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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Roman Circuses</h1><div class="u-tcGrayDark">130 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Roman Circuses</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Roman_Circuses">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Roman_Circuses/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Roman_Circuses/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Roman_Circuses/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Roman_Circuses">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1601459" data-work_id="1601459" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1601459/_Roman_Chariot_Racing_Charioteers_Factions_Spectators_In_Wiley_Blackwell_Companion_to_Sport_and_Spectacle_in_Greek_and_Roman_Antiquity_edited_by_Paul_Christesen_and_Donald_Kyle_492_502_Malden_Mass_Wiley_Blackwell_2013">"Roman Chariot-Racing: Charioteers, Factions, Spectators." In Wiley-Blackwell Companion to Sport and Spectacle in Greek and Roman Antiquity, edited by Paul Christesen and Donald Kyle, 492–502. Malden, Mass.: Wiley-Blackwell, 2013.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and the most important themes in ancient culture. Each volume comprises between twenty-five and forty concise... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1601459" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and the most important themes in ancient culture. Each volume comprises between twenty-five and forty concise essays written by individual scholars within their area of specialization. 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Malden, Mass.: Wiley-Blackwell, 2013.","created_at":"2012-05-29T01:46:02.424-07:00","url":"https://www.academia.edu/1601459/_Roman_Chariot_Racing_Charioteers_Factions_Spectators_In_Wiley_Blackwell_Companion_to_Sport_and_Spectacle_in_Greek_and_Roman_Antiquity_edited_by_Paul_Christesen_and_Donald_Kyle_492_502_Malden_Mass_Wiley_Blackwell_2013?f_ri=35544","dom_id":"work_1601459","summary":"This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and the most important themes in ancient culture. Each volume comprises between twenty-five and forty concise essays written by individual scholars within their area of specialization. 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In the late 19 th century, modern Olympic Games were reinvented to honor and celebrate the legacy of the Greek heritage. Format and pomp of both modern summer and winter... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11770579" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Inheritance of ancient Greece has shaped the Western civilization. In the late 19 th century, modern Olympic Games were reinvented to honor and celebrate the legacy of the Greek heritage. Format and pomp of both modern summer and winter Olympic Games were modelled after the original Panhellenic festivals.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11770579" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b1aa6d367671eb1ed3ea07265db749c1" rel="nofollow" data-download="{"attachment_id":37192735,"asset_id":11770579,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37192735/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="14724587" href="https://independent.academia.edu/PaskoColleenVarnica">Pasko Varnica</a><script data-card-contents-for-user="14724587" type="text/json">{"id":14724587,"first_name":"Pasko","last_name":"Varnica","domain_name":"independent","page_name":"PaskoColleenVarnica","display_name":"Pasko Varnica","profile_url":"https://independent.academia.edu/PaskoColleenVarnica?f_ri=35544","photo":"https://0.academia-photos.com/14724587/4011006/4683346/s65_pasko-colleen.varnica.jpg"}</script></span></span></li><li class="js-paper-rank-work_11770579 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11770579"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11770579, container: ".js-paper-rank-work_11770579", }); 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In the late 19 th century, modern Olympic Games were reinvented to honor and celebrate the legacy of the Greek heritage. Format and pomp of both modern summer and winter Olympic Games were modelled after the original Panhellenic festivals.","downloadable_attachments":[{"id":37192735,"asset_id":11770579,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":14724587,"first_name":"Pasko","last_name":"Varnica","domain_name":"independent","page_name":"PaskoColleenVarnica","display_name":"Pasko Varnica","profile_url":"https://independent.academia.edu/PaskoColleenVarnica?f_ri=35544","photo":"https://0.academia-photos.com/14724587/4011006/4683346/s65_pasko-colleen.varnica.jpg"}],"research_interests":[{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true},{"id":14325,"name":"Olympic History","url":"https://www.academia.edu/Documents/in/Olympic_History?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":567962,"name":"Chariot Racing","url":"https://www.academia.edu/Documents/in/Chariot_Racing?f_ri=35544","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35337129 coauthored" data-work_id="35337129" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35337129/Caballos_en_el_circo_Arquitectura_y_arqueozoolog%C3%ADa">Caballos en el circo. Arquitectura y arqueozoología.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In: J.Lopez (ed). La glòria del circ: curses de carros i competicions circenses. In memoriam Xavier Dupré i Raventós. Tarraco Biennal. 3r Congrés Internacional d’Arqueologia i Món Antic. Tarragona, 16-19 de novembre de 2016. Tarragona... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35337129" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In: J.Lopez (ed).  La glòria del circ: curses de carros i competicions circenses.  In memoriam Xavier Dupré i Raventós. Tarraco Biennal. 3r Congrés Internacional d’Arqueologia i Món Antic. Tarragona, 16-19 de novembre de 2016. Tarragona 2017. ISBN. 978-84-697-6930-0 <br /> <br />Un hallazgo efectuado en los bajos del Ayuntamiento de Tarragona permitió descubrir los pilares laterales de uno de los carceres del circo de Tarraco. Llamó la atención sin embargo su relativa estrechez (2,5 m de anchura), sobre todo si se comparaba con las medidas del circo de Majencio. Se planteó  la duda de si con esa anchura podían encajar en su interior los cuatro caballos de una cuadriga. La respuesta es afirmativa. Con este artículo pretendemos abordar esta cuestión contratando el estudio arquitectónico de los carceres circenses con los estudios osteométricos de caballos romanos.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35337129" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1faf573da3b5733a832458ff392d4b22" rel="nofollow" data-download="{"attachment_id":55198058,"asset_id":35337129,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55198058/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="415817" href="https://urv.academia.edu/JoaquinRUIZDEARBULO">Joaquin RUIZ DE ARBULO BAYONA</a><script data-card-contents-for-user="415817" type="text/json">{"id":415817,"first_name":"Joaquin","last_name":"RUIZ DE ARBULO BAYONA","domain_name":"urv","page_name":"JoaquinRUIZDEARBULO","display_name":"Joaquin RUIZ DE ARBULO BAYONA","profile_url":"https://urv.academia.edu/JoaquinRUIZDEARBULO?f_ri=35544","photo":"https://0.academia-photos.com/415817/822257/64914281/s65_joaquin.ruiz_de_arbulo_bayona.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-35337129">+1</span><div class="hidden js-additional-users-35337129"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://icac.academia.edu/L%C3%ADdiaColominas">Lídia Colominas</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-35337129'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-35337129').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_35337129 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35337129"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35337129, container: ".js-paper-rank-work_35337129", }); });</script></li><li class="js-percentile-work_35337129 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35337129; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35337129"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35337129 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35337129"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35337129; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35337129]").text(description); $(".js-view-count-work_35337129").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35337129").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35337129"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="392" rel="nofollow" href="https://www.academia.edu/Documents/in/Archaeology">Archaeology</a>, <script data-card-contents-for-ri="392" type="text/json">{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35544" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Circuses">Roman Circuses</a>, <script data-card-contents-for-ri="35544" type="text/json">{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="38945" rel="nofollow" href="https://www.academia.edu/Documents/in/Arqueolog%C3%ADa">Arqueología</a>, <script data-card-contents-for-ri="38945" type="text/json">{"id":38945,"name":"Arqueología","url":"https://www.academia.edu/Documents/in/Arqueolog%C3%ADa?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="48230" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Provincial_Archaeology">Roman Provincial Archaeology</a><script data-card-contents-for-ri="48230" type="text/json">{"id":48230,"name":"Roman Provincial Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Provincial_Archaeology?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35337129]'), work: {"id":35337129,"title":"Caballos en el circo. Arquitectura y arqueozoología.","created_at":"2017-12-04T12:44:31.955-08:00","url":"https://www.academia.edu/35337129/Caballos_en_el_circo_Arquitectura_y_arqueozoolog%C3%ADa?f_ri=35544","dom_id":"work_35337129","summary":" In: J.Lopez (ed). La glòria del circ: curses de carros i competicions circenses. In memoriam Xavier Dupré i Raventós. Tarraco Biennal. 3r Congrés Internacional d’Arqueologia i Món Antic. Tarragona, 16-19 de novembre de 2016. Tarragona 2017. ISBN. 978-84-697-6930-0\r\n\r\nUn hallazgo efectuado en los bajos del Ayuntamiento de Tarragona permitió descubrir los pilares laterales de uno de los carceres del circo de Tarraco. Llamó la atención sin embargo su relativa estrechez (2,5 m de anchura), sobre todo si se comparaba con las medidas del circo de Majencio. Se planteó la duda de si con esa anchura podían encajar en su interior los cuatro caballos de una cuadriga. La respuesta es afirmativa. Con este artículo pretendemos abordar esta cuestión contratando el estudio arquitectónico de los carceres circenses con los estudios osteométricos de caballos romanos.","downloadable_attachments":[{"id":55198058,"asset_id":35337129,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":415817,"first_name":"Joaquin","last_name":"RUIZ DE ARBULO BAYONA","domain_name":"urv","page_name":"JoaquinRUIZDEARBULO","display_name":"Joaquin RUIZ DE ARBULO BAYONA","profile_url":"https://urv.academia.edu/JoaquinRUIZDEARBULO?f_ri=35544","photo":"https://0.academia-photos.com/415817/822257/64914281/s65_joaquin.ruiz_de_arbulo_bayona.jpg"},{"id":1284030,"first_name":"Lídia","last_name":"Colominas","domain_name":"icac","page_name":"LídiaColominas","display_name":"Lídia Colominas","profile_url":"https://icac.academia.edu/L%C3%ADdiaColominas?f_ri=35544","photo":"https://0.academia-photos.com/1284030/479318/147961007/s65_l_dia.colominas.jpg"}],"research_interests":[{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":38945,"name":"Arqueología","url":"https://www.academia.edu/Documents/in/Arqueolog%C3%ADa?f_ri=35544","nofollow":true},{"id":48230,"name":"Roman Provincial Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Provincial_Archaeology?f_ri=35544","nofollow":true},{"id":167664,"name":"Arqueología romana / Roman archeology","url":"https://www.academia.edu/Documents/in/Arqueologia_romana_Roman_archeology?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_67026348" data-work_id="67026348" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/67026348/Arena_P_Gladiatori_carri_e_navi_Gli_spettacoli_nell_antica_Roma_Rome_Carocci_editore_2020_197_p_bibliogr_index_Quality_paperbacks_570_ISBN_978_88_430_9830_9">Arena (P.), Gladiatori, carri e navi. Gli spettacoli nell’antica Roma. - Rome : Carocci editore, 2020. - 197 p. : bibliogr., index. - (Quality paperbacks ; 570).- ISBN : 978.88.430.9830.9.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">266 revue des études anciennes Roelens-Flouneau (H.), Dans les pas des voyageurs antiques.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/67026348" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cced251779759033d6f7f48dd74f89b7" rel="nofollow" data-download="{"attachment_id":78000840,"asset_id":67026348,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/78000840/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56256218" href="https://umiess.academia.edu/SylvainForichon">Sylvain Forichon</a><script data-card-contents-for-user="56256218" type="text/json">{"id":56256218,"first_name":"Sylvain","last_name":"Forichon","domain_name":"umiess","page_name":"SylvainForichon","display_name":"Sylvain Forichon","profile_url":"https://umiess.academia.edu/SylvainForichon?f_ri=35544","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_67026348 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="67026348"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 67026348, container: ".js-paper-rank-work_67026348", }); 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$(".js-view-count[data-work-id=67026348]").text(description); $(".js-view-count-work_67026348").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_67026348").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="67026348"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="35544" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Circuses">Roman Circuses</a>, <script data-card-contents-for-ri="35544" type="text/json">{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="118818" rel="nofollow" href="https://www.academia.edu/Documents/in/Gladiators">Gladiators</a>, <script data-card-contents-for-ri="118818" type="text/json">{"id":118818,"name":"Gladiators","url":"https://www.academia.edu/Documents/in/Gladiators?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="247919" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment">Roman Spectacle and Entertainment</a>, <script data-card-contents-for-ri="247919" type="text/json">{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2559506" rel="nofollow" href="https://www.academia.edu/Documents/in/Naumachia">Naumachia</a><script data-card-contents-for-ri="2559506" type="text/json">{"id":2559506,"name":"Naumachia","url":"https://www.academia.edu/Documents/in/Naumachia?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=67026348]'), work: {"id":67026348,"title":"Arena (P.), Gladiatori, carri e navi. Gli spettacoli nell’antica Roma. - Rome : Carocci editore, 2020. - 197 p. : bibliogr., index. - (Quality paperbacks ; 570).- ISBN : 978.88.430.9830.9.","created_at":"2022-01-04T01:04:31.153-08:00","url":"https://www.academia.edu/67026348/Arena_P_Gladiatori_carri_e_navi_Gli_spettacoli_nell_antica_Roma_Rome_Carocci_editore_2020_197_p_bibliogr_index_Quality_paperbacks_570_ISBN_978_88_430_9830_9?f_ri=35544","dom_id":"work_67026348","summary":"266 revue des études anciennes Roelens-Flouneau (H.), Dans les pas des voyageurs antiques.","downloadable_attachments":[{"id":78000840,"asset_id":67026348,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":56256218,"first_name":"Sylvain","last_name":"Forichon","domain_name":"umiess","page_name":"SylvainForichon","display_name":"Sylvain Forichon","profile_url":"https://umiess.academia.edu/SylvainForichon?f_ri=35544","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":118818,"name":"Gladiators","url":"https://www.academia.edu/Documents/in/Gladiators?f_ri=35544","nofollow":true},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544","nofollow":true},{"id":2559506,"name":"Naumachia","url":"https://www.academia.edu/Documents/in/Naumachia?f_ri=35544","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43025730" data-work_id="43025730" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43025730/Sinclair_W_Bell_2020_Horse_Racing_in_Imperial_Rome_Athletic_Competition_Equine_Performance_and_Urban_Spectacle_The_International_Journal_of_the_History_of_Sport_37_3_4_183_232_DOI_10_1080_09523367_2020_1782385">Sinclair W. Bell (2020) "Horse Racing in Imperial Rome: Athletic Competition, Equine Performance, and Urban Spectacle," The International Journal of the History of Sport, 37:3-4, 183-232, DOI: 10.1080/09523367.2020.1782385</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Chariot races were the earliest, most popular, and longest-lived of all forms of ‘spectacles’ in the Roman world. This essay surveys the spatial and architectural framework of the Circus Maximus, the primary chariot racing venue at Rome,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43025730" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Chariot races were the earliest, most popular, and longest-lived of all forms of ‘spectacles’ in the Roman world. This essay surveys the spatial and architectural framework of the Circus Maximus, the primary chariot racing venue at Rome, and circuses around the empire; the organization of the races, including the role of the factions; the symbolic representations of victories and athletic victors, as well as the charioteers’ actual prizes; and the horses that were bred for racing. Throughout I also briefly discuss the sport’s spectators and fans, for whom the sport was a socially binding religion. <br />The essay focuses on the first through the fourth centuries A.D., with the bulk of the evidence (literary, epigraphic, artistic, and archaeological) drawn from the first two centuries. In keeping with current directions in the study of ancient sport and spectacle, the approach adopted here places less emphasis on the legal and technical aspects of the chariot races (‘event-oriented sport history’) and more on these competitions as ‘part of a broader social canvas’ (the ‘social history of sport and spectacle’).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43025730" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="36d0b618ca97a24e7ae15914cb11d572" rel="nofollow" data-download="{"attachment_id":64143186,"asset_id":43025730,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64143186/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="89861" href="https://niu.academia.edu/SinclairBell">Sinclair W Bell</a><script data-card-contents-for-user="89861" type="text/json">{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}</script></span></span></li><li class="js-paper-rank-work_43025730 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43025730"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43025730, container: ".js-paper-rank-work_43025730", }); 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$(".js-view-count[data-work-id=43025730]").text(description); $(".js-view-count-work_43025730").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43025730").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43025730"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="829" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_History">Roman History</a>, <script data-card-contents-for-ri="829" type="text/json">{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6732" rel="nofollow" href="https://www.academia.edu/Documents/in/Horse_culture">Horse culture</a>, <script data-card-contents-for-ri="6732" type="text/json">{"id":6732,"name":"Horse culture","url":"https://www.academia.edu/Documents/in/Horse_culture?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16513" rel="nofollow" href="https://www.academia.edu/Documents/in/Sports_Fans">Sports Fans</a>, <script data-card-contents-for-ri="16513" type="text/json">{"id":16513,"name":"Sports Fans","url":"https://www.academia.edu/Documents/in/Sports_Fans?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21620" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_social_history">Roman social history</a><script data-card-contents-for-ri="21620" type="text/json">{"id":21620,"name":"Roman social history","url":"https://www.academia.edu/Documents/in/Roman_social_history?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43025730]'), work: {"id":43025730,"title":"Sinclair W. Bell (2020) \"Horse Racing in Imperial Rome: Athletic Competition,\nEquine Performance, and Urban Spectacle,\" The International Journal of the History of Sport, 37:3-4, 183-232, DOI: 10.1080/09523367.2020.1782385","created_at":"2020-05-12T15:03:19.535-07:00","url":"https://www.academia.edu/43025730/Sinclair_W_Bell_2020_Horse_Racing_in_Imperial_Rome_Athletic_Competition_Equine_Performance_and_Urban_Spectacle_The_International_Journal_of_the_History_of_Sport_37_3_4_183_232_DOI_10_1080_09523367_2020_1782385?f_ri=35544","dom_id":"work_43025730","summary":"Chariot races were the earliest, most popular, and longest-lived of all forms of ‘spectacles’ in the Roman world. This essay surveys the spatial and architectural framework of the Circus Maximus, the primary chariot racing venue at Rome, and circuses around the empire; the organization of the races, including the role of the factions; the symbolic representations of victories and athletic victors, as well as the charioteers’ actual prizes; and the horses that were bred for racing. Throughout I also briefly discuss the sport’s spectators and fans, for whom the sport was a socially binding religion. \nThe essay focuses on the first through the fourth centuries A.D., with the bulk of the evidence (literary, epigraphic, artistic, and archaeological) drawn from the first two centuries. In keeping with current directions in the study of ancient sport and spectacle, the approach adopted here places less emphasis on the legal and technical aspects of the chariot races (‘event-oriented sport history’) and more on these competitions as ‘part of a broader social canvas’ (the ‘social history of sport and spectacle’).","downloadable_attachments":[{"id":64143186,"asset_id":43025730,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}],"research_interests":[{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true},{"id":6732,"name":"Horse culture","url":"https://www.academia.edu/Documents/in/Horse_culture?f_ri=35544","nofollow":true},{"id":16513,"name":"Sports Fans","url":"https://www.academia.edu/Documents/in/Sports_Fans?f_ri=35544","nofollow":true},{"id":21620,"name":"Roman social history","url":"https://www.academia.edu/Documents/in/Roman_social_history?