Leadership Lessons from Spartacus
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The Spartacus Revolt January 1919
The Spartacus Revolt January 1919 The war was over, Kaiser Wilhelm had fled and revolutionaries were roaming the streets. The people of Germany now had to decide what kind of Republic the new Germany would be. Would Germany become a peaceful law-abiding democracy like Britain, with power shared between the upper, middle and working classes? Or would a violent revolution sweep away the past and create a communist country completely dominated by the workers? What were the options? The Social Democrats, led by Ebert, wanted Germany to become a law-abiding parliamentary democracy like Britain, where every German - rich or poor - would be entitled to a say in how the country was run, by voting in elections for a parliament (Reichstag) which would make the laws. The Spartacus League - (Spartacists aka communists) - on the other hand wanted Germany to become a communist country run by, and for, the workers; they wanted power and wealth to be taken away from the old ruling elite in a violent revolution and for Germany to then be run by Workers Councils - or Soviets. The Spartacists wanted a new kind of political system - communism, a system where the country would be run for and on behalf of the workers, with all wealth and power being removed from the previous rulers. Ebert of the SPD Spartacus League Freecorps Soldier . 1 After the Kaiser had gone… With revolutionary workers and armed ex-soldiers on the loose all over Germany, Ebert and the Social Democrats were scared. He wanted to make sure that the people of Germany understood what the Social Democrats would give them if they were in charge of Germany. -
Screening the Male: Exploring Masculinities in Hollywood Cinema I
SCREENING THE MALE Exploring masculinities in Hollywood cinema Edited by Steven Cohan and Ina Rae Hark London and New York First published 1993 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2002. Disclaimer: For copyright reasons, some images in the original version of this book are not available for inclusion in the eBook. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 © 1993 Routledge, collection as a whole Individual chapters © 1993 respective authors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Screening the Male: Exploring Masculinities in Hollywood Cinema I. Cohan, Steven II. Hark, Ina Rae 791.4309 Library of Congress Cataloguing in Publication Data Screening the male: exploring masculinities in Hollywood cinema/edited by Steven Cohan and Ina Rae Hark. p. cm. 1. Men in motion pictures. 2. Sex in motion pictures. I. Cohan, Steven. II. Hark, Ina Rae. PN1995.9.M46S36 1993 791.43´652041–dc20 92–5815 ISBN 0–415–07758–3 (hbk) ISBN 0–415–07759–1 (pbk) ISBN 0–203–14221–7 Master e-book ISBN ISBN 0–203–22072–2 (Glassbook Format) 8 ANIMALS OR ROMANS Looking at masculinity in Spartacus Ina Rae Hark When Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ detailed how the cinematic apparatus and the conditions of cinema spectatorship invariably place woman as an object of the desiring male gaze, required to present herself as spectacle, its argument did not necessarily exclude the possibility that the apparatus could similarly objectify men who symbolically if not biologically lacked the signifying phallus. -
Phases of Irish History
¥St& ;»T»-:.w XI B R.AFLY OF THE UNIVERSITY or ILLINOIS ROLAND M. SMITH IRISH LITERATURE 941.5 M23p 1920 ^M&ii. t^Ht (ff'Vj 65^-57" : i<-\ * .' <r The person charging this material is re- sponsible for its return on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. University of Illinois Library • r m \'m^'^ NOV 16 19 n mR2 51 Y3? MAR 0*1 1992 L161—O-1096 PHASES OF IRISH HISTORY ^.-.i»*i:; PHASES OF IRISH HISTORY BY EOIN MacNEILL Professor of Ancient Irish History in the National University of Ireland M. H. GILL & SON, LTD. so UPPER O'CONNELL STREET, DUBLIN 1920 Printed and Bound in Ireland by :: :: M. H. Gill &> Son, • • « • T 4fl • • • JO Upper O'Connell Street :: :: Dttblin First Edition 1919 Second Impression 1920 CONTENTS PACE Foreword vi i II. The Ancient Irish a Celtic People. II. The Celtic Colonisation of Ireland and Britain . • • • 3^ . 6i III. The Pre-Celtic Inhabitants of Ireland IV. The Five Fifths of Ireland . 98 V. Greek and Latin Writers on Pre-Christian Ireland . • '33 VI. Introduction of Christianity and Letters 161 VII. The Irish Kingdom in Scotland . 194 VIII. Ireland's Golden Age . 222 IX. The Struggle with the Norsemen . 249 X. Medieval Irish Institutions. • 274 XI. The Norman Conquest * . 300 XII. The Irish Rally • 323 . Index . 357 m- FOREWORD The twelve chapters in this volume, delivered as lectures before public audiences in Dublin, make no pretence to form a full course of Irish history for any period. -
