@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}
}
@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{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}
}
@article{AmatuzziAyresBennettGerstenbergetal.2020,
  author    = {Amatuzzi, Antonella and Ayres-Bennett, Wendy and Gerstenberg, Annette and Schosler, Lene and Skupien-Dekens, Carine},
  title     = {Changement linguistique et p{\´e}riodisation du fran{\c{c}}ais (pr{\´e})classique},
  series = {Journal of French language studies},
  volume    = {30},
  journal   = {Journal of French language studies},
  number    = {3},
  publisher = {Cambridge Univ. Press},
  address   = {Cambridge},
  issn      = {0959-2695},
  doi       = {10.1017/S0959269520000058},
  pages     = {301 -- 326},
  year      = {2020},
  abstract  = {RESUME Cette etude propose d'explorer et d'identifier des moments particuliers oU le changement linguistique se produit, afin de confirmer ou de rejeter l'idee d'une periode specifique designee par le terme << francais preclassique >>, avec une rupture - ou frontiere chronolectale - detectable autour de 1630 (cf. Ayres-Bennett et Caron, 2016). Afin de verifier dans quelle mesure cette chronologie peut etre confirmee, il est necessaire de multiplier des analyses fines et pointues sur des traits linguistiques qui ont subi des changements a l'epoque en question et d'interroger une gamme de textes qui refletent la variation discursive et pragmatique, au lieu de consulter le canon des traditions textuelles actuellement disponibles sur des bases numerisees, qui sont essentiellement litteraires. C'est pourquoi nous avons consulte des sources de nature differente, qui pourraient attester des usages emergents, a savoir les corpus du Reseau Corpus Francais Preclassique et Classique (RCFC). Seront presentes les resultats de deux etudes de cas (la recategorisation des formes dedans/dessous/dessus/dehors et la montee des clitiques), abondamment discutes par les remarqueurs.},
  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{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}
}
@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{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{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{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}
}