@article{Laudenbach2023, author = {Laudenbach, Beno{\^i}t}, title = {Sophocle sur Netflix}, series = {thersites 16}, volume = {2023}, journal = {thersites 16}, number = {16}, editor = {Amb{\"u}hl, Annemarie and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine}, issn = {2364-7612}, doi = {10.34679/thersites.vol16.222}, pages = {83 -- 127}, year = {2023}, abstract = {The paper focuses on two recent occurrences of a Sophoclean drama on screen, Electra in the romantical movie Marriage Story, and Philoctetes in an episode of the mainstream medical series New Amsterdam, both productions currently available on the popular streaming service Netflix. The case studies explore the mechanisms of the use of these dramas and their significance in both productions, showing that they are partly used for their "classical" authority, are deeply integrated within the scenarios, and help to design the narratives, the characters and their (social and personal) relationships.}, language = {fr} } @article{Klettke2023, author = {Klettke, Cornelia}, title = {Pierre Klossowksi. L'acte cr{\´e}ateur de l'{\´e}crivain peintre}, series = {Cahiers Erta}, volume = {33}, journal = {Cahiers Erta}, publisher = {Wydawnictwo Uniwersytetu Gdańskiego}, address = {Gdansk}, issn = {2300-4681}, doi = {10.4467/23538953CE.23.006.17568}, pages = {139 -- 157}, year = {2023}, abstract = {Klossowski, who had originally started as a religious seeker of truth in his younger years, will - after his « reversal » - feel himself invested with the role of a « heretic » struggling with the libidinous search for truth. Even as the creator of a perverted metaphysics, he remains a seeker of the revelation of being, now in the role of the divine « adversary » who, thrown back on himself, tends to imitate a religious mystic. The divine is replaced by the whispers of the demon, which Klossowski experiences as « la complicit{\´e} d'une force "d{\´e}monique" » in the creation of his artworks. The Diana myth becomes a parable for the act of artistic creation. Sexuality, understood as the primordial ground of creative force that shapes the signe unique, the phantasm, shifts metaphysics to « phantasmaphysics » (Foucault), in which the mystery of the divine is exposed as a delusion (Wahnbild).}, language = {fr} } @book{OPUS4-53581, title = {Manuel des modes et modalit{\´e}s}, series = {Manuals of Romance Linguistics ; 29}, journal = {Manuals of Romance Linguistics ; 29}, editor = {Haßler, Gerda}, publisher = {de Gruyter GmbH}, address = {Berlin}, isbn = {978-3-11-054927-0}, pages = {X, 690}, year = {2022}, abstract = {Modality refers to the attitudes a speaker can adopt toward the propositional content of an utterance including, among others, possibility and necessity. After introducing different theoretical perspectives on this concept, this manual presents the markers of modality (moods, modal verbs, adverbs) in Romance languages. It also addresses diachronic questions and the overlaps between modality and other grammatical categories.}, language = {fr} } @article{D'Aprile2022, author = {D'Aprile, Iwan-Michelangelo}, title = {{\´E}ducation publique et formation autodidacte}, series = {Lumi{\`e}res}, volume = {1}, journal = {Lumi{\`e}res}, number = {39}, publisher = {CIBEL}, address = {Pessac}, issn = {1762-4630}, doi = {10.3917/lumi.039.0047}, pages = {47 -- 61}, year = {2022}, abstract = {Cet article explore les d{\´e}bats sur la formation autodidacte dans le contexte d'une constellation franco-allemande autour de 1800. Il met en {\´e}vidence les interf{\´e}rences f{\´e}condes qui ont exist{\´e} entre les Lumi{\`e}res fran{\c{c}}aises, notamment par l'interm{\´e}diaire de Mirabeau, et l'Aufkl{\"a}rung allemande, en particulier les cercles berlinois autour de la Mittwochsgesellschaft et Wilhelm von Humboldt. Il analyse par ailleurs la dimension politique de l'autodidaxie {\`a} la veille de la R{\´e}volution fran{\c{c}}aise.