3 a Day at the Games
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Journey to Antioch, However, I Would Never Have Believed Such a Thing
Email me with your comments! Table of Contents (Click on the Title) Prologue The Gentile Heart iv Part I The Road North 1 Chapter One The Galilean Fort 2 Chapter Two On the Trail 14 Chapter Three The First Camp 27 Chapter Four Romans Versus Auxilia 37 Chapter Five The Imperial Way Station 48 Chapter Six Around the Campfire 54 Chapter Seven The Lucid Dream 63 Chapter Eight The Reluctant Hero 68 Chapter Nine The Falling Sickness 74 Chapter Ten Stopover In Tyre 82 Part II Dangerous Passage 97 Chapter Eleven Sudden Detour 98 Chapter Twelve Desert Attack 101 Chapter Thirteen The First Oasis 111 Chapter Fourteen The Men in Black 116 Chapter Fifteen The Second Oasis 121 Chapter Sixteen The Men in White 128 Chapter Seventeen Voice in the Desert 132 Chapter Eighteen Dark Domain 136 Chapter Nineteen One Last Battle 145 Chapter Twenty Bandits’ Booty 149 i Chapter Twenty-One Journey to Ecbatana 155 Chapter Twenty-Two The Nomad Mind 162 Chapter Twenty-Three The Slave Auction 165 Part III A New Beginning 180 Chapter Twenty-Four A Vision of Home 181 Chapter Twenty-Five Journey to Tarsus 189 Chapter Twenty-Six Young Saul 195 Chapter Twenty-Seven Fallen from Grace 210 Chapter Twenty-Eight The Roman Escorts 219 Chapter Twenty-Nine The Imperial Fort 229 Chapter Thirty Aurelian 238 Chapter Thirty-One Farewell to Antioch 246 Part IV The Road Home 250 Chapter Thirty-Two Reminiscence 251 Chapter Thirty-Three The Coastal Route 259 Chapter Thirty-Four Return to Nazareth 271 Chapter Thirty-Five Back to Normal 290 Chapter Thirty-Six Tabitha 294 Chapter Thirty-Seven Samuel’s Homecoming Feast 298 Chapter Thirty-Eight The Return of Uriah 306 Chapter Thirty-Nine The Bosom of Abraham 312 Chapter Forty The Call 318 Chapter Forty-One Another Adventure 323 Chapter Forty-Two Who is Jesus? 330 ii Prologue The Gentile Heart When Jesus commissioned me to learn the heart of the Gentiles, he was making the best of a bad situation. -
World Archaeology the Animals of the Arena: How and Why Could Their
This article was downloaded by: [Universitetsbiblioteket i Bergen] On: 26 April 2010 Access details: Access Details: [subscription number 907435713] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK World Archaeology Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713699333 The animals of the arena: how and why could their destruction and death be endured and enjoyed? Torill Christine Lindstrøm a a Dept of Psychosocial Science, University of Bergen, Online publication date: 23 April 2010 To cite this Article Lindstrøm, Torill Christine(2010) 'The animals of the arena: how and why could their destruction and death be endured and enjoyed?', World Archaeology, 42: 2, 310 — 323 To link to this Article: DOI: 10.1080/00438241003673045 URL: http://dx.doi.org/10.1080/00438241003673045 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Gladiators and Martyrs Icons in the Arena
Gladiators and Martyrs Icons in the Arena Susan M. (Elli) Elliott Shining Mountain Institute Red Lodge, Montana One of the questions before us for the 2015 spring meeting Christianity Seminar of the Westar Institute is: “Why did martyrdom stories explode in popularity even as Roman violence against early Christians subsided?”1 I propose that the association of Christian martyrs with the popular image of the gladiator, both as failed heroes, as proposed primarily in the work of Carlin A. Barton, is a starting point for addressing this question.2 The martyrs became icons for Christian identity in a Christian vision of the Empire much as the gladiators functioned as icons for the Roman identity in the Roman Empire. The first part of this paper will offer an overview of the Roman arena as both a projection of Roman imperial power and a setting for negotiation of social relations. The second section will focus on the gladiator as a central feature of the spectacle program for which the Roman arenas were constructed and as an icon of Roman identity. The final section will discuss how the presentation of Christian martyrs casts them as gladiators and some of the implications of seeing them in this role. 1 When I learned of the topic for the spring meeting at the fall Westar meeting, I offered to pursue a topic that first occurred to me several years ago while reading Judith Perkins’ ground- breaking work, The Suffering Self: Pain and Narrative Representation in the Early Christian Era (London, New York: Routledge, 1995). This project has taken another direction. -
Titus's 100 Days of Games “Today Is the Day,” I Told My Mom As I Dashed
