DOCSLIB.ORG

Mo Ntebell O

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mo Ntebell O The Montebello Voice an independent gazette shall we dance? July 14, 2021 voices on the 37 Jam session I’m looking to get together with musi- cians who live in Montebello. I general- ly play blues and classic rock, but inter- ested in just about any type of acoustic or electric music. I would be interested in putting some set lists out and maybe writing and recording some music. I play guitar and harmonica and sing. Get in touch with me at coreywalters@ yahoo.com.– Corey Walters M Cover photo of Stormy the Great and Frank Sprague by Dian McDonald The ntebel Voice Mo lo an independent gazette Alexandria, Virginia This publication accepts no funding or oversight from advertisers, residents, or the Montebello Condominium Unit Owners Association. All opinions are encouraged and reflect the diversi- ty of views in the community. All articles and photographs come from Montebello residents. To receive or contribute to this email-only gazette, contact [email protected] or visit Bambis in on the web at www.montebellovoice.com. the wood- lands by Editor & Designer Linda Mikhailina Karina Brownlee Contributors Joe de Angelis, Linda Brown- lee, Raymond Houck, Dian McDonald, Bob Shea, Frank Sprague, Corey Walters The Montebello Voice 2 July 14, 2021 gentle giant Frank and Stormy I have lived with a Norwegian Elkhound, black Lab, and multiple Great Danes. I had been looking for a dog for a few years and tried to rescue a greyhound, but didn’t get through the waitlist before the tracks closed. I also tried multiple local rescues – to no avail. Then my neighbor’s grandson was being deployed on a ship and needed to rehome Stormy, a 3-year- old, 125-pound Great Dane. Two weeks later I had a room- mate who ate more food than I do. Stormy can rest her chin on the kitchen counter, pull pots off the stove, and never misses a chance to get a snack, even if it comes from my dinner plate. I have lost 13 pounds in a month, some from the exercise and more from forced calorie restric- tion as Stormy sees all food as hers. We take two or three walks a day, circling the complex and trails at least twice each time. She sleeps on the sofa on my balcony and enjoys the sun for most of the day. She’s quiet, well-behaved, and wants to be friends with everyone. She doesn’t have the zoomies in the house, so that’s good. All she needs is the sofa, some bones to chew on, and 90 percent of my bed at night. I work from home and have my office on the balcony. I spend a large part of the day on video calls, so when Stormy needs to “reposition” herself on the sofa, she can show up in the back- ground of the video. I know when that happens because of the shocked looks I get on their faces. – Frank Sprague M Outdoor photos by Dian McDonald Too-small couch photo by Frank Sprague The Montebello Voice 3 July 14, 2021 no planet b Greta Thunberg Is she right or wrong about climate change? By Chester Taylor America than ten years ago). I used years ago, American military divers to snorkel in the beautiful waters off asked for cooling systems for their wet- reta has clearly point- Guam. Now a third of the once lively, suits because some seas were too hot ed out that our cli- colorful coral reefs look like white skel- for them to work in for normal periods. mate is changing due etons – extinct over the past ten years Greta may have trusted the research- to global warming. due to rising sea temperatures. Ten ers a little too much about the pace She is as clear and of climate change. Researchers are distinctG as when the young boy already revising their timetables who pointed out that the emperor upwards for climate change. The had no clothes in Hans Christian melting of the ice sheets does not Andersen’s folktale. The fact that proceed on a linear scale (evenly Greta is a teenager, has Asperg- distributed, at the same rate) but er’s syndrome, has been trained at an exponential one increasing or dresses in one way or anoth- in speed over time. It is like when er is not the point. Is Greta right you defrost a freezer, the ice melts about climate change, right about slowly at first, then it suddenly global warming? starts flowing like a river. We are Greta points to science, land in a crisis now. Even if we could and sea temperatures have risen reduce CO2 emissions worldwide 0.9 degrees Celsius since the turn sharply today, the only thing we of the century (most in the last could accomplish is reduce the 35 years); sea creatures are mov- killing of life on the planet by a ing toward the poles at a speed of few hundred years – that’s like 32 miles per decade, and glaciers nano seconds in geological time. melt billions of tons each year. Greta is right about the effect You do not have to be a scientist climate change will have on her to know that this is true. We all generation: lack of clean air, lack have noticed that the weather has of fresh water, rising sea water, been more extreme, more heat less food, deteriorating health and waves and derechos. We see that enormous costs. M the number of birds in the parks is