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Vorwort
(2017)
Prólogo
(2017)
Große Pest (1708-11)
(2020)
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.
Both Libanius in his Autobiography (ca. 374) and Theodoret in his biographical sketch of the monk Macedonius in his Religious History (ca. 444) draw their readers’ attention to the accusations of magic as an everyday event in Late Antiquity. Yet there are differences between the ways in which they present their theme. Some of these differences pertain to genre conventions of autobiography and Christian hagiographic writing, but these are further conditioned by the concrete expectations of the intended audience and the authors’ different religious beliefs. While both are primarily engaged in creating different types of role models, the charge of magic functions as a narrative moment that shapes the character of the relevant hero differentially.
This article examines two series of coins that are characterized by a common violation of the gender roles and gender boundaries dominating in the Roman imperial society: the coins GALLIENAE AVGVSTAE minted for the emperor Gallienus and those with legend SOLI INVICTAE minted in the time of Maximinus Daza. These emissions are here inserted into the broader context of Roman mentalities and discourses surrounding gender, gender boundaries and their violations, that always appear to be a special prerogative pertaining to the divine.
Europa Universalis IV
(2020)
Achtsam Wissen schaffen
(2020)
The German Sonderweg thesis has been discarded in most research fields. Yet in regards to the military, things differ: all conflicts before the Second World War are interpreted as prelude to the war of extermination between 1939-1945. This article specifically looks at the Franco-Prussian War 1870-71 and German behaviour vis-a-vis regular combatants, civilians and irregular guerrilla fighters, the so-called francs-tireurs. The author argues that the counter-measures were not exceptional for nineteenth century warfare and also shows how selective reading of the existing secondary literature has distorted our view on the war.
Sängers Glück
(2020)
The German singer-songwriter Reinhard Mey, although not pretending to be a second Orpheus, nevertheless appears to be very familiar with classical myth.
„An Herrn Prof. A. Wlosok“
(2020)
In contrast to other European countries, female professors of Classical Philology have been severely underrepresented in Germany. This article wants to shed light on Antonie Wlosok (1930–2013), the first or second woman to hold a Chair of Classical Philology in Germany. How can Wlosok’s work at Johannes Gutenberg University Mainz be described, considering especially the very male-dominated academic world? Based on testimonials from the university archives and selected publications, this essay aims to give insights to this question, highlighting current debates about women in academia.
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.
This article analyses, as an example of the advertising of cosmetic products, a campaign launched by the US-American company “Johnson Soap” for their product, the facial soap “Palmolive”. Examining its ads of 1911 in which certain ancient exempla are employed, it becomes clear that the Palmyrene queen Zenobia and with her the semi-historical Semiramis and the more mythical Dido are aligned to the “1001 Nights” character Scheherazade. Since they are jointly labelled as “historically famous oriental queens” and because of the reference to Zenobia’s white skin, they fall into the fantasy of fair-skinned harem women and evoke thoughts of all the pleasures and comforts of the luxurious Orient. To the modern female customer of 1900 (well steeped in the knowledge of those ancient characters) Zenobia and the other exempla should serve as celebrities worth emulating. Above all they are deemed to be beautiful, and experts in cosmetics which would guarantee the effect of the product they are standing for. A finding that proves to be valid even in an advertising concept of today for the Syrian-German “Zhenobya-soap”.
Träume statt Theurgie
(2020)
In his work De insomniis (On Dreams), Synesios adopts a rather critical view of theurgy, resembling Porphyry’s attitude; his wording shows polemical exaggeration. His insistence on the usefulness of dream revelation for hunting might be read as a (not too serious) claim to the divine inspiration of his work κυνηγετικαί.