Spectacles Of Death In Ancient Rome

The elaborate and inventive slaughter of humans and animals in the arena fed an insatiable desire for violent spectacle among the Roman people. Donald G. Kyle combines the words of ancient authors with current scholarly research and cross-cultural perspectives, as he explores * the origins and historical development of the games * who the victims were and why they were chosen * how the Romans disposed of the thousands of resulting corpses * the complex religious and ritual aspects of institutionalised violence * the particularly savage treatment given to defiant Christians. This lively and original work provides compelling, sometimes controversial, perspectives on the bloody entertainments of ancient Rome, which continue to fascinate us to this day.

Presenting a wide range of relevant, translated texts on death, burial and commemoration in the Roman world, this book is organized thematically and supported by discussion of recent scholarship. The breadth of material included ensures that this sourcebook will shed light on the way death was thought about and dealt with in Roman society.

The games comprised gladiatorial fights, staged animal hunts (venationes) and the executions of convicted criminals and prisoners of war. Besides entertaining the crowd, the games delivered a powerful message of Roman power: as a reminder of the wars in which Rome had acquired its empire, the distant regions of its far-flung empire (from where they had obtained wild beasts for the venatio), and the inevitability of Roman justice for criminals and those foreigners who had dared to challenge the empire's authority. Though we might see these games as bloodthirsty, cruel and reprehensible condemning any alien culture out of hand for a sport that offends our sensibilities smacks of cultural chauvinism. Instead one should judge an ancient sport by the standards of its contemporary cultural context. This book offers a fascinating, and fair historical appraisal of gladiatorial combat, which will bring the games alive to the reader and help them see them through the eyes of the ancient Romans. It will answer questions about gladiatorial combat such as: What were its origins? Why did it disappear? Who were gladiators? How did they become gladiators? What was there training like? How did the Romans view gladiators? How were gladiator shows produced and advertised? What were the different styles of gladiatorial fighting? Did gladiator matches have referees? Did every match end in the death of at least one gladiator? Were gladiator games mere entertainment or did they play a larger role in Roman society? What was their political significance?

This is a readable, up-to-date, illustrated introduction to the history of sport and spectacle in the ancient world from the Ancient Near East through Greek and Hellenistic times and into the Roman Empire. Covers athletics, combat sports, chariot racing, beast fights and gladiators. Traces the precursors of Greek and Roman sports and spectacles in the Ancient Near East and the Bronze Age Aegean. Investigates the origins, nature and meaning of sport, covering issues of violence, professionalism, class, gender and eroticism. Challenges the notion that Greek sport and Roman spectacle were polar opposites. Approaches sport and spectacle as overlapping and compatible features of civilized states and empires.

A Companion to Sport and Spectacle in Greek and Roman Antiquity presents a series of essays that apply a socio-historical perspective to myriad aspects of ancient sport and spectacle. Covers the Bronze Age to the Byzantine Empire Includes contributions from a range of international scholars with various Classical antiquity specialties Goes beyond the usual concentrations on Olympia and Rome to examine sport in cities and territories throughout the Mediterranean basin Features a variety of illustrations, maps, end-of-chapter references, internal cross-referencing, and a detailed index to increase accessibility and assist researchers

Describes the events and games held in the amphitheaters, cicuses, and theaters in ancient Rome.

For the Romans, the manner of a person's death was the most telling indication of their true character. Death revealed the true patriot, the genuine philosopher, even, perhaps, the great artist--and certainly the faithful Christian. Catharine Edwards draws on the many and richly varied accounts of death in the writings of Roman historians, poets, and philosophers, including Cicero, Lucretius, Virgil, Seneca, Petronius, Tacitus, Tertullian, and Augustine, to investigate the complex significance of dying in the Roman world. Death in the Roman world was largely understood and often literally viewed as a spectacle. Those deaths that figured in recorded history were almost invariably violent--murders, executions, suicides--and yet the most admired figures met their ends with exemplary calm, their last words set down for posterity. From noble deaths in civil war, mortal combat between gladiators, political execution and suicide, to the deathly dinner of Domitian, the harrowing deaths of women such as the mythical Lucretia and Nero's mother Agrippina, as well as instances of Christian martyrdom, Edwards engagingly explores the culture of death in Roman literature and history.

Spectacles designed to capture our attention surround us. Marketing, movies, shopping malls, concerts, and virtual realities capture our imaginations and cultivate our desires. We live in a "society of the spectacle." However, is the power and prevalence of spectacle unique to the modern era? In the pages of Gifts Glittering and Poisoned, early Christian voices echo across the centuries to show that the society of the spectacle is not new. Our era resembles a time when the spectacular entertainments of ancient Rome had a profound effect on every aspect of social life. By drawing on the rich theology and witness of early Christianity, Gifts Glittering and Poisoned asks what it means for us to live in a new era of empire and spectacle. Through Augustine's description of the demonic, it shows how consumerism constructs a sophisticated symbolic order, a "society of the spectacle," that corrupts our deepest longings for God.