Der Antike Research Articles

Die vergessene Sympathie: Zu Geschichte und Gegenwart literarischer Wirkung by Verena Olejniczak Lobsien

Reviewed by: Die vergessene Sympathie: Zu Geschichte und Gegenwart literarischer Wirkung by Verena Olejniczak Lobsien Katja Haustein Die vergessene Sympathie: Zu Geschichte und Gegenwart literarischer Wirkung. By Verena Olejniczak Lobsien. Paderborn: Brill and Fink. 2022. xvi+497 pp. €59. ISBN 978–3–7705–6706–5 (ebk 978–3–8467–6706–1). In recent years, sympathy and other relational feelings, such as empathy and compassion, have received a surge of scholarly attention (see e.g. Eric Schliesser, Sympathy: A History (Oxford: Oxford University Press, 2015); Fritz Breithaupt, Kulturen der Empathie (Frankfurt a.M.: Suhrkamp, 2009) and Die dunklen Seiten der Empathie (Frankfurt a.M.: Suhrkamp, 2017); Paul Bloom, Against Empathy: The Case for Rational Compassion (New York: Vintage, 2018); and Katherine Ibbett, Compassion's Edge: Fellow-Feeling and its Limits in Early Modern France (Philadelphia: University of Pennsylvania Press, 2017)). But while sympathy tends to be discussed as a particular mode of intersubjective affection with certain social, ethical, and moral-philosophical implications, Verena Olejniczak Lobsien offers a timely and refreshing contribution to the debate by reminding us that sympathy has not always been understood in the sense of a 'fellow feeling' predominantly, if not solely, associated with humans (Samuel Johnson, A Dictionary of the English Language, 2 vols (London: printed by W. Strahan for J. and P. Knapton; T. and T. [End Page 239] Longman; C. Hitch and L. Hawes; A. Millar; and R. and J. Dodsley, 1755), s.v.). Focusing on the time period between 1200 and 1700, Lobsien reconstructs early modern conceptions of sympathy that do not restrict the term to human relations, but use it to describe the idea of a general connectivity between animated and (seemingly) inanimate nature, the human and the divine, the soul and the body. As natural sympathy the concept appears as a universal principle, understood as an 'alles mit allem verklammernder organischer Weltzusammenhang' (p. 207: 'organic interrelation that connects every aspect of the world'). Lobsien's study, which is the fruit of the interdisciplinary research project 'Transformationen der Antike: Sympathie. Zur Transformations- und Funktionsgeschichte des Mit-Fühlens zwischen 1600 und 1800', is carefully researched, impressively detailed, and comprehensive, offering an illuminating discussion of sympathy in early modern philosophy, literature, and music, reading less familiar European thinkers alongside canonical writers and composers, including Hildegard von Bingen, Philip Sidney, Andrew Marvell, John Donne, Marsilio Ficino, Anne Conway, Edmund Spenser, and William Shakespeare. The substantial bibliography contains a useful and wide-ranging overview of relevant research in English and German. (However, and this is especially unfortunate for a book of this weight and ambition, there is no subject index that would have helped the reader to navigate more comfortably the wealth of information provided.) Lobsien portrays the history of sympathy as the radical transformation from natural sympathy as a form of oneness with the world to sympathy as a predominantly social affair. In so doing, and in contrast to most of the scholars listed above, she does not critically dissect the concept, but rather embraces it as a particular mode of 'Allteilhabe' ('universal sharing') that we moderns have, if not entirely lost, at least temporarily forgotten. Consequently, the overall tone of the book is nostalgic, with Lobsien establishing a direct link between the loss of natural sympathy (roughly around the turn of the seventeenth century) and the current state of Western civilization, contemplating the Covid crisis and climate change as two outcomes of a process she describes as marked by a growing sense of alienation between us humans and the natural world. In this way, Lobsien's argument resonates with path-breaking accounts of the civilization process as a distancing process, exemplified by the works of Benjamin, Elias, Adorno, and, more recently, Albrecht Koschorke in Körperströme und Schriftverkehr: Mediologie des 18. Jahrhunderts (Munich: Fink, 1999). But in contrast to her predecessors, Lobsien remains vague when it comes to identifying and explaining what may have caused this process. The question what exactly triggered the 'entscheidenden Einbruch' ('critical decline') in the history of sympathy (p. 68) in cultural and mental-historical terms remains largely unanswered, as does the question of how we might retrieve what we have lost (if this is what...

