DOCSLIB.ORG

Battle for Rome Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Battle for Rome Free FREE BATTLE FOR ROME PDF Ian Ross | 464 pages | 01 Oct 2016 | Head of Zeus | 9781784081225 | English | London, United Kingdom [The Battle for Rome] | As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. Title: The Battle for Rome —. Looking for some Battle for Rome streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Episode List. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Episode Guide. Added to Watchlist. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Episodes Seasons. Photos Add Image Add an image Do you have any images for this title? Edit Cast Series cast summary: Tom Bell Genres: History. Edit Did You Know? Goofs During the Constantine episode, the narrator misspeaks on who Battle for Rome what part of the Roman Empire. The program shows a map of Europe and the Middle East which depicts Constantine controlling the west and Licinius controlling the east. The Narrator then says Constantine controlled the east and Licinius controlled the west. Add the Battle for Rome question. Edit Details Country: UK. Language: English. Sound Mix: Mono. Color: Color. Edit page. Add episode. October Streaming Picks. Back to School Picks. Clear your history. Battle for Rome Nasica unknown episodes. The Story Behind Ancient Rome's Bloody Mock Naval Battles, or Naumachia All rights reserved. The people of Rome threw a party in 46 B. Julius Caesar had just returned, having crushed the followers of his great rival, Pompey Battle for Rome Great. There, two fleets of biremes, triremes, and quadriremes with 4, galley slaves and 2, crew members on board clashed in a full-scale reconstruction of a naval battle. Roman historian Suetonius, writing in the first century A. Stalls were set up nearby and the streets filled with sex workers, thieves, Battle for Rome vendors. So many people tried to go that some slept in the street the night before to secure good seats. People even died in the crush of the crowds, including two senators. The astonishing spectacle known as the naumachia—from the Greek word for naval battle—had been born. The naumachia joined the ranks of existing Roman spectacles and entertainment, such as the gladiator fight munus and exotic animal hunt venatio. These events attracted thousands of spectators from all social classes. Later naumachiae would reimagine historic battles between Athens and Persia, or Rhodes and Sicily. A relief of a trireme, a vessel powered by three banks of oars, depicts the kind of boat often preferred for Roman naumachia. For all its theater, these events were not simulations. They were real battles, in which violence, mutilation, blood, and drowning made them as macabre a spectacle as a gladiator fight. To man the ships, the participants—known as naumachiarii —wore the uniforms of the two sides. They were typically prisoners of war or convicts who had been sentenced to death, though free men could take part, too. A naumachia was massively expensive. Planners needed not only a colossal budget but also an appropriate site. They needed a crew of skilled craftsmen and engineers to Battle for Rome the Battle for Rome, the seating, and the ships. They also needed a team to choreograph the action, and a sufficient number of participants to bring it to life. Some naumachiae were staged on natural bodies of water. In 40 B. On this occasion, Sextus chose to re-create a recent battle: his own naval victory over Octavian. A century or so later Emperor Claudius staged his own mock sea battle—a portrayal of a historic battle between Sicily and Rhodes—on Fucine Lake in central Italy. One hundred boats and as many Battle for Rome 19, combatants all convicts took part in the extravaganza according to the historian Tacitus. To force them to fight, armed guards were stationed on pontoons around the lake. Natural bodies of water might have Battle for Rome less expensive to use, but they were not as conducive to watching. And since watching was the fundamental purpose of these events, other theaters had to be created. The sight of a Battle for Rome, specially dug lake, equipped with stands for spectators, would become an important part of the performance itself. Augustus created Battle for Rome artificial lake of his own on the right bank of the Tiber River to hold a naumachia to celebrate the inauguration of Battle for Rome Temple of Mars Ultor in the Forum of Augustus. Rather than excavating a lake, other emperors would flood amphitheaters with water. The first such recorded venue was pioneered during the reign of Nero, who organized a water battle in a stone and wood amphitheater Battle for Rome had built in the Campus Martius Battle for Rome A. A few years later, Nero