History of Gladiatorial Games Essay

History of gladiatorial games Origins Early literary sources seldom agree on the origins of gladiators and the gladiator games.[1] In the late 1st century BC, Nicolaus of Damascus believed they were Etruscan.[2] A generation later, Livy wrote that they were first held in 310 BC by the Campanians in celebration of their victory over the Samnites.[3] Long after the games had ceased, the 7th century AD writer Isidore of Seville derived Latin lanista (manager of gladiators) from the Etruscan word for â€Å"executioner,† and the title of Charon (an official who accompanied the dead from the Roman gladiatorial arena) from Charun, psychopomp of the Etruscan underworld.[4] Roman historians emphasized the gladiator games as a foreign import, most likely Etruscan. This preference informed most standard histories of the Roman games in the early modern era.[5] Reappraisal of the evidence supports a Campanian origin, or at least a borrowing, for the games and gladiators.[6] The earliest known Roman gladiator schools (ludi) were in Campania.[7] Tomb frescoes from Paestum (4th century BC) show paired fighters, with helmets, spears and shields, in a propitiatory funeral blood-rite that anticipates early Roman gladiator games.[8] Compared to these images, supporting evidence from Etruscan tomb-paintings is tentative and late. The Paestum frescoes may represent the continuation of a much older tradition, acquired or inherited from Greek colonists of the 8th century BC.[9] Livy dates the earliest Roman gladiator games to 264 BC, in the early stages of Rome’s First Punic War against Carthage. Decimus Iunius Brutus Scaeva had three gladiator pairs fight to the death in Rome’s â€Å"cattle market† Forum (Forum Boarium) to honor his dead father, Brutus Pera. This is described as a munus (plural: munera), a commemorative duty owed the manes of a dead ancestor by his descendants.[10] The gladiator type used (according to a single, later source), was Thracian.[11] but the development of the munus and its gladiator types was most strongly influenced by Samnium’s support for Hannibal and subsequent punitive expeditions by Rome and her Campanian allies; the earliest and most frequently mentioned type was the Samnite.[12] The war in Samnium, immediately afterwards, was attended with equal danger and an equally glorious conclusion. The enemy, besides their other warlike preparation, had made their battle-line to glitter with new and splendid arms. There were two corps: the shields of the one were inlaid with gold, of the other with silver†¦The Romans had already heard of these splendid accoutrements, but their generals had taught them that a soldier should be rough to look on, not adorned with gold and silver but putting his trust in iron and in courage†¦The Dictator, as decreed by the senate, celebrated a triumph, in which by far the finest show was afforded by the captured armour. So the Romans made use of the splendid armour of their enemies to do honour to their gods; while the Campanians, in consequence of their pride and in hatred of the Samnites, equipped after this fashion the gladiators who furnished them entertainment at their feasts, and bestowed on them the name Samnites. (Livy 9. 40)[13] Livy’s account skirts the funereal, sacrificial function of early Roman gladiator combats and underlines the later theatrical ethos of the gladiator show: splendidly, exotically armed and armoured barbarians, treacherous and degenerate, are dominated by Roman iron and native courage.[14] His plain Romans virtuously dedicate the magnificent spoils of war to the Gods. Their Campanian allies stage a dinner entertainment using gladiators who may not be Samnites, but play the Samnite role. Other groups and tribes would join the cast list as Roman territories expanded. Most gladiators were armed and armoured in the manner of the enemies of Rome.[15] The munus became a morally instructive form of historic enactment in which the only honourable option for the gladiator was to fight well, or else die well.