decreasing (a third less in North The Montebello Voice 4 July 14, 2021 stage craft The master of illusion By Bob Shea The show Born Yesterday was set in battery-operated drill and drywall a high-end hotel suite in Washington, screws are a set builder’s best friends. showed up with a tool belt and DC just after WW II. It had a winding The set has a shelf-life of about 6 weeks a battery-operated drill. I was staircase to two upper-level bedrooms, – you are not building the Great Pyra- ready to become a volunteer set French doors opening onto a balcony mids, but “almost good enough” has no builder at a small Tidewater-area with the US Capital in the background, place on the stage. Recycle everything community theater after reading and posh living room furnishings. After as there is always another set to be built Icountless pleas in the playbill asking for one show, a well-dressed couple compli- on a limited budget. If it is not visible volunteers. I knew nothing about com- mented us on the set and asked if they from the front row, do not worry about munity theater except that I enjoyed could see the interiors of the two bed- painting what will never be seen. Sight being in the audience. The show was rooms at the top of the winding stair- lines are critical; think about the folks Mr. Roberts. It was April 1996. case. At the top of the stairs they were in the far left and right end seats in the I enjoyed building sets and worked on dumbfounded when they opened the front row. They should never be able to a number of shows, progressing from doors and found two walls with wallpa- see backstage. Walls cannot shake no volunteer builder to chief of construc- per, a painting, chair rails, and crown matter how hard an actor slams a door. tion. There was certain magic in cre- molding built on a small platform with The lighting must eliminate all shad- ating a set where talented ows on the stage. Volun- actors told stories on the teer builders may be ded- make-believe world of a icated but they arrive with theater stage. skills ranging from master I was then asked to be- carpenter to “what is a 2x come a set designer, com- 4?” Tasks must be found bining the words on the for all; never fire a volun- script and the director’s teer. Always have “prac- vision. The easiest set was ticals,” lamps that work, one where all the action light switches to turn off took place in one room. and on other lights, tele- Shows such as Steel Mag- phones that ring, electrical nolias, A Curious Savage, outlets on walls with appli- and The Odd Couple fit ances plugged into them, this category. A much big- but all are controlled from ger challenge were shows, the light booth, not by the especially musicals, with multiple scenes a rough escape ladder leading down to actors. Make the audience see the next that had to be changed during black stage level. “Where is the bedroom?” room, the grass outside the door, the outs. For example, Guys and Dolls they asked. I smiled. driveway when a newly arrived car is had scenes in a NYC street, inside a At that moment I realized that as a heard, the rain that soaked an actor street mission (twice), a NYC nightclub set designer, I was an illusionist. From who arrives at the door with an umbrel- (twice), a Havana nightclub, a Havana the audience, they had seen one wall la – all part of the illusion. street scene, Adelaide’s dressing room, and had created in their minds a com- Whether it be an imaginary bedroom and a craps game under the street in a plete bedroom with a bed, furniture, a created by a wallpapered and painted sewer tunnel. How To Succeed in Busi- window, and all the things we expect to 4x8 foot sheet of plywood or a below ness Without Really Trying, the musi- see in a hotel room.
Load more

Recommended publications
  • The Spectacular Art of Jean-Léon Gérôme
    OBJECT LIST The Spectacular Art of Jean-Léon Gérôme AT THE J. PAUL GETTY MUSEUM, THE GETTY CENTER June 15 – September 12, 2010 1. Jean-Baptiste Carpeaux (French, 1827 - 1875) 6. Jean-Léon Gérôme (French, 1824 - 1904) Portrait of Jean-Léon Gérôme, 1872 - 1873 Anacreon, Bacchus, and Cupid, 1848 Marble Oil on canvas Object [including socle]: H: 61 cm (H: 24 in.) Unframed: 134 x 203 cm (52 3/4 x 79 15/16 The J. Paul Getty Museum, Los Angeles, in.) 88.SA.8 Musée des Augustins. Toulouse, France, 2004.1.102, EX.2010.2.20 2. Jean-Léon Gérôme (French, 1824 - 1904) Head of an Italian Woman, 1844 - 1860 7. Jean-Léon Gérôme (French, 1824 - 1904) Oil on canvas Anacreon, Bacchus, and Cupid, 1878 - 1881 Unframed: 44.5 x 36 cm (17 1/2 x 14 3/16 in.) Bronze Bequest of Noah L. Butkin. The Cleveland Object: H: 76 x W: 22.9 x D: 17.8 cm (29 Museum of Art. Cleveland, Ohio, 1980.264, 15/16 x 9 x 7 in.) EX.2010.2.38 Musée Georges Garret. Vesoul, France, 890-2-1, EX.2010.2.76 3. Jean-Léon Gérôme (French, 1824 - 1904) Child's Head with Mask and Sword, 1844 8. Jean-Léon Gérôme (French, 1824 - 1904) Oil on canvas A Greek Interior, 1850 Unframed (tondo): Diam.: 52 cm (20 1/2 in.) Oil on canvas Terence and Katrina Garnett, EX.2010.2.56 Unframed: 64 x 88 cm (25 3/16 x 34 5/8 in.) Lady Micheline Connery, EX.2010.2.95 4.
