Dr. Gabriel Zuchtriegel

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86 appearances 1 recordings 1 series first heard Jun 2025 last heard Jun 2025

Dr. Gabriel Zuchtriegel’s voice in public audio — every appearance, attributed to the second.

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The Ancients · Pompeii: The Buried City · 1 Jun 2025 podcast
In den frühen Jahrhunderten von Rom und Athens und Griechenland und auch von Pompeji waren Bilder magische Objekte. Also gab es sie im Grunde in den Sanktionen, in den Tempeln und in den Turmen. Sie waren nicht nur Repräsentationen. Sie hatten die Funktion, die Präsenz zu machen, of the divinity manifest. The deities would be present through the image.
And then, if you have this huge production of images, not only in holy places and sacred spaces, but also in private houses, certainly something changes. And so you can still see the religious origin But evidently it had become more like some kind of cultural code and almost some kind of decoration. And I think you can also see some kind of nostalgic memory.
In Pompeji there are many of these small landscape paintings. Bilder, Bilder, wo man oft Tempels und Schreine und Statuen der Divinität sieht, aber es ist alles ein bisschen runtergegangen und man hat Bäume, die durch die Kolumnen des kleinen Tempels wachsen. Was ich da sehe, ist die Erinnerung. Once there was this unity of
Natur, Landschaft, Götter, die Landschaft wurde von Göttern und Menschen, die in der Landschaft lebten, verbreitet. Aber jetzt ist es separat, weil wir in der Stadt sind. And we are looking at these paintings, but we are not part anymore of the natural landscape, because who's working the fields? Enslaved workers. Who goes into the woods hunting and cutting wood?
Not the people who had villas in Pompeii.
Ja und nein, weil es immer eine Frage war, We know that from 186 BC the Dionysian Mysteries were forbidden by the Roman Senate in Italy. Because there had been a big scandal and sex and money and murder. And so no mysteries anymore. But then you see these images in the Villa of the Mysteries. So people initially thought maybe... They secretly continue to celebrate these mysteries here.
And the same holds true for the recently found frieze, which is very similar, but also with important differences. And in a way it's true, the ancient Senatus Consultum which forbid the mysteries, was never abolished officially, as far as we know. So, yeah, what's happening? Probably people were playing with this, right? I mean, it's not really, it's only on the wall, it's only a painting.
And as long as we're not engaging again in sex orgies and murder and stealing money from others and so forth, there's nothing wrong about it. There shouldn't be. And on the other hand, I think there's a longing for meaning. And the mystery is so exciting and so fascinating because there's something hidden there.
The famous psychologist Carl Gustav Jung said, only something that's incomprehensible can make sense. Because we try to find a sense. If everything is clear... dann ist es auch in einer Art und Weise beängstigend. Ich denke, die Leute haben daran gearbeitet. Sie haben versucht, es herauszufinden. Und sie hatten dieses Gefühl, dass es etwas sein muss. Aber es war weggefallen.
Und ich denke, das ist auch eine Erklärung dafür, warum neue religiöse Bewegungen wie Christianity Das war so beeindruckend in einer Gesellschaft, die nichts mit der alten jüdischen Religion zu tun hatte. Das war alles sehr seltsam und seltsam und nicht Teil der romänischen Tradition und Kultur, aber trotzdem hatte es so einen Erfolg am Ende.
The early Christian texts were already circulating, like the Gospel of Mark, which is dated around 70 and even older, around many of the letters of Paul. You have novels and movies about with this idea that there was a small community of Christians in Pompeii. Actually we don't have any evidence, but there's basically two very strange and interesting graffiti.
So not official inscriptions carved in marble, but things people were writing on the walls, like today maybe in the bathroom of the local school you can see many of these. So people... Er hat nur zwei Worte geschrieben. Sodom Gomorra. Keine Ahnung. Aus dem alten Testament, das zerstört wurde, weil sie so schuldig waren. Und das ist so ähnlich wie Pompeji. Und die Leute haben das bemerkt.
already in the past. And then suddenly in the 19th century this inscription is discovered. And it seemed really incredible. So people even wondered if someone had come back and excavated in Pompeii and made this inscription. I don't believe that. I think it's probably someone who saw Pompeii from a distance and saw the sensuality and the sexual exploitation also. Prostitution und so weiter.
Und ich sagte, naja, das ist das, was wir erleben. Und dann gibt es noch eine Inskription, eine Kugelinskription, die nicht versorgt ist, leider, aber wir kennen Drehungen. Und es ist nicht wirklich klar, was es sagt, aber Clearly it mentioned the name of the Christians and it probably was some kind of defamation. So he said, look at this guy here. He is part of this crazy movement.
So we don't know if it's true or not, but evidently people had heard of this. That's very interesting.
Yeah, and they are very interesting because they are gladiators and animal hunts. So things you could usually see in the amphitheater. And they are drawn in a typical children-like way. So we called some psychologists from the university at Naples to help us. uns zu helfen, zu verstehen, wie alt die Kinder waren, die die Drehungen gemacht haben.
Und basierend auf den Drehungen gibt es die Beine und die Arme, die direkt aus der Hand kommen. Das ist ein Weg, wie Kinder noch heute, bis sie fünf oder sechs Jahre alt sind, die menschliche Figur zu zeichnen. Es scheint also sehr konstant in der Geschichte der Menschheit zu sein. Aber wir wussten nicht wirklich, ob das 2000 Jahre her war.
Sie hatten keine Schriftbücher und Kindergarten und all das. Vielleicht schrieben sie das sogar noch in älterer Zeit. Aber dann hatten wir noch eine fantastische Erfindung. Diese Kinder haben noch etwas gemacht, was heute noch sehr typisch ist. Sie haben ihre kleinen Hände auf den Wänden gesetzt. Und mit einem Stück Schalkohle machte er ein Bild. Und so konnten wir die Größe der Hand vergleichen.
with the drawing style and it's, yeah, we're there, five, six years. These very young children evidently had seen something in the local amphitheater of these bloody brutal games. Today we talk a lot about violence in social media and videos and so this was real life violence. People died there. Sometimes it was part of the performance in the amphitheater.
To punish, to crucify, to throw people to the beasts. You could see blood and you could see people die. It was entertainment. You have to imagine that very young children were exposed to that kind of violence. That's what we take from these drawings.
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