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Fighting ISIS in Syria
(2022)
This paper analyses the Operation Euphrates Shield (OES) al-Bab battle and presents the lessons learned. OES started with a mixed force of Free Syrian Army, Turkish special forces and armoured units. During the operation, the aims and the force structure gradually changed, yet not the command structure. When OES aimed to capture al-Bab, ISIS employed conventional active defence strategy. The OES commander's insistence on employing special forces increased own casualties and al-Bab was seized only after resorting to a conventional urban attack. OES presents tactical and operational lessons for the militaries on structure and execution of operations against an irregular adversary employing conventional means.
In the Shadow of Ukraine
(2022)
In 2022, India captured global attention over its response to the war in Ukraine. While calling for both parties' return to diplomacy, India abstained from several United Nations resolutions condemning Russian aggression. For a country that ostensibly subscribes to the values of democracy and territorial integrity, its response appeared frustrating and contradictory, but it is broadly consistent with its long-standing policy of non-alignment. Although India's relationship with China is increasingly contentious, New Delhi is not yet fully convinced that it is in India's interest to swing westwards. The country's relations with Russia and China are deep, complex and substantive. In addition to the military and economic benefits it derives from its connection with Russia, New Delhi and Moscow share an avowed preference for a more equal, multipolar world. India will eventually have to reflect on the extent to which it can sustain its balancing act.
Introduction
(2021)
Paths Are Made by Walking
(2021)
Der Aufsatz behandelt die drei unterschiedlichen Hinrichtungsformen, die im 5. und 4. Jahrhundert v. Chr. in Athen angedroht wurden: apotympanismós, Sturz ins Barathron und Schierling. Eine solche Untersuchung verspricht reichen Aufschluss über die demokratische Ideologie, die entsprechenden Diskurse und ihre stetige Verstärkung durch Prozesse und Bestrafungen. Der Aufsatz vertritt dabei die These, dass eine chronologische Analyse dieser Hinrichtungsformen einen wichtigen und bisher unerforschten Beitrag zur Debatte über Kontinuität und Diskontinuität in der athenischen Demokratie vor und nach der Tyrannis der Dreißig leisten kann. Er zeigt, dass die Formen, in denen die Todesstrafe angedroht wurde, das Ausmaß der Änderungen in den Diskursen in der und über die athenische Demokratie nach der Niederlage im Peloponnesischen Krieg erkennen lässt. Die Unterschiede in den Exekutionsformen können einen wichtigen Beitrag zum Verständnis der Verschiebung des Begriffes der „Gleichheit“ vom 5. ins 4. Jahrhundert v. Chr. leisten.
In den Jahren 1930 und 1931 erschütterten zwei Revolten des SA-Führers Walter Stennes die im Dauerwahlkampf stehende NS-Bewegung. Die schnelle Niederschlagung beider Parteikrisen reklamierte die ostdeutsche Schutzstaffel unter Kurt Daluege für sich und verbreitete die Erzählung, Hitler habe die aufstrebende SS mit dem Leitspruch „Meine Ehre heißt Treue“ ausgezeichnet, um ihr für den aufopferungsvollen Einsatz gegen die Rebellen zu danken. Sascha Steger stellt dieses bis heute wirkmächtige Narrativ auf den Prüfstand, analysiert den tatsächlichen Verlauf der Stennes-Revolten und kommt zu dem Ergebnis, dass die SS unter Daluege zwar treu zum „Führer“ stand, aber keine entscheidende Rolle bei der Beendigung der Auseinandersetzung spielte.
