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  • 1. Blennow, Anna
    et al.
    Fogelberg Rota, Stefano
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Appendix I: must-see monuments - the Colosseum in guidebooks through the centuries2019Ingår i: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow and Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, s. 339-344Kapitel i bok, del av antologi (Refereegranskat)
  • 2. Blennow, Anna
    et al.
    Fogelberg Rota, Stefano
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Appendix II: itineraries through Trastevere from the Middle Ages to the twentieth century2019Ingår i: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow och Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, s. 345-348Kapitel i bok, del av antologi (Refereegranskat)
  • 3. Blennow, Anna
    et al.
    Fogelberg Rota, Stefano
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Introduction2019Ingår i: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow och Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, s. 1-32Kapitel i bok, del av antologi (Refereegranskat)
  • 4. Fogelberg Rota, Stefano
    A Heroic Queen: Christina in the Panegyrics of Her French and Italian Poets2017Ingår i: Revue d'histoire Nordique, ISSN 1778-9605, nr 24, s. 79-96Artikel i tidskrift (Refereegranskat)
  • 5.
    Fogelberg Rota, Stefano
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Dancing virtue: educational aspects in Queen Christina’s court ballets2018Ingår i: Virtue Ethics and Education from Late Antiquity to the Eighteenth Century / [ed] Andreas Hellerstedt, Amsterdam: Amsterdam University Press, 2018, 1, s. 113-134Kapitel i bok, del av antologi (Refereegranskat)
    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.

  • 6.
    Fogelberg Rota, Stefano
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Fioravante Martinelli's Roma ricercata nel suo sito and his 'lettore forastiero'2019Ingår i: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow och Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, s. 163-196Kapitel i bok, del av antologi (Refereegranskat)
  • 7.
    Fogelberg Rota, Stefano
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    "The Queen danced alone": court ballet in Sweden during the reign of Queen Christina (1638-1654)2018 (uppl. 1)Bok (Refereegranskat)
    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.

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