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544"},{"id":70463,"name":"Horse Riding","url":"https://www.academia.edu/Documents/in/Horse_Riding?f_ri=35544"},{"id":99285,"name":"Roman Architecture","url":"https://www.academia.edu/Documents/in/Roman_Architecture?f_ri=35544"},{"id":168196,"name":"Horses","url":"https://www.academia.edu/Documents/in/Horses?f_ri=35544"},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544"},{"id":277895,"name":"Greek and Roman sports","url":"https://www.academia.edu/Documents/in/Greek_and_Roman_sports?f_ri=35544"},{"id":387022,"name":"History of Horse Riding","url":"https://www.academia.edu/Documents/in/History_of_Horse_Riding?f_ri=35544"},{"id":472886,"name":"Roman Circus","url":"https://www.academia.edu/Documents/in/Roman_Circus?f_ri=35544"},{"id":567962,"name":"Chariot Racing","url":"https://www.academia.edu/Documents/in/Chariot_Racing?f_ri=35544"},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36221884" data-work_id="36221884" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36221884/Theater_Christi_Paulinus_von_Nola_und_die_christlichen_Spektakel_pdf">Theater Christi. Paulinus von Nola und die christlichen Spektakel.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Gedruckt mit freundlicher Unterstützung der Fritz Thyssen Stiftung für Wissenschaftsförderung Umschlagabbildung: Grafik © Hannah Meyer, 2017 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36221884" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Gedruckt mit freundlicher Unterstützung der Fritz Thyssen Stiftung für Wissenschaftsförderung Umschlagabbildung: Grafik © Hannah Meyer, 2017 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <a href="http://dnb.d-nb.de" rel="nofollow">http://dnb.d-nb.de</a> abrufbar. Alle Rechte vorbehalten. Dieses Werk sowie einzelne Teile desselben sind urheberrechtlich geschützt. 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Paulinus von Nola und die christlichen Spektakel.pdf","created_at":"2018-03-21T13:01:57.912-07:00","url":"https://www.academia.edu/36221884/Theater_Christi_Paulinus_von_Nola_und_die_christlichen_Spektakel_pdf?f_ri=35544","dom_id":"work_36221884","summary":"Gedruckt mit freundlicher Unterstützung der Fritz Thyssen Stiftung für Wissenschaftsförderung Umschlagabbildung: Grafik © Hannah Meyer, 2017 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Alle Rechte vorbehalten. Dieses Werk sowie einzelne Teile desselben sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen ist ohne vorherige schriftliche Zustimmung des Verlags nicht zulässig.","downloadable_attachments":[{"id":56124588,"asset_id":36221884,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":43463589,"first_name":"Carsten","last_name":"Juwig","domain_name":"uni-hamburg","page_name":"CarstenJuwig","display_name":"Carsten Juwig","profile_url":"https://uni-hamburg.academia.edu/CarstenJuwig?f_ri=35544","photo":"https://0.academia-photos.com/43463589/19356798/19286067/s65_carsten.juwig.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=35544","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=35544","nofollow":true},{"id":991,"name":"Late Antique and Byzantine Studies","url":"https://www.academia.edu/Documents/in/Late_Antique_and_Byzantine_Studies?f_ri=35544","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=35544","nofollow":true},{"id":7127,"name":"Theodoret of Cyrrhus","url":"https://www.academia.edu/Documents/in/Theodoret_of_Cyrrhus?f_ri=35544"},{"id":10711,"name":"Augustine","url":"https://www.academia.edu/Documents/in/Augustine?f_ri=35544"},{"id":11076,"name":"Late Antiquity","url":"https://www.academia.edu/Documents/in/Late_Antiquity?f_ri=35544"},{"id":13315,"name":"Vitruvius","url":"https://www.academia.edu/Documents/in/Vitruvius?f_ri=35544"},{"id":16653,"name":"Augustine of Hippo","url":"https://www.academia.edu/Documents/in/Augustine_of_Hippo?f_ri=35544"},{"id":24255,"name":"Late Antique Art and Archaeology","url":"https://www.academia.edu/Documents/in/Late_Antique_Art_and_Archaeology?f_ri=35544"},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544"},{"id":41317,"name":"Miracles","url":"https://www.academia.edu/Documents/in/Miracles?f_ri=35544"},{"id":51885,"name":"Bildwissenschaft","url":"https://www.academia.edu/Documents/in/Bildwissenschaft?f_ri=35544"},{"id":56302,"name":"Patristics and Late Antiquity","url":"https://www.academia.edu/Documents/in/Patristics_and_Late_Antiquity?f_ri=35544"},{"id":57275,"name":"Meditation","url":"https://www.academia.edu/Documents/in/Meditation?f_ri=35544"},{"id":85631,"name":"Imago Dei","url":"https://www.academia.edu/Documents/in/Imago_Dei?f_ri=35544"},{"id":87087,"name":"Ambrose of Milan","url":"https://www.academia.edu/Documents/in/Ambrose_of_Milan?f_ri=35544"},{"id":114871,"name":"Theater and Circus","url":"https://www.academia.edu/Documents/in/Theater_and_Circus?f_ri=35544"},{"id":116866,"name":"Isidore of Seville","url":"https://www.academia.edu/Documents/in/Isidore_of_Seville?f_ri=35544"},{"id":186338,"name":"Picture Theory","url":"https://www.academia.edu/Documents/in/Picture_Theory?f_ri=35544"},{"id":187272,"name":"Paulinus of Nola","url":"https://www.academia.edu/Documents/in/Paulinus_of_Nola?f_ri=35544"},{"id":218902,"name":"Saint Augustine","url":"https://www.academia.edu/Documents/in/Saint_Augustine?f_ri=35544"},{"id":242249,"name":"Ivory Carving","url":"https://www.academia.edu/Documents/in/Ivory_Carving?f_ri=35544"},{"id":324960,"name":"Circus","url":"https://www.academia.edu/Documents/in/Circus?f_ri=35544"},{"id":361768,"name":"Old St. Peter's, Rome","url":"https://www.academia.edu/Documents/in/Old_St._Peters_Rome?f_ri=35544"},{"id":362249,"name":"Wonder","url":"https://www.academia.edu/Documents/in/Wonder?f_ri=35544"},{"id":406651,"name":"Spätantike","url":"https://www.academia.edu/Documents/in/Sp%C3%A4tantike?f_ri=35544"},{"id":431182,"name":"Cimitile","url":"https://www.academia.edu/Documents/in/Cimitile?f_ri=35544"},{"id":442921,"name":"Patristik","url":"https://www.academia.edu/Documents/in/Patristik?f_ri=35544"},{"id":444241,"name":"Theater and Performance Studies","url":"https://www.academia.edu/Documents/in/Theater_and_Performance_Studies?f_ri=35544"},{"id":503532,"name":"SS. 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Néanmoins, l’engouement suscité par... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45582026" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’état de fébrilité du public lors des courses de chars de la Rome antique apparaît, à certains égards, comme un lieu commun dans de nombreux passages de la littérature ancienne parvenus jusqu’à nous. Néanmoins, l’engouement suscité par ces spectacles à Rome, comme dans les provinces de l’Empire, est confirmé non seulement par les ruines de cirques antiques encore visibles de nos jours à Rome, et ailleurs en Europe ou en Afrique du Nord, mais aussi par un grand nombre de représentations de cochers et de chevaux sur des mosaïques, des fresques ou encore des objets dits du quotidien (manches de couteaux, lampes à huile, coupes en verre…) conservés dans plusieurs musées à travers le monde. Après une présentation des sources dont nous disposons sur les spectateurs des cirques romains et des difficultés d’interprétation qu’elles posent, cet ouvrage propose dans un second temps une analyse du comportement des foules dans les cirques durant les jeux, principalement à Rome, en s’appuyant aussi sur des recherches récentes concernant les réactions des supporteurs dans les stades de football de nos jours. Enfin, la dernière partie de cette étude est consacrée aux relations entretenues par les empereurs romains avec les jeux du cirque et leurs spectateurs. Elle met en évidence les nombreux intérêts, mais aussi parfois les inconvénients, que présentaient ces divertissements de masse pour le pouvoir politique dans la Rome impériale.<br /><br />The public’s state of excitement during the chariot races in ancient Rome appears, in some respects, as commonplace in many passages of ancient literature that have come down to us. However, the enthusiasm aroused by these shows in Rome, as in the provinces of the Empire, is confirmed not only by the ruins of ancient circuses still visible today in Rome and elsewhere in Europe or North Africa, but also by a large number of representations of charioteers and horses on mosaics, frescoes, or even everyday objects (knife handles, oil lamps, glass bowls, etc.) held in numerous museums around the world. The first part of this volume presents the sources which we have on the spectators in the Roman circuses and the difficulties of interpretation that they pose. The second part of this work proposes an analysis of the behavior of the crowds in the circuses during the games, mainly in Rome, which is based in part on recent research concerning the reactions of supporters in modern football stadiums. Finally, the last part of this study examines the relationships maintained by the Roman emperors with the circus games and their spectators. It highlights the many advantages, but also sometimes disadvantages, that these mass entertainments presented for the political establishment in imperial Rome.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45582026" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51ab2e6c8a69fb36d4bd2dfb47c8857c" rel="nofollow" data-download="{"attachment_id":66059619,"asset_id":45582026,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66059619/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56256218" href="https://umiess.academia.edu/SylvainForichon">Sylvain Forichon</a><script data-card-contents-for-user="56256218" type="text/json">{"id":56256218,"first_name":"Sylvain","last_name":"Forichon","domain_name":"umiess","page_name":"SylvainForichon","display_name":"Sylvain Forichon","profile_url":"https://umiess.academia.edu/SylvainForichon?f_ri=35544","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_45582026 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45582026"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45582026, container: ".js-paper-rank-work_45582026", }); 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Néanmoins, l’engouement suscité par ces spectacles à Rome, comme dans les provinces de l’Empire, est confirmé non seulement par les ruines de cirques antiques encore visibles de nos jours à Rome, et ailleurs en Europe ou en Afrique du Nord, mais aussi par un grand nombre de représentations de cochers et de chevaux sur des mosaïques, des fresques ou encore des objets dits du quotidien (manches de couteaux, lampes à huile, coupes en verre…) conservés dans plusieurs musées à travers le monde. Après une présentation des sources dont nous disposons sur les spectateurs des cirques romains et des difficultés d’interprétation qu’elles posent, cet ouvrage propose dans un second temps une analyse du comportement des foules dans les cirques durant les jeux, principalement à Rome, en s’appuyant aussi sur des recherches récentes concernant les réactions des supporteurs dans les stades de football de nos jours. Enfin, la dernière partie de cette étude est consacrée aux relations entretenues par les empereurs romains avec les jeux du cirque et leurs spectateurs. Elle met en évidence les nombreux intérêts, mais aussi parfois les inconvénients, que présentaient ces divertissements de masse pour le pouvoir politique dans la Rome impériale.\n\nThe public’s state of excitement during the chariot races in ancient Rome appears, in some respects, as commonplace in many passages of ancient literature that have come down to us. However, the enthusiasm aroused by these shows in Rome, as in the provinces of the Empire, is confirmed not only by the ruins of ancient circuses still visible today in Rome and elsewhere in Europe or North Africa, but also by a large number of representations of charioteers and horses on mosaics, frescoes, or even everyday objects (knife handles, oil lamps, glass bowls, etc.) held in numerous museums around the world. The first part of this volume presents the sources which we have on the spectators in the Roman circuses and the difficulties of interpretation that they pose. The second part of this work proposes an analysis of the behavior of the crowds in the circuses during the games, mainly in Rome, which is based in part on recent research concerning the reactions of supporters in modern football stadiums. Finally, the last part of this study examines the relationships maintained by the Roman emperors with the circus games and their spectators. 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In The Oxford Handbook of Animals in Classical Thought and Life, edited by Gordon Campbell, 478–90. Oxford: Oxford University Press, 2014.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1601450" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="700d3fa92c78bc264b53d1dd7dc26f0a" rel="nofollow" data-download="{"attachment_id":46720464,"asset_id":1601450,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46720464/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="89861" href="https://niu.academia.edu/SinclairBell">Sinclair W Bell</a><script data-card-contents-for-user="89861" type="text/json">{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}</script></span></span></li><li class="js-paper-rank-work_1601450 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1601450"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1601450, container: ".js-paper-rank-work_1601450", }); 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$(".js-view-count[data-work-id=1601450]").text(description); $(".js-view-count-work_1601450").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1601450").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1601450"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="6732" rel="nofollow" href="https://www.academia.edu/Documents/in/Horse_culture">Horse culture</a>, <script data-card-contents-for-ri="6732" type="text/json">{"id":6732,"name":"Horse culture","url":"https://www.academia.edu/Documents/in/Horse_culture?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21620" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_social_history">Roman social history</a>, <script data-card-contents-for-ri="21620" type="text/json">{"id":21620,"name":"Roman social history","url":"https://www.academia.edu/Documents/in/Roman_social_history?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="23555" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Empire">Roman Empire</a>, <script data-card-contents-for-ri="23555" type="text/json">{"id":23555,"name":"Roman Empire","url":"https://www.academia.edu/Documents/in/Roman_Empire?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35544" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Circuses">Roman Circuses</a><script data-card-contents-for-ri="35544" type="text/json">{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1601450]'), work: {"id":1601450,"title":"\"Horse Racing and Chariot Racing\" (co-authored with Carolyn Willekes). In The Oxford Handbook of Animals in Classical Thought and Life, edited by Gordon Campbell, 478–90. Oxford: Oxford University Press, 2014.","created_at":"2012-05-29T01:37:11.253-07:00","url":"https://www.academia.edu/1601450/_Horse_Racing_and_Chariot_Racing_co_authored_with_Carolyn_Willekes_In_The_Oxford_Handbook_of_Animals_in_Classical_Thought_and_Life_edited_by_Gordon_Campbell_478_90_Oxford_Oxford_University_Press_2014?f_ri=35544","dom_id":"work_1601450","summary":null,"downloadable_attachments":[{"id":46720464,"asset_id":1601450,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}],"research_interests":[{"id":6732,"name":"Horse culture","url":"https://www.academia.edu/Documents/in/Horse_culture?f_ri=35544","nofollow":true},{"id":21620,"name":"Roman social history","url":"https://www.academia.edu/Documents/in/Roman_social_history?f_ri=35544","nofollow":true},{"id":23555,"name":"Roman Empire","url":"https://www.academia.edu/Documents/in/Roman_Empire?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":66983,"name":"Roman games","url":"https://www.academia.edu/Documents/in/Roman_games?f_ri=35544"},{"id":70463,"name":"Horse Riding","url":"https://www.academia.edu/Documents/in/Horse_Riding?f_ri=35544"},{"id":119014,"name":"Roman Art","url":"https://www.academia.edu/Documents/in/Roman_Art?f_ri=35544"},{"id":168196,"name":"Horses","url":"https://www.academia.edu/Documents/in/Horses?f_ri=35544"},{"id":387022,"name":"History of Horse Riding","url":"https://www.academia.edu/Documents/in/History_of_Horse_Riding?f_ri=35544"},{"id":445901,"name":"History of horse breeding and training","url":"https://www.academia.edu/Documents/in/History_of_horse_breeding_and_training?f_ri=35544"},{"id":472886,"name":"Roman Circus","url":"https://www.academia.edu/Documents/in/Roman_Circus?f_ri=35544"},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544"},{"id":979519,"name":"Archaeology of Horse and Riders","url":"https://www.academia.edu/Documents/in/Archaeology_of_Horse_and_Riders?f_ri=35544"},{"id":988682,"name":"Horse Training and Performance","url":"https://www.academia.edu/Documents/in/Horse_Training_and_Performance?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2166647" data-work_id="2166647" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2166647/Roman_Entertainment_The_Emergence_of_Permanent_Entertainment_Buildings_and_its_use_as_Propaganda">Roman Entertainment: The Emergence of Permanent Entertainment Buildings and its use as Propaganda</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The purpose of this thesis was to investigate the development of entertainment buildings in Ancient Rome, especially in the transitional period from the Late Republic to the Empire. The key question was how and when permanent... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2166647" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The purpose of this thesis was to investigate the development of entertainment buildings in Ancient Rome, especially in the transitional period from the Late Republic to the Empire. The key question was how and when permanent Entertainment venues emerged, and how they were used as propaganda. Answers to this questions are based on the investigation of literary (primary and secondary), epigraphic and archaeological sources. It turned out that the organisation of entertainment in Rome always contained propagandistic messages. In the Roman Republic, the aristocracy used the organisation of entertainment, as well as providing housing for the spectacles, as political self-advertisement tool to acquire status, influence and prestige. There is evidence for at least three attempts of Roman magistrates that wanted to build permanent theatres in Rome during the second century BC. However, the Senate was able to block these attempts. While the Roman empire grew, and several cities including colonies built permanent theatres, Rome had none until the late first century. When the political and social conditions in Rome changed in the Late Republic, the aspects of propaganda within entertainment changed too. Permanent entertainment venues in Rome were the logical result of a gradual evolution of using entertainment as propaganda. Merely in the Late Republic this gradual evolution was accelerated. Strong magnates as Pompey Magnus and Julius Caesar were able to went a step further in the entertainment propaganda and the amount of permanent entertainment in Rome grew intense. Eventually Augustus and the emperors after him used permanent entertainment buildings as mass-communication tools to convey political, cultural and ideological messages and legitimize their power.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2166647" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="14bab20c02ceb78acb73277caf652a47" rel="nofollow" data-download="{"attachment_id":30221299,"asset_id":2166647,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30221299/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2789811" href="https://uu.academia.edu/DavidvanAlten">David C . D . van Alten</a><script data-card-contents-for-user="2789811" type="text/json">{"id":2789811,"first_name":"David","last_name":"van Alten","domain_name":"uu","page_name":"DavidvanAlten","display_name":"David C . D . van Alten","profile_url":"https://uu.academia.edu/DavidvanAlten?f_ri=35544","photo":"https://0.academia-photos.com/2789811/912752/132112296/s65_david.van_alten.jpeg"}</script></span></span></li><li class="js-paper-rank-work_2166647 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2166647"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2166647, container: ".js-paper-rank-work_2166647", }); });</script></li><li class="js-percentile-work_2166647 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2166647; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_2166647"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_2166647 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="2166647"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2166647; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2166647]").text(description); $(".js-view-count-work_2166647").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2166647").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2166647"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3356" rel="nofollow" href="https://www.academia.edu/Documents/in/Propaganda">Propaganda</a>, <script data-card-contents-for-ri="3356" type="text/json">{"id":3356,"name":"Propaganda","url":"https://www.academia.edu/Documents/in/Propaganda?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4730" rel="nofollow" href="https://www.academia.edu/Documents/in/Mass_Communication">Mass Communication</a>, <script data-card-contents-for-ri="4730" type="text/json">{"id":4730,"name":"Mass Communication","url":"https://www.academia.edu/Documents/in/Mass_Communication?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="29744" rel="nofollow" href="https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Theatre">Ancient Greek and Roman Theatre</a>, <script data-card-contents-for-ri="29744" type="text/json">{"id":29744,"name":"Ancient Greek and Roman Theatre","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Theatre?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35543" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Amphitheater">Roman Amphitheater</a><script data-card-contents-for-ri="35543" type="text/json">{"id":35543,"name":"Roman Amphitheater","url":"https://www.academia.edu/Documents/in/Roman_Amphitheater?