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nempe exemplis discimus
(2018)
‘Tradition’ and ‘example’ are key concepts of the ancient fable. The fable has not only developed a literary tradition of its own, but from the beginning, it was also used as a rhetorical device, the exemplum. A diachronic overview of the genre and especially the use of the fable as exemplum reveals that Phaedrus adapts these terms in a new and ingenious way. In a case study of fable 3.9 this paper demonstrates how the fable finds its place in the literary tradition of the motif, how Socrates is presented as a model for the poet’s persona and how an intricate network of inter- and intratextual references is established between Socrates, Aesop, Phaedrus, and his potential successors. The subtle irony of the poet is particularly evident in the gradual development of the poet’s persona into a caricature, but the message of the fable itself remains unaffected: the value of true friendship.
Rommel Almighty?
(2018)
Erwin Rommel is by any standard a mythical figure. He has been the subject of countless studies in English and German. However, the "Italian side of the hill" has been largely neglected, despite the fact that the foundation of the myth around him lies in the North African campaign, where, after all, thousands of soldiers of the Italian army fought alongside the african campaign, where, after all, thousands of soldiers of the Italian army fought along-side the Afrika Korps. This article will provide an Italian view of the "Desert Fox," using new primary material that provides insights into Italian assessments during the war. A major source is material gathered by way of eavesdropping by British intelligence on Italian officers held as POWs in Cairo and in England.
Ein Werk zweier Künstler?
(2018)
The author suggests an attribution for two largely unknown Baroque sculptures inside the Church of St. Peter and Paul at Potsdam. The crucifixus, which has so far not been attributed to an artist, is shown to exhibit parallels to a 1716 work by Paul Egell. It remains unclear, however, whether the Potsdam crucifixus was also created by Egell himself or by Johann Peter Benckert, who congenially completed it in 1763 with a statue of the kneeling Maria Magdalena. The appealing depiction of the saint as an elegant sinner and penitent offers believers various possibilities for identification.
Von der Demütigung zur Demut
(2016)
Ainmianus Marcellinus
(2016)
100 Jahre Roter Oktober
(2017)
100 Jahre Roter Oktober
(2017)
Zur Einführung
(2021)
Universität
(2021)
Strange New Worlds
(2022)
The Indo-Pacific is fast becoming the main arena for great power competition. After explaining the regional power hierarchy, the paper describes how the EU defines like-mindedness as an explicit partnership category in the Indo-Pacific and which of the countries qualify. Finally, the paper also examines the structural problems the EU faces when projecting power into a faraway region such as this one. The paper argues that for China’s rise to remain peaceful and in the absence of fully regional security arrangements, other Asian actors are increasingly looking for new regional structures that combine elements of cooperation, competition and containment vis-à-vis China - including a more pronounced EU role in the region.
Speaking the Unspeakable
(2019)
This article discusses the filmic representation of the infamous Wannsee Conference, when fifteen senior German officials met at a villa on the shore of a Berlin lake to discuss and co-ordinate the
implementation of the so-called final solution to the Jewish question. The understanding reached during the course of the ninety-minute meeting cleared the way for the Europe-wide killing of six million Jews. The article sets out to answer the principal challenge facing
anyone attempting to recreate the Wannsee Conference on film: what was the atmosphere of this conference and the attitude of the participants? Moreover, it discusses various ethical aspects related to the portrayal of evil, not in actions but in words, using the medium of film. In doing so, it focuses on the BBC/HBO television film Conspiracy (2001), directed by Frank Pierson, probing its historical accuracy and discussing its artistic credibility.
Schlacht bei Fehrbellin
(2021)
Soldatenkönig
(2021)
Luise als Politikerin
(2020)
„Nur der Freiheit …“?
(2014)
Einleitung
(2014)
Erfahrene Männer
(2018)
Die heile Welt der Rosenburg
(2018)
A prelude to total war?
(2018)
The conflict between Italy and Ethiopia in 1935–36 has been framed as a prelude to the Second World War and as a watershed towards ‘Total War’. One perspective has so far been neglected: the assessments of foreign military observers. This article examines American, British, German, and Austrian views on the operations and thereby also analyses the mindset of European officers at the time. The core argument emerging from these reports is that the war was perceived as a rather ‘normal’ colonial conflict. Neither the use of gas, nor the employment of aircraft against civilians was seen as a taboo or created significant outrage among the military observers. Instead, they lauded the Italians’ steady logistical efforts and employment of artillery and airpower to overcome nature and the enemy’s resistance.