Das Ende Preußens
(2021)
Die Zeit der Reformen
(2021)
Public character
(2021)
This article discusses the so-called 'Apocalypse' of Carour, a text preserved in a Codex (M586) of the famous Hamuli-find, that originally emanated from the environment of the Pachomian monastic enterprise. It addresses a series of disasters and communal deficiencies through metaphorical imagery and similes that struck the community after the death of its founding father Pachomios. After presenting a few conjectures to the editio princeps and providing a German translation, the 'Apocalypse' is contextualized within the historical and liturgical background of this late antique monastic community. The author asserts that this unique text not only displays the symptoms of disaster, but also gives us new insights into how the Pachomians productively coped with crises. In contrast to modern scholarship, the author argues that the 'Apocalypse' is in fact a prophecy (ex eventu) that was based on an instruction, which was publicly read at the large Easter assembly of the Pachomians, most likely by Horsiesos, the third abbot of the Koinonia. Using the figure of the frog, C(h)arour, to symbolize the biblical plague but also the Egyptian concept of rebirth, the instruction was intended to strengthen group cohesion and especially to prepare the novices that were about to receive their baptism during the Easter celebration for a life devoted to the Koinonia and its principles. To this initial prophecy, which developed an antithesis to the ideal monastic life envisioned by the Pachomians, another text was later added that narrated an unsuccessful attempt to overthrow Apa Besarion, the fifth abbot of the Koinonia. In a much more practical manner this second part of the prophecy elaborated on the same themes while also displaying the resilience of the community in averting crises through remembering and recommitting to its founding precepts. The convoluted text we possess now should therefore be equally viewed as a testament to the communication structures of the Pachomians as well as their memorial culture, which targeted moments of crisis and despair to imbue future generations with the necessary persistence to overcome possible disasters themselves and secure the long-term existence of the Koinonia.
Die aktuelle geschichtspolitische Debatte und die Kommission des Bundesministeriums der Justiz
(2021)
Vor aller Augen unsichtbar?
(2021)
Der Aufsatz behandelt die drei unterschiedlichen Hinrichtungsformen, die im 5. und 4. Jahrhundert v. Chr. in Athen angedroht wurden: apotympanismós , Sturz ins Barathron und Schierling. Eine solche Untersuchung verspricht reichen Aufschluss über die demokratische Ideologie, die entsprechenden Diskurse und ihre stetige Verstärkung durch Prozesse und Bestrafungen. Der Aufsatz vertritt dabei die These, dass eine chronologische Analyse dieser Hinrichtungsformen einen wichtigen und bisher unerforschten Beitrag zur Debatte über Kontinuität und Diskontinuität in der athenischen Demokratie vor und nach der Tyrannis der Dreißig leisten kann. Er zeigt, dass die Formen, in denen die Todesstrafe angedroht wurde, das Ausmaß der Änderungen in den Diskursen in der und über die athenische Demokratie nach der Niederlage im Peloponnesischen Krieg erkennen lässt. Die Unterschiede in den Exekutionsformen können einen wichtigen Beitrag zum Verständnis der Verschiebung des Begriffes der „Gleichheit“ vom 5. ins 4. Jahrhundert v. Chr. leisten.
Universität
(2021)
Although German Federal Chancellor Helmut Kohl and British Prime Minister Margaret Thatcher were on the same side in the Cold War, as well as in the same family of moderate centre-right parties, despite being roughly the same age and sharing a fundamental market-economic and Atlanticist orientation, they were not in harmony emotionally. This analysis demonstrates how different genders, incompatible conceptions of nation, history, and regional origins, as well as experiences of mutual frustration eclipsed their ideological commonalities and counteracted against the 'emotional regimes' of 'the West' in the Cold War. It breaks new ground in several respects. First, it does not examine strong feelings that blotted out all others but rather a range of more ambivalent and nuanced emotions. Second, it links the themes of gender and feeling by enquiring about the male or female manifestations and attributions of certain emotions. Third, it focuses on not only men and women at the top but considers their entourages as either amplifiers or 'shock absorbers' of the leaders' feelings. Finally, it explores the scope and limits of the notion that the Cold War was an 'emotional regime'.
