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Editors: Marc Maufort and Jessica Maufort. In the years that followed the end of Apartheid, South African theatre was characterized by a remarkable productivity, which resulted in a process of constant aesthetic reinvention. Terms and Conditions Privacy Statement. Powered by: PubFactory. Sign in to annotate. Delete Cancel Save.

Cancel Save. Diez A oct. Maximilian Habicht — , who From his catalogue we learn45 that — edited the text in Breslau. His publi- : based on a translation of Diez A quart. An amusing account of a search quart. He regarded 50 volumes. Some minor groups are in Arabic, Persian, and Turkish as being the Chagatai, Tatar, Syrian, Ethiopian, equally important for the Oriental cultures and Coptic languages. That the majority and stated that many old Arabic or Persian is in Turkish is striking especially in con- works were only available in Turkey trast to earlier collections brought from and had been lost elsewhere.


Moreover, Constantinople, in which Arabic acquisi- some works in question were only acces- tions dominated. It can also be assumed that manu- Dichtern, Vienna , p. In contrast to scripts in Turkish — being the language of Ottoman Turkish, Chagatai was by many the Ottoman threat to Europe — were not scholars regarded as the authentic language widely collected in earlier times. Not least of the old Turks and was therefore rather a subject for research.

Here he Library. See Arnoud Vrolijk et al. With regard their own country. Diez explains in his hand- most authentic and the best. We can also presume that the enteenth and eighteenth centuries. Diez portion of Arabic manuscripts would have probably acquired many of them unbound been larger if he had been more devoted or with a damaged binding. Many of the to Islamic studies.

However, his main focus volumes were re bound in Berlin, their fly was to understand the cultures through leaves bearing a watermark with a heral- their respective languages and literatures. Sometimes The old literary sources of the Asian the original binding was preserved. The label on the front cover was prob- ably written by his Turkish servant or secretary. Roxburgh in this scripts, Diez wrote the title on the top edge of volume. It assembles detailed information on was published from onwards in Paris the contents, the context, and the authors and in which Antoine-Isaac Silvestre de of the works, alongside translation exam- Sacy — and others regularly pre- ples and transcripts of texts, and also notes sented detailed descriptions of Oriental provenance issues.

Diez also added many manuscripts. Another important publica- codicological details as well as remarks tion was The Oriental Collections: Consisting on the quality of paper, binding, calligra- of Original Essays and Dissertations, phy, and illumination.


In a preamble to his Translations and Miscellaneous Papers; catalogue, he introduces the characteris- Illustrating the History and Antiquities, tics of Oriental paper and ink at length. The entire catalogue comprises scripts in the British Museum. Works like more than narrowly written folio these might have inspired Diez to produce pages, about of them pertaining to a comprehensive catalogue of his own Oriental manuscripts. The making of the collection.

These journals, especially the reviews important sources for the history of Oriental and notes on manuscripts and books, are studies. In his will Diez had explicitly forbidden the catalogue to be published because he had not been able to complete it. This is quite surprising as he had put so much time According to his will, the Biblioteca and energy into this project.

For a better under- poor in Berlin. The lawsuit was dismissed standing of the characteristics of the cata- in Although beitet. Royal Library. Diez had not described the albums in his catalogue because they were not regarded as books or manuscripts. Although this detail escaped the Zeichnungen , Diez A fol.