Exekias e il gruppo E a Locri Epizefiri

in: Kölner und Bonner Archaeologica 3, 2013, 9-39

This small group of aryballoi belongs to those bucchero vessels which have been influenced by Corinthian pottery. Their material can give proof of this cultural transfer and its mechanisms. For an extensive examination they are to be analyzed regarding typology, decoration, chronology and inscriptions. Their shape is so closely related to the Corinthian pottery that it reflects the development of Corinthian aryballoi. However, there is also a small group of special shapes which has been influenced by local traditions. Concerning the decoration which has been mostly made by engraving, the Etruscans have adapted some elements from Corinthian pottery, but it is as a whole a mix of different influences. The containers were mainly produced in the second half of the seventh century B.C. Finally, the inscriptions suggest that the bucchero aryballoi were used especially as gifts in the Etruscan society. This may constitute a functional justification for the vessels’ special status which is also suggested by their small quantity.

In: W. Gauß (Hrsg.), Forschungen im Bereich des Theaters von Aigeira 2011 bis 2018. Aigeira 3 (Wien 2022), 183-202

The two so-called naiskoi D and E are situated side by side north of the theatre at Aigeira. They have been excavated mainly in the 1970s and 1980s by the Austrian Archaeological Institute, however, they were only rudimentary studied. The architecture, building history and function of the building type ›naiskos‹, that is present by several buildings in the theatre area, as well as the development and role of the entire theatre ensemble was not yet clarified and is therefore in the focus of the current research project. As a basis for the present study of the two buildings D and E that were in use from Hellenistic to Roman times, new detailed plans were drawn. As first results, the relative chronology of the two buildings and in relation to the theatre could be determined. ›Naiskos‹ E is in close relation with the theatre building because of the use of the same measuring unit. It was built before ›Naiskos‹ D, from which it differs considerably in terms of building tech- nique, measuring unit, typology and interior layout. Those characteristics suggest design and construction of the two ›naiskoi‹ at a different point in time and by different people. Furthermore, due to its interior design, ›Naiskos‹ D is probably a building with multiple functions. The reason for the differences in the typology and function seem to be changing requirements to the architecture of the two buildings over the course of Hellenistic times. This indicates a possible changing role of the entire theatre ensemble.

Handbuch Kommunitarismus, 2018

Typisch für das Denken von Amitai Etzioni ist der soziologische Blick auf die moralischen Dimensionen des gesellschaftlichen Zusammenhalts. Die jeweiligen Formen von Gemeinschaftlichkeit sind nicht an Kleingruppen, traditionale Verbindungen oder Nationen gebunden, sondern werden grenzübergreifend und weltweit gedacht. Sozialer Fortschritt ist die übergreifende Klammer. In diesem Sinne ist Etzioni ein kommunitarischer Liberaler.

Exekias hat mich gemalt und getöpfert, 2018

Schörner, Günther; Erker, Darja Šterbenc, Medien religiöser Kommunikation im Imperium Romanum, Stuttgart, 2008

Exekias hat mich gemalt und getöpfert, 2018

In: Zimmerl-Panagl, Victoria and Weber, Dorothea, eds. Text und Bild, 2010

Spätestens seit Horazens berühmter Aussage, er sei ein Schwein aus der Herde Epikurs (epist. 1, 4, 16: Epicuri de grege porcus), hat sich, vor allem bei kritischer Einstellung gegenüber der komplexen und anspruchsvollen Lehre Epikurs, die Vorstellung vom Hedonisten Epikur ikonenhaft verfestigt, was auch in entsprechenden bildlichen Darstellungen zum Ausdruck kommt. Nicht nur Epikurs Bekenntnis zur voluptas als summum bonum des Menschen, sondern noch viel mehr seine Ablehnung von Teleologie und göttlicher Providenz sowie sein faktischer Atheismus machten ihn für christliche Denker unakzeptabel. Umso mehr mag es erstaunen, dass er bei mehreren christlichen Autoren durch deren Rezeption von Lukrezens Epikurpreis als Präfiguration Christi bzw. des Christengottes angesehen werden kann. In einer genauen Analyse der relevanten Textpassagen sollen im Folgenden die Implikationen dieses ungewöhnlichen Rezeptionsprozesses erhellt werden. Darüber hinaus soll versucht werden herauszufinden, ob bzw. inwieweit diese eigenwillige Typologie auch in der Bildenden Kunst ihren Niederschlag gefunden hat.

Exekias hat mich gemalt und getöpfert, 2018