Slagmark - Tidsskrift for idéhistorie 2022-01-31T14:14:46+01:00 Slagmarks redaktion Open Journal Systems Hvad er middelalderisme? – Redaktionelt forord 2022-01-31T11:52:31+01:00 Eva Krause Jørgensen Berit Kjærulff 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Drømmen om middelalderen 2022-01-31T12:53:22+01:00 Umberto Eco Finn Frandsen <p>Umberto Eco oversat af Finn Frandsen, første gang bragt i Slagmark #5</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Det stof som middelalderen er gjort af – Om Game of Thrones-tapetets middelaldermediering 2022-01-31T13:46:35+01:00 Ane Preisler Skovgaard <p>The Game of Thrones Tapestry is a hand-woven and hand-embroidered tapestry&nbsp;which depicts key moments from the HBO TV series Game of Thrones in the style&nbsp;of the Bayeux Tapestry. By analysing particular aspects of its imagery and materiality,&nbsp;the article states that the Game of Thrones Tapestry confirms the way that the&nbsp;Middle Ages are also depicted in the TV series as a time of brutality, barbarism&nbsp;and permeable grotesque bodies, or in short, as the contrast to Modernity. With&nbsp;reference to Art historian Hans Belting’s image theory, it is suggested that one way&nbsp;in which the tapestry confirms this idea of the Middle Ages is through the properties&nbsp;of its medium because as a symbolic body it resembles the Grotesque Body by&nbsp;being permeable and transformable. Because of the tapestry’s ability to mediate the&nbsp;conception of the Middle Ages that characterises the fictional world of Game of&nbsp;Thrones in general, the article proposes that the tapestry can be regarded as a very&nbsp;suitable medium for the images of Game of Thrones which may also explain why&nbsp;this tapestry was created.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Middelalderisme og erindring – Oehlenschläger og den nordiske mytologi 2022-01-31T13:49:36+01:00 Pernille Hermann <p><span class="Apple-converted-space">&nbsp;</span>This article investigates points of intersection between medievalism and memory. It&nbsp;mainly focuses on the formative period of the 19th<span class="Apple-converted-space">&nbsp;</span> century when the Norse past, the&nbsp;so-called Viking Age, as well as Old Norse mythology became integral parts of Danish&nbsp;national identity. The article homes in on Adam Oehlenschl.ger’s rejuvenation&nbsp;of the mythological materials and his reflections on the usefulness of the local mythologies,&nbsp;both for a national spirit and for poetic renewal. It is demonstrated that&nbsp;19th<span class="Apple-converted-space">&nbsp;</span> century medievalism, with its focus on mythology, essentially was a project of&nbsp;cultural memory, that is, of recollecting knowledge from culture’s childhood, and,&nbsp;additionally, that poetry, and with that imagination, plays a prominent role for the&nbsp;construction of a meaningful past.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Modernitetens sine qua non – Islamisk middelalderfilosofi og moderne reformisme 2022-01-31T13:54:54+01:00 Mattias Gori Olesen <p>The trope that modern Europe , emerging from its Dark Ages, is indebted to the Islamic&nbsp;Middle Ages is widespread. The article traces this ‘Islamic medievalism’ back to&nbsp;Muslim discourses of the late 19th<span class="Apple-converted-space">&nbsp;</span> and early 20th<span class="Apple-converted-space">&nbsp;</span> century. Focusing on the Egyptian&nbsp;intellectual Muhammad Lutfi Jum’a’s (1886-1953) portrayal of medieval Islam and&nbsp;its philosophers as well as his mobilization of these within a reformist ideology,&nbsp;it argues the following: Firstly, that Jum’a’s medievalism, perceiving medieval Islamic&nbsp;philosophy as the sine qua non<span class="Apple-converted-space">&nbsp; </span>of European modernity, is indebted to readings&nbsp;of European orientalist histories of philosophy, demonstrating how medievalism&nbsp;emerged from a global discursive formation. Secondly, that Jum’a mobilized the&nbsp;medievalist argument and the philosophers to argue for the possibility of an alternative&nbsp;counter-modern Muslim and Eastern modernity where the materialist and&nbsp;disenchanting tendencies of European modernity are negated – a vision he shared&nbsp;with other so-called Easternist thinkers, who conceived of Muslim countries as belonging&nbsp;to a broader East ranging from North Africa to Japan.