In der Humanmedizin stellt die sogenannte evidenzbasierte Medizin nach Einführung des Begriffs durch D.L. Sackett (Sackett et al. 1996) und der Gründung des Cochrane Instituts (1972) einen wichtigen Standard in der Aufbereitung und dem Transfer von Ergebnissen aus klinischen Studien in den ärztlichen Alltag dar. Ziel ist es, die Vermittlung von Erkenntnissen aus der Wissenschaft für die praktizierenden Ärzte zu erleichtern. Dabei werden Studienergebnisse in Abhängigkeit von der jeweiligen Fragestellung mittels systematischer Literaturrecherche zusammengetragen und hinsichtlich ihrer Evidenz bewertet, um so dem Arzt ein Instrument an die Hand zu geben, mit dem die gewonnenen Erkenntnisse im Hinblick auf eine konkrete klinische Situation abgewogen und angewendet werden können. In den letzten Jahren wurde allerdings vermehrt Kritik laut, dass der Ausgang vieler klinischer Studien in den Übersichtsarbeiten zu positiv dargestellt werde. Ursächlich hierfür ist der Aspekt des Publikationsbias, also die Beobachtung, dass Autoren wissenschaftliche Ergebnisse mit positivem Ausgang bevorzugt publizieren. Überträgt man diesen Sachverhalt auf die präklinische Forschung, die in weiten Teilen auf der Durchführung tierexperimenteller Untersuchungen beruht, so widerspräche das Zurückhalten negativer Ergebnisse in fataler Weise dem 3R-Konzept von Russel und Burch, da dadurch die Gefahr besteht, dass Forschungsvorhaben wiederholt durchgeführt werden.
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.
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 clichés 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.
Très peu d’originaux nous permettent de connaître la statuaire grecque ancienne. Eu égard à la grande production de statues en bronze, un nombre très limité d’oeuvres a été sauvé de la fureur du temps et des hommes. Le reste nous est connu de manière 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 découverte de statues en bronze de production grecque est donc un événement exceptionnel d’un point de vue scientifique. Les « Bronzes de Riace » ont notamment eu, dès leur découverte 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’intégrer ces réflexions au débat sur leur perception dans le monde contemporain, déjà abordé 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 particulière au Web et aux réseaux sociaux.
1 Je remercie Maurizio Paoletti et Fabien Bièvre-Perrin pour la relecture de cet article ; Domenico Benedetto D’Agostino pour m’avoir fait connaître, il y a quelques années, le poème de Felice Mastroianni dédié au Bronzes de Riace ; l’Archivio du Musée Archéologique National de Reggio Calabria, Mike_art04, le collectif La Psicoscimmia et Emanuela Robustelli pour les images qu’ils ont partagées.
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.
Despite its fame, the Winged Victory of Samothrace keeps on fascinating not only every visitor of the Louvre museum, but also the eye of the connoisseur. Despite its recent restoration in 2014, some of its mysteries might indeed never be solved, like the identity of its sculptor. But this fascination also comes from the statue itself, its majestic aesthetics and lack of head, in a similar fashion perhaps to the loss of the Venus of Milo’s arms. Since her discovery more than 150 years ago by Charles Champoiseau, she’s been on the throne at the top of the Daru stairs at the Louvre Museum. This hellenistic masterpiece, that Champoiseau called a ”mousseline de marbre”, became a must see in the Paris museum, together with the Mona Lisa and its other chefs d’oeuvre. But this statue’s fate is not set in stone. Many modern artists, like Omar Hassan or Xu Zhen, have tried to make it their own and give it a new depth. Recently, Beyonce and Jay-Z also offered a new perspective by including this Louvre masterpiece, among others, in their political masterstroke, the video clip ”Apeshit”. This paper seeks to decode the meanings and symbolism of these new versions of the Nike.
Laocoon Relooké
(2021)
This article focuses on the reception of the ancient statue of Laocoon in the arts and popular culture of the 21st century. It looks into why this icon has remained continuously present in the public’s collective imagination and covers, in particular, the recapturing of this motif by four contemporary painters : Richard Wallace (2002), Ron Milewicz (2005), Gilles Chambon (2008), Kent Monkman (2008). The article examines as well the new meanings associated with its treatment and finally explores the way our contemporary world deals with the notion of monument and the concept of academicism.
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.
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.