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Otte Sperling den yngres latinske Leonora Christina-biografi (ca. 1690)
Pub Date : 2023-01-13 DOI: 10.7146/fof.v61i.135601
Sebastian Olden-Jørgensen
Sebastian Olden-Jørgensen: Otto Sperling the younger’s Latin biography of Leonora Christina (ca. 1690)Sebastian Olden-Jørgensen: The Danish antiquarian Otto Sperling the younger (1634‑1715) worked for most of his life on a manuscript titled ‘De foeminis doctis’, now in the collection of the Royal Library, shelfmark GKS 2110 quarto, which containedshort biographies of a total of 1,399 learned women from all ages and nations (cf. Fund og Forskning, 2012, pp. 187‑212). One of these is Leonora Christina (1621‑1698), the daughter of Christian IV and his morganatic wife, Kirsten Munk, and a major figure in Danish literature thanks to her prison narrative Jammers Minde and her so-called ‘French Autobiography’. Sperling’s Latin biography focuses on her literary achievements and contains information not found elsewhere. It has been known to scholarship for generations, and a partial translation from the eighteenth century exists in manuscript, but the text has never been published, probably because it consists of 24 pieces distributed over 18 different pages between pp. 306 and 401 of vol. I of the manuscript. It is here edited and translated into Danish for the first time, and it is argued that Sperling composed it on the basis of a series of interviews with the ageing Leonora Christina after her release from prison in 1685. In other words, Sperling functioned as Leonora Christina’s ghostwriter, and the text should really be considered autobiographical and placed alongside the Jammers Minde and her French Autobiography as an authentic expression of her personality.
Sebastian Olden-Jørgensen:丹麦古物学家Otto Sperling the younger(1634 - 1715)一生中大部分时间都在撰写一份名为“De foeminis doctis”的手稿,现收藏于皇家图书馆,书架号为GKS 2110四开,其中包含了来自各个年龄和国家的1,399名学识渊博的女性的简短传记(参见Fund og Forskning, 2012, pp. 187 - 212)。其中之一是利奥诺拉·克里斯蒂娜(1621 - 1698),她是克里斯蒂安四世和他的妻子克尔斯滕·蒙克的女儿,她是丹麦文学史上的重要人物,这要归功于她对监狱的叙述Jammers Minde和她所谓的“法国自传”。斯珀林的拉丁文传记着重于她的文学成就,并包含了在其他地方找不到的信息。几代学者都知道它,手稿中有18世纪的部分翻译,但文本从未出版过,可能是因为它由24个片段组成,分布在手稿第一卷306页和401页之间的18个不同的页面上。这本书是第一次被编辑和翻译成丹麦语,有人认为斯珀林是根据对年老的利奥诺拉·克里斯蒂娜(Leonora Christina) 1685年出狱后的一系列采访创作的。换句话说,斯珀林充当了利奥诺拉·克里斯蒂娜的代笔人,这本书应该被认为是自传体的,并与《Jammers Minde》和她的法语自传并列,作为她个性的真实表达。
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引用次数: 0
En engelsk bogskat i Det Kgl. Bibliotek, Aarhus
Pub Date : 2023-01-13 DOI: 10.7146/fof.v61i.135603
A. Westphall
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引用次数: 0
“Vi har tæmmet Rejselystens ubændige Tiger for en Stund”
Pub Date : 2023-01-13 DOI: 10.7146/fof.v61i.135604
Thomas Hvid Kromann
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引用次数: 0
Skibe på et hav af manuskripter: om Håndskriftsamlingens skibe
Pub Date : 2023-01-13 DOI: 10.7146/fof.v61i.135606
