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

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<p>Bilaga: 1 DVD Musiken ur föreställningen: 1. J.H. Roman: sats 1 och 2 ur Sinfonia i G-dur; 2. J.H. Roman: sats 1 ur Drottningholmsmusiken; 3. G.B. Pergolesi: ur Salve Regina; 4. J.H. Roman: ur kantaten Piante Amiche; 5. F.A. Uttini: Louise est l'astre qui nous éclaire (Lovisa, en stjärna på himlen); 6. J.M.: Kraus: Er starb ur Der Tod Jesu (Han är död); 7. J.H. Roman: Han skall låta regna; 8. C.P.E. Bach: sats 1 1 och 2 ur Symfoni för stråkar, C-dur; 9. G.B. Pergolesi: ur Stabat Mater; 10. J.M. Kraus: Ditt liv en kedja var ur Sorgemusik över Gustav III; 11. J.H. Roman: Assagio II g-moll, Con Spirito; 12. J.M. Kraus: Te Decet ur Requiem (Döden mig famnar) Medverkande: Christina Larsson Malmberg - sopran, Catalina Langborn - barockviolin, Johannes Jacobson - barockviolin, Andrea Ravandoni - barockviola, Magnus Malmros - barockcello, Rami Jawhari Jansson - dans.</p>

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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For many centuries, humans have used portraits as a tool to understand our surroundings, a way to anchor what has happened. The portrait acts as a mirror of the changes in society, and the message of the portrait changes according to the conditions of society. But the basic purpose of the portrait remains the same, to tell something about the person portrayed and a way of documenting it for posterity. The purpose of this study is to examine of the symbolic use in four Swedish queen portraits between 1654 and 2020. It examines how Queen Hedvig Eleonora, Queen Lovisa Ulrika, Queen Victoria and Queen Silvia are represented in official portraits to enhance their credibility by using visual symbols in relation to their roles as Swedish queens. Through biographical research and semiotic image analysis, the four portraits of the study are examined in relation to their society. The material is then studied with the support of a theoretical perspective focusing on the social context and visual culture. The study shows that a certain symbolism is timeless, the symbolism that is based on human genetic understandings of social relations. Other symbolism, however, is more time-specific, that which is based on contemporary cultural norms. However, it is not possible to see any real progress in the function of the four portraits. They can rather be seen as snapshots representing the time of their production. What has changed, however, is the medium and semiotics. The way the portraits are produced according to the chosen audience and which visual symbols are used for which message. However, this is not a linear development either, but a constant process of change that today is going faster and faster thanks to today’s society. The study also shows that the selected four portraits reflect their own society and have adapted to their respective target audience, as the portrait loses its point if the viewer does not understand the message. It does not matter how much the queens try to influence their surroundings with their portraits if the viewer does not understand the intention. A portrait does not live its own life, but lives thanks to the viewer.

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