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Showing 1 to 7 of 7 (0.023 seconds)Spelling suggestions: "subject:"kejsarens"" "subject:"kejsarsnitt""
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"Den store bland kejsare, Symeon" : Om maktanspråk i Bysans och Bulgarien under tidigt 900-talThungren Lindbärg, Jonas January 2013 (has links)
No description available.
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Kokka Shinto : Japans statsreligion 1868-1945Thorsell, Lars January 2007 (has links)
<p>Genom att använda folktro och religion skapade den Japanska regimen under två eror, Meji och Showa, ett instrument för att tygla folket och ge obehindrad makt till toppskiktet i samhället. Man underströk kejsarfamiljens gudomliga arv som släkting till dem mäktigaste kamin i gudavärlden solgudinnan Amaterasu. Som släkting till henne var han att betrakta som gud och fick aldrig ifrågasättas. Det Japanska folket var inte heller vilket folk som helst utan ett härskarfolk som även det hade gudomlig härkomst. När folket sedan genom mängder av propaganda från skolväsendet upp igenom hela samhället indoktrinerats om sin och kejsarens överhöghet var det dags att visa resten av världen sin gudomlighet. Genom att besegra sina fiender i krig blev övertygelsen än större på hemmafronten och Kokka Shinto tycktes mer och mer sitta inne med sanningen. Japan var riktigt nära att slå ut den amerikanska flottan under andra världskriget, men en serie förluster satte stopp för framgångarna och Japan besegrades. Den amerikanska ockupationsmakten identifierade Kokka Shinto som skyldig till aggressionerna på samma sätt som nazismen var för Tyskland.</p><p>Kokka Shinto hjälpte till att göra Japan till en fascistisk stat precis som syftet var med den. Från början av Mejirestorationen till slutet av Andra Världskriget var Kokka Shinto en framgångssaga för ultranationalisterna men de allierades seger krossades Statsshinto. Det finns dock kvarlämningar av Statsshinto i Japan och när en Japansk premiärminister kan besöka Yasukuni-templet utan att tvingas avgå visar landet att man ännu har en bit att vandra innan man helt har kastat av sig sitt nationalistiska och fascistiska ok.</p><p>Slutsatsen blir därför att jag inte anser att Kokka Shinto är en religion utan snarare mäktiga mäns sluga utnyttjande av folktro och vidskeplighet i syfte att ta över ett land. Kokka Shinto är en veritabel våldtäkt på en legitim religion men genom att använda samma mytologi och historia köper man sig legitimitet. Man måste som utomstående vara mycket distinkt i att skilja på Shinto och Kokka Shinto ungefär på samma sätt som man skiljer på Socialism från Nationalsocialism. Fram till 1868 var Shinto en mycket tolerant religion och efter 1945 är det så återigen, det finns dock ett nationellt tema i Shinto som onda krafter kan utnyttja.</p>
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Livia - mördare eller syndabock? : En utvärdering av de antika källorna kring kejsarinnan Livia och vad som talar för att hon mördade Augustus och dennes adoptivsöner för att göra sin egen son Tiberius till kejsare / Empress Livia – Murderer or wrongfully accused? : An overview of the ancient sources on the empress Livia and what that suggests that shemurdered her husband Emperor Augustus and his adoptive children to make way for herown son Tiberius as the emperor of Rome.Steinvall, Alexander January 2009 (has links)
Empress Livia – Murderer or wrongfully accused? An overview of the ancient sources on the empress Livia and what that suggests that shemurdered her husband Emperor Augustus and his adoptive children to make way for herown son Tiberius as the emperor of Rome.This work will analyze the ancient roman sources by the great historians from that time;Tacitus, Suetonius and Cassius Dio, and their works discussing the murder conspiracy of theempress of Rome; Livia.Here I examine what these ancient sources tell about the possible involvement of Livia, on thedeath of Augustus himself and his adoptive sons. Each author to these ancient sources will beexamined and contextualized according to their contemporary time, but also their political andideological views of women in high position and Ceasarism itself. Their characteristics andstyles of their written account will also be examined.The following issues will be dealt with in this work: What does the ancient sources of; Tacitus, Suetonius and Cassius Dio say about theconspiracy theory in which empress Livia is central. What is known about the authors of these ancient sources and to what extant mighttheir political and ideological view affect their written account? Can the allegations directed at Livia be the result of the fact that she was a highlyinfluential woman at her time, something which the ancient authors by romanstandards saw as unfit for a woman, and therefore is mistreated in the written sources? If so, were all women with power under the same time and circumstances criticized inthe same way in which Livia is portrayed? Are there any other aspects that have not been treated equally in the past by authorsand researchers, in which new questionable guidelines can be made? As is very important to point out, this work and essentially all others alike will not evenassume to solve the final question if empress Livias was guilty or not of murdering herhusband, Emperor Augustus and/or his adoptive sons. This work is to be foremost accepted asan appendix of other works regarding the same issue.
