Ambiguity in the sense of two or more possible meanings is considered to be a distinctive feature of modern art and literature. It characterizes the "open artwork" (Eco) and is generated by "disruptive tactics" (Wellershoff) and strategies to engender uncertainty. While ambiguity is seen as a "paradigm of modernity" (Bode), there is skepticism regarding its use in the pre-modern era. Older studies were dominated by the conviction that there was a lack of ambiguity in pre-modernity because, according to the rules of the "old rhetoric", ambiguity was seen as an avoidable error (vitium) and a violation of the dictate of clarity (perspicuitas). The aim of the volume is to re-examine the putative "absence of ambiguity" in the pre-modern era. Is it not possible to find clear examples of deliberately employed (intended) ambiguity in antiquity? Are the oracles and riddles, the Palinode of Stesichoros and Socrates (Phaedrus), the dissoi logoi of rhetoric, the ambiguities of the tragedies all exceptions or do they not indicate a distinct interest in the artistic use of ambiguity? The presentations of the conference, which will include scholars from various philologies, will combine a recourse to theoretical concepts of intended ambiguity with exemplary analyses from the field of pre-modern art and literature.

Considering the ubiquity of rhetorical training in antiquity, the volume starts from the premise that every first-person statement in ancient literature is in some way rhetorically modelled and aesthetically shaped. Focusing on different types of Greek and Latin literature, poetry and prose, from the Archaic Age to Late Antiquity, the contributions analyse the use and modelling of gender-specific elements in different types of first-person speech, be it that the speaker is (represented as) the author of a work, be it that they feature as characters in the work, narrating their own story or that of others. In doing so, they do not only offer new insights into the rhetorical strategies and literary techniques used to construct a gendered 'I' in ancient literature. They also address the form and function of first-person discourse in classical literature in general, touching on fields of research that have increasingly come into focus in recent years, such as authorship studies, studies concerning the ancient notion(s) of the literary persona, as well as a historical narratology that discusses concepts such as the narrator or the literary character in ancient literary theory and practice.

The term 'cityscaping' is here introduced to characterise the creative process through which the image of the city is created and represented in various media - text, film and artefacts. It thus turns attention away from built urban spaces and onto mental images of cities. One focus is on the question of which literary, visual and acoustic means prompt their recipients' spatial imagination; another is to inquire into the semantics and functions that are ascribed to the image of a city as constructed in various media. The examples of ancient texts and works of art, and modern literature and films, are used to elucidate the artistic potential of images of the city and the techniques by which they are semanticised. With its interdisciplinary approach, the volume for the first time makes clear how strongly mental images of urban space, both ancient and modern, have been shaped by the techniques of their representation in media.

Fragen des KArpers und der KArperlichkeit finden zunehmend das Interesse der kulturwissenschaftlichen Forschung; gerade dem spAtantiken Christentum gilt in diesem Zusammenhang immer wieder besondere Beachtung. Der Sammelband stellt in den Mittelpunkt das Motiv des leidenden KArpers, der aufgefasst ist als kulturelles Symbol und Kommunikationsmedium bei Integration und Abgrenzung des Christentums in seinem Bezug auf die spAtantike Gesellschaft und Geisteswelt. MAnchsaskese und Martyrium, Krankheit und Schmerz bilden die wichtigsten Bezugspunkte der einzelnen BeitrAge.

The series: Topoi. Berlin Studies of the Ancient World brings together contributions from all fields of classical studies, from pre- and early history and classical archeology to ancient philosophy, theory of science and theology. Monographs and volumes which present the research results of the Excellence Cluster Topoi form a major focus of the series. Additional topics are currently being planned. The Excellence Cluster Topoi examines the formation and transformation of space and knowledge in ancient civilizations. Topoi is the joint responsibility of the Freie Universitat Berlin and the Humboldt-Universitat zu Berlin. Partner institutions are the Berlin Brandenburg Academy of Sciences and Humanities, the German Archeological Institute, the Max Planck Institute for the History of Science and the Prussian Cultural Heritage Foundation. Furthermore Topoi is interlinked with several university institutes as well as other institutions. For further information see www.topoi.org. Selected titles from the series Topoi. Berlin Studies of the Ancient World will be freely accessible in digital form on the Internet at the date of print publication. The series regards itself as a pilot project on how to combine open access with the support of professional publishers in the publication of current research. See press release June 23rd, 2009 .

No scholar today would describe late antiquity as an age of "decline and fall," as Gibbon did; instead, to use Marrou's term, it is seen as an "other antiquity," which deserves to be investigated on its own terms. Yet the idea of a decadent period, accompanied by a fascination for the image of antiquity on the wane, continues to live in scholarly minds, as is suggested, after all, by the recurring insistence on the point that late antiquity was not a period of decline. This collection of papers engages in a productive way with the fascination exerted by the concept of an era in decline and a literary and artistic fin-de-siecle atmosphere, evoked in the very title 'Decadence'. Whether this fascination is seen as a question of the history of reception or as an ongoing phenomenon, it rarely emerges to the surface of scholarly discussions. This volume invites us to reconsider these questions by making decadent late antiquity a paradigm of interpretation in connection with a conscious and sophisticated re-use of the history of reception.