    [Show full text]
  • 1 Ever Since First Reading About Female Gladiators, the Concept and Details
    Ever since first reading about female gladiators, the concept and details behind such “woman warriors” has continued to fascinate me. While there are fewer primary sources that discuss female gladiators and their involvement in the arena, the sources I did locate helped me compile an interesting insight into the potential life of a female gladiator. I decided to direct my focus on a woman of the upper, elite class becoming a gladiator because I believe that “transformation” from femina (a woman of upper class status) to gladiator is more interesting than a woman of lower status making the choice to fight in the arena. I draw evidence from two books: Gladiatrix: The True Story of History’s Unknown Woman Warrior by Amy Zoll, and Women in Ancient Rome: A Sourcebook by Bonnie Maclachlan. I also cite two scholarly articles: “Female Gladiators in Imperial Rome: Literary Context and Historical Fact” by Anna McCollough, and “New Evidence of Female Gladiators” by Alfanso Manas, and I utilize three readings from class, including: “Roman Sexualities” by Judith P. Hallett and Marilyn B. Skinner, “Sexuality and Gender in the Classical World” by Laura McClure, and “Recruitment and Training of Gladiators” by Rodger Dunkle. In the first part of my letter, I mention the shame and infamia that Cassia has brought upon her family by making the choice to become a female gladiator: “I know you both fund it disgusting and unthinkable that I gave up my status as the daughter of a wealthy senator to pursue the lifestyle of a female gladiator”. I drew a lot of my information for this section from Anna McCollough’s article “Female Gladiators in Imperial Rome: Literary Context and Historical Fact”.
    [Show full text]
  • Beyond the Orientalist Canon: Art and Commerce
    © COPYRIGHT by Fanna S. Gebreyesus 2015 ALL RIGHTS RESERVED 1 BEYOND THE ORIENTALIST CANON: ART AND COMMERCE IN JEAN-LÉON GÉRÔME'S THE SNAKE CHARMER BY Fanna S. Gebreyesus ABSTRACT This thesis re-examines Jean-Léon Gérôme's iconic painting The Snake Charmer (1879) in an attempt to move beyond the post-colonial interpretations that have held sway in the literature on the artist since the publication of Linda Nochlin’s influential essay “The Imaginary Orient” in 1989. The painting traditionally is understood as both a product and reflection of nineteenth-century European colonial politics, a view that positions the depicted figures as racially, ethnically and nationally “other” to the “Western” viewers who encountered the work when it was exhibited in France and the United States during the final decades of the nineteenth century. My analysis does not dispute but rather extends and complicates this approach. First, I place the work in the context of the artist's oeuvre, specifically in relation to the initiation of Gérôme’s sculptural practice in 1878. I interpret the figure of the nude snake charmer as a reference to the artist’s virtuoso abilities in both painting and sculpture. Second, I discuss the commercial success that Gérôme achieved through his popular Orientalist works. Rather than simply catering to the market for Orientalist scenes, I argue that this painting makes sophisticated commentary on its relation to that market; the performance depicted in the work functions as an allegory of the painting’s reception. Finally, I discuss the display of this painting at the 1893 Chicago World's Fair, in an environment of spectacle that included the famous “Oriental” exhibits in the Midway Plaisance meant to dazzle and shock visitors.
