https://new.eludamos.org/index.php/1700 <p>An international, multidisciplinary, peer reviewed, diamond open access scholarly journal on all aspects of the long eighteenth century and its reception, published by the Swedish Society for Eighteenth-Century Studies in collaboration with societies in Finland, Norway, Denmark, and Iceland.</p> Septentrio Academic Publishing en-US 1700-tal: Nordic Journal for Eighteenth-Century Studies 1652-4772 https://new.eludamos.org/index.php/1700/article/view/7284 <p>Tacitus’ <em>Germania</em> was translated into Danish twice in the 1790s, first by the historian and jurist Gustav Ludvig Baden (1764–1839) in 1795, and then by his father, the professor of rhetoric Jacob Baden (1735–1805) in 1797. Both translations can be understood as part of a sustained effort to introduce Tacitean and other concepts from classical literature to enrich philosophical reasoning in the vernacular.</p> <p>The politics of the translations were radically at odds. Through the rhetorical use of conceptual vocabulary, exhaustive footnotes, and an unstable temporality, G. L. Baden constructed a narrative of a democratic republican and rationalist ‘golden age’ relevant for contemporary Denmark-Norway. Jacob Baden’s foreignizing translation was a conservative response. It employed a stable modern historicity which separated the ‘golden age’ from the barbarous reality of northern antiquity.</p> <p>The article raises the question of the significance of oblique argument in the constrained Danish-Norwegian public sphere of the 1790s. The form of G. L. Baden’s translation is characterised by a temporal and linguistic strategic ambiguity. This provided a veil of deniability for the translator, but the translation was clearly understood to be a radical polemic, eliciting reactions in the public sphere.</p> Peter Hatlebakk Copyright (c) 2024 Peter Hatlebakk https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 9–32 9–32 10.7557/4.7284 https://new.eludamos.org/index.php/1700/article/view/7359 <p>This article presents the previously unknown Swedish text “Fruntimbernas tapperhet” [The bravery of women], which has been preserved in manuscript in the archive of the Gothenburg family Alströmer. This text, which is based on a Latin dissertation from 1716, contains a discussion of around 15 female exemplars who all demonstrate women’s ability to demonstrate the virtue fortitude. This is the first known Swedish-language text that uses female exemplars to construct an argument about women’s bravery. After an introduction wherein we describe the archival source and discuss dating and authorship, we offer a transcription of the full text. Thereafter, we develop an analysis of the text’s most distinguishing features. The text is situated within the context of the early modern <em>querelle des femmes</em>, and we discuss the fact that strikingly and unusually, the author of “Fruntimbernas tapperhet” is primarily preoccupied with martial fortitude and with women who transgress gender norms in various ways.&nbsp;</p> Matilda Amundsen Bergström Ellen Holm Copyright (c) 2024 Matilda Amundsen Bergström, Ellen Holm https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 33–62 33–62 10.7557/4.7359 https://new.eludamos.org/index.php/1700/article/view/7169 <div><span lang="EN-US">In early modern Norway, the engagement was by law binding and many people were in this period subjected to prosecution for breaking a promise of marriage. This article sheds light on the agency of women seeking justice for broken promises of marriage in early eighteenth-century Norway – a period in which the legislation and judicial practice in such cases was at its strictest – exemplified with a specific case-study from Northern Trøndelag. The case concerned two people from the upper echelon of society, Margrete Bull and Christian Rosenkrantz, and is in some ways a typical example of how such matters could be handled in court in this period. According to Margrete, Christian had given her a promise of marriage and made her pregnant, but Christian denied both the engagement and the fatherhood and moreover married another woman of higher standing. In a period of four years, from 1707 to 1711, the case was addressed multiple times in the local court, the Chapter Court (<em>Kapittelrett</em>) and finally in the Supreme Court of Denmark-Norway. In the end, Margrete Bull was the victorious party and was awarded with a sizable compensation. In line with previous research on the topic, this case demonstrates the importance of honor and local support, but moreover indicates that only those in possession of sufficient resources could take a trial to the level presented here.