}, language = {fr} } @incollection{Hassler2022, author = {Hassler, Gerda}, title = {Der Aspektbegriff in verschiedenen nationalen Traditionen der Grammatikographie}, series = {The architecture of grammar : studies in linguistic historiography in honor of Pierre Swiggers}, booktitle = {The architecture of grammar : studies in linguistic historiography in honor of Pierre Swiggers}, publisher = {Peeters}, address = {Leuven, Paris, Bristol}, isbn = {978-90-429-4687-3}, pages = {305 -- 323}, year = {2022}, language = {fr} } @incollection{Hassler2022, author = {Hassler, Gerda}, title = {Les concours acad{\´e}miques de la deuxi{\`e}me moiti{\´e} du XVIIIe si{\`e}cle}, series = {La linguistique et ses formes historiques d'organisation et de production}, booktitle = {La linguistique et ses formes historiques d'organisation et de production}, publisher = {SHESL}, address = {Paris}, isbn = {979-10-91587-16-7}, pages = {257 -- 286}, year = {2022}, language = {fr} } @incollection{Hassler2022, author = {Hassler, Gerda}, title = {L'expression adverbiale de l'aspectualit{\´e} et son interaction avec les formes verbales}, series = {Synchronie et diachronie : l'enjeu du sens. M{\´e}langes offerts au Pr. Hava Bar-Zeev Shyldkrot}, booktitle = {Synchronie et diachronie : l'enjeu du sens. M{\´e}langes offerts au Pr. Hava Bar-Zeev Shyldkrot}, publisher = {Honor{\´e} Champion}, address = {Paris}, isbn = {978-2-74535-730-4}, pages = {279 -- 292}, year = {2022}, language = {fr} } @misc{Hammann2022, type = {Master Thesis}, author = {Hammann, Angelika}, title = {L'initiative « Universit{\´e}s Europ{\´e}ennes »}, doi = {10.25932/publishup-54168}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-541681}, school = {Universit{\"a}t Potsdam}, pages = {XXI, 73}, year = {2022}, abstract = {Le Pr{\´e}sident de la R{\´e}publique fran{\c{c}}aise, Emmanuel Macron, a prononc{\´e} le 26 septembre 2017 dans le grand auditorium de l'Universit{\´e} de la Sorbonne devant un public compos{\´e} d'{\´e}tudiants et de responsables politiques un ambitieux discours sur l'Europe. Parmi ses « initiatives pour l'Europe » figure la cr{\´e}ation d'universit{\´e}s europ{\´e}ennes. L'objectif de cette {\´e}tude est de mettre en lumi{\`e}re l'h{\´e}ritage et les apports fran{\c{c}}ais et allemands dans ce nouveau mod{\`e}le de partenariat europ{\´e}en en construction. Quel est le r{\^o}le jou{\´e} par le niveau minist{\´e}riel en France et en Allemagne dans le cadre de la mise en œuvre de l'initiative ? Quel est le degr{\´e} et quelle est la nature d'intervention des Agences nationales Erasmus dans chacun des deux pays ? Quel est le positionnement de l'Universit{\´e} franco-allemande par rapport {\`a} ces nouvelles alliances ainsi que sa contribution ? {\`A} partir de trois exemples, {\`a} savoir les alliances ECIU, EPICUR et FORTHM, nous illustrons comment la coop{\´e}ration franco-allemande ainsi que les relations transfrontali{\`e}res d{\´e}velopp{\´e}es au sein de r{\´e}seaux pr{\´e}existants alimentent ces « r{\´e}seaux des r{\´e}seaux ». Ce m{\´e}moire puise ses principales sources de 15 entretiens semi-directifs, men{\´e}s entre ao{\^u}t 2020 et janvier 2021 aupr{\`e}s d'acteurs allemands, fran{\c{c}}ais et europ{\´e}ens. La richesse de leur expertise nourrit la conclusion dans laquelle nous tentons de mettre en exergue la dimension franco-allemande de cette initiative. Avec un regard franco-allemand, nous proposons un r{\´e}sum{\´e} des actuelles forces, opportunit{\´e}s, faiblesses et menaces qui favorisent ou entravent le d{\´e}veloppement