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Middelalders helter og Norsk nasjonalisme før andre verdenskrig 2022-01-31T13:57:33+01:00 Karl Christian Alvestad <p>A prominent feature of Norwegian nationalism in the second half of the nineteenth&nbsp;century and in the first half of the twentieth century was its use of Norway’s Viking&nbsp;and medieval history. This use is visible in Norwegian popular and political culture&nbsp;of the period with, among other things, the Norwegianization of city names and the&nbsp;emergence of the Dragon style. This article examines the role of commemoration&nbsp;of Viking heroes in Norwegian street names and memory sites in the period 1850-1940. In doing so, the article identifies who were remembered, when and where,&nbsp;and shows how there was an increase in Viking and medieval street names in the&nbsp;lead-up to 1900. The article also shows how the Norwegian population embraced&nbsp;and partook in the remembrance of these heroes through the case studies of the&nbsp;restoration of Trondheim Cathedral for 1930 and the construction of Haraldshaugen&nbsp;monument in 1872. By comparing these case studies with the spread of street&nbsp;names referencing the medieval, this article shows how there is a correlation between&nbsp;the increase in street names and the popular contributions to the construction<span class="Apple-converted-space">&nbsp;</span>of national memorials which suggests an increased participation in the national&nbsp;community. This shows the link between the spread of nationalism and medievalism&nbsp;in Norway in the period leading up to the Second World War opening the way&nbsp;to examine Norwegian medievalism as a component of the popularisation of the&nbsp;idea of an independent Norway.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 På slagmarken med prins Otto – Kønsballade hos B.S. Ingemann i 1835 2022-01-31T14:00:55+01:00 Lone Kølle Martinsen <p>In his historical novel from 1835, Prince Otto of Denmark and his Time , the poet&nbsp;Bernhard Severin Ingemann (1789-1862) established the unknown, yet historical&nbsp;character, Prince Otto of Denmark (1310-1346) as the hero of the novel. This choice&nbsp;has puzzled critics ever since, due to the fact that Prince Otto seems less a potential&nbsp;king than his brother Valdemar IV (1320-1372) who actually became a king&nbsp;of Denmark. Georg Brandes (1842-1927) claimed that Otto mirrored Ingemann’s&nbsp;persona as weak and feminine, a “monk” not suited for kingship. In his ridicule of&nbsp;Prince Otto and Ingemann, Brandes reveals his ideas about gender, masculinity and&nbsp;femininity, but as this article seeks to show, such ideas are tied to time and place.&nbsp;Read from the distance of 2019, Ingemann’s feminine medieval hero might seem&nbsp;more modern and progressive than Brandes would have him. In this sense, the&nbsp;article is a piece of “queer medievalism”.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Middelalderen som politisk middel i den spontan-abstrakte danske kunst 2022-01-31T14:03:23+01:00 Jens Tang Kristensen <p>With particular focus on Danish artists Henry Heerup (1907-1993), Carl-Henning&nbsp;Pedersen (1913-2007) and Asger Jorn (1914-1973), this article illustrates how&nbsp;spontaneous-abstract artists in World War II-era Denmark helped to perpetuate an&nbsp;idealized image of the Middle Ages as a homogeneous and unspoiled social order.