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2166647]'), work: {"id":2166647,"title":"Roman Entertainment: The Emergence of Permanent Entertainment Buildings and its use as Propaganda","created_at":"2012-11-20T04:13:06.768-08:00","url":"https://www.academia.edu/2166647/Roman_Entertainment_The_Emergence_of_Permanent_Entertainment_Buildings_and_its_use_as_Propaganda?f_ri=35544","dom_id":"work_2166647","summary":"The purpose of this thesis was to investigate the development of entertainment buildings in Ancient Rome, especially in the transitional period from the Late Republic to the Empire. The key question was how and when permanent Entertainment venues emerged, and how they were used as propaganda. Answers to this questions are based on the investigation of literary (primary and secondary), epigraphic and archaeological sources. It turned out that the organisation of entertainment in Rome always contained propagandistic messages. In the Roman Republic, the aristocracy used the organisation of entertainment, as well as providing housing for the spectacles, as political self-advertisement tool to acquire status, influence and prestige. There is evidence for at least three attempts of Roman magistrates that wanted to build permanent theatres in Rome during the second century BC. However, the Senate was able to block these attempts. While the Roman empire grew, and several cities including colonies built permanent theatres, Rome had none until the late first century. When the political and social conditions in Rome changed in the Late Republic, the aspects of propaganda within entertainment changed too. Permanent entertainment venues in Rome were the logical result of a gradual evolution of using entertainment as propaganda. Merely in the Late Republic this gradual evolution was accelerated. Strong magnates as Pompey Magnus and Julius Caesar were able to went a step further in the entertainment propaganda and the amount of permanent entertainment in Rome grew intense. Eventually Augustus and the emperors after him used permanent entertainment buildings as mass-communication tools to convey political, cultural and ideological messages and legitimize their power.","downloadable_attachments":[{"id":30221299,"asset_id":2166647,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2789811,"first_name":"David","last_name":"van Alten","domain_name":"uu","page_name":"DavidvanAlten","display_name":"David C . D . van Alten","profile_url":"https://uu.academia.edu/DavidvanAlten?f_ri=35544","photo":"https://0.academia-photos.com/2789811/912752/132112296/s65_david.van_alten.jpeg"}],"research_interests":[{"id":3356,"name":"Propaganda","url":"https://www.academia.edu/Documents/in/Propaganda?f_ri=35544","nofollow":true},{"id":4730,"name":"Mass Communication","url":"https://www.academia.edu/Documents/in/Mass_Communication?f_ri=35544","nofollow":true},{"id":29744,"name":"Ancient Greek and Roman Theatre","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Theatre?f_ri=35544","nofollow":true},{"id":35543,"name":"Roman Amphitheater","url":"https://www.academia.edu/Documents/in/Roman_Amphitheater?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544"},{"id":48393,"name":"Augustus","url":"https://www.academia.edu/Documents/in/Augustus?f_ri=35544"},{"id":50422,"name":"The sociology of ancient spectacle","url":"https://www.academia.edu/Documents/in/The_sociology_of_ancient_spectacle?f_ri=35544"},{"id":50425,"name":"Late Roman Republic","url":"https://www.academia.edu/Documents/in/Late_Roman_Republic?f_ri=35544"},{"id":50431,"name":"Roman Social History in the Late Republic / Early Empire","url":"https://www.academia.edu/Documents/in/Roman_Social_History_in_the_Late_Republic_Early_Empire?f_ri=35544"},{"id":69792,"name":"Ancient Rome","url":"https://www.academia.edu/Documents/in/Ancient_Rome?f_ri=35544"},{"id":69793,"name":"Pompey the Great","url":"https://www.academia.edu/Documents/in/Pompey_the_Great?f_ri=35544"},{"id":104311,"name":"Julius Caesar","url":"https://www.academia.edu/Documents/in/Julius_Caesar?f_ri=35544"},{"id":203142,"name":"Roman entertainments","url":"https://www.academia.edu/Documents/in/Roman_entertainments?f_ri=35544"},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9844429" data-work_id="9844429" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9844429/Arqueolog%C3%ADa_e_identidad_religiosa_edilicia_cristiana_y_arquitectura_l%C3%BAdica_en_Hispania_Archaeology_and_Religious_Identity_Christian_Buildings_and_Ludic_Architecture_in_Hispania_Madrid_2016_">Arqueología e identidad religiosa: edilicia cristiana y arquitectura lúdica en Hispania / Archaeology and Religious Identity: Christian Buildings and Ludic Architecture in Hispania (Madrid, 2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">ABSTRACT: From the moment that executions of Christians in Roman spectacles buildings began to take place, the amphitheatre, as being the generic of such public buildings, becomes one of the paradigmatic settings of Christian identity.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9844429" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">ABSTRACT: From the moment that executions of Christians in Roman spectacles buildings began to take place, the amphitheatre, as being the generic of such public buildings, becomes one of the paradigmatic settings of Christian identity. This would help to explain the emergence —after the Peace of the Church— of Christian buildings involving a worship of martyrial nature in the arenas of abandoned or unused entertainment buildings. The ludic substrate of certain martyrdoms allowed hagiographers to compose stories with an architectural background scenery full of symbolism that helped to emphasize the martyrial victory of the "athletes of Christ", thus contributing largely to explain this further relationship between Christian building and playful architecture occurred from the late fourth century and early fifth century and detected in the late antique and early medieval topography of some Roman cities. However, this issue has gone relatively unnoticed for Archaeology, and when the two key elements —roman spectacle building and church— appear, with few exceptions, they are considered separately in case of being subjected to some kind of study.<br /><br />RESUMEN: A partir de las ejecuciones de cristianos en edificios de espectáculos romanos, el anfiteatro, como genérico de este tipo de edificios públicos, se convierte en uno de los escenarios paradigmáticos de la identidad cristiana, lo que ayudaría a explicar la aparición, en momentos posteriores a la Paz de la Iglesia, de edificios de culto cristiano de carácter martirial en las arenas de los edificios de espectáculos abandonados o en desuso. El sustrato lúdico de determinados martirios permitió a los hagiógrafos componer relatos con escenarios arquitectónicos de fondo cargados de simbolismo que ayudaron a enfatizar la victoria martirial de los “atletas de Cristo”, lo que contribuiría, en gran medida, a explicar esta ulterior relación entre edilicia cristiana y arquitectura lúdica acaecida a partir de finales del siglo IV e inicios del V y detectada en la topografía tardoantigua y altomedieval de algunas ciudades romanas. Sin embargo, tal asunto pasa relativamente desapercibido a los ojos de la Arqueología, pues cuando aparecen los dos elementos clave —edificio de espectáculos e iglesia—, salvo contadas excepciones, se consideran por separado en caso de ser objeto de algún tipo de estudio.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9844429" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="97ff2075750ceb01e821c5038981ecdc" rel="nofollow" data-download="{"attachment_id":56789874,"asset_id":9844429,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56789874/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1149774" href="https://ub.academia.edu/JordinaSalesCarbonell">Jordina Sales-Carbonell</a><script data-card-contents-for-user="1149774" type="text/json">{"id":1149774,"first_name":"Jordina","last_name":"Sales-Carbonell","domain_name":"ub","page_name":"JordinaSalesCarbonell","display_name":"Jordina Sales-Carbonell","profile_url":"https://ub.academia.edu/JordinaSalesCarbonell?f_ri=35544","photo":"https://0.academia-photos.com/1149774/405319/29571565/s65_jordina.sales-carbonell.jpg"}</script></span></span></li><li class="js-paper-rank-work_9844429 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9844429"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9844429, container: ".js-paper-rank-work_9844429", }); 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$(".js-view-count[data-work-id=9844429]").text(description); $(".js-view-count-work_9844429").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9844429").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9844429"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">80</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" rel="nofollow" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="130" rel="nofollow" href="https://www.academia.edu/Documents/in/Ancient_History">Ancient History</a>, <script data-card-contents-for-ri="130" type="text/json">{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="392" rel="nofollow" href="https://www.academia.edu/Documents/in/Archaeology">Archaeology</a>, <script data-card-contents-for-ri="392" type="text/json">{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="393" rel="nofollow" href="https://www.academia.edu/Documents/in/Classical_Archaeology">Classical Archaeology</a><script data-card-contents-for-ri="393" type="text/json">{"id":393,"name":"Classical Archaeology","url":"https://www.academia.edu/Documents/in/Classical_Archaeology?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9844429]'), work: {"id":9844429,"title":"Arqueología e identidad religiosa: edilicia cristiana y arquitectura lúdica en Hispania / Archaeology and Religious Identity: Christian Buildings and Ludic Architecture in Hispania (Madrid, 2016)","created_at":"2014-12-19T23:33:59.685-08:00","url":"https://www.academia.edu/9844429/Arqueolog%C3%ADa_e_identidad_religiosa_edilicia_cristiana_y_arquitectura_l%C3%BAdica_en_Hispania_Archaeology_and_Religious_Identity_Christian_Buildings_and_Ludic_Architecture_in_Hispania_Madrid_2016_?f_ri=35544","dom_id":"work_9844429","summary":"ABSTRACT: From the moment that executions of Christians in Roman spectacles buildings began to take place, the amphitheatre, as being the generic of such public buildings, becomes one of the paradigmatic settings of Christian identity. This would help to explain the emergence —after the Peace of the Church— of Christian buildings involving a worship of martyrial nature in the arenas of abandoned or unused entertainment buildings. The ludic substrate of certain martyrdoms allowed hagiographers to compose stories with an architectural background scenery full of symbolism that helped to emphasize the martyrial victory of the \"athletes of Christ\", thus contributing largely to explain this further relationship between Christian building and playful architecture occurred from the late fourth century and early fifth century and detected in the late antique and early medieval topography of some Roman cities. However, this issue has gone relatively unnoticed for Archaeology, and when the two key elements —roman spectacle building and church— appear, with few exceptions, they are considered separately in case of being subjected to some kind of study.\n\nRESUMEN: A partir de las ejecuciones de cristianos en edificios de espectáculos romanos, el anfiteatro, como genérico de este tipo de edificios públicos, se convierte en uno de los escenarios paradigmáticos de la identidad cristiana, lo que ayudaría a explicar la aparición, en momentos posteriores a la Paz de la Iglesia, de edificios de culto cristiano de carácter martirial en las arenas de los edificios de espectáculos abandonados o en desuso. El sustrato lúdico de determinados martirios permitió a los hagiógrafos componer relatos con escenarios arquitectónicos de fondo cargados de simbolismo que ayudaron a enfatizar la victoria martirial de los “atletas de Cristo”, lo que contribuiría, en gran medida, a explicar esta ulterior relación entre edilicia cristiana y arquitectura lúdica acaecida a partir de finales del siglo IV e inicios del V y detectada en la topografía tardoantigua y altomedieval de algunas ciudades romanas. Sin embargo, tal asunto pasa relativamente desapercibido a los ojos de la Arqueología, pues cuando aparecen los dos elementos clave —edificio de espectáculos e iglesia—, salvo contadas excepciones, se consideran por separado en caso de ser objeto de algún tipo de estudio.","downloadable_attachments":[{"id":56789874,"asset_id":9844429,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1149774,"first_name":"Jordina","last_name":"Sales-Carbonell","domain_name":"ub","page_name":"JordinaSalesCarbonell","display_name":"Jordina Sales-Carbonell","profile_url":"https://ub.academia.edu/JordinaSalesCarbonell?f_ri=35544","photo":"https://0.academia-photos.com/1149774/405319/29571565/s65_jordina.sales-carbonell.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=35544","nofollow":true},{"id":130,"name":"Ancient 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href="https://www.academia.edu/35279941/Metodolog%C3%ADa_de_an%C3%A1lisis_del_circo_romano_de_Tarragona_y_nuevos_resultados_2017_">Metodología de análisis del circo romano de Tarragona y nuevos resultados (2017)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The application of mass data capture systems in the topographic surveys of the Roman circus of Tarragona improves and facilitates our overall understanding of a building covering 4 hectares, much of which is hidden below the historical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35279941" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The application of mass data capture systems in the topographic surveys of the Roman circus of Tarragona improves and facilitates our overall understanding of a building covering 4 hectares, much of which is hidden below the historical quarter of the modern town. This task constitutes the starting point for the overall understanding of the processes and construction techniques of an entertainment complex with standard features, but conditioned by the need to insert it into the urban framework of the Concilium Prouinciae Hispaniae Citerioris monumental complex.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35279941" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a707ea3b7dccff62a0793554810c2ca1" rel="nofollow" data-download="{"attachment_id":55140293,"asset_id":35279941,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55140293/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2827799" href="https://icac.academia.edu/IvanFernandezPino">Ivan Fernandez Pino</a><script data-card-contents-for-user="2827799" type="text/json">{"id":2827799,"first_name":"Ivan","last_name":"Fernandez Pino","domain_name":"icac","page_name":"IvanFernandezPino","display_name":"Ivan Fernandez Pino","profile_url":"https://icac.academia.edu/IvanFernandezPino?f_ri=35544","photo":"https://0.academia-photos.com/2827799/925266/11298044/s65_ivan.fernandez_pino.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-35279941">+2</span><div class="hidden js-additional-users-35279941"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://icac.academia.edu/httpsicacacademiaedujmmacias">Josep Maria Macias Solé</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://icac.academia.edu/JosepMPucheFontanilles">Josep M. 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The finding of the roman Circus in Segobriga turns this little municipium into the fourth city in Hispania, after the three provincial capitals (Tarraco, Corduba and Emerita), where we know the three show buildings: Theatre,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26441888" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Abstract. The finding of the roman Circus in Segobriga turns this little municipium into the fourth city in Hispania, after the three provincial capitals (Tarraco, Corduba and Emerita), where we know the three show buildings: Theatre, Amphitheatre and Circus. This discovery confirms its really complex urban life as a great mining metropolis and the dynamism of its decurional elites during the IInd century A.D. Furthermore, it shows the exceptional preservation of the archaeological remains in this singular city. The overlap of the great circus over a sepulchral way full of knocked down and covered funeral monuments has provide us incomparable archaeological and epigraphic information. Finally, the research has revealed another fascinating fact: after all those<br />enormous arranging and levelling works carried out in the second half of the IInd century A.D., the great Circus of Segobriga maybe never became ended.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26441888" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0e10210e99823da7d1e87db39f3c0594" rel="nofollow" data-download="{"attachment_id":46737832,"asset_id":26441888,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46737832/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="415817" href="https://urv.academia.edu/JoaquinRUIZDEARBULO">Joaquin RUIZ DE ARBULO BAYONA</a><script data-card-contents-for-user="415817" type="text/json">{"id":415817,"first_name":"Joaquin","last_name":"RUIZ DE ARBULO BAYONA","domain_name":"urv","page_name":"JoaquinRUIZDEARBULO","display_name":"Joaquin RUIZ DE ARBULO BAYONA","profile_url":"https://urv.academia.edu/JoaquinRUIZDEARBULO?f_ri=35544","photo":"https://0.academia-photos.com/415817/822257/64914281/s65_joaquin.ruiz_de_arbulo_bayona.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-26441888">+2</span><div class="hidden js-additional-users-26441888"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/IgnacioHortelano">Ignacio Hortelano</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ucm.academia.edu/RosarioCebri%C3%A1nFern%C3%A1ndez">Rosario CEBRIÁN FERNÁNDEZ</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-26441888'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-26441888').html(); 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The finding of the roman Circus in Segobriga turns this little municipium into the fourth city in Hispania, after the three provincial capitals (Tarraco, Corduba and Emerita), where we know the three show buildings: Theatre, Amphitheatre and Circus. This discovery confirms its really complex urban life as a great mining metropolis and the dynamism of its decurional elites during the IInd century A.D. Furthermore, it shows the exceptional preservation of the archaeological remains in this singular city. The overlap of the great circus over a sepulchral way full of knocked down and covered funeral monuments has provide us incomparable archaeological and epigraphic information. Finally, the research has revealed another fascinating fact: after all those\nenormous arranging and levelling works carried out in the second half of the IInd century A.D., the great Circus of Segobriga maybe never became ended.","downloadable_attachments":[{"id":46737832,"asset_id":26441888,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":415817,"first_name":"Joaquin","last_name":"RUIZ DE ARBULO BAYONA","domain_name":"urv","page_name":"JoaquinRUIZDEARBULO","display_name":"Joaquin RUIZ DE ARBULO BAYONA","profile_url":"https://urv.academia.edu/JoaquinRUIZDEARBULO?f_ri=35544","photo":"https://0.academia-photos.com/415817/822257/64914281/s65_joaquin.ruiz_de_arbulo_bayona.jpg"},{"id":3601391,"first_name":"Ignacio","last_name":"Hortelano","domain_name":"independent","page_name":"IgnacioHortelano","display_name":"Ignacio Hortelano","profile_url":"https://independent.academia.edu/IgnacioHortelano?f_ri=35544","photo":"https://0.academia-photos.com/3601391/64615805/52940089/s65_ignacio.hortelano.png"},{"id":50408026,"first_name":"Rosario","last_name":"CEBRIÁN FERNÁNDEZ","domain_name":"ucm","page_name":"RosarioCebriánFernández","display_name":"Rosario CEBRIÁN FERNÁNDEZ","profile_url":"https://ucm.academia.edu/RosarioCebri%C3%A1nFern%C3%A1ndez?f_ri=35544","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=35544","nofollow":true},{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true},{"id":27001,"name":"Archaeology of Roman Hispania","url":"https://www.academia.edu/Documents/in/Archaeology_of_Roman_Hispania?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":48230,"name":"Roman Provincial Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Provincial_Archaeology?f_ri=35544"},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2464872" data-work_id="2464872" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2464872/_El_circo_romano_de_Toledo_y_la_Vega_Baja_en_%C3%A9poca_romana_en_La_Vega_Baja_Investigaci%C3%B3n_documentaci%C3%B3n_y_hallazgos_Cuenca_2011_pp_35_56">“El circo romano de Toledo y la Vega Baja en época romana", en La Vega Baja. Investigación, documentación y hallazgos, Cuenca, 2011, pp. 35-56.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">el circo romano de toledo y la vega baja en época romana RUBIO RIVERA, R., "El circo romano de Toledo y la Vega Baja en época romana", en AA.VV., La Vega Baja. Investigación, documentación y hallazgos, Cuenca, 2011, pp. 35-56.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2464872" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="af5b8cc23e11d94042b40c2dd96853b9" rel="nofollow" data-download="{"attachment_id":30485981,"asset_id":2464872,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30485981/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1645314" href="https://uclm.academia.edu/RebecaRubioRivera">Rebeca Rubio Rivera</a><script data-card-contents-for-user="1645314" type="text/json">{"id":1645314,"first_name":"Rebeca","last_name":"Rubio Rivera","domain_name":"uclm","page_name":"RebecaRubioRivera","display_name":"Rebeca Rubio Rivera","profile_url":"https://uclm.academia.edu/RebecaRubioRivera?f_ri=35544","photo":"https://0.academia-photos.com/1645314/904973/1131200/s65_rebeca.rubio_rivera.jpg"}</script></span></span></li><li class="js-paper-rank-work_2464872 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2464872"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2464872, container: ".js-paper-rank-work_2464872", }); 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Investigación, documentación y hallazgos, Cuenca, 2011, pp. 35-56.","created_at":"2013-01-25T21:26:28.348-08:00","url":"https://www.academia.edu/2464872/_El_circo_romano_de_Toledo_y_la_Vega_Baja_en_%C3%A9poca_romana_en_La_Vega_Baja_Investigaci%C3%B3n_documentaci%C3%B3n_y_hallazgos_Cuenca_2011_pp_35_56?f_ri=35544","dom_id":"work_2464872","summary":"el circo romano de toledo y la vega baja en época romana RUBIO RIVERA, R., \"El circo romano de Toledo y la Vega Baja en época romana\", en AA.VV., La Vega Baja. Investigación, documentación y hallazgos, Cuenca, 2011, pp. 35-56.","downloadable_attachments":[{"id":30485981,"asset_id":2464872,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1645314,"first_name":"Rebeca","last_name":"Rubio Rivera","domain_name":"uclm","page_name":"RebecaRubioRivera","display_name":"Rebeca Rubio Rivera","profile_url":"https://uclm.academia.edu/RebecaRubioRivera?f_ri=35544","photo":"https://0.academia-photos.com/1645314/904973/1131200/s65_rebeca.rubio_rivera.jpg"}],"research_interests":[{"id":27001,"name":"Archaeology of Roman Hispania","url":"https://www.academia.edu/Documents/in/Archaeology_of_Roman_Hispania?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":98823,"name":"Roman Architecture and Urbanism","url":"https://www.academia.edu/Documents/in/Roman_Architecture_and_Urbanism?f_ri=35544","nofollow":true},{"id":99285,"name":"Roman Architecture","url":"https://www.academia.edu/Documents/in/Roman_Architecture?f_ri=35544","nofollow":true},{"id":119014,"name":"Roman Art","url":"https://www.academia.edu/Documents/in/Roman_Art?f_ri=35544"},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19421274" data-work_id="19421274" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19421274/Sundials_in_Roman_and_Byzantine_Mosaics_1st_9th_Century_AD_Les_cadrans_solaires_dans_les_mosa%C3%AFques_romaines_et_byzantines_Ier_si%C3%A8cle_ap_J_C_IXe_si%C3%A8cle_ap_J_C_in_A_Tomas_ed_Ad_fines_imperii_Romani_Studia_Thaddaeo_Sarnowski_Warszawa_2015_pp_449_468">Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD)/Les cadrans solaires dans les mosaïques romaines et byzantines (Ier siècle ap. J.