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The starting point of the article is some important characteristics of the sonnet: the bipartite structure of form and content, argumentation and justification of the poet's insight, and the revival of the sonnet in late 18th and 19th century - the period marked by historism as a spiritual and art phenomenon. Using exaples from the Slovene narrative prose of the second half of the 19th century, Prešeren's sonnets and premises of literary, history, linguistic methods of analysis are applied in an attempt to show that in historism the three features comes together and that the mixture begins to dissolve only in the pre-modernist (Kersnik, Tavčar) and modernist period. Izhodišče razprave predstavljajo nekatere pomembne značilnosti soneta: oblikovna in vsebinska dvodelnost, argumentacija oziroma utemeljevanje pesnikovega spoznanja in oživitev sonetne oblike ob koncu 18. in v 19. stoletju - obdobju , ki ga je zaznamoval duhovni in umetnostni pojav historizma. Razprava skuša na zgledih iz slovenske pripovedne proze v drugi polovici 19. stoletja, Prešernovih sonetov in na podlagi umetnostnozgodovinskih spoznanj z jezikoslovnimi metodami dokazati, da so v historizmu vse tri značilnosti med seboj povezane in da se ta zmes začne razkrajati šele s predhodništvom moderne (Kersnik, Tavčar) in s samo moderno.

Magistrsko delo predstavlja umetnostnozgodovinsko obravnavo poslopja nekdanjega kranjskega deželnega dvorca, ki je v Ljubljani nastalo na prelomu iz 19. v 20. stoletje. V uvodnem besedilu je avtor omenjeno tematiko v krajšem sestavku umestil v zgodovinski kontekst. V prvem poglavju se je posvetil orisu razvoja proučevanja arhitekture 19. stoletja (zlasti historistične) v slovenski umetnostni zgodovini in pregledu preteklih raziskav o poslopju, ki je predmet magistrskega dela. V drugem poglavju je avtor obravnaval ožji prostor, v katerem je obravnavano poslopje nastalo s poudarkom na ilustraciji urbanističnih sprememb v tem prostoru med koncem 17. in sredino 20. stoletja. Tretje poglavje obsega pregled ključnih javnih naročil v Ljubljani v zadnji petini 19. in na začetku 20. stoletja, s posebnim oziroma na vprašanje slogovnega okusa takratnih naročnikov javne arhitekture. Četrto poglavje predstavlja obravnavo zgodovinskih pisnih virov, ki pričajo o naročniškem procesu za izgradnjo nekdanjega kranjskega deželnega dvorca. Peto poglavje obsega obravnavo načrtov za nekdanji kranjski deželni dvorec, ki so jih prispevali štirje različni arhitekti. V šestem poglavju je avtor obravnaval izvajalce gradbenih in drugih del, ki so sodelovali pri izgradnji novega deželnega poslopja. V zadnjem poglavju so zbrani podatki o preteklih obnovah obravnavanega poslopja, ki osvetljujejo vprašanje o stopnji ohranjenosti njegove prvotne zasnove. The master's thesis presents an art-history analysis of the parliament building of Duchy Carniola, which was built in Ljubljana at the turn of the 19th century. In the short introductory text, the author placed the mentioned subject in historical context. The first chapter outlines the development of the study of the 19th century architecture (especially the architecture of historicism) in Slovenian art-history. In addition there is a review of past research on the parliament building of Carniola. In the second chapter, the author examined the immediate surroundings in which the discussed building was created with an emphasis on the illustration of urban changes in this area between the end of the 17th and the middle of the 20th century. The third chapter includes an overview of key public commissions in Ljubljana in the late 19th and early 20th century, with a special focus on the style of these public commissions. The fourth chapter presents various historical written sources which testify to the commissioning process for the construction of the Carniolian parliament building. The fifth chapter presents the plans for the building, which were contributed by four different architects. In the sixth chapter, the author examines the work of the builders that collaborated in the construction of the new provincial building. Finally, the last chapter, presents the particulars from the past renovations of the given building, which highlights the degree of conservation of its original design.

