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Copyright of Philologus -- Zeitschrift für Antike Literatur und Ihre Rezeption is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Der vorliegende Beitrag untersucht die kompositorische Konstruktion von Bildern der ›klassischen Antike‹ in Klavierwerken Claude Debussys. Im Fokus stehen dabei das Prélude »Danseuses de Delphes« sowie zwei Sätze aus den Six épigraphes antiques. Auf die musikanalytischen Betrachtungen folgt eine diskursanalytisch orientierte Kontextualisierung. Die Nähe des musikalischen Archaismus zu Exotismus und dadurch zum orientalistischen bzw. kolonialistischen Denken wird hervorgehoben. This essay discusses the compositional construction of images of ›classical antiquity‹ in the piano music of Claude Debussy. The prelude »Danseuse de Delphes« and two movements of the Six épigraphes antiques are especially focused. A musical analysis of these pieces is followed by a discourse analytic contextualization. The proximity of musical archaicism with exoticism and through this with the orientalist and colonialist thought is pointed out.

Review of Tolkien & the Classical World edited by Hamish Williams.

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Copyright of Historische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue Archéologique de Picardie is the property of Revue Archeologique de Picardie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue Archéologique de Picardie is the property of Revue Archeologique de Picardie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Im folgenden Beitrag soll in einer Perspektive auf die Bildmedien der griechischen und römischen Antike dem Phänomen nachgegangen werden, dass dort die Angehörigen einiger ferner Ethnien dezidiert als hässliche Fremde geschildert wurden. Dabei ist einerseits die in der bildenden Kunst beider Kulturen zu diesem Zweck entwickelte Formensprache entsprechender Darstellungen interessant, anderseits stellt sich die Frage nach den Ursachen eines solchen Bedürfnisses sowie dem Nutzen dieser Praxis. Umso mehr, als gerade in der sogenannten Klassischen Antike das Cliché „Schön ist auch Gut/Hässlich ist auch Böse“ geboren wurde, welches noch bis in unsere heutige Gegenwart ausstrahlt, wie ein Ausblick beleuchten wird.

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Copyright of Revue Archéologique de Picardie is the property of Revue Archeologique de Picardie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Der Pathologe is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Not once does Winckelmann use the word ‘classical’ or any of its derivatives ‘classicism’, ‘neo-classicism’, ‘classicity’. And yet nobody’s œuvre is, or has been, more closely associated with the concept of the classical than his. By the second half of the nineteenth century, at the latest, it is regularly subsumed under the concept of the classical or classicism: a categorization that in the twentieth century has become the norm in all European countries and languages. How valid is this categorization? To what extent can a body of work that manages without the word ‘classical’ be brought under that heading? The present article suggests some answers to this question. [ABSTRACT FROM AUTHOR]

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Copyright of Revue Archéologique de Picardie is the property of Revue Archeologique de Picardie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Although Constantine the Great played a major role in the formation of christianity, scholars often bring into sole focus the religious developments of his time and therefore exclude the broader and more heterogeneous spectrum of historical developments. Thus, it is a little known fact that Constantine’s first born son Crispus and the first christian emperor’s first wife lost their lifes under mysterious circumstances. The professional world brought forward manifold explanations and among them is the article’s point of origin located. Battistella surveys the different theories postulated within the scientific community and points to individual inconsistencies and states some problems. He articulates precisely the tendentious quality of the historical sources and accentuates their philological complexity on the one hand. On the other hand, he points to the scholarly procedure’s possible effects on the public’s historical thinking (“Geschichtsbewusstsein”).

Copyright of Journal of German Language & Literature / Istanbul Üniversitesi Alman Dili ve Edebiyai Dergisi / Studien zur Deutschen Sprache und Literatur is the property of Istanbul University, Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper deals with linguistic transformation processes from ancient Greek sources which were translated into classical Arabic from the 9th to 11th century AD. The database Glossarium Graeco-Arabicum concentrates on this topic and utilizes visualizations to develop an understanding of the still growing corpus of about 100,000 word records. Various examples demonstrate possible visualization methods for corpus structures, lexical differentiation, grammatical transformation and translation processes for single lexemes.