A Study of Fauvism

A Study of Fauvism Fauvism For artists, the twentieth century began five years late. Late it might have been, but when it got going, it was decades ahead of its time. In 1905 nothing was as modern as modern art. It was to remain that way throughout the century. There are many people who still fail to understand the art introduced in 1905, over seventy years ago. That first modern art appeared in an exhibition in Paris in 1905. Among the participating artists was one of the centurys most famous, Hentri Matisse. Along with Matisses art were works by Maurice de Vlaminck, Andre Derain, and Georges Rouault. Today the works of these artists hang in museums, but in 1905 they werent yet famous. To the public they were infamous. Their paintings were so shocking that one newspaper critic called them the work of Fauves a French word meaning wild beasts. The name stuck so that all the artists who exhibited in that 1905 show were ever after called Fauves and their paintings were dubbed Fauve art. The name Fauve was given to the art of Matisse, Vlaminck, and their colleagues, even though they didnt work with a common principle. And, as years passed, their personal art changed. Paintings done by some at the end of their careers little resembled those done at the beginning. Still, the name. Fauve continued to be used. These were the pioneering artists of the twentieth century and their art, Fauve painting, was the pioneering movement of our century. Theory The fauve artists had no single or unifying principle of art. Perhaps that was necessary for the centurys pioneering movement. Their one basic theory was experimentation. Thats what shocked the 1905 French Public. Their art was so experimental that it resembled nothing gallery visitors had ever seen before. Fauve art doesnt seem so radical today. Thats because their interest in experimentation became the guiding principle of almost all twentieth century art movements. Experimentation in art has meant discovering new types of visual expression. It can be the general theory guiding all the art projects you try in this book. It was originally a fauve principle. However, if most twentieth-century art movements have been guided by experimentation, those experiments have been controlled by further theories. The leading Fauve theoretician was Henri Matisse. His colleagues followed many of his ideas, and his thoughts about art inspired many twentieth-century art developments. To gain an understanding of Fauve art, you can do no better then examine the art and ideas of Matisse. Nor can you find any better guide for developing your own art. Here is what Matisse once said about his art. Expression is what Im seeking most of all however, expression doesnt mean the passion which a human face reflects. The total composition of my painting is expressive. My arrangement of figures or objects, the empty spaces surrounding them, their proportions, everything has its roll to play. Except for Georges Roualt, most Fauve painters followed Matisse and sought expression with the total painting, the total subject. This isnt a simple goal. Its one achieved only after much time and thought. Studying the work of Matisse can help you understand Fauve expression in art. Matisse expressed himself with line. He did this by simplifying the line in his work. This meant eliminating unnecessary lines and using only the most important. These were, of course, the lines that created the shape of his subjects, not the lines that defined details. He wasnt interested in linear details. In short, he simplified his drawing. But simplified drawing doesnt mean you will automatically produce expressive lines in your art. Simplification can mean producing nothing more than a simple but disjointed sketch. More is required. Matisse and his Fauve friends did it by creating rhythmic lines. His lines swing easily, curve and twist like a melody. Matisse created such expressive lines in painting like The Dance. The joy of dance requires lines with lovely rhythm. He eliminated details. In the essential lines that remained, he created graceful bends and flowing curves, lines swinging with the delight of dancing. The Fauves also expressed themselves in color. They understood that color was essential to painting. They didnt feel color should be dominated by subject matter. This means their use of color wasnt dictated by realism. Instead, color could stand on its own. Fauve artists intensified their colors, using bright flesh colors, pinks oranges, and reds for faces. They created shadows of bright colors. In one famous painting, Matisse painted a green stripe down the face of his wifes portrait. He used green because it was the strongest color contrast to the reddish tone of the painting. In such painting, you notice the color before you notice the subject. Such a bold use of color doesnt mean you can color without thinking. In fact, you must be even more careful with color in such a case. A realistic artist who uses color poorly can claim his inadequate colors only copy the poor coloring of his subject. However, Fauve artists couldnt do this. Their bold coloring was of their own choice so they had to be especially sensitive to the use of color they used in their art. Thats why color is such an important ingredient in Fauve art. When you create art in the spirit of Fauve painters, you too will be very conscious of your use of color. You will also be conscious of your use of line. When thinking like a Fauve artist, youll experiment. Like Matisse, youll seek expression in your art in the way you use line and color. Youre line will be simplified and your color diverse from realism. Yet your lines will have beauty and expression because youll give them rhythm and grace. Your colors will be beautiful, because youll treat them intelligently and with sensitivity. Thats how the Fauve artist worked when producing some of the greatest paintings of 20th century art.