organized another naval show in Battle for Rome same Battle for Rome. Historians recorded great admiration at the amazing speed with which Battle for Rome site was not only filled, but also emptied in order to allow a wild animal hunt and gladiator games to take place on the same day. A few months later the structure burned to the ground during the Great Fire of Rome. It is believed the last mock naval battle of the Roman era was held in A. During its first year, it was possible to flood the Colosseum with enough water for ships to sail the tunnels and storage rooms under the floor, the hypogeum, were built later, during the reign of Domitian. Sources mention later naumachiae, such as the one held by Trajan to celebrate his conquest of Dacia modern-day Romaniaa territory with an abundance of mineral deposits that enriched the Roman Empire at the height of its Battle for Rome. Another major mock battle in Rome is recorded in A. Centuries later, they were still remembered as a colorful and intriguing example of the megalomania of the emperors and the Roman love of public spectacles. When interest in antiquity was renewed in the Renaissance, naumachiae were revived as well, albeit in a notably toned-down form. An elaborate river-based naumachia was also held in the Spanish city of Valencia into celebrate the canonization of a local saint. There is also some evidence of similar shows organized for pure entertainment, with no link to royalty or patronage. In the early s the theater of Sadlers Wells in London became famous for naumachia-style spectacles, to which crowds flocked to see reconstructions of battles. Perhaps the attention to historical detail mixed with uncompromising violence that characterizes a full-blooded naumachia can only really belong to the Roman age. Read Caption. Why Ancient Rome Staged Epic, Violent Sea Battles Performed by hundreds of men, mock naval battles thrilled audiences in ancient Rome with high drama and bloody spectacle. Continue Reading. The Battle for Rome | Book by Robert Katz | Official Publisher Page | Simon & Schuster In Septemberthe German army marched into Rome, beginning an occupation that would last nine months until Allied forces liberated the ancient city. During those days, clashing factions -- the occupying Germans, the Allies, the growing resistance movement, and the Pope -- contended for control over the destiny of the Eternal City. In The Battle for Rome, Robert Katz vividly recreates the drama of the occupation and offers new information from recently declassified documents to explain the intentions of the rival forces. One of the enduring myths of World War II Battle for Rome the legend that Rome was an "open city," free from military activity. In fact the German occupation was brutal, Battle for Rome almost immediately with the first roundup of Jews in Italy. Rome was a strategic prize that the Germans and the Allies fought bitterly to win. The Allied advance up the Italian peninsula from Salerno and Anzio in some of the bloodiest fighting of the war was designed to capture the Italian capital. Dominating Battle for Rome city in his own way was Pope Pius XII, who used his authority in a ceaseless effort to spare Rome, especially the Vatican and the papal properties, from destruction. But historical documents demonstrate that the Pope was as concerned about the Partisans as he was about the Nazis, regarding the Partisans as harbingers of Communism in the Battle for Rome City. The Roman Resistance was a coalition Battle for Rome political parties that agreed on little beyond liberating Rome, but the Partisans, the organized military arm of the coalition, became increasingly active and effective as the occupation lengthened. Katz tells the story of two young Partisans, Elena and Paolo, who fought side by side, became lovers, and later played a central role in the most significant guerrilla action of the occupation. In retaliation for this action, the Germans committed the Ardeatine Caves Massacre, slaying hundreds of Roman men and boys. The Pope's decision not to intervene in that atrocity has been Battle for Rome source of controversy and debate among historians for decades, but drawing on Vatican documents, Katz authoritatively examines the matter. Katz takes readers into the occupied city to witness the desperate efforts of the key actors: OSS undercover agent Peter Tompkins, struggling Battle for Rome forge an effective spy network among the Partisans; German diplomats, working against their own government to save Rome even as they condoned the Nazi repression of its citizens; Pope Pius XII, anxiously trying to protect the Vatican at the risk of depending on the occupying Germans, who maintained order by increasingly draconian measures; and the U.
