Fran Maselj - Podlimbarski je v Gospodinu Franju (1913) kritično naslikal razmere v okupirani Bosni. Roman je po začetku vojne ljubljansko sodstvo zapieniło in odredilo uničenje naklade, češ da avtor ...hujska zoper avstrijsko oblast. Slovenska matica je bila razpuščena, njeno premoženje pa zaplenjeno. Hude sankcije so zadele tudi Maslja, kije marca 1915 izgubil čin stolnika inje bil jūnija 1916 kot »veleizdajnik« izgnan v Pulkau, kjer je umri septembra 1917. Razprava analizira Masljevo tragično zgodbo in razloge za njegovo preganjanje.
Razprava obravnava literarno ustvarjanje Andreja Šusterja - Drabosnjaka (1768-1825) in njegov ne povsem pojašnjeni konflikt z oblastmi v začetku 19. stoletja, ki je koroškega bukovnika močno prizadel ...tako gmotno kot ustvarjalno. Izkaže se, da je Drabosnjak utegnil biti za cenzuro problematičen, ker je prevajal in razpečeval prepovedane ali nezaželene knjige, še zlasti pa bi znala biti sporna kritična mesta v njegovih ilegalno tiskanih brošurah Svovenji obace in Latania.
Razprava obravnava dobro znano zgodbo o Prešernovi poeziji in Šenoovi avtobiografski noveli Karamfil sa pjesnikova groba (1878), a vanjo vstopa z nove perspektive. Po eni strani zasleduje ...transformacijo gorske krajine v mitski kraj slovenstva, ki je potekala v starejši slovenski poeziji, hkrati pa Šenoovo nacionalno »spreobrnitev« obravnava v širšem kontekstu evropskega kulturnega nacionalizma in komemorativnih kultov pesnikov.
Razprava raziskuje dinamiko odnosov med protagonisti slovenske zgodovinske avantgarde in protagonisti jugoslovanskega zenitizma. Vezi med bratoma Micić in ljubljanskimi »labodovci« so se vzpostavile ...ob izdaji Svetokreta (1921), predhodnika Zenita (1921-1926), a sodelovanje je sprva ostajalo skromno. Zenitizem s svojimi mednarodnimi ambicijami in povezavami je slovenske avantgardiste informiral in občasno navdihoval, resno sodelovanje pa se je začelo šele s »konstruktivističnim« Tankom (1927).
This article examines the role of the so-called Novo Mesto Spring movement, particularly the role of the poet Anton Podbevšek, on the dynamics of Slovenian avant-garde art in the first decade after ...the World War I. It outlines Podbevšek's controversial rise to celebrity status soon after his arrival in Ljubljana in 1920, his extraordinary influence on contemporary young poets, reflected in the literary contributions to the first issue of the magazine Trije labodje (The Three Swans, 1922), and, finally, analyzes Podbevšek's irrevocable decline after 1925. Podbevšek's (self)destructive behavior in this period proves to be among the important reasons why the attempt to consolidate Slovenian historical avant-garde art, which might have taken place around The Three Swans, failed.
In January 1921, Svetokret, the first radical avant-garde magazine in the newly founded Kingdom of Serbs, Croats, and Slovenes, was launched in Ljubljana by Virgil Poljanski (1898-1947). This unique ...edition was a herald of Zenit (1921-1926), a mouthpiece of the ambitious zenitist movement, embodied by Poljanski's elder brother Ljubomir Micić (1895-1971). This article examines the dynamics of relations between the protagonists of the Slovenian interwar avant-garde and the leading zenitists, as documented in correspondence, newspaper reports, and, above all, in the magazine and publishing production of the avant-garde movements themselves. In the first phase, these relations revolved around Anton Podbevšek and his group, which had gathered around the Trije labodje magazine (The Three Swans, 1922), but cooperation remained limited. In the second, more productive phase, zenitist ideas were partially embraced by the group of Slovenian constructivists led by Avgust Černigoj and Ferdo Delak. Zenitism and its magazine were certainly an important source of information and inspiration for Slovenian avant-garde artists (e.g., the poet Srečko Kosovel) but, despite several attempts, the cooperation did not produce lasting results before Zenit was banned in 1926. In 1927, the Ljubljana-based Tank magazine, edited by the ambitious Delak and supported by Micić, tried to continue the zenitist legacy. Unfortunately, its existence was short-lived.
The article explores (posthumous) veneration and canonisation of poets and writers in Europe with a special focus on those features that connect such veneration to various religious traditions. ...Departing from poets hero cults in Ancient Greece, it briefly surveys the veneration of poets in early modern Europe and goes on to review in more detail the essential developments during the long nineteenth century that brought commemoration to the forefront like no period before or after. Paying particular attention to commemorations most distinctive features, such as the cult of centenary and the statuary fever, it outlines its ritual dimensions that bind it with the veneration of religious saints. At the end, it discusses the connections of commemoration culture with nation-building and analyses the rise of national poets as paradigmatic cultural saints.