Thomas Strømsholt, Lone Marie Broxgaard
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引用次数: 0
Ingeniøren og de ægyptiske mumier: En kioskbasker fra 1910’erne
Pub Date : 2023-01-13 DOI: 10.7146/fof.v61i.135602
T. Christiansen
Thomas Christiansen: The Engineer and the Egyptian Mummies: A Scoop from the 1910s The article contains a wealth of new and valuable information on important ancient Egyptian objects that are today housed and on display in the Ny Carlsberg Glyptotek in Copenhagen and the Museum of Ancient Art (Antikmuseet) in Aarhus. Using Mediestream – a service provided by the Royal Library that allows you to access and search more than 35 million digitised Danish newspaper pages – it tells the curious story of a Danish engineer, Jacob Kjeldsen (1873‑1914), and three ancient Egyptian mummiesand coffins from the 21st Dynasty (c. 1070‑950 BCE). From the study of these newspapers it emerges that, during a trip to Egypt in 1910, Kjeldsen had acquired three mummies and coffins in Luxor from Mohammed Abd er-Rasul – a son of the infamous antiquities dealer Mohammed Ahmed Abd er-Rasul – who had discovered them in a tomb in Deir el-Bahari. Shortly after Kjeldsen’s return to Copenhagen, descriptions of the objects began to circulate in the press, and ValdemarSchmidt (1836‑1925), the first Danish Egyptologist, acquired the coffin and mummy of a priest of Amun by the name of Khonshotep for the Ny Carlsberg Glyptotek (inv. ÆIN 1069). During the autumn of the same year, Kjeldsen tried to sell his two remaining mummies, both female priestesses of Amun, and their coffins to the Museum of Aarhus (Aarhus Museum), but without success. Instead, they were impounded and auctioned off by the town magistrate in 1912, because Kjeldsen owed money to a patent office inCopenhagen. This is the last reference to the two mummies in the newspapers, until one of them cropped up out of the blue in Aarhus. In 1950 the newspapers reported that an industrialist, Ivan Lystager (1904‑1985), had donated an Egyptian mummy and coffin to the newly founded Museum of Ancient Art in Aarhus. The name, Taubasti, and titles, ‘Lady of the House’ and ‘Chantress of Amun’, inscribed on the coffin (inv. O 303) leave no room for doubt that it and the accompanying mummy once belonged to Kjeldsen. A letter in the archives of the museum informs us that Lystager had bought them in an antiquities shop in Copenhagen in 1939. The fate of Kjeldsen’s last mummy and coffin and their current whereabouts are still unknown. From the newspapers it can be deduced that the coffin stems from the same period (the 21st Dynasty) and was made for a woman, who also bore the titles ‘Lady of the House’ and ‘Chantress of Amun’, and probably answered to the name of Tamit. Because of onomastics and the fact that the three coffins all derive from the same period and were made for members of clergy of Amun in Thebes, it is likely that Mohammed Abd er-Rasul found the three mummies interred together in an unknown family tomb in Deir el-Bahari in 1910. The article is therefore supplemented with an appendix, which provides a catalogue of the names and titles inscribed in hieroglyphs on the two coffins in the Ny Carlsberg Glyptotek and the Mu
