@book{Goertemaker, author = {G{\"o}rtemaker, Manfred}, title = {Rudolf Hess : der Stellvertreter}, publisher = {C.H. Beck,}, address = {M{\"u}nchen}, isbn = {978-3-406-65291-2}, pages = {758}, abstract = {Welch ein Anblick f{\"u}r die Welt", notierte Joseph Goebbels geschockt in seinem Tagebuch. "Ein geistig zerr{\"u}tteter zweiter Mann nach dem F{\"u}hrer. Grauenhaft und unausdenkbar." Da war Rudolf Hess soeben zu seinem mysteri{\"o}sen Flug nach England aufgebrochen, um im Alleingang Frieden zu stiften. Wer war dieser von R{\"a}tseln umgebene Mann, der wie ein Schatten Hitlers wirkte, in N{\"u}rnberg zu lebenslanger Haft verurteilt wurde und nach seinem Tod in Spandau zu einer Ikone der Neonazis werden sollte? Manfred G{\"o}rtemaker legt die erste grundlegende Biographie vor, die mit neuen Quellen einen pr{\"a}zisen Einblick in die Chefetage des NS-Regimes erm{\"o}glicht. Der Potsdamer Zeithistoriker Manfred G{\"o}rtemaker hat fast zwanzig Jahre lang an dieser akribisch recherchierten Biographie gearbeitet. Erstmals konnte er ca. 4.100 Briefe und 50.000 Blatt Schriftwechsel aus dem Hess-Nachlass im Berner Bundesarchiv auswerten, mit einer Sondergenehmigung die Papiere von Lord Selkirk of Douglas, dem Sohn des Duke of Hamilton, zu dem Hess nach Schottland flog, einsehen sowie eine beeindruckende Zahl von weiteren bislang unerschlossenen Archivalien heranziehen. Das Resultat ist das Lebensbild des Mannes, der von Anfang an mit Hitler durch dick und d{\"u}nn ging, dessen wachsende Machtf{\"u}lle wie ein Alter Ego verwaltete und {\"u}ber dessen Einfluss als "Stellvertreter des F{\"u}hrers" sich kein Rivale Illusionen machte. Manfred G{\"o}rtemaker konnte als Erster Briefe und Schriften aus dem Nachlass von Rudolf Hess auswerten Hitlers treuester Paladin in einer pr{\"a}zisen biographischen Rekonstruktion Eine exemplarische Studie dar{\"u}ber, wie jemand zum Nazi wird}, 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{LessmannKalkuhl2023, author = {Lessmann, Kai and Kalkuhl, Matthias}, title = {Climate finance intermediation}, series = {Journal of the Association of Environmental and Resource Economists}, volume = {11}, journal = {Journal of the Association of Environmental and Resource Economists}, number = {1}, publisher = {University of Chicago Press}, address = {Chicago, IL}, issn = {2333-5955}, doi = {10.1086/725920}, pages = {213 -- 251}, year = {2023}, abstract = {Interest rates are central determinants of saving and investment decisions. Costly financial intermediation distorts these price signals by creating a spread between deposit and loan rates. This study investigates how bank spreads affect climate policy in its ambition to redirect capital. We identify various channels through which interest spreads affect carbon emissions in a dynamic general equilibrium model. Interest rate spreads increase abatement costs due to the higher relative price for capital-intensive carbon-free energy, but they also tend to reduce emissions due to lower overall economic growth. For the global average interest rate spread of 5.1 percentage points, global warming increases by 0.2°C compared to the frictionless economy. For a given temperature target to be achieved, interest rate spreads necessitate substantially higher carbon taxes. When spreads arise from imperfect competition in the intermediation sector, the associated welfare costs can be reduced by clean energy subsidies or even eliminated by economy-wide investment subsidies.}, language = {en} } @article{Maurice2023, author = {Maurice, Lisa}, title = {From Olympian to Christ-figure: Lucifer (2016 - 2021)}, series = {thersites 17}, volume = {2023}, journal = {thersites 17}, number = {17}, editor = {Potter, Amanda and Gardner, Hunter H.}, issn = {2364-7612}, doi = {10.34679/thersites.vol17.244}, pages = {245 -- 272}, year = {2023}, abstract = {On the surface the television series Lucifer (2016 - 21) is a simple police procedural but, in actuality, the criminal cases in the show serve merely as window-dressing and structure for the deeper consideration of issues, such as guilt, shame, love, and even the meaning of life on both an individual and universal level. These topics are explored through the ever-developing character of Lucifer himself, who, like other recent anti-hero depictions, is initially presented in a manner that is very different from traditional portrayals of the Devil, and is, in fact, far closer to that of the Greek Olympian gods. Over the course of six seasons, the depiction of Lucifer alters, however, as he becomes a figure that is in many ways Christ-like, but with a 21st century twist that places the individual in an exalted position that is superior to that of divinity.