</span></div> Anne-Sofie Schjøtner Skaar Copyright (c) 2024 Anne-Sofie Schjøtner Skaar https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 63–86 63–86 10.7557/4.7169 https://new.eludamos.org/index.php/1700/article/view/7287 <p>This article explores ten women’s experiences of being on trial for witchcraft and enduring torture in Sweden in 1757, as they were retrospectively accounted for during a review trial in 1760, at which these women sought relief and tort. Contrary to previous scholarship on both torture in general and torture in connection with early modern witch trials, which has approached torture either as a ritual of power and punishment or a ritual of forced conversion, I depart from a phenomenological stance of the body in order to understand how these women experienced the ways body, pain and mind were related with one another. Thereby, I uncover how the women experienced their torments as an escalating procedure aiming to affect their minds (förstånd), both by inciting affective movements and by inducing pain. Moreover, I connect these experiences to what the women understood to be at stake during their torments: their access to mind/reason, which, in turn, was the faculty enabling them to believe in God. Finally, I argue that the ability to believe in God through reason conditioned their various ways of explaining the relations between body, pain and mind.</p> Anton Runesson Copyright (c) 2024 Anton Runesson https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 87–103 87–103 10.7557/4.7287 https://new.eludamos.org/index.php/1700/article/view/7369 <p>In 1786, three large portrait medallions were commissioned for the Musical Society in Trondheim, Norway. The medallions were made from wood and painted with antique-style portraits of three local musicians – Niels Krog Bredal, Johan Peter Thams, and Johan Daniel Berlin. The medallions are owned by the NTNU University Museum and currently exhibited at the Ringve Music Museum. Two similar medallions of unknown origin exist; a portrait of Christian Frederik Hagerup, and a medallion bearing the initials P.B. and the date December 31st, 1786.</p> <p>The article conducts a multi-disciplinary study of the five medallions from an object-based research perspective. The authors’ differing museum backgrounds offer the double perspectives of music and cultural history together with material and art history. A technological investigation of the medallions is combined with analyses of style, motives, and décor, against the background of biographical and contextual information. Two likely artisans are indicated, and new light is shed on the «unexplained» medallions. The medallions’ designs are contextualized with reference to the tradition of memorial coins, and the medallions’ social function is construed as part of a bourgeois strategy for self-representation and identity formation.</p> Annabella Skagen Daniela Pawel Copyright (c) 2024 Annabella Skagen, Daniela Pawel https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 104–128 104–128 10.7557/4.7369 https://new.eludamos.org/index.php/1700/article/view/7384 <p>The article constitutes a close study of the comic play <em>På Gröna Lund</em> (1856) by Hedvig von Numers, viewed as a significant contribution to the cultural memory of Sweden’s Gustavian era (1772-1809). Building on recent research into the workings of cultural memory, the play is studied from several complementary angles. To begin with, by studying the conditions of its staging and its reception by an audience, we investigate how a feeling of historical authenticity was created. In the next step, the historical content of the play is interpreted and contextualised by relating it to popular and scholarly historiography of the period, and by studying its use of comic conventions in the service of historical representation. Taken together, these approaches show the complex workings of nineteenth century memory culture when confronted with the recent Gustavian past. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> Alfred Sjödin Johannes Heuman Hedvig Mårdh Copyright (c) 2024 Alfred Sjödin, Johannes Heuman, Hedvig Mårdh https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 129–156 129–156 10.7557/4.7384 https://new.eludamos.org/index.php/1700/article/view/7683 Jonas Lindström Copyright (c) 2024 Jonas Lindström https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 189–192 189–192 10.7557/4.7683 https://new.eludamos.org/index.php/1700/article/view/7684 Christopher Landstedt Copyright (c) 2024 Christopher Landstedt https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 193–195 193–195 10.7557/4.7684 https://new.eludamos.org/index.php/1700/article/view/7696 <div> <p class="Introduction"><span lang="EN-GB">The first textbook on midwifery </span><span lang="EN-US">written </span><span lang="EN-GB">in Icelandic was published in 1749. Its origin can be traced to </span><span lang="EN-US">several </span><span lang="EN-GB">late seventeenth- and early eighteenth-century European pioneers in </span><span lang="EN-GB">obstetrics</span> <span lang="EN-GB">and anatomy. Despite its scientific background, the book received mixed reactions from its readers</span><span lang="EN-US">,</span><span lang="EN-GB">which </span><span lang="EN-US">demonstrates</span><span lang="EN-GB"> a culture of </span><span lang="EN-US">scepticism towards change and innovation in eighteenth-century </span><span lang="EN-GB">Iceland. </span></p> </div> Bragi Ólafsson Copyright (c) 2024 Bragi Ólafsson https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 157–165 157–165 10.7557/4.7696 https://new.eludamos.org/index.php/1700/article/view/7712 Johannes Ljungberg Copyright (c) 2024 Johannes Ljungberg https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 1–4 1–4 https://new.eludamos.org/index.php/1700/article/view/7711 Johannes Ljungberg Copyright (c) 2024 Johannes Ljungberg https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 5–8 5–8 10.7557/4.7711 https://new.eludamos.org/index.php/1700/article/view/7697 Astrid Wendel-Hansen Copyright (c) 2024 Astrid Wendel-Hansen https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 166–173 166–173 10.7557/4.7697 https://new.eludamos.org/index.php/1700/article/view/7698 My Hellsing Copyright (c) 2024 My Hellsing https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 174–183 174–183 10.7557/4.7698 https://new.eludamos.org/index.php/1700/article/view/7699 Are Bøe Pedersen Copyright (c) 2024 Are Bøe Pedersen https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 184–188 184–188 10.7557/4.7699 https://new.eludamos.org/index.php/1700/article/view/7685 Lis Norup Copyright (c) 2024 Lis Norup https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 196–200 196–200 10.7557/4.7685 https://new.eludamos.org/index.php/1700/article/view/7686 Anne Sigfrid Refsum Copyright (c) 2024 Anne Sigfrid Refsum https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 201–203 201–203 10.7557/4.7686 https://new.eludamos.org/index.php/1700/article/view/7687 Elizabeth Svarstad Copyright (c) 2024 Elizabeth Svarstad https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 204–208 204–208 10.7557/4.7687 https://new.eludamos.org/index.php/1700/article/view/7688 Klaus Højbjerg Copyright (c) 2024 Klaus Højbjerg https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 209–212 209–212 10.7557/4.7688 https://new.eludamos.org/index.php/1700/article/view/7691 Valborg Lindgärde Copyright (c) 2024 Valborg Lindgärde https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 213–215 213–215 10.7557/4.7691 https://new.eludamos.org/index.php/1700/article/view/7690 Einar Hreinsson Copyright (c) 2024 Einar Hreinsson https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 216–220 216–220 10.7557/4.7690 https://new.eludamos.org/index.php/1700/article/view/7689 Jenni Merovuo Copyright (c) 2024 Jenni Merovuo https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 221–222 221–222 10.7557/4.7689 https://new.eludamos.org/index.php/1700/article/view/7692 Brita Planck Copyright (c) 2024 Brita Planck https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 223–225 223–225 10.7557/4.7692 https://new.eludamos.org/index.php/1700/article/view/7693 Johannes Ljungberg Copyright (c) 2024 Johannes Ljungberg https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 226–229 226–229 10.7557/4.7693 https://new.eludamos.org/index.php/1700/article/view/7694 Martin Wottle Copyright (c) 2024 Martin Wottle https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 230–232 230–232 10.7557/4.7694 https://new.eludamos.org/index.php/1700/article/view/7695 Kasper Kepsu Copyright (c) 2024 Kasper Kepsu https://creativecommons.org/licenses/by/4.0 2024-12-11 2024-12-11 21 233–236 233–236 10.7557/4.7695