-C. - IXe siècle ap. J.-C.), [in:] A. Tomas (ed.), Ad fines imperii Romani. Studia Thaddaeo Sarnowski ..., Warszawa 2015, pp. 449-468.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19421274" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together  in this  publication  the sundials  already known (Torre Anunzaiata, Sarsina, Trier, Saint-Romain-en-Gal, Antioch and Brading; Figs. 1, 2, 4, 5, 7, 9) and those which have  not  previously  been  identified.  Thanks  to  the author’s  new  identifcations,  the  catalogue  has  been enlarged  by  six  new  sundials (Grand,Tarsus, Antiochia – interpreted by H. Pamir; Figs.  3, 6,  8, and 10. Tayibat al-Imam, Jerusalem and Umm al-Rasas (Sebastis); Figs. 10, 11, 12) and three monumental gnomes-columns with multiple functions that were used as monumental sundials [Madaba (Jerusalem), Umm al-Rasas (Kastron Mefaa) and Rome (Jerusalem); Figs. 13–15]. In addition, recognizing fully John H. Humphrey’s  interpretations,  the  author  enriches  the catalogue  by  eight  ancient  mosaic  representations  of obelisks in  circuses (Lyon, Barcelona, Volubilis, Piazza Armerina - two mosaics, Girona, Carthage and Gafsa; Figs.  16–23).  They  performed the roles of monumental sundials. In this way, the catalogue includes  twenty-three  mosaics with  the representations of sundials. They come from the Western and Eastern Provinces of the Roman Empire. The first mosaic is dated to the beginning of the 1st century AD and the last dates to the 9th century AD. The author, after  a  short  description  of each monument,  summarizes the issue discussing the role of sundials in Roman and Byzantine society, their complex signifcance and symbolic dificult linked with the progress of time on which nature and human life are dependent. 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J.-C. - IXe siècle ap. J.-C.), [in:] A. Tomas (ed.), Ad fines imperii Romani. Studia Thaddaeo Sarnowski ..., Warszawa 2015, pp. 449-468.","created_at":"2015-12-03T09:56:32.624-08:00","url":"https://www.academia.edu/19421274/Sundials_in_Roman_and_Byzantine_Mosaics_1st_9th_Century_AD_Les_cadrans_solaires_dans_les_mosa%C3%AFques_romaines_et_byzantines_Ier_si%C3%A8cle_ap_J_C_IXe_si%C3%A8cle_ap_J_C_in_A_Tomas_ed_Ad_fines_imperii_Romani_Studia_Thaddaeo_Sarnowski_Warszawa_2015_pp_449_468?f_ri=35544","dom_id":"work_19421274","summary":"Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the sundials already known (Torre Anunzaiata, Sarsina, Trier, Saint-Romain-en-Gal, Antioch and Brading; Figs. 1, 2, 4, 5, 7, 9) and those which have not previously been identified. Thanks to the author’s new identifcations, the catalogue has been enlarged by six new sundials (Grand,Tarsus, Antiochia – interpreted by H. Pamir; Figs. 3, 6, 8, and 10.\tTayibat al-Imam, Jerusalem and\tUmm al-Rasas (Sebastis); Figs. 10, 11, 12) and three monumental gnomes-columns with multiple functions that were used as monumental sundials [Madaba (Jerusalem), Umm al-Rasas (Kastron Mefaa) and Rome (Jerusalem); Figs. 13–15]. In addition, recognizing fully John H. Humphrey’s interpretations, the author enriches the catalogue by eight ancient mosaic representations of obelisks in circuses (Lyon, Barcelona, Volubilis, Piazza Armerina - two mosaics, Girona, Carthage and Gafsa; Figs. 16–23). They performed the roles of monumental sundials. In this way, the catalogue includes twenty-three mosaics with the representations of sundials. They come from the Western and Eastern Provinces of the Roman Empire. The first mosaic is dated to the beginning of the 1st century AD and the last dates to the 9th century AD. The author, after a short description of each monument, summarizes the issue discussing the role of sundials in Roman and Byzantine society, their complex signifcance and symbolic dificult linked with the progress of time on which nature and human life are dependent. 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39609195/Traiano_e_la_ricostruzione_del_Circo_Massimo">Traiano e la ricostruzione del Circo Massimo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">All'inizio del II secolo Traiano inaugurò con giochi grandiosi la ricostruzione il Circo Massimo, il monumento più amato dai romani. Il nuovo assetto dell'edificio venne esaltato dall'imperatore con la rappresentazione sui coni monetali... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39609195" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">All'inizio del II secolo Traiano inaugurò con giochi grandiosi la ricostruzione il Circo Massimo, il monumento più amato dai romani. Il nuovo assetto dell'edificio venne esaltato dall'imperatore con la rappresentazione sui coni monetali nell'anno del suo quinto consolato, il 103, dove compare la prima vera immagine completa dell'ippodromo, con visione dal Palatino ( . La lunga facciata esterna si presentava a tre ordini, con il piano inferiore su arcate molto alte ed i due superiori, più bassi, chiusi da una parete con finestre. Le estremità erano delimitate nell'emiciclo dall'Arco di Tito, sormontato da una quadriga bronzea, e dalle postazioni di partenza dei carri, i carceres, mentre al centro della pista la lunga piattaforma della spina marcava lo spazio delle corse. Su questa, definita dai segnacoli delle Metae, si disponevano lunghe vasche colme d'acqua, i simulacri e gli altari degli antichi culti della valle ed il grande obelisco egizio collocato al centro da Augusto. Il nuovo Circo Massimo aveva dimensioni eccezionali, tali da rappresentare la più grande struttura per lo spettacolo di tutti i tempi, in grado di accogliere centinaia di migliaia di spettatori; ma per meglio comprendere la portata dell'intervento di ricostruzione attuato da Traiano è utile riassumere brevemente i caratteri generali della sua formazione ed evoluzione.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39609195" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f632b4f37a5612020fa86c88d1af5bfa" rel="nofollow" data-download="{"attachment_id":59765531,"asset_id":39609195,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59765531/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5207533" href="https://sovraintendenzaroma.academia.edu/marialetiziabuonfiglio">Marialetizia Buonfiglio</a><script data-card-contents-for-user="5207533" type="text/json">{"id":5207533,"first_name":"Marialetizia","last_name":"Buonfiglio","domain_name":"sovraintendenzaroma","page_name":"marialetiziabuonfiglio","display_name":"Marialetizia Buonfiglio","profile_url":"https://sovraintendenzaroma.academia.edu/marialetiziabuonfiglio?f_ri=35544","photo":"https://0.academia-photos.com/5207533/2293896/10808760/s65_marialetizia.buonfiglio.jpg"}</script></span></span></li><li class="js-paper-rank-work_39609195 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39609195"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39609195, container: ".js-paper-rank-work_39609195", }); 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Il nuovo assetto dell'edificio venne esaltato dall'imperatore con la rappresentazione sui coni monetali nell'anno del suo quinto consolato, il 103, dove compare la prima vera immagine completa dell'ippodromo, con visione dal Palatino ( . La lunga facciata esterna si presentava a tre ordini, con il piano inferiore su arcate molto alte ed i due superiori, più bassi, chiusi da una parete con finestre. Le estremità erano delimitate nell'emiciclo dall'Arco di Tito, sormontato da una quadriga bronzea, e dalle postazioni di partenza dei carri, i carceres, mentre al centro della pista la lunga piattaforma della spina marcava lo spazio delle corse. Su questa, definita dai segnacoli delle Metae, si disponevano lunghe vasche colme d'acqua, i simulacri e gli altari degli antichi culti della valle ed il grande obelisco egizio collocato al centro da Augusto. Il nuovo Circo Massimo aveva dimensioni eccezionali, tali da rappresentare la più grande struttura per lo spettacolo di tutti i tempi, in grado di accogliere centinaia di migliaia di spettatori; ma per meglio comprendere la portata dell'intervento di ricostruzione attuato da Traiano è utile riassumere brevemente i caratteri generali della sua formazione ed evoluzione.","downloadable_attachments":[{"id":59765531,"asset_id":39609195,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5207533,"first_name":"Marialetizia","last_name":"Buonfiglio","domain_name":"sovraintendenzaroma","page_name":"marialetiziabuonfiglio","display_name":"Marialetizia Buonfiglio","profile_url":"https://sovraintendenzaroma.academia.edu/marialetiziabuonfiglio?f_ri=35544","photo":"https://0.academia-photos.com/5207533/2293896/10808760/s65_marialetizia.buonfiglio.jpg"}],"research_interests":[{"id":13506,"name":"Topography of Ancient Rome (Archaeology)","url":"https://www.academia.edu/Documents/in/Topography_of_Ancient_Rome_Archaeology_?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":99285,"name":"Roman Architecture","url":"https://www.academia.edu/Documents/in/Roman_Architecture?f_ri=35544","nofollow":true},{"id":120000,"name":"Topografia di Roma","url":"https://www.academia.edu/Documents/in/Topografia_di_Roma?f_ri=35544","nofollow":true},{"id":167664,"name":"Arqueología romana / Roman archeology","url":"https://www.academia.edu/Documents/in/Arqueologia_romana_Roman_archeology?f_ri=35544"},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544"},{"id":366454,"name":"Architettura Romana","url":"https://www.academia.edu/Documents/in/Architettura_Romana?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45156862" data-work_id="45156862" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45156862/Tommaso_Leoni_The_Arch_Fornix_of_Lucius_Stertinius_in_the_Circus_Maximus_Liv_XXXIII_27_3_5_Some_reflections_on_its_significance_and_its_likeliest_topographical_location_in_Bullettino_della_Commissione_Archeologica_Comunale_di_Roma_121_n_s_30_2020_pp_67_82">Tommaso Leoni, “The Arch (Fornix) of Lucius Stertinius in the Circus Maximus (Liv., XXXIII, 27, 3-5): Some reflections on its significance and its likeliest topographical location”, in Bullettino della Commissione Archeologica Comunale di Roma 121 [= n.s. 30] (2020), pp. 67-82.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Abstract: According to Livy (33.27.3-5), in 196 BCE the proconsul Lucius Stertinius set up three arches (fornices) upon his return from the victorious campaigns in Hispania Ulterior: two were built in the Forum Boarium in front of the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45156862" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Abstract: According to Livy (33.27.3-5), in 196 BCE the proconsul Lucius Stertinius set up three arches (fornices) upon his return from the victorious campaigns in Hispania Ulterior: two were built in the Forum Boarium in front of the Temples of Fortuna and Mater Matuta, while the third one was erected in the Circus Maximus. The three fornices, funded from the (proceeds of the) spoils (de manubiis) of the war, were surmounted by one – or more – gilded bronze statues/standards (signa aurata). Stertinius’s arches are the earliest recorded examples of a monumental type destined to gain enormous success in the decades to come, especially from the Augustan age onwards. Yet unlike the two fornices in foro bovario, the single fornix of Stertinius in maximo circo has usually been treated by scholars in a most cursory and perfunctory fashion. Particularly interesting is the issue of the precise position of Stertinius’s arch within the Circus Maximus, especially in connection with the vexed question of the route of the triumphal procession in the Vallis Murcia. By a process of elimination, it will be concluded that this honorary structure was most likely located in the centre of the south-east curved end of Rome’s most famous arena for chariot racing. Thus it is conceivable that the Fornix Stertinii may have been a precursor of the triumphal arch dedicated to Titus in 81 CE, an arch built to commemorate the Flavian capture of Jerusalem (70 CE) and the ensuing triumph de Iudaeis (71 CE). ********** Riassunto: Secondo la testimonianza di Livio (33.27.3-5), nel 196 a.C. il proconsole Lucio Stertinio fece erigere tre archi (fornices) al suo ritorno dalle campagne vittoriose nella Spagna Ulteriore: due furono costruiti nel Foro Boario, di fronte ai templi della Fortuna e della Mater Matuta, mentre il terzo venne innalzato nel Circo Massimo. I tre fornices, finanziati con i proventi del bottino di guerra (de manubiis), erano sormontati da una o più sculture di bronzo dorato (signa aurata). Gli archi di Stertinio sono i più antichi esempi di un tipo monumentale destinato a conoscere un immenso successo nei decenni successivi, soprattutto a partire dall’età augustea. A differenza però dei due fornices in foro bovario, il singolo fornix di Stertinio in maximo circo ha ricevuto finora scarsa attenzione critica ed è stato trattato in maniera alquanto sommaria e superficiale. Di particolare interesse risulta essere il problema della posizione dell’arco di Stertinio all’interno del Circo Massimo, specialmente in rapporto alla dibattuta questione del percorso del corteo trionfale nella Valle Murcia. Procedendo per esclusione, si giunge alla conclusione che il monumento onorario era verosimilmente ubicato al centro del lato curvo di sud-est del gigantesco edificio per spettacoli. Sembra dunque lecito ipotizzare che il Fornix Stertinii possa aver preceduto l’arco trionfale dedicato a Tito nell’81 d.C., eretto per celebrare la conquista flavia di Gerusalemme (70 d.C.) e il successivo trionfo sui Giudei (71 d.C.).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45156862" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b496312622644ed84da2ae079aba9b1d" rel="nofollow" data-download="{"attachment_id":65733492,"asset_id":45156862,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65733492/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6732350" href="https://yorku.academia.edu/TommasoLeoni">Tommaso Leoni</a><script data-card-contents-for-user="6732350" type="text/json">{"id":6732350,"first_name":"Tommaso","last_name":"Leoni","domain_name":"yorku","page_name":"TommasoLeoni","display_name":"Tommaso Leoni","profile_url":"https://yorku.academia.edu/TommasoLeoni?f_ri=35544","photo":"https://0.academia-photos.com/6732350/18623531/20378410/s65_tommaso.leoni.jpg"}</script></span></span></li><li class="js-paper-rank-work_45156862 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45156862"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45156862, container: ".js-paper-rank-work_45156862", }); 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The three fornices, funded from the (proceeds of the) spoils (de manubiis) of the war, were surmounted by one – or more – gilded bronze statues/standards (signa aurata). Stertinius’s arches are the earliest recorded examples of a monumental type destined to gain enormous success in the decades to come, especially from the Augustan age onwards. Yet unlike the two fornices in foro bovario, the single fornix of Stertinius in maximo circo has usually been treated by scholars in a most cursory and perfunctory fashion. Particularly interesting is the issue of the precise position of Stertinius’s arch within the Circus Maximus, especially in connection with the vexed question of the route of the triumphal procession in the Vallis Murcia. By a process of elimination, it will be concluded that this honorary structure was most likely located in the centre of the south-east curved end of Rome’s most famous arena for chariot racing. Thus it is conceivable that the Fornix Stertinii may have been a precursor of the triumphal arch dedicated to Titus in 81 CE, an arch built to commemorate the Flavian capture of Jerusalem (70 CE) and the ensuing triumph de Iudaeis (71 CE). ********** Riassunto: Secondo la testimonianza di Livio (33.27.3-5), nel 196 a.C. il proconsole Lucio Stertinio fece erigere tre archi (fornices) al suo ritorno dalle campagne vittoriose nella Spagna Ulteriore: due furono costruiti nel Foro Boario, di fronte ai templi della Fortuna e della Mater Matuta, mentre il terzo venne innalzato nel Circo Massimo. I tre fornices, finanziati con i proventi del bottino di guerra (de manubiis), erano sormontati da una o più sculture di bronzo dorato (signa aurata). Gli archi di Stertinio sono i più antichi esempi di un tipo monumentale destinato a conoscere un immenso successo nei decenni successivi, soprattutto a partire dall’età augustea. A differenza però dei due fornices in foro bovario, il singolo fornix di Stertinio in maximo circo ha ricevuto finora scarsa attenzione critica ed è stato trattato in maniera alquanto sommaria e superficiale. Di particolare interesse risulta essere il problema della posizione dell’arco di Stertinio all’interno del Circo Massimo, specialmente in rapporto alla dibattuta questione del percorso del corteo trionfale nella Valle Murcia. Procedendo per esclusione, si giunge alla conclusione che il monumento onorario era verosimilmente ubicato al centro del lato curvo di sud-est del gigantesco edificio per spettacoli. Sembra dunque lecito ipotizzare che il Fornix Stertinii possa aver preceduto l’arco trionfale dedicato a Tito nell’81 d.C., eretto per celebrare la conquista flavia di Gerusalemme (70 d.C.) e il successivo trionfo sui Giudei (71 d.C.). 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This volume has been peer reviewed through a process administered by the Editors-in-Chief. All reviews were conducted by external... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_65975394" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ediciones Clásicas garantiza un riguroso proceso de selección y evaluación de los trabajos que publica. This volume has been peer reviewed through a process administered by the Editors-in-Chief. All reviews were conducted by external expert referees. Este volumen ha sido sometido a una revisión por pares realizada a instancias de los directores. Todas las revisiones se han realizado por evaluadores externos especializados. 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This volume has been peer reviewed through a process administered by the Editors-in-Chief. All reviews were conducted by external expert referees. Este volumen ha sido sometido a una revisión por pares realizada a instancias de los directores. Todas las revisiones se han realizado por evaluadores externos especializados. Esta publicación se realiza dentro de los trabajos financiados por la Universidad de Oviedo, así como por los Proyectos de Investigación \"Falsificaciones y falsificadores de textos clásicos (grecolatinos) II\" (PN-17 FFI2017-87034-P, Ministerio de Ciencia, Innovación y Universidades), AVIPES-CM (H2019/HUM-5742). y UCM-PR87/19-22659, cofinanciados por la Agencia Estatal de Investigación (AEI), el Fondo Europeo de Desarrollo Regional (FEDER) y el Fondo Social Europeo. Esta publicación ha sido financiada por el Gobierno del Principado de Asturias con cargo a fondos provenientes del Plan de Ciencia, Tecnología e Innovación (PCTI) de Asturias.","downloadable_attachments":[{"id":77343694,"asset_id":65975394,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9329935,"first_name":"J. Ignacio","last_name":"San Vicente","domain_name":"uniovi","page_name":"JoseIgnacioSanVicente","display_name":"J. 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Bell, Christian Jaser, and Christian Mann. London: Taylor & Francis, 2022.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book surveys the practice of horse racing from antiquity to the modern period, and in this way offers a selective global history. Unlike previous histories of horse racing, which generally make claims about the exclusiveness of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38788253" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book surveys the practice of horse racing from antiquity to the modern period, and in this way offers a selective global history. <br /> <br />Unlike previous histories of horse racing, which generally make claims about the exclusiveness of modern sport and therefore diminish the importance of premodern physical contests, the contributors to this book approach racing as a deep history of diachronically comparable practices, discourses, and perceptions centered around the competitive staging of equine speed. In order to compare horse racing cultures from completely different epochs and regions, the authors respond to a series of core issues which serve as structural comparative parameters. These key issues include the spatial and architectural framework of races; their organization; victory prizes; symbolic representations of victories and victors; and the social range and identities of the participants. The evidence of these competitions is interpreted in its distinct historical contexts and with regard to specific cultural conditions that shaped the respective relationship between owners, riders, and horses on the global racetracks of pre-modernity and modernity. <br /> <br />Reviews: Anthrozoös (J. Houston); Humanimalia 31.2 (C. Willekes).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38788253" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0769253ddf540b23dbbe430928b683e9" rel="nofollow" data-download="{"attachment_id":78127116,"asset_id":38788253,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/78127116/download_file?st=MTczOTgxOTUwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="89861" href="https://niu.academia.edu/SinclairBell">Sinclair W Bell</a><script data-card-contents-for-user="89861" type="text/json">{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}</script></span></span></li><li class="js-paper-rank-work_38788253 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38788253"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38788253, container: ".js-paper-rank-work_38788253", }); 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Bell, Christian Jaser, and Christian Mann. London: Taylor \u0026 Francis, 2022.","created_at":"2019-04-12T11:48:07.920-07:00","url":"https://www.academia.edu/38788253/The_Running_Centaur_Horse_Racing_in_Global_historical_Perspective_edited_by_Sinclair_W_Bell_Christian_Jaser_and_Christian_Mann_London_Taylor_and_Francis_2022?f_ri=35544","dom_id":"work_38788253","summary":"This book surveys the practice of horse racing from antiquity to the modern period, and in this way offers a selective global history.