L’‘Immagine antica’. Leopardi, Warburg e la ricerca della nympha fugiens

ABSTRACTThis paper focuses on the theme of the nympha fugiens in Giacomo Leopardi's works, by comparing his perspective on imagination – as shown in the Zibaldone – with Aby Warburg's works on the nymph. Starting from D’Intino's categories of fall and rebirth, this paper reconstructs the common ground between Leopardi's readings before writing the Diario del primo amore (1817–1818) and Warburg's sources when composing the dissertation of 1891, La ‘Nascita di Venere’ e la ‘Primavera’ di Sandro Botticelli. This work has allowed me to read Leopardi's ‘desiderio antico’ – as in the Diario – and the cyclical return of the ‘dolce imago’ in the Canti, from Warburg's perspective of a Nachleben der Antike – a survival of the ancient. This survival results in the pathosformel of the nymph, an ancient image that is able to show itself only through imagination. Finally, this paper compares Leopardi's perspective on imagination with Warburg's late works on the opposite polarities of ‘logic’ and ‘magic’ in the artistic process.

A Critical Juncture: “Later” Latin Literature, the Newest Late Antiquity, and the Period of the Western Classic

With the appearance in 2020 of a long-awaited second “late antique” instalment of the Handbuch der lateinischen Literatur der Antike (Munich: C.H. Beck, 1989– ) and a new, collaborative Cambridge History of Later Latin Literature now at an advanced stage of preparation, there is an opportunity to re-evaluate the possibilities of scholarship in this field. What relation does such “literary” research bear to current, globalizing styles in late antique and first-millennial historical and cultural studies? What is likely to be the impact on it of current trends in the study of classical reception and intertextuality? This essay attempts a preliminary framing of the issues with reference to a largely discredited but still powerful model of the western literary classic, while arguing for hermeneutical continuity between the breakthrough work of Peter Brown’s half-century-old World of Late Antiquity (1971) and the critical-historical role of later ancient (Latin) literary studies.

Unveiling the Other: Art, Images, and Cultures

This paper is dedicated to Aby Warburg’s 1920-essay on the relationship between the Italian Renaissance and the German Renaissance in the period of the Reformation. His essay focuses on the use of propagandistic imagery at the time of Luther, in order to elucidate a historical-political and religious problem that Warburg explored against the background of the contemporary cultural debate between Germany and Italy in the years from 1915 to 1920. This was a period traumatically experienced by Warburg, and it led him to reflect, from a different perspective, on his own research focused on the “Survival of Antiquity” (Das Nachleben der Antike), in the rapport between Italian art and the art of northern Europe. It had a notable impact on his studies on the migration from East to West of the astrological tradition, presented between magic and mathematics, that permeated the religious debate of Luther’s time in and beyond Germany, in the cultural and religious clash with the Church of Rome.