Die ersten 40 Rechtsprofessoren der Viadrina immatrikulierten sich von 1506 bis 1571 in Frankfurt an der Oder. Sie lassen sich in zwei Gruppen einteilen, die von der Gründung der Universität 1506 bis 1539 Immatrikulierten und die nach Einführung der Reformation im Kurfürstentum Brandenburg 1539/40 bis zum Regierungsantritt des Kurfürsten Johann Georg von Brandenburg 1571 an der Viadrina eingeschriebenen Juristen. Die Profile der vorreformatorischen und der nachreformatorischen Rechtsexperten weisen Gemeinsamkeiten, z.B. die Eheschließung, aber auch Unterschiede auf. Am besten illustriert das Beispiel der Rechtsprofessorendynastien Zoch und Köppen die "Familienuniversität" Viadrina.
How soccer becomes politics
(2021)
In this case study, the authors elaborate on the narrative structure of transnational popular media events. Drawing from Dayan and Katz's concept of media events and Julia Sonnevend's exceptional work on iconic global media events, they argue that fundamental changes in the way occurrences are being reported on and news is structured must be considered. Allowing for recent technological advancements, the role of the consumer and the compression of time in media use, the authors develop a methodological and theoretical framework fitting a more mundane and everyday life-based approach. They derive their results from the analysis of the "Podgorica Media Event," a news cycle emerging from a racist incident during an international soccer game between England and Montenegro. Based on the body of 250 international news pieces, they identify a primary mother narration and a distinctive narration as the typical ways of storytelling on a transnational level. While differing greatly in content, aspects of transnational popular media events serve to protect and reify the cultural background they are grounded in on a national level. Thus, we assume that sport, or, more specifically, soccer, may become political in media communication not by the impact of state government but by the consumers themselves choosing and developing a popular media event in the first place.
Soldatenkönig
(2021)
Zur Einführung
(2021)
Schlacht bei Fehrbellin
(2021)
What is the nature of interactions between Jews and Muslims in contemporary Dubai, Berlin, and Warsaw? The purpose of the three presented case studies is to evaluate the state of affairs and identify newly emerging trends and patterns in the given trans-urban context. The methodology is based on qualitative anthropological research, emphasising an emic perspective that centralises respondents' own lived experiences and worldviews. The main research's findings made evident that interactions between Muslims and Jews in each examined location are, to various extents, acknowledged, and in some cases, also embody a formative part of public discourses. Perhaps the most visible manifestations of these relations are represented by the ambitious interfaith projects that were recently established in each geographical area in focus. The Abrahamic Family House (UEA), The House of One (GE), and The Community of Conscience (PL) reveal the aspirations of multi-faith religious leaders to overcome polarising dichotomies and search for common ground. One of the conclusive outcomes of the study is a somewhat diminishing impact of the Israeli-Palestinian conflict on the Jewish-Muslim relations; however, the extent differs in each destination in focus. Finally, an unpredicted observation can be made. A surfacing inclination towards embracing a joint Muslim-Jewish Middle Eastern identity was perceived.
Ruhm, Ide(ologi)e, Macht
(2021)
The first Hollywood film adaptation of Alexander the Great is Robert Rossen’s 1956 movie. Classicists have primarily been concerned with errors of historicity, Alexander’s assumed tragic traits, and rather associative conclusions concerning the movie’s political implications.
This paper raises the question of Rossen’s depiction of Alexander's motives and aims. His assessment of the king is surprisingly complicated. Therefore, for the first time, Rossen's interview comments on Alexander are analysed comprehensively and systematically. Furthermore, it is shown that neglected sources are central to the plot. Finally, the film is interpreted against the backdrop of Rossen’s oeuvre.
It can be demonstrated that Rossen’s issue is the problem of ideology. He seeks a redefinition of glory. Military success is only an excuse for the pursuit of mere power. For Rossen, however, the true fame is nothing but the benefit of the people. It took a long time for Alexander to realize that his rule was inane, and to reshape his policy. This interpretation is due to fundamental convictions reflected in Rossen’s oeuvre as well as to his personal experiences in politics. It is a plea for de-ideologization in times of the Cold War.