Diplomsko delo obravnava podobo ptujskega magistrata in njegovo gradnjo. V diplomskem delu je najprej v celoti predstavljena stavba, nato pa dejavniki, ki so botrovali k sami izgradnji magistrata. Ti so povezani s političnim ozadjem takratnega časa, tj. začetka 20. stoletja. V diplomskem delu so predstavljene razmere, ki so bile prisotne na Ptuju v času proti koncu 19. in v začetku 20. stoletja. Sledi predstavitev takratnega župana, Josefa Ornika, ki je takrat veljal za zelo pomembno ptujsko osebnost. Bil je zaslužen za takratni razvoj mesta, vendar je njegova politika bila naravnana protislovensko. Najobsežnejši del diplomskega dela je namenjen poteku gradnje ptujskega magistrata. Predstavljeni so dejavniki, ki so pripomogli k pričetku gradnje novega magistrata na Ptuju. Predstavljen je tudi arhitekt, ki je magistrat na Ptuju zgradil, Dunajčan Max Ferstel. Pričetek gradnje ptujskega magistrata je bil zelo odmeven tudi v tujini, saj je 24. januarja 1906, s podpisom župana Josefa Ornika, bil objavljen nagradni razpis Mestne občine Ptuj za izdelavo idejnih načrtov za mestno hišo. Odziv je bil dober, saj je prispelo 67 načrtov. V drugi polovici diplomskega dela obravnavamo načrte, ki so bili nagrajeni od 2. do 5. mesta. V prvem nadstropju ptujskega magistrata se nahaja Galerija magistrat, ki je s svojim delovanjem pričela leta 1994. Galerija je pričela delovati na pobudo tedanje oblasti, saj so ptujski likovniki velikokrat izrazili željo po prostoru, kjer bi lahko razstavljali. Diplomsko delo je dopolnjeno s slikovnim gradivom in arhitekturnimi načrti. The diploma thesis deals with the overall image and the construction of the City Hall of Ptuj. First, the thesis describes the characteristics of the whole building, and then it presents the factors which contributed to its construction. These factors are linked to the political background of the time when the construction took place that was at the beginning of the twentieth century. I have presented the situation in the city of Ptuj in the late nineteenth and early twentieth century. This is followed by the presentation of the then Mayor Josef Ornik who was considered a very important personality in Ptuj he has made notable contributions to the development of the city, however, his policy was anti-Slovene. The largest portion of my diploma thesis is devoted to the construction of the City Hall of Ptuj. I have outlined the factors that contributed to the start-up of the construction of the new City Hall and presented the Viennese architect Max Ferstel who designed it. The construction of the City Hall was important topic at home and abroad. On January 24, 1906, with the Mayor Josef Ornik’s signature, the City Municipality launched the call for conceptual design proposals for the construction of the City Hall. The response was good a total of 67 conceptual designs were submitted. In the second half of my thesis I discuss the designs which ranked second through fifth. On the first floor of the City Hall, the Magistrat Gallery is located. At the initiative of local authority, the gallery opened its door in 1994, thus giving the local artists an exhibition place to display their work. The diploma thesis is complemented by pictorial material and architectural plans.

Narodne domove so na Slovenskem gradili od konca 19. stoletja pa vse do začetka 20. stoletja. Prvi narodni dom, ki so ga uredili v stari stavbi, je nastal na Ptuju, nato pa so mu sledili še Narodni dom v Celju, Mariboru, Ljubljani, Trstu… Glavni razlog za nastajanje narodnih domov je bilo dokazovanje slovenskosti v mestih in obuditev narodne zavesti pri Slovencih. Večina narodnih domov je bila zgrajena v historističnih slogih, zgledovali pa so se po dunajskih in čeških vzorih. Narodni dom je zasnoval češki arhitekt Jan Vladimír Hráský. Kot reakcija na gradnjo narodnih domov in poudarjanje slovenstva, so Nemci v času nacionalnih sporov, ki so bili posebej izraziti prav na celjskem območju, začeli graditi nemške hiše oziroma nemške domove (Celje, delo avstrijskega arhitekta je Petra Paula Branga, Ptuj, Brežice). Nemške hiše so gradili v t. i. staronemškem slogu (altdeutsch). Stavbe s poudarjenimi neogotskimi značilnostmi so delovale kot gradovi z vogalnimi stolpi in so s svojo precej členjeno fasado prikazovale strogost, ki je bila značilna za utrdbe. Narodni domovi in nemške hiše so bile namenjene prirejanju različnih kulturnih in družabnih prireditev ter zborovanjem različnih si društev. Pomembnost stavb poudarja njihova lokacija, saj stojijo na pomembnejših delih mesta ali vhodih v mesto ter so s