The Benevolent Serpent Deities At the Underworld Book

The serpent was a dominant theme in the culture of the ancient Egyptians. In the physical world, serpents were feared and respected. The ancient Egyptians were aware of the danger that serpents presented to their day-to-day life. They could harm, paralyze or kill and they demanded the respect of the ancient Egyptians. The Egyptian cobra, horned viper, and black-necked spitting cobra were all a very real danger to the ancient Egyptians. Venom from any of these three snakes could lead to paralysis or death. ([1]) The serpent plays an extraordinarily important and extremely diverse role as a symbolic animal. The primary characteristics that gave the serpent its symbolic significance were the special place it occupies in the animal kingdom (movement over the ground without legs, living in holes in the ground, yet slipping out of eggs like a bird), its cold, slick and shiny exterior, its poisonous bite and its venom that can be used for medicinal purposes, as well as its periodic shedding of its skin. ([2]) ([1])P.F. Houlihan, The Animal World of the Pharaohs (New York,1996), 168. ([2])U. Becker, The Continuum Encyclopedia of Symbols (London, 1994), 343; A. Alexandridis, Wenn Gotter Lieben, Wenn Gotter Strafen, Mensch und Tier in der Antike (Leipzig, 2008), 285-311.

The sculptor “Moschos Kallippos” from Synnada. A small Corrigendum to the Künstlerlexikon der Antike

In this small article, a mistake made in the "Kallippos" and "Moschos" entries in the dictionary "Künstlerlexikon der Antike" is corrected. The author of these entries T. Lochman stated that Kallippos and Moschos were two separate sculptors and consequently wrote a separate dic-tionary entry for each of them. The inscription on which Lochman based was found in As-pendos and inscribed in a curved manner on the skirt of the mantle of a Hera statue preserved today in the Antalya Museum (see fig. 1-9). The inscription is complete and it reads: Moschos, son of Moschos, also called Kallippos, from Synnada. In other words, the person who made this Hera statue is a single person whose name is Moschos alias Kallippos. It is understood that Lochman made this mistake because he possibly did not see the older publications where the inscription was publi¬shed, which made him think that two different sculptors were in ques-tion. Therefore, he provided two separate entries in the dictionary a mistake which is corrected now in this contribution.

Enredar a loucura

No ano de sua morte, em 1929, o historiador alemão Aby Warburg escreveu no diário de sua Biblioteca sobre a conexão que acreditava existir entre a sua vida pessoal e o seu projeto de pesquisa sobre a vida póstuma da Antiguidade. De acordo com ele, um “reflexo autobiográfico” teria feito com que sua condição como esquizofrênico se projetasse sobre o seu diagnóstico por imagens da “esquizofrenia do Ocidente”. Esse efeito especular permite ver a sua obra não apenas como um empreendimento intelectual, mas também como um espaço terapêutico fundado no entrelaçamento essencial entre sujeito e objeto. Ao transformar o seu drama psíquico num drama cultural coletivo, Warburg estabelece as condições para que a sua pesquisa acadêmica figure como um front na sua “luta contra os monstros”. Neste artigo, pretendo explorar esse reflexo autobiográfico a partir de três momentos de sua obra como psico-historiador: o ensaio sobre Lutero e imaginação astrológica; a conferência sobre o ritual da Serpente e a reflexão sobre os riscos do ofício do historiador.

The Arts of Imitation in Latin Prose: Pliny's Epistles/Quintilian in Brief by Christopher Whitton

