Texte remanié de: Habilitationsschrift--Evangelische Theologie--Hamburg--Universität, 1999. / Bibliogr. p. 358-422.

Akademisk avhandling--Uppsala. / Extra t.p., with thesis statement, inserted. Bibliography: p. [469]-496.

Diss.--Theologische Fakultät--Erlangen-Nürnberg--Univ., 1988. / Bibliogr. p. 346-379.

Die Rezeptsammlung "Freywillig auffgesprungener Granat-Apffel des Christlichen Samaritans" wurde erstmals 1695 in Wien publiziert. Verfasserin dieses in über zwanzig Auflagen erschienenen Werkes ist die Fürstin Eleonora Maria Rosalia von Eggenberg (1647–1703), geborene Fürstin von Liechtenstein und seinerzeitige Herzogin zu Troppau und Jaegerndorff. Mit der vorliegenden Arbeit wurde das medizinische Werk der Eleonora von Eggenberg systematisch erfasst und mit modernem Wissen verglichen. / The recipe-collection "Freywillig-auffgesprungener Granat-Apffel des Christlichen Samaritans" was first published 1695 in Wien. Editor of this in over twenty runs published book, was princess Eleonora Maria Rosalia von Eggenberg (1647–1703), born princess of Liechtenstein, dutchess of Troppau and Jaegerndorff. The present dissertation systemise the medical work of Eleonora von Eggenberg and compares it with modern knowledge.

The architecture on Drottningholmsmalmen is protected as it is essential in understanding the function of the castle from the 16th century onwards and must be preserved as much as possible. Most buildings from the 1950s until the 21st century carry high architectural quality and is a time document that provide an understanding of Swedish modernist architecture during the 20th century.A requirement for the maintenance of the high cultural-historical elements is the understanding of the value. In order for the buildings not to decay, there should be an exchange for the residents that is more than restrictions. When the area was built, the idea was to create a city-like structure with accommodations for the people working at the castle and the royal guests. Hedvig’s gallery, named after Queen Hedvig Eleonora, creates a new destination on Lovön and brings attention to the residential area. The building aims to bind the areas adjacent to the castle together and contains a gallery, a restaurant, chambré separée and a small shop. Its main structure consists of horizontal brick walls that are inspired by the grid-structure that the King first laid out for Drottningholmsmalmen.

Följande uppsats behandlar fyra hovporträtt av konstnären Bronzino föreställande fursteparet Cosimo I de’ Medici och Eleonora di Toledo speglade mot de litterära källorna Machiavellis Fursten och Castigliones Boken om hovmannen. Uppsatsen empiriska material kommer således att bestå av ovanstående material placeras framför varandra för att belysa dess beröringspunkter, både i fråga om likheter och olikheter. Analysens teoriangrepp kommer med avstamp i Roland Barthes semiotiska bildanalys att närma sig porträttens denotativa men främst konnotativa uttryck. Vidare har Shearer Wests bok Portraiture använts för förståelsen kring porträttet som genre i dess historiska kontext. Undersökningens disposition består av två huvudrubriker varav den första behandlar den historiska kontexten och den sista delen själva bildanalyserna. Resultatet visar på att samtliga porträtt av Cosimo och Eleonora finner flera beröringspunkter i Machiavellis furstespegel som Castigliones hovmannaideal, men skiljer sig delvis beroende på porträtt. Vidare har undersökningen visat på att Cosimo i sina två utvalda statsporträtt – valde att i det senare gestalta sig själv i en måttfullare stil – inte helt olik den måttfullhet som skildras i såväl Castigliones litterära verk som visuella porträtt. Cosimos tidigare porträtt svarar dock bättre mot Machiavellis idé om imitering. De två porträtten av Eleonora finner även dom olika samband med textmaterial och där Eleonoras senare statsporträtt tycks besitta flera av hertiginnans drag – något som inte med samma tydlighet framträder i det tidigare porträttet. Gemensamt för alla porträtt är deras avsaknad av sprezzatura som den allra viktigaste egenskapen för en person vid hovet.