\r\n\r\nUnlike previous histories of horse racing, which generally make claims about the exclusiveness of modern sport and therefore diminish the importance of premodern physical contests, the contributors to this book approach racing as a deep history of diachronically comparable practices, discourses, and perceptions centered around the competitive staging of equine speed. In order to compare horse racing cultures from completely different epochs and regions, the authors respond to a series of core issues which serve as structural comparative parameters. These key issues include the spatial and architectural framework of races; their organization; victory prizes; symbolic representations of victories and victors; and the social range and identities of the participants. The evidence of these competitions is interpreted in its distinct historical contexts and with regard to specific cultural conditions that shaped the respective relationship between owners, riders, and horses on the global racetracks of pre-modernity and modernity.\r\n\r\nReviews: Anthrozoös (J. Houston); Humanimalia 31.2 (C. Willekes). 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Intervenció arqueològica al carrer de l'Enrajolat (2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Amb motiu de la remodelació del carrer de l’Enrajolat de Tarragona, l’Ajuntament i l’INCASOL han dut a terme una intervenció arqueològica que ha aportat noves i interessants dades sobre algunes estructures del circ romà de Tàrraco i la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23958649" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Amb motiu de la remodelació del carrer de l’Enrajolat de Tarragona, l’Ajuntament i l’INCASOL han dut a terme una intervenció arqueològica que ha aportat noves i interessants dades sobre algunes estructures del circ romà de Tàrraco  i la seva connexió amb el Fòrum Provincial a la zona oriental de la graderia septentrional amb una gran canalització. L’excavació del carrer també ha proporcionat informació sobre l’evolució del sector en època medieval i moderna.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23958649" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b75e95eb9631b01a360fb3aebfb7b05e" rel="nofollow" data-download="{"attachment_id":44346266,"asset_id":23958649,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44346266/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1262461" href="https://ub.academia.edu/ImmaTeixell">Imma Teixell</a><script data-card-contents-for-user="1262461" type="text/json">{"id":1262461,"first_name":"Imma","last_name":"Teixell","domain_name":"ub","page_name":"ImmaTeixell","display_name":"Imma Teixell","profile_url":"https://ub.academia.edu/ImmaTeixell?f_ri=35544","photo":"https://0.academia-photos.com/1262461/462271/6988011/s65_imma.teixell.jpg"}</script></span></span></li><li class="js-paper-rank-work_23958649 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23958649"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23958649, container: ".js-paper-rank-work_23958649", }); 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(dir.) - 2007. Sur la Piste du Cheval, de la Préhistoire à l'Antiquité. Guides archéologiques du Malgré-Tout. Treignes, Ed. du Cedarc : 208 p.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Exposition créée au Musée du Malgré-Tout de Treignes (Belgique) du 18 février au 2 septembre 2007 Conception et réalisation de l'exposition</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7533196" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="348b83ead2f61e1c2e977c9a2fb8c39e" rel="nofollow" data-download="{"attachment_id":72941800,"asset_id":7533196,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/72941800/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="273047" href="https://ulb.academia.edu/PierreCattelain">Pierre Cattelain</a><script data-card-contents-for-user="273047" type="text/json">{"id":273047,"first_name":"Pierre","last_name":"Cattelain","domain_name":"ulb","page_name":"PierreCattelain","display_name":"Pierre Cattelain","profile_url":"https://ulb.academia.edu/PierreCattelain?f_ri=35544","photo":"https://0.academia-photos.com/273047/3506743/55372126/s65_pierre.cattelain.jpg"}</script></span></span></li><li class="js-paper-rank-work_7533196 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7533196"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7533196, container: ".js-paper-rank-work_7533196", }); 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(dir.) - 2007. Sur la Piste du Cheval, de la Préhistoire à l'Antiquité. Guides archéologiques du Malgré-Tout. Treignes, Ed. du Cedarc : 208 p.","created_at":"2014-07-02T07:43:01.917-07:00","url":"https://www.academia.edu/7533196/CATTELAIN_P_BOZET_N_dir_2007_Sur_la_Piste_du_Cheval_de_la_Pr%C3%A9histoire_%C3%A0_lAntiquit%C3%A9_Guides_arch%C3%A9ologiques_du_Malgr%C3%A9_Tout_Treignes_Ed_du_Cedarc_208_p?f_ri=35544","dom_id":"work_7533196","summary":"Exposition créée au Musée du Malgré-Tout de Treignes (Belgique) du 18 février au 2 septembre 2007 Conception et réalisation de l'exposition","downloadable_attachments":[{"id":72941800,"asset_id":7533196,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":273047,"first_name":"Pierre","last_name":"Cattelain","domain_name":"ulb","page_name":"PierreCattelain","display_name":"Pierre Cattelain","profile_url":"https://ulb.academia.edu/PierreCattelain?f_ri=35544","photo":"https://0.academia-photos.com/273047/3506743/55372126/s65_pierre.cattelain.jpg"}],"research_interests":[{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":91259,"name":"Horses in Prehistory","url":"https://www.academia.edu/Documents/in/Horses_in_Prehistory?f_ri=35544","nofollow":true},{"id":101687,"name":"Upper Palaeolithic","url":"https://www.academia.edu/Documents/in/Upper_Palaeolithic?f_ri=35544","nofollow":true},{"id":108981,"name":"Roman cavalry","url":"https://www.academia.edu/Documents/in/Roman_cavalry?f_ri=35544","nofollow":true},{"id":168196,"name":"Horses","url":"https://www.academia.edu/Documents/in/Horses?f_ri=35544"},{"id":324960,"name":"Circus","url":"https://www.academia.edu/Documents/in/Circus?f_ri=35544"},{"id":391104,"name":"horses in the Bronze Age","url":"https://www.academia.edu/Documents/in/horses_in_the_Bronze_Age?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13059619" data-work_id="13059619" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13059619/In_Depth_Analysis_of_the_Job_Duties_of_the_Chariot_Racing_Attendant_known_as_Sparsor">In-Depth Analysis of the Job Duties of the Chariot Racing Attendant known as Sparsor</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">or <br />The most dangerous job of the sport in antiquity <br />or <br />Oxford Latin Dictionary is not always right</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13059619" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="45d89c1eec0b1f74163b54933d7c146b" rel="nofollow" data-download="{"attachment_id":38006319,"asset_id":13059619,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38006319/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="14724587" href="https://independent.academia.edu/PaskoColleenVarnica">Pasko Varnica</a><script data-card-contents-for-user="14724587" type="text/json">{"id":14724587,"first_name":"Pasko","last_name":"Varnica","domain_name":"independent","page_name":"PaskoColleenVarnica","display_name":"Pasko Varnica","profile_url":"https://independent.academia.edu/PaskoColleenVarnica?f_ri=35544","photo":"https://0.academia-photos.com/14724587/4011006/4683346/s65_pasko-colleen.varnica.jpg"}</script></span></span></li><li class="js-paper-rank-work_13059619 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13059619"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13059619, container: ".js-paper-rank-work_13059619", }); 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$(".js-view-count[data-work-id=13059619]").text(description); $(".js-view-count-work_13059619").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_13059619").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="13059619"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="829" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_History">Roman History</a>, <script data-card-contents-for-ri="829" type="text/json">{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4216" rel="nofollow" href="https://www.academia.edu/Documents/in/Sports_History">Sports History</a>, <script data-card-contents-for-ri="4216" type="text/json">{"id":4216,"name":"Sports History","url":"https://www.academia.edu/Documents/in/Sports_History?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35544" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Circuses">Roman Circuses</a>, <script data-card-contents-for-ri="35544" type="text/json">{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="221153" rel="nofollow" href="https://www.academia.edu/Documents/in/Chariots">Chariots</a><script data-card-contents-for-ri="221153" type="text/json">{"id":221153,"name":"Chariots","url":"https://www.academia.edu/Documents/in/Chariots?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13059619]'), work: {"id":13059619,"title":"In-Depth Analysis of the Job Duties of the Chariot Racing Attendant known as Sparsor","created_at":"2015-06-17T15:30:12.088-07:00","url":"https://www.academia.edu/13059619/In_Depth_Analysis_of_the_Job_Duties_of_the_Chariot_Racing_Attendant_known_as_Sparsor?f_ri=35544","dom_id":"work_13059619","summary":"or \r\nThe most dangerous job of the sport in antiquity\r\nor\r\nOxford Latin Dictionary is not always right","downloadable_attachments":[{"id":38006319,"asset_id":13059619,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":14724587,"first_name":"Pasko","last_name":"Varnica","domain_name":"independent","page_name":"PaskoColleenVarnica","display_name":"Pasko Varnica","profile_url":"https://independent.academia.edu/PaskoColleenVarnica?f_ri=35544","photo":"https://0.academia-photos.com/14724587/4011006/4683346/s65_pasko-colleen.varnica.jpg"}],"research_interests":[{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true},{"id":4216,"name":"Sports History","url":"https://www.academia.edu/Documents/in/Sports_History?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":221153,"name":"Chariots","url":"https://www.academia.edu/Documents/in/Chariots?f_ri=35544","nofollow":true},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544"},{"id":567962,"name":"Chariot Racing","url":"https://www.academia.edu/Documents/in/Chariot_Racing?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4735706" data-work_id="4735706" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4735706/The_Horse_Head_Demon">The Horse Head Demon</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">An unpublished curse tablet in the Musée Bargoin depicts a horse head demon, which is also attested in DTAud 155A, 167, and 248. The images on the first two items were published by R. Wünsch, and I discovered the drawing of DTAud 248 in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4735706" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An unpublished curse tablet in the Musée Bargoin depicts a horse head demon, which is also attested in DTAud 155A, 167, and 248. The images on the first two items were published by R. Wünsch, and I discovered the drawing of DTAud 248 in the bequest of Audollent. The Roman Alexamenos-graffito, which is usually considered an Anti-Christian caricature, is probably another representation of the horse head demons used in the context of chariot races. Resumé: La tablette de défixion inédite de la collection du Musée Bargoin est illustré d'un démon à tête de cheval, tout comme celles du DTAaud 155A; 167 et 248. Les relevés des deux premiers objets ont été publiés par R. Wünsch, j'ai découvert celle du DTAud 248 dans l'héritage d'Audollent. Le démon à tête de cheval des courses de chariots figure probablement aussi sur le graffiti romain d'Alexamenos, qui est considéré généralement comme une caricature anti-chrétienne.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4735706" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0ca55e976d277902f7812d3d694e2b15" rel="nofollow" data-download="{"attachment_id":32053374,"asset_id":4735706,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32053374/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5821073" href="https://elte.academia.edu/Gy%C3%B6rgyN%C3%A9meth">György Németh</a><script data-card-contents-for-user="5821073" type="text/json">{"id":5821073,"first_name":"György","last_name":"Németh","domain_name":"elte","page_name":"GyörgyNémeth","display_name":"György Németh","profile_url":"https://elte.academia.edu/Gy%C3%B6rgyN%C3%A9meth?f_ri=35544","photo":"https://0.academia-photos.com/5821073/2502090/3229779/s65_gy_rgy.n_meth.jpg"}</script></span></span></li><li class="js-paper-rank-work_4735706 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4735706"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4735706, container: ".js-paper-rank-work_4735706", }); 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The images on the first two items were published by R. Wünsch, and I discovered the drawing of DTAud 248 in the bequest of Audollent. The Roman Alexamenos-graffito, which is usually considered an Anti-Christian caricature, is probably another representation of the horse head demons used in the context of chariot races. Resumé: La tablette de défixion inédite de la collection du Musée Bargoin est illustré d'un démon à tête de cheval, tout comme celles du DTAaud 155A; 167 et 248. Les relevés des deux premiers objets ont été publiés par R. Wünsch, j'ai découvert celle du DTAud 248 dans l'héritage d'Audollent. Le démon à tête de cheval des courses de chariots figure probablement aussi sur le graffiti romain d'Alexamenos, qui est considéré généralement comme une caricature anti-chrétienne.","downloadable_attachments":[{"id":32053374,"asset_id":4735706,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5821073,"first_name":"György","last_name":"Németh","domain_name":"elte","page_name":"GyörgyNémeth","display_name":"György Németh","profile_url":"https://elte.academia.edu/Gy%C3%B6rgyN%C3%A9meth?f_ri=35544","photo":"https://0.academia-photos.com/5821073/2502090/3229779/s65_gy_rgy.n_meth.jpg"}],"research_interests":[{"id":397,"name":"Near Eastern Archaeology","url":"https://www.academia.edu/Documents/in/Near_Eastern_Archaeology?f_ri=35544","nofollow":true},{"id":25416,"name":"Archaeology of Ritual and Magic","url":"https://www.academia.edu/Documents/in/Archaeology_of_Ritual_and_Magic?f_ri=35544","nofollow":true},{"id":30180,"name":"Contextualizing Ancient Magic","url":"https://www.academia.edu/Documents/in/Contextualizing_Ancient_Magic?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":36252,"name":"Ancient Egyptian Magic","url":"https://www.academia.edu/Documents/in/Ancient_Egyptian_Magic?f_ri=35544"},{"id":53459,"name":"Ancient magic","url":"https://www.academia.edu/Documents/in/Ancient_magic?f_ri=35544"},{"id":58841,"name":"Greek and Roman Epigraphy","url":"https://www.academia.edu/Documents/in/Greek_and_Roman_Epigraphy?f_ri=35544"},{"id":633966,"name":"Greek and Roman Social History","url":"https://www.academia.edu/Documents/in/Greek_and_Roman_Social_History?f_ri=35544"},{"id":843735,"name":"Graeco-Roman Religion","url":"https://www.academia.edu/Documents/in/Graeco-Roman_Religion?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37706214" data-work_id="37706214" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37706214/_BOOK_Panem_et_circenses_Una_historia_de_Roma_a_trav%C3%A9s_del_circo_2018_Alianza_Editorial_Madrid_512pp_PRICE_26_I_S_B_N_978_84_9181_296_8_">[BOOK] Panem et circenses. Una historia de Roma a través del circo, 2018, Alianza Editorial, Madrid, 512pp. PRICE = 26€ [I.S.B.N.: 978-84-9181-296-8].</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The circus was the most important spectacle in Rome. However, it wasn't just a simple amusement but a consubstantial part of the life of most of the Romans, especially from those who lived in big cities. Yet, although Juvenal's celebrated... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37706214" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The circus was the most important spectacle in Rome. However, it wasn't just a simple amusement but a consubstantial part of the life of most of the Romans, especially from those who lived in big cities. Yet, although Juvenal's celebrated aphorism of panem et circenses emphasizes its use as an instrument of social domination by the Roman authorities, that saying doesn't imply the whole truth. It's true that the passion involved was genuine and even it could affect the very identities of the supporters, but also had important repercussions and echoes on the political and social life −but also military, religious and economic− at all levels during more than a millennium. This monograph is divided into two parts. The first one is dedicated to examine the history of Roman circus from its beginning till the end of the rule of the Byzantine emperor Maurice, while the second part presents the competition and scrutinizes its impact, the supporters and its main actors, as the charioteers and the pantomimes.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37706214" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="63f1b7a7cf5a8cdb440590261e324f80" rel="nofollow" data-download="{"attachment_id":57697692,"asset_id":37706214,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57697692/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="283202" href="https://ucm.academia.edu/DavidAlvarezJimenez">David Alvarez Jimenez</a><script data-card-contents-for-user="283202" type="text/json">{"id":283202,"first_name":"David","last_name":"Alvarez Jimenez","domain_name":"ucm","page_name":"DavidAlvarezJimenez","display_name":"David Alvarez Jimenez","profile_url":"https://ucm.academia.edu/DavidAlvarezJimenez?f_ri=35544","photo":"https://0.academia-photos.com/283202/59477/7222417/s65_david.alvarez_jimenez.jpg"}</script></span></span></li><li class="js-paper-rank-work_37706214 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37706214"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37706214, container: ".js-paper-rank-work_37706214", }); 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Una historia de Roma a través del circo, 2018, Alianza Editorial, Madrid, 512pp. PRICE = 26€ [I.S.B.N.: 978-84-9181-296-8].","created_at":"2018-11-05T09:29:45.631-08:00","url":"https://www.academia.edu/37706214/_BOOK_Panem_et_circenses_Una_historia_de_Roma_a_trav%C3%A9s_del_circo_2018_Alianza_Editorial_Madrid_512pp_PRICE_26_I_S_B_N_978_84_9181_296_8_?f_ri=35544","dom_id":"work_37706214","summary":"The circus was the most important spectacle in Rome. However, it wasn't just a simple amusement but a consubstantial part of the life of most of the Romans, especially from those who lived in big cities. Yet, although Juvenal's celebrated aphorism of panem et circenses emphasizes its use as an instrument of social domination by the Roman authorities, that saying doesn't imply the whole truth. It's true that the passion involved was genuine and even it could affect the very identities of the supporters, but also had important repercussions and echoes on the political and social life −but also military, religious and economic− at all levels during more than a millennium. This monograph is divided into two parts. The first one is dedicated to examine the history of Roman circus from its beginning till the end of the rule of the Byzantine emperor Maurice, while the second part presents the competition and scrutinizes its impact, the supporters and its main actors, as the charioteers and the pantomimes. ","downloadable_attachments":[{"id":57697692,"asset_id":37706214,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":283202,"first_name":"David","last_name":"Alvarez Jimenez","domain_name":"ucm","page_name":"DavidAlvarezJimenez","display_name":"David Alvarez Jimenez","profile_url":"https://ucm.academia.edu/DavidAlvarezJimenez?f_ri=35544","photo":"https://0.academia-photos.com/283202/59477/7222417/s65_david.alvarez_jimenez.jpg"}],"research_interests":[{"id":816,"name":"Classics","url":"https://www.academia.edu/Documents/in/Classics?f_ri=35544","nofollow":true},{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true},{"id":990,"name":"Late Antique and Byzantine History","url":"https://www.academia.edu/Documents/in/Late_Antique_and_Byzantine_History?f_ri=35544","nofollow":true},{"id":991,"name":"Late Antique and Byzantine Studies","url":"https://www.academia.edu/Documents/in/Late_Antique_and_Byzantine_Studies?f_ri=35544","nofollow":true},{"id":4134,"name":"Roman Law","url":"https://www.academia.edu/Documents/in/Roman_Law?f_ri=35544"},{"id":5327,"name":"Roman Religion","url":"https://www.academia.edu/Documents/in/Roman_Religion?f_ri=35544"},{"id":11076,"name":"Late Antiquity","url":"https://www.academia.edu/Documents/in/Late_Antiquity?f_ri=35544"},{"id":13506,"name":"Topography of Ancient Rome (Archaeology)","url":"https://www.academia.edu/Documents/in/Topography_of_Ancient_Rome_Archaeology_?f_ri=35544"},{"id":18121,"name":"Imperial Rome","url":"https://www.academia.edu/Documents/in/Imperial_Rome?f_ri=35544"},{"id":21620,"name":"Roman social history","url":"https://www.academia.edu/Documents/in/Roman_social_history?f_ri=35544"},{"id":21653,"name":"Republican Rome","url":"https://www.academia.edu/Documents/in/Republican_Rome?f_ri=35544"},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544"},{"id":42180,"name":"Constantinople","url":"https://www.academia.edu/Documents/in/Constantinople?f_ri=35544"},{"id":69792,"name":"Ancient Rome","url":"https://www.academia.edu/Documents/in/Ancient_Rome?f_ri=35544"},{"id":170118,"name":"Historia de Roma","url":"https://www.academia.edu/Documents/in/Historia_de_Roma?f_ri=35544"},{"id":222284,"name":"Ancient Greece and Rome","url":"https://www.academia.edu/Documents/in/Ancient_Greece_and_Rome?f_ri=35544"},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544"},{"id":455271,"name":"Roman Criminal Law","url":"https://www.academia.edu/Documents/in/Roman_Criminal_Law?f_ri=35544"},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544"},{"id":1031478,"name":"Urban Studies: Constantinople/Istanbul","url":"https://www.academia.edu/Documents/in/Urban_Studies_Constantinople_Istanbul?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29580021" data-work_id="29580021" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29580021/Sundials_on_Ancient_Mosaics_monograph_paper_pdf_">Sundials on Ancient Mosaics - monograph (paper-pdf)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29580021" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together  in this  publication  the sundials  already known (Torre Anunzaiata, Sarsina, Trier, Saint-Romain-en-Gal, Antiochia and Brading; Figs. 1, 2, 4, 5, 7, 9) and those which have  not  previously  been  identified.  Thanks  to  the author’s  new  identifcations,  the  catalogue  has  been enlarged  by  six  new  sundials (Grand,Tarsus, Antioch – interpreted by H. Pamir; Figs.  3, 6,  8, and 10. Tayibat al-Imam, Jerusalem and Umm al-Rasas (Sebastis); Figs. 10, 11, 12) and three monumental gnomes-columns with multiple functions that were used as monumental sundials [Madaba (Jerusalem), Umm al-Rasas (Kastron Mefaa) and Rome (Jerusalem); Figs. 13–15]. In addition, recognizing fully John H. Humphrey’s  interpretations,  the  author  enriches  the catalogue  by  eight  ancient  mosaic  representations  of obelisks in  circuses (Lyon, Barcelona, Volubilis, Piazza Armerina - two mosaics, Girona, Carthage and Gafsa; Figs.  16–23).  