Auswahl der wissenschaftlichen Literatur zum Thema „King Carl XVI Gustaf“

On December 10, 2018, I was sitting among the big crowd of audience, as one of the invited guests to the ceremony, in the Stockholm Concert Hall. When King of Sweden Carl XVI Gustaf bestowed the diploma and medal of Nobel Prize of Physiology or Medicine 2018 on Dr. Tasuku Honjo and shook his hand for a while, surrounded by the thunderous applause and energetically blessing orchestral music, I thought that it had been a long journey for the molecule that we had first isolated in the early 1990s. Although it was truly a commemorable moment in the history of the programmed death-1 (PD-1) research, I believe we still have a long way to go. In this review article, I will explain why I think so, particularly by focusing on the potential role(s) that PD-1 appears to play in self-nonself discrimination by the immune system.

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I denna studie analyseras kung Carl XVI Gustafs kommunikation och hantering av media i samband med den kris som utspelade sig efter att boken Carl XVI Gustaf – den motvillige monarken publicerats. Utifrån den post som kung Carl XVI Gustaf besitter och som finansieras av svenska skattemedel finns det ett samhällsintresse i att studera och granska kungahuset närmare. Denna studie tar upp ett tämligen outforskat perspektiv nämligen kung Carl XVI Gustafs kriskommunikation. Det material som ligger till grund för analysen är de tre tillfällen där han mötte media i samband med utgivandet av boken. De teorier som ligger till grund för denna studie är faller inom kriskommunikation och retorik. Eftersom boken behandlar kung Carl XVI Gustafs privatliv diskuteras också gränsdragningen mellan privat och offentligt samt hur kriser kan påverka förtroendet. Den metod som brukas är Karlberg och Mrals retoriska analysmodell. Studien visar att kung Carl XVI Gustaf till en början har en mer avslappnad och humoristisk ton i sin retorik. Detta står i kontrast med den mer formella och ansträngda retoriken som kung Carl XVI Gustaf brukar senare i sin krishantering. Utifrån rådande riktlinjer inom kriskommunikation rekommenderas att agera snabbt och föra en tydlig dialog vilka är två aspekter som kung Carl XVI Gustaf bryter mot. Av Benoits försvarsstrategier använder kung Carl XVI Gustaf ett flertal men förnekelsestrategin är den som brukas i högst utsträckning.
This study analyzes how His Majesty the King Carl XVI Gustaf communicated and managed media concerning the crisis that took place in connection with the publication of the book Carl XVI Gustaf – den motvillige monarken. Due to the fact that he is king of Sweden and that his work is financed by Swedish taxpayers there is a public interest in studying him and the royal family closer. This study touches on a rather unexplored perspective, namely His Majesty the King Carl XVI Gustaf’s crisis communication. The material that creates the foundation for this study is the three times where he meets media in connection with the publication of the book. The theories used to create the foundation in this study are rhetoric and crisis communication. Due to the fact that the book mentions things from his private life a discussion concerning private and public will be held and how crises might have an impact on trust. The method that will be used is Karlberg and Mral’s rhetorical analysis model. The study shows that His Majesty the King Carl XVI Gustaf at first has a more relaxed and humorous rhetoric. This stands in contrast to the more formal and strained rhetoric used later in his crisis management. According to current guidelines in crisis communication organizations are recommended to act fast and keep a clear communication, two aspects that he seems to go against. Of Benoit’s defense strategies His Majesty the King Carl XVI Gustaf seems to use several, although the denial strategy seems to be the most frequently used.

This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris.                      To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of  Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study.                                When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus.  A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of  succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809.                                                       Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit.         Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.