Titus’s 100 Days of Games “Today is the day,” I told my mom as I dashed down the stairs. I had been waiting weeks for this to happen. My dad and I were headed to the games! I had been to gladiatorial fights in the forum and at funeral processions, but never huge matches like this. The first ever gladiator match was in 264 BC and it was in a cattle market known as the Forum Boarium to celebrate Brutus Pera. My ancestors watched the whole fight and now it has become a family tradition. Titus has been a horrible leader until today. In 79 AD when he started his reign Mount Vesuvius erupted. The gods clearly were unhappy with his ruling. Now he is in good favor with the people because today he finally opens the games and the Colosseum. His father Vespasian ruled before him and started the building of the Colosseum. I asked my mother, “Did you know, Titus is the first ruler to come to throne after his biological father.” She responded, “Yes sweetie now you better leave for the games your father is waiting for you.” I saw my father in the atrium and we set off. I’ve always admired my father. He is in the Senate therefore he gets to sit in the front right behind the emperor at the Colosseum. Our walk was short and we found little to discuss other than our excitement towards our day to come. We finally arrived at the massive Colosseum. Quickly everyone filed into their seats as the games were about to begin. -
Violence in Sports: a Comparison of Gladiatorial Games in Ancient Rome to the Sports of America Amanda Doherty
Southern Illinois University Carbondale OpenSIUC Honors Theses University Honors Program 8-2001 Violence in Sports: A Comparison of Gladiatorial Games in Ancient Rome to the Sports of America Amanda Doherty Follow this and additional works at: http://opensiuc.lib.siu.edu/uhp_theses Name On Title Page: Amanda Stern Recommended Citation Doherty, Amanda, "Violence in Sports: A Comparison of Gladiatorial Games in Ancient Rome to the Sports of America" (2001). Honors Theses. Paper 9. This Dissertation/Thesis is brought to you for free and open access by the University Honors Program at OpenSIUC. It has been accepted for inclusion in Honors Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. ., Violence in Sports: A Comparison of Gladiatorial Games in Ancient Rome to the Sports ofAmerica Amanda Stern Gladiatorial games in Ancient Rome and modem sports have more in common than we would like to believe. Violence has been a key component to the success ofeach ofthese activities. Many spectators watched as the Coliseum was filled with blood from brutal gladiatorial matches. Today, hundreds offans watch as two grown men hit one another in a boxing ring. After examining gladiatorial games and looking at modem sports one may notice similarities between the two. These similarities suggest that modem sports seem to be just as violent as games in Ancient Rome. The Romans believed that they inherited the practice ofgladiatorial games from the Etruscans who used them as part ofa funeral ritual (Grant, 7). The first gladiatorial games were offered in Rome in 264 BCE by sons ofJunius Brutus Pera in their father's honor (Grant, 8). -
Writing and Drawing on the Walls of Pompeii (Article)
Writing and Drawing on the Walls of Pompeii: How the study of graffiti relates to the HSC Ancient History Core Syllabus for 2006 admiror, paries, te non cecidisse ruinis, ‘I am amazed, wall, that you have not fallen in ruins, qui tot scriptorum taedia sustineas. you who support so many boring inscriptions.’1 When the teacher of Ancient History in New South Wales first scans the listing of examinable content relating to the Core Unit on the Cities of Vesuvius newly introduced for the 2006 Higher School Certificate, the usefulness of incorporating graffiti2 into a program of study as one of the range of available sources may not be readily apparent. This article aims to survey the nature of graffiti at the site of ancient Pompeii as a category of material culture incorporating written and archaeological features and as a useful primary and supplementary source for evidence about the economy, social structure, politics, religion and daily life in Roman Campania of the Republican and early Imperial historical period. This discussion will touch incidentally on issues regarding the limitations, reliability and evaluation of graffiti as a source and as evidence. 1. Graffiti: Text and Artifact One of the enduring images many Sydneysiders associate with the 1999 New Years’ Eve ‘millenium’ celebration is that of the word ‘Eternity’ appearing in large illuminated letters on the Harbour Bridge. This word – also seen by over four billion people worldwide at the end of the opening ceremony of the Sydney Olympic Games in September of 2000 – represents a significant instance of how a single practitioner of graffiti writing can ‘speak’ to a vast number of the simple and the sophisticated alike about a variety of historical, social and cultural issues. -
Mystical Rome V 2.0- July Release Morra Universal Cinematic Game System Contents Chapter Eight: Genre: Mystical Rome