Application areas and drugs of Egyptian, Greek and Roman medi-cine are popular references of research in the field of recent aes-thetic dermatology. There, Cleopatra VII is referred to as “mother of chemical peeling” because she is said to have bathed in donkey’s milk. Although extremely popular, there is no ancient source sup-porting Cleopatra’s bath in milk. Nevertheless, Poppaea Sabina, the second wife of Emperor Nero, is said to has bathed in donkey’s milk to beautify her skin. The aim of the paper is to reconstruct the genesis and develop-ment of the modern myth of Cleopatra bathing in donkey’s milk. The origin of this myth can be traced back to the cinema of the 1930s. The result is that in the person of the actress Claudette Colbert her two roles as Cleopatra and Poppaea converged. This convergence was the basis for the popularization of the milk bath by the Cleopat-ra movie of 1963 with Elizabeth Taylor.
This article focuses on the feminist reception of Zenobia of Palmyra in Great Britain during the long nineteenth century and the early twentieth century. A special focus lies on her reception by the British suffragettes who belonged to the Women’s Social and Political Union. Even though Zenobia’s story did not end happily, the warrior queen’s example served to inspire these early feminists. Several products of historical culture – such as books, pieces of art, newspaper articles and theatre plays – provide insight into the reception of her as an historical figure, which is dominated by the image of a strong and courageous woman. The article will shed light on how exactly Zenobia’s example was instrumentalised throughout the first feminist movement in Britain.
Interview with Alana Jelinek
(2021)
Alana Jelinek is an art historian and artist — “an artist making art, and also writing about art”, in her words — , a former European Research Council artist in residence at the Museum of Anthropology and Archaeology at the University of Cambridge, and currently teaching in the School of Creative Arts at the University of Hertfordshire. Her art has revolved mostly around the issues of post- and neocolonialism and their connections with neoliberalism — a more implicit topic in her works from the 1990s on the “tourist gaze” developed into an interest in museums, collecting and ethnography throughout the past two decades. In this interview, she talks to thersites about the role of classical heritage and ancient art in her own work.
A quote from Fight Club (Chuck Palahniuk, 1996) may seem unusual for a Classicist. Nevertheless, this famous sentence summarises the contents of this special issue of thersites perfectly. As specialists in classical reception frequently witness, there is a sort of déjà-vu effect when it comes to the presence of Antiquity within popular culture. In 2019, to try to better understand the phenomenon, Antiquipop invited researchers to take an interest in the construction and semantic path of these “masterpieces” in contemporary popular culture, with a particular focus on the 21st century.
This work journal recounts the experiences of a project undertaken with students of the University of Trier over the course of two semesters. The project attempted to design and produce an innovative audio guide pertaining to the cultural heritage of the Roman city, with students gauging market opportunities, writing a business plan, researching information and producing content for the audio guide. The work created, „Talking Stones“ (https://www.talking-stones.de/), takes the listener on a tour of Roman Trier embedded in a literary narrative and is available via download on Google Play and the Apple App Store.
In her writings on ancient myth, the British author Natalie Haynes moves women to the centre of attention. Her two latest books, A Thousand Ships and Pandora’s Jar – a fiction novel and a non-fiction one – approach this topic from two different perspectives. This interview takes stock of Haynes’ motives and methodology as well as of the challenges she faces in the process of writing.