BOOK REVIEWS/COMPTES RENDUS 175 ship, for example, the author’s overstressing of fertility as an interpretative paradigm of women’s religion.5 As Meghan DiLuzio has noted, Boëls-Janssen overemphasises the role of the priestess Flaminica Dialis as a “fertility talisman.”6 Interpreting fertility as a function of many women’s rituals and of many gods and goddesses is indeed too generalising. Therefore, Panoussi should have been more cautious in basing her interpretations on Boëls-Janssen’s conclusions (Bacchus as a fertility god, 20; descriptions of rituals of Bona Dea, Fortuna Muliebris, and Mater Matuta as showcasing the value of female sexuality and fertility, 172). Furthermore, taking for granted Tacitus’ and Suetonius’ presentation of the emperor Nero as a bride or a groom in his weddings with two cinaedi (76–77) is problematic, since both authors severely distort the portrayals of the Roman emperors in order to undermine their masculinity along with the political system that enabled such “bad” emperors to rule in Rome. It would be much more fruitful to query how and with what aims Tacitus and Suetonius introduced compromising elements from Petronius’ satirical representation of the wedding of Giton and Pannychis, as discussed by Panoussi (66–74), into their depiction of Nero’s alleged homosexual weddings.7 A more intensive scholarly dialogue with recent literature on the religions of Rome would have also allowed Panoussi to address other problematic points in the reconstruction of Roman rituals and their literary representations, for instance her assumption that a holy marriage was usually a part of mystery cults (75). Nevertheless, Brides, Mourners, Bacchae: Women’s Rituals in Roman Literature is a thought-provoking read for students and scholars, offering complex discussions of multiple levels of representations of gender, ethnicity, and women’s rituals in Roman literature. Humboldt University Berlin Darja Ï Sterbenc Erker The Arts of Imitation in Latin Prose: Pliny's EPISTLES/Quintilian in Brief. By Christopher Whitton. Cambridge: Cambridge University Press. 2019. Pp. xviii, 557. Although the phenomenon of poetic intertextuality has been extensively discussed during the last three decades, that of prose intertextuality has yet to receive similar attention. Whitton’s learned book is an excellent contribution in this direction. It focuses on Pliny’s intertextual debt to Quintilian’s Institutio oratoria in his Epistles, which up until now had gone largely unnoticed, but at the same time it also examines many other aspects of Plinian intertextuality, including echoes of a variety of Greek and Latin authors. As a result, the value of this original and thought-provoking study lies not only in its exploration of Quintilian’s reception by his pupil and in the new light it sheds on the artistry of Pliny’s Epistles, but also, more broadly, in significantly improving our understanding of Roman rhetorical culture, prose intertextuality, and literary imitation. 5 N. Boëls-Janssen, La vie religieuse des matrones dans la Rome archaı̈que (Rome 1993). 6 M. DiLuzio, A Place at the Altar: Priestesses in Republican Rome (Princeton 2016) 23, n. 33. 7 Tacitus sought to shock his readers by depicting transgressions of gender norms in his portrayals of the emperors. Cf. Thomas Späth, “Skrupellose Herrscherin? Das Bild der Agrippina minor bei Tacitus,” in id. and B. Wagner-Hasel (eds.), Frauenwelten in der Antike: Geschlechterordnung und weibliche Lebenspraxis (Darmstadt 2000) 271. 176 PHOENIX The book starts with a few pages (xii–xvii) that present its aims and dispositio in lieu of a preface; in the following twelve chapters Whitton examines thematic clusters in Pliny’s Epistles that demonstrate his textual and ethical imitation of his teacher’s work. The first two chapters, entitled “Two Scenes from the Life of an Artist” (1–19) and “Setting the Stage” (20–68) respectively, play an introductory role. Chapter One convincingly establishes Quintilian’s intertextual presence in two letters of Pliny’s self-portrait (Ep. 1.6 and 9.36), where the latter meticulously, subtly, and minutely blends, reworks, and modifies aspects of Quintilian’s advice on writing (especially on dictation and country composition). Chapter Two, which serves as prolegomena, presents and compares the two protagonists as individuals and as authors (with the help of Ep. 2.14, 4.11, 4.13...

Aby Warburg and the Afterlife of Antiquity: Morphology and History

A debate on the paradigm of the “Nachleben der Antike” and its variations was introduced to art-historical research by Aby Warburg and has had a profound influence on generations of scholarship. Th...