    [Show full text]
  • 1 Kathleen M. Coleman Department of the Classics
    Kathleen M. Coleman Department of the Classics Office tel.: 617-495-2024 Harvard University Mobile tel.: 617-909-5315 204 Boylston Hall Office fax: 617-496-6720 Cambridge, MA 02138 [email protected] 1. Academic qualifications 1973 University of Cape Town: B.A. with Distinction in Latin 1975 University of Rhodesia (now Zimbabwe): B.A. (Special) Honours in Classics, First Class 1979 Lady Margaret Hall, University of Oxford: D.Phil. 2. Honors and awards 1976–79 Beit Fellowship 1980 A.L.I.S. Award (British Council) 1981 Oxford Award (British Federation of University Women) 1987–88 Alexander von Humboldt Forschungsstipendium 1991 University of Cape Town Book Award (for Siluae IV); prize shared with J. M. Coetzee (for Age of Iron) 1992 Alexander von Humboldt Forschungsstipendium 1998– Honorary Research Curator, Harvard University Art Museums 2003–08 Harvard College Professor, Harvard University 2005 Joseph R. Levenson Teaching Prize for Senior Faculty, awarded by the Undergraduate Council of Harvard College 2007 Walter Channing Cabot Fellowship, Harvard University 2008 Ausonius-Preis, Universität Trier 2009 Society for the Promotion of Roman Studies, Honorary Member 2010 Loeb Classical Library Foundation research grant 2012 Bayerische Akademie der Wissenschaften, Corresponding Member 2013–14 Wissenschaftskolleg zu Berlin, Fellow 2017–18 Institute for Advanced Study, Princeton, Member 3. Posts held 1976 Temporary Teaching Assistant, Department of Classics, University of Rhodesia (now Zimbabwe) 1979–81 Junior Lecturer, Department of Classics, University of Cape Town 1982–87 Lecturer, Department of Classics, University of Cape Town 1988–90 Senior Lecturer, Department of Classics, University of Cape Town (ad hominem promotion) 1991–93 Associate Professor, Department of Classics, University of Cape Town (ad hominem promotion) 1993–98 Professor of Latin, Trinity College, Dublin 1996–97 Visiting Professor, Harvard University 1998–2010 Professor of Latin, Harvard University 2010– James Loeb Professor of the Classics, Harvard University 1 4.
    [Show full text]
  • Archaeology Books for Adult
    AIA Education Department Bibliographies: Books for Adults Bibliographies Archaeology Books for Adult General Archaeology Publishing. Ashmore, W and R.J. Sharer. 2003. Archaeology: Discover- Fagan, B. 1994. Quest for the Past: Great Discoveries ing Our Past. Rev. Third Edition. New York: McGraw in Archaeology. Prospect Heights, Illinois: Waveland Hill. Press. Bahn, P. 2000. Archaeology: A Very Short Introduction. Fagan, B. 2001. The Seventy Great Mysteries of the Ancient Oxford: Oxford University Press. World: Unlocking the Secrets of Past Civilizations. New Bahn, P. 2002. Bluff Your Way in Archaeology. London: York: Thames & Hudson. Oval Books. Feder, K.L. 2008. Frauds, Myths, and Mysteries: Science and Bahn, P. 2003. The Atlas of World Archaeology. London: Pseudoscience in Archaeology. New York: McGraw-Hill Batsford. Higher Education. Barber, R. J. 1994. Doing Historical Archaeology: Exercises Forte, M. and A. Siliotti, eds. 1997. Virtual Archaeology: Re- Using Documentary, Oral, and Material Evidence. Engle- creating Ancient Worlds. New York: Harry N. Abrams, wood Cliffs, NJ: Prentice Hall. Inc., Publishers. Bowman, S. 1990. Radiocarbon Dating. Interpreting the Past. Gamble, C. 2004. Archaeology: The Basics. London: Berkeley: University of California Press. Routledge. Bray, W. 1970. The American Heritage Guide to Archaeol- Gosden, C. 2003. Prehistory: A Very Short Introduction. ogy. New York: American Heritage Press. Oxford: Oxford University Press. Daniel, G. 1983. A Short History of Archaeology. New Greene, K. 2002. Archaeology: An Introduction. Rev. York: Thames and Hudson,Ltd. Fourth Edition. New York: Routledge. Daniels, S. and N. David. 1982. The Archaeology Work- Haywood, J. 2004. World Atlas of the Past: The Ancient book. Philadelphia, University of Pennsylvania Press.
