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In the early 1140s, the Bavarian princess Bertha von Sulzbach arrived in Constantinople to marry the Byzantine emperor Manuel Komnenos. Wanting to learn more about her new homeland, the future empress Eirene commissioned the grammarian Ioannes Tzetzes to compose a version of the Iliad as an introduction to Greek literature and culture. He drafted a lengthy dodecasyllable poem in twenty-four books, reflecting the divisions of the Iliad, that combined summaries of the events of the siege of Troy with allegorical interpretations. To make the Iliad relevant to his Christian audience, Tzetzes reinterpreted the pagan gods from various allegorical perspectives. As historical allegory (or euhemerism), the gods are simply ancient kings erroneously deified by the pagan poet; as astrological allegory, they become planets whose position and movement affect human life; as moral allegory Athena represents wisdom, Aphrodite desire.As a didactic explanation of pagan ancient Greek culture to Orthodox Christians, the work is deeply rooted in the mid-twelfth-century circumstances of the cosmopolitan Comnenian court. As a critical reworking of the Iliad, it must also be seen as part of the millennia-long and increasingly global tradition of Homeric adaptation.

The present selection from the Wissenschaftslehre (Sulzbach 1837) of Bernard Bolzano (1781-1848) aims at giving a compact view of his main ideas in logic, semantics, epistemology and the methodology of science. These ideas are analyzed from a modern point of view in the Introduction. Furthermore, excerpts from Bolzano's correspondence are included which yield important remarks on his own work. The translation of the sections from the Wissenschaftslehre are based on a German text, which I have located in the Manuscript Department of the University Library in Prague (signature: 75 B 459). It was one of Bolzano's own copies of his printed work and contains a vast number of corrections made by Bolzano himself, thus representing the final stage of his thought, which has gone unnoticed in previous editions. The German originals of Bolzano's letters to M. J. Fesl, J. P. Romang, R. Zimmermann and F. Pi'ihonsky are in the Literary Archive of the Pamatnfk narodnfho pfsemnictvf in Prague. The original of the letter to F. Exner belongs to the Manuscript Department of the Osterreichische Nationalbibliothek in Vienna. The original of the letter to J. E. Seidel is preserved in the Museum of the City of Ceske Budejovice.

Fiction. Translated by Susan Bernofsky. Four adults, a child and a cat travel from Germany to Bordeaux. Harig tells their adventures in humorous permutations, word-games, Baroquisms, confrontations, catalogs: anything but straightforward narrative. Ludwig Harig was born in Sulzbach/Saarland in 1927. After being an assistant d'allemand in Lyon and a grade school teacher, he has, since 1974, lived as a freelance writer.

In the early 1140s, the Bavarian princess Bertha von Sulzbach arrived in Constantinople to marry the Byzantine emperor Manuel Komnenos. Wanting to learn more about her new homeland, the future empress Eirene commissioned the grammarian Ioannes Tzetzes to compose a version of the Iliad as an introduction to Greek literature and culture. He drafted a lengthy dodecasyllable poem in twenty-four books, reflecting the divisions of the Iliad, that combined summaries of the events of the siege of Troy with allegorical interpretations. To make the Iliad relevant to his Christian audience, Tzetzes reinterpreted the pagan gods from various allegorical perspectives. As historical allegory (or euhemerism), the gods are simply ancient kings erroneously deified by the pagan poet; as astrological allegory, they become planets whose position and movement affect human life; as moral allegory Athena represents wisdom, Aphrodite desire.As a didactic explanation of pagan ancient Greek culture to Orthodox Christians, the work is deeply rooted in the mid-twelfth-century circumstances of the cosmopolitan Comnenian court. As a critical reworking of the Iliad, it must also be seen as part of the millennia-long and increasingly global tradition of Homeric adaptation.