@article{Ambuehl2020,
  author    = {Amb{\"u}hl, Annemarie},
  title     = {Vorwort: tessellae},
  series = {thersites 11: tessellae - Birthday Issue for Christine Walde},
  volume    = {2020},
  journal   = {thersites 11: tessellae - Birthday Issue for Christine Walde},
  number    = {11},
  editor    = {Amb{\"u}hl, Annemarie},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol11.185},
  pages     = {i -- vi},
  year      = {2020},
  abstract  = {Prolegomena to thersites 11, "tessellae - Birthday Issue for Christine Walde"},
  language  = {de}
}
@article{Bartels2018,
  author    = {Bartels, Anke},
  title     = {"Britain First" or White Privilege Reloaded?},
  series = {Hard times : deutsch-englische Zeitschrift},
  volume    = {101},
  journal   = {Hard times : deutsch-englische Zeitschrift},
  number    = {1},
  issn      = {0171-1695},
  pages     = {37 -- 47},
  year      = {2018},
  language  = {de}
}
@article{BenderKorjahnGronau2024,
  author    = {Bender, Benedict and Korjahn, Nicolas and Gronau, Norbert},
  title     = {Erfolgreich auf Handelsplattformen},
  series = {ERP-Management : Auswahl, Einf{\"u}hrung und Betrieb von ERP-Systemen},
  volume    = {20},
  journal   = {ERP-Management : Auswahl, Einf{\"u}hrung und Betrieb von ERP-Systemen},
  number    = {1},
  publisher = {GITO mbH - Verlag f{\"u}r Industrielle Informationstechnik und Organisation},
  address   = {Berlin},
  issn      = {1860-6725},
  pages     = {76 -- 82},
  year      = {2024},
  abstract  = {Obwohl Handelsplattformen zunehmend an Bedeutung gewinnen, besteht im deutschsprachigen Raum ein Mangel an umfassenden Markt{\"u}bersichten. Dadurch fehlt es Verk{\"a}ufern, potenziellen Plattformbetreibern und Kunden an einer soliden Grundlage f{\"u}r fundierte Entscheidungen. Das {\"a}ndern wir mit folgendem Beitrag. Erfahren Sie hier das Wichtigste {\"u}ber den rasant wachsenden Markt der Handelsplattformen.},
  language  = {de}
}
@article{Besnard2021,
  author    = {Besnard, Tiphaine Annabelle},
  title     = {La V{\´e}nus de Milo dans l'art contemporain (de 1980 {\`a} nos jours) : une ic{\^o}ne globalis{\´e}e},
  series = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  volume    = {2021},
  journal   = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  number    = {13},
  editor    = {Bi{\`e}vre-Perrin, Fabien and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol13.156},
  pages     = {84 -- 99},
  year      = {2021},
  abstract  = {This paper aims to analyse the figure of the Venus of Milo in (extreme) contemporary art productions. The reception of this sculpture has already been studied in the past, but without considering the last ten years (2010 - 2020), during which artists like Yinka Shonibare, Fabio Viale, or Daniel Arsham decided to use the Venus for their new productions. The paper also explains how the Venus of Milo became a globalised icon and an inspiration for artists from all over the world.},
  language  = {fr}
}
@article{BievrePerrin2021,
  author    = {Bi{\`e}vre-Perrin, Fabien},
  title     = {"Everything is a copy of a copy of a copy"},
  series = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  volume    = {2021},
  journal   = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  number    = {13},
  editor    = {Bi{\`e}vre-Perrin, Fabien and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol13.191},
  pages     = {i -- v},
  year      = {2021},
  abstract  = {A quote from Fight Club (Chuck Palahniuk, 1996) may seem unusual for a Classicist. Nevertheless, this famous sentence summarises the contents of this special issue of thersites perfectly. As specialists in classical reception frequently witness, there is a sort of d{\´e}j{\`a}-vu effect when it comes to the presence of Antiquity within popular culture. In 2019, to try to better understand the phenomenon, Antiquipop invited researchers to take an interest in the construction and semantic path of these "masterpieces" in contemporary popular culture, with a particular focus on the 21st century.},
  language  = {en}
}
@article{Briand2021,
  author    = {Briand, Michel},
  title     = {Le Laocoon en ic{\^o}ne queer et camp},
  series = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  volume    = {2021},
  journal   = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  number    = {13},
  editor    = {Bi{\`e}vre-Perrin, Fabien and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol13.133},
  pages     = {1 -- 42},
  year      = {2021},
  abstract  = {The Laoco{\"o}n group, a famous source of inspiration for modern artists and a crucial masterpiece for historians of art and philosophers, is also a popular figure in queer contemporary art and culture, both distorted and celebrated through camp performative devices. After remarks about 1. "queer gaze" and the complex relation of queer or LGBTQIA+ culture and politics to the dialectics of kitsch/camp and classical / contemporary / pop art, and 2. (not straight but) queer classics, using "anachronisme raisonn{\´e}" (Loraux") and "{\´e}cart" (Dupont), this article focuses on case studies from the 2010's: 1. The untold gay history of Vatican guided tour; the music video Falling, by the "queer cowboy" Drew Beckman. 2. Paintings by Richard Wallace (esp. Laoco{\"o}n); photographic series of Danil Golovkin (Modern Heroes : Photographing Bodybuilders in the Digital Age), 3. Julien Servy (Collages : Photo vs. Statues) ; the design firm modern8 (for the 2017 Utah Pride Festival). 4. The indigenous Canadian artist Kent Monkman, who, in paintings (The Academy), performances, installations, altogether stages and questions the violence of historical and cultural colonization and its impact on issues of gender and identity, and promotes dynamic interactions of aesthetics and politics, as well of pathos and camp.},