Between c. 1537 and 1555 a group of humanists, clerics, architects and philologists known as the so-called Accademia della Virtù got together in Rome to work on a program which was formulated in a letter by the Sienese humanist Claudio Tolomei in 1542 and published in 1547. Starting out with the intention to understand the only surviving antique book on architecture and architectural theory - Vitruvius' De architectura libri decem - the program describes a series of 24 books, eleven containing the classical text and its translation with commentaries, 13 books systematically illustrating and documenting all known and available material remains from Roman antiquity. This program for a scientific classical archaeology in a modern sense was not only intended to serve the intellectual curiosity of some humanist antiquarians but to help architects and their patrons to develop a new architecture of the same high quality as the idealized Roman examples. To achieve this practical as well as theoretical goal it was obviously necessary to re-create the antique vocabulary of architecture and its rules as well as to unify the contemporary usage of notions and norms in a canon. The first results of this project seem to be the In decem Libros M. Vitruvii Pollionis de Architectura Annotationes by Guillaume Philandrier (Rome, 1544) - up to this day a very valuable explanation of ambiguous parts in the Vitruvian text. Until the 1980s, it was believed that this book was the only outcome of the ambitious project; but then two codices of drawings after antique reliefs were identified as preparations for one of the other 23 volumes - and, because of their systematic approach, regarded as the 'first systematic archaeological book'. Now it seems that there are some other corpora of manuscripts and drawings documenting antique artifacts that should be regarded as results of the Accademia's work, too, showing antique buildings, inscriptions and coins. Other results of the unfinished project may be the theoretical and practical works of the two most influencial architects of the sixteenth century: Jacopo Barozzi da Vignola and Andrea Palladio. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue de Synthèse is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The dichotomy of the terms »belief in progress« and »cultural pessimism« is often used to represent the views of past, present and future in modern cultures. In this context, it is denominated as sufficient to describe the various treatments and images of history. In this paper it is shown that, for other than the history of religions, this cannot be taken for granted. To illustrate this, the eschatology of ancient Judaism is explored, as it is characterized in its visions of the future by referring back to his own idealized past, and looks forward to the re-emergence in the Kingdom of God. Opposed to this was the official view of the Roman Empire, which saw in the propagated aureum saeculum already the embodiment of the ideal in the present. Besides, the concept of moral and cultural decline of the empire sine fine is tangible for the senatorial elite. It becomes clear that the original terms »belief in progress« and »cultural pessimism« are insufficient to describe these diverse beliefs and the resulting ways of dealing with past, present and future. Based on the examples, the dichotomy is then extended by derivatives of the original terminology. In conclusion, these terms are indeed able to unify studies and simplify comparisons, even if there can be no concept that combines all three aspects - present, past and future. For their portrayal, a selected dichotomy will remain necessary. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Institute of Croatian History / Radovi Zavoda za Hrvatsku Povijest is the property of Zavod za Hrvatsku Povijest, Filozofski Fakultet and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Psychotherapie Forum is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Psychotherapie Forum is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Introduction: The veterinary manuals by Vegetius, Pelagonius and Chiron Kentauros, all three dating from the 4th century, contain remarks about livestock being poisoned by animal venoms. It is suggested, that livestock bitten by contaminated shrews, reptiles, scorpions, beetles and spiders shows signs of poisoning. The authors present various possible therapies for the sick livestock.

The Origin of Scientific Notions in the Circle of the Roman Accademia della Virtù around 1550. Between c. 1537 and 1555 a group of humanists, clerics, architects and philologists known as the so-called Accademia della Virtù got together in Rome to work on a program which was formulated in a letter by the Sienese humanist Claudio Tolomei in 1542 and published in 1547. Starting out with the intention to understand the only surviving antique book on architecture and architectural theory - Vitruvius' De architectura libri decem - the program describes a series of 24 books, eleven containing the classical text and its translation with commentaries, 13 books systematically illustrating and documenting all known and available material remains from Roman antiquity. This program for a scientific classical archaeology in a modern sense was not only intended to serve the intellectual curiosity of some humanist antiquarians but to help architects and their patrons to develop a new architecture of the same high quality as the idealized Roman examples. To achieve this practical as well as theoretical goal it was obviously necessary to re-create the antique vocabulary of architecture and its rules as well as to unify the contemporary usage of notions and norms in a canon. The first results of this project seem to be the In decem Libros M. Vitruvii Pollionis de Architectura Annotationes by Guillaume Philandrier (Rome, 1544) - up to this day a very valuable explanation of ambiguous parts in the Vitruvian text. Until the 1980s, it was believed that this book was the only outcome of the ambitious project; but then two codices of drawings after antique reliefs were identified as preparations for one of the other 23 volumes - and, because of their systematic approach, regarded as the 'first systematic archaeological book'. Now it seems that there are some other corpora of manuscripts and drawings documenting antique artifacts that should be regarded as results of the Accademia's work, too, showing antique buildings, inscriptions and coins. Other results of the unfinished project may be the theoretical and practical works of the two most influencial architects of the sixteenth century: Jacopo Barozzi da Vignola and Andrea Palladio., (© 2015 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim.)