Cambridge Companion Shakespeare on Film
This page intentionally left blank Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong cov- erage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays. THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Old English The Cambridge Companion to William Literature Faulkner edited by Malcolm Godden and Michael edited by Philip M. -
First Triumvirate and Rise of Octavian BY: Jake, Eliza and Maheen First Triumvirate
First Triumvirate and Rise of Octavian BY: Jake, Eliza and Maheen First Triumvirate • An alliance of the three most powerful men in Rome, Marcus Licinus Crassus, Gaius Julius Caesar, and Gneaus Pompey Magnus. Rome was in chaos and the 3 seized control of the Republic. • The three would dominate Roman politics for personal gains throughout the territories of the Republic. Julius Caesar • In Rome, Julius Caesar was elected as the tribune of the Plebs, military tribune, and governor of many provinces throughout the Republic. • Believed Crassus helped Julius Caesar win the election to become the Propraetor or governor of Hispania in 63 B.C.E. • Julius returned to Rome after his term as governor. Caesar had a business or political agreement with Pompey and Crassus in 60 B.C.E. Caesar was the consul while Pompey and Crassus were in the senate. • Created the First Triumvirate • After his term, Julius was in deeply in debt politically and financially to Crassus and desperately needed to raise money. Marcus Crassus • Crassus was the richest man in all the Roman Republic. He was sharp and clever in Roman politics. He would be a senator and even become consul a few times. • He was a mentor to Julius Caesar in his early career. • Gained much fame during the Spartacus rebellion but much of it was stolen by Pompey. • He was a longtime rival to Pompey Magnus and this would be his eventually downfall. He would ally with Caesar and Pompey, but strived for military victory over Pompey. He went to Parthia where he was defeated at Carrhae. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
Christopher M. MCDONOUGH the Banquet of Crassus: Politics, Myth, and Ritual
Christopher M. MCDONOUGH The Banquet of Crassus: Politics, Myth, and Ritual During his first consulship in 70 B.C., Marcus Licinius Crassus hosted a large public banquet on behalf of Hercules at the Ara Maxima, during which "10,000 tables were set out and each man additionally presented with an allowance of grain enough to last for three months" (Plutarch, Crass. 12). The purpose of this paper is twofold: first, to consider the political circumstances of which this extravaganza was a part, and secondly, to show how this political situation helps to throw unexpected light on the connections between the Ara Maxima's unique ritual and its foundation legend. In this banquet, we find a sophisticated treatment of the Altar's peculiar ceremonial practices which, while undertaken to score political points with the Roman crowd, nonetheless highlights the religious harmony of the Altar's myth and rite. It must be noted that in 70 Crassus shared the consulship with Pompey, against whom he was desperately competitive (cf. ! A. Ward, Marcus Crassus [1977] 99ff.). Although both generals were fresh from military successes— Pompey in Spain, Crassus over Spartacus,— Crassus would enjoy only an ovatio, an honor of decidedly lesser distinction than the triumph awarded to Pompey for his Spanish victories. Beryl Rawson (Antichthon 4 [1970] 30ff.) has noted that much of Pompey's propaganda in this year focused on Hercules of the Ara Maxima: to capitalize upon Hercules' Spanish association, Pompey dedicated a new temple of Hercules in this forum to sit alongside this altar. It is in light of this bold initiative by Pompey that we must see Crassus' elaborate banquet: such a large offering in the heart of the cattle market would, as Rawson aptly remarks, "give Crassus an excellent opportunity to steal Pompey's thunder." But, in addition, this distribution must be seen in light of the Ara Maxima's cult restrictions: Varro records th! at whatever was offered to Hercules at the Altar was required to be ea ten in its entirety before the sanctuary (LL 6.54). -
