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Echnaton, Nofrete und die neu gebaute Hauptstadt Amarna beschäftigen nicht nur Archäologen und Ägyptologen, sondern sie sind seit langem Themen der Religions- und Kunstgeschichte, jetzt auch der Sozialgeschichte. Seit dem Fund der Tontafeln (1887) mit der Korrespondenz des Königs und der deutschen Ausgrabung von 1911-14 sind die Diskussionen über die Amarnazeit nicht abgerissen. Die Publikation stellt die Lebensräume der Stadtbewohner (Stadt, Umland, Gebäude) vor, zeichnet die Lebensbilder bedeutender Persönlichkeiten und beschreibt die Weltbilder dieser Zeit, die sich in Kunst und Religion widerspiegeln.
The Italian Army’s participation in Hitler’s war against the Soviet Union has remained unrecognized and understudied. Bastian Matteo Scianna offers a wide-ranging, in-depth corrective. Mining Italian, German and Russian sources, he examines the history of the Italian campaign in the East between 1941 and 1943, as well as how the campaign was remembered and memorialized in the domestic and international arena during the Cold War. Linking operational military history with memory studies, this book revises our understanding of the Italian Army in the Second World War.
Planstadt Doberlug
(2020)
Lotte Eisner
(2020)
Lotte Eisner (1896–1983) is without doubt one of the most important early film critics and pioneers of film history. In the history of Classical Studies, however, she plays no role. She is not even mentioned in the relevant scholarly books or articles, although she received a doctorate degree in Classical Archaeology. But it is worth taking a closer look at this relatively short phase of her life. The following lines are to be understood as a sketch of her specific ‘archaeological’ view of German Expressionist silent films. Lotte Eisner herself comments on this in her autobiography.
Vorwort: tessellae
(2020)
This paper analyzes a specific section of Martial’s Apophoreta (Book 14), the ‘list’ of fourteen literary works that the poet-persona suggests to the reader as potentially suitable presents to give to friends on the occasion of the Saturnalia. It focuses strictly on the literary aspects of the poems and their underlying carnivalesque poetics. This includes an assessment of the logic of the poems’ arrangement and alleged inconsistencies. It is suggested that the section be read as a complex statement of Martial’s on various works and genres of Greek and Roman literature. The last couplet of the section (14.196), a certain Calvus’ work ‘On the use of cold water’ (De aquae frigidae usu), which is unidentifiable, receives particular attention, for previous scholarship has wasted a lot of ink on guessing what kind of work this may have been, thereby losing touch with the rich (meta-)poetics the couplet actually conveys.
Roms Metamorphosen im Exil
(2020)
In this article, we want to elucidate and contrast the exilic fates rendered in Ovid’s exilic elegies and in Lucan’s Bellum Civile. While Ovid’s persona undergoes a slow development towards acceptance of the exilic condition by ‘refounding’ a second Rome in Tomi, Lucan’s Pompey gradually severs himself from Rome, culminating in him dying far from home apparently without regrets. Both characters try to transfer the concept of Rome to new entities. However, they are not able to escape Rome’s grasp: Pompey is killed by a Roman mercenary in Egypt, Naso’s Roma secunda is in the end only a reproduction of the exul’s irrevocably Roman fate.
This article analyses the eroticized power dynamics that Ovid stages in the Metamorphoses. It argues that 1) erotic desire functions in Ovid as a synonym of the desire for power; 2) that the transformations of gods can be read as a metaphor of the powerful subjecting the powerless to their will; 3) that metamorphosed humans can be regarded as notional monuments to divine power; and 4) that, by parading the self-evident fictionality of his transformation tales (including, most notably, the story of Julius Caesar’s apotheosis in Book 15), Ovid allows his readers, at least for the duration of the reading process, to experience a modicum of freedom.
Taking its cue from the portrayal of Hercules as muscleman in both films and ancient sculpture this article turns to poetry as a verbal art and examines when and how the hero's body comes into focus in Roman epic and elegy. It is argued that moments of crisis contrasting Hercules’ state in a given situation to his former heroic achievements give rise to representations of his body, while epic fight scenes rather draw attention to the bodies of his inferior opponents. The body is described through references to different body parts, qualified by attributes as masculine in elegiac contexts. A somewhat exotic word as tori suffices to highlight the hero’s muscular body.