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  • 1.
    Fogelberg Rota, Stefano
    Södertörn University, School of Culture and Education, Comparative Literature.
    Cristina di Svezia eroina nella Historia di Galeazzo Gualdo Priorato del 16562022In: Quaderni Veneti. Studi e ricerche, ISSN 2610-8941, Vol. 6, p. 73-85Article in journal (Refereed)
    Abstract [en]

    Galeazzo Gualdo Priorato’s Historia (1656) is not only arguably the first biography of Queen Christina of Sweden (1626‑1689) but it also provides a model for the interpretation of her life that influenced biographers over three centuries. This essay investigates Gualdo’s rhetorical strategies and their connection with Christina’s propagandistic aims. Focus is devoted to the author’s conjoint explanation of her abdication and conversion to Catholicism according to which the first is the result of the second; an interpretation that forgoes other reasons for her renunciation of the throne and that would be largely adopted by later biographers.

  • 2.
    Fogelberg Rota, Stefano
    et al.
    Umeå University, Sweden.
    Hellerstedt, Andreas
    Stockholm University, Sweden.
    Heroische Tugend (Herrschertugend)2020In: Compendium heroicum das Online-Lexikon des Sonderforschungsbereichs 948 "Helden - Heroisierungen - Heroismen“ / [ed] Asch, Ronald G.; Aurnhammer, Achim; Schreurs-Morét, Anna; Feitscher, Georg [Publishing editor], Freiburg: Albert-Ludwigs-Universität Freiburg , 2020Chapter in book (Other academic)
  • 3.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Versailles Through Swedish Eyes in the Eighteenth Century2020In: Bulletin du Centre de recherche du château de Versailles, ISSN 0007-1595, E-ISSN 2278-9634, no 17Article in journal (Refereed)
    Abstract [en]

    The history of Swedish descriptions of Versailles in the eighteenth century is just as rich and varied as that of the cultural and political relations between Sweden and France. This article focuses on three Swedish travellers’ accounts of Versailles : scientist Bengt Ferrner (1724–1802), nobleman Gustaf Mauritz Armfelt (1757–1814) and poet Frans Michael Franzén (1772–1847). While Ferrner’s descriptions from Paris abound in references to visits to the opera and theatre, his reaction to Versailles is one of indifference. The relation between Paris and Versailles is important for the appreciation of the latter also, in the diary of Baron Gustaf Mauritz Armfelt, who travelled together with King Gustav III in 1784. Armfelt’s position as a royal favourite gave him access to social and cultural circles that Ferrner was excluded from. Armfelt vividly describes the life of the court and gives a detailed account of the ceremonies that surrounded it. The two cities thus appear either in a conflicting relation, as in Ferrner’s case, or in a mutually reinforcing one, as in Armfelt’s diary. Finally, poet Frans Michael Franzén describes the post-revolutionary state of Versailles at the beginning of 1795. Attracted by revolutionary ideas, Franzén voices his aversion to absolutism in his description of the palace of Versailles, which, now deprived of the court, has lost its centrality. Although it is difficult to determine general trends from the writings of the three travellers, they reflect a growing disapproval of the ceremonies and glorification of French absolute monarchy, as epitomized by Versailles.

  • 4.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Appendix I: must-see monuments - the Colosseum in guidebooks through the centuries2019In: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow; Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, p. 339-344Chapter in book (Refereed)
  • 5.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Appendix II: Itineraries through Trastevere from the Middle Ages to the twentieth century2019In: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow; Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, p. 345-348Chapter in book (Refereed)
  • 6.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Fioravante Martinelli's Roma ricercata nel suo sito and his 'lettore forastiero'2019In: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow; Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, p. 163-196Chapter in book (Refereed)
  • 7.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Introduction2019In: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow; Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, p. 1-32Chapter in book (Refereed)
  • 8.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, StefanoUmeå University, Sweden.
    Rome and the guidebook tradition: from the Middle Ages to the 20th century2019Collection (editor) (Refereed)
    Abstract [en]

    Almost everyone has used a guidebook, when travelling or in the armchair at home. But how and when was the guidebook born? In this book, seven scholars from various disciplines argue that the guidebook emerged in Rome in the late Middle Ages, to form a surprisingly consistent model for guidebooks up to our time. The descriptions of must-see monuments, recommended routes, practical information and value-laden instructions have guided travellers to Rome through more than 1000 years.

