@article{Colbert2021,
  author    = {Colbert, Vivian},
  title     = {Queen Zenobia's 'Campaign' for British Women's Suffrage},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {0.34679/thersites.vol12.186},
  pages     = {71 -- 94},
  year      = {2021},
  abstract  = {This article focuses on the feminist reception of Zenobia of Palmyra in Great Britain during the long nineteenth century and the early twentieth century. A special focus lies on her reception by the British suffragettes who belonged to the Women's Social and Political Union. Even though Zenobia's story did not end happily, the warrior queen's example served to inspire these early feminists. Several products of historical culture - such as books, pieces of art, newspaper articles and theatre plays - provide insight into the reception of her as an historical figure, which is dominated by the image of a strong and courageous woman. The article will shed light on how exactly Zenobia's example was instrumentalised throughout the first feminist movement in Britain.},
  language  = {en}
}
@article{Costanzo2021,
  author    = {Costanzo, Daniela},
  title     = {Le destin des ic{\^o}nes : perception, symboles et images des Bronzes de Riace dans la culture contemporaine},
  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.vol13.153},
  pages     = {100 -- 124},
  year      = {2021},
  abstract  = {Tr{\`e}s peu d'originaux nous permettent de conna{\^i}tre la statuaire grecque ancienne. Eu {\´e}gard {\`a} la grande production de statues en bronze, un nombre tr{\`e}s limit{\´e} d'oeuvres a {\´e}t{\´e} sauv{\´e} de la fureur du temps et des hommes. Le reste nous est connu de mani{\`e}re partielle et imparfaite par les copies romaines en marbre ou par des notes rapides d'auteurs anciens, qui mentionnent des artistes et des oeuvres dont le seul nom demeure. La d{\´e}couverte de statues en bronze de production grecque est donc un {\´e}v{\´e}nement exceptionnel d'un point de vue scientifique. Les « Bronzes de Riace » ont notamment eu, d{\`e}s leur d{\´e}couverte en 1972, une immense influence dans la culture populaire, que nous allons aborder dans cet article sous l'angle des Reception Studies, en essayant d'int{\´e}grer ces r{\´e}flexions au d{\´e}bat sur leur perception dans le monde contemporain, d{\´e}j{\`a} abord{\´e} par deux volumes sortis en 1986 et 2015 (Gli eroi venuti dal mare/Heroes from the sea et Sul buono e sul cattivo uso dei Bronzi di Riace1), en portant une attention particuli{\`e}re au Web et aux r{\´e}seaux sociaux. 1 Je remercie Maurizio Paoletti et Fabien Bi{\`e}vre-Perrin pour la relecture de cet article ; Domenico Benedetto D'Agostino pour m'avoir fait conna{\^i}tre, il y a quelques ann{\´e}es, le po{\`e}me de Felice Mastroianni d{\´e}di{\´e} au Bronzes de Riace ; l'Archivio du Mus{\´e}e Arch{\´e}ologique National de Reggio Calabria, Mike_art04, le collectif La Psicoscimmia et Emanuela Robustelli pour les images qu'ils ont partag{\´e}es.},
  language  = {fr}
}
@article{Cristini2022,
  author    = {Cristini, Marco},
  title     = {The Fall of Two Cities: Troy and Gondolin},
  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},
  doi       = {10.34679/thersites.vol15.200},
  pages     = {1 -- 24},
  year      = {2022},
  abstract  = {Vergil was a fundamental source of inspiration for Tolkien, not only when writing the Lord of the Rings, but also at the beginning of his "world-building". The Fall of Gondolin, written in 1916, was modeled upon the Aeneid, whose second book shares many similarities with the description of Gondolin's last day. For instance, the attack that seals the fate of the city takes place during a feast in both works, whereas both protagonists (Aeneas and Tuor) leave wives and sons to fight the enemy and witness deaths of their kings (Priam/Turgon). Other analogies include the topos of the fall of the tallest tower of the city as well as the scenes of Creusa/Idril clasping the knees of her husband and begging him not to go back to the battle. Tolkien chose the Aeneid as his main model because, in his opinion, the Aeneid and The Fall of Gondolin evoked the air of antiquity and melancholy. Vergil's nostalgia for a "lost world" conveyed in the Aeneid greatly resembles the nostalgia pervading both Tolkien's writing and life.},
  language  = {en}
}
@article{Cromwell2022,
  author    = {Cromwell, Jennifer},
  title     = {From Pyramids to Obscure Gods},
  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.vol14.199},
  pages     = {1 -- 40},
  year      = {2022},
  abstract  = {Within Persona 5's modern Tokyo setting, imagined worlds are created that represent the cognitive processes of various characters. These 'palaces' allow the player to explore locations far removed from the game's real-world, contemporary backdrop. One episode creates an ancient Egyptian world. This article examines how this world has been produced and the different transmedial tropes and other influences that its developers have drawn upon. Many references are recognisable to a broad audience (pyramids, gods, hieroglyphs), while others reflect Japanese pop-cultural trends (in various manga and anime), including the mention of an obscure Egyptian god, Medjed. The intentionally fictitious nature of these 'palaces' means that the Egypt that appears in this game is not bound by the need to replicate an 'accurate' landscape. Instead, the developers were free to design a gamescape that combines multiple and diverse receptions of ancient Egypt.},
  language  = {en}
}
@article{DemirWalther2018,
  author    = {Demir-Walther, Meltem},
  title     = {Die Entwicklung eines Unterrichtskonzeptes zur F{\"o}rderung von Sachlernen und Lesekompetenz aus inklusionsdidaktischer Sicht},
  series = {Sachunterrichtsdidaktik \& Inklusion : ein Beitrag zur Entwicklung},
  journal   = {Sachunterrichtsdidaktik \& Inklusion : ein Beitrag zur Entwicklung},
  publisher = {Schneider Verlag Hohengehren GmbH},
  address   = {Baltmannsweiler},
  isbn      = {978-3-8340-1829-8},
  pages     = {39 -- 44},
  year      = {2018},
  language  = {de}
}
@article{Dieter2008,
  author    = {Dieter, Anne},
  title     = {Die antiken Traditionen des europ{\"a}ischen Bildungsverst{\"a}ndnisses},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-21813},