托马斯·克里斯蒂安森:工程师和埃及木乃伊:从20世纪10年代的独家报道这篇文章包含了丰富的新的和有价值的信息,关于重要的古埃及物品,今天被安置和展示在哥本哈根的新嘉士伯雕刻博物馆和奥胡斯的古代艺术博物馆(Antikmuseet)。使用Mediestream——一项由皇家图书馆提供的服务,可以让你访问和搜索超过3500万份数字化的丹麦报纸页面——它讲述了丹麦工程师雅各布·凯尔森(Jacob Kjeldsen, 1873 - 1914)和三具21王朝(公元前1070 - 950年)的古埃及木乃伊和棺材的奇妙故事。从对这些报纸的研究中可以看出,在1910年的一次埃及之旅中,凯尔森从臭名昭著的古董商穆罕默德·艾哈迈德·阿卜杜勒·拉苏尔的儿子穆罕默德·阿卜杜勒·拉苏尔那里获得了卢克索的三具木乃伊和棺材,他在代尔巴哈里的一个坟墓里发现了这些木乃伊和棺材。Kjeldsen回到哥本哈根后不久,关于这些物品的描述开始在媒体上流传,ValdemarSchmidt(1836 - 1925),第一位丹麦埃及古物学家,为Ny Carlsberg Glyptotek (inv. ÆIN 1069)获得了一位名叫Khonshotep的阿蒙牧师的棺材和木乃伊。同年秋天,凯尔森试图把他剩下的两具木乃伊(都是阿蒙女祭司)和她们的棺材卖给奥胡斯博物馆(奥胡斯博物馆),但没有成功。然而,1912年,由于凯尔德森欠哥本哈根专利局的钱,它们被镇政府扣押并拍卖了。这是报纸上最后一次提到这两具木乃伊,直到其中一具突然出现在奥胡斯。1950年,报纸报道实业家Ivan Lystager(1904 - 1985)向奥胡斯新成立的古代艺术博物馆捐赠了一具埃及木乃伊和棺材。棺材上的名字,Taubasti和头衔,“房子的夫人”和“阿蒙的女祭司”(inv. O 303)让人毫无疑问,它和随行的木乃伊曾经属于凯尔森。博物馆档案中的一封信告诉我们,利斯塔格是1939年在哥本哈根的一家古董店买的。凯尔森最后的木乃伊和棺材的命运以及他们目前的下落仍然未知。从报纸上可以推断出,这个棺材来自同一时期(21王朝),是为一位女性制作的,她也有“房子的夫人”和“阿蒙的女祭司”的头衔,可能是塔米特的名字。由于这三具棺材都来自同一时期,是为底比斯的阿蒙教神职人员制作的,因此很可能是1910年穆罕默德·阿卜杜勒·拉苏尔在代尔巴哈里的一个不知名的家族墓穴中发现了这三具木乃伊。因此,这篇文章附有一个附录,其中提供了在新嘉士伯雕刻博物馆和古代艺术博物馆的两具棺材上以象形文字铭刻的姓名和头衔的目录。希望它能帮助研究人员在世界各地的国家和私人古埃及收藏中寻找现在丢失的棺材和木乃伊(以及可能来自同一坟墓的其他墓葬)。
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引用次数: 0
Kamante og Lulu i Amerika
Pub Date : 2023-01-13 DOI: 10.7146/fof.v61i.135605
Sonny Ankjær Sahl
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引用次数: 0
Små bøger med vidtfavnende forgreninger - erhvervelser til Judaistisk Samling
Pub Date : 2022-01-25 DOI: 10.7146/fof.v60i.130501
Eva-Maria Jansson
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引用次数: 0
Den første grønlandske bog
Pub Date : 2022-01-25 DOI: 10.7146/fof.v60i.130495
F. Nielsen, Thorkild Kjærgaard
Flemming A. J. Nielsen And Thorkild Kjærgaard:The First Greenlandic Book Ever since the arrival of Norse peasants in south-west Greenland in the second halfof the tenth century there have been links between the immense island (2.2 millionkm2) in the north-eastern corner of the American hemisphere and the Scandinavianworld. At the end of the twelfth century, the ancestors of today’s Inuit, a whale- andseal-hunting people speaking a language of the Eskimo-Aleut group, migrated fromEllesmere Island across the narrow Smith Sound to northern Greenland. Within twoand a half centuries, the Norse peasants had, it seems, been exterminated by the Inuit,but Greenland was never forgotten in Scandinavia. In the European world it was generallyrecognised that Greenland was Norwegian territory. In 1380 Norway enteredinto a union with Denmark, and the dream of restoring connections with Greenlandtherefore became a shared Danish-Norwegian dream, although it