de cette nouvelle initiative. Der Pr{\"a}sident der franz{\"o}sischen Republik, Emmanuel Macron, hielt am 26. September 2017 im großen H{\"o}rsaal der Universit{\"a}t Sorbonne vor einem Publikum aus Studenten und Politikern eine ambitionierte Rede zu Europa. Zu seinen "Initiativen f{\"u}r Europa" geh{\"o}rt die Schaffung von Europ{\"a}ischen Hochschulnetzwerken. Das Ziel dieser Masterarbeit besteht darin, das deutsch-franz{\"o}sische Erbe sowie die Beitr{\"a}ge beider L{\"a}nder in diesen neuen Modellen zu untersuchen :.Welche Rolle spielt die ministerielle Ebene in Frankreich und Deutschland bei der Umsetzung der Initiative? In welchem Umfang und auf welche Art und Weise beteiligen sich die nationalen Erasmus-Agenturen in beiden L{\"a}ndern ? Welche Position nimmt die Deutsch-Franz{\"o}sische Hochschule in Bezug auf diese neuen Allianzen ein und welche Unterst{\"u}tzung bietet sie? Anhand von drei Beispielen, den Allianzen ECIU, EPICUR und FORTHM, wird beschrieben, welche Beitr{\"a}ge die deutsch-franz{\"o}sische Zusammenarbeit sowie grenz{\"u}berschreitende Kooperationen leisten. Die Hauptquellen f{\"u}r diese Masterarbeit stellen 15 semidirektive Experteninterviews dar, die zwischen August 2020 und Januar 2021 mit deutschen, franz{\"o}sischen und europ{\"a}ischen Akteuren gef{\"u}hrt wurden. Der Reichtum ihrer Expertise fließt in die Schlussfolgerung ein, in der wir versuchen, die deutsch-franz{\"o}sische Dimension dieser Initiative hervorzuheben. Mit einer deutsch-franz{\"o}sischen Perspektive versuchen wir, die St{\"a}rken, Chancen, Schw{\"a}chen und Bedrohungen zusammenzufassen, die die Entwicklung dieser neuen Initiative beg{\"u}nstigen oder behindern. The President of the French Republic, Emmanuel Macron, gave an ambitious speech on Europe to an audience of students and politicians in the large lecture hall of the Sorbonne University on 26 September 2017. Among his "Initiatives for Europe" is the creation of European University Networks. The aim of this Master's thesis is to examine the Franco-German heritage and the contributions of both countries in these new models :.What is the role of the ministerial level in France and Germany in the implementation of the initiative? To what extent and in what way do the national Erasmus agencies in both countries participate ? What is the position of the Franco-German University in relation to these new alliances and what support does it offer? Using three examples, the ECIU, EPICUR and FORTHM alliances, the contributions of Franco-German cooperation and cross-border cooperation are described. The main sources for this Master's thesis are 15 semi-directive expert interviews conducted with German, French and European actors between August 2020 and January 2021. The wealth of their expertise feeds into the conclusion, in which we try to highlight the Franco-German dimension of this initiative. With a Franco-German perspective, we try to summarise the strengths, opportunities, weaknesses and threats that favour or hinder the development of this new initiative.}, language = {fr} } @phdthesis{Chemeta2022, author = {Chemeta, David}, title = {Nation, migration, narration}, doi = {10.25932/publishup-51830}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-518308}, school = {Universit{\"a}t Potsdam}, pages = {496}, year = {2022}, abstract = {In France and in Germany, immigration as become one of the main issues in the past decades. In this context rose also the rap music. It has a huge popularity for young people with migration background. However rappers do write a lot about their French or German identity. The goal of this work is to explain the paradox : how can people with migration background, expressing critics against the racism they regard as omnipresent, still feel fully French/German? We divided the work between following chapters: Context, methodology and theories (I); analysis of different identity forms within the text corpus (II); analysis of the way rappers see their society in three chronological steps (III-V); case studies of Kery James in France and Samy Deluxe in Germany (VI).