}, language = {en} } @article{MartinezJimenez2023, author = {Mart{\´i}nez Jim{\´e}nez, Javier}, title = {Lycaon and classical versipelles in MTV's Teen Wolf}, series = {thersites 17}, volume = {2023}, journal = {thersites 17}, number = {17}, editor = {Potter, Amanda and Gardner, Hunter H.}, issn = {2364-7612}, doi = {10.34679/thersites.vol17.248}, pages = {212 -- 244}, year = {2023}, abstract = {The modern conception of the werewolf is heavily influenced by Gothic reinterpretations of medieval European stories. This kind of werewolf is the one that has appeared on screen and written fiction for decades, but MTV's Teen Wolf, a re-boot of the 1980s film which aired between 2011 - 17, is different. In this young adult supernatural drama, werewolves descend directly from Lycaon, and a substantial proportion of the show's werewolf lore derives from Graeco-Roman stories about wolf-shifters and versipelles. This paper wants to explore the extent of the use in the show of the myth of Lycaon in particular, of Classical versipelles in general, the significance of these two references for the narrative, and the degree of innovation in modern supernatural fiction of this adaptation of Greek and Roman stories.}, language = {en} } @article{Skibinski2023, author = {Skibinski, Connie}, title = {'Crazy Man-Killing Monsters'}, series = {thersites 17}, volume = {2023}, journal = {thersites 17}, number = {17}, editor = {Potter, Amanda and Gardner, Hunter H.}, issn = {2364-7612}, doi = {10.34679/thersites.vol17.240}, pages = {183 -- 211}, year = {2023}, abstract = {The Amazons have a long legacy in literature and the visual arts, extending from antiquity to the present day. Prior scholarship tends to treat the Amazons as hostile 'Other' figures, embodying the antithesis of Greco-Roman cultural norms. Recently, scholars have begun to examine positive portrayals of Amazons in contemporary media, as role models and heroic figures. However, there is a dearth of scholarship examining the Amazons' inherently multifaceted nature, and their subsequent polarised reception in popular media. This article builds upon the large body of scholarship on contemporary Amazon narratives, in which the figures of Wonder Woman and Xena, Warrior Princess dominate scholarly discourse. These 'modern Amazon' figures epitomise the dominant contemporary trend of portraying Amazons as strong female role models and feminist icons. To highlight the complexity of the Amazon image in contemporary media, this article examines the representation of the Amazons in the Supernatural episode 'Slice Girls' (S7 E13, 2012), where their portrayal as hostile, monstrous figures diverges greatly from the positive characterisation of Wonder Woman and Xena. I also consider the show's engagement with ancient written sources, to examine how the writers draw upon the motifs of ancient Amazon narratives when crafting their unique Amazon characters. By contrasting the Amazons of 'Slice Girls' to contemporary figures and ancient narratives, this article examines how factors such as feminist ideology, narrative story arcs, characters'/audience's perspectives and male bias shape the representation of Amazons post-antiquity.}, language = {en} } @article{Siegel, author = {Siegel, Janice}, title = {Guillermo del Toro's Hellboy: A Kinder, Gentler, More Modern Heracles}, series = {thersites 17}, volume = {2023}, journal = {thersites 17}, number = {17}, editor = {Potter, Amanda and Gardner, Hunter H.}, issn = {2364-7612}, doi = {10.34679/thersites.vol17.253}, pages = {143 -- 182}, abstract = {In Hellboy (2004, Sony Pictures), Guillermo del Toro presents a mythic hero (half human/half demon) seemingly made from the same mold as the classical hero Heracles (Hercules). Hellboy's modern world is shaped by a cosmology not unlike that of Greek mythology, and as is true for Heracles, his unique pedigree and superior physicality empower him to mediate between the forces of supernaturality and humanity. Hellboy's experiences evoke comparison with most characters and exploits in the Heraclean mythological corpus; his good character precludes comparison with others. Hellboy must contend with his own versions of Hera, Eurystheus, and a Nemean Lion/Hydra-like monster. He, too, relies on his own superhuman strength, innate cunning and an Athena-like protector to be successful at his job. Both heroes navigate a difficult path to their very different destinies. But in the end, Hellboy's compassion, humility, unerring moral compass, and genuinely altruistic motivations make him both a better man and a better mythic hero, one worthy even of being loved.}, language = {en} } @article{Strong2023, author = {Strong, Anise K.}, title = {The Persistence of Memory}, series = {thersites 17}, volume = {2023}, journal = {thersites 17}, number = {17}, editor = {Potter, Amanda and Gardner, Hunter H.