By Andreas Goltz

Theodoric the good is without doubt one of the so much interesting characters one of the rulers from the time of the migrations of the Germanic peoples. Like no different Germanic king, this East Goth polarised the area of his time and made an effect on posterity. reviews on him diversity from glorifying him because the excellent ruler to condemning him as a tyrant and heretical persecutor. Andreas Goltz examines the many-faceted photograph of Theoderic within the early centuries after his dying (5th-9th centuries), analyzes the explanations in the back of different perspectives of him, and therefore is helping us to appreciate Theoderic, his age, and the heritage of his reception and effect.

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Extra resources for Barbar - König - Tyrann: Das Bild Theoderichs des Grossen in der Überlieferung des 5. bis 9. Jahrhunderts

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U. : Consuls of the Later Roman Empire. Philological Monographs of the American Philological Association 36. Atlanta 1987; PCBE = Prosopographie chrétienne du Bas-Empire. Bd. 1 : Prosopographie de l’Afrique chrétienne (303–533). Ed. par André Mandouze. Paris 1982. Bd. 2 : Prosopographie de L’Italie chrétienne (313–604). 2 Bde. Ed. sous la direction de Charles Pietri et Luce Pietri. Rom 1999 u. 2000. 80 Der Begriff ist zwar nicht unproblematisch, da er eine Kohärenz der Herrschaftszeit Justinians (527–565), einschließlich der seines Onkels Justin (518–527), suggeriert, die so nicht gegeben war.

Kap. 3 u. 1. Andernfalls wird auf die 1. Redaktion verwiesen. 3. Konzeption der Untersuchung 25 etabliert haben (etwa Theoderich statt Theodericus, Prokop statt Prokopios), wurde hiervon abgesehen. Die Schreibweise der germanischen Namen folgt weitgehend den Werken von Moritz Schönfeld und Hermann Reichert. 78 Die verwendeten Abkürzungen erschließen sich aus den gängigen Nachschlagewerken zur Alten Geschichte, Byzantinistik und Mittelalterlichen Geschichte bzw. aus dem Kontext. 79 Abschließend sei der Aufbau der vorliegenden Untersuchung kurz erläutert.

14 I. Einleitung vielfältig. Der Ostgotenkönig bildet nicht nur den historischen Hintergrund für Zeitungs- und Zeitschriftenartikeln, sondern begegnet auch in Filmen, Hörspielen und auf Tonkassetten. 50 Der Werbe- und Tourismusindustrie diente und dient er als Werbe- und Sympathieträger, und so ziert sein Bild bzw. Name Sammelbildchen von Liebigs Fleischextrakt (Abb. 17) ebenso wie zahllose Fremdenverkehrsprospekte oder ein Nobelrestaurant in Verona. Welche skurrile, aber auf die ungebrochene Faszination verweisende Formen die Rezeption Theoderichs in der Gegenwart schließlich annehmen kann, verdeutlichen die verschiedenen Bemerkungen zu dem Amaler im Internet 51 sowie ein bemalter Müllcontainer in Verona: Auf diesem stürzt Theoderich – in Anlehnung an Giosuè Carduccis kreative Verbindung zweier Legenden über seinen Tod in dem Gedicht „La leggenda di Teodorico“ – nackt auf einem Rappen reitend in einen Vulkan und ruft dabei verzweifelt „aiuto, aiuto“ (Abb.

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