<p>Inbjuden av Gustaf III, den franska teaterdekoratören, konstnären och arkitekten Louis Jean Desprez, i Sverige 1784-1804, förnyade teaterdekorationen på Operan. Genom att analysera Desprez’ teaterdekorationer med inspiration från de abstrakta konstnärerna Mondrian, Malevich och Rothko, utvecklar uppsatsen ett nytt tolkningssystem som tillsammans med traditionell tolkning innebär en djupare tolkningsmetod. Detta visar att Desprez’ teaterdekorationer var viktiga för Gustaf III:s kulturpolitik</p> / <p>Invited by king Gustaf III, the French artist stage painter Louis Jean Desprez, in Sweden 1784-1804, renewed Opera stage painting.Lillemor Erlander1Inspired by abstract artists Mondrian, Malevich and Rothko, in analyzing the stage painting of Desprez, this paper develops a new system of interpretation which together with traditional interpretation signifies a new deeper method of interpretation. This shows that the stage painting of Desprez was of importance to the cultural policy of Gustaf III.</p>

Inbjuden av Gustaf III, den franska teaterdekoratören, konstnären och arkitekten Louis Jean Desprez, i Sverige 1784-1804, förnyade teaterdekorationen på Operan. Genom att analysera Desprez’ teaterdekorationer med inspiration från de abstrakta konstnärerna Mondrian, Malevich och Rothko, utvecklar uppsatsen ett nytt tolkningssystem som tillsammans med traditionell tolkning innebär en djupare tolkningsmetod. Detta visar att Desprez’ teaterdekorationer var viktiga för Gustaf III:s kulturpolitik / Invited by king Gustaf III, the French artist stage painter Louis Jean Desprez, in Sweden 1784-1804, renewed Opera stage painting.Lillemor Erlander1Inspired by abstract artists Mondrian, Malevich and Rothko, in analyzing the stage painting of Desprez, this paper develops a new system of interpretation which together with traditional interpretation signifies a new deeper method of interpretation. This shows that the stage painting of Desprez was of importance to the cultural policy of Gustaf III.

<p>En studie av teaterdekoratören, konstnären och arkitekten Louis Jean Desprez' betydelse för Gustaf III nationella projekt, att förena sitt folk och skapa en nationell identitet med hjälp av opera och teater.</p> / <p>A study in the importance of the theatre decorateur artist and architect Louis Jean Desprez' for the national project of Gustaf III, to unite his people and create a national identity by using theatre and opera</p>

En studie av teaterdekoratören, konstnären och arkitekten Louis Jean Desprez' betydelse för Gustaf III nationella projekt, att förena sitt folk och skapa en nationell identitet med hjälp av opera och teater. / A study in the importance of the theatre decorateur artist and architect Louis Jean Desprez' for the national project of Gustaf III, to unite his people and create a national identity by using theatre and opera

This dissertation examines political life at the Swedish Gustavian Court through Duchess Charlotte (1759–1818). She was the Swedish monarch’s sister-in-law and well-known for her political memoirs. This study reassesses the Duchess as a political agent in her own right by taking into account earlier neglected sources. Drawing inspiration from previous research, I elaborate my empirical findings in an analytical framework called court politics. My claim is that politics involved both men and women at court since it was a key part of social life. I also structure the political agency of the Duchess into six different spheres. Each sphere is equivalent to a combined set of space, social relations, and activities, each of which supplied her with political capital. There are four spheres corresponding to the essential features of the royal identity: firstly, being at the head of a court; secondly, as part of the Swedish royal family; thirdly, in the performance of social duties at court; and fourthly, being the Duke’s consort. The two other spheres derive from the Duchess’s personal life, such as in her relationship with the Fersen family and her close circle of female friends. My examples reveal the Duchess acting as a leading figure in the social life of the Stockholm elite, hereby influencing the composition of political circles. She acted as a patron for court positions and solicited the Duke and the monarch for political purposes. When she was unsatisfied with their political decisions, she refused to host any social occasions, creating disorder within court society. The major focus in previous investigations of elite women’s political power has been on their marital status as a means of influence. By framing the Duchess’s agency in six spheres, I position her between the aristocracy and royal authority, together with both men and women of her social status. Thus, this case study offers a display of the complex dynamics of power at the Gustavian court.

The aim of this composition is using the theories of communicative action and political legitimacy to understand and analyze which role politics and the political incitement had for Gustaf III in his actions and decision to legitimize the adoption of increased rights for Jews in the late 18th century. The results showed that Gustaf III of Sweden used the adoption of increased rights to the Jews to legitimize his power and win recognition as a King. It was important for the King to gain reputation and honor. Together with the acts of the communicative in order to achieve a consensus with other peoples, the political incitement was the main reason why Gustaf III of Sweden adopted increased rights to the Jews during the 18th century. Jewish settlement in Sweden was not just about a question of tolerance and freedom of religion. If we visible the power configuration it becoming more of a question about political incitement. The King and his followers used the Jewish settlement to raise capital from the Jews which involved the circulation of money in Sweden. By the adoption of increased rights for the Jews Gustaf III also won an recognition as King of certain individuals groups. Especiallyof royals in Europe but also in the bureaucracy in Sweden. For example the National Board of Trade supported the king och helped him to a adopt various rights to the Jews. We could not explain all the actions and decisions of the Gustaf III with the the political incitement , but for me the political ingression helped to understanding the action of the King in matters of giving a limited religious freedom to the Jews.

This study contributes to the particular field of emotional history by exploring collective social attitudes towards affective expression. Here, the passionate behaviour of Swedish Prince Frederick Adolph is witnessed and evaluated by the country’s royal court during the eighteenth-century. The perspective on contemporary elite ideals is influenced by Barbara H. Rosenwein’s theory of “emotional communities”. By methodologically discerning the moral values in aristocratic and royal diaries, one can fruitfully analyse the group’s normative emotional ideas. Resulting from this thesis is an understanding of the royal court’s approval of the prince’s apparent sincere sensitivity and the disapproval of his passionate ways. Also, the importance of the culture of sensibility is understood to have an opponent in the society’s traditional structures. This is a revelation of an early modern emotional group’s formation based on shared European ideals in addition to social communal and individual belonging.KEY WORDS: history of emotions, sensibility, Sweden, royal court, Prince Frederick Adolph, diaries