}, language = {fr} } @article{Klettke2022, author = {Klettke, Cornelia}, title = {La m{\´e}taphysique val{\´e}ryenne du regard en tant que repr{\´e}sentation du pouvoir de l'esprit}, series = {Cahiers de l'Association Internationale des {\´E}tudes Fran{\c{c}}aises}, volume = {74}, journal = {Cahiers de l'Association Internationale des {\´E}tudes Fran{\c{c}}aises}, publisher = {Les Belles Lettres}, address = {Paris}, issn = {0571-5865}, pages = {277 -- 293}, year = {2022}, language = {fr} } @inproceedings{Haeseler2021, author = {H{\"a}seler, Jens}, title = {Le Refuge en Prusse {\`a} la lumi{\`e}re des travaux de Myriam Yardeni}, series = {Protestantisme, nation, identit{\´e}. Hommage {\`a} Myriam Yardeni (1932-2015)}, booktitle = {Protestantisme, nation, identit{\´e}. Hommage {\`a} Myriam Yardeni (1932-2015)}, publisher = {Soci{\´e}t{\´e} Fran{\c{c}}aise d'Etude du Seizi{\`e}me Si{\`e}cle}, address = {Paris}, pages = {1 -- 7}, year = {2021}, abstract = {Myriam Yardeni a consacr{\´e} des travaux {\`a} l'histoire de la R{\´e}forme, {\`a} la pens{\´e}e politique et {\`a} l'historiographie des Huguenots, aux changements d'attitude envers le peuple juif, {\`a} l'{\´E}glise du D{\´e}sert, mais aussi au Refuge en Allemagne et en particulier en Prusse. Sans pouvoir retracer ici toute cette partie de son itin{\´e}raire de recherche, ni m{\^e}me {\´e}tudier {\`a} fond ses contributions majeures {\`a} la recherche sur le Refuge en Prusse, ce texte ne veut qu'apporter un t{\´e}moignage sur la vitalit{\´e} et la productivit{\´e} de sa m{\´e}thode de recherche.}, language = {fr} } @incollection{Hassler2021, author = {Haßler, Gerda}, title = {L'ellipse - un principe d'explication syntaxique et pragmatique dans l'histoire de la linguistique et dans des th{\´e}ories modernes}, series = {R{\´e}duction - densification - {\´e}lision. Formes r{\´e}duites et leurs fonctions}, volume = {2021}, booktitle = {R{\´e}duction - densification - {\´e}lision. Formes r{\´e}duites et leurs fonctions}, publisher = {Nodus}, address = {M{\"u}nster}, isbn = {978-3-89323-025-9}, publisher = {Universit{\"a}t Potsdam}, pages = {125 -- 141}, year = {2021}, language = {fr} } @incollection{Hassler2021, author = {Haßler, Gerda}, title = {L'expression de l'{\´e}vidence directe en fran{\c{c}}ais}, series = {De la diachronie {\`a} la synchronie et vice versa. M{\´e}langes offerts {\`a} Annie Bertin par ses {\´e}tudiants et ses amis en remerciement pour son apport aux {\´e}tudes diachroniques}, booktitle = {De la diachronie {\`a} la synchronie et vice versa. M{\´e}langes offerts {\`a} Annie Bertin par ses {\´e}tudiants et ses amis en remerciement pour son apport aux {\´e}tudes diachroniques}, publisher = {Presses universitaires Savoie Mont Blanc}, address = {Savoie}, isbn = {978-2-37741-069-9}, pages = {423 -- 440}, year = {2021}, language = {fr} } @incollection{Hassler2021, author = {Hassler, Gerda}, title = {Changement de sens pour des p{\´e}riphrases aspectuelles - un ph{\´e}nom{\`e}ne panroman d{\^u} {\`a} l'influence de l'anglais?