seemed less and lesspracticable as time went by and the Davis Strait between Baffin Island and Greenlandbegan to teem with Dutch and British whalers and trading ships.However, in 1721 the course of history changed. A Norwegian priest, Hans Egede(1686‑1758), who had been offering his services for more than a decade, was appointed‘Royal Missionary in Greenland’ and was given the necessary support for an expeditionaiming to re-establish the old connection and to reintroduce Christianity into Greenland.Egede’s Greenlandic adventure succeeded, and over the course of the eighteenthcentury Greenland was reintegrated, bit by bit, into the multicultural, multinationalDanish-Norwegian state and society.In 1814 Norway was divided as a result of the Napoleonic Wars. Mainland Norway(what we know as Norway today) was ceded to Sweden while the remote Norwegianislands in the North Atlantic (Greenland, the Faroe Islands and, until 1944, Iceland)were annexed to the kingdom of Denmark.Being a true officer of the Danish-Norwegian empire, where every child had tobe taught to read and appreciate Luther’s Small Catechism, Egede struggled fromthe outset with the exotic Greenlandic language, not just to learn to speak a vaguelyunderstandable ‘kitchen-Greenlandic’ but also to acquire the deeper understandingof phonetic and grammatical structures that was needed in order to develop a writtenversion of the language.During Egede’s fifteen years in Greenland (1721‑36), all the documents pertainingto the mission were handwritten. This was true also for the basic Christian texts inGreenlandic which Egede and his helpers began to produce and distribute among thegrowing number of converts from as early as 1723. Back in Copenhagen in 1736, Egede founded the so-called Seminarium Groenlandicum. The purpose of this institution wastwofold: to teach basic Greenlandic to new missionaries and catechists before they wentto Greenland, and to produce books printed in Greenlandic in order to have a moremajor and focused impact on Greenlandic society than
自从挪威农民在10世纪下半叶到达格陵兰西南部以来,这个位于美洲半球东北角的巨大岛屿(220万平方公里)与斯堪的纳维亚世界之间就一直存在着联系。12世纪末,今天的因纽特人的祖先,一个说爱斯基摩-阿留申族语言的捕鲸和海豹的民族,从埃尔斯米尔岛穿过狭窄的史密斯海峡迁移到格陵兰岛北部。在两个半世纪内,挪威农民似乎被因纽特人灭绝了,但格陵兰岛在斯堪的纳维亚半岛从未被遗忘。在欧洲,人们普遍认为格陵兰岛是挪威的领土。1380年,挪威与丹麦联合,恢复与格陵兰岛的联系的梦想因此成为丹麦和挪威共同的梦想,尽管随着时间的推移,巴芬岛和格陵兰岛之间的戴维斯海峡开始充斥着荷兰和英国的捕鲸船和商船,这个梦想似乎越来越不现实。然而,在1721年,历史的进程改变了。一位名叫汉斯·埃格德(Hans Egede, 1686 - 1758)的挪威牧师已经为格陵兰岛提供了十多年的服务,他被任命为“格陵兰岛的皇家传教士”,并得到了必要的支持,以进行一次旨在重建旧联系并将基督教重新引入格陵兰岛的远征。埃格德的格陵兰探险成功了,在18世纪的过程中,格陵兰一点一点地重新融入了多元文化、多民族的丹麦-挪威国家和社会。1814年,挪威因拿破仑战争而分裂。挪威大陆(即我们今天所知的挪威)被割让给瑞典,而北大西洋上偏远的挪威群岛(格陵兰岛、法罗群岛,以及直到1944年的冰岛)则被并入丹麦王国。作为丹麦-挪威帝国的一名真正的官员,在那里,每个孩子都必须被教导阅读和欣赏路德的小教义问答,埃格德从一开始就努力学习异国的格陵兰语,不仅要学会说一种模糊可理解的“厨房格陵兰语”,还要获得对语音和语法结构的更深层次的理解,这些都是为了发展这种语言的书面版本所需要的。在埃格德在格陵兰的15年(1721 - 36)期间,所有与这次任务有关的文件都是手写的。从1723年开始,埃格德和他的助手们就开始制作并分发给越来越多的皈依者的英格兰基本基督教文本也是如此。1736年,埃格德回到哥本哈根,创立了所谓的格伦兰德神学院(Seminarium Groenlandicum)。