In June 2012, scholars from a number of disciplines and countries gathered in Stockholm to discus... more In June 2012, scholars from a number of disciplines and countries gathered in Stockholm to discuss the representation of ancient mythology in Renaissance Europe. This symposium was an opportunity for the participants to cross disciplinary borders and to problematize a well-researched field. The aim was to move beyond a view of mythology as mere propaganda in order to promote an understanding of ancient tales and fables as contemporary means to explain and comprehend the Early Modern world.With the Renaissance, pagan religion ceased to pose a threat to Christianity and its mythologies found a way to coexist with Christian doctrine. Old Greek and Roman tales came to play a crucial role in Renaissance culture, partly because the ancient sources, both literary and artistic, many of them recently uncovered, provided rich material for the writers and artists of the period. Mythology provided a network of allusions and references for contemporary poetry and art, reinforcing the possibiliti...
Despite the sometimes fierceattacksonpagan figmenta in the writingsofthe Fathers and in earlyC hr... more Despite the sometimes fierceattacksonpagan figmenta in the writingsofthe Fathers and in earlyC hristian poetss uch as Paulinus of Nola or Prudentius, more forgiving attitudes could infiltrate the Late Antique elite culture of the fifth and sixth centuries, counteracting the persistent hostility of the Church. There are various explanations for these conciliatory approaches. One of them has already been mentioned: the new aristocracy emerging in Gaul and other regions of the dying Empire,assimilatingGermanic chieftain families in local cultural settings, appropriatingn ew group identitiesf requentlyd rawing support from traditional Roman schooling.I nm ajor parts of continental Europe, old Germanic cults and creeds did not survive the Migration Period. Consequently, the Catholic Church slowlye ntered an ew victorious phase, assumingr eligious monopolyi nt he West.I ts opponents wereh ardlyt ob es een; their cults and beliefs had, as it were, become memories or phantoms of the past,t hose 'oldd reams swept in mist' reluctantlyr ememberedb yJ erome. In short,d uringt he sixth century, when the last strongholds of paganism-mainlythe Roman senatorial aristocracy-had been converted to the true faith and even the Germanic conquerors had accepted Christianity, ah istoric compromise was on its way. By and large,s cholars have been in agreement about this change. Peter Brown, for instance,g ives prominencet ot he year 410, when Roma aeterna was revealeda sn othing but one of several historical constructs. After that date, Brown remarks,t he weakened Imperial court could no longer offer any provocation to the Christians, while the last pagan Romana ristocrats, for their part,a tl ast "adopted the official religion of an Empire which had no power left to hurt".¹ Manfred Fuhrmann has outlinedt he same historical predicament in slightlydifferent terms: the Christians won the power and the glory at the cost of internal unity.A fter the vehement conflicts of the late fourth century,i t seemed as though the dwindlingminority of pagan intellectuals and their Christian counterparts had reachedakind of settlement. On the one hand, the ancient cult of the gods had, with few exceptions, come to an end: the new faith was completelyi nfiltrating most people'so ld forms of life. On the other hand, farsighted Christians declared that the battle against pagan literature and philosophywas over and done with, or at least suspended, to the effect that the ancient mythologyw as tolerated within ar angeo fp oetic genres.² To this should be added victorious Christianity'sc apacity to reframea nd appropriate certain per
... Chapter in book (Other academic). Language: Swedish. In: Poeter och profeter: Från Platon til... more ... Chapter in book (Other academic). Language: Swedish. In: Poeter och profeter: Från Platon till Mare Kandre. Editor: Anna Carlstedt & Anders Cullhed. Place of publ.: Hedemora/Möklinta Publisher: Gidlunds. Pages: 65-77. Year ...