svojo monumentalnostjo in pomembno lego v mestu ponazarjajo bodisi slovenski bodisi nemški pečat. National Halls in Slovenia began to build in the period from the late 19th century to the early 20th century. The first National Hall was created in Ptuj, which was renovated in the old building, followed by National Halls in Celje, Ljubljana, Maribor, Brežice, Trieste … The main reason for the emergence of National Halls was the affirmation of the Slovenian national character in the cities and the revival of national consciousness among Slovenians. Most National Halls were built in the historical architectural style and were inspired by the Czech models. The National Hall in Celje was designed by the Czech architect Jan Vladimír Hráský. During national conflicts between Slovenian and Germans, which were especially strong in Celje, the Germans began to build German Houses (the German House in Celje, the plan of the Austrian architect Peter Paul Brang, the German Houses in Ptuj and Brežice) as a reaction to the emergence of National Halls as a sign of the strength of the Slovenian character. The German Houses were built in an old German style (altdeutsch). Buildings with neo-gothic characteristics were similar to castles with corner towers and a façade resembling that of a fortress. National Halls and German Houses had the purpose of organizing various cultural and social events and meetings of various societies. The importance of the buildings was emphasized by their location in the important parts of the city or at the entrance to the city, with their position and monumentality functioning as an important symbol of the Slovenian or the German mark.

Diplomsko delo obravnava arhitekturno plastiko na historističnih zgradbah v Mariboru, pri tem se osredotoča na figuralno arhitekturno plastiko, tj. kipe in reliefe, omenjena pa je tudi dekorativna arhitekturna plastika. Zaradi boljšega razumevanja teme je na začetku predstavljeno obdobje historizma in pojasnitev pojma arhitekturna plastika. Sledi predstavitev desetih izbranih historističnih zgradb in opis kiparskih del, ki se pojavljajo na fasadah teh zgradb: Slovensko narodno gledališče Maribor (1864), Pošta Maribor (1894), Prva gimnazija Maribor (1871─1873), Srednja šola za gostinstvo in turizem Maribor (1913/14─1916), OŠ bratov Polančičev Maribor (1895), OŠ Prežihovega Voranca Maribor (1905), gospodarsko stanovanjsko poslopje (1896) na Partizanski c. 77, večstanovanjska hiša (1899) na vogalu Aškerčeve ul. 2 in Ul. Heroja Staneta 18, Friedrigerjeva vila oz. vila Transilvanija (1910) na Mladinski ul. 45 (1927) ter stanovanjska vila na Kosarjevi ul. 41. Diplomsko delo se osredotoča na prepoznavanje in interpretacijo kipov in motivov, upodobljenih na reliefih, ter na povezovanje teh kiparskih del z vlogo oz. funkcijo posamezne stavbe ali njenim naročnikom. Nadalje ugotavlja stanje raziskav in primerja mariborsko historistično arhitekturno plastiko z ostalimi po Sloveniji. Dotika se tudi vprašanja avtorjev in izvajalcev kiparskih del ter morebitnih vzorov. Graduation thesis discusses architectural sculpture on historicist buildings in Maribor, it focuses on figurative architectural sculpture, i.e. statues and reliefs, but it also mentions decorative architectural sculpture. At the beginning of this paper historicism as a period and the term architectural sculpture are explained for better understanding of the theme. This is followed by a presentation of the ten chosen historicist buildings and a description of the sculptural works located on the facades of these buildings: Slovene National Theatre Maribor (1864), Post office Maribor (1894), Prva gimnazija Maribor (1871─1873), Secondary School for Catering and Tourism Maribor (1913/14─1916), Polančič Brothers Primary School in Maribor (1895), Prežihov Voranc Primary School in Maribor (1905), a commercial residential building (1896) on Partizanska c. 77, an apartment block (1899) on the corner of the streets Aškerčeva ul. 2 and Ul. Heroja Staneta 18, villa Friedriger, also known as villa Transilvanija, (1910) on Mladinska ul. 45, and lastly, a residential villa (1927) on Kosarjeva ul. 41. The graduation thesis centres on recognising sculptures and motifs on the reliefs, their interpretation, and their connection with the function of each of these buildings or their owners. Furthermore, it establishes the state of research and compares historicist architectural sculpture in Maribor with other similar works in Slovenia. It also touches on the question of authors and sculptors/stonemasons and on any possible patterns.