    [Show full text]
  • Roma Victrix Free
    FREE ROMA VICTRIX PDF Russell Whitfield | 512 pages | 01 May 2012 | Myrmidon Books Ltd | 9781905802418 | English | Newcastle, United Kingdom Legio VI Victrix - Wikipedia Exhaustively researched over the course of two years and Roma Victrix to five months of design and historical scrutiny, this 'poster' is not simply an artistic work, but truly an educational resource in its own right. This large map is unique wall decor that is perfect for the den, office or classroom and will delight history buffs; particularly those with a special interest in the Ancient Roman Empire. With the map features presented in the original Latin, it will also make an educational Roma Victrix for the student, teacher or professor. No classroom focused on ancient history Roma Victrix classical studies should be without this spectacular reference and conversational piece. Audiobooks are becoming increasingly popular. On the move? Simply plug in your Roma Victrix and listen on the go. Busy at home? Have them on speaker and keep both hands free to do other tasks. Listening in bed? If you fall asleep just resume playing from where you got to last night. Plus there's no need to keep your partner awake in bed with lights like you would do if you were reading a book. Amazon Audible currently have thousands of books of all genres available as audiobooks, with at time of writing in the "History: Ancient" category alone, including Theodor Mommsen's Roma Victrix History of Roma Victrix Welcome to UNRV. History of Ancient Rome. We will delve into all aspects of its society and those of her neighbors, and perhaps share a greater understanding of our own world through that of the past.
    [Show full text]
  • African Women in the Gladiatorial Games of Rome
    “Usually, when people talk about the "strength" of black women . they ignore the reality that to be strong in the face of oppression is not the same as overcoming oppression, that endurance is not to be confused with transformation.” – Bell Hooks* African Women in the Gladiatorial Games of Rome By Marjorie Charlot y interest in finding African women who were gladiators, or who were forced M to take part in arena games in history, began after watching the film Gladiator. This film starring the actor Russell Crowe showed a black woman driving a chariot around the Roman coliseum. I found this fascinating, as I had never heard of female gladiators, let alone of black women, fighting in the arena. Despite extensive inquiry into the subject, the names of these women regrettably are lost to history. However, I discovered that Ethiopian men and women, and in one case even children, were thrown into the arena to participate in this heinous form of entertainment. Women took part in gladiatorial combat under diverse circumstances; they had to take a stand for their own or for others’ freedom, or pay a price for their beliefs and, in doing so, showed remarkable bravery. Although some women would willingly take part in the gladiatorial games, it is clear that many women and men were forced to participate. A Brief History To say the games held in the arenas of ancient Roma were violent would be an understatement. The Romans’ thirst for blood and violence knew no boundaries, for no one was Sankofa Griotte Journal (Vol.1, No.1): 4 -21.
    [Show full text]
  • The Function of the Roman Spectacle in Ephesos
    The Function of the Roman Spectacle in Ephesos Christos Potamianos University of California, Santa Barbara (2011) CHRISTOS POTAMIANOS ACKNOWLEDGMENTS The greatest thanks must go to professor Beth DePalma Digeser who has encouraged me throughout my academic career at the University of California, Santa Barbara, and greatly assisted me in the completion of this work. I would also like to thank Sears McGee who has edited my work many times with what I can only describe as superhuman powers. Without their patience and help I would have never completed this project. I would also like to extend my thanks to the URCA committee for providing me with a greatly appreciated grant, and the faculty in the Department of History for the education they have provided me over the last two years. Finally, I would like to thank my family and friends (especially my roommates who had suffered from my annexation of our living room) who have motivated me to always try my best, however painful it might be. eHumanista ii CHRISTOS POTAMIANOS Table of Contents List of Illustrations 4 Chapter One: Introduction 1 1.2: Views 2 1.3: Sources 2 1.4: Background 3 Chapter Two: Origins of the Spectacles 6 2.2: Munera 6 2.3: Venationes 10 2.4: Greek Venationes 16 2.5: Ad Flammas, Ad Bestias 18 Chapter Three: Functions 21 3.2: Illusions of Civic Rights and Liberties 23 3.3: Food Distribution 30 3.4: Spectacles and Stability 31 3.5: Structures of Spectacles in Ephesos 33 Chapter Four: Conclusion 47 4.2: Appendix I 49 4.3: Appendix II 50 Bibliography 53 eHumanista iii CHRISTOS POTAMIANOS LIST OF ILLUSTRATIONS Fig.