The media landscape of the Habsburg Monarchy in the pre-March period was relatively meagre. In Carniola and other Austrian crownlands with a Slovenian population, the opportunities for literary ...development were limited: this is well evidenced by the ban on the publication of
Slavinja
in mid-1820 as well as by the many conflicts
Krajnska čbelica
(‘The Carniolan Bee’) had with censorship in the early 1830s. The modesty of literary activity in Slovenia at this time is often related to the low level of education and literacy among the population, discontinuity in the development of literary culture, and the general underdevelopment of the emerging Slovenian literary and media systems. However, imperial censorship also decisively contributed to this state of affairs. This article therefore outlines the functioning of the pre-March censorship apparatus at the state and local levels, showing how the censorship office in Vienna (headed by the count Josef Sedlnitzky) systematically blocked attempts to establish Slovenian-language periodicals (
Slavinja
,
Slovenske novice
‘Slovenian News’ with its supplement
Zora
‘The Dawn’, and
Ilirske novice
‘Illyrian News’ with its supplement
Ilirski Merkur
‘The Illyrian Mercury’) and how local factors were involved in these processes. It is argued that the power to ban a newspaper had a much stronger impact on the Slovenian press than the activities of local or state censorship. In particular, the long struggle to establish
Kmetijske in rokodelske novice
(‘Agricultural and Handicraft News’) between 1838 and 1843 testifies to the early tendency of the imperial censorship apparatus to block the respective national(ist) agendas.
Nacionalistični »enfant terrible Dović, Marijan
Jezik in slovstvo (Tiskana izd.),
04/2024, Letnik:
69, Številka:
1-2
Journal Article
Recenzirano
The relentlessly critical writer Fran Levstik, one of the central figures in Slovenian literature and politics in the decades following the March Revolution of 1848, was also one of the intellectuals ...of his time who suffered most from censorship. His first volume of poetry, Poems (1854), was harshly suppressed for alleged blasphemy, and his militant nationalist articles in the 1860s led to many publishers receiving lawsuits, heavy fines, and even prison sentences. While Levstik’s literary works were never subject to official censorship during his lifetime this eventually happened after his death with the play Tugomer, originally written by Josip Jurčič, but transformed by Levstik into an opus magnum of Slovenian nationalism.
Nepopustljivo kritični Fran Levstik, ena središčnih osebnosti slovenske literature in politike v desetletjih po marčni revoluciji, je bil tudi z vidika cenzure med najbolj izpostavljenimi intelektualci svoje dobe. Že njegov prvenec Pesmi (1854) je bil zaradi domnevne bogokletnosti grobo zatrt, njegovi bojeviti nacionalistični članki v 60. letih 19. stoletja pa so številnim urednikom nakopali tiskovne pravde, visoke globe in celo zaporne kazni. Medtem ko za življenja Levstikova literarna dela niso bila predmet uradne cenzure, se je to po njegovi smrti zgodilo z igro Tugomer, ki jo je po Jurčičevi predlogi ravno Levstik predelal v opus magnum slovenskega nacionalizma.
Konec 19. stoletja je slovensko literarno polje pretresel nastop novoromantične umetniške generacije. Med začetniki slovenske »moderne« je daleč največ prahu dvignil Ivan Cankar s pesniško zbirko ...Erotika – njen izid je namreč pospremil odmeven recepcijski škandal. Cankarjev knjižni prvenec, pristni sadež pesništva slovenske dekadence, je takoj po izidu marca 1899 večinoma pokupil in požgal ljubljanski škof Anton Bonaventura Jeglič. Poseg, ki ga je liberalni tisk izkoristil za frontalni napad na »inkvizicijsko« mentaliteto klerikalnega tabora, je ambicioznega mladega literata postavil v središče zanimanja kot znanilca erotične revolucije v slovenski poeziji. Razprava uvodoma oriše potek slovite cenzurne epizode, nato pa s pozornim branjem Erotike – zlasti najbolj problematičnega cikla »Dunajski večeri« – pokaže, zakaj je zbirka morala v ogenj. Kot se izkaže v nadaljevanju s pomočjo kratke primerjave s sodno prepovedanimi pesmimi iz Baudelairejevih Rož zla, razvpitega škofovega posega v resnici ni mogoče označiti za cenzuro v strogem smislu, saj za njim ni (več) stal represivni državni aparat: Jeglič se v tej epizodi bolj kot omnipotentni inkvizitor izkaže kot karikirani cenzor brez dejanske izvršne moči. Cankarja so kot angažiranega pisatelja resnično boleči posegi uradne cesarske cenzure doleteli šele nekaj let pozneje.
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