Nachlebende, Nachleben: Vehicles of Afterlife in (Some) Images and Words of the Warburg Library

Tracing a general map of recurrences of the lemma Nachleben in documents of the Warburg Library may help in shedding some light on a peculiar lexical question within the intellectual dynamics of the so-called Warburg Kreis. As already underlined, the term is not attested in Aby Warburg’s published works, except in very few cases, mainly as an adjective. The first occurrence of the noun in Warburg’s letters corresponds, in fact, to an expression by the young Fritz Saxl, presenting his research interest: “My core question [...] is the Nachleben of Antiquity in the Middle Ages,” (1913). In the early 1920s the Warburg Library, created as a private collection, was then turned into a research institute. In those years, the library was described by Fritz Saxl (1921) as a “question-library” (Problem-Bibliothek), with questions relating to the posthumous, or afterlife, of Antiquity (Nachleben der Antike) being at its centre. Saxl initiated as well the Library’s two publication series: Studies (Studien) and Lectures (Vortrage). Here within the Warburg Kreis we first find a discussion of the phenomenon of the Nachleben of forms. The term is again present in a later introductory text about the Kulturwissenschaftliche Bibliothek Warburg by Warburg and Saxl (1927), and is then further documented in the original plan for the system of both the Bucher- and Bildersammlung of the KBW (1927-1930) later on reformulated in London after the move from Germany. By means of commenting some loci of this map, the paper re-discusses the dynamic meaning of the Begriff Nachleben in the context of the Warburg Library’s ‘intellectual biography’.

Afterlife of Antiquity: Historical Meanderings

This article traces some of the main travel routes of the term Nachleben der Antike (‘afterlife of antiquity’) as a scholarly metaphor. Drawing examples from art history, classics, and modern philo...

O lugar da fotografia na construção da obra de Aby Warburg: uma perspectiva cultural para a compreensão da criação imagética

This study aims to discuss the relations raised between the photographic production and construction of the warburgian theory post-life images (Nachleben der Antike) through his atlas Mnemosyne. For that, uses the bibliographical research of authors who contribute to the elucidation of that fact, as Michaud (2013), Didi-Hub erman (2013) and Kossoy (1989). Given the fact that the creation ofphotographic panels for the approximation of the temporal relationships, Warburg reaffirms the importance of photography as a cultural and historical object. For him, the atlas focuses on the comparability ofimages in art history precisely because it uses a mobile and practical panel to establish an anthropological base. We conclude, therefore, that Warburg used and upheld in the potential of the photographic image to bring a new look that would break with the static perspective through the moving image and art.

Frühgriechische Philosophie. Edited by DieterBremer, HellmutFlashar, and GeorgRechenauer. 2 vols. Die Philosophie der Antike, 1/1–2. Basel: Schwabe, 2013. Pp. lix + 1088. €301.00.

Religious Studies ReviewVolume 41, Issue 2 p. 69-69 Greece, Rome, Greco-Roman Period Frühgriechische Philosophie. Edited by Dieter Bremer, Hellmut Flashar, and Georg Rechenauer. 2 vols. Die Philosophie der Antike, 1/1–2. Basel: Schwabe, 2013. Pp. lix + 1088. €301.00. Jenny Strauss Clay, Jenny Strauss Clay University of VirginiaSearch for more papers by this author Jenny Strauss Clay, Jenny Strauss Clay University of VirginiaSearch for more papers by this author First published: 04 June 2015 https://doi.org/10.1111/rsr.12215_3Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL No abstract is available for this article. Volume41, Issue2June 2015Pages 69-69 RelatedInformation

Visualizing Metamorphosis: Picturing the Metamorphoses of Ovid in Fourteenth-century Italy

The present article focuses on the analysis of two manuscripts that seem to be symptomatic of the subtle and variegated reception of the Ovidian Metamorphoses in fourteenth-century Italy: on the one hand, the luxurious copy of the of Ovidius Moralizatus (Gotha, Forschungsbibliothek, MS Membr. I 98) made ca. 1350-1360 for the Milanese aristocrat Bruzio Visconti and intended to be illustrated by 284 miniatures; on the other hand, the humble manuscript preserving the translation in volgare of the Ovidian work by the Florentine notary Arrigo Simintendi (Florence, Biblioteca Nazionale Centrale, MS Panciatichi 63), whose marginal drawings (added ca. 1360-1370) can be attributed to a group of “interactive readers” who tried to intensify their reading experience by giving visible form to their particular interpretations of the text. Despite their differences, both works betray an unprecedented attention to the representation of nature and witness to the existence of an ongoing debate ‒pervading both the courtly and urban realms‒ over the value of antique myths and the effects of the human passions so memorably described by the classical poet. This particular reception of the Ovidian work may have paved the way to another, new experience of subjectivity and, therefore, to an intensive intellectual engagement with emotions that would have marked a significant step in the history of the “Nachleben der Antike”.