The main source material in this essay is a diary written by the Swedish nobleman Johan Hand in the year of 1620. Johan Hand had the opportunity to accompany the Swedish king Gustavus Adolphus on a secret journey to Germany. The ultimate goal of this journey was the king's proposal to Maria Eleonora of Brandenburg and the diary depicts these events. Using the principles of History of mentalities, the purpose of this study is to examine Johan Hand's and the travel companion's world of thought and view of society, their attitude towards the proposal and why the king chose to be anonymous during the trip. The analysis shows that there were probably both political and economic reasons for the king's anonymity. Furthermore, the noble group of travelers showed a strong belief in a society composed of four hierarchically separated estates – the nobility, the burghers, the peasantry and the clergy. They also expressed a typical of the time, noble attitude towards virtue and etiquette. Finally, Johan Hand's and especially the king's emotional expressions surrounding the proposal, show that it was not the emotionless, political affair that it first seemed to be.

The essay Ulrika Eleonora was Wilhelm Edstedt - a godly man and sinful woman: A discourse analysis of the trial in 1729 against Ulrika Eleonora Stålhammar's disguise as a man, aims with the case of Ulrika Eleonora Stålhammar to shed light on the legal treatment of women in early modern times, and what notions of femininity and masculinity existed about women who wore men's clothes. This was done with Ulrika Eleonora's trial record from 1729 as source material. The theory was based on Scott's four interrelated levels of gender as an analysis category. Eva Österberg's and Erling Sandbmo's theory of law as a social and discursive arena where power was exercised was also taken into account. Ulrika Eleonora Stålhammar came from a noble family, but when her father had mismanaged the finances Ulrika Eleonora was in poverty when she became an orphan. She then chose to disguise herself as a man, enlist as a soldier in Kalmar and marry Maria Löhnman. In 1729, Ulrika Eleonora was facing trial for a change of gender and marriage to a woman. The case was unique and the town hall court requested a review by the court of appeal. They stated that she had violated God's word, but since she had been a godly man in her disguise as Wilhelm Edstedt, she should be spared the death penalty. The case eventually reached the judiciary, which sentenced her to one month in prison. Ulrika Eleonora's mild punishment was mainly due to her priest's statement that she had lived godly, but probably had her noble relative Sofia Drake's contacts an impact too. This study has concluded that legal contexts in Sweden in early modern times were dominated by Christian values and norms where the church's regulations on how people should live permeated society. Ulrika Eleonora did not live up to these standards. She was judged to be a sinful woman, but in the guise of Wilhelm Edstedt, she had been a godly man.

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This dissertation presents a previously unedited text by one of the most distinguished- yet neglected-Latin writers of the Italian Renaissance, Ercole Strozzi (1471-1508), a poet and administrator in the court of Ferrara. Under the Este Dukes, Ferrara became a major center of literary and artistic patronage. The Latin literary output of the court, however, has received insufficient scholarly scrutiny. The text is a verse funeral elegy of Eleonora of Aragon (1450-1493), the first Duchess of Ferrara. Eleonora was a remarkable woman whose talents and indefatigable efforts on behalf of her husband, her children, and her state, won her accolades both at home and abroad. She also served as a prototype for the remarkable careers of her two daughters, Isabella d'Este, and Beatrice d'Este, who are celebrated for their erudition and patronage of arts and letters. The text is a mirror of the Estense court and reveals to us how its members no doubt saw themselves, at the very peak of its temporal power and the height of its prestige as a center of cultural creativity. It is also important for the striking portrait it presents of Eleonora. Ercole Strozzi chose to call his poem an epicedium, an ancient minor literary genre that had received attention in the two decades prior to its composition, due to the discovery and printing of the silver age Roman poet Statius, whose text includes several epicedia. Strozzi deftly adapts and transcends both his ancient and contemporary models (especially Poliziano), and in the process, creates a new Latin literary genre, the Renaissance epicedium. It is a fine poem, full of both erudition and creativity, and as such is the first fruits of what would be Ercole Strozzi's illustrious poetic career. The work is genuinely worthy of study on both esthetic and historical grounds.