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Stuck in the past?
(2019)
After the Civil War the Spanish army functioned as a guardian of domestic order, but suffered from antiquated material and little financial means. These factors have been described as fundamental reasons for the army’s low potential wartime capability. This article draws on British and German sources to demonstrate how Spanish military culture prevented an augmented effectiveness and organisational change. Claiming that the army merely lacked funding and modern equipment, falls considerably short in grasping the complexities of military effectiveness and organisational cultures, and might prove fatal for current attempts to develop foreign armed forces in conflict or post-conflict zones.
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.
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.
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.
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.
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.
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.
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.