Tovarne, ki so delovale konec 19. in na začetku 20. stoletja na Slovenskem, so največ vzorov oblikovanja prejemale od sočasnih slogovnih tokov v uporabni umetnosti, ki so jih narekovale predvsem angleške, tržaške, dunajske in graške tovarne. V drugi polovici 19. stoletja je bil najbolj razširjen umetnosti slog historizem, konec 19. in na začetku 20. stoletja pa se je v Evropi pojavila nova slogovna usmeritev, ki je poudarjala preprostost oblike in okrasa, tudi po neposrednem zgledu prazgodovinske umetnosti. Narekovala so jo gibanja kot je Arts and Crafts v Angliji. Vplivi teh reform slovenskega prostora niso zares dosegli. V 30. letih 20. stoletja se je tudi na področju keramike uveljavil nov slog art deco. Oblikovalci slovenske maloserijske in serijske keramike pa motivov niso povzemali le po tujih vzorih, temveč so bili tudi plod njihovih lastnih zamisli in povzemanja folklornega okrasa. Morebiten vir individualnosti je bila lahko tudi bogato okrašena prazgodovinska keramika. Zato je eden od ciljev naloge ugotoviti, ali lahko v produkciji slovenske keramične industrije s konca 19. in začetka 20. stoletja zaznamo navezavo na preprostost lokalne prazgodovinske motivike. Za primerjavo sem na eni strani analizirala okras na prazgodovinski keramiki s 17 slovenskih najdišč, ki je bila na ogled na razstavah slovenskih muzejev konec 19. in na začetku 20. stoletja, in na drugi strani motiviko, ki se je pojavljala na sočasni slovenski serijski keramiki. Nabor motivov na sodobni keramiki sem oblikovala na podlagi analize produkcije osmih tovarn keramike na Slovenskem. Po pregledu obeh skupin motivov se je izkazalo, da lahko primerjamo le osem osnovnih motivov, ki se pojavljajo tako na prazgodovinski kot sodobni serijski keramiki. Vsi sodijo v preprosto geometrijsko motiviko in so univerzalni, saj se pojavljajo znotraj skoraj vseh kultur. Nekoliko pogosteje geometrijsko motiviko zasledimo le na keramiki v slogu art deco iz 30. let 20. stoletja, predvsem na izdelkih iz prvih desetletij 20. stoletja tovarne Dekor v Ljubljani in J. Klemenčič v Novem mestu. Poenostavljena motivika na serijski in maloserijski keramiki slovenskih tovarn se torej neposredno ne navezuje na prazgodovinsko motiviko, ki je bila sočasno na ogled v slovenskih muzejih, temveč je vračanje k preprostosti v keramičnem oblikovanju na Slovenskem posledica sledenja aktualnim srednjeevropskim slogovnim tokovom. Individualnost v industrijskem keramičnem oblikovanju na Slovenskem se kaže predvsem v uporabi in reproduciranju slovenske narodne motivike ter v motivih, ki so plod tesnega sodelovanja s priznanimi slovenskimi umetniki. Keramika je material, ki spremlja človeka na skoraj vsakem koraku od prazgodovine do današnjih dni in je predmet preučevanja številnih ved. Keramiko od prazgodovine do vključno novega veka tradicionalno preučuje arheologija, sodobno serijsko in maloserijsko ter umetniško keramiko umetnostna zgodovina, izdelki ljudske obrti pa so praviloma predmet etnoloških raziskav. Ker polja preučevanja niso vedno strogo ločena, se pojavlja potreba po celovitem pristopu k obravnavi keramike. Za celovito obravnavo keramične produkcije vseh obdobij je treba torej oblikovati učinkovit analitični aparat, ki vsebuje ključne elemente vseh ved, ki se ukvarjajo s keramiko. Prvi pogoj za uspešen interdisciplinarni pristop pa je usklajena terminologija, ki pripomore k jasnosti in doslednosti v znanstvenem diskurzu. Pojmovnik, ki sem ga sestavila, uvaja poenoteno terminologijo, ki jo lahko uporabimo na širšem področju obravnave keramike. Usklajena in ustrezno oblikovana ter splošno sprejeta terminologija prispeva k napredku znanosti, hkrati pa tudi k razvoju strokovnega besedišča v slovenskem jeziku. Enotna terminologija omogoča enotno urejanje in objavljanje gradiva, posledično pa tudi njegovo obdelavo, ne glede na stroko, ki preučevani pojav primarno obravnava. Ceramics factories, operating at the end of the 19th and the beginning of the 20th century, received the most guidelines from the contemporary stylistic views set by the English, Trieste, Viennese and Graz factories. In the second half of the 19th century the most widespread artistic style was historicism at the end of the 19th century, a new stylistic direction took place. It emphasized the simplicity of shapes and decoration, directly following also the prehistoric art. The new style was governed by movements like Arts and Crafts in England. Its influences in applied art had never truly reached Slovenia. In the 1930s, a new style was established in ceramics