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The article reviews the book "Herod and Augustus: Papers Presented at the IJS Conference, 21st-23rd June 2005," by David M. Jacobson and Nikos Kokkinos.

Reviews the book "The Evolutionary Biology Papers of Elie Metchnikoff," edited by Helena Gourko, Donald Williamson and Alfred I. Tauber.

A review is presented of a book edited by Manfred Horstmanshoff called "Hippocrates and Medical Education: Selected Papers read at the XIIth International Hippocrates Colloquium, Universiteit Leiden, 24-26 August 2005."

The article presents a review of the book "Aus Papier: Eine Kultur- und Wirtschaftsgeschichte der Papier verarbeitenden Industrie in Deutschland," by Heinz Schmidt-Bachem.

For the first time Emil Bønnelycke's Asfaltens Sange (1918) is examined in the context of Marc Augé's theory of places and non-places in this paper. The analysis of Asfaltens Sange focuses on the implicit presence of places and non-places. Reading Bønnelycke in content of Augé opens up for a new research position; it elucidates his position to 'supermodernity'. Places and non-places are palimpsests in Bønnelycke's text about Copenhagen's urbanity. The main subject in Asfaltens Sange is the walk in Copenhagen. The big city is considered a space of formation that should be 'read' to disclose its anthropological status. [ABSTRACT FROM AUTHOR]

This paper shows how two very different complexes of motifs, Pygmalion and Bluebeard, have been combined as poetological figures of reflection in nineteenth century Germanlanguage literature - and how this happens precisely because of their antagonistic design: whereas Pygmalion's principle of generation implies the animation of the work of art (which is encoded as female) in its entirety, Bluebeard's blood chamber, where the dead women are stored, can be seen as a museum space; the dead (dismembered) women appear as 'exhibits' of his art of killing. Using the examples of F.W. Hackländer's and E. Marlitt's Bluebeard tales, it will be shown how the difference between art and entertainment is inscribed in this combination of concepts of authorship [ABSTRACT FROM AUTHOR]

Oswald Spengler (1880-1936) was one of the most influential philosophers of history between WW I and WW II. His book "The Decline of the West" (1918) made him famous. In this book Spengler attested that the phase of the West as a productive culture is over and that the phase of civilization has started. In the years after the publication of his main work Spengler started to get more and more interested in Ancient History in its broadest sense. He argued against a Eurocentric view of history and suggested to reconsider our common understanding of history and its epochs. In the last part of the paper I try to show how Spengler conceptualized his universal history by the example of a lecture given by him on the war chariot and its influence on world history. [ABSTRACT FROM AUTHOR]

It is more than 40 years since information science has been established at the University of Regensburg, today offering all levels of academic qualifications (B. A., M. A., Ph. D.). In the context of a recent development program, media informatics as a field closely related to information science has been successfully established as well. In addition, a professorship for information linguistics has been added as tie between information science and linguistics. This paper introduces basic characteristics of the respective study programs and the fields of research connected with them. [ABSTRACT FROM AUTHOR]

In a comparative analysis of the original with the translation, this paper attempts to demonstrate the influence of Lucan's bellum civile on Hölderlin's poetic language and theory of cognition, over and above the contemporary, political interest of the text in the latter part of the eighteenth century. Although Hölderlin only translated verses 1-590 of the first book, it is there that Lucan uses poetic techniques which seem to have inspired the German poet. The most important of these is the linguistic and thematic development of the obscure; in its density, it may have represented to Hölderlin the ideal of the sublime. In particular, Lucan's light-metaphors seem to have left traces in Hölderlin's poetic œuvre. The interpretation focuses on a divination-scene which Lucan presents as an aesthetics of the terrifying, the radical breaking apart of gods, humankind and nature. In this cosmic chaos, the mediating function of the poet must be reconsidered: if he can no longer be a mediator, then the possibility of linguistic representation as a whole is called into question. A closer look at the last verses translated by Hölderlin shows the extent to which these doubts end in the aporia of speechlessness. [ABSTRACT FROM AUTHOR]