  year      = {2008},
  language  = {de}
}
@article{DixKlohr2022,
  author    = {Dix, Sophie and Klohr, Silvia},
  title     = {Ein studentischer Bericht zur Tagung „IMAGINES VII: PLAYFUL CLASSICS" (05. - 06. 03. 2021)},
  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.vol14.193},
  pages     = {141 -- 151},
  year      = {2022},
  abstract  = {In March 2021, the IMAGINES Project - an international and interdisciplinary research network for the modern reception of antiquity in the visual and performing arts - held their seventh conference online. The event focused on PLAYFUL CLASSICS, and was hosted from G{\"o}ttingen University by the organizers Juliette Harrisson, Antje Kuhle and Martin Lindner. The keynote by Dunstan Lowe on „The Danger of Seriousness: Play and the Future of Classics" outlined the potential of researching classical reception as a creative process. The following sections brought this to life with in-depth treatments of the underlying mechanics of constructing and deconstructing, playful learning, the „Faces of Antiquity", forms of interaction and national/nationalistic traditions. The programme combined scholarly contributions with presentations and workshops by various artists and open discussion elements. The shift to an online format allowed the participation of an unusually international audience, while the interactive elements - including a thematic game as a continuous side event - especially encouraged a large number of students to participate actively. Therefore, this conference report will not just summarize the content of the event, but also provide a student perspective on attending a conference on classical reception - a research area which is mostly neglected in the teaching curriculum.},
  language  = {de}
}
@article{Esposito2020,
  author    = {Esposito, Paolo},
  title     = {Cesare nella Troade: l'impossibile rinascita del passato},
  series = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien = Transformative Translations in Jewish History and Culture},
  volume    = {2020},
  journal   = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien = Transformative Translations in Jewish History and Culture},
  number    = {11},
  editor    = {Amb{\"u}hl, Annemarie},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol11.164},
  pages     = {151 -- 175},
  year      = {2020},
  abstract  = {Caesar's visit to the ruins of ancient Troy in Lucan's Bellum Civile book IX is an invented story which deals with important metaliterary themes such as poetic fama and the poetry's eternalizing function. Lucan's narrative also reveals the instrumental nature of Caesarean and Augustan propaganda: the Neronian poet highlights some contradictions of the Aeneid, showing the failure of the political project celebrated by Vergil.},
  language  = {it}
}
@article{Feichtinger2020,
  author    = {Feichtinger, Barbara},
  title     = {Bukolisches Idyll in Bethlehem},
  series = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien = Transformative Translations in Jewish History and Culture},
  volume    = {2020},
  journal   = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien = Transformative Translations in Jewish History and Culture},
  number    = {11},
  editor    = {Amb{\"u}hl, Annemarie},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol11.168},
  pages     = {218 -- 246},
  year      = {2020},
  abstract  = {Epistula 46 is an invitation, written under the name of Paula and Eustochium, for Marcella to go to Bethlehem, by all means with the aim to stimulate positive interest in the Holy Land for a wider public and to inspire the urge to travel and sojourn. The narrative defines pilgrimage not only through biblical references but also familiarizes it through references to ancient pagan practices and pagan literature and makes it compatible with the lifestyle of Rome's urban elites. While biblical references predominantly propagate Palestine's spiritual appeal as a site of centuries-long salvation events, references to the classics - often combined with the expression or the stimulation of emotions - put the region's social and intellectual appeal to the fore. The use of pagan literature, in which the traditions of educational travel of a cosmopolitan elite, the social utopia of aristocratic recessus, and not least the pleasure of otium aestheticised through literature are prefigurated, shapes Palestine in particular fashion as a place of longing. Especially the appeal of Bethlehem thus only forms through the combination of spiritual-intellectual visio and emotionally attractive social utopia, through conjunction of spelunca Christi and bucolic idyll.},
  language  = {de}
}
@article{Foster2023,
  author    = {Foster, Frances},
  title     = {Gods and Magic in Megan Whalen Turner's The Thief},
  series = {thersites 17},
  volume    = {2023},
  journal   = {thersites 17},
  number    = {17},
  editor    = {Potter, Amanda and Gardner, Hunter H.},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol17.242},
  pages     = {32 -- 54},
  year      = {2023},
  abstract  = {Megan Whalen Turner's series The Queen's Thief (1996 - 2020) centres on the political intrigues in a group of countries which are at once very like - but also very unlike - Bronze Age and archaic Greece threatened by a powerful Persian Empire. The first book in the series, The Thief (1996), begins as a political adventure haunted by stories of the gods. When those gods directly influence the action, the narrative changes from present political intrigue to a fantasy from the distant past. The mythology in The Thief reflects, imitates and distorts archaic Greek creation myths - stories about how the earth and sky were formed, the divine pantheon and heroes. I examine the presentation of this divine pantheon against the narratives about the gods in Hesiod, the Homeric hymns and Homer's epics. I evaluate how the supernatural element interacts with the largely political narrative of The Thief. In so doing, I explore how the text blends a 'classical supernatural' with a world that is like - but in many ways very unlike - Bronze Age and archaic Greece.},
  language  = {en}
}