They  performed the roles of monumental sundials. In this way, the catalogue includes  twenty-three  mosaics with  the representations of sundials. They come from the Western and Eastern Provinces of the Roman Empire. The first mosaic is dated to the beginning of the 1st century AD and the last dates to the 9th century AD. The author, after  a  short  description  of each monument,  summarizes the issue discussing the role of sundials in Roman and Byzantine society, their complex signifcance and symbolic difficult linked with the progress of time on which nature and human life are dependent.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29580021" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3b573e515abf5057a420f4aba3223ab3" rel="nofollow" data-download="{"attachment_id":103467943,"asset_id":29580021,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/103467943/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2037251" href="https://uw.academia.edu/MarekTitienOlszewski">Marek Titien Olszewski (Marek Tycjan Olszewski)</a><script data-card-contents-for-user="2037251" type="text/json">{"id":2037251,"first_name":"Marek Titien","last_name":"Olszewski (Marek Tycjan Olszewski)","domain_name":"uw","page_name":"MarekTitienOlszewski","display_name":"Marek Titien Olszewski (Marek Tycjan Olszewski)","profile_url":"https://uw.academia.edu/MarekTitienOlszewski?f_ri=35544","photo":"https://0.academia-photos.com/2037251/673950/1032526/s65_marek_titien.olszewski_marek_tycjan_olszewski_.jpg"}</script></span></span></li><li class="js-paper-rank-work_29580021 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29580021"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29580021, container: ".js-paper-rank-work_29580021", }); 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$(".js-view-count[data-work-id=29580021]").text(description); $(".js-view-count-work_29580021").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29580021").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29580021"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">165</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="130" rel="nofollow" href="https://www.academia.edu/Documents/in/Ancient_History">Ancient History</a>, <script data-card-contents-for-ri="130" type="text/json">{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="132" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_Science_and_Technology">History of Science and Technology</a>, <script data-card-contents-for-ri="132" type="text/json">{"id":132,"name":"History of Science and Technology","url":"https://www.academia.edu/Documents/in/History_of_Science_and_Technology?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="393" rel="nofollow" href="https://www.academia.edu/Documents/in/Classical_Archaeology">Classical Archaeology</a>, <script data-card-contents-for-ri="393" type="text/json">{"id":393,"name":"Classical Archaeology","url":"https://www.academia.edu/Documents/in/Classical_Archaeology?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="397" rel="nofollow" href="https://www.academia.edu/Documents/in/Near_Eastern_Archaeology">Near Eastern Archaeology</a><script data-card-contents-for-ri="397" type="text/json">{"id":397,"name":"Near Eastern Archaeology","url":"https://www.academia.edu/Documents/in/Near_Eastern_Archaeology?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29580021]'), work: {"id":29580021,"title":"Sundials on Ancient Mosaics - monograph (paper-pdf)","created_at":"2016-11-01T00:20:27.233-07:00","url":"https://www.academia.edu/29580021/Sundials_on_Ancient_Mosaics_monograph_paper_pdf_?f_ri=35544","dom_id":"work_29580021","summary":"Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the sundials already known (Torre Anunzaiata, Sarsina, Trier, Saint-Romain-en-Gal, Antiochia and Brading; Figs. 1, 2, 4, 5, 7, 9) and those which have not previously been identified. Thanks to the author’s new identifcations, the catalogue has been enlarged by six new sundials (Grand,Tarsus, Antioch – interpreted by H. Pamir; Figs. 3, 6, 8, and 10.\tTayibat al-Imam, Jerusalem and Umm al-Rasas (Sebastis); Figs. 10, 11, 12) and three monumental gnomes-columns with multiple functions that were used as monumental sundials [Madaba (Jerusalem), Umm al-Rasas (Kastron Mefaa) and Rome (Jerusalem); Figs. 13–15]. In addition, recognizing fully John H. Humphrey’s interpretations, the author enriches the catalogue by eight ancient mosaic representations of obelisks in circuses (Lyon, Barcelona, Volubilis, Piazza Armerina - two mosaics, Girona, Carthage and Gafsa; Figs. 16–23). They performed the roles of monumental sundials. In this way, the catalogue includes twenty-three mosaics with the representations of sundials. They come from the Western and Eastern Provinces of the Roman Empire. The first mosaic is dated to the beginning of the 1st century AD and the last dates to the 9th century AD. The author, after a short description of each monument, summarizes the issue discussing the role of sundials in Roman and Byzantine society, their complex signifcance and symbolic difficult linked with the progress of time on which nature and human life are dependent.","downloadable_attachments":[{"id":103467943,"asset_id":29580021,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2037251,"first_name":"Marek Titien","last_name":"Olszewski (Marek Tycjan Olszewski)","domain_name":"uw","page_name":"MarekTitienOlszewski","display_name":"Marek Titien Olszewski (Marek Tycjan Olszewski)","profile_url":"https://uw.academia.edu/MarekTitienOlszewski?f_ri=35544","photo":"https://0.academia-photos.com/2037251/673950/1032526/s65_marek_titien.olszewski_marek_tycjan_olszewski_.jpg"}],"research_interests":[{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=35544","nofollow":true},{"id":132,"name":"History of Science and 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href="https://www.academia.edu/34589622/Wanted_A_Remarkable_Piece_of_History">Wanted: A Remarkable Piece of History</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Beyond the devastation and tragedy of human lives precipitated by the conflict in Syria, priceless representations of ancient culture and history have likewise fallen victim to a seemingly never-ending maelstrom of destruction. Ancient... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34589622" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Beyond the devastation and tragedy of human lives precipitated by the conflict in Syria, priceless representations of ancient culture and history have likewise fallen victim to a seemingly never-ending maelstrom of destruction. Ancient monuments and art have either been destroyed, damaged, or lost as chaos persists in a region that has for thousands of years seen the footprint of a parade of civilizations. (...)<br />The scenes tell the story of the founding of Pella/Apamea and further development of this city on the Orontes river. Three main groups of scenes can be distinguished: (1) the foundation of Pella-on-the-Orontes by the legendary Archippos, (2) the (re)foundation of the city as Apamea-on-the-Orontes (earlier Pella-on-the-Orontes) by Seleucus I Nikator and the simultaneous financial generosity of his wife, Apama, for the development of the new Seleucid colony in 300 BC, and (3) the raising of the town fortifications around monumental public buildings and an illustration of the daily life of a joyous people living in the rich Apamean agglomeration and hinterland. Features of style date the panels to the 4th century AD.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34589622" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b5aad4e59b9aa37f8151fb19122d932f" rel="nofollow" data-download="{"attachment_id":54455405,"asset_id":34589622,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54455405/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2037251" href="https://uw.academia.edu/MarekTitienOlszewski">Marek Titien Olszewski (Marek Tycjan Olszewski)</a><script data-card-contents-for-user="2037251" type="text/json">{"id":2037251,"first_name":"Marek Titien","last_name":"Olszewski (Marek Tycjan Olszewski)","domain_name":"uw","page_name":"MarekTitienOlszewski","display_name":"Marek Titien Olszewski (Marek Tycjan Olszewski)","profile_url":"https://uw.academia.edu/MarekTitienOlszewski?f_ri=35544","photo":"https://0.academia-photos.com/2037251/673950/1032526/s65_marek_titien.olszewski_marek_tycjan_olszewski_.jpg"}</script></span></span></li><li class="js-paper-rank-work_34589622 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34589622"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34589622, container: ".js-paper-rank-work_34589622", }); 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href="https://www.academia.edu/45262854/Racetrack_to_Salvation_The_Circus_the_Basilica_and_the_Martyr">Racetrack to Salvation: The Circus, the Basilica, and the Martyr</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Six basilicas constructed by Christians in fourth-century Rome relate purposefully to ancient athletic structures, namely the circus and the stadium. This relationship grew out of the shared cultural traditions of classical athleticism... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45262854" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Six basilicas constructed by Christians in fourth-century Rome relate purposefully to ancient athletic structures, namely the circus and the stadium.  This relationship grew out of the shared cultural traditions of classical athleticism and the cult of Christian martyrs materialized in the built-environment and serving mixed religious audiences.  These six “circus basilicas” mimicked the most iconic features of Roman racetracks whether designed for sturdy horses or swift humans.  The similarities in design between circus and basilica were not mere accidents of history bearing only pseudo-resemblances to pagan monuments.  Rather, the architectural features of circus basilicas bear witness to an ancient Christianity practiced outside the city walls in the fourth century only to be eclipsed by newer styles of worship in subsequent epochs.  Here, the martyr keeps company with the charioteer; the pagan dissolves seamlessly into the Christian; the godhead metamorphoses into the ultimate spectator at the games; and the athletic spaces of the later Roman Empire transmute into a racetrack to salvation. This subject is not new, but typically scholars have located the circus basilica within the context of classical hero cults rather than the cult of Christian martyrs.  This article brings together a wealth of sources—architectural, archaeological, artistic, and literary—combined with interdisciplinary methodologies to demonstrate how the Roman votaries of Jesus harnessed the cultural prestige and cosmological systems of the circus to promulgate the faith and exercise cultural dominion over the empire.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45262854" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a71a9b46428d4769178ffae608d3056d" rel="nofollow" data-download="{"attachment_id":65826501,"asset_id":45262854,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65826501/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4385789" href="https://uark.academia.edu/KimSexton">Kim Sexton</a><script data-card-contents-for-user="4385789" type="text/json">{"id":4385789,"first_name":"Kim","last_name":"Sexton","domain_name":"uark","page_name":"KimSexton","display_name":"Kim Sexton","profile_url":"https://uark.academia.edu/KimSexton?f_ri=35544","photo":"https://0.academia-photos.com/4385789/51663594/39746153/s65_kim.sexton.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-45262854">+1</span><div class="hidden js-additional-users-45262854"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/LyndaCoon">Lynda Coon</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-45262854'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-45262854').html(); 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This relationship grew out of the shared cultural traditions of classical athleticism and the cult of Christian martyrs materialized in the built-environment and serving mixed religious audiences. These six “circus basilicas” mimicked the most iconic features of Roman racetracks whether designed for sturdy horses or swift humans. The similarities in design between circus and basilica were not mere accidents of history bearing only pseudo-resemblances to pagan monuments. Rather, the architectural features of circus basilicas bear witness to an ancient Christianity practiced outside the city walls in the fourth century only to be eclipsed by newer styles of worship in subsequent epochs. Here, the martyr keeps company with the charioteer; the pagan dissolves seamlessly into the Christian; the godhead metamorphoses into the ultimate spectator at the games; and the athletic spaces of the later Roman Empire transmute into a racetrack to salvation. This subject is not new, but typically scholars have located the circus basilica within the context of classical hero cults rather than the cult of Christian martyrs. This article brings together a wealth of sources—architectural, archaeological, artistic, and literary—combined with interdisciplinary methodologies to demonstrate how the Roman votaries of Jesus harnessed the cultural prestige and cosmological systems of the circus to promulgate the faith and exercise cultural dominion over the empire. 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The terracotta plaques... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12842833" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The paper examines the epigraphic dossier regarding Annia Arescusa, a domina involved in the manufacture of different kinds of construction material, architectural terracottas (“Lastre campana”), bricks and tiles. The terracotta plaques depict two different iconographies connected to the chariot races in the circus maximus, a race and a naufragium. The structure of the production, dated to the 1st century AD, involved the activity of a slave, Flamma, known from the stamps first as a servus and later as a freedman.<br />---<br />Il contributo prende in esame l’insieme di testimonianze epigrafiche che riguardano Annia Arescusa, una domina responsabile di una produzione di materiale da costruzione fittile e attestata dai marchi noti sia su lastre architettoniche di rivestimento, raffiguranti due varianti di scene circensi, una corsa di quadriga e un naufragium, sia su tegole e mattoni. La struttura dell’attività manifatturiera, collocabile nel I secolo d.C., vede la partecipazione anche di un schiavo, Flamma, che marchia anch’egli prima come servus e poi a seguito della propria emancipazione come liberto.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12842833" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4b22322502bcc2e5849ca73f912c169c" rel="nofollow" data-download="{"attachment_id":45963076,"asset_id":12842833,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45963076/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="970432" href="https://ub.academia.edu/SilviaBraito">Silvia Braito</a><script data-card-contents-for-user="970432" type="text/json">{"id":970432,"first_name":"Silvia","last_name":"Braito","domain_name":"ub","page_name":"SilviaBraito","display_name":"Silvia Braito","profile_url":"https://ub.academia.edu/SilviaBraito?f_ri=35544","photo":"https://0.academia-photos.com/970432/2643118/3074180/s65_silvia.braito.jpg"}</script></span></span></li><li class="js-paper-rank-work_12842833 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12842833"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12842833, container: ".js-paper-rank-work_12842833", }); 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The terracotta plaques depict two different iconographies connected to the chariot races in the circus maximus, a race and a naufragium. The structure of the production, dated to the 1st century AD, involved the activity of a slave, Flamma, known from the stamps first as a servus and later as a freedman.\n---\nIl contributo prende in esame l’insieme di testimonianze epigrafiche che riguardano Annia Arescusa, una domina responsabile di una produzione di materiale da costruzione fittile e attestata dai marchi noti sia su lastre architettoniche di rivestimento, raffiguranti due varianti di scene circensi, una corsa di quadriga e un naufragium, sia su tegole e mattoni. La struttura dell’attività manifatturiera, collocabile nel I secolo d.C., vede la partecipazione anche di un schiavo, Flamma, che marchia anch’egli prima come servus e poi a seguito della propria emancipazione come liberto.","downloadable_attachments":[{"id":45963076,"asset_id":12842833,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":970432,"first_name":"Silvia","last_name":"Braito","domain_name":"ub","page_name":"SilviaBraito","display_name":"Silvia Braito","profile_url":"https://ub.academia.edu/SilviaBraito?f_ri=35544","photo":"https://0.academia-photos.com/970432/2643118/3074180/s65_silvia.braito.jpg"}],"research_interests":[{"id":15807,"name":"Latin Epigraphy","url":"https://www.academia.edu/Documents/in/Latin_Epigraphy?f_ri=35544","nofollow":true},{"id":23640,"name":"Roman Economy","url":"https://www.academia.edu/Documents/in/Roman_Economy?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":86046,"name":"Roman brick and tile","url":"https://www.academia.edu/Documents/in/Roman_brick_and_tile?f_ri=35544","nofollow":true},{"id":173590,"name":"Epigrafia","url":"https://www.academia.edu/Documents/in/Epigrafia?f_ri=35544"},{"id":181635,"name":"Roman Women","url":"https://www.academia.edu/Documents/in/Roman_Women?f_ri=35544"},{"id":198375,"name":"Epigraphy on Instrumentum Domesticum","url":"https://www.academia.edu/Documents/in/Epigraphy_on_Instrumentum_Domesticum?f_ri=35544"},{"id":200525,"name":"Roman Brick Industry - Brickstamps","url":"https://www.academia.edu/Documents/in/Roman_Brick_Industry_-_Brickstamps?f_ri=35544"},{"id":340442,"name":"Instrumentum Inscriptum","url":"https://www.academia.edu/Documents/in/Instrumentum_Inscriptum?f_ri=35544"},{"id":1111922,"name":"Lastre Campana","url":"https://www.academia.edu/Documents/in/Lastre_Campana?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1833186" data-work_id="1833186" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1833186/Les_courses_de_chars_sur_les_intailles_romaines_inscriptions_variantes_et_diffusion">Les courses de chars sur les intailles romaines : inscriptions, variantes et diffusion</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">La problématique des courses de chars sur les pierres gravées vue au travers de la dimension épigraphique. Étude sur les configurations d'inscriptions que l'on trouve en lien avec l'iconographie agonistique.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1833186" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="94668658686ef5e9867a969e301f97c0" rel="nofollow" data-download="{"attachment_id":25548589,"asset_id":1833186,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/25548589/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2245857" href="https://ulg.academia.edu/S%C3%A9bastienAubry">Sébastien Aubry</a><script data-card-contents-for-user="2245857" type="text/json">{"id":2245857,"first_name":"Sébastien","last_name":"Aubry","domain_name":"ulg","page_name":"SébastienAubry","display_name":"Sébastien Aubry","profile_url":"https://ulg.academia.edu/S%C3%A9bastienAubry?f_ri=35544","photo":"https://0.academia-photos.com/2245857/716282/6982990/s65_s_bastien.aubry.jpg"}</script></span></span></li><li class="js-paper-rank-work_1833186 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1833186"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1833186, container: ".js-paper-rank-work_1833186", }); 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Étude sur les configurations d'inscriptions que l'on trouve en lien avec l'iconographie agonistique.","downloadable_attachments":[{"id":25548589,"asset_id":1833186,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2245857,"first_name":"Sébastien","last_name":"Aubry","domain_name":"ulg","page_name":"SébastienAubry","display_name":"Sébastien Aubry","profile_url":"https://ulg.academia.edu/S%C3%A9bastienAubry?f_ri=35544","photo":"https://0.academia-photos.com/2245857/716282/6982990/s65_s_bastien.aubry.jpg"}],"research_interests":[{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":97419,"name":"Inscriptions","url":"https://www.academia.edu/Documents/in/Inscriptions?f_ri=35544","nofollow":true},{"id":458520,"name":"Roman Glyptics and Jewelry","url":"https://www.academia.edu/Documents/in/Roman_Glyptics_and_Jewelry?f_ri=35544","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_201883" data-work_id="201883" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/201883/_Responding_to_the_Antique_A_Rediscovered_Roman_Circus_Sarcophagus_and_its_Renaissance_Afterlife_Pegasus_Berliner_Beitr%C3%A4ge_zum_Nachleben_der_Antike_7_2005_49_80">"Responding to the Antique. A Rediscovered Roman Circus Sarcophagus and its Renaissance Afterlife." Pegasus. Berliner Beiträge zum Nachleben der Antike 7 (2005) 49–80.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/201883" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d4b8930c24ee8a7a1b802439e3d5140e" rel="nofollow" data-download="{"attachment_id":36997904,"asset_id":201883,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36997904/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="89861" href="https://niu.academia.edu/SinclairBell">Sinclair W Bell</a><script data-card-contents-for-user="89861" type="text/json">{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}</script></span></span></li><li class="js-paper-rank-work_201883 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="201883"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 201883, container: ".js-paper-rank-work_201883", }); 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J.-C. - IXe siècle ap. J.-C.) / Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is a scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the sundials already known (Torre Anunzaiata, Sarsina, Trier,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22653583" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together  in this  publication  the sundials  already known (Torre Anunzaiata, Sarsina, Trier, Saint-Romain-en-Gal, Antiochia and Brading; Figs. 1, 2, 4, 5, 7, 9) and those which have  not  previously  been  identified.  Thanks  to  the author’s  new  identifcations,  the  catalogue  has  been enlarged  by  six  new  sundials (Grand,Tarsus, Antioch – interpreted by H. Pamir; Figs.  3, 6,  8, and 10. Tayibat al-Imam, Jerusalem and Umm al-Rasas (Sebastis); Figs. 10, 11, 12) and three monumental gnomes-columns with multiple functions that were used as monumental sundials [Madaba (Jerusalem), Umm al-Rasas (Kastron Mefaa) and Rome (Jerusalem); Figs. 13–15]. In addition, recognizing fully John H. Humphrey’s  interpretations,  the  author  enriches  the catalogue  by  eight  ancient  mosaic  representations  of obelisks in  circuses (Lyon, Barcelona, Volubilis, Piazza Armerina - two mosaics, Girona, Carthage and Gafsa; Figs.  16–23).  