这个机构的目的是:在新传教士和传道员去格陵兰之前,向他们教授基本的格陵兰语,并生产用格陵兰语印刷的书籍,以便对格陵兰社会产生更重要和更集中的影响,而不是用手写文本获得的零星影响,手写文本需要不断地通过一遍又一遍的辛苦复制来改变。作为该计划的一部分,格陵兰语出版的第一本书是一本拼写书,其中包含基于路德的小教义问答的阅读练习,以及从丹麦语翻译的祈祷和八首赞美诗,由Egede编写并于1739年在哥本哈根印刷并于同年送往格陵兰。作为格陵兰书面文化和印刷文化之间的桥梁,这本小书标志着格陵兰早期现代的一个重要里程碑。到目前为止,人们只从不确定的和难以捉摸的书目来源中了解到它——怀疑的声音甚至怀疑它是否存在过,但最近在皇家图书馆的藏书中找到并确认了这本书的两本。我们的文章对这本书进行了深入的研究:它是如何被遗忘的,它是如何被重新发现的,它的内容的性质以及它的印刷布局的细节。汉斯·埃格德到达格陵兰岛后不到一个世纪,格陵兰岛西部的几乎每个人都学会了读写,当地的方言也成为了一种文学语言。后来,在1861年,格陵兰岛的第一份报纸成立了。它从一开始就是由热切讨论自己事务的格陵兰人编写和编辑的。这些讨论的结果是,分散在这个幅员辽阔但人口稀少的岛屿上的个人群体融合成了一个国家。而且,由于埃格德和他的许多后继者在整个18世纪和19世纪的努力,格陵兰语今天是唯一一种被使用者用于任何目的的美洲本土语言,无论是文学、流行音乐、政府、教堂礼拜还是立法。
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引用次数: 0
Hvad blev der af Julemandshæren? Om arkivering af flygtige scenekunstformer 圣诞老人军团怎么了?关于将短暂的表演艺术形式存档
Pub Date : 2022-01-25 DOI: 10.7146/fof.v60i.130499
Anna Lawaetz
Anna Lawaetz: Whatever Happened to the Santa Claus Army?On Archiving Ephemeral Theatre Forms Since the 1960s there has been a paradigm shift in the theatre towards a post-dramatictheatre, in which the playtext is not the most important basis for the staging but is partof an interplay with other parameters such as visuals, sound, and movement. This poseschallenges to traditional archival strategies that rely on the playtext. New collectionstrategies are required to ensure this cultural heritage is preserved.This study takes as its starting point a work that goes beyond the unities of action,time and place and challenges the collection strategies the most: The Santa Claus Army(Julemandshæren) by the theatre group Solvognen (1968‑83). The performance tookplace over five days in the Copenhagen area in December 1974, and was included inthe Cultural Canon in 2006 as an important contribution to Danish culture. The studyexamines only records preserved at The Royal Danish Library due to the legal depositact, as the Special Collection Department made no further acquisitions. Two sources areidentified in the study: first, contemporary and subsequent recollections, and second,works based on material from The Santa Claus Army that paraphrase the original. Thestudy compares the so-called repertoire, the oral narrative of the event, and the archivalrecords and highlights the differences. It furthermore shows how the re-staging of thework in 2006 by a younger artist is based mainly on the so call repertoire.The Santa Claus Army is well documented, although no playtext was collected. Theperformance is unfortunately not representative as Solvognen systematically used themedia to promote and enlarge their work. The main scoop of this study is that itshows how Solvognen are over-represented in contemporary and later media coveragethrough the legal deposit act compared to other theatre groups in the 1970s. This callsfor reflections on collection strategies. A revision of the legal deposit act is proposedas well as archival strategies known from other performing arts archives.