Load more

Recommended publications
  • Waters of Rome Journal
    TIBER RIVER BRIDGES AND THE DEVELOPMENT OF THE ANCIENT CITY OF ROME Rabun Taylor [email protected] Introduction arly Rome is usually interpreted as a little ring of hilltop urban area, but also the everyday and long-term movements of E strongholds surrounding the valley that is today the Forum. populations. Much of the subsequent commentary is founded But Rome has also been, from the very beginnings, a riverside upon published research, both by myself and by others.2 community. No one doubts that the Tiber River introduced a Functionally, the bridges in Rome over the Tiber were commercial and strategic dimension to life in Rome: towns on of four types. A very few — perhaps only one permanent bridge navigable rivers, especially if they are near the river’s mouth, — were private or quasi-private, and served the purposes of enjoy obvious advantages. But access to and control of river their owners as well as the public. ThePons Agrippae, discussed traffic is only one aspect of riparian power and responsibility. below, may fall into this category; we are even told of a case in This was not just a river town; it presided over the junction of the late Republic in which a special bridge was built across the a river and a highway. Adding to its importance is the fact that Tiber in order to provide access to the Transtiberine tomb of the river was a political and military boundary between Etruria the deceased during the funeral.3 The second type (Pons Fabri- and Latium, two cultural domains, which in early times were cius, Pons Cestius, Pons Neronianus, Pons Aelius, Pons Aure- often at war.
    [Show full text]
  • Theatricality of Naumachiae Bachelor’S Diploma Thesis
    Masaryk University Faculty of Arts Department of Theatre Studies Bachelor’s Diploma Thesis 2018 Lucia Steltenpohlová Masaryk University Faculty of Arts Department of Theatre Studies Theatre Theory and History Lucia Steltenpohlová Theatricality of Naumachiae Bachelor’s Diploma Thesis Supervisor: Mgr. Eliška Poláčková, Ph. D. 2018 Declaration Hereby I declare that this paper is my original authorial work, which I have worked out on my own. All sources, references, and literature used or excerpted during elaboration of this work are properly cited and listed in complete reference to the due source. Lucia Steltenpohlová i ii Acknowledgement I would like to thank my supervisor, Mgr. Eliška Poláčková Ph.D., for all her professional support and enthusiasm with which she guided me throughout the process of research as well as writing of this thesis, for all the corrections and comments, for her patience. To all the staff of the department of Theatre studies for constantly broadening my horizons. A big thank you to my friends, namely the wonderful future doctor Simona Halajová and German language mage Bc. Andrea Bukovská, who had to listened to my theatre talk and did not complain the least bit. To Bc. Viktor Solík, for using his remarkable informatics skills to help me in the process of putting the formalities of this thesis together (and for teaching me that there are far too many names for brackets). To Michal Solčiansky, for cooking for me when I needed it the most. Last but not least a huge thanks to my family, for all that you have done and still do for me.
    [Show full text]
  • Calendar of Roman Events
    Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th.
    [Show full text]
  • Naumachie De Titus” Gérald Cariou
    Projet ”Naumachie de Titus” Gérald Cariou To cite this version: Gérald Cariou. Projet ”Naumachie de Titus”. Virtual Retrospect 2003, Robert Vergnieux, Nov 2003, Biarritz, France. pp.44-50. hal-01741936 HAL Id: hal-01741936 https://hal.archives-ouvertes.fr/hal-01741936 Submitted on 23 Mar 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Version en ligne Tiré-à-part des Actes du colloque Virtual Retrospect 2003 Biarritz (France) 6 et 7 novembre 2003 Vergnieux R. et Delevoie C., éd. (2004), Actes du Colloque Virtual Retrospect 2003, Archéovision 1, Editions Ausonius, Bordeaux G. Cariou Project “Titus Naumachia” . pp. 44-50 Conditions d’utilisation : l’utilisation du contenu de ces pages est limitée à un usage personnel et non commercial. Tout autre utilisation est soumise à une autorisation préalable. Contact : [email protected] http://archeovision.cnrs.fr Virtual Retrospect 2003 November 6, 7 PROJET “NAUMACHIE DE TITUS” Gérald Cariou Centre de Recherche sur l’Antiquité et les Mythes (CERLAM) Maison de la Recherche en Sciences Humaines de Caen Basse-Normandie Université de Caen, Esplanade de la Paix 14032 Caen Cedex [email protected] Abstract : A team of scientists, artists and computer graphics Mots clés : Rome Antique – Naumachie – modélisation – designers are working on a short film showing the greatest images de synthèse.