  language  = {fr}
}
@article{BrilkeWerner2021,
  author    = {Brilke, Clara and Werner, Eva},
  title     = {I am not sure that I feel like singing, thanks very much for asking!},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol12.189},
  pages     = {104 -- 115},
  year      = {2021},
  abstract  = {In her writings on ancient myth, the British author Natalie Haynes moves women to the centre of attention. Her two latest books, A Thousand Ships and Pandora's Jar - a fiction novel and a non-fiction one - approach this topic from two different perspectives. This interview takes stock of Haynes' motives and methodology as well as of the challenges she faces in the process of writing.},
  language  = {en}
}
@article{Brueck2022,
  author    = {Br{\"u}ck, Alexander},
  title     = {„Rom lernt von den Griechen, Europa von Rom"},
  series = {thersites 14},
  volume    = {2022},
  journal   = {thersites 14},
  number    = {14},
  editor    = {Amb{\"u}hl, Annemarie and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol14.198},
  pages     = {41 -- 102},
  year      = {2022},
  abstract  = {Given the immense ethnic and cultural diversity as well as the vast geographical dimensions of the Roman Empire, the teaching of Roman antiquity comprises an enormous potential to deal with the increasing heterogeneity in German-speaking classrooms. This article aims to show how the majority of contemporaneous Latin textbooks, however, fail to use this potential by being limited to mono-perspective and Eurocentric approaches to the ancient world. In spite of didactical claims to foster students' intercultural competence, most of the textbooks depict the city of Rome as an ethnically and culturally homogeneous sphere. At the same time, they present the Roman Empire nearly exclusively from the perspective of representatives of Italian-born, powerful upper-class families firmly connected to 'Roman' culture. In doing so, the Latin textbooks falsify the ancient historical realities and deprive students of the perspectives of figures like provincials or slaves. Furthermore, the textbooks' narrative scope clearly focusses on Rome and Greece, still paying noticeable attention to West-European provinces, with the African and Asian ones being remarkably excluded. Only few exceptions among the textbooks apply alternative approaches which allow students to engage with the Roman Empire's intercultural dynamics in a more differentiated and multi-perspective way.},
  language  = {de}
}
@article{Capra2022,
  author    = {Capra, Elena Sofia},
  title     = {"Orfeo out of Care"},
  series = {thersites 15},
  volume    = {2022},
  journal   = {thersites 15},
  number    = {15},
  editor    = {Amb{\"u}hl, Annemarie and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol15.209},
  pages     = {52 -- 89},
  year      = {2022},
  abstract  = {The paper focuses on an example of multiple-step reception: the contribution of the classical story of Orpheus and Eurydice and the mediaeval lay Sir Orfeo to Tolkien's work. In the first part, I compare the lay with Virgilian and Ovidian versions of Orpheus' myth. This comparison shows the anonymous author's deep knowledge of the ancient texts and complex way of rewriting them through stealing and hybridization. The lay was highly esteemed by Tolkien, who translated it and took inspiration from it while describing the Elven kingdom in The Hobbit and building the storyline of Beren and L{\´u}thien in The Silmarillion. Through this key tale, Orpheus/Orfeo's romance has a deep influence also on Aragorn and Arwen's story in The Lord of the Rings. The most important element that Tolkien takes from the Sir Orfeo figuration of the ancient story is undoubtedly the insertion of political theme: the link established between the recovery of the main character's beloved and the return to royal responsability. The second part of the paper is, thus, dedicated to the reception of Sir Orfeo and the classical myth in Tolkien. It shows how in his work the different steps of the tradition of Orpheus' story are co-present, creating an inextricable substrate of inspiration that nourishes his imagination.},
  language  = {en}
}
@article{ChinnThompson2022,
  author    = {Chinn, Christopher and Thompson, Phoebe},
  title     = {Tolkien's Ithilien and the Landscape of the Ancient Mediterranean},
  series = {thersites 15},
  volume    = {2022},
  journal   = {thersites 15},
  number    = {15},
  editor    = {Amb{\"u}hl, Annemarie and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol15.211},
  pages     = {163 -- 203},
  year      = {2022},
  abstract  = {This paper examines the intertext between Tolkien's Ithilien episode in Two Towers and artistic presentations of plants in the art and literature of Augustan Rome. We argue that the evident 'superbloom' depicted in the ekphrasis of the flora of Ithilien recalls both Vergilian botanical adynata (especially in the Georgics) and Roman wall paintings of the Augustan period.},
  language  = {en}
}