They  performed the roles of monumental sundials. In this way, the catalogue includes  twenty-three  mosaics with  the representations of sundials. They come from the Western and Eastern Provinces of the Roman Empire. The first mosaic is dated to the beginning of the 1st century AD and the last dates to the 9th century AD. The author, after  a  short  description  of each monument,  summarizes the issue discussing the role of sundials in Roman and Byzantine society, their complex signifcance and symbolic dificult linked with the progress of time on which nature and human life are dependent.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22653583" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="843960ea1ac4ed3991502694c79ef1d4" rel="nofollow" data-download="{"attachment_id":43821110,"asset_id":22653583,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43821110/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2037251" href="https://uw.academia.edu/MarekTitienOlszewski">Marek Titien Olszewski (Marek Tycjan Olszewski)</a><script data-card-contents-for-user="2037251" type="text/json">{"id":2037251,"first_name":"Marek Titien","last_name":"Olszewski (Marek Tycjan Olszewski)","domain_name":"uw","page_name":"MarekTitienOlszewski","display_name":"Marek Titien Olszewski (Marek Tycjan Olszewski)","profile_url":"https://uw.academia.edu/MarekTitienOlszewski?f_ri=35544","photo":"https://0.academia-photos.com/2037251/673950/1032526/s65_marek_titien.olszewski_marek_tycjan_olszewski_.jpg"}</script></span></span></li><li class="js-paper-rank-work_22653583 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22653583"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22653583, container: ".js-paper-rank-work_22653583", }); 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J.-C. - IXe siècle ap. J.-C.) / Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD)","created_at":"2016-03-01T07:59:10.958-08:00","url":"https://www.academia.edu/22653583/Les_cadrans_solaires_dans_les_mosa%C3%AFques_romaines_et_byzantines_Ier_si%C3%A8cle_ap_J_C_IXe_si%C3%A8cle_ap_J_C_Sundials_in_Roman_and_Byzantine_Mosaics_1st_9th_Century_AD_?f_ri=35544","dom_id":"work_22653583","summary":"This is a scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the sundials already known (Torre Anunzaiata, Sarsina, Trier, Saint-Romain-en-Gal, Antiochia and Brading; Figs. 1, 2, 4, 5, 7, 9) and those which have not previously been identified. Thanks to the author’s new identifcations, the catalogue has been enlarged by six new sundials (Grand,Tarsus, Antioch – interpreted by H. Pamir; Figs. 3, 6, 8, and 10.\tTayibat al-Imam, Jerusalem and\tUmm al-Rasas (Sebastis); Figs. 10, 11, 12) and three monumental gnomes-columns with multiple functions that were used as monumental sundials [Madaba (Jerusalem), Umm al-Rasas (Kastron Mefaa) and Rome (Jerusalem); Figs. 13–15]. In addition, recognizing fully John H. Humphrey’s interpretations, the author enriches the catalogue by eight ancient mosaic representations of obelisks in circuses (Lyon, Barcelona, Volubilis, Piazza Armerina - two mosaics, Girona, Carthage and Gafsa; Figs. 16–23). They performed the roles of monumental sundials. In this way, the catalogue includes twenty-three mosaics with the representations of sundials. They come from the Western and Eastern Provinces of the Roman Empire. The first mosaic is dated to the beginning of the 1st century AD and the last dates to the 9th century AD. The author, after a short description of each monument, summarizes the issue discussing the role of sundials in Roman and Byzantine society, their complex signifcance and symbolic dificult linked with the progress of time on which nature and human life are dependent.","downloadable_attachments":[{"id":43821110,"asset_id":22653583,"asset_type":"Work","always_allow_download":false},{"id":50024481,"asset_id":22653583,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2037251,"first_name":"Marek Titien","last_name":"Olszewski (Marek Tycjan Olszewski)","domain_name":"uw","page_name":"MarekTitienOlszewski","display_name":"Marek Titien Olszewski (Marek Tycjan Olszewski)","profile_url":"https://uw.academia.edu/MarekTitienOlszewski?f_ri=35544","photo":"https://0.academia-photos.com/2037251/673950/1032526/s65_marek_titien.olszewski_marek_tycjan_olszewski_.jpg"}],"research_interests":[{"id":393,"name":"Classical 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href="https://www.academia.edu/35125710/ROMAN_CHARIOT_RACINGS_Il_circo_di_terracotta_gli_aurighi_di_Gaius_Valerius_Verdullus_in_Epigraphica_79_2017_pp_207_251">ROMAN CHARIOT RACINGS / Il circo di terracotta: gli aurighi di Gaius Valerius Verdullus, in Epigraphica 79, 2017, pp. 207-251.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this work are collected all the fragments of thin walled ware signed by Gaius Valerius Verdullus with chariot races scenes. Their study allows dating the activity of the ceramist and to trace the literary sources and the fi gured ones... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35125710" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this work are collected all the fragments of thin walled ware signed by Gaius Valerius Verdullus with chariot races scenes. Their study allows dating the activity of the ceramist and to trace the literary sources and the fi gured ones from which he drew inspiration.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35125710" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8f93dcae5d422abe4e7fe4770bdd71c3" rel="nofollow" data-download="{"attachment_id":54986876,"asset_id":35125710,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54986876/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="735013" href="https://unimc.academia.edu/z">Giulia Baratta</a><script data-card-contents-for-user="735013" type="text/json">{"id":735013,"first_name":"Giulia","last_name":"Baratta","domain_name":"unimc","page_name":"z","display_name":"Giulia Baratta","profile_url":"https://unimc.academia.edu/z?f_ri=35544","photo":"https://0.academia-photos.com/735013/2645348/3077900/s65_giulia.baratta.jpg"}</script></span></span></li><li class="js-paper-rank-work_35125710 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35125710"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35125710, container: ".js-paper-rank-work_35125710", }); 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(2018/2019) [2021] "The Costume of the Roman Charioteer: New Insights from a Statue Fragment in Hadrumentum (Sousse) and Related Sources." Boreas. Münstersche Beiträge zur Archäologie 41/42: 73-87 + pls.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article focuses on a fragmentary standing statue of a male figure now preserved in the archaeological museum at Sousse, where it is exhibited as a »Dioscurus«. Through comparison with images in numerous media, the marble fragment is... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40426194" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article focuses on a fragmentary standing statue of a male figure now preserved in the archaeological museum at Sousse, where it is exhibited as a »Dioscurus«. Through comparison with images in numerous media, the marble fragment is securely identified on new grounds as having belonged to the statue of a Roman charioteer, a genre that is rarely preserved in the archaeological record. The article concentrates on the preserved imagery (the right leg, prize crown, and horse protome), which it analyzes in comparison with a range of visual, literary, and epigraphic evidence. In addition, it adds a largely overlooked detail (leg protectors) to our knowledge of the charioteer's costume. The article also speculates about the statue's viewership and significance within its wider social-cultural setting: the horse-racing culture of Roman North Africa.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40426194" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c749319b7d8de445fb8303025e435ac9" rel="nofollow" data-download="{"attachment_id":74029766,"asset_id":40426194,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/74029766/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="89861" href="https://niu.academia.edu/SinclairBell">Sinclair W Bell</a><script data-card-contents-for-user="89861" type="text/json">{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}</script></span></span></li><li class="js-paper-rank-work_40426194 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40426194"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40426194, container: ".js-paper-rank-work_40426194", }); 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(2018/2019) [2021] \"The Costume of the Roman Charioteer: New Insights from a Statue Fragment in Hadrumentum (Sousse) and Related Sources.\" Boreas. Münstersche Beiträge zur Archäologie 41/42: 73-87 + pls.","created_at":"2019-09-23T15:35:34.922-07:00","url":"https://www.academia.edu/40426194/Bell_Sinclair_W_2018_2019_2021_The_Costume_of_the_Roman_Charioteer_New_Insights_from_a_Statue_Fragment_in_Hadrumentum_Sousse_and_Related_Sources_Boreas_M%C3%BCnstersche_Beitr%C3%A4ge_zur_Arch%C3%A4ologie_41_42_73_87_pls?f_ri=35544","dom_id":"work_40426194","summary":"This article focuses on a fragmentary standing statue of a male figure now preserved in the archaeological museum at Sousse, where it is exhibited as a »Dioscurus«. Through comparison with images in numerous media, the marble fragment is securely identified on new grounds as having belonged to the statue of a Roman charioteer, a genre that is rarely preserved in the archaeological record. The article concentrates on the preserved imagery (the right leg, prize crown, and horse protome), which it analyzes in comparison with a range of visual, literary, and epigraphic evidence. In addition, it adds a largely overlooked detail (leg protectors) to our knowledge of the charioteer's costume. The article also speculates about the statue's viewership and significance within its wider social-cultural setting: the horse-racing culture of Roman North Africa.","downloadable_attachments":[{"id":74029766,"asset_id":40426194,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}],"research_interests":[{"id":24068,"name":"Roman North Africa (Archaeology)","url":"https://www.academia.edu/Documents/in/Roman_North_Africa_Archaeology_?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":51783,"name":"Greek and Roman magic","url":"https://www.academia.edu/Documents/in/Greek_and_Roman_magic?f_ri=35544","nofollow":true},{"id":78575,"name":"Roman North Africa","url":"https://www.academia.edu/Documents/in/Roman_North_Africa?f_ri=35544","nofollow":true},{"id":85515,"name":"Roman Sculpture","url":"https://www.academia.edu/Documents/in/Roman_Sculpture?f_ri=35544"},{"id":119014,"name":"Roman Art","url":"https://www.academia.edu/Documents/in/Roman_Art?f_ri=35544"},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544"},{"id":472886,"name":"Roman Circus","url":"https://www.academia.edu/Documents/in/Roman_Circus?f_ri=35544"},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35512703" data-work_id="35512703" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35512703/Arquitectura_auxiliar_y_perif%C3%A9rica_del_circo_romano_de_M%C3%A9rida">Arquitectura auxiliar y periférica del circo romano de Mérida.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35512703" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d16dc874f8d368037958f9f157aeeb51" rel="nofollow" data-download="{"attachment_id":55377612,"asset_id":35512703,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55377612/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1880887" href="https://independent.academia.edu/javierheras">Javier Heras Mora</a><script data-card-contents-for-user="1880887" type="text/json">{"id":1880887,"first_name":"Javier","last_name":"Heras Mora","domain_name":"independent","page_name":"javierheras","display_name":"Javier Heras Mora","profile_url":"https://independent.academia.edu/javierheras?f_ri=35544","photo":"https://0.academia-photos.com/1880887/2571518/2986515/s65_javier.heras_mora.jpg"}</script></span></span></li><li class="js-paper-rank-work_35512703 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35512703"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35512703, container: ".js-paper-rank-work_35512703", }); 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Sofern in dem Dokument nichts anderes ausdrücklich vermerkt ist, gelten folgende Nutzungsbedingungen: Die Nutzung der Inhalte ist ausschließlich privaten... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_61992337" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen von iDAI.publications an. Sofern in dem Dokument nichts anderes ausdrücklich vermerkt ist, gelten folgende Nutzungsbedingungen: Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. 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Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeber*innen der jeweiligen Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/61992337" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9650e79b7bf22024d3c20bbd45eb90fd" rel="nofollow" data-download="{"attachment_id":114224736,"asset_id":61992337,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/114224736/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1699665" href="https://independent.academia.edu/PierLuigiTucci">Pier Luigi Tucci</a><script data-card-contents-for-user="1699665" type="text/json">{"id":1699665,"first_name":"Pier Luigi","last_name":"Tucci","domain_name":"independent","page_name":"PierLuigiTucci","display_name":"Pier Luigi Tucci","profile_url":"https://independent.academia.edu/PierLuigiTucci?f_ri=35544","photo":"https://0.academia-photos.com/1699665/587165/68906365/s65_pier_luigi.tucci.jpg"}</script></span></span></li><li class="js-paper-rank-work_61992337 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="61992337"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 61992337, container: ".js-paper-rank-work_61992337", }); 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Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeber*innen der jeweiligen Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts","downloadable_attachments":[{"id":114224736,"asset_id":61992337,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1699665,"first_name":"Pier Luigi","last_name":"Tucci","domain_name":"independent","page_name":"PierLuigiTucci","display_name":"Pier Luigi Tucci","profile_url":"https://independent.academia.edu/PierLuigiTucci?f_ri=35544","photo":"https://0.academia-photos.com/1699665/587165/68906365/s65_pier_luigi.tucci.jpg"}],"research_interests":[{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=35544","nofollow":true},{"id":829,"name":"Roman History","url":"https://www.academia.edu/Documents/in/Roman_History?f_ri=35544","nofollow":true},{"id":11076,"name":"Late Antiquity","url":"https://www.academia.edu/Documents/in/Late_Antiquity?f_ri=35544","nofollow":true},{"id":13506,"name":"Topography of Ancient Rome (Archaeology)","url":"https://www.academia.edu/Documents/in/Topography_of_Ancient_Rome_Archaeology_?f_ri=35544","nofollow":true},{"id":18121,"name":"Imperial Rome","url":"https://www.academia.edu/Documents/in/Imperial_Rome?f_ri=35544"},{"id":21324,"name":"Roman Army","url":"https://www.academia.edu/Documents/in/Roman_Army?f_ri=35544"},{"id":21346,"name":"Graffiti","url":"https://www.academia.edu/Documents/in/Graffiti?f_ri=35544"},{"id":31375,"name":"Ancient Graffiti (Archaeology)","url":"https://www.academia.edu/Documents/in/Ancient_Graffiti_Archaeology_?f_ri=35544"},{"id":33438,"name":"Ancient Greek and Roman Art","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art?f_ri=35544"},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544"},{"id":35546,"name":"Roman Temples","url":"https://www.academia.edu/Documents/in/Roman_Temples?f_ri=35544"},{"id":69792,"name":"Ancient Rome","url":"https://www.academia.edu/Documents/in/Ancient_Rome?f_ri=35544"},{"id":84391,"name":"Spolia","url":"https://www.academia.edu/Documents/in/Spolia?f_ri=35544"},{"id":92312,"name":"late antique Rome","url":"https://www.academia.edu/Documents/in/late_antique_Rome?f_ri=35544"},{"id":99285,"name":"Roman Architecture","url":"https://www.academia.edu/Documents/in/Roman_Architecture?f_ri=35544"},{"id":119014,"name":"Roman Art","url":"https://www.academia.edu/Documents/in/Roman_Art?f_ri=35544"},{"id":380810,"name":"Ancient Roman Topography","url":"https://www.academia.edu/Documents/in/Ancient_Roman_Topography?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40032531" data-work_id="40032531" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40032531/_Saltimbanques_et_circulation_de_jeux_in_V_Dasen_U_Sch%C3%A4dler_dir_Dossier_Jouer_dans_l_Antiquit%C3%A9_Identit%C3%A9_et_multiculturalit%C3%A9_Games_and_Play_in_Antiquity_Identity_and_Multiculturality_Archim%C3%A8de_Arch%C3%A9ologie_et_histoire_ancienne_6_2019_127_143">‘Saltimbanques et circulation de jeux’, in V. Dasen, U. Schädler (dir.), Dossier Jouer dans l’Antiquité. Identité et multiculturalité/Games and Play in Antiquity. Identity and Multiculturality, Archimède. Archéologie et histoire ancienne, 6, 2019, 127-143.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This publication is part of the ERC project Locus Ludi 741520 (locusludi.ch). In classical antiquity, acrobats were one of the vectors of the circulation of playful objects and skills, such as juggling, tightrope walking, hooping,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40032531" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This publication is part of the ERC project Locus Ludi 741520 (locusludi.ch). In classical antiquity, acrobats were one of the vectors of the circulation of playful objects and skills, such as juggling, tightrope walking, hooping, equilibrism and animal shows. Various fragmentary documents enable to grasp the contours of their proteiform identity and of their different activities. Designated by various terms (thaumatopoioi, thaumatourgoi, planoi, circulatores) often associated with distant lands (Egypt, India), or with the physical difference, like dwarfism, these artists participate in the cultural “kaleidoscope” of the Hellenistic and Roman times. The literary discourse contributes to the construction of an otherness that is strongly reflected in iconography, such as the Pompeii tightrope satyrs or the graffito from Aphrodisias. <br />Dans l’Antiquité classique, les saltimbanques ont constitué l’un des vecteurs de la circulation d’objets et de techniques ludiques, comme le jonglage, le funambulisme, les jeux d’adresse et d’équilibrisme avec un cerceau, une échelle et des animaux. Des documents très variés, mais fragmentaires, permettent de saisir les contours de leur identité protéiforme et de leurs diverses activités. Désignés par différents <br />termes (thaumatopoioi, thaumatourgoi, planoi, circulatores), <br />souvent associés à des contrées lointaines (Égypte, Inde), ou à la différence physique, comme le nanisme, les acrobates participent au «kaléidoscope » culturel de l’époque hellénistique et romaine. Le discours littéraire contribue à la construction d’une altérité qui trouve une expression particulièrement forte dans l’iconographie, comme le montrent les satyres funambules de Pompéi et un graffito d’Aphrodisias.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40032531" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e328077ac868779fef085cfff4fb500f" rel="nofollow" data-download="{"attachment_id":60229294,"asset_id":40032531,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60229294/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4288034" href="https://unifr.academia.edu/VeroniqueDasen">Veronique Dasen</a><script data-card-contents-for-user="4288034" type="text/json">{"id":4288034,"first_name":"Veronique","last_name":"Dasen","domain_name":"unifr","page_name":"VeroniqueDasen","display_name":"Veronique Dasen","profile_url":"https://unifr.academia.edu/VeroniqueDasen?f_ri=35544","photo":"https://0.academia-photos.com/4288034/1709448/18209371/s65_v_ronique.dasen.jpg"}</script></span></span></li><li class="js-paper-rank-work_40032531 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40032531"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40032531, container: ".js-paper-rank-work_40032531", }); 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$(".js-view-count[data-work-id=40032531]").text(description); $(".js-view-count-work_40032531").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40032531").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40032531"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15460" rel="nofollow" href="https://www.academia.edu/Documents/in/Juggling">Juggling</a>, <script data-card-contents-for-ri="15460" type="text/json">{"id":15460,"name":"Juggling","url":"https://www.academia.edu/Documents/in/Juggling?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35544" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Circuses">Roman Circuses</a>, <script data-card-contents-for-ri="35544" type="text/json">{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="46610" rel="nofollow" href="https://www.academia.edu/Documents/in/Childrens_Play">Children's Play</a>, <script data-card-contents-for-ri="46610" type="text/json">{"id":46610,"name":"Children's Play","url":"https://www.academia.edu/Documents/in/Childrens_Play?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="50422" rel="nofollow" href="https://www.academia.edu/Documents/in/The_sociology_of_ancient_spectacle">The sociology of ancient spectacle</a><script data-card-contents-for-ri="50422" type="text/json">{"id":50422,"name":"The sociology of ancient spectacle","url":"https://www.academia.edu/Documents/in/The_sociology_of_ancient_spectacle?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40032531]'), work: {"id":40032531,"title":"‘Saltimbanques et circulation de jeux’, in V. Dasen, U. Schädler (dir.), Dossier Jouer dans l’Antiquité. Identité et multiculturalité/Games and Play in Antiquity. Identity and Multiculturality, Archimède. Archéologie et histoire ancienne, 6, 2019, 127-143.","created_at":"2019-08-07T14:27:59.345-07:00","url":"https://www.academia.edu/40032531/_Saltimbanques_et_circulation_de_jeux_in_V_Dasen_U_Sch%C3%A4dler_dir_Dossier_Jouer_dans_l_Antiquit%C3%A9_Identit%C3%A9_et_multiculturalit%C3%A9_Games_and_Play_in_Antiquity_Identity_and_Multiculturality_Archim%C3%A8de_Arch%C3%A9ologie_et_histoire_ancienne_6_2019_127_143?f_ri=35544","dom_id":"work_40032531","summary":"This publication is part of the ERC project Locus Ludi 741520 (locusludi.ch). In classical antiquity, acrobats were one of the vectors of the circulation of playful objects and skills, such as juggling, tightrope walking, hooping, equilibrism and animal shows. Various fragmentary documents enable to grasp the contours of their proteiform identity and of their different activities. Designated by various terms (thaumatopoioi, thaumatourgoi, planoi, circulatores) often associated with distant lands (Egypt, India), or with the physical difference, like dwarfism, these artists participate in the cultural “kaleidoscope” of the Hellenistic and Roman times. The literary discourse contributes to the construction of an otherness that is strongly reflected in iconography, such as the Pompeii tightrope satyrs or the graffito from Aphrodisias.