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Förintelselitteraturen och andra generationens överlevande
No full textThis article deals with Swedish Holocaust literature by and about the second-generation witnesses, e.g. the children of survivors. It focuses on three novels: Suzanne Gottfarb’s Systrarna Blaumans hemlighet [“The Secret of the Blauman Sisters”] (1987) and Susanne Levin’s Leva vidare [“Live on”] (1994) and Som min egen [“As my own”] (1996). The Holocaust is an integral part of the protagonists’ life and identity, although he or she has not personally experienced the event and in the article I examine three aspects of the conditions of life for the second-generation survivors. Firstly, their search for knowledge about their parents’ experiences. Secondly, the burden of this generation to carry and fulfil the expectations of their parents and thirdly their struggle with identity in a multi-cultural society, where identity not only stems from heritage
Book reviews
No full textDie zweite Talmuddisputation von Paris 1296 (Ursula Ragacs, 2001) is reviewed by Hanne Trautner-Kromann.De fromme og jøderne. Holdninger till jødendom og jøder i Danmark i pietismens tid (1700-1760) (Martin Schwarz Lausten, 2000) is reviewed by Torbjörn Gustavsson
The 'Temple of Non-Being' at Tsitsernakaberd and remembrance of the Armenian genocide: an interpretation
No full textThis paper discusses and analyses the memorial complex of Tsitsernakaberd in Yerevan as an architectural and symbolic entity in relation to Armenian national identity in the aftermath of the Armenian genocide of 1915. How does this Soviet-era structure fulfil its role as a genocide memorial today, including its function as a forced substitute for the hundreds of holy places and the culture and life connected with them? On the one hand, this is only a small inquiry into the function of one building complex. Yet on the other hand, the topic is more essential than perhaps anything in history: the genocide memorial crystallises a set of profound questions, serious problems and agonising processes. An entire national existence can be crushed in a genocide and subsequently debased through its denial, resulting in existential problems such as, on the one hand, a pressure of assimilation for the diaspora, and on the other, severe socio-economic and geopolitical-military crises in present-day Armenia
The Mercator-Hondius Atlas at the Donner Institute
No full textThis introduction describes the background and reasons why the Mercator-Hondius atlas analysed in this issue became part of the library collection of the Donner Institute
Iconography transformed: a few notes on the god Vaiśravaṇa
No full textThis article aims at an integration of the topic of iconographic transformation processes into a wider context of meaning, in order to enhance its importance from a religious and cultural-scientific point of view. In this sense, my research is not interested in asking how a deity is depicted, but why it is depicted in a particular way; what conclusions can be drawn, and what factors might influence artistic work? Thus, the topic of the image’s context, its usage, and its meaning become the focus of attention. By taking the example of the god Vaiśravaṇa, my analysis of ‘religious images’ of him is composed of two interlinked parts: an exemplary study of a transcultural iconographic transformation process, as well as an analysis of the images’ context.