Julio Millares, La maquina de la imitacion. La analogia en don Quijote y el renacimiento. (Romans... more Julio Millares, La maquina de la imitacion. La analogia en don Quijote y el renacimiento. (Romanska institutionen, Stockholms universitet.) Sthlm 1988
Otryckt och omtryckt : Pippis intentioner, Strindbergs perspektiv, Becketts kombinationer och Han... more Otryckt och omtryckt : Pippis intentioner, Strindbergs perspektiv, Becketts kombinationer och Hans nades tider : till Goran Rossholm 2/5 2010
Bidrag till Samlaren insändes till docent Hans-Göran Ekman (uppsatser) eller docent Claes Ahlund ... more Bidrag till Samlaren insändes till docent Hans-Göran Ekman (uppsatser) eller docent Claes Ahlund (recensioner), Litteraturvetenskapliga institutionen, Slottet ing. AO, 752 37 Uppsala. Samtliga insända uppsatser granskas av externa referenter. Ej beställda bidrag skall först lämnas i form av utskrift, och efter antagning också på diskett. Maskinskrivna texter accepteras inte. Bidrag lämnade senare än 30 juni 1997 kan ej publiceras i Samlaren 118 1997.
"Blotta namnen, tingen forutan"... : Tre exempel pa figurationens roll for den medeltid... more "Blotta namnen, tingen forutan"... : Tre exempel pa figurationens roll for den medeltida fiktionaliteten
Journal of Latin Cosmopolitanism and European Literatures, 2019
This paper tries to elucidate the significance of Latin schooling for the production of poetry by... more This paper tries to elucidate the significance of Latin schooling for the production of poetry by lining up five typical cases of recycling Roman texts, from the Middle Ages to the twentieth century. The French poet Baudri de Bourgueil (ca 1050–1130) rewrote Ovid’s Heroides 16–17 within a cultural context, characteristic of the incipient “Ovidian age,” aetas ovidiana, based on classroom practices such as paraphrase, accessus and glosses, presupposing a sense of historical continuity – or translatio studii et imperii – from Antiquity down to the twelfth century. In his great work, The Comedy, the Florentine Dante Alighieri (1265–1321) reused Ovid in a quite different way, representative of the allegorizing tendencies noticeable in Italy and France towards the end of the Ovidian age. The Early Modern motto ad fontes, on the other hand, presupposed a breach between ancient and present times, none the less possible (and surely commendable) to bridge by means of imitation within the fram...
It is my great pleasure and honor to welcome you, in my capacity as President of the Royal Swedis... more It is my great pleasure and honor to welcome you, in my capacity as President of the Royal Swedish Academy of Letters, History and Antiquities, to our symposium on the topic "Punctuation: Past & Present." You will concentrate for a day and a half here, at the Academy venue, on punctuation marks, and I cannot but congratulate the symposium organizers, Academy members and Professors Bo Andersson and Merja Kytö at Uppsala University, for this wonderful initiative. In short: punctuation marks might only prima facie, that is, superficially, belong to the trivia of the literary or linguistic Humanities of today. On closer inspection, sometimes a period, a semicolon or a comma is what it is it all about. Once you realize that, you are stuck. You can never escape from noticing these syntactic as well as typographical details. You tend to sympathize with Oscar Wilde who, according to a famous anecdote published on May 8, 1884, in The Daily Graphic: An Illustrated Evening Newspaper (New York), once explained that he had been immensely busy during his morning hours of work time. "I have spent my whole time over the proof sheets of my book of poems," he said. Aha, replied one of his listeners, what was the result of that? Well, said the writer, it was very important, I took out a comma! "Is that all you did?" asked his astonished listener. Whereupon Wilde, according to The Daily Graphic reporter, "with a sweet smile, said, 'By no means; on mature reflection I put back the comma.'" This story is sometimes reproduced with French novelist Gustave Flaubert instead of Oscar Wilde as the comma-obsessed writer, but its significance should certainly not be restricted to 19th-century aestheticism. A punctuation mark might in fact change the whole meaning of a poem. We have a beautiful example of such a crucial comma in a stanza by the Swedish Romantic writer Erik Johan Stagnelius (1793-1823). I am referring to Stagnelius' poem "Endymion," where a young shepherd is depicted sleeping in the moonlight. The goddess of the Moon steps down from heaven, fascinated and charmed by the beautiful boy. Finally, the poet exclaims, in the first edition of Stagnelius' poetry (1826): Rosenkransade brud, på saffrans bäddar Unna herden att ostörd Drömma sin himmelska dröm! (Stagnelius 1826: 227) You rose-wreathed bride, on the beds of saffron Allow the shepherd, undisturbed, To enjoy his heavenly dream! CONTACT Anders Cullhed
In June 2012, scholars from a number of disciplines and countries gathered in Stockholm to discus... more In June 2012, scholars from a number of disciplines and countries gathered in Stockholm to discuss the representation of ancient mythology in Renaissance Europe. This symposium was an opportunity for the participants to cross disciplinary borders and to problematize a well-researched field. The aim was to move beyond a view of mythology as mere propaganda in order to promote an understanding of ancient tales and fables as contemporary means to explain and comprehend the Early Modern world.With the Renaissance, pagan religion ceased to pose a threat to Christianity and its mythologies found a way to coexist with Christian doctrine. Old Greek and Roman tales came to play a crucial role in Renaissance culture, partly because the ancient sources, both literary and artistic, many of them recently uncovered, provided rich material for the writers and artists of the period. Mythology provided a network of allusions and references for contemporary poetry and art, reinforcing the possibiliti...