}, issn = {2364-7612}, doi = {10.34679/thersites.vol17.255}, pages = {125 -- 142}, year = {2023}, abstract = {The 2017 Pixar film Coco and the 2021 Disney film Encanto form a small part of an increasing modern wave of media focused on parent-child conflicts caused by intergenerational trauma and rejection. Other recent works in this genre include the video game Hades, the films Turning Red and Everything Everywhere All At Once, and the television series Ms. Marvel. The traumas in all these films, some directed explicitly at a younger audience and some pitched more broadly, serve as a distinct set of meditations on the immigrant experience, even while not necessarily focusing on literal immigration. They also all invoke imagery of ghosts and death, both echoing specific classical Mediterranean motifs and tropes and incorporating a wide variety of other cultures' supernatural traditions. These works' concern with familial traumas of separation, culture shock, and loss of ancestral memories and connections contrasts sharply with the individual-focused myth of the American Dream common to earlier generations of American media, in which a lone individual typically emigrates, assimilates, and succeeds in a new culture, forming a new family and set of myths. However, themes of assimilation and questions of cultural imperialism also form a bridge between ancient Roman and modern North American anxieties and traditions.}, language = {en} } @article{Potter2023, author = {Potter, Amanda}, title = {Classical Monsters and Hero(ines) in InSEXts, Eros/Psyche and Porcelain}, series = {thersites 17}, volume = {2023}, journal = {thersites 17}, number = {17}, editor = {Potter, Amanda and Gardner, Hunter H.}, issn = {2364-7612}, doi = {10.34679/thersites.vol17.247}, pages = {96 -- 124}, year = {2023}, abstract = {This paper applies Monster Theory to the use of Greek mythology in three creator-owned comic series by female writers: InSEXts (2016 - 2017) by American comic writer Marguerite Bennett and Indonesian artist working in America Ariela Kristantina as well as Eros/Psyche (2021) and Porcelain (2021) by Maria Llovet, a comic writer and artist from Barcelona. In the first volume of InSEXts, set in Victorian London, there are allusions to the Furies and Pandora, linked with the discourse of the repression of women. In the second volume, set in the late nineteenth century Paris art world, the representation of classical subjects in art becomes a means to repress women, and a goddess with a Gorgon-like appearance takes revenge on the male repressors. In Eros/Psyche the story of Eros and Psyche and broken statues forms the backdrop and context for a tale of love and deception at a girls' school, and in Porcelain a girl is faced with a choice of paths towards Eros or Thanatos, like Herakles at the crossroads choosing between the paths of virtue and vice. With reference to Cohen's seven theses of Monster Culture I examine how Bennett and Lovett subvert the idea of the monster and the hero.}, language = {en} } @article{Lovatt2023, author = {Lovatt, Helen}, title = {Resurrecting the Argo}, series = {thersites 17}, volume = {2023}, journal = {thersites 17}, number = {17}, editor = {Potter, Amanda and Gardner, Hunter H.}, issn = {2364-7612}, doi = {10.34679/thersites.vol17.254}, pages = {55 -- 95}, year = {2023}, abstract = {This paper analyses the relationship between the figure of the Argo (ship and character) and the supernatural in the mythic fantasy of Robert Holdstock's Merlin Codex. It shows how Holdstock's re-writing of the Argonautica draws on various versions from the Argonautic tradition, including Euripides' Medea, Apollonius, Valerius Flaccus, Nathaniel Hawthorne, Henry Treece and the 1963 film Jason and the Argonauts. It sets Holdstock's Argo alongside other representations, as divine herself, possessed by divinity, and a channel of communication with the divine, and in the context of Holdstock's previous work, particularly Mythago Wood, Lavondyss and Merlin's Wood. The paper argues that Holdstock uses the Argo as a reflection of myth itself, a version of the forest in Mythago Wood, as well as a metapoetic image for the challenges and complexities of adapting a well-known story, bringing multiple mythological traditions (Arthurian, Finnish and Argonautic) together. It reflects on Holdstock's relationship to the ancient genres of epic and tragedy, as well as Argo as plot facilitator and mechanism of transformation and transition. Holdstock's relationship with ancient literature is richer and deeper than previously acknowledged; his self-conscious plays reveal a deep understanding of the polymorphous nature of mythical traditions.}, language = {en} }