Gladiator Politics from Cicero to the White House
Gladiator Politics from Cicero to the White House The gladiator has become a popular icon. He is the hero fighting against the forces of oppression, a Spartacus or a Maximus. He is the "gridiron gladiator" of Monday night football. But he is also the politician on the campaign trail. The casting of the modern politician as gladiator both appropriates and transforms ancient Roman attitudes about gladiators. Ancient gladiators had a certain celebrity, but they were generally identified as infames and antithetical to the behavior and values of Roman citizens. Gladiatorial associations were cast as slurs against one's political opponents. For example, Cicero repeatedly identifies his nemesis P. Clodius Pulcher as a gladiator and accuses him of using gladiators to compel political support in the forum by means of violence and bloodshed in the Pro Sestio. In the 2008 and 2012 presidential campaigns the identification of candidates as gladiators reflects a greater complexity of the gladiator as a modern cultural symbol than is reflected by popular film portrayals and sports references. Obama and Clinton were compared positively to "two gladiators who have been at it, both admired for sticking at it" in their "spectacle" of a debate on February 26, 2008 by Tom Ashbrook and Mike McIntyre on NPR's On Point. Romney and Gingrich appeared on the cover of the February 6, 2012 issue of Newsweek as gladiators engaged in combat, Gingrich preparing to stab Romney in the back. These and other examples of political gladiators serve, when compared to texts such as Cicero's Pro Sestio, as a means to examine an ancient cultural phenomenon and modern, popularizing appropriations of that phenomenon. -
Spartacus by Vickie Chao
Name Date Spartacus By Vickie Chao Ancient Rome had a lot of marvels. Back in the heyday, the Romans put up many spectacular structures. Some of them still remain standing today. As we admire the civilization that ancient Rome left behind, we must keep one thing in mind. Rome's glory was built largely on the backs of countless slaves. Slaves played an important role in ancient Rome. Aside from doing construction, they also worked as servants at bathhouses or private homes. They took part in public games, fighting as gladiators. They labored away in farms. As slaves, they had little control over their lives. They had to do everything they were told. If they refused to take orders, they could get beaten up. If they tried to escape, they could even be killed. Once sold, most slaves simply resigned themselves to their fate. Of the few who rose up to defy the Romans, Spartacus was the most famous. Spartacus was actually not a slave by birth. According to a popular account, he once served in the Roman army as an auxiliary. For reasons unknown to us, he deserted the army and ran away. Unfortunately, he was not able to elude the Romans for long. After being caught, he was sold into slavery and began his rigorous training as a gladiator in Capua. In 73 B.C., Spartacus broke out of the gladiatorial school with over seventy followers. To fend for themselves, they used knives and other kitchen tools as weapons. Once they managed to escape the school compound, they went straight to hide on Mount Vesuvius nearby. -
Khachaturian BL1 V0 Brilliant 21/12/2011 16:55 Page 1
9256 Khachaturian_BL1_v0_Brilliant 21/12/2011 16:55 Page 1 9256 KH ACH ATURIAN GAY ANE H · SPAR TACUS Ball et Su ites BOLSHOI THEATRE O RCHESTRA EVGENY SVETLANOV Aram Khachaturian 1903 –1978 Khachaturian: Suites from Gayaneh and Spartacus Gayaneh – Ballet Suite Aram Ilyich Khachaturian was born in Tbilisi, Georgia, to a poor Armenian family. 