Notes on Contributors

Notes on Contributors

THE WARBURG INSTITUTE AND ARCHITECTURAL HISTORY

At first sight, classical architecture, with its continuous revivals and reworking of the forms of Greek and Roman building, would appear to offer a privileged field in which to apply Warburg's central notion of the survival of classical forms (Nachleben der Antike) and his view of art history's unfolding as a process of remembrance (or Mnemosyne). Yet Warburg himself did not write on architecture. The topic has also largely vanished from the pages of the Journal of the Warburg and Courtauld Institutes, though in the past the journal has been the venue for influential publications on classical architecture. By comparing two Warburg circle publications from 1949 — Fritz Saxl and Rudolf Wittkower's British Art and the Mediterranean World and Wittkower's Architectural Principles in the Age of Humanism — this article shows that architectural history of this kind, developed in the context of the Warburg Institute, is connected not only to Aby Warburg's ideas on Nachleben der Antike and Mnemosyne, but also to the organization and holdings of the Warburg Institute Library. Working in the Warburg Library gives architectural historians the intellectual space to think about architecture in terms of design issues, but moreover as an actor shaping society and culture. This article concludes that Warburg's thought offers important, and thus far hardly explored, starting points for new investigations of the built classical heritage.

Aby Warburg e a pós-vida das Pathosformeln antigas

O artigo analisa os conceitos de "pós-vida" da Antiguidade (das Nachleben der Antike) e de"fórmula de páthos" (Pathosformel), como pensados pelo historiador da arte e da cultura o alemão Aby Warburg (1866-1929) em seus escritos sobre o Renascimento. Argumenta-se aqui que o conceito de "pós-vida" da Antiguidade diferencia-se tanto das ideias de redespertar da Antiguidade, como pensada pelo historiador suíço Jacob Burckhardt, como de imitação dos antigos, tal qual sugerida pelo historiador da arte Johann Joachim Winckelmann, devendo ser compreendido à luz dos conceitos nietzscheanos de "apolíneo" e "dionisíaco" e da noção de Pathosformel, um neologismo do próprio Warburg. Em seguida, são discutidas algumas das formas de "pós-vida" da Antiguidade estudadas por Warburg, como o tema da Ninfa.

Griechische Wissenschaftstexte: Formen, Funktionen, Differenzierungsgeschichten (review)

