Gladiators and Caesars: The Power of Spectacle in Ancient RomeBritish Museum Press, 2000 - 153 էջ Desgined to accompany a major new international exhibition, this book tackles the politics behind the great if bloodthirsty spectacle of Games such as gladiatorial combats, athletics and chariot racing and the Theatre in Ancient Rome. The authors examine the social and political roles occupied by all types of performance as they became increasingly secularized; they also look at the buildings in which they took place, the equipment used and the prestige involved for participants and actors. With particular reference to the Roman festival calendar and the origins and development of the Games, Gladiators and Caesars is a welcome and thorough exploration of the relationship between politics and entertainment and the role of the audience. Concluding with a timely comparison of Games then and now, this book should appeal to experts, students and the interested public alike. |
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Արդյունքներ 46–ի 1-ից 3-ը:
Էջ 98
... probably rode ahead to act as guides , showing the charioteers the way in the dust and confusion of the race , indicating good opportunities ahead and warning of dangers . Except round the bends , they were no faster than the teams ...
... probably rode ahead to act as guides , showing the charioteers the way in the dust and confusion of the race , indicating good opportunities ahead and warning of dangers . Except round the bends , they were no faster than the teams ...
Էջ 108
... probably often began with a brief overture played by the tibicen , a player on the tibia . This instrument , with its reed or double reed , resem- bled a modern clarinet or oboe , but the sound volume must have been more like that of a ...
... probably often began with a brief overture played by the tibicen , a player on the tibia . This instrument , with its reed or double reed , resem- bled a modern clarinet or oboe , but the sound volume must have been more like that of a ...
Էջ 117
... probably in the hope that some drama- tist would eventually fill the gap a hope that remained unfulfilled ) . Another form of comedy is to be distinguished from the Atellan farce : this was the mimus , originally from Hellenized Sicily ...
... probably in the hope that some drama- tist would eventually fill the gap a hope that remained unfulfilled ) . Another form of comedy is to be distinguished from the Atellan farce : this was the mimus , originally from Hellenized Sicily ...
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