Maria H. Oen

Maria Oen


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Arbetar vid Historiska institutionen
Besöksadress Universitetsvägen 10 D, plan 9
Postadress Historia 106 91 Stockholm

Om mig


2015 Ph.D., Konstvetenskap, Universitetet i Oslo. Avhandling: The Visions of St. Birgitta: A Study of the Making and Reception of Images in the Later Middle Ages

2010 Diplôme Européen d'Études Médiévales, Fédération Internationale des Institutes d'Études Médiévales (FIDEM), Rom

2009 M. Phil., Konstvetenskap, Universitetet i Oslo. Avhandling: Devotion and Interpretation: A Study of the Miraculous Image of SS. Annunziata in Florence and the Pictorial Understanding in the Early Modern Period

2009 Studier i latin och italienska, Universitetet i Oslo/ Det norske institutt i Roma

2006 B.A., Konstvetenskap och filosofi, Universitetet i Oslo


2017- Marie Curie Fellow vid Centrum för medeltidsstudier, Stockholms Universitet och Institutt for lingvistiske og nordiske studier, Universitetet i Oslo (finansierat av FRIPRO Mobilitetsstipend - Marie Skłodowska-Curie Actions’ COFUND (ERC) och Norges Forskningsråd)

2016-2017 Visiting Researcher vid The Warburg Institute, School of Advanced Study, University of London (Finansierat av Sven och Dagmar Saléns Stiftelses helårsstipendium för humanistisk forskning i Europa)

2015-2016 Lektor i konstvetenskap vid Stockholms Universitet (Institutionen för kultur och estetik) och vid Universitetet i Oslo (Institutt for filosofi, idé- og kunsthistorie og klassiske språk)



  • Visuell kultur under perioden ca. 1200-1550
  • Pilgrimsfärd och det heliga landet under medeltiden
  • Heliga Birgitta och Caterina av Siena
  • Medeltida handskrifter och illuminationer
  • Visioner och visuell erfarenhet
  • Konst och kunskap
  • Kultbilder
  • Medeltidens ikonografi
  • Teori och metod i studiet av medeltidens konst
  • Konst och antropologi
  • Konst och helgonkult



The Locus of Truth: Birgitta of Sweden and the Journey to Jerusalem (Finansierat av Norges forskningsråd och Marie Skłodowska-Curie Actions’ COFUND vid Centrum för medeltidsstudier, Stockholms Universitet och Institutt for lingvistiske og nordiske studier, Universitetet i Oslo, 2017-2020)

Birgitta of Sweden & Catherine of Siena: Authorship and Sanctity in the 14th Century and Beyond (Finansierat av Riksbankens Jubileumsfond vid Institutionen för Kultur och Estetik, Stockholms Universitet, 2017)



Oen, Maria H. and Unn Falkeid, Sanctity and Female Authorship in the 14th Century and Beyond: Birgitta of Sweden & Catherine of Siena, Routledge Studies in Medieval Religion and Culture (London and New York: Routledge, 2019 [under contract])

Oen, Maria H., A Companion to Birgitta of Sweden and Her Legacy in the Later Middle Ages, Brill's Companions to the Christian Tradition (Leiden and Boston: Brill, 2019 [under contract])

Oen, Maria H., “Iconography and Visions: St. Birgitta’s Revelation of the Nativity of Christ,” in The Locus of Meaning in Medieval Art: Iconography, Iconology and Interpreting the Visual Imagery of the Middle Ages, ed. L. Liepe. Studies in Iconography: Themes and Variations. Kalamazoo: Medieval Institute Publications, 2018, pp. 212-237 (ISBN 9781580443432)

Oen, Maria H., “Review of The Saturated Sensorium: Principles of Perception and Mediation in the Middle Ages, ed. by Lohfert Jørgensen, Laugerud & Skinnebach,” in Collegium Medievale 29 (2016): 143-147 (ISSN 0801-9282)

Oen, Maria Husabø, “Franciskus och visionens ikonografi,” in Mellan himmel och helvete. Bilder och berättelser från senmedeltidens Italien. Red. O. Ferm and P. Förnegård. Stockholm: Atlantis, 2015, pp. 123-151 (ISBN 9789173537209)

Oen, Maria Husabø, “Sight, Body and Imagery in the Visionary Experiences of Birgitta,” in The Birgittine Experience. Papers from the Birgitta Conference in Stockholm 2011Red. C. Gejrot, M. Åkestam och R. Andersson. Stockholm: Kungl. Vitterhets Historie och Antikvitets Akademien, 2013, pp. 190-208 (ISBN 9789174024173)

Oen, Maria Husabø, “The Origins of a Miraculous Image: Notes on the Annunciation Fresco in SS. Annunziata in Florence,” Konsthistorisk Tidskrift / Journal of Art History 80, no. 1 (2011): 1-22 (ISSN 0023 3609)


I urval från Stockholms universitets publikationsdatabas
  • 2017. Maria H. Oen.

    The paper deals with the question of Birgitta’s and Catherine’s status as authors and examines the visual representations of the two women, notably in the context of the books containing their texts. In the images of the two women found in the illuminated manuscripts, which began circulating just after their deaths in 1373 and 1380 respectively, and in the early printed copies dating to around 1500, Birgitta is generally represented with a pen in her hand, whereas Catherine is never depicted in the act of writing. This visual material emerges as a paradox when compared to the way the two women are presented in the texts. In the Revelations, Birgitta claims to be a medium and not an author, and she generally refers to herself in third person, or simply as “a person.” Catherine, by contrast, is constantly present in the first person in her letters which frequently open with “I, Catherine, write to you.” By focusing on the tension between the images of the two women and the way they are presented in their respective texts, this chapter will explore the role of the visual in shaping the notions of Birgitta and Catherine as female authors in a time when female authority was still highly controversial. The conflicting representations of their authorial role will also be connected to contemporary debates about their sanctity, where questions concerning human and divine authorship as well as ecclesiastical mediation and approval of the texts of these lay visionaries were of paramount importance. 

  • 2018. Maria H. Oen.
  • 2018. Maria H. Oen. The Locus of Meaning in Medieval Art
  • 2017. Maria H. Oen.

    A year before the Jubilee of 1350, the Swedish noblewoman Birgitta Birgersdotter left her home country for Rome never to return. After having become a widow in her mid-forties, Birgitta had converted to a religious life. The past three years before setting off on her Roman pilgrimage, she had been a lay affiliate of the Cistercian monastery of Alvastra, where she had gained the support of the prior Petrus Olavi. In this paper I shall argue that the city of Rome plays a significant role, both for Birgitta and for Prior Peter, who among others would later campaign for her sanctity, in transforming her from a mulier religiosainto a mulier sancta. It was during the period of more than two decades that Birgitta’s lived in Rome that the Liber coelestis Revelacionum, which would soon represent her primary claim to sanctity,took shape. By analysing the Revelacionesand the proceedings from Birgitta’s canonization process, initiated in Italy immediately after her death in Rome in 1373, I shall demonstrate that the sacred topography of the city, its concrete buildings, relics and artworks, not only provides the contents, protagonists and the mise-en-scène of a number of Birgitta’s visions, but her physical presence at the specific Roman shrines is also employed by her supporters as an effective argument in favour of her sanctity.

  • 2018. Maria H. Oen.
Visa alla publikationer av Maria Oen vid Stockholms universitet

Senast uppdaterad: 30 januari 2019

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