female monarchs during the early modern era (principally circa 1600 to 1720), while specifically pro- blematizing the relationship between rhetoric and practice. The study consists of three sections. The first comprises a study of regulations concerning female succession in the era, highlighting the relationship between the principles of gender and consanguinuity. The second section studies the debate both for and against female monarchs in general, analyzing the arguments presented by Swedish and English debatteurs and European legislators. The third section discusses the perception of female monarchs in practice. Here the focus is on Queens Christina (1632-54) and Ulrika Eleonora (1719-1720), who are both compa­red with each another and other reigning monarchs, primarily the English Queens Elizabeth I (1558-1603), Mary II (1689-94) and Anna Stuart (1702-14). This section is divided into four the­matic subsections: female monarchs in relation to ascension to the throne; education; war; and marriage. Furthermore, the opinions of Christina and Ulrika Eleonora themselves on female monarchs and female succession are discussed. This study has attempted to show that the question of the gender of the monarch has had significance for both the rhetoric and practice of female monarchy. It has been shown that the arguments used against female rulers have mainly concentrated on the principle of gender by labelling "female/feminine" as the negative polar opposite of "male/masculine". In contrast, the arguments used in favour of female monarchs have attempted to tone down the signficance of the fact that the monarch was a woman. Instead, the matter of the monarch's gender was discu­ssed in relation to other, more overriding principles for the monarchy as an institution, inclu­ding birth, dynastic continuity, royal distinctiveness, education, the preservation of order and legitimate succession to the throne. At the same time, this study has shown that traditionally female characteristics could also have a positive effect. One particular problem, both in rhetoric and practice, seems however to have been how and indeed if a female monarch could coordinate her role as sovreign with that of traditionally subordinate wife. / digitalisering@umu

In 1904, Black British composer Samuel Coleridge-Taylor published six songs from the oeuvre of white British poet Christina Georgina Rossetti, only a few months after reading W.E.B. Du Bois’ groundbreaking work The Souls of Black Folk (1903). This seminal book included a chapter called “Sorrow Songs” devoted to discussing slave songs. It also introduced the concept of double-consciousness to describe how Black people, see themselves through the lens of the white society. This point of view creates a sense of doubleness in their identity and recognition of self. The songs that Coleridge-Taylor composed, which he titled Six Sorrow Songs, Op. 57, address themes of love, death, and spirituality. Coleridge-Taylor grouped these art songs under the title “Sorrow Songs”—showing a connection to Du Bois’ work and its influence. This fusion of art song and slave song opens up room for examinations of cross-genre relations, which highlights complexity of meaning and textual changes when interpreted and performed—revealing a “doubledness” to the composition in this time in the composer’s life. Serge Lacasse’s (2018) model for intertextuality offers a framework for considering the cross-genre relations that emerge in this song cycle. The concepts of architextuality, transfictionality, and polytextuality from his model are particularly relevant in this cycle, as they account for inter-genre relationships, fictional elements of the story (including speakers and the setting), as well as the overall compilation of the songs, respectively. Drawing this model together with scholarship on Sorrow Songs, this thesis focuses on the emergence of “Sorrow Songs” at this pivotal moment in the composer’s life, which will enable the consideration of the intertext of Western classical and African slave songs in this composition as well as the creation of a story in this musico-literary hybrid. Context is critical to this discussion so his trips to the USA, personal experiences, the socio-political events of the time, and the encounter with the influential Black figures will be discussed to understand how this song cycle reshaped Coleridge-Taylor’s musical path. Intertextual analysis of this song cycle reveals a sense of double meaning in Six Sorrow Songs, Op. 57, where one clearly sees Du Bois’ concept at work in the life of the composer living as a Black man in a white society, in his music combining Western classical and Sorrow Song genres, in the medium he chose to write for, a singer and a pianist, and in setting spiritual/religious poetry written by a white poet to these romantic songs.

This Paper examines the minting of coins during the reign of queen Christina of Sweden (Reign 1632-1654) from the area surrounding The Baltic Sea. The coins (seven types) that this essay seeks to analyze are minted in present day’s Estonia and Latvia and shows that even if the wishes of queen Christina are to get the new Baroque fashion to her aid in the making of the coins, they still remain at the style of the Renaissance era at large. Even if the standard of the coins does not reach the standard of the coins made in southern Europe, the various ways queen Christina is portrayed are also not explained solely by lack of monetary means from the Swedish State. Local Baltic resistance or Swedish politics might be reasons for the looks of the images of the monarch as well. The symbols of the coining reveal references to previous protestant heroes aiming to promote the legacy of Monarchy and portraits Christina as a Queen of Peace. By submitting the coining at hand some of the methods contained by the 20th-century thinkers Erwin Panofsky (1892- 1968) and Heinrich Wölfflin’s (1864–1945) theories, underlying features of meaning and understanding is thus possibly revealed.

La validité et la fidélité d'une traduction en langue française de l'Inventaire d'épuisement professionnel de Maslach et Jackson (1986) (MBI) est étudiée. Les trois premières études portent sur 260 éducatrices en garderie et 123 infirmières qui ont rempli des questionnaires dont le MBI. Les résultats appuient la consistance interne, la stabilité temporelle, la validité factorielle, la validité de convergence et la validité hypothético-déductive. De plus, 6,9% des éducatrices ont développé des symptômes sérieux d'épuisement professionnel sur un intervalle d'un an. La quatrième étude a été effectuée auprès de 219 éducatrices en garderie qui ont répondus au MBI et à une version abrégée du BDI et les ont retournés par la poste. L'analyse factorielle des items du MBI et du BDI a démontré que les items saturent sur des facteurs distincts, suggérant que le MBI évalue une symptomatologie différente de celle mesurée par le BDI. Les résultats appuient l'utilisation du MBI comme outil d'évaluation d'un état non clinique d'épuisement professionnel.