安娜·洛瓦兹:圣诞老人军团到底怎么了?自20世纪60年代以来,剧院出现了一种向后戏剧剧场的范式转变,在这种转变中,剧本不是舞台最重要的基础,而是与视觉、声音和动作等其他参数相互作用的一部分。这对依赖剧本的传统档案策略提出了挑战。需要新的收藏策略来确保这一文化遗产得到保护。本研究以一部超越动作、时间和地点的统一性并对收藏策略提出最大挑战的作品为出发点:索尔瓦格尼恩剧团(1968 - 83)的《圣诞老人军团》(julemandshø ren)。该演出于1974年12月在哥本哈根地区进行了为期五天的演出,并于2006年作为对丹麦文化的重要贡献被列入《文化佳典》。由于特别收藏部没有进一步的收购,这项研究只检查了由于法定保管而保存在丹麦皇家图书馆的记录。研究确定了两个来源:第一,当代和后来的回忆,第二,根据《圣诞老人军队》的材料改写原著的作品。该研究比较了所谓的曲目,即事件的口头叙述和档案记录,并强调了两者的差异。此外,它还展示了2006年由一位年轻艺术家重新上演的作品是如何主要基于所谓的保留剧目。虽然没有收集到剧本,但圣诞老人军队的记载很好。不幸的是,这一表现并不具有代表性,因为Solvognen系统地利用媒体来宣传和扩大他们的作品。这项研究的主要独家新闻是,它显示了与20世纪70年代的其他戏剧团体相比,通过法律存款法案,Solvognen在当代和后来的媒体报道中是如何被过度代表的。这需要对收集策略进行反思。并提出了对《法定保管法》的修改,以及借鉴其他表演艺术档案的归档策略。
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引用次数: 0
Forsynet, giftermålspolitikken og døden i leilighetsdiktningen til Københavns boktrykker-klan Godiche, Høpffner, Berling og Møller
Pub Date : 2022-01-25 DOI: 10.7146/fof.v60i.130496
Walter Baumgartner
Walter Baumgartner: Forsynet, giftermålspolitikken og dødeni leilighetsdiktningen til Københavns boktrykker-klan Godiche, Høpffner,Berling og Møller At the beginning of the eighteenth century four of the most important publishinghouses in Copenhagen were owned by a clan of printers that included immigrantsfrom Germany: Høpffner, Godiche, Berling and Glasing/Møller. My case study examinesthe occasional poetry written for weddings, apprentices’ final examinationsand bereavements. This genre, which has always been considered as of little value, ishere taken seriously, with its roots in baroque rhetoric and poetics. It is accorded anaesthetic value and various social and identity-building functions. This is utilitarianpoetry (Gebrauchslyrik) for the prosperous artisan class, which circulated privately orsemi-publicly in the form of elaborately designed single sheets or small booklets. Theauthors were often students or poets who wanted to earn some money. In addition tothe explicit content, symptomatic gaffes and omissions shed light on facts and problemsconcerning ‘das ganze Haus’, the (consanguineous) marriage, the succession, religionand the breaking down of the guild system. The baroque repertoire of topoi and formssoon became inadequate to deal with more recent social and aesthetic developments,and occasional poetry gradually declined after 1800.
18世纪初,哥本哈根最重要的四家出版社由一个印刷家族所有,其中包括来自德国的移民:Høpffner、Godiche、Berling和Glasing/Møller。我的案例研究考察了为婚礼、学徒期末考试和丧亲之痛偶尔写的诗。这种流派,一直被认为是没有价值的,在这里被认真对待,其根源在于巴洛克修辞和诗学。它被赋予麻醉价值和各种社会和身份建构功能。这是为富裕的工匠阶级创作的实用主义诗歌(Gebrauchslyrik),以精心设计的单张或小小册子的形式私下或半公开地传播。作者通常是想赚钱的学生或诗人。除了明确的内容外,有症状的失语和遗漏也揭示了有关“组织之家”、(近亲)婚姻、继承、宗教和行会制度崩溃的事实和问题。巴洛克风格的主题和形式很快就不足以应对最近的社会和美学发展,偶尔的诗歌在1800年后逐渐衰落。
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