thersites. Journal for Transcultural Presences and Diachronic Identities from Antiquity to Date
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The Nike of Samothrace’s presences during the XX and XXI centuries: mysteries and victories
No full textDespite 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
La Vénus de Milo dans l’art contemporain (de 1980 à nos jours) : une icône globalisée
No full textThis 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
Les chefs d’œuvre de l’Art antique dans la bande dessinée du XXIᵉ s. Usages et Background
No full textWhether 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.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
Rezension zu Harold Tarrant, Danielle A. Layne, Dirk Baltzly & François Renaud (eds.): Brill’s Companion to the Reception of Plato in Antiquity: Brill (Leiden & Boston 2018) (= Brill’s Companions to Classical Reception 13), p. xxi, 657. ISBN: 9789004270695, € 187.00 (hb)
No full textReseña de A. Duplá Ansuategui, E. Dell’ Elicine & J. Pérez Mostazo (eds.), Antigüedad clásica y naciones modernas en el Viejo y el Nuevo Mundo
No full textMargarites Demitsas (1830–1902) und die Anfänge der griechischen Erforschung der Inschriftenkunde Makedoniens in ihrem Verhältnis zur makedonischen Frage
No full textMargarites Demitsas was one of the pioneers on the field of Ancient Macedonian epigraphy in the 19th century and the editor of its first corpus containing all hitherto known inscriptions of the region. His life and scholarly activities have been fundamentally influenced by contemporary political events and his active participation in the Greek national struggle. By discussing the case of Demitsas this paper seeks to shed light on how the Ancient Macedonian inscriptions were during the 19th century utilized to benefit the Greek national interests in the region.Margarites Demitsas was one of the pioneers on the field of Ancient Macedonian epigraphy in the 19th century and the editor of its first corpus containing all hitherto known inscriptions of the region. His life and scholarly activities have been fundamentally influenced by contemporary political events and his active participation in the Greek national struggle. By discussing the case of Demitsas this paper seeks to shed light on how the Ancient Macedonian inscriptions were during the 19th century utilized to benefit the Greek national interests in the region
Sängers Glück: Zu Reinhard Meys Lied Ich wollte wie Orpheus singen
No full textThe German singer-songwriter Reinhard Mey, although not pretending to be a second Orpheus, nevertheless appears to be very familiar with classical myth
Sex, Macht und Fiktion in den Metamorphosen Ovids
No full textThis article analyses the eroticized power dynamics that Ovid stages in the Metamorphoses. It argues that 1) erotic desire functions in Ovid as a synonym of the desire for power; 2) that the transformations of gods can be read as a metaphor of the powerful subjecting the powerless to their will; 3) that metamorphosed humans can be regarded as notional monuments to divine power; and 4) that, by parading the self-evident fictionality of his transformation tales (including, most notably, the story of Julius Caesar’s apotheosis in Book 15), Ovid allows his readers, at least for the duration of the reading process, to experience a modicum of freedom
Amarilis y la belleza de Zacinto: voces de poetas en el idilio 4 de Teócrito
No full textTheocritus’ id. 4 has been considered by some scholars as an example of rural mime; the fact that the poem, a unique case in the Corpus Theocriteum, does not contain any pastoral song or contest contributes to the impression of ‘realism’. This lack could be an obstacle for the poetological approach to the bucolic genre in antiquity, which considers metapoetry as its main feature. Our reading of the idyll shows that this limitation is only apparent
Review of Rachel Bryant Davies: Victorian Epic Burlesques. A Critical Anthology of Nineteenth-Century Theatrical Entertainments after Homer: Bloomsbury (London & New York 2019) (= Bloomsbury Studies in Classical Reception), xi & 284 p., 12 illustrations. ISBN: 9781350027176, £ 26.09 (pb)/£ 81.00 (hb)
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