Très peu d’originaux nous permettent de connaître la statuaire grecque ancienne. Eu égard à la grande production de statues en bronze, un nombre très limité d’oeuvres a été sauvé de la fureur du temps et des hommes. Le reste nous est connu de manière partielle et imparfaite par les copies romaines en marbre ou par des notes rapides d’auteurs anciens, qui mentionnent des artistes et des oeuvres dont le seul nom demeure. La découverte de statues en bronze de production grecque est donc un événement exceptionnel d’un point de vue scientifique. Les « Bronzes de Riace » ont notamment eu, dès leur découverte en 1972, une immense influence dans la culture populaire, que nous allons aborder dans cet article sous l’angle des Reception Studies, en essayant d’intégrer ces réflexions au débat sur leur perception dans le monde contemporain, déjà abordé par deux volumes sortis en 1986 et 2015 (Gli eroi venuti dal mare/Heroes from the sea et Sul buono e sul cattivo uso dei Bronzi di Riace1), en portant une attention particulière au Web et aux réseaux sociaux.
1 Je remercie Maurizio Paoletti et Fabien Bièvre-Perrin pour la relecture de cet article ; Domenico Benedetto D’Agostino pour m’avoir fait connaître, il y a quelques années, le poème de Felice Mastroianni dédié au Bronzes de Riace ; l’Archivio du Musée Archéologique National de Reggio Calabria, Mike_art04, le collectif La Psicoscimmia et Emanuela Robustelli pour les images qu’ils ont partagées.
The Laocoön group, a famous source of inspiration for modern artists and a crucial masterpiece for historians of art and philosophers, is also a popular figure in queer contemporary art and culture, both distorted and celebrated through camp performative devices. After remarks about 1. “queer gaze” and the complex relation of queer or LGBTQIA+ culture and politics to the dialectics of kitsch/camp and classical / contemporary / pop art, and 2. (not straight but) queer classics, using “anachronisme raisonné” (Loraux”) and “écart” (Dupont), this article focuses on case studies from the 2010’s: 1. The untold gay history of Vatican guided tour; the music video Falling, by the “queer cowboy” Drew Beckman. 2. Paintings by Richard Wallace (esp. Laocoön); photographic series of Danil Golovkin (Modern Heroes : Photographing Bodybuilders in the Digital Age), 3. Julien Servy (Collages : Photo vs. Statues) ; the design firm modern8 (for the 2017 Utah Pride Festival). 4. The indigenous Canadian artist Kent Monkman, who, in paintings (The Academy), performances, installations, altogether stages and questions the violence of historical and cultural colonization and its impact on issues of gender and identity, and promotes dynamic interactions of aesthetics and politics, as well of pathos and camp.
Despite its fame, the Winged Victory of Samothrace keeps on fascinating not only every visitor of the Louvre museum, but also the eye of the connoisseur. Despite its recent restoration in 2014, some of its mysteries might indeed never be solved, like the identity of its sculptor. But this fascination also comes from the statue itself, its majestic aesthetics and lack of head, in a similar fashion perhaps to the loss of the Venus of Milo’s arms. Since her discovery more than 150 years ago by Charles Champoiseau, she’s been on the throne at the top of the Daru stairs at the Louvre Museum. This hellenistic masterpiece, that Champoiseau called a ”mousseline de marbre”, became a must see in the Paris museum, together with the Mona Lisa and its other chefs d’oeuvre. But this statue’s fate is not set in stone. Many modern artists, like Omar Hassan or Xu Zhen, have tried to make it their own and give it a new depth. Recently, Beyonce and Jay-Z also offered a new perspective by including this Louvre masterpiece, among others, in their political masterstroke, the video clip ”Apeshit”. This paper seeks to decode the meanings and symbolism of these new versions of the Nike.
Ringing trumpets announcing the arrival of a Roman emperor, an oriental flowing and delicate harp reverberating inside the intimate palace of an Egyptian queen, a rude aulos singing in a bucolic Greek landscape: where are these familiar sound images coming from? Are these creations inspired by archaeological data or built after modern fantasy? The scarcity of ancient musical data necessitated, in fact, to reinvent the films’ soundscape taking place in the Ancient world. It is therefore a question of seeing on which models a peplum’s soundtrack is conceived and what it can reveal on our way of perceiving the ancient and contemporary world. Far from wanting to gauge the historicity of the sound backgrounds offered to the spectator of dark rooms, it is rather a question of seeing the imitation phenomena that can appear from the sound clichés created by the peplum itself and of also deducing from them thought patterns which, contextualized, influence these compositions. This article will focus on post-2000 productions.
