@article{Steffensen2021,
  author    = {Steffensen, Nils},
  title     = {Ruhm, Ide(ologi)e, Macht},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol12.134},
  pages     = {1 -- 37},
  year      = {2021},
  abstract  = {The first Hollywood film adaptation of Alexander the Great is Robert Rossen's 1956 movie. Classicists have primarily been concerned with errors of historicity, Alexander's assumed tragic traits, and rather associative conclusions concerning the movie's political implications. This paper raises the question of Rossen's depiction of Alexander's motives and aims. His assessment of the king is surprisingly complicated. Therefore, for the first time, Rossen's interview comments on Alexander are analysed comprehensively and systematically. Furthermore, it is shown that neglected sources are central to the plot. Finally, the film is interpreted against the backdrop of Rossen's oeuvre. It can be demonstrated that Rossen's issue is the problem of ideology. He seeks a redefinition of glory. Military success is only an excuse for the pursuit of mere power. For Rossen, however, the true fame is nothing but the benefit of the people. It took a long time for Alexander to realize that his rule was inane, and to reshape his policy. This interpretation is due to fundamental convictions reflected in Rossen's oeuvre as well as to his personal experiences in politics. It is a plea for de-ideologization in times of the Cold War.},
  language  = {de}
}
@article{Ursin2021,
  author    = {Ursin, Frank},
  title     = {„The mother of chemical peeling" - Oder: Wie Kleopatra zum Bad in Eselsmilch kam},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol12.95},
  pages     = {38 -- 70},
  year      = {2021},
  abstract  = {Application areas and drugs of Egyptian, Greek and Roman medi-cine are popular references of research in the field of recent aes-thetic dermatology. There, Cleopatra VII is referred to as "mother of chemical peeling" because she is said to have bathed in donkey's milk. Although extremely popular, there is no ancient source sup-porting Cleopatra's bath in milk. Nevertheless, Poppaea Sabina, the second wife of Emperor Nero, is said to has bathed in donkey's milk to beautify her skin. The aim of the paper is to reconstruct the genesis and develop-ment of the modern myth of Cleopatra bathing in donkey's milk. The origin of this myth can be traced back to the cinema of the 1930s. The result is that in the person of the actress Claudette Colbert her two roles as Cleopatra and Poppaea converged. This convergence was the basis for the popularization of the milk bath by the Cleopat-ra movie of 1963 with Elizabeth Taylor.},
  language  = {de}
}
@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{CarlaUhink2021,
  author    = {Carl{\`a}-Uhink, Filippo},
  title     = {Interview with Alana Jelinek},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol12.163},
  pages     = {95 -- 103},
  year      = {2021},
  abstract  = {Alana Jelinek is an art historian and artist — "an artist making art, and also writing about art", in her words — , a former European Research Council artist in residence at the Museum of Anthropology and Archaeology at the University of Cambridge, and currently teaching in the School of Creative Arts at the University of Hertfordshire. Her art has revolved mostly around the issues of post- and neocolonialism and their connections with neoliberalism — a more implicit topic in her works from the 1990s on the "tourist gaze" developed into an interest in museums, collecting and ethnography throughout the past two decades. In this interview, she talks to thersites about the role of classical heritage and ancient art in her own work.},
  language  = {en}
}
@article{Warnking2021,
  author    = {Warnking, Pascal},
  title     = {Talking Stones - Ein besonderer Audio-Guide zu den antiken St{\"a}tten in Trier},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol12.110},
  pages     = {116 -- 135},
  year      = {2021},
  abstract  = {This work journal recounts the experiences of a project undertaken with students of the University of Trier over the course of two semesters. The project attempted to design and produce an innovative audio guide pertaining to the cultural heritage of the Roman city, with students gauging market opportunities, writing a business plan, researching information and producing content for the audio guide. The work created, „Talking Stones" (https://www.talking-stones.de/), takes the listener on a tour of Roman Trier embedded in a literary narrative and is available via download on Google Play and the Apple App Store.},
  language  = {de}
}
@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{Reinard2021,
  author    = {Reinard, Patrick},
  title     = {Rezension von Kristopher F. B. Fletcher/Osman Umurhan (eds.): Classical Antiquity in Heavy Metal Music},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol12.188},
  pages     = {140 -- 149},
  year      = {2021},
  language  = {de}
}
@article{Potter2021,
  author    = {Potter, Amanda},
  title     = {Review of Meredith E. Safran (ed.): Screening the Golden Ages of the Classical Tradition},
  series = {thersites 12},
  volume    = {2020},
  journal   = {thersites 12},
  number    = {12},
  editor    = {Rollinger, Christian},
  issn      = {2364-7612},
  doi       = {thersites.vol12.123},
  pages     = {136 -- 139},
  year      = {2021},
  language  = {en}
}