”At præsentere sig selv” – Stifterfigurerne i Naumburg og psykehistorie
Get PDFTitle: ”To present oneself” – The Donor Figures in Naumburg and Psycho-historyThe ensemble of founder statues situated in the western choir of the Naumburg Cathedral is one of the most intriguing and most discussed examples of medieval portraiture. The twelve sculptures are very lifelike but they cannot be portraits of the historical persons in any real sense. Some of them behave very unlike founders, expressing different frames of mind and seeming to relate to each other in an anachronistic way. This essay provides a new interpretation of the figures’ relations and functions considered within the framework of an Augustinian worldview and based mainly on a new identification and understanding of the Sizzo-figure. Furthermore the rhetoric and expressive means of the Naumburg Master are discussed in relation to the emergence of the new Gothic style, a process that included a significant reception of and negotiation with the art of Antiquity. In the view of the present article this process reflects a psychogenese dialectic connected with the contemporary sociogenese and created by the educational ideals and refinements of courtly culture in its relations with the religious sphere and with love as its central fore. The style of the figures then is the frame and visualization of a new ‘mental architecture’
Två konstnärers sätt att i ord och bild presentera sig själva i sengotikens Norden
Get PDFTitle: The Self-representation in Image and Word of two Late Gothic Artists in ScandinaviaThis article describes the way in which two of Sweden’s most prominent artists (around 1500) manifested themselves in both image and word. The painter Albert came from Germany to Sweden in 1465 and lived and worked there for the rest of his life. In 1473 he could settle in Stockholm by marrying the widow of a painter and Albert stayed in the Swedish capital to his death in 1509. We know that he has left his signature in nine churches in the provinces around Stockholm and in some of them his signature is still preserved. In the church of Lid his signature is written above his self portrait. He has left another self portrait in Härkeberga church and close to the kneeling painter here a young man stands at a painted altar, probably his apprentice. – Adam van Düren came to Sweden together with other German stone masons in 1487 in order to complete the cathedral of Linköping. From 1500 up to 1532 he worked in Denmark, mainly in the province of Scania. In the cathedral of Lund he has left two self portraits. Under a vault in the north transept his head is looking towards the head of his wife. And on the base of a column in the nave he has portrayed himself as a donkey, that collapses under a too heavy burden. Here the inscription says: He must be a donkey who takes more on than he can carry, 1527
The Materiality of Devotion in Late Medieval Northern Europe. Images, Objects and Practices, ed. Henning Laugerud, Salvador Ryan & Laura K. Skinnebach, 2016
No full textStifterbilleder og deres ikonografi i danske 1100-tals fresker. Kong Niels og Dronning Margrete Fredkulla malet i Vä Kirke (1121–22) og elleve andre kirker med stifterfigurer
No full textTitle: Donor pictures and their iconography in Danish frescos from the 12th centuryThe article deals principally with the royal donor images, their interpretation and context, in the Romanesque church of Vä in southern Sweden (Scania). The donor images in the nearby Gualöv Church are also taken into consideration, since they, together with those in Vä, are the only ones preserved from Mediaeval Denmark that represent identifiable persons. On the east wall of the choir are the poorly preserved donor images of the Danish King Niels (1104–34) and his Swedish born queen, Margaret Fredkulla († c. 1130). Most unusually, the queen is presenting a church model and the king a reliquary. The main altar is dated to 1121 on the basis of a parchment found in a reliquary. According to a new interpretation, a rune inscription mentions the Queen’s brother Ragnvald and their sister Kristina († 1122). In Gualöv Church a scroll with an inscription indicates that the donor had the frescoes painted for the salvation of his deceased wife’s soul. Contour drawings of twelve painted donors from different 12th century churches in Mediaeval Denmark are presented together with short descriptions of the iconography, the donor’s status, garments, gender and symbolic gifts, in order to place the royal donors in Vä church in their contemporary context and elucidate the significance of donor images of the time
Avbildade tecken & avbildningar som tecken. Ikonologins och semiotikens delade skäl
Get PDFTitle: Depicted Signs and Depictions as Signs – Common Reasons for Iconology and SemioticsThe aim of this article is to describe some common reasons and origins of modern Icono-logy and Semiotics, and to question the dichotomy which is sometimes made between these disciplines. When emblematics and iconology were established in the Sixteenth Century, first with Andreas Alciatus’ Emblemata and later with Cæsare Ripa’s Iconologia, poetic imagery and rhetorical figures were primary points of reference. Rather than separating visual and verbal capacities, these authors merely affirmed that both visible pictures and spoken or written words could communicate the same images. An antagonism between iconology and semiotics was hardly possible until modern linguistics separated the study of language systems from the study of symbolic systems. The denotation and the connotation, as defined in studies of language systems, have however been compared to Erwin Panofsky’s primary and secondary levels of subject matter, respectively. This study rather concludes that the place of denotation in iconological analysis would be the secondary or iconographic level. Differently put, the depiction of signs in iconography could structurally be compared to the depiction or visual denotation as sign. In this manner, common reasons for a systematic approach can be found both in the early beginnings and in recent developments of iconology and semiotics. The reasons may however be different than previously conceived