Despite the sometimes fierceattacksonpagan figmenta in the writingsofthe Fathers and in earlyC hr... more Despite the sometimes fierceattacksonpagan figmenta in the writingsofthe Fathers and in earlyC hristian poetss uch as Paulinus of Nola or Prudentius, more forgiving attitudes could infiltrate the Late Antique elite culture of the fifth and sixth centuries, counteracting the persistent hostility of the Church. There are various explanations for these conciliatory approaches. One of them has already been mentioned: the new aristocracy emerging in Gaul and other regions of the dying Empire,assimilatingGermanic chieftain families in local cultural settings, appropriatingn ew group identitiesf requentlyd rawing support from traditional Roman schooling.I nm ajor parts of continental Europe, old Germanic cults and creeds did not survive the Migration Period. Consequently, the Catholic Church slowlye ntered an ew victorious phase, assumingr eligious monopolyi nt he West.I ts opponents wereh ardlyt ob es een; their cults and beliefs had, as it were, become memories or phantoms of the past,t hose 'oldd reams swept in mist' reluctantlyr ememberedb yJ erome. In short,d uringt he sixth century, when the last strongholds of paganism-mainlythe Roman senatorial aristocracy-had been converted to the true faith and even the Germanic conquerors had accepted Christianity, ah istoric compromise was on its way. By and large,s cholars have been in agreement about this change. Peter Brown, for instance,g ives prominencet ot he year 410, when Roma aeterna was revealeda sn othing but one of several historical constructs. After that date, Brown remarks,t he weakened Imperial court could no longer offer any provocation to the Christians, while the last pagan Romana ristocrats, for their part,a tl ast "adopted the official religion of an Empire which had no power left to hurt".¹ Manfred Fuhrmann has outlinedt he same historical predicament in slightlydifferent terms: the Christians won the power and the glory at the cost of internal unity.A fter the vehement conflicts of the late fourth century,i t seemed as though the dwindlingminority of pagan intellectuals and their Christian counterparts had reachedakind of settlement. On the one hand, the ancient cult of the gods had, with few exceptions, come to an end: the new faith was completelyi nfiltrating most people'so ld forms of life. On the other hand, farsighted Christians declared that the battle against pagan literature and philosophywas over and done with, or at least suspended, to the effect that the ancient mythologyw as tolerated within ar angeo fp oetic genres.² To this should be added victorious Christianity'sc apacity to reframea nd appropriate certain per
... Chapter in book (Other academic). Language: Swedish. In: Poeter och profeter: Från Platon til... more ... Chapter in book (Other academic). Language: Swedish. In: Poeter och profeter: Från Platon till Mare Kandre. Editor: Anna Carlstedt & Anders Cullhed. Place of publ.: Hedemora/Möklinta Publisher: Gidlunds. Pages: 65-77. Year ...