    [Show full text]
  • The Flavian Amphitheater Bread and Circuses
    THE NEW JERSEY ITALIAN HERITAGE COMMISSION The Flavian Amphitheater Bread and Circuses Grade Level: 6-12 Subjects: World History / United States History / Law / Language Arts / World Languages Categories: History and Society Standards: Please see page 7 of the lesson plan for complete New Jersey Student Learning Standards alignment. Objectives: Students will be able to: 1. explain why Vespasian decided to build the magnificent Flavian Amphitheater, better known as the Colosseum. 2 determine why Vespasian wanted to give the plebeians games and circuses to distract them. 3. infer that slavery and the nonproductively and unemployment with the plebeians ranks served as a perpetual problem for Rome. Abstract: The lesson focuses on Caesar Vespasian’s and his son Caesar Titus’ desire to build a great monument to honor the Emperor and to keep the plebeians amused and content at the games. The lesson also highlights the ineffectiveness of slavery in a society. Key Terms: Patricians Latin The Roman upper class. Plebian Latin One of the common people of ancient Rome. A member of the lower classes. Gladiator Celtic A professional combatant or slave who entertained the public by engaging in mortal combat. Naumachia Latin A naval spectacle; a mock sea battle put on by the ancient Romans. Page 1 of 13 Copyright 2019 – New Jersey Italian Heritage Commission U3-LP-005 Background: Early in the history of the Roman Republic, most common Romans farmed on small homesteads around the city. They also served in the army during Rome's numerous wars. As Roman conquests increased, the city began to employee a professional army and the patricians, or the upper class accumulated tremendous amounts of wealth.
    [Show full text]
  • Roman Colosseum Newsletter
    The Roman Colosseum A massive stone amphitheater located just East of the Roman Forum is a Colosseum that was commissioned around 70-72 A.D. by Emperor Vespasian of the Flavian dynasty. It was a gift to the Roman people. The Emperor wanted to restore Rome to its former glory period prior to the turmoil of the recent civil war. Construction of the Colosseum began in 72 A.D. and was located on the site that was once the lake and gardens of the Emperor Nero's Golden House. The lake was drained and a concrete foundation six meters deep was put down as a precaution against potential earthquakes. The Colosseum's original name was Amphiteatrum Flavium (Flavian Amphitheater). It opened for business in 80 A.D. in the reign of Titus, Vespasian's eldest son, with a 100 day gladiator spectacular. The Colosseum was finally completed in the reign of the other son, Domitian. The finished building was like nothing Romans had ever seen. It was the biggest building of its kind. Its features: Four stories Height of 150 feet Width of 620 Feet x 513 feet A roofed awning Capacity for 50,000 people 32 animal pens 80 entrances 36 trap doors Underground two-level Colosseum Architecture Measuring some 620 by 513 feet, the Colosseum was the largest amphitheater in the Roman world. It was a freestanding structure that spanned 6 acres of land. The distinctive exterior had three stories of arched entrances - a total of around 80-supported by semi-cicular columns. Each story contained columns of a diferent style.