Reviewed by: Griechische Wissenschaftstexte: Formen, Funktionen, Differenzierungsgeschichten Eckart Schütrumpf Markus Asper. Griechische Wissenschaftstexte: Formen, Funktionen, Differenzierungsgeschichten. Philosophie der Antike, 25. Stuttgart: Franz Steiner, 2007. Pp. 453. €66.00. ISBN 978-3-515-08959-3. For over a century modern scholars or scientists have been judged, and the distinguished ones publicly recognized, for the literary quality of their work. The Roman historian Theodor Mommsen was the recipient of the Nobel Prize in Literature (1902), and the Deutsche Akademie für Sprache und Dichtung awards the annual Sigmund Freud Prize for scientific prose, not only to scholars in the humanities, but to scientists as well. In light of this established practice of treating scholarly and scientific writing as literature, it seems hard to understand, as Asper states at the beginning of his comprehensive study of Greek scientific texts, that such texts of all periods and languages remained "stepchildren" of literary studies (9). While they have received some attention from a few scholars, e.g., F. Blass, Die Attische Beredsamkeit (2nd ed. 1892), who presented some discoveries about the avoidance of hiatus in Plato and Aristotle (Blass is not cited by Asper), and E. Norden, Die antike Kunstprosa (first published 1898), who included in his treatment of literary prose sections on Plato, Aristotle, Theophrastus, and Epicurus, these authors did not pursue the investigation of scientific texts in a systematic fashion and aimed at the opposite of what Asper attempts since they tried to identify qualities of literary prose in scientific texts, and by doing so blurred the boundaries between scientific texts and other prose literature. Asper, on the other hand, undertakes from the perspective of literary studies to develop a taxonomy of concepts for the analysis and assessment of scientific texts. He identifies various strategies of sharing and safeguarding knowledge in a wide range of selected scientific texts that cover diverse areas such as law, mathematics, medicine, and music, and analyzes them in categories of the history of literature, while disregarding distinctions according to discipline. In his extended introduction Asper clarifies the subject matter and approach. A distinctive feature of the specific "genre" of scientific texts (of which there existed no theory in antiquity) is that they are nonnarrative; that is, they are not subject to a time structure or tied to specific persons or situations ("de-contextualized"). They are defined foremost by their function and only in a secondary manner by their form, which is dependent on the text's function. The time frame of the texts explored ranges from the Pre-Socratics to Late Antiquity. Asper discerns an increased differentiation over time of adopted forms. He could not, and does not, aspire to cover all scientific texts. There is no chapter on Plato (whose Timaeus was at least understood by later philosophers as a scientific text on the universe), nor, regrettably, [End Page 112] on Aristotle's treatises (Asper discusses, however, Met. Δ, 78–81). Here I dare to predict that his sensitivity to form and style would have shattered the still-prevailing view that these treatises are "lecture notes." In the two main sections of the book, Asper investigates the texts under two rubrics, discrete and continuous texts. Discrete texts are lists whose entries lack syntactical or logical connection and presuppose some sort of preexisting understanding or oral explanation, whereas continuous texts are autonomous and do not rely on an existing consensus between author and recipient. This book is based on meticulous research. In his treatment of the various categories of scientific texts, Asper does not summarize some sort of scholarly consensus on a particular work, but examines aspects of content, traditional elements, date of composition, genesis of the text, structure, various formal elements, and function of the works under investigation, and he always reaches results that by virtue of the criteria employed advance our understanding. Some of his essays on specific texts (like on the Anonymus Londinensis, 293–304) are masterpieces of analysis; they are concisely written, well organized, and demonstrate good judgment in their conclusions. This study is an impressive piece of scholarship which nobody interested in scientific texts, and not only in classics, can ignore. In addition to an extensive bibliography, this book has three indices. Eckart...

«Warburgs Methode» und die Aufgabe des Aufklärers. Über das Nachleben der Antike.

In order to assess Warburg’s contemporaneity, the present paper addresses the following problems: How does his “iconological” method unfold? What is the meaning of the resulting “tragic history of the modern European’s freedom of thought”? To what extent does the difference between the “Nachleben der Antike”, and a “Rezeptionsgeschichte der Antike” distinguish Warburg from Cassirer and Panofsky?

Leben mit dem Schiff. Zur Verwendung and Wiederverwendung in der Antike - by Karin Hornig

International Journal of Nautical ArchaeologyVolume 37, Issue 2 p. 408-408 Leben mit dem Schiff. Zur Verwendung and Wiederverwendung in der Antike - by Karin Hornig ARVID GÖTTLICHER, ARVID GÖTTLICHER Bremervörde, GermanySearch for more papers by this author ARVID GÖTTLICHER, ARVID GÖTTLICHER Bremervörde, GermanySearch for more papers by this author First published: 08 August 2008 https://doi.org/10.1111/j.1095-9270.2008.00200_7.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume37, Issue2September 2008Pages 408-408 RelatedInformation