&nbsp;It is argued that these artists took medieval culture to represent an uninhibited,&nbsp;irrational art, which they believed had somehow remained unsullied and beyond<span class="Apple-converted-space">&nbsp;</span>the exploitation of modern society’s political and capitalist powers. It is further demonstrated&nbsp;that these artists’ idealizations tended to project onto the Middle Ages&nbsp;certain ideas about collectivization and the potentials of institutional critique; these&nbsp;commentaries resonated deeply with the volatile war and post-war political climate&nbsp;of their own times as well and had a clear lineage in earlier movements such as&nbsp;Gothic Revival, Arts and Crafts, Art Nouveau and Symbolism. This article thus posits&nbsp;that the medievalism in and of Danish spontaneous-abstract art can no longer&nbsp;be seen as independent of and unrelated to the medievalisms of the eighteenth and&nbsp;nineteenth centuries.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Gralen, kætterne og korstoget – Myter og middelalderisme i Languedoc 2022-01-31T14:05:59+01:00 Trine Imer Kappel <p>The Languedoc region between the River and the Pyrenees is renowned for&nbsp;its medieval history. Or rather, its special version of medievalism. This article seeks&nbsp;to explain how and why the Albigensian Crusade (1209-1229) and the heretical Cathars&nbsp;came to be intertwined with myths about the Holy Grail after World War I by&nbsp;examining three different definitions of medievalism by Eco, Gentry &amp; Müller, and&nbsp;Matthews. The theories approach medievalisms from different perspectives, but&nbsp;they all pay special attention to the political usage of medievalisms, which can be&nbsp;detected in all corners of the Albigensian Crusade historiography and fictional literature.&nbsp;This shows that a special Occitanian medievalism-hybrid has been created,&nbsp;which is constantly being developed and highlighted by both literature, myths and&nbsp;the region’s tourism industry. Finally, the article argues that the perceptions of medieval&nbsp;Languedoc and the myths surrounding the area reflects the challenges and&nbsp;political reality of the authors’ own time and experiences.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Frihed og kong Valdemar! – Politisk middelalderisme i Levin Christian Sanders Niels Ebbesen af Nörreriis (1797) og Malthe Conrad Bruuns ”Niels Ebbesen. Tyrandræberen” (1797) 2022-01-31T14:08:35+01:00 Berit Kjærulff <p>In the 1790s, the Danish publicity abounded with debate about freedom, republican&nbsp;ideas, and the Danish monarchy. This debate did not express itself as much in critique&nbsp;of the Crown as in terms of discursive attempts to reconcile republican ideas&nbsp;with the Danish absolute monarchy. In this article, it is argued that contemporary&nbsp;literature was an important instrument for carrying out such considerations. The&nbsp;article examines the use of the Danish medieval freedom fighter Niels Ebbesen to&nbsp;discuss the conditions of freedom under absolute rule in two pieces of literature.&nbsp;The article argues that Bruun’s ode “Niels Ebbesen. Tyrandræberen” (1797) dismisses&nbsp;the possibility of freedom under monarchy and suggests that the ode’s medievalism&nbsp;might have been a contributing factor in preventing legal proceedings against&nbsp;it (unlike other of Bruun’s state critical literature). It further argues that Sander’s&nbsp;drama Niels Ebbesen of Nörreriis<span class="Apple-converted-space">&nbsp; </span>(1797) uses medieval history to represent an ideal&nbsp;form of government which unites conditions for republican freedom with Danish&nbsp;monarchy. The overall argument is, then, that the two pieces of literature serve to&nbsp;unfold political considerations pertinent to the contemporary society.</p> 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Hvem taler om sejr? 2022-01-31T14:11:51+01:00 Kristoffer Granov 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Hvad vil det sige at være et dyr? 2022-01-31T14:14:46+01:00 Jacob Lautrup Kristensen slagmark@ç 2019-06-25T00:00:00+02:00 Copyright (c) 2022 Post-religiøs religionskritik, samtidsdiagnostik og et ko-immunitært fællesskab – Postkort fra Peter Sloterdijk 2022-01-31T14:13:20+01:00 Erik Sporon Fiedler 2019-06-25T00:00:00+02:00 Copyright (c) 2022