design, i.e. art deco. Designers of Slovene serial wares did not only include shapes and motifs by following others, but they also incorporated their own ideas and recapped folklore ornamentation. A possible source of individuality may also lie in the abundantly decorated prehistoric ceramics. Therefore, one of the goals is to establish whether the production of Slovene ceramics industry, during the end of the 19th and the beginning of the 20th century, may display a connection to the simplicity of the local prehistoric motifs. To compare ornamentation, I had to analyse motifs on prehistoric ceramic, found in 17 Slovene sites and exhibited in Slovene museums at the end of the 19th and the beginning of the 20th century and the motifs found on the concurrent Slovene serial wares. The collection of motifs appearing on contemporary ceramics was sorted on the basis of analyzing the production of eight ceramics factories in Slovenia. After inspecting both groups, it appeared that only eight basic motifs could be compared. They represented the simple geometric and universal motifs that come forward in almost every culture. Geometric motifs appear somewhat frequently in the art deco style ceramics. Simplified ornamentation in contemporary serial wares of the Slovene factories therefore, do not directly relate to the prehistoric motifs on ceramics concurrently exhibited in Slovene museums. The return to the simplicity in ceramics design in Slovenia, however, was a consequence brought by following the current central European styles, mostly set by English, Viennese, Graz and Trieste ceramics factories. Individuality in industrial ceramics design in Slovenia is mainly reflected in practise and reproduction of Slovene national motifs as well as in motifs which are the result of close cooperation with renowned Slovene artists. Ceramics accompanies an individual in almost every aspect of life, from the prehistoric period until now and it is the subject of studies in numerous sciences. Ceramics, since prehistory to the early modern times, is traditionally studied by archaeology, contemporary serial wares and ceramic art is studied by art history, whereas products of the folk manufacturers are typically the subject of ethnological studies. Since lines between the fields of studies are often blurred, a complete approach to examine ceramics is starting to emerge. For that reason an efficient analytical apparatus is needed which would incorporate all key elements of the sciences researching ceramics. A prerequisite for a successful interdisciplinary approach is consistent terminology to help accomplish clarity in the scientific discourse. The constructed glossary for studying ceramics introduces consistent terminology and can be used in a wider sense in different fields when researching ceramics. Unified and properly constructed, as well as generally acknowledge terminology, contributes to the progress of science and simultaneously, it contributes to the development of professional vocabulary in the Slovene language. Unified terminology enables consistent organizing and publishing of material and consequently, its way of processing, regardless of the professional field which primarily examines the occurrence in question.

Karel Štrekelj, a classic of Slovene ethnography and one of the more prominent philologists, also contributed to Slovene literary history. His main contributions to this discipline are lectures for the course he gave at the University of Graz in 1899-1901, which were never published and fell into oblivion. This article comments on the circumstances that accompanied the compilation of the course, describes its content, and provides a detailed analysis of Štrekelj's definition of literary history as a discipline and his selection of methodology. Base on this it charactarizes Štrekelj's approach, which is marked by objective historicism, and determines its place on the timeline of the discipline's development. Štrekelj, klasik slovenskega narodopisja in eden vidnejših jezikoslovcev, je zaslužen tudi za slovensko literarno zgodovino. Njegovo glavno delo na tem področju je kurz predavanj na graški univerzi v letih 1899-1901, ki pa je ostal v rokopisu in zašel v pozabo. Članek komentira okoliščine nastanka in opisuje vsebino kurza, nato podrobno analizira Štrekljevo določitev predmetnega področja literarne zgodovine in izbor metod. Na tej podlagi označuje njegov pristop, za katerega je značilen objektivni historizem, in ga postavlja na ustrezno mesto v razvojni črti stroke.