@article{CarlaUhink2019,
  author    = {Carl{\`a}-Uhink, Filippo},
  title     = {(Re-)Founding Italy: The Social War, Its Aftermath and the Construction of a Roman-Italic Identity in the Roman Republic},
  series = {History in Flux: Journal of the Department of History, Faculty of Humanities, Juraj Dobrila University of Pula},
  volume    = {1},
  journal   = {History in Flux: Journal of the Department of History, Faculty of Humanities, Juraj Dobrila University of Pula},
  number    = {1},
  doi       = {10.32728/flux.2019.1.1},
  pages     = {3 -- 19},
  year      = {2019},
  abstract  = {The Social War (91-88 BCE) is one of the most significant episodes in Roman history: from this war, in which Rome fought against her Italic allies, emerged the elite that would lead the Republic in the last decades of its existence and that would provide the senatorial aristocracy of the early imperial age. The Italic rebels were defeated militarily, yet they achieved their political aims. As such, this war - and its elaboration and memorialization in Roman cultural memory - provides a very interesting case study about how "victory" and "defeat" are constructed discursively after a disruptive war, and how its narration is "functionalized" for a re-foundation of the civic body.},
  language  = {en}
}
@article{CarlaUhinkGori2020,
  author    = {Carl{\`a}-Uhink, Filippo and Gori, Maja},
  title     = {Preface},
  series = {thersites 10: Modern Identities and Classical Antiquity},
  volume    = {2019},
  journal   = {thersites 10: Modern Identities and Classical Antiquity},
  number    = {10},
  doi       = {10.34679/thersites.vol10.159},
  pages     = {i -- vi},
  year      = {2020},
  language  = {en}
}
@article{CarlaUhinkFreitag2022,
  author    = {Carl{\`a}-Uhink, Filippo and Freitag, Florian},
  title     = {Theme Park Imitations},
  series = {Cultural History},
  volume    = {11},
  journal   = {Cultural History},
  number    = {2},
  publisher = {Edinburgh University Press},
  address   = {Edinburgh},
  issn      = {2045-290X},
  doi       = {10.3366/cult.2022.0267},
  pages     = {181 -- 198},
  year      = {2022},
  abstract  = {Theme parks frequently draw not only on historical themes, from antiquity to the roaring twenties, but also on their own history - that is, the history of the medium of the theme park itself. This article uses the example of the Happy World ride at Happy Valley Beijing (China) to discuss theme park imitations, that is, the fact that theme parks frequently borrow individual elements (themes, technologies, visuals, layouts, names) and/or entire units (rides, restaurants, themed areas) from each other. Opened in 2014 in the Greek-themed Aegean Harbour section of Happy Valley Beijing, Happy World may upon first sight look like an almost exact copy of Disney's 'it's a small world' (opened at Disneyland in California in 1966) but turns out to be, upon closer examination, a complex refunctionalization of central elements of 'it's a small world' that establishes meaningful connections between (ancient) Greece and the city of Beijing via the theme of the Olympic Games: drawing on the origins of 'it's a small world' in the 1964-5 New York World's Fair and the latter's motto of 'Peace through Understanding', Happy World takes visitors on a journey from the ancient Olympiad to contemporary Beijing (the site of the 2008 Summer and the 2022 Winter Olympic Games) to offer a theme park rendition of the 2008 Olympic torch relay as an homage to 'the spirit [of peace, respect, and friendship] in the people's [sic] of the world'.},
  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{CarlaUhinkGarciaMorcillo2024,
  author    = {Carl{\`a}-Uhink, Filippo and Garc{\´i}a Morcillo, Marta},
  title     = {Discursive constructions of corruption in Ancient Rome},
  series = {Cultural History},
  volume    = {13},
  journal   = {Cultural History},
  number    = {1},
  publisher = {Edinburgh University Press},
  address   = {Edinburgh},
  issn      = {2045-290X},
  pages     = {1 -- 11},
  year      = {2024},
  language  = {en}
}
@article{CarlaUhink2024,
  author    = {Carl{\`a}-Uhink, Filippo},
  title     = {'He had thoughtlessly accepted certain gifts'},
  series = {Cultural History},
  volume    = {13},
  journal   = {Cultural History},
  number    = {1},
  publisher = {Edinburgh University Press},
  address   = {Edinburgh},
  issn      = {2045-290X},
  doi       = {10.3366/cult.2024.0296},
  pages     = {52 -- 70},
  year      = {2024},
  abstract  = {It has been highlighted many times how difficult it is to draw a boundary between gift and bribe, and how the same transfer can be interpreted in different ways according to the position of the observer and the narrative frame into which it is inserted. This also applied of course to Ancient Rome; in both the Republic and Principate lawgivers tried to define the limits of acceptable transfers and thus also to identify what we might call 'corruption'. Yet, such definitions remained to a large extent blurred, and what was constructed was mostly a 'code of conduct', allowing Roman politicians to perform their own 'honesty' in public duty - while being aware at all times that their involvement in different kinds of transfer might be used by their opponents against them and presented as a case of 'corrupt' behaviour.},
  language  = {en}
}