Julio Millares, La maquina de la imitacion. La analogia en don Quijote y el renacimiento. (Romans... more Julio Millares, La maquina de la imitacion. La analogia en don Quijote y el renacimiento. (Romanska institutionen, Stockholms universitet.) Sthlm 1988
Otryckt och omtryckt : Pippis intentioner, Strindbergs perspektiv, Becketts kombinationer och Han... more Otryckt och omtryckt : Pippis intentioner, Strindbergs perspektiv, Becketts kombinationer och Hans nades tider : till Goran Rossholm 2/5 2010
Bidrag till Samlaren insändes till docent Hans-Göran Ekman (uppsatser) eller docent Claes Ahlund ... more Bidrag till Samlaren insändes till docent Hans-Göran Ekman (uppsatser) eller docent Claes Ahlund (recensioner), Litteraturvetenskapliga institutionen, Slottet ing. AO, 752 37 Uppsala. Samtliga insända uppsatser granskas av externa referenter. Ej beställda bidrag skall först lämnas i form av utskrift, och efter antagning också på diskett. Maskinskrivna texter accepteras inte. Bidrag lämnade senare än 30 juni 1997 kan ej publiceras i Samlaren 118 1997.
"Blotta namnen, tingen forutan"... : Tre exempel pa figurationens roll for den medeltid... more "Blotta namnen, tingen forutan"... : Tre exempel pa figurationens roll for den medeltida fiktionaliteten
Journal of Latin Cosmopolitanism and European Literatures, 2019
This paper tries to elucidate the significance of Latin schooling for the production of poetry by... more This paper tries to elucidate the significance of Latin schooling for the production of poetry by lining up five typical cases of recycling Roman texts, from the Middle Ages to the twentieth century. The French poet Baudri de Bourgueil (ca 1050–1130) rewrote Ovid’s Heroides 16–17 within a cultural context, characteristic of the incipient “Ovidian age,” aetas ovidiana, based on classroom practices such as paraphrase, accessus and glosses, presupposing a sense of historical continuity – or translatio studii et imperii – from Antiquity down to the twelfth century. In his great work, The Comedy, the Florentine Dante Alighieri (1265–1321) reused Ovid in a quite different way, representative of the allegorizing tendencies noticeable in Italy and France towards the end of the Ovidian age. The Early Modern motto ad fontes, on the other hand, presupposed a breach between ancient and present times, none the less possible (and surely commendable) to bridge by means of imitation within the fram...
It is my great pleasure and honor to welcome you, in my capacity as President of the Royal Swedis... more It is my great pleasure and honor to welcome you, in my capacity as President of the Royal Swedish Academy of Letters, History and Antiquities, to our symposium on the topic "Punctuation: Past & Present." You will concentrate for a day and a half here, at the Academy venue, on punctuation marks, and I cannot but congratulate the symposium organizers, Academy members and Professors Bo Andersson and Merja Kytö at Uppsala University, for this wonderful initiative. In short: punctuation marks might only prima facie, that is, superficially, belong to the trivia of the literary or linguistic Humanities of today. On closer inspection, sometimes a period, a semicolon or a comma is what it is it all about. Once you realize that, you are stuck. You can never escape from noticing these syntactic as well as typographical details. You tend to sympathize with Oscar Wilde who, according to a famous anecdote published on May 8, 1884, in The Daily Graphic: An Illustrated Evening Newspaper (New York), once explained that he had been immensely busy during his morning hours of work time. "I have spent my whole time over the proof sheets of my book of poems," he said. Aha, replied one of his listeners, what was the result of that? Well, said the writer, it was very important, I took out a comma! "Is that all you did?" asked his astonished listener. Whereupon Wilde, according to The Daily Graphic reporter, "with a sweet smile, said, 'By no means; on mature reflection I put back the comma.'" This story is sometimes reproduced with French novelist Gustave Flaubert instead of Oscar Wilde as the comma-obsessed writer, but its significance should certainly not be restricted to 19th-century aestheticism. A punctuation mark might in fact change the whole meaning of a poem. We have a beautiful example of such a crucial comma in a stanza by the Swedish Romantic writer Erik Johan Stagnelius (1793-1823). I am referring to Stagnelius' poem "Endymion," where a young shepherd is depicted sleeping in the moonlight. The goddess of the Moon steps down from heaven, fascinated and charmed by the beautiful boy. Finally, the poet exclaims, in the first edition of Stagnelius' poetry (1826): Rosenkransade brud, på saffrans bäddar Unna herden att ostörd Drömma sin himmelska dröm! (Stagnelius 1826: 227) You rose-wreathed bride, on the beds of saffron Allow the shepherd, undisturbed, To enjoy his heavenly dream! CONTACT Anders Cullhed
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