The ›Taxiarchis Hill‹ in Didyma is the site of largely undisturbed features of votive offerings and other finds from an Archaic sanctuary. They were deposited on the hill in different phases of the Archaic period. Since it is the first discovery of this kind in Didyma it is of great importance for our knowledge of the cults and dedications in Didyma. This second part of the three-volume publication presents the pottery, which for the first time gives an overview of Didyma's Archaic local and imported clay vessels, including dedications and pottery for ritual use.

The orations of the rhetor Himerius, a professor in Athens in the late classical era, are here trans-lated for the first time into a modern language. They illustrate vividly the rhetorical education at an academy of the 4th century A.D. and give an insight into the relations between the inhabitants of the provinces of the Roman Empire and the imperial authorities. The detailed commentary (given in the footnotes) facilitates the understanding of the numerous historical and mythological allusions.

Die vorliegende Studie ist die erste umfassende Analyse der Verbergänzungen und zusammengesetzten Verben im Persischen auf der Grundlage einer der erfolgreichsten linguistischen Theorien, die sich auch in der Praxis bewährt hat: der Valenztheorie. Daß die in der linguistischen Forschung zum Persischen vorherrschenden Begriffe „transitiv/ intransitiv“ die Vielfalt der Verbergänzungen kaum erfassen, ist eine der wesentlichen Ergebnisse dieser Untersuchung. Zusammengesetzte Verben, die im persischen Verbsystem eine dominante Rolle spielen, werden hinsichtlich ihrer Syntax und Semantik neu beleuchtet und aus valenztheoretischer Sicht analysiert. Der praxisorientierte Aufbau, Verblisten und zahlreiche Beispiele lassen das Buch nicht nur zu einer Grundlage für weitere valenztheoretische Analysen werden, sondern schaffen auch einen Rahmen für den Unterricht des Persischen als Fremdsprache.

Ranuccio Bianchi Bandinelli’s seminal article on the “Arte plebea” (1967) voiced the requirement that classical archaeology be pursued in a new way, as a critical discipline with an explicit historical orientation. In Germany this desideratum was substantiated and gained currency mainly thanks to the work of Paul Zanker. Since then the analysis of the relationship between form, content, and the social locus of ancient works of art defines broad sectors of classical archaeology. The ten papers collected here, which were delivered on the occasion of Zanker’s 70th birthday, illustrate several perspectives of this field of research; they devote particular attention to the imagery of Pompeii, but also to ancient Greek art as well as Roman provincial art. In this way they underscore the ongoing relevance of the issues related to the arte plebea and to similar formal phenomena, also across times. Using the questions formulated since 1967 and the 1970s as a starting point, these selected case studies manage to disclose further perspectives of research for classical archaeology understood as a form of socially oriented art history.

Many building projects planned in the 18th century were never realised or were destroyed in later times. What we know about these buildings comes only from surviving architect’s plans: ground plans, front views, sections. Based on these plans, Gerd Schneider has drawn perspectival views of the lost buildings in years of work. The perspectives convey such a vivid image that they could be called an imaginary museum of baroque art. These perspectives are an invaluable aid in the attempt to understand baroque architecture, since the original plans present an immense challenge for the imagination of the viewer. The present collection contains mostly South German buildings, the plans for which date back to the period between 1725 and 1757. Most of the buildings shown were designed by Balthasar Neumann for Württemberg, Rhinehessen and Franconia. Neumann, more than other architects of his time, left behind many proposals and plans for buildings which were never built, were built differently, or were destroyed later.

The present volume „Wissensraum Film“ („Film as Knowledge Space”) concentrates on two aspects: knowledge and spaces in film. Main focus lies on the relevance of a relational concept of space in analyzing filmic production of knowledge: How does film create spatial structures and thus specific formations of knowledge? The eleven articles describe and discuss on a theoretical level scientific, political, entertainment, and art film as well as documentaries with regard to their spatiality and epistemic effects. The films investigated are correlated with other types of media and non-filmic discourses.

A comparative analysis of the work of the South African poet Dennis Brutus (1924-2009) and the Palestinian poet Maḥmūd Darwīsh (1942-2008), this study aims to demonstrate how a conflict of voices in their poetry emerged and developed across four stages, covering a period from the mid-1960s to the mid-1990s. Based on a critique of theories proclaiming the ‘death of the author’, a productive approach to voice is elaborated while taking a modifying perspective on aspects such as ‘lyricism’, ‘polyphony’, and ‘impersonality’.