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Gladiators --- Amusements --- Archaeology --- Gladiateurs --- Spectacles et divertissements --- Archéologie --- History. --- Rome --- Civilization. --- Civilisation --- Antiquities --- Archéologie --- Gladiators - Rome - History. --- Rome - Civilization. --- Rome - Civilisation --- Rome - Antiquities
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Circus --- Games --- Gladiators --- Athletes --- Games, Greek and Roman --- Circuses --- Amusements --- Rome --- Social life and customs. --- History --- Social life and customs --- Circus - Rome - History --- Circus - Rome - Sources --- Circus - Rome --- Games - Rome --- Gladiators - Rome --- Rome - Social life and customs
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amfiteatri --- Amphitheaters --- Gladiators --- Inscriptions, Latin --- Rimska arhitektura --- Rimski napisi. --- epigrafika --- Umbrija --- Toskana --- Emilija-Romanija --- Ligurija --- Venecija --- Istra --- Padska nižina --- Arheološke najdbe --- Padska nižina. --- Amfiteatri --- Rimski napisi --- Rim. --- Latium (Italie) --- Inscriptions latines --- Amphithéâtres --- Épigraphie --- Catalogues --- Histoire --- Sources --- Antiquités romaines --- Rim --- Amphithéâtres --- Épigraphie --- Antiquités romaines --- Inscriptions, Latin - Rome --- Amphitheaters - Rome --- Gladiators - Rome
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Spartacus (109?–71 bce), the slave who rebelled against Rome, has been a source of endless fascination, the subject of myth-making in his own time, and of movie-making in ours. Hard facts about the man have always yielded to romanticized tales and mystifications. In this riveting, compact account, Aldo Schiavone rescues Spartacus from the murky regions of legend and brings him squarely into the arena of serious history. Schiavone transports us to Italy of the first century bce, where the pervasive institution of slavery dominates all aspects of Roman life. In this historic landscape, carefully reconstructed by the author, we encounter Spartacus, who is enslaved after deserting from the Roman army to avoid fighting against his native Thrace. Imprisoned in Capua and trained as a gladiator, he leads an uprising that will shake the empire to its foundations. While the grandeur of the Spartacus story has always been apparent, its political significance has been less clear. What were his ambitions? Often depicted as the leader of a class rebellion that was fierce in intent but ragtag in makeup and organization, Spartacus emerges here in a very different light: the commander of an army whose aim was to incite Italy to revolt against Rome and to strike at the very heart of the imperial system. Surprising, persuasive, and highly original, Spartacus challenges the lore and illuminates the reality of a figure whose achievements, and whose ultimate defeat, are more extraordinary and moving than the fictions we make from them.
Slaves --- Gladiators --- Soldiers --- Slave insurrections --- Spartacus, --- biographie --- --Rome ancienne --- --Esclave --- --Gladiateur --- --Soldat --- --Guerre des esclaves, --- Rome --- History --- Gladiators -- Rome -- Biography. --- Rome -- History -- Servile Wars, 135-71 B.C. --- Slave insurrections -- Rome. --- Slaves -- Rome -- Biography. --- Soldiers -- Rome -- Biography. --- Spartacus, -- d. 71 B.C. --- Regions & Countries - Europe --- History & Archaeology --- Italy --- Slavery --- Armed Forces personnel --- Members of the Armed Forces --- Military personnel --- Military service members --- Service members --- Servicemen, Military --- Enslaved persons --- Insurrections, etc. --- Sibadake, --- Spartaco, --- Spartak, --- Spartakus, --- Ssu-pa-ta-kʻo, --- אספרתקוס, --- Armed Forces --- Athletes --- Persons --- Slaves - Rome - Biography --- Gladiators - Rome - Biography --- Soldiers - Rome - Biography --- Slave insurrections - Rome --- Rome ancienne --- Esclave --- Gladiateur --- Soldat --- Guerre des esclaves, 73-71 av JC --- Spartacus, - -71 B.C. --- Spartacus, -71 av JC --- Rome - History - Servile Wars, 135-71 B.C --- Slave revolts --- Revolutions --- Slave rebellions