    [Show full text]
  • 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 .
    [Show full text]
  • Women, Weaponry and Warfare
    Women, weaponry and warfare A multidisciplinary study of the use of weapons by women in Dynastic Egypt Number of Volumes: 2 Volume 1 of 2 Rebecca Angharad Dean M.Phil University of York Archaeology March 2013 ii Abstract This thesis is a detailed study of the utilisation of weaponry by ancient Egyptian women during the Dynastic Period. This work incorporates extended literature reviews, including a detailed discussion of several examples of women utilising weaponry and taking part in warfare in societies outside of Dynastic Egypt, an analysis of feminist and gender-based approaches to the subject, an examination of women within ancient Egyptian society, and a review of the specific weapons associated with these women. Detailed experimental archaeology also forms part of the thesis research in order to test the effectiveness or ineffectiveness of the specific weaponry when utilised by both men and women. In addition to the experimental work, a comparative discussion of examples of weapons’ trauma on ancient Egyptian remains is carried out. The thesis concludes with the discussion of research carried out and the potential for future work, and the conclusions drawn from all aspects of the thesis research. A catalogue of unpublished ancient Egyptian weaponry in the collections of the Harrogate Royal Pump Room Museum and the Yorkshire Museum in York is also included as an Appendix to the thesis. Volume One iii Contents Volume One: Abstract – ii Acknowledgments – v Declaration – vi Introduction – 1 Chapter One - Women and Weapons Outside
    [Show full text]
  • In the Amphitheatre Classics Department of Ies Vegas Bajas, Montijo, (Badajoz) Ángel Luis Gallego Real
    In the Amphitheatre Classics Department of ies Vegas Bajas, Montijo, (Badajoz) Ángel Luis Gallego Real In the Amphitheatre Title: In the Amphitheatre Area: Classical Culture & English Type of Activity: whole class search Location: Class or Amphitheatre Time to do it: 1-2 hours Function practised: speaking English Objective: Essential vocabulary, describing people, whose, present simple, w- questions, yes/no questions Classical Culture Objective: Knowledge about gladiator games How to use the game Play this game with any number of students. Make one copy of the questionnaire for each student in the class or amphitheatre. You can leave the questionnaire completely blank so that the pupils fill in both names and information. They will be asking w-questions). If you have a big group of pupils, you can give the questionnaire to some part of the pupils with and the information to the other part. When you have prepared the questionnaires, give one to each student in the class. The object of the game is to complete the questionnaire. To do this, students will have to move around the class, asking each other questions until they have enough information to complete the questionnaire. As they finish, ask students to sit down in pairs and give each other a quiz on the information they have gathered (for example Whose weapons are the sica and the parma?, Tell me the name of the gladiator who likes venationes, etc. 1 In the Amphitheatre Classics Department of ies Vegas Bajas, Montijo, (Badajoz) Ángel Luis Gallego Real You are Caladus the Thracian, because you were born in Thrace, a region of northdern Greece.
    [Show full text]
  • Female Gladiators in Imperial Rome: Literary Context and Historical Fact Author(S): Anna Mccullough Source: the Classical World, Vol
    Female Gladiators in Imperial Rome: Literary Context and Historical Fact Author(s): Anna McCullough Source: The Classical World, Vol. 101, No. 2 (Winter, 2008), pp. 197-209 Published by: The Johns Hopkins University Press on behalf of the Classical Association of the Atlantic States Stable URL: http://www.jstor.org/stable/25471938 Accessed: 29-11-2016 20:55 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/25471938?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Classical Association of the Atlantic States, The Johns Hopkins University Press are collaborating with JSTOR to digitize, preserve and extend access to The Classical World This content downloaded from 142.103.160.110 on Tue, 29 Nov 2016 20:55:17 UTC All use subject to http://about.jstor.org/terms Female Gladiators in imperial Rome: Literary Context and Historical Fact ABSTRACT: Female gladiators were a definite presence in Rome whose participation paralleled that of men, though the scale of this presence in frequency and number is unknown. Senatus consultum decrees from a.d.
    [Show full text]