Critical review for movie Casablanca Essay Example | Topics and Well Written Essays - 500 words

Critical review for movie Casablanca - Essay Example Then by train, car or on foot through North Africa in Casablanca, French Morocco. Here, the lucky ones, thanks to money or friends, could get exit visas and run further, in Lisbon and thence to the New World. Others had to wait in Casablanca. Victor and Ilsa tried to get out of Casablanca by all means, because Gestapo trailed them and Major Strasser has arrived to the city. With the support of the Prefect of Police, Captain Renault, Strasser tries to block Laszlo’s path to freedom. In this complex situation, it appears that the only person who can help the Laszlos is Rick. Everything is clear with the first character, Rick Blaine. Hiding under the guise of fictitious skepticism and indifference he stays the inspired fighter for justice. It’s much harder with Ilsa Lund. On the one hand, it seems she is naive, trusting and maybe even spineless, if we look at how torn she is between two men. On the other hand, she has tragic experience and has a strong moral compass. Behind her crystal clear purity we see hiding pain of loss, when she was losing one beloved man after another. Michael Curtiz was the one who tried to understand that complex psychological drama of the characters and make that story appealing. The general set-up is clear, but lets add to all this the bloody war, human struggle, nobility, dignity, faith and you will get Casablanca - the film that became the genuine classic of cinematograph. This romantic drama does not reflect the realities of war, but gives a general feeling that prevailed in the American and European societies at tha t time. Films are not called the classics just for nothing. Curtiz’s film has all the most faithful reasons to be one. Behind the apparent truism (or even banality) we see a hidden socio-political conflict, which does not spoil the movie; instead it raises it to another level. The problems of three little people don’t really amount to a hill of beans in this crazy world. Love or

Night Work and the Risk of Cancer Among Men Essay - 1

Night Work and the Risk of Cancer Among Men - Essay Example geted men aged between 35-70 years residing in the greater Montreal who had been diagnosed with incident, pathologically confirmed cancer at any major 18 hospitals of Montreal. The study results confirmed earlier studies which had linked night shift workers to increased levels of cancer. However, the study also provided new evidence that had not been well investigated previously, which was the relationship between night work and risks of several types of cancer among men. The results suggested increased risks of cancer sites among men working at night. The results were not tested, since the researchers point out that, â€Å"the absence of duration-response relations, and the very fact of ostensible excess risks across such a wide array of tumour types, might raise questions about the credibility of these ï ¬ ndings and possible methodological artefacts† (Parent, 2012, p. 753). The primary risk of exposure of interest was the relationship between night work and the risk of cancer among men. The study found that there was the existence of a relationship between cancer and night work, although it was not accurately measured. A case study was used to conduct this study of night work and the risk of cancer among men. It involved interviewing men who resided in greater Montreal and who had been diagnosed with various types of cancer in the 18 hospitals in Montreal. The study only focused on male patients who had visited the largest hospitals in Montreal between 1979 and 1985. Out of 4,576 eligible cancer patients 82% of the patients, which total to 3, 730 were successfully interviewed. 81% responded for themselves while the remaining per cent, their spouses acted as the respondents. The study only focused on men who had visited hospitals and successfully been diagnosed with various types of cancer. The selection bias was based on the exposure of interest. The fact that only those men who had been diagnosed with cancer were selected for the study made it qualify for

Plato's educational plan Essay Example | Topics and Well Written Essays - 500 words