From the fluid dresses woven from precious materials evoking the iconic statues of Antiquity to the revival of Spartan shoes, two emblematic fashion trends will help us study the place of Greek Antiquity in contemporary women’s fashion collections. Ordinary as well as extraordinary, what do these reminiscences tell? Can they permit to understand the boundaries that structure and govern the fashion’s worlds? Numerous and diverse, the differences and the similarities of the ways in which classical references are used allow us to study the relations of power in which the specificities of haute couture and ready-to-wear are defined. The values, the entry criteria, the operating hierarchies as well as the very acceptance of the word “fashion” are different from one environment to another. From the catwalks of big fashion houses on Avenue Montaigne such as Chanel to the youngest brands, the differentiated readings and uses of Antiquity raise the question of the symbolic value of classics in fashion.
Whether you open a manga, a French-language comic strip or a North-American comic strip with Classic subject, it seems normal to the reader to encounter many representations of sculptures, paintings or object of daily life from this period throughout the story.
These images are taken from catalogues notably available online. The artists also seem to have drawn their inspiration from museum publications or directly from the collections exhibited by these cultural institutions. This article will review the masterpieces used in comic strips and the reasons why they are chosen. Depending on the formats and cultures that stage them, these works do not constitute decorative elements of an ancient past but contribute to the narrative.
This paper aims to analyse the figure of the Venus of Milo in (extreme) contemporary art productions. The reception of this sculpture has already been studied in the past, but without considering the last ten years (2010 – 2020), during which artists like Yinka Shonibare, Fabio Viale, or Daniel Arsham decided to use the Venus for their new productions. The paper also explains how the Venus of Milo became a globalised icon and an inspiration for artists from all over the world.
Laocoon Relooké
(2021)
This article focuses on the reception of the ancient statue of Laocoon in the arts and popular culture of the 21st century. It looks into why this icon has remained continuously present in the public’s collective imagination and covers, in particular, the recapturing of this motif by four contemporary painters : Richard Wallace (2002), Ron Milewicz (2005), Gilles Chambon (2008), Kent Monkman (2008). The article examines as well the new meanings associated with its treatment and finally explores the way our contemporary world deals with the notion of monument and the concept of academicism.
Theodor Lessing was a German-Jewish philosopher, Zionist, Communist and member of the Prager Kreis. He wrote psychological studies of Judaism and influenced with his main philosophical works Geschichte als Sinngebung des Sinnlosen (1919) and Europa und Asien (1918, and 1924) the German speaking scholars and contemporaries in Germany and elsewhere. He was killed by the Nazis in 1933 as one of the first victims of National Socialism.
For more than thirty years, collecting oral histories has been recognized as an effective teaching strategy in the West. Although it is rare in Gulf Cooperative Council (GCC) countries, the authors adopted it to bridge knowledge gaps they observed in their Saudi Arabian students. The reclamation of familial stories and tribal information using oral history methodologies reconnected students to their past while facilitating a unique learning experience. This paper describes how an oral history project was created for female undergraduate students in Saudi Arabia to help them move beyond the hard science approach supported in the Arabian world to one that embraces a narrative-based methodology. Historically, oral histories - an important pillar of Arabian society - were used to transfer significant tribal information, customs, traditions, and stories from one generation to the next. Since the discovery of oil, the kingdom has undergone dramatic societal and lifestyle transformations resulting in the loss of some traditions. The fundamental goal for this project was to improve the students' comprehension of humanities and social science courses by reconnecting them to their past using historical methods.