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Mort --- Funérailles --- Violence --- Gladiateurs --- Martyrs chrétiens --- Aspect social --- Rites et cérémonies --- Histoire --- Rome --- Mœurs et coutumes --- Gladiators --- Christian martyrs --- Death --- Funeral rites and ceremonies --- Violent behavior --- Social psychology --- Athletes --- Funeral rites and ceremonies, Roman --- Dying --- End of life --- Life --- Terminal care --- Terminally ill --- Thanatology --- Martyrs --- Martyrdom --- History --- Social aspects --- Philosophy --- Christianity --- Social life and customs. --- History. --- Funérailles --- Martyrs chrétiens --- Rites et cérémonies --- Social life and customs --- Death - Social aspects - Rome. --- Violence - Rome - History. --- Gladiators - Rome - History. --- Christian martyrs - Rome - History. --- Mort - Aspect social - Rome --- Funérailles - Rites et cérémonies - Rome --- Violence - Rome - Histoire --- Gladiateurs - Rome - Histoire --- Martyrs chrétiens - Rome - Histoire --- Rome - Mœurs et coutumes
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A l'initiative de César puis de Néron, tous deux très novateurs dans le domaine de la politique-spectacle, on a vu apparaître, associés aux combats de gladiateurs et aux chasses qui représentaient le programme traditionnel des munera, différents types de mises en scène de thème historique ou mythologique. En effet, la naumachie et la bataille terrestre présentées par César en 46 a. C. associaient à des principes proches de la gladiature des références à l'histoire militaire du monde grec, selon un principe repris par Auguste et ses successeurs pour les naumachies, maisnon pour les combats par troupes terrestres, plus proches désormais du modèle de l'iconographie triomphale romaine.Quant aux spectacles de thèmes mythologiques, apparus sous Néron et rapidement désignés sous le terme de pyrrhiques, ils reconstituaient dans l'arène la mort de personnages coupables d'hybris comme Icare ou Actéon, les exploits des héros tueurs de monstres, tels Hercule, ou évoquaient des figures symbolisant la puissance et l'éternité de Rome comme ses parentes, Mars et Vénus. Cet ouvrage associe aux sources écrites sur ces divers spectacles une documentation iconographique dont la compilation n'avait jamais été réalisée.L'ensemble révèle la récurrence dans les arènes romaines et provinciales, jusque dans l'empire tardif, d'un petit nombre de thèmes mythologiques. Or, ces derniers jouissaient tous préalablement d'une popularité particulière dans les spectacles scéniques et surtout dans l'art romains par tous ces thèmes, mais aussi parfois le rôle joué par les munera eux-mêmes dans la longévité de ce succès. L'ouvrage illustre donc l'influence réciproque entre arts plastiques et spectacles romains, et les choix effectués dans la culture grecque, souvent sous l'impulsion de l'idéologie impériale, par un imaginaire collectif unifiant l'ensemble de l'empire autour de références culturelles communes.
Joutes nautiques --- Spectacles aquatiques --- Naumachies --- Gladiateurs --- Art romain --- Spectacles et divertissements romains. --- Spectacles et divertissements. --- Pouvoir (sciences sociales) --- Thèmes, motifs. --- Néron --- Néron --- Art, Roman --- Art and society --- Spectacular, The, in art --- Entertainment events --- Gladiators --- Athletes --- Amusements --- Art --- Art and sociology --- Society and art --- Sociology and art --- Roman art --- Classical antiquities --- Themes, motives --- Social aspects --- Nero, --- Néron, --- Nerone, --- Nīrūn, --- Spectacles et divertissements romains --- Rome --- Mythology, Roman, in art --- Nero, Emperor of Rome, 37-68 --- Art, Roman--Themes, motives --- Art and society--Rome --- Entertainment events--Rome --- Gladiators--Rome
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