thersites. Journal for Transcultural Presences and Diachronic Identities from Antiquity to Date
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Review of Carine Giovénal, Véronique Krings, Alexandre Massé, Matthieu Soler, Catherine Valenti : L’Antiquité imagine. Les références antiques dans les oeuvres de fiction (XXe – XXIe siècles): Ausonius (Bordeaux 2019) (= Scripta Receptoria), 228 p., 27 illustrations. ISBN : 9782356133205, 25 €
No full textAntiquités et pop cultures dans la haute couture et le prêt-à-porter des années 2010
No full textFrom the fluid dresses woven from precious materials evoking the iconic statues of Antiquity to the revival of Spartan shoes, two emblematic fashion trends will help us study the place of Greek Antiquity in contemporary women’s fashion collections. Ordinary as well as extraordinary, what do these reminiscences tell? Can they permit to understand the boundaries that structure and govern the fashion’s worlds? Numerous and diverse, the differences and the similarities of the ways in which classical references are used allow us to study the relations of power in which the specificities of haute couture and ready-to-wear are defined. The values, the entry criteria, the operating hierarchies as well as the very acceptance of the word “fashion” are different from one environment to another. From the catwalks of big fashion houses on Avenue Montaigne such as Chanel to the youngest brands, the differentiated readings and uses of Antiquity raise the question of the symbolic value of classics in fashion.From the fluid dresses woven from precious materials evoking the iconic statues of Antiquity to the revival of Spartan shoes, two emblematic fashion trends will help us study the place of Greek Antiquity in contemporary women’s fashion collections. Ordinary as well as extraordinary, what do these reminiscences tell? Can they permit to understand the boundaries that structure and govern the fashion’s worlds? Numerous and diverse, the differences and the similarities of the ways in which classical references are used allow us to study the relations of power in which the specificities of haute couture and ready-to-wear are defined. The values, the entry criteria, the operating hierarchies as well as the very acceptance of the word “fashion” are different from one environment to another. From the catwalks of big fashion houses on Avenue Montaigne such as Chanel to the youngest brands, the differentiated readings and uses of Antiquity raise the question of the symbolic value of classics in fashion
„The mother of chemical peeling“ – Oder: Wie Kleopatra zum Bad in Eselsmilch kam
No full textApplication 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
Ruhm, Ide(ologi)e, Macht: Robert Rossens Deutungen Alexanders des Großen
No full textThe 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
Le destin des icônes : perception, symboles et images des Bronzes de Riace dans la culture contemporaine
No full textTrès 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
Review of Carlos Sánchez Pérez, Luis Unceta Gómez (eds.): En los márgenes de Roma: la Antigüedad romana en la cultura de masas contemporánea: Catarata (Madrid 2019), 304. ISBN: 9788490978696, 18,00 €
No full textConstruire ses propres modèles : le cas des bandes sonores post-Gladiator
No full textRinging 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.Trompettes claironnantes annonçant l'arrivée d'un empereur romain, une harpe délicate et fluide orientale résonnant dans le palais intime d'une reine égyptienne, un aulos traditionnel chantant dans un paysage grec bucolique : d'où viennent ces images sonores si familières ? Est-ce que ces modèles ont été créés d'après les données archéologiques ou d'après des fantasmes contemporains ? La rareté des informations concernant la musique de l'Antiquité nécessite, pour les films, de réinventer le paysage sonore des temps anciens. Il sera notamment question dans cet article d'identifier quels modèles sonores le péplum a pu construire et ce que cela nous apprends sur la perception des sociétés anciennes comme modernes. Loin de vouloir juger l'historicité des sons proposés aux spectateurs des salles obscures, nous mettrons en avant le phénomène d'imitation, dans le péplum, des modèles sonores cinématographiques tout en contextualisant leur origine. L'article portera notamment sur les productions postérieures au film Gladiator
Talking Stones – Ein besonderer Audio-Guide zu den antiken Stätten in Trier
No full textAlte Steine zum Sprechen zu bringen - dieser Aufgabe haben sich im Jahr 2015 die Teilnehmer einer Projektstudie an der Universität Trier gestellt. Unter dem Namen Talking Stoneshaben sie einen historischen, zielgruppenspezifischen, automatischen Audio-Guide für Trier entwickelt, sozusagen Internet der Dinge für historische Stätten, Audio-Touren, bei denen eine Smartphone-App durch Beacon-Technologie und GPS-Ortung die alten Gemäuer zum Sprechen bringt, sobald man sich ihnen nähert. Ein Blick hinter die Kulissen von Entwicklung und Vermarktung von Public History.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
Queen Zenobia’s ‘Campaign’ for British Women’s Suffrage
No full textThis 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