The German writer Wilhelm Marr is known as the father of modern antisemitism. Little attention has been paid to the fact that Marr did not coin the term “antisemitism” in his influential pamphlet Der Sieg des Judenthums über das Germanenthum published in March 1879. The neologism first appeared in the name and programme of the “Antisemiten-Liga” which came to existence in September 1879. Even less attention has been paid to the fact that it was not Marr, but the Berlin chemist and engineer Hector de Grousilliers who was the initiator of this political organisation. Although Marr attended the founding meeting and joined it as a member, he played no active role in it. Grousilliers, paradoxically, first had the idea of founding a “Lessing-Verein”, before his “Antisemiten-Liga” came into being in an absurd volte-face. Carrying out a bizarre revaluation of Lessing’s Ring Parable, Grousilliers attributed antisemitic semantics to the concept of tolerance. He delivered several speeches on tolerance in the “League” before turning his attention to the publication of the antisemitic humorous-satirical magazine Die Wahrheit. Humoristisch-satirisches Wochenblatt.
Since 2004 a giant portrait of the ancient Dacian king Decebalus can be seen by people visiting the Đerdap national park in Serbia or sailing along the Danube. The location is carefully chosen: the ancient king is located on the other side of the river, within the Romanian Parcul Natural Porțile de Fier, but is carved in the rock so to look in the direction from where, at the beginning of the 2nd century CE, the Romans came to move war to him and his people. Not by chance, on the Serbian side of the river and not far away from the sculpture is the Tabula Traiana, a Roman inscription celebrating the opening of the Roman road leading here in 100 CE. This article moves from the role of ancient Rome in the historical cultures and national identities of the two countries facing each other here, Serbia and Romania, in order to explain how the Romans represented a ‘contested identity’ and therefore why, at the end of the 20th century, the Romanian nationalistic millionaire G. C. Drăgan decided to invest a humongous quantity of money in the realization of the sculpture of Decebalus.
Preface
(2020)
This article examines scenes of Zeitungslektüre (newspaper reading) in some exemplary Fontane novels to reconstruct them as a serial narrative pattern that fills specific narrative functions similar to other narrative patterns such as letter writing or country excursions (Landpartien) which have often been shown to be typical for Fontane’s novels. These newspaper scenes can be read as multifaceted culmination points at the surface of the novel’s story in which aspects of Fontane’s writing practices, formal aspects (characterization of figures, narrative temporalities, narrative structure), autopoietic reflection as well as addresses to the readers are brought into a complex interplay. The newspaper-reading scenes are thus significant textual signals of what has been called Fontane’s specific Zeitungspoetik. The argument is unfolded by examining examples from three different genres: the historical novel Unwiederbringlich, the “Berlin everyday novels” (“Berliner Alltagsgeschichten”) Irrungen, Wirrungen and Mathilde Möhring, and the Zeitroman or political novel Der Stechlin.
Zwischen Haskala und Heine
(2020)
Heinrich Heines humoristische Anekdote aus der „Harzreise“, in der ihm im Traum Saul Ascher als hartnäckig die Prinzipien der Vernunft verfechtendes Nachtgespenst erscheint (vgl. DHA VI, 103 ff.), kann aus heutiger Sicht nicht darüber hinwegtäuschen, dass Ascher in vielerlei Hinsicht als direkter Vorläufer Heines gelten kann. Bevor Heine und Ludwig Börne ab den 1820er Jahren mit ihren Reisefeuilletons und Korrespondenzberichten innovative Formen journalistischen Schreibens in die deutsche Literatur einführten, hat Saul Ascher bereits eine politische Publizistik praktiziert, die sich vor allem in Zeitschriften und Zeitungen zum Ausdruck brachte und bis dato unbekannte Formen politischer Öffentlichkeit erschloss.
Come si crea l'antisemitismo
(2020)
Hohenzollern und Oranier
(2020)
Anton Schindling (1947–2020)
(2020)