Plato's educational plan - Essay Example Specifically, this paper will discuss some of the aspects of educational theory presented by Plato, and will endeavor to analyze it with respect to contemporary public education system in the United States. It is essential to discuss the educational plan presented by Plato, in order to acquire a comparison with the contemporary education system. According to Plato’s philosophical discourse, philosopher kings have the highest authority in the society. In other words, Plato proposed functional state where everyone is given a different responsibility according to his capabilities. Moreover, educational plan of Plato has divided the society in three classes, producers, guardians, and lastly, the Philosopher King. In Plato’s society, primary education on general level is provided to individuals until the age of eighteen, which is followed by severe physical education for a period of two years. (Griffith, 2000) Upon completion, individuals performing ill in their studies are listed in the category of producers that involves merchants, artisans, and laborers. On the other hand, painstaking mathematical education is received by individuals performing well during attainment of pri mary education, as mathematics was considered the most essential study required for understanding of ‘forms’. Conclusion of this phase of education results in another assessment of individuals, where unsuccessful candidates are propelled into the category of Guardians. In Plato’s society, Guardians play a more significant role, as compared with producers’ category. Guardians involve warriors, administrators, policy makers, and auxiliaries. Successful individuals move on with studying dialectic for a period of five years. Lastly, most successful members of the society participate in managing city as an apprentice for a final period of fifteen years. Plato’s society is a meritocratic society, where best of the best receives the

Multinational corporations - debate the positive and negative aspects Essay

Multinational corporations - debate the positive and negative aspects of multinational corporations - assess the potential impact on global business in the Arab World - Essay Example The operations of multinational corporations mainly originate from developed countries and extend beyond their own countries, and cover both developed and less developed economies. Multinational corporations play a crucial role in globalisation. They contribute to both positive and negative impact on economies involved in international business. Anti-corporate people argue that multinational companies reduce competition and enterprise while pro-corporate people claim that multinational corporations improve the economic development of underdeveloped countries. In most cases, multinational corporation originate from developed and the emergent economies and enter underdeveloped and other developed countries, causing negative and positive impacts in such economies. Generally, multinational economies cause more advantages than disadvantages, and can be considered as an important element of a globalised world. One of the advantages of multinational corporations is that it reduces unemployment in host countries. Noland (2007) suggests that multinational corporations could reduce these unemployment rates and improve businesses. Unemployment in less developed economies world has led to impoverishment, discontent, militancy and repression. Multinational corporations can come into play by providing opportunities of employment for the host countries; hence increasing the welfare and standard of living for the local communities. Through economic integration, multinational corporations are able to transfer and disseminate technological knowledge and innovation as well as information and capital into their host countries. The local capacity of building the economy in less developed countries is uncertain. Foreign multinational corporations entering the local markets of such countries may bring in knowledge, information, technology, capital and innovation to build the economy and reduce uncertainties experienced by businesses in the local

Print ad Like Advertisement of Land Rover Term Paper

Print ad Like Advertisement of Land Rover - Term Paper Example One unique characteristic of media advertisement is the use of catchy words and slogans that are aimed at attracting the public to the advertisement. Apart from the wording used, it is critical to pay keen attention to the font size and color design of the words as they define the readability of the advertisement. With a tasteful word choice and appealing color and font articulation, it becomes possible for an advertisement to capture the attention of its viewers [Rampur Para. 4]. The marketing strategists in the Jaguar Land Rover group have paid keen attention to the language used to refer to their brands. ... According to Rampur (Para. 1), while designing a print advertisement, it is crucial to pay keen attention to the graphical appearance of the media. The product must be captured accurately and in the most appealing manner to ensure that it elicits a positive attitude to attract the users' attention. Research has shown that customer tastes are influenced by the attitude that the public has for a product and that the use of appealing graphics is the way to create this attitude. Land rover advertisement can be termed as successful as far as the use of graphics is concerned and the reaction of the public can be observed from the attitude of the public today as regards the superiority of this product. In an advertisement of the Landrover, the brand LR3 was captured in what seems to be a sunset, which gave this brand a shiny appearance that is very appealing to the public. Another element of effective print advertisement that the marketing strategists have paid keen attention is the use of non-verbal impression within the advertisement [Rampur Para. 3]. The Land Rover marketing team have as much as possible capturing the unique features of this vehicle by using non-verbal impression in the image design. The unique feature of the land rover is its ability to move in all manners of terrain, whether smooth or rough, and its power to overcome mountains.