}, series = {R{\´e}flexions th{\´e}oriques et m{\´e}thodologiques autour de donn{\´e}es variationnelles}, volume = {2021}, booktitle = {R{\´e}flexions th{\´e}oriques et m{\´e}thodologiques autour de donn{\´e}es variationnelles}, publisher = {Presses Universitaires Savoie Mont Blanc}, address = {Chamb{\´e}ry}, isbn = {978-2-37741-058-3}, issn = {1952-0891}, pages = {247 -- 262}, year = {2021}, abstract = {Un changement de la fonction de la p{\´e}riphrase verbale espagnole estar+g{\´e}rondif a {\´e}t{\´e} reconnu depuis longtemps. D{\´e}j{\`a} Gili Gaya (1948: 114) avait mentionn{\´e} la construction suivante et il l'avait expliqu{\´e}e par l'influence exerc{\´e}e par des manuels de correspondance commerciale traduits de l'anglais : Estamos envi{\´a}ndole esta carta para comunicarle [...] au lieu de: Le enviamos esta carta […]. Comme en anglais, on trouve la p{\´e}riphrase espagnole estar+g{\´e}rondif avec des significations non-actionnelles et futures dans les corpus CREA et CORPES XXI de la Real Academia Espa{\~n}ola et dans le Corpus del espa{\~n}ol (Cuando el reloj d{\´e} las dos, estar{\´e} llamando por tel{\´e}fono. Ahora est{\´a} hablando el presidente.). Cette p{\´e}riphrase est fortement grammaticalis{\´e}e avec la signification aspectuelle et son apparition dans de nouveaux contextes est un ph{\´e}nom{\`e}ne int{\´e}ressant qu'on pourrait expliquer partiellement par le contact avec la langue anglaise. Dans le portugais br{\´e}silien, le m{\^e}me ph{\´e}nom{\`e}ne appara{\^i}t, tandis qu'il est absent dans le portugais europ{\´e}en. Les exemples trouv{\´e}s dans le Corpus do portugu{\^e}s expriment des d{\´e}clarations d'intentions ou des promesses qui seront r{\´e}alis{\´e}es dans le futur (O qual eu acho isso totalmente errado! Pois estou fazendo novamente um plano de neg{\´o}cios). Il {\´e}tait surprenant de constater le m{\^e}me ph{\´e}nom{\`e}ne de l'emploi comme expression de situations futures pour la p{\´e}riphrase fran{\c{c}}aise {\^e}tre en train de dans des vari{\´e}t{\´e}s parl{\´e}es en Am{\´e}rique du Nord. Dans le corpus FRAN (), cette p{\´e}riphrase appara{\^i}t avec une plus grande fr{\´e}quence que dans des textes comparables en fran{\c{c}}ais europ{\´e}en. Dans les occurrences de la p{\´e}riphrase {\^e}tre en train de+infinitif dans le corpus FRAN, on peut constater des ph{\´e}nom{\`e}nes remarquables: le marquage de l'imperfectivit{\´e} et de la progressivit{\´e} dans des cas dans lesquels l'imparfait ou le pr{\´e}sent auraient {\´e}t{\´e} suffisants (Fait que tu {\´e}tais en train de me parler donc des nouvelles constructions dans le quartier); l'usage sans auxiliaire et en fonction attributive (des gens en train de parler fran{\c{c}}ais), l'usage pour exprimer une action future (cette ann{\´e}e euh on est en train de f/ de/ de transcrire). Beaucoup de ruptures apr{\`e}s {\^e}tre en train de indiquent la fixit{\´e} de la construction (l{\`a} on est en train de euh [phrase non termin{\´e}e]). Dans cette contribution, nous partons de la position selon laquelle le marquage de l'aspectualit{\´e} imperfective est une n{\´e}cessit{\´e} qui peut mener {\`a} l'usage de moyens d'expression plus sur{\´e}minents que les temps marqu{\´e}s aspectuellement. Le contact avec une construction de progressivit{\´e} grammaticalis{\´e}e peut induire l'usage multipli{\´e} de moyens d'expression p{\´e}riphrastiques, contribuer au changement de leur signification et acc{\´e}l{\´e}rer des processus de grammaticalisation. La base de tous ces changements est un pont cognitif entre la non-d{\´e}limitation propre {\`a} l'aspectualit{\´e} imperfective et la futurit{\´e} des situations d{\´e}crites. L'influence de l'anglais sera d{\´e}crite comme un ph{\´e}nom{\`e}ne d{\´e}clencheur d'un changement possible dans toutes les langues romanes qui ont une p{\´e}riphrase d'aspectualit{\´e} imperfective, m{\^e}me en fran{\c{c}}ais o{\`u} cette p{\´e}riphrase pr{\´e}sente une autre structure.