Mystical Rome V 2.0- July Release Morra Universal Cinematic Game System Contents Chapter Eight: Genre: Mystical Rome ................................................................ 4 Mystical Rome Credits .................................................................................... 5 Target Audience ............................................................................................ 5 Rating and Descriptors: R ............................................................................... 5 Mystical Rome Inspiration ............................................................................... 6 Mystical Rome Budget .................................................................................... 7 Mystical Rome Archetypes ............................................................................... 7 Artisan .................................................................................................... 7 Barbarian ................................................................................................. 9 Bureaucrat ..............................................................................................10 Clergy ....................................................................................................11 Criminal ..................................................................................................12 Druid ......................................................................................................13 Gladiator .................................................................................................14 -
Gladiator IQP Intro/Background.Docx
HISTORICAL EVOLUTION OF ROMAN GLADIATORIAL ARMS AND ARMORS: 300 B.C. - 450 A.D. An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science By Carlos Berdeguer Robert Edwards Brian Hamilton Sean McCrone Date: May 8, 2014 Submitted to: Professor Diana A. Lados Mr. Tom H. Thomsen i Abstract In ancient Rome, gladiatorial combat was one of the most popular spectator sports of the Roman Empire. Over the course of 800 years, gladiatorial combat evolved from a sacrifice for deceased ancestors in a display of combat, to a political and social tool that used many lives to gain admiration. This project’s purpose was to look into the historical background of gladiatorial combat in the Roman Empire, and to analyze the armor, weapons and combat of combatants. We were also tasked with replicating one piece of armor or weaponry used by gladiators. For this project, the weapon chosen was the Gladius, one of the most popular and iconic weapons among gladiators. ii Acknowledgements We would like to thank Professor Diana A. Lados and Mr. Tom H. Thomsen, who aided us in our research and progress in this IQP. We would also like to thank Joshua Swalec, who taught us how to safely use the forge and all of the necessary tools in his shop, as well as blacksmithing techniques. Additionally, we would like to thank Dr. Boquan Li for his instruction on how to mount, grind, and polish our samples for further analysis. -
Fjcl Latin Forum 2011 Certamen Level Ii Round I
FJCL LATIN FORUM 2011 CERTAMEN LEVEL II ROUND I TU1. Who began his cursus honorum by holding the office of quaestor in Spain in 68 B.C., and ended it with his first consulship in 59 B.C.? Answer: JULIUS CAESAR B1: With what ineffective politician did Caesar serve as consul in 59 B.C.? Answer: (CALPURNIUS) BIBULUS B2: To what office was Caesar elected in 63 B.C.? Answer: PONTIFEX MAXIMUS TU2. What Latin phrase is similar to our phrase “from soup to nuts”? Answer: AB OVO USQUE AD MALA B1: What phrase means “Let the buyer beware?” Answer: CAVEAT EMPTOR B2: What is the Latin phrase for “not of sound mind?” Answer: NON COMPOS MENTIS TU3. Give the Latin verb and its English meaning from which we derive convict, victory, and invincible. Answer: VINCŌ – TO CONQUER, DEFEAT, WIN B1: What derivative of vincō means “to defeat thoroughly in a conflict or contest”? Answer: VANQUISH B2: From what Latin verb do we derive defeat. Answer: FACIŌ TU4. Give the present passive infinitive of scribo, scribere. Answer: SCRIBI B1: Make scribi perfect. Answer: SCRIPTUM ESSE B2: Make scriptum esse active. Answer: SCRIPSISSE TU5. Hera was famous for punishing the women Zeus fell in love with. How did Zeus try to protect Io from Hera’s anger? Answer: HE CHANGED HER INTO A COW B1: Hera was not fooled by the disguise. She demanded possession of the cow and set a many-eyed guardian over her. Name the guardian. Answer: ARGUS (PANOPTES) B2: Whom did Zeus send to rescue Io? Answer: HERMES 2011 FJCL – Certamen Level II – Round 1 – 2 TU6. -
Naumachias, the Ancient World and Liquid Theatrical Bodies on the Early 19Th Century English Stage