The purpose of this essay is to examinate the statements and verbal attributions of King Carl

XVI Gustaf of Sweden in the early 2000’s. More exactly I’ve got two question formulations:

Which statements does king Carl XVI Gustaf of Sweden make during the early 2000’s and are these

statements, in line with the king’s attributions, non-political, party-politically neutral and noncontroversial

according to different perspectives? Question number two is if there are to find any

boundaries for where the verbal attributions of Carl XVI Gustaf seem to go when he expresses himself in

the role as the king of Sweden and the chief of state in the early 2000’s. My procedure is to read the

Christmas speeches of Carl XVI Gustaf during the 2000’s and use former beheld statements of Carl XVI

Gustaf to seek answers to the research questions. My conclusions are that the king does make political

as well as party-political statements according to different perspectives. The king sometimes speaks

fondly about EU, advocates multiculturalism, praises the family as a social building block and embellishes

the Swedish monarchy. According to different perspectives these notions cannot be seen as nonpolitical

nor party-politically neutral because in some questions different opinions are prevailed among

parliament parties and other bigger parties in Sweden. However, the statements of the king can hardly

be seen as controversial since his statements often rest upon strong common values and national unity.

The verbal boundary of Carl XVI Gustaf is floating and cannot be unravelled, but it’s possible to approach

the truth with three cores: 1. The king can encourage, although not tell how something is to be

done. 2. The king shall keep within the national unity and common values. 3. It’s not always enough with

Swedish national unity, nor shall Carl XVI Gustaf butt in discussions that undermines the relations with

other countries.

Syftet med undersökningen är att analysera och jämföra Carl XVI Gustafs och Stefan Löfvens tal till nationen angående covid-19 pandemin. De retoriska dragen jag har valt att grunda min undersökning på är ethos, pathos och logos, dispositio samt topikerna kausalitet och definition. De retoriska medlen används för att visa hur de används i en retorisk krissituation och vilka likheter eller skillnader det finns mellan talarna.            Resultatet visar att både Löfven och Carl Gustaf samspelar med ethos, pathos och logos. Skillnaden på dispositionen mellan talarna är att Löfven avviker från Renbergs standardposition medan Carl Gustaf följer den. Definitions- och kausalitetstopiker används av båda talare för att framställa logos och pathos och beskriva orsak och konsekvenser samt definiera vad de egentligen pratar om.            Slutsatsen utifrån resultatet visar att Löfven använder sig mest av pathos och logos medan Carl Gustaf fokuserar mest på ethos och pathos. Undersökningen visar att båda talare använder topiker men att defintionstopiker förekommer oftare än kausalitetstopiker i talen. I dispositionen använder både Löfven och Carl Gustaf två argument tillsammans med ett motargument.

The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.

The aim of this paper is to examine how the press describes the public and private role of the Swedish monarch in texts that report about the biography Carl XVI Gustaf – den motvillige monarken (Sjöberg et al. 2010) when it is published in November 2010. The examined period ranges between the days just before the release and a fortnight after. The analysis is limited to standard Swedish papers: a daily, Svenska Dagbladet, and an evening paper, Expressen. Questions asked in the study are: In what ways do the analysed texts raise a discussion about the monarchy’s importance or function in the society of today, that is a public debate on the monarchy? To what extension are status symbols used in the constructing of royalty, that is what Jürgen Habermas (2003) describes as representative publicity? What similarities and differences are found when comparing the news articles in the daily and in the evening paper? The method used to answer the aim and questions is the critical discourse analysis, as Norman Fairclough (1995) describes it, and the theoretical perspective of the essay is Jürgen Habermas’ (2003) theory about the bourgeois public sphere. The result shows that the news articles in the daily unsurprisingly construct only a public who wants to debate on the monarchy. The evening paper instead addresses its readers both as cultural consumers, which the study sees as representative publicity, and as civilians who want to discuss the monarchy’s importance or function of today’s society. Important to notice is that when the evening paper is challenging the monarchy it’s always made in an implicit manner. The public role of the monarch is in both the daily and the evening paper said to be powerful and his public role is said to influence his private role in different ways. It is also obvious that the focus in Expressen is upon the most intimate sphere of the privacy of the monarch. The description of the private room is important here, in addition the spatial portraying uses status symbols when constructing royalty. Finally, the analysis shows that the monarch simultaneously portrays both as an ordinary human being and as a very special person in exclusive surroundings. Earlier research has proved that Swedish media wants to describe royalty like this.