    [Show full text]
  • Colosseum As a Site of Ancient Roman Entertainment and Where the Different Social Classes of the Ancient Roman Society Sat
    AimAim • I can describe the Colosseum as a site of Ancient Roman entertainment and where the different social classes of the Ancient Roman society sat. SuccessSuccess Criteria • •Statement I can explain 1 Lorem why ipsumAncient dolor Romans sit amet attended, consectetur the Colosseum. adipiscing elit. • •Statement I can explain 2 where the different social classes of the Ancient Roman society• Sub statement sat in the Colosseum. • I can explain the role of the Emperor and the senators in Ancient Roman society. • I can explain who the gladiators were and their role in relation to the Colosseum. A Roman Amphitheatre The Colosseum is a Roman amphitheatre. Its name in Latin was Amphitheatrum Flavium Romae. Latin was the language of the Roman Empire and many European languages spoken today, such as Spanish, French, Portuguese or Italian come from Latin. Attending the Colosseum was part of Ancient Roman life. Can you imagine why? A Place for Entertainment Ancient Romans liked to have fun, but they had a very different concept of fun to the way we amuse ourselves nowadays. For example, they enjoyed watching people fight against lions! They were also amused by watching gladiators fight to death. The Colosseum is the largest amphitheatre ever built. It had seating for 55,000 people! That’s as big as the Anfield Football Stadium in Liverpool. The best place, the Podium, or Tribune, was reserved for the Emperor and his family, as well as for the senators. The Emperor and the Senate The Emperor controlled the Roman Empire and had a very luxurious life with the best of everything.
    [Show full text]
  • Nero Claudius Caesar (Nero) - the Lives of the Twelve Caesars, Volume 6
    Nero Claudius Caesar (Nero) - The Lives Of The Twelve Caesars, Volume 6. C. Suetonius Tranquillus Project Gutenberg's Nero Claudius Caesar (Nero), by C. Suetonius Tranquillus This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Nero Claudius Caesar (Nero) The Lives Of The Twelve Caesars, Volume 6. Author: C. Suetonius Tranquillus Release Date: December 13, 2004 [EBook #6391] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK NERO CLAUDIUS CAESAR *** Produced by Tapio Riikonen and David Widger THE LIVES OF THE TWELVE CAESARS By C. Suetonius Tranquillus; To which are added, HIS LIVES OF THE GRAMMARIANS, RHETORICIANS, AND POETS. The Translation of Alexander Thomson, M.D. revised and corrected by T.Forester, Esq., A.M. Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. NERO CLAUDIUS CAESAR. (337) I. Two celebrated families, the Calvini and Aenobarbi, sprung from the race of the Domitii. The Aenobarbi derive both their extraction and their cognomen from one Lucius Domitius, of whom we have this tradition: --As he was returning out of the country to Rome, he was met by two young men of a most august appearance, who desired him to announce to the senate and people a victory, of which no certain intelligence had yet reached the city. To prove that they were more than mortals, they stroked his cheeks, and thus changed his hair, which was black, to a bright colour, resembling that of brass; which mark of distinction descended to his posterity, for they had generally red beards.
    [Show full text]
  • 6 Chariot Races and Water Shows
    CHARIOT RACES AND WATER SHOWS 189 6 Chariot Races and Water Shows Chariot Races Roman tradition hailed the circus races as the oldest of Rome’s spectacles, established informally by Romulus, Rome’s legendary founder, himself. The first races afforded a key opportunity for the Romans in the extended narrative of the origins of Roman identity. Frustrated by his attempts to arrange inter- marriage with neighboring peoples like the Sabines, Romulus decided to work toward his goal using subterfuge, by hosting a regional festival in honor of the god Consus (a.k.a. Neptune) that included ludi circenses or chariot races. Source: Livy 1.9:1 Deliberately hiding his resentment, [Romulus] prepared to celebrate the Consualia, a solemn festival in honor of Neptune, patron of the horse, and sent notice of his intention all over the neighboring countryside. The better to advertise it, his people lavished upon their preparations for the spectacle all the resources – such as they were in those days – at their command . all the Sabines were there too, with their wives and children . Then the great moment came; the show began, and nobody had eyes or thoughts for anything else. This was the Romans’ opportunity: at a given signal all the able-bodied men burst through the crowd and seized the young women. Source: Ovid, Art of Love 1.103–108:2 You first, Romulus, did disturb the games, when the rape of Sabine women consoled the wifeless men. No awnings then hung over a marble theater, nor was the platform red with the spray of crocuses; there, artlessly arranged, were garlands which the leafy Palatine had brought forth; the stage was unadorned; the people sat on rows of turf, any chance leaves covering their unkempt hair.
