ROMAN ENTERTAINMENT the Colosseum - 1
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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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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.