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Paths Are Made by Walking
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This article discusses the so-called 'Apocalypse' of Carour, a text preserved in a Codex (M586) of the famous Hamuli-find, that originally emanated from the environment of the Pachomian monastic enterprise. It addresses a series of disasters and communal deficiencies through metaphorical imagery and similes that struck the community after the death of its founding father Pachomios. After presenting a few conjectures to the editio princeps and providing a German translation, the 'Apocalypse' is contextualized within the historical and liturgical background of this late antique monastic community. The author asserts that this unique text not only displays the symptoms of disaster, but also gives us new insights into how the Pachomians productively coped with crises. In contrast to modern scholarship, the author argues that the 'Apocalypse' is in fact a prophecy (ex eventu) that was based on an instruction, which was publicly read at the large Easter assembly of the Pachomians, most likely by Horsiesos, the third abbot of the Koinonia. Using the figure of the frog, C(h)arour, to symbolize the biblical plague but also the Egyptian concept of rebirth, the instruction was intended to strengthen group cohesion and especially to prepare the novices that were about to receive their baptism during the Easter celebration for a life devoted to the Koinonia and its principles. To this initial prophecy, which developed an antithesis to the ideal monastic life envisioned by the Pachomians, another text was later added that narrated an unsuccessful attempt to overthrow Apa Besarion, the fifth abbot of the Koinonia. In a much more practical manner this second part of the prophecy elaborated on the same themes while also displaying the resilience of the community in averting crises through remembering and recommitting to its founding precepts. The convoluted text we possess now should therefore be equally viewed as a testament to the communication structures of the Pachomians as well as their memorial culture, which targeted moments of crisis and despair to imbue future generations with the necessary persistence to overcome possible disasters themselves and secure the long-term existence of the Koinonia.
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.
A quote from Fight Club (Chuck Palahniuk, 1996) may seem unusual for a Classicist. Nevertheless, this famous sentence summarises the contents of this special issue of thersites perfectly. As specialists in classical reception frequently witness, there is a sort of déjà-vu effect when it comes to the presence of Antiquity within popular culture. In 2019, to try to better understand the phenomenon, Antiquipop invited researchers to take an interest in the construction and semantic path of these “masterpieces” in contemporary popular culture, with a particular focus on the 21st century.
The Laocoön 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 raisonné” (Loraux”) and “écart” (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. Laocoön); 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.