    [Show full text]
  • Engineering Society Through Social Spaces: Concrete Construction
    Concrete Chapter—Mary Ann Eaverly Abstract The most popular building material in the world today, concrete was first developed and exploited by the ancient Romans who used it to create monumental public spaces such as the Colosseum. The design of Roman concrete structures reinforced Roman ideas about social status and imperial power. This chapter explores the rich history of concrete and its legacy in the modern world, touching upon the role of concrete in ancient Rome, today’s technical advances in concrete construction, and concrete’s environmental drawbacks. The chapter also examines how concrete construction is shaped by societal ideals today, just as it was by societal ideas in ancient Rome. Engineering Society through Social Spaces: Concrete Construction Introduction Pourable, moldable, durable, waterproof, and relatively easy and inexpensive to manufacture, concrete is the world’s most popular building material. We live, work, and play on and in buildings and roads constructed from it. Architects exploit its properties to create artistic tour de forces as well as utilitarian monuments (FIGURE 1). Figure 1. The Guggenheim Museum, New York City Concrete is such a part of our daily lives that we may not stop to think about who invented it or why builders create certain types of buildings from it and not others. Is there a connection between buildings and larger societal forces? Have you ever wondered why we use concrete the way we do? Do buildings reflect a society’s ideals for social organization? To try to answer these questions we need to examine the role concrete played in the society that first developed it— ancient Rome.
    [Show full text]
  • 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).
    [Show full text]
  • Circumnavigating Tacitus' Agricola
    CIRCUMNAVIGATING TACITUS’ AGRICOLA: MISE EN ABYME AND THE MUTINY OF THE USIPI by KYLE KHELLAF (Under the Direction of Erika T. Hermanowicz) ABSTRACT This study examines the bizarre account of the mutiny of the Usipi in Tacitus’ Agricola. It argues that this centrally placed, ostensible digression actually functions as a mise en abyme for the work. Just as the Agricola presents its readers with a complex series of generic and thematic elements, so too does the mutiny narrative contain all of these features and reflect them in a single episode: historiography and the commemoration of great deeds, anti-Domitianic rhetoric and the central theme of liberty versus servitude, ethnography and foreign interactions, and circumnavigation as a symbol for the conquest of Britain. Moreover, by taking these elements to various extremes, the mutiny of the Usipi exhibits the tendency of the mise en abyme to distort the work that it reflects. INDEX WORDS: Tacitus, Agricola, Mutiny, Usipi, Mise en abyme, Agr. 28, Domitian, Roman Britain, Circumnavigation, Periplous CIRCUMNAVIGATING TACITUS’ AGRICOLA: MISE EN ABYME AND THE MUTINY OF THE USIPI by KYLE KHELLAF B.A., Swarthmore College, 2008 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2012 © 2012 Kyle Khellaf All Rights Reserved CIRCUMNAVIGATING TACITUS’ AGRICOLA: MISE EN ABYME AND THE MUTINY OF THE USIPI by KYLE KHELLAF Major Professor: Erika T. Hermanowicz Committee: James C. Anderson, Jr. Jonathan Master Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 DEDICATION hic interim liber I dedicate to my grandparents, whose endless support and limitless affection is hardly repaid by this professio pietatis.
    [Show full text]