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Of all aspects of Roman culture, the gladiatorial contests for which the Romans built their amphitheatres are at once the most fascinating and the most difficult for us to come to terms with. They have been seen variously as sacrifices to the gods or, at funerals, to the souls of the deceased; as a mechanism for introducing young Romans to the horrors of fighting; and as a direct substitute for warfare after the imposition of peace.In this original and authoritative study, Thomas Wiedemann argues that gladiators were part of the mythical struggle of order and civilisation against the forces of nature, barbarism and law breaking, representing the possibility of a return to new life from the point of death; that Christian Romans rejected gladiatorial games not on humanitarian grounds, but because they were a rival representation of a possible resurrection
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À cette occasion, le musée archéologique de Lattes, le musée archéologique Saint-Raymond de Toulouse et le Centre de Recherche Archéologique de l'Université de Toulouse Le Mirail se sont associés afin de proposer au public deux expositions : "Les gladiateurs" et "Les amphithéâtres romains".Aux yeux de tous les publics, le seul nom de Rome évoque l'impérialisme militaire, les empereurs ou encore une architecture indestructible qui continue à marquer nos tissus urbains. Il existe un symbole commun à ces clichés : l'amphithéâtre. Dans le projet "Gladiateurs et amphithéâtres", il revenait au musée de Lattes d'évoquer à l'aide d'objets originaux les tragiques spectacles qui se sont déroulés dans cet espace spécialisé pour les confronter à la vision contemporaine de la gladiature.La préparation de l'exposition a exigé une enquête préliminaire diffusée auprès de 170 musées français, allemands, belges et suisses. Finalement, 140 objets originaux provenant de 27 collections différentes sont réunis au musée archéologique de Lattes, puis au musée Saint-Raymond de Toulouse durant l'été 1987
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I giochi gladiatori hanno a lungo costituito una fonte di imbarazzo per gli storici: come era possibile conciliare l'idea di una civiltà basata sul diritto con l'esistenza di spettacoli nei quali uomini si combattevano all'ultimo sangue? Eppure, ripercorrere la storia dei combattimenti gladiatori consente non solo di comprendere le ragioni culturali e sociali di questi giochi, ma anche di cogliere l'importanza di spettacoli che, per la prima volta nella storia, divennero potenti strumenti di condizionamento politico.
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Gladiators, an exciting account of the ancient Roman institution of arena combat, traces the bloody 800-year history of the bustuarii from their rise during the third century B.C. to their eventual abolition at the end of the fifth century A.D. The popularity of gladiatorial combat dramatizes the paradox of Roman civilization: poets, philosophers, and politicians glorifying this brutal and savage institution in a culture remarkable for its contributions to government, law, literature, philosophy, and art--a culture that was a cornerstone of Western civilization. Although no amount of explanation can mitigate the savagery, in some ways good things came out of this almost-supreme evil. It brought forth countless acts if individual courage, it created one of the world's greatest architectural forms, and it inspired a number of thoughtful men to write down violent protests that stood firm against this overwhelming tide of brutality. Illustrations of mosaics, statuettes, reliefs, and the remains of arenas and amphitheaters illuminate the text.
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Bread and circuses were what the Romans demanded of their emperors, and for more than 500 years spectacular events in amphitheaters, circuses, and theaters were the most important leisure activities of the masses in all parts of the Roman empire. In Rome itself, public holidays featuring magnificent and costly shows occupied more than half the year. Comedies and tragedies, pantomimes and bawdy folk plays were staged in the theaters, while in the arena of the Colosseum, opened in a.d. 80, gladiators fought in pairs or with wild animals to satisfy the blood lust of the crowd, and hundreds of thousands of race-goers packed the stands of the Circus Maximus to enjoy the thrills of chariot racing.The organization of games came to be part and parcel of electioneering in towns and cities and was increasingly used as a means to consolidate the power of the reigning emperor. Like the sports stars of today, the top gladiators, charioteers, and actors were folk heroes, and the power of their universal appeal was recognized and exploited by politicians and emperors alike.Two thousand years later, the Roman games may seem remote, but, as this superbly illustrated book shows, they satisfied the same need for excitement and hero-worship that gives rise to the intense media coverage of sports in our own time
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