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Kokka Shinto : Japans statsreligion 1868-1945Thorsell, Lars January 2007 (has links)
Genom att använda folktro och religion skapade den Japanska regimen under två eror, Meji och Showa, ett instrument för att tygla folket och ge obehindrad makt till toppskiktet i samhället. Man underströk kejsarfamiljens gudomliga arv som släkting till dem mäktigaste kamin i gudavärlden solgudinnan Amaterasu. Som släkting till henne var han att betrakta som gud och fick aldrig ifrågasättas. Det Japanska folket var inte heller vilket folk som helst utan ett härskarfolk som även det hade gudomlig härkomst. När folket sedan genom mängder av propaganda från skolväsendet upp igenom hela samhället indoktrinerats om sin och kejsarens överhöghet var det dags att visa resten av världen sin gudomlighet. Genom att besegra sina fiender i krig blev övertygelsen än större på hemmafronten och Kokka Shinto tycktes mer och mer sitta inne med sanningen. Japan var riktigt nära att slå ut den amerikanska flottan under andra världskriget, men en serie förluster satte stopp för framgångarna och Japan besegrades. Den amerikanska ockupationsmakten identifierade Kokka Shinto som skyldig till aggressionerna på samma sätt som nazismen var för Tyskland. Kokka Shinto hjälpte till att göra Japan till en fascistisk stat precis som syftet var med den. Från början av Mejirestorationen till slutet av Andra Världskriget var Kokka Shinto en framgångssaga för ultranationalisterna men de allierades seger krossades Statsshinto. Det finns dock kvarlämningar av Statsshinto i Japan och när en Japansk premiärminister kan besöka Yasukuni-templet utan att tvingas avgå visar landet att man ännu har en bit att vandra innan man helt har kastat av sig sitt nationalistiska och fascistiska ok. Slutsatsen blir därför att jag inte anser att Kokka Shinto är en religion utan snarare mäktiga mäns sluga utnyttjande av folktro och vidskeplighet i syfte att ta över ett land. Kokka Shinto är en veritabel våldtäkt på en legitim religion men genom att använda samma mytologi och historia köper man sig legitimitet. Man måste som utomstående vara mycket distinkt i att skilja på Shinto och Kokka Shinto ungefär på samma sätt som man skiljer på Socialism från Nationalsocialism. Fram till 1868 var Shinto en mycket tolerant religion och efter 1945 är det så återigen, det finns dock ett nationellt tema i Shinto som onda krafter kan utnyttja.
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Livia - mördare eller syndabock? : En utvärdering av de antika källorna kring kejsarinnan Livia och vad som talar för att hon mördade Augustus och dennes adoptivsöner för att göra sin egen son Tiberius till kejsare / Empress Livia – Murderer or wrongfully accused? : An overview of the ancient sources on the empress Livia and what that suggests that shemurdered her husband Emperor Augustus and his adoptive children to make way for herown son Tiberius as the emperor of Rome.Steinvall, Alexander January 2009 (has links)
<p>Empress Livia – Murderer or wrongfully accused?</p><p>An overview of the ancient sources on the empress Livia and what that suggests that shemurdered her husband Emperor Augustus and his adoptive children to make way for herown son Tiberius as the emperor of Rome.This work will analyze the ancient roman sources by the great historians from that time;Tacitus, Suetonius and Cassius Dio, and their works discussing the murder conspiracy of theempress of Rome; Livia.Here I examine what these ancient sources tell about the possible involvement of Livia, on thedeath of Augustus himself and his adoptive sons. Each author to these ancient sources will beexamined and contextualized according to their contemporary time, but also their political andideological views of women in high position and Ceasarism itself. Their characteristics andstyles of their written account will also be examined.The following issues will be dealt with in this work:</p><p> What does the ancient sources of; Tacitus, Suetonius and Cassius Dio say about theconspiracy theory in which empress Livia is central.</p><p> What is known about the authors of these ancient sources and to what extant mighttheir political and ideological view affect their written account?</p><p> Can the allegations directed at Livia be the result of the fact that she was a highlyinfluential woman at her time, something which the ancient authors by romanstandards saw as unfit for a woman, and therefore is mistreated in the written sources?</p><p> If so, were all women with power under the same time and circumstances criticized inthe same way in which Livia is portrayed?</p><p> Are there any other aspects that have not been treated equally in the past by authorsand researchers, in which new questionable guidelines can be made?</p><p>As is very important to point out, this work and essentially all others alike will not evenassume to solve the final question if empress Livias was guilty or not of murdering herhusband, Emperor Augustus and/or his adoptive sons. This work is to be foremost accepted asan appendix of other works regarding the same issue.</p>
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Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem / Diadem and Identity : A Study on Identities in Empress Josephine's Pearl and Cameo Diademaf Klinteberg, Kristina January 2020 (has links)
This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010 / A Diadem and its Iconography : A Study of Empress Josephine’s Pearl and Cameo Diadem in Portraits between 1812 and 2010af Klinteberg, Kristina January 2021 (has links)
The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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