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nempe exemplis discimus
(2018)
‘Tradition’ and ‘example’ are key concepts of the ancient fable. The fable has not only developed a literary tradition of its own, but from the beginning, it was also used as a rhetorical device, the exemplum. A diachronic overview of the genre and especially the use of the fable as exemplum reveals that Phaedrus adapts these terms in a new and ingenious way. In a case study of fable 3.9 this paper demonstrates how the fable finds its place in the literary tradition of the motif, how Socrates is presented as a model for the poet’s persona and how an intricate network of inter- and intratextual references is established between Socrates, Aesop, Phaedrus, and his potential successors. The subtle irony of the poet is particularly evident in the gradual development of the poet’s persona into a caricature, but the message of the fable itself remains unaffected: the value of true friendship.
Rommel Almighty?
(2018)
Erwin Rommel is by any standard a mythical figure. He has been the subject of countless studies in English and German. However, the "Italian side of the hill" has been largely neglected, despite the fact that the foundation of the myth around him lies in the North African campaign, where, after all, thousands of soldiers of the Italian army fought alongside the african campaign, where, after all, thousands of soldiers of the Italian army fought along-side the Afrika Korps. This article will provide an Italian view of the "Desert Fox," using new primary material that provides insights into Italian assessments during the war. A major source is material gathered by way of eavesdropping by British intelligence on Italian officers held as POWs in Cairo and in England.
Ein Werk zweier Künstler?
(2018)
The author suggests an attribution for two largely unknown Baroque sculptures inside the Church of St. Peter and Paul at Potsdam. The crucifixus, which has so far not been attributed to an artist, is shown to exhibit parallels to a 1716 work by Paul Egell. It remains unclear, however, whether the Potsdam crucifixus was also created by Egell himself or by Johann Peter Benckert, who congenially completed it in 1763 with a statue of the kneeling Maria Magdalena. The appealing depiction of the saint as an elegant sinner and penitent offers believers various possibilities for identification.
Konrad Repgen (1923-2017)
(2018)