  • 9.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Dancing virtue: educational aspects in Queen Christina’s court ballets2018In: Virtue Ethics and Education from Late Antiquity to the Eighteenth Century / [ed] Andreas Hellerstedt, Amsterdam: Amsterdam University Press, 2018, 1, p. 113-134Chapter in book (Refereed)
    Abstract [en]

    Stefano Fogelberg Rota investigates the court ballet’s pedagogic character during the reign of Queen Christina. French ballet de cour was introduced to Sweden in 1638 as part of a larger effort to raise the cultural standing of the state. Ballet became a privileged medium for conveying the Queen’s political decisions and ambitions. These political messages were constantly communicated through the use of examples, portrayed as ideals of virtue. Virtue was used by Christina to shape an ideal image of her rule. Fogelberg Rota unveils both the underlying purposes of the representations and the rhetorical strategies employed. Finally, he examines the career of some of the noblemen dancing in order to show the importance of these performances for the advancement at court of Christina’s young aristocratic favourites.

  • 10.
    Fogelberg Rota, Stefano
    Uppsala University, Sweden.
    The Queen danced alone: court ballet in Sweden during the reign of Queen Christina (1638-1654)2018 (ed. 1)Book (Refereed)
    Abstract [en]

    The Queen Danced Alone: Court Ballet in Sweden during the Reign of Queen Christina (1638-1654) is the first monograph devoted to court ballet during Christina's reign that offers an in-depth analysis of all the extant libretti of the performances. The Queen's highly active patronage of this theatre form, and its development in Sweden in the framework of a cultural transmission from France, are elucidated as we follow Christina in her multiple roles of promoter, inventor and dancer of the ballets.

    Queen Christina of Sweden danced herself in the ballets she promoted. From the beginning of her personal rule until her abdication (1644–1654) court ballet was Christina's privileged medium of political propaganda. The Queen Danced Alone is the first monograph on court ballet during Christina's reign that offers an in-depth analysis of all extant libretti and performances. Based on unstudied and unpublished sources The Queen Danced Alone offers a survey of participants in the production and performances  – authors, dancers, musicians, artists – as well as the arts involved: dance, music, poetry, set design and costumes. Christina's patronage is especially evident in the heroic motives of the ballets. Her self-fashioning through the parts of the goddesses Diana and Pallas mirrored her role as a young, unmarried and learned monarch and aimed at liberating her from the expectation of providing an heir to the throne. The praise of virtues such as self-control and chastity represented her as a superior being devoted to wisdom. Christina's ballets supported her most important aim: independence.

  • 11. Fogelberg Rota, Stefano
    A Heroic Queen: Christina in the Panegyrics of Her French and Italian Poets2017In: Revue d'histoire Nordique, ISSN 1778-9605, no 24, p. 79-96Article in journal (Refereed)
  • 12.
    Fogelberg Rota, Stefano
    Uppsala universitet, Sverige.
    Fältskräck och mod i drottning Christinas hovbaletter2017In: Mod i strid och filosofi: dygdetiska perspektiv från Aristoteles till drönarkriget / [ed] Peter Halldén; Biörn Tjällén, Lund: Nordic Academic Press, 2017, p. 85-101Chapter in book (Other academic)
  • 13.
    Blennow, Anna
    et al.
    Göteborgs universitet, Sverige.
    Fogelberg Rota, StefanoUppsala universitet, Sverige.
    Att resa till Rom: guideböcker till den eviga staden genom tiderna2016Collection (editor) (Other academic)
1 - 13 of 13
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