}, language = {fr} } @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{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{SauraZiegelmeyer2021, author = {Saura-Ziegelmeyer, Arnaud}, title = {Construire ses propres mod{\`e}les : le cas des bandes sonores post-Gladiator}, 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.vol13.150}, pages = {141 -- 168}, year = {2021}, abstract = {Ringing trumpets announcing the arrival of a Roman emperor, an oriental flowing and delicate harp reverberating inside the intimate palace of an Egyptian queen, a rude aulos singing in a bucolic Greek landscape: where are these familiar sound images coming from? Are these creations inspired by archaeological data or built after modern fantasy? The scarcity of ancient musical data necessitated, in fact, to reinvent the films' soundscape taking place in the Ancient world. It is therefore a question of seeing on which models a peplum's soundtrack is conceived and what it can reveal on our way of perceiving the ancient and contemporary world. Far from wanting to gauge the historicity of the sound backgrounds offered to the spectator of dark rooms, it is rather a question of seeing the imitation phenomena that can appear from the sound clich{\´e}s created by the peplum itself and of also deducing from them thought patterns which, contextualized, influence these compositions. This article will focus on post-2000 productions.}, language = {fr} } @article{Renault2021, author = {Renault, Manon}, title = {Antiquit{\´e}s et pop cultures dans la haute couture et le pr{\^e}t-{\`a}-porter des ann{\´e}es 2010}, 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}, doi = {10.34679/thersites.vol13.149}, pages = {125 -- 140}, year = {2021}, abstract = {From the fluid dresses woven from precious materials evoking the iconic statues of Antiquity to the revival of Spartan shoes, two emblematic fashion trends will help us study the place of Greek Antiquity in contemporary women's fashion collections. Ordinary as well as extraordinary, what do these reminiscences tell? Can they permit to understand the boundaries that structure and govern the fashion's worlds? Numerous and diverse, the differences and the similarities of the ways in which classical references are used allow us to study the relations of power in which the specificities of haute couture and ready-to-wear are defined. The values, the entry criteria, the operating hierarchies as well as the very acceptance of the word "fashion" are different from one environment to another. From the catwalks of big fashion houses on Avenue Montaigne such as Chanel to the youngest brands, the differentiated readings and uses of Antiquity raise the question of the symbolic value of classics in fashion.}, language = {fr} } @article{Scapin2021, author = {Scapin, Mathieu}, title = {Les chefs d'œuvre de l'Art antique dans la bande dessin{\´e}e du XXIᵉ s. Usages et Background}, 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.vol13.128}, pages = {169 -- 199}, year = {2021}, abstract = {Whether you open a manga, a French-language comic strip or a North-American comic strip with Classic subject, it seems normal to the reader to encounter many representations of sculptures, paintings or object of daily life from this period throughout the story. These images are taken from catalogues notably available online. The artists also seem to have drawn their inspiration from museum publications or directly from the collections exhibited by these cultural institutions. This article will review the masterpieces used in comic strips and the reasons why they are chosen. Depending on the formats and cultures that stage them, these works do not constitute decorative elements of an ancient past but contribute to the narrative.}, language = {fr} } @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} }