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 11 | 2015 Expressions of Environment in Euroamerican Culture / Antique Bodies in Nineteenth Century British Literature and Culture Naumachias, the Ancient World and Liquid Theatrical Bodies on the Early 19th Century English Stage Ignacio Ramos Gay Electronic version URL: http://journals.openedition.org/miranda/6745 DOI: 10.4000/miranda.6745 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Ignacio Ramos Gay, “Naumachias, the Ancient World and Liquid Theatrical Bodies on the Early 19th Century English Stage”, Miranda [Online], 11 | 2015, Online since 21 July 2015, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/6745 ; DOI: https://doi.org/10.4000/ miranda.6745 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Naumachias, the Ancient World and Liquid Theatrical Bodies on the Early 19th ... 1 Naumachias, the Ancient World and Liquid Theatrical Bodies on the Early 19th Century English Stage Ignacio Ramos Gay 1 Writing in 1802, political reformer and English naval officer John Cartwright suggested the idea that the government should erect a temple to celebrate naval games and to provide a suitable venue for the commemoration of important victories. In his work The Trident, or The National Policy of Naval Celebration, he conceived a monumental building in the Greco-Roman style, incorporating statues of whales, balustrades, bas- reliefs, friezes, personifications of the winds, and engravings of Alfred the Great. The games should include “rowing and sailing matches, mock boardings, gun-boat engagements, triumphal barges cars” and even chariots (176). -
Gladiators at Pompeii
Luciana Jacobelli GLADIATORS AT POMPEII <<L'ERMA>> di BRETSCHNEIDER u r sl ;C ! <L'ERMA>> di BRETSCHNEIDER Publisher Roberto Marcucci Grafic design Giovanni Portieri <<L'ERMA>> di BRETSCHNEIDER Progetti Editoriali Grandi Opere Editing Elena Montani IT Computer layout andpagination Maurizio Pinto Gladiators at Pompeii.. - Lucianajacobelli © Copyright 2003 <<LERMA>> di BRETSCHNEIDER Via Cassiodoro 19 00193 Roma All rights reserved. Reproduction of texts and illustrations without written permission of the publisher is prohibited. ISBN 888265-249-1 -- Photographic credits: Foto Studio Foglia Archaeological Superintendence of Pompeii L Jacobelli Archaeological Institute Germanico Musee de la Civilisation Gallo-Romaine de Lyon >- \ Printed in October 2003 on behalf of <<L'ERMA>> di BRETSCHNEIDER do LITOGRAF srI Industria Grafica Editoriale Todi Italy 5 fi.rLr j'- > --__-_---z_k,< * gim - ----- Contents PART ONE THE INSTITUTION OF GLADIATORIAL COMBAT Its Origins and Evolution TYPES OF GLADIATORS 7 FEMALE GLADIATORS 17 SPONSORING AND STAFFING A GLADIATORIAL SPECTACLE 19 THE SPECTACLE FROM START TO FINISH 22 THE AMPHITHEATERS 27 THE REVOLT OF SPARTACUS 28 LK PART Two THE SPECTACLES AT POMPEII 39 THE DOCUMENTS: Spectacle Programs and Graffiti : THE PLAYERS: Editores, Agents and familiae gladiatoriae, and Gladiators 42. THE VENUES: The Amphitheater, Gladiators' Barracks and LucIus, and the Schola armaturarum 53 REPRESENTATIONS OF GLADIATORS: Paintings and Reliefs 69 REPRESENTATIONS OF GLADIATORS: Lamps, Vases, and Statues 99 THE RIOT OF A.D. 59 io6 FROM THE GLADIATORS TO TIGER MAN Knowledge, Confrontation, and Death in the Spectacle of the Duel Riccardo Lattuada 107 BIBLIOGRAPHY ABBREVIATIONS INDEX 125 PART ONE THE INSTITUTION OF GLADIATORIAL COMBAT Its Origins and Evolution he many theories concerning the origins of gladiatorial games boil Tdown essentially to two: one dates them back to the Etruscans, the other traces the games to the Oscan-Lucanians. -
Gladiator Booklet
: novice gladiator novice : tiro ) ( won vicit . or categories: parmularii scutiarii © Ginny Lindzey, 1999 Lindzey, Ginny © : fight to the death the to fight : sine missione sine ), he ), ( victories 19 ); ( victoriarum liber . Michael. Grant, Gladiators Hence fans could be grouped in two in grouped be could fans Hence : left-handed fighter left-handed : scaeva . (slides) . Roger. Dalladay, Life and Death in the Arena the in Death and Life ), free ), ( left-hander Albanus: scaeva ). ( shield light a or ) ( parma scutum gladiator when freed from service from freed when gladiator , Vol. 76, No. 2. No. 76, Vol. , Classical Outlook Classical AlbanVs SC L XIX v XIX L SC AlbanVs is, whether it was a heavy shield heavy a was it whether is, or referee; presented to a to presented referee; or Coleman, Kathleen. “Graffiti for Beginners,” for “Graffiti Kathleen. Coleman, ) ( won he ), ( novice Attilius: Marcus vicit tiro or the the or the of insignia lanista doctor . Jerome. Carcopino, Daily Life in Ancient Rome Ancient in Life Daily difference was the kind of shield–that of kind the was difference M AttiliVs T v T AttiliVs M . Ronald. Auguet, Cruelty & Civilization & Cruelty : wooden wand used for training; for used wand wooden : rudis certainty. The most significant most The certainty. ) ( out sent ), ( wreaths missus est missus coronarum school few types which can be identified with identified be can which types few : gladiator training gladiator : ludus gladiatorius ludus ) , 13 , ) ( victories 14 Hilarus: (finish him off) him (finish victoriarum fighting techniques, there are only a only are there techniques, fighting gladiators —thumbs down —thumbs (seen) pollice verso pollice XIII M XIII c XIv HilarVs gladiators, varying in armature and armature in varying gladiators, : flogger, used to excite to used flogger, : c lorarius While there were at least 20 types of types 20 least at were there While and not slave not and .