Suchergebnisse

Beginning with expressions such as ideographs, the author's autograph, and the copyist's autograph, this paper explains the dilemma of some Late Medieval Manuscripts in Slovenian collections that were mistakenly identified as being the author's own textual creation. The main part of this paper focuses on three mid-15th-century copyists: Martin of Loka, Matjaž Jurčič of Kapela, and Herman Talner of Trebnje. Because each of them added the name of their hometown to their signature, all three can be recognized as hailing from Slovenian places. Martin of (Škofja) Loka was an erudite man, and this is evident from his texts he wrote in German, Slovenian and Latin, as well as from his many forms of scripts. Matjaž Jurčič of Kapela was probably a freelance artist, and the colophon to his copy of an epic poem contains an inscription in Latin, German and Provençal. Working in a remote location, the third, Herman Talner, copied a lengthy politically-oriented poem for Lord Ludvik of Castle Kozjak. At the end of their work all three added colophons which provide valuable information about these individuals and the conditions in which they worked. ; Prispevek se uvodoma ustavlja ob izrazih, kot so ideograf, avtograf pisatelja in avtograf prepisovalca, ter pojasnjuje dileme ob nekaterih poznosrednjeveških rokopisih iz slovenskih zbirk, ki so bili pomotoma opredeljeni kot avtografi pisateljev. Osrednji del prispevka je namenjen predstavitvi treh prepisovalcev iz sredine 15.stoletja: to so Martin iz (Škofje) Loke, Matjaž Jurčič iz Kapele in Herman Talner iz Trebnjega. Vse tri lahko prepoznamo kot osebe iz slovenskih krajev, ker so k svojemu imenu dodali ime domačega kraja. Martin iz (Škofje) Loke je bil mož velikega znanja, kar je razvidno iz njegovih samostojno sestavljenih glos, pisal je v nemščini, slovenščini in latinščini v več oblikah pisav; Matjaž Jurčič iz Kapele je bil najbrž svobodni ustvarjalec, ki je prepis epske pesnitve zaključil s kolofonom v latinščini, nemščini in provansalščini; Herman Talner pa je v nekem oddaljenem kraju prepisoval obsežno politično-programsko pesnitev za gospoda Ludvika z gradu Kozjak. Vsi trije so na koncu svojih prepisov dodali kolofone, ki so dragoceni podatki o njih samih in delovnih okoliščinah.

This article provides an overview of censorship and book bans in Austria between 1751 and 1848. It is based on the catalogues and lists of banned manuscripts and books and the available censorship regulations and censors' protocols; moreover, the most important persons involved in censorship such as Gerard van Swieten, Count Sedlnitzky, and Metternich are introduced, and their impact on the book trade is shown. From an instrument encouraging Enlightenment and defending morality during the reign of Maria Teresa and Joseph II, censorship became a major factor of political repression after the French Revolution. The focus moved from the protection of Catholicism against Protestant "heresy" and superstition to the defense of monarchy against liberalism and nationalism. The aim of enlightening the citizens and promoting their happiness pursued during the second half of the eighteenth century was replaced by the will to maintain the "peace" of the state and suppress any ideas that confounded its interests. ; Razprava preučuje cenzuro in prepovedi knjig v Avstriji med letoma 1751 in 1848. Temelji na katalogih in seznamih prepovedanih rokopisov in knjig ter razpoložljivih predpisih o cenzuri in cenzorskih protokolih; poleg tega so predstavljene najpomembnejše osebe, vpletene v cenzuro, kot so Gerard van Swieten, grof Sedlnitzky in Metternich, in prikazan njihov vpliv na knjižni trg. Od instrumenta, ki je spodbujal razsvetljenske ideje in branil moralo, kar je bilo značilno za vladavino Marije Terezije in Jožefa II., je cenzura po francoski revoluciji postala glavni dejavnik politične represije. Težišče se je premaknilo z zaščite katolištva pred protestantsko herezijo« in vraževerjem k obrambi monarhije pred liberalizmom in nacionalizmom. Cilj razsvetljenja državljanov in spodbujanje njihove sreče, ki ga je zasledovala cenzura v drugi polovici 18. stoletja, sta nadomestila volja po ohranjanju »miru« države in za-tiranje vseh idej, ki so bile v navzkrižju z njenimi interesi.