und im Buche Hosea

Abstract

Die Wörter in Deut 26,5 werden in der Pæsach Haggada transitiv verstanden. Für unsere gewöhnliche intransitive Lesung gibt es keine klaren Belege vor der Zeit Ibn Ezras. Es ist schwierig, eìne Situation in der Geschichte Israels zu finden, wo die intransitive Lesung verständlich ist Hier prüfe ich, das Problem umzukehren. Von der Hypothese ausgehend, daß die transitive Lesung die primäre ist suche ich die Voraussetzungen für die Entstehung der intransitiven Lesung.     

Back to BASICs? The Rejuvenation of Non‐traditional Donors’ Development Cooperation with Africa

The world economy is in a state of flux. While most OECD countries struggle to minimize the damage of the global financial crisis, a few countries maintain positive economic growth rates and are thus changing global power configurations. Among the most important emerging economies for international development are the BASIC countries: Brazil, South Africa, India and China. This article analyses why these countries have rejuvenated development cooperation, what they actually do in Africa, and how they do it. It argues that the most important aspect of the rejuvenation of non‐traditional donors’ development cooperation with African economies is not the direct effects on these economies, be they positive or negative, but the potential gains that may accrue to African economies in terms of larger room for manoeuvre due to increased competition and the challenge to traditional donors’ development hegemony.     

History,Sex And Scenography In The Octavia

With the Cambridge commentary by Rolando Ferri (2003) as point of departure, the article examines the claim that the Octavia is dependent on historians of the Flavian reign, but concludes that the case is unproven. As for the alleged allusions to the love poetry of Statius, the article argues that the similarities are coincidental and points instead to the striking parallels between the drama's depiction of the beautiful Poppaea as the darling of Venus and the short-lived Neronian cult of Poppaea as Diva Poppaea-Venus. Focusing on dramaturgy, the final section examines the commonly discarded links between the drama's implied scenography and the rich and varied resources of the imperial stage, concluding that the ignotus at each and every turn is laying out his plot ‘in accordance with the custom of those working for the stage’ (secundum consuetudinem scaenicorum).