On Censorship of Literature in the Pre-March Period

我的研究考察了维也纳三月前时期公民文化的独特特征，这种特征是由于审查制度与言论和新闻自由的区别而形成的。首先，在我的研究过程中，我意识到，审查和抵制的对立结构在所谓的“梅特涅体系”的戏剧政策与与戏剧有关的人的活动之间的冲突中表现得相当明显，这些人主要为弗朗茨二世(I)皇帝统治下的戏剧的生产和表演做出了贡献。通过对这一冲突的分析，我进而考察了维也纳戏剧文化的发展和崩溃。早在维也纳会议(1814-1815)开始之前，弗朗茨皇帝就宣布了各种法律，这些法律基本上包括与戏剧和表演有关的法规和禁令。然而，在臭名昭著的“解决…更多的卡尔斯巴德”(1819年)之前公布的规定的内容与禁令的内容相似。例如，《剧院规则》(1800)和《在剧院工作的警察条例》(1803)规定了更严格的资格，其主要目的是限制有关剧院运营和观众行为和举止的自由。这种审查的趋势进一步加强，导致禁止即兴戏剧和儿童芭蕾舞(1821年)。这种审查制度从1826年达到了最高水平，当时即使是政治上温和的文学圈子“路德兰肖尔”也被迫解散，直到1829年，就在巴黎七月革命之前。在这一时期，舒伯特、鲍恩菲尔德和格里帕泽的各种歌剧或戏剧经常被禁止。另一方面，以审查制度为代表的政府的压迫措施促使许多知识分子移民到北美，这也是一个历史事实。这带来了一个积极的讽刺结果，他们中的一些人为欧洲和美国的文化交流做出了贡献。(例如，查尔斯·希尔斯菲尔德和尼古拉斯·勒诺)更少

My study examines the unique charakteristics of the civil culture in the pre-March period of Vienna which developed due to the distinction between censorship and freedom of speech and press. I realized, first, in the process of my research that the oppositional structure of censorship and resistance appears quite obviously in the conflict between the theatre-policy of the so called "Metternich system" and the activities of those associated with theatre, who contributed mainly to the production of dramas and to their performance under the reign of Emperor Franz II (I). As a result of the analysis of this conflict, I then came to examine the development and breakdown of the theater culture of Vienna. Emperor Franz announced long before the beginning of the Congress of Vienna (1814-1815) various kinds of laws, which essentially consisted of regulations and bans related to the theater and performance. However, the contents of the regulations that were made known before the notorious "Resol … More ution of Karlsbad"(1819), are similar to those of bans. For example, the "theatrerules" (1800) and the "regulations for policemen working in the theatre"(1803) consist of closer qualifications, which have a main aim of restriction of freedoms concerning the running of theater and the behavior and manners of audience. This tendency of censorship was intensified further resulting in a ban on improvised theater and the ballet of children (1821). This type of censorship reached its highest level from the year 1826, when even the politically moderate literary circle "Ludlamshohle" was forced to dissolve, till 1829, just before the July Revolution in Paris. In this period, various kinds of operas or dramas of Schubert, Bauernfeld and Grillparzer were often prohibited.On the other hand, it is also an historical fact that the oppressive measures of the government represented by censorship propelled many intellectuals into emigration to, for example North-America. This brought a positively ironical result that some of them contributed to the cultural intercommunication between Europe and America. (e. g., Charles Sealsfield and Nikolaus Lenau) Less