1 Dance of the Rose Maidens 2’42 Although he was fascinated by the music he heard around him as a child, he remained 2 Aysha’s Dance 4’22 self-taught until the early 1920s, when he moved to Moscow with his brother, who had 3 Dance of the Highlanders 1’57 become stage director of the Second Moscow Art Theatre. Despite this lack of formal 4 Lullaby 5’53 training, Khachaturian showed such musical promise that he was admitted to the 5 Noune’s Dance 1’44 Gnessin Institute, where he studied cello and, from 1925, composition with the 6 Armen’s Var 1’58 Institute’s founder, the Russian-Jewish composer Mikhail Gnessin. In 1929, 7 Gayaneh’s Adagio 4’00 Khachaturian entered the Moscow Conservatory where he studied composition with 8 Lezghinka 2’57 Nikolai Myaskovsky and orchestration with Sergei Vasilenko. He graduated in 1934 9 Dance with Tambourines 2’59 and wrote most of his important works – the symphonies, ballets and principal 10 Sabre Dance 2’30 concertos – over the following 20 years. In 1951, he became professor at the Gnessin State Musical and Pedagogical Institute (Moscow) and at the Moscow Conservatory. Spartacus – Ballet Suite He also held important posts at the Composers’ Union, becoming Deputy Chairman of 11 Introduction – Dance of the Nymphs 6’04 the Moscow branch in 1937 and Vice-Chairman of the Organising Committee of Soviet 12 Aegina’s Dance 4’00 Composers in 1939. -
A BRIEF HISTORY of ANCIENT ROME a Timeline from 753 BC to 337 AD, Looking at the Successive Kings, Politicians, and Emperors Who Ruled Rome’S Expanding Empire
Rome: A Virtual Tour of the Ancient City A BRIEF HISTORY OF ANCIENT ROME A timeline from 753 BC to 337 AD, looking at the successive kings, politicians, and emperors who ruled Rome’s expanding empire. 21st April, Rome's Romulus and Remus featured in legends of Rome's foundation; 753 BC mythological surviving accounts, differing in details, were left by Dionysius of foundation Halicarnassus, Livy, and Plutarch. Romulus and Remus were twin sons of the war god Mars, suckled and looked-after by a she-wolf after being thrown in the river Tiber by their great-uncle Amulius, the usurping king of Alba Longa, and drifting ashore. Raised after that by the shepherd Faustulus and his wife, the boys grew strong and were leaders of many daring adventures. Together they rose against Amulius, killed him, and founded their own city. They quarrelled over its site: Romulus killed Remus (who had preferred the Aventine) and founded his city, Rome, on the Palatine Hill. 753 – Reign of Kings From the reign of Romulus there were six subsequent kings from the 509 BC 8th until the mid-6th century BC. These kings are almost certainly legendary, but accounts of their reigns might contain broad historical truths. Roman monarchs were served by an advisory senate, but held supreme judicial, military, executive, and priestly power. The last king, Lucius Tarquinius Superbus, was overthrown and a republican constitution installed in his place. Ever afterwards Romans were suspicious of kingly authority - a fact that the later emperors had to bear in mind. 509 BC Formation of Tarquinius Superbus, the last king was expelled in 509 BC. -
Past Transgressions Written by Steven S
Past Transgressions Written by Steven S. DeKnight 1. FADE IN: INT. BATIATUS' VILLA - NIGHT (EP 113 SEASON 1) [NEW MATERIAL] A SWIRL OF RED fades into existence. Beautiful. Mesmerizing. We PULL BACK to reveal BLOOD spewing in slow motion as a ROMAN GUARD lazily flies through the FRAME, dying from massive wounds. RAMP TO NORMAL SPEED as he crashes to the ground, dead. THREE MORE GUARDS rush in, stepping over their fallen comrade to confront the cause of his brutal end. SPARTACUS greets them, his sword drawing fresh blood. He moves with deadly purpose, striking the Guards down in a gory display. NOBLE ROMANS scream as they rush to flee the slaughter. Spartacus ignores them, bellowing for the only man he seeks. SPARTACUS Batiatus! A threat. A challenge. A promise of impending doom... INT. TROPHY ROOM - BATIATUS' VILLA - NIGHT (EP 113 SEASON 1) [MATERIAL SHOT IN SEASON 1] Batiatus hustles through the carnage with Lucretia, Domitia, Numerius, and Aurelia. They stumble upon a dying Guard. GUARD (gurgling blood) The doors... Glaber’s men... sealed the doors... LUCRETIA (realizing) Ilithyia. DOMITIA (coming apart) Why would she do such a thing -- A Gladiator surges behind her, slicing her open in an eruption of blood. NUMERIUS Mother! (CONTINUED) 2. CONTINUED: Batiatus grabs the dead Guard’s sword and runs the Gladiator through. Batiatus rips his sword free, shouts to Lucretia and the others. BATIATUS Go! LUCRETIA Quintus -- BATIATUS GO! Batiatus hustles off, sword clenched in trembling hand. INT. BATIATUS’ VILLA - NIGHT (EP 113 SEASON 1) [NEW MATERIAL] Several NOBLE ROMANS flee from two blood- splattered GLADIATORS.