\r\nDans l’Antiquité classique, les saltimbanques ont constitué l’un des vecteurs de la circulation d’objets et de techniques ludiques, comme le jonglage, le funambulisme, les jeux d’adresse et d’équilibrisme avec un cerceau, une échelle et des animaux. Des documents très variés, mais fragmentaires, permettent de saisir les contours de leur identité protéiforme et de leurs diverses activités. Désignés par différents\r\ntermes (thaumatopoioi, thaumatourgoi, planoi, circulatores),\r\nsouvent associés à des contrées lointaines (Égypte, Inde), ou à la différence physique, comme le nanisme, les acrobates participent au «kaléidoscope » culturel de l’époque hellénistique et romaine. Le discours littéraire contribue à la construction d’une altérité qui trouve une expression particulièrement forte dans l’iconographie, comme le montrent les satyres funambules de Pompéi et un graffito d’Aphrodisias.","downloadable_attachments":[{"id":60229294,"asset_id":40032531,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4288034,"first_name":"Veronique","last_name":"Dasen","domain_name":"unifr","page_name":"VeroniqueDasen","display_name":"Veronique Dasen","profile_url":"https://unifr.academia.edu/VeroniqueDasen?f_ri=35544","photo":"https://0.academia-photos.com/4288034/1709448/18209371/s65_v_ronique.dasen.jpg"}],"research_interests":[{"id":15460,"name":"Juggling","url":"https://www.academia.edu/Documents/in/Juggling?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":46610,"name":"Children's Play","url":"https://www.academia.edu/Documents/in/Childrens_Play?f_ri=35544","nofollow":true},{"id":50422,"name":"The sociology of ancient spectacle","url":"https://www.academia.edu/Documents/in/The_sociology_of_ancient_spectacle?f_ri=35544","nofollow":true},{"id":50932,"name":"Games","url":"https://www.academia.edu/Documents/in/Games?f_ri=35544"},{"id":226643,"name":"Petronius' Satyricon","url":"https://www.academia.edu/Documents/in/Petronius_Satyricon?f_ri=35544"},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544"},{"id":332377,"name":"Animals in Roman spectacles","url":"https://www.academia.edu/Documents/in/Animals_in_Roman_spectacles?f_ri=35544"},{"id":687957,"name":"Dance and Acrobatics","url":"https://www.academia.edu/Documents/in/Dance_and_Acrobatics?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_61603212" data-work_id="61603212" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/61603212/Il_Circo_Massimo_geomorfologia_e_ipotesi_sulle_modalit%C3%A0_di_bonifica_della_Valle_Murcia_Indagini_e_riscontri_archeologici">Il Circo Massimo: geomorfologia e ipotesi sulle modalità di bonifica della Valle Murcia. Indagini e riscontri archeologici</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Maxima come segno. Note sul suo significato nella storiografia antica e moderna su Roma arcaica.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/61603212" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="33ef4c39cceedf99f9cab426798d2a69" rel="nofollow" data-download="{"attachment_id":74585381,"asset_id":61603212,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/74585381/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5207533" href="https://sovraintendenzaroma.academia.edu/marialetiziabuonfiglio">Marialetizia Buonfiglio</a><script data-card-contents-for-user="5207533" type="text/json">{"id":5207533,"first_name":"Marialetizia","last_name":"Buonfiglio","domain_name":"sovraintendenzaroma","page_name":"marialetiziabuonfiglio","display_name":"Marialetizia Buonfiglio","profile_url":"https://sovraintendenzaroma.academia.edu/marialetiziabuonfiglio?f_ri=35544","photo":"https://0.academia-photos.com/5207533/2293896/10808760/s65_marialetizia.buonfiglio.jpg"}</script></span></span></li><li class="js-paper-rank-work_61603212 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="61603212"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 61603212, container: ".js-paper-rank-work_61603212", }); 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Indagini e riscontri archeologici","created_at":"2021-11-12T08:46:20.830-08:00","url":"https://www.academia.edu/61603212/Il_Circo_Massimo_geomorfologia_e_ipotesi_sulle_modalit%C3%A0_di_bonifica_della_Valle_Murcia_Indagini_e_riscontri_archeologici?f_ri=35544","dom_id":"work_61603212","summary":"Maxima come segno. Note sul suo significato nella storiografia antica e moderna su Roma arcaica.","downloadable_attachments":[{"id":74585381,"asset_id":61603212,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5207533,"first_name":"Marialetizia","last_name":"Buonfiglio","domain_name":"sovraintendenzaroma","page_name":"marialetiziabuonfiglio","display_name":"Marialetizia Buonfiglio","profile_url":"https://sovraintendenzaroma.academia.edu/marialetiziabuonfiglio?f_ri=35544","photo":"https://0.academia-photos.com/5207533/2293896/10808760/s65_marialetizia.buonfiglio.jpg"}],"research_interests":[{"id":13506,"name":"Topography of Ancient Rome (Archaeology)","url":"https://www.academia.edu/Documents/in/Topography_of_Ancient_Rome_Archaeology_?f_ri=35544","nofollow":true},{"id":31752,"name":"Archeologia","url":"https://www.academia.edu/Documents/in/Archeologia?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":69792,"name":"Ancient Rome","url":"https://www.academia.edu/Documents/in/Ancient_Rome?f_ri=35544","nofollow":true},{"id":167664,"name":"Arqueología romana / Roman archeology","url":"https://www.academia.edu/Documents/in/Arqueologia_romana_Roman_archeology?f_ri=35544"},{"id":325496,"name":"Ancient Roman Hydraulics","url":"https://www.academia.edu/Documents/in/Ancient_Roman_Hydraulics?f_ri=35544"},{"id":951143,"name":"Archeology","url":"https://www.academia.edu/Documents/in/Archeology?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6197607" data-work_id="6197607" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6197607/Espectaculos_circenses_en_Augusta_Emerita_Documentos_para_su_estudio">Espectaculos circenses en Augusta Emerita. Documentos para su estudio</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Los espectáculos de circo (ludi circenses) tuvieron un gran predicamento en la colonia Augusta Eruerita, hecho común en todas las regiones del Imperior no exento de connotaciones ideológico-políticas2, y cotno una parte más de las... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6197607" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Los espectáculos de circo (ludi circenses) tuvieron un gran predicamento en la colonia Augusta Eruerita, hecho común en todas las regiones del Imperior no exento de connotaciones ideológico-políticas2, y cotno una parte más de las actividades que debían sazonar las jornadas festivas3. De su imporlancia nos hablan tanto el magnífico edificio construido para el desarrollo de estos multitudinarios acontecimientosa como los documentos arqueológicos que se han hallado relacionados con la temáticas circense y que vamos a analizar en esta contribución al Coloquio.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6197607" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a89ad26028eef849023f171c8f7e56eb" rel="nofollow" data-download="{"attachment_id":33693151,"asset_id":6197607,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33693151/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7531818" href="https://mcu-es.academia.edu/JoseMar%C3%ADaAlvarezMart%C3%ADnez">Jose María Alvarez Martínez</a><script data-card-contents-for-user="7531818" type="text/json">{"id":7531818,"first_name":"Jose María","last_name":"Alvarez Martínez","domain_name":"mcu-es","page_name":"JoseMaríaAlvarezMartínez","display_name":"Jose María Alvarez Martínez","profile_url":"https://mcu-es.academia.edu/JoseMar%C3%ADaAlvarezMart%C3%ADnez?f_ri=35544","photo":"https://0.academia-photos.com/7531818/2891676/3377904/s65_jose_mar_a.alvarez_mart_nez.jpg"}</script></span></span></li><li class="js-paper-rank-work_6197607 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6197607"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6197607, container: ".js-paper-rank-work_6197607", }); 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$(".js-view-count[data-work-id=6197607]").text(description); $(".js-view-count-work_6197607").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6197607").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6197607"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="35544" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Circuses">Roman Circuses</a>, <script data-card-contents-for-ri="35544" type="text/json">{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="185026" rel="nofollow" href="https://www.academia.edu/Documents/in/Augusta_Emerita">Augusta Emerita</a>, <script data-card-contents-for-ri="185026" type="text/json">{"id":185026,"name":"Augusta Emerita","url":"https://www.academia.edu/Documents/in/Augusta_Emerita?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="247919" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment">Roman Spectacle and Entertainment</a>, <script data-card-contents-for-ri="247919" type="text/json">{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="634974" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Archaeology">Roman Archaeology</a><script data-card-contents-for-ri="634974" type="text/json">{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6197607]'), work: {"id":6197607,"title":"Espectaculos circenses en Augusta Emerita. Documentos para su estudio","created_at":"2014-02-24T20:12:56.152-08:00","url":"https://www.academia.edu/6197607/Espectaculos_circenses_en_Augusta_Emerita_Documentos_para_su_estudio?f_ri=35544","dom_id":"work_6197607","summary":"Los espectáculos de circo (ludi circenses) tuvieron un gran predicamento en la colonia Augusta Eruerita, hecho común en todas las regiones del Imperior no exento de connotaciones ideológico-políticas2, y cotno una parte más de las actividades que debían sazonar las jornadas festivas3. De su imporlancia nos hablan tanto el magnífico edificio construido para el desarrollo de estos multitudinarios acontecimientosa como los documentos arqueológicos que se han hallado relacionados con la temáticas circense y que vamos a analizar en esta contribución al Coloquio.","downloadable_attachments":[{"id":33693151,"asset_id":6197607,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7531818,"first_name":"Jose María","last_name":"Alvarez Martínez","domain_name":"mcu-es","page_name":"JoseMaríaAlvarezMartínez","display_name":"Jose María Alvarez Martínez","profile_url":"https://mcu-es.academia.edu/JoseMar%C3%ADaAlvarezMart%C3%ADnez?f_ri=35544","photo":"https://0.academia-photos.com/7531818/2891676/3377904/s65_jose_mar_a.alvarez_mart_nez.jpg"}],"research_interests":[{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":185026,"name":"Augusta Emerita","url":"https://www.academia.edu/Documents/in/Augusta_Emerita?f_ri=35544","nofollow":true},{"id":247919,"name":"Roman Spectacle and Entertainment","url":"https://www.academia.edu/Documents/in/Roman_Spectacle_and_Entertainment?f_ri=35544","nofollow":true},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=35544","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_81812891" data-work_id="81812891" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/81812891/2007_th%C3%A8se_chap_12_cirque_de_Lyon">2007, thèse, chap. 12 cirque de Lyon</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Chapitre sur le cirque de Lyon, figurant dans la thèse soutenue en 2007 (avec toutes ses imperfections de l'époque)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/81812891" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d5a405c6f6707a668ea8bc5632fa1eb4" rel="nofollow" data-download="{"attachment_id":87727117,"asset_id":81812891,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/87727117/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2794127" href="https://univ-grenoble-alpes.academia.edu/DjamilaFellague">Djamila Fellague</a><script data-card-contents-for-user="2794127" type="text/json">{"id":2794127,"first_name":"Djamila","last_name":"Fellague","domain_name":"univ-grenoble-alpes","page_name":"DjamilaFellague","display_name":"Djamila Fellague","profile_url":"https://univ-grenoble-alpes.academia.edu/DjamilaFellague?f_ri=35544","photo":"https://0.academia-photos.com/2794127/915012/1148640/s65_djamila.fel.jpg"}</script></span></span></li><li class="js-paper-rank-work_81812891 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="81812891"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 81812891, container: ".js-paper-rank-work_81812891", }); 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$(".js-view-count[data-work-id=81812891]").text(description); $(".js-view-count-work_81812891").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_81812891").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="81812891"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="35544" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Circuses">Roman Circuses</a><script data-card-contents-for-ri="35544" type="text/json">{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=81812891]'), work: {"id":81812891,"title":"2007, thèse, chap. 12 cirque de Lyon","created_at":"2022-06-19T04:03:23.798-07:00","url":"https://www.academia.edu/81812891/2007_th%C3%A8se_chap_12_cirque_de_Lyon?f_ri=35544","dom_id":"work_81812891","summary":"Chapitre sur le cirque de Lyon, figurant dans la thèse soutenue en 2007 (avec toutes ses imperfections de l'époque)","downloadable_attachments":[{"id":87727117,"asset_id":81812891,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2794127,"first_name":"Djamila","last_name":"Fellague","domain_name":"univ-grenoble-alpes","page_name":"DjamilaFellague","display_name":"Djamila Fellague","profile_url":"https://univ-grenoble-alpes.academia.edu/DjamilaFellague?f_ri=35544","photo":"https://0.academia-photos.com/2794127/915012/1148640/s65_djamila.fel.jpg"}],"research_interests":[{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42961865" data-work_id="42961865" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42961865/Horse_Racing_in_Global_Historical_Perspective_edited_by_Sinclair_Bell_Christian_Jaser_and_Christian_Mann_The_International_Journal_of_the_History_of_Sport_37_3_4_London_Routledge_2020">Horse Racing in Global Historical Perspective, edited by Sinclair Bell, Christian Jaser, and Christian Mann. [=The International Journal of the History of Sport 37:3-4.] London: Routledge, 2020.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">By investigating the global history of horse racing from antiquity to the modern period, it is likewise possible to overcome the traditional pitfalls in the periodization of sport history. Instead of claiming an exclusiveness of modern... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42961865" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">By investigating the global history of horse racing from antiquity to the modern period, it is likewise possible to overcome the traditional pitfalls in the periodization of sport history. Instead of claiming an exclusiveness of modern sport and downgrading premodern physical contests as pure phenomena of alterity, this special issue discusses racing in the horse age as a deep history of diachronically comparable practices, discourses, and perceptions centered around the competitive staging of equine speed.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42961865" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8fee4c238dc7433221b053936484980e" rel="nofollow" data-download="{"attachment_id":64285315,"asset_id":42961865,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64285315/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="89861" href="https://niu.academia.edu/SinclairBell">Sinclair W Bell</a><script data-card-contents-for-user="89861" type="text/json">{"id":89861,"first_name":"Sinclair","last_name":"Bell","domain_name":"niu","page_name":"SinclairBell","display_name":"Sinclair W Bell","profile_url":"https://niu.academia.edu/SinclairBell?f_ri=35544","photo":"https://0.academia-photos.com/89861/164888/33048674/s65_sinclair.bell.jpg"}</script></span></span></li><li class="js-paper-rank-work_42961865 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42961865"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42961865, container: ".js-paper-rank-work_42961865", }); 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Paul Getty Museum, Inv. 95.AA.80: Achilles Sarcophagus Bibliografische Information der Deutschen... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2304796" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">VI Gefördert durch die Byzantion-Stiftung Marburg Sigel der Marburger Beiträge zur Archäologie: MarBAr Titelbild Malibu, The J. Paul Getty Museum, Inv. 95.AA.80: Achilles Sarcophagus Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <a href="http://dnb.d-nb.de" rel="nofollow">http://dnb.d-nb.de</a> abrufbar. 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Paul Getty Museum, Inv. 95.AA.80: Achilles Sarcophagus Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Bibliographic information published by Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliografic data are available on the internet at http://dnb.d-nb.de.","downloadable_attachments":[{"id":52267818,"asset_id":2304796,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":856324,"first_name":"Sven","last_name":"Ahrens","domain_name":"norskfolkemuseum","page_name":"SvenAhrens","display_name":"Sven Ahrens","profile_url":"https://norskfolkemuseum.academia.edu/SvenAhrens?f_ri=35544","photo":"https://0.academia-photos.com/856324/327692/15303104/s65_sven.ahrens.jpg"}],"research_interests":[{"id":35544,"name":"Roman Circuses","url":"https://www.academia.edu/Documents/in/Roman_Circuses?f_ri=35544","nofollow":true},{"id":107797,"name":"Roman Sarcophagi","url":"https://www.academia.edu/Documents/in/Roman_Sarcophagi?f_ri=35544","nofollow":true},{"id":433145,"name":"Attic sarcophagus","url":"https://www.academia.edu/Documents/in/Attic_sarcophagus?f_ri=35544","nofollow":true},{"id":515381,"name":"Roman Portraiture","url":"https://www.academia.edu/Documents/in/Roman_Portraiture?f_ri=35544","nofollow":true},{"id":899869,"name":"Sarcophagi of the TIP to the Roman Period","url":"https://www.academia.edu/Documents/in/Sarcophagi_of_the_TIP_to_the_Roman_Period?f_ri=35544"},{"id":1454592,"name":"Roman Marble Urn","url":"https://www.academia.edu/Documents/in/Roman_Marble_Urn?f_ri=35544"},{"id":2323858,"name":"Roman marble sarcophagi","url":"https://www.academia.edu/Documents/in/Roman_marble_sarcophagi?f_ri=35544"},{"id":2438190,"name":"Roman cinerary urns","url":"https://www.academia.edu/Documents/in/Roman_cinerary_urns?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28879635" data-work_id="28879635" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28879635/_Animales_ex%C3%B3ticos_como_actores_secundarios_en_las_dramatizaciones_mitol%C3%B3gicas_de_la_antigua_Roma_verdugos_en_los_espect%C3%A1culos_en_Tycho_Revista_de_Iniciaci%C3%B3n_en_la_Investigaci%C3%B3n_del_teatro_cl%C3%A1sico_grecolatino_y_su_tradici%C3%B3n_ISSN_2340_6682_2016_pp_147_166">"Animales exóticos como actores secundarios en las dramatizaciones mitológicas de la antigua Roma: verdugos en los espectáculos", en "Tycho. Revista de Iniciación en la Investigación del teatro clásico grecolatino y su tradición", ISSN 2340-6682, 2016, pp. 147-166.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dentro del programa de un día de espectáculos en la antigua Roma no podía faltar la damnatio ad bestias de condenados. Aquellas personas que habían transgredido las leyes contra el Estado eran condenadas a muerte y, en algunos casos... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28879635" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dentro del programa de un día de espectáculos en la antigua Roma no podía faltar la damnatio ad bestias de condenados. Aquellas personas que habían transgredido las leyes contra el Estado eran condenadas a muerte y, en algunos casos excepcionales, la ejecución se realizaba en público para escarmiento del reo y disfrute del público. El lugar del fatal desenlace era el edificio destinado a otros espectáculos como cacerías (venationes) o luchas de gladiadores (munera), es decir, los foros, circos y anfiteatros, durante las jornadas festivas. Además, tenían su propio espacio en la agenda de diversiones: el medio día, dando así oportunidad a los asistentes más aprensivos para volver a sus casas, comer y regresar por la tarde a ver las luchas de gladiadores. Si al principio se trataban de meras ejecuciones, con el tiempo pasaron a realizarse complejos  espectáculos, denominados por algunos autores como «dramas mitológicos», en los que se escenificaba una obra teatral. El único objetivo de todo este montaje era la muerte final del reo. En estas representaciones eran necesarios básicamente tres elementos: la persona que iba a morir, la puesta en escena y, a modo de actor secundario, el animal que iba a realizar la ejecución, siendo la obra simplemente una excusa para llevar a cabo la pena de muerte.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28879635" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d40ca3b9e7d9d3d7fe97e3d83edf4545" rel="nofollow" data-download="{"attachment_id":49309989,"asset_id":28879635,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49309989/download_file?st=MTczOTgxOTUxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1393253" href="https://uv.academia.edu/Mar%C3%ADaEngraciaMu%C3%B1ozSantos">María Engracia Muñoz-Santos</a><script data-card-contents-for-user="1393253" type="text/json">{"id":1393253,"first_name":"María Engracia","last_name":"Muñoz-Santos","domain_name":"uv","page_name":"MaríaEngraciaMuñozSantos","display_name":"María Engracia Muñoz-Santos","profile_url":"https://uv.academia.edu/Mar%C3%ADaEngraciaMu%C3%B1ozSantos?f_ri=35544","photo":"https://0.academia-photos.com/1393253/505395/104324015/s65_mar_a_engracia.mu_oz-santos.jpg"}</script></span></span></li><li class="js-paper-rank-work_28879635 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28879635"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28879635, container: ".js-paper-rank-work_28879635", }); 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Revista de Iniciación en la Investigación del teatro clásico grecolatino y su tradición\", ISSN 2340-6682, 2016, pp. 147-166.","created_at":"2016-10-03T01:23:16.878-07:00","url":"https://www.academia.edu/28879635/_Animales_ex%C3%B3ticos_como_actores_secundarios_en_las_dramatizaciones_mitol%C3%B3gicas_de_la_antigua_Roma_verdugos_en_los_espect%C3%A1culos_en_Tycho_Revista_de_Iniciaci%C3%B3n_en_la_Investigaci%C3%B3n_del_teatro_cl%C3%A1sico_grecolatino_y_su_tradici%C3%B3n_ISSN_2340_6682_2016_pp_147_166?f_ri=35544","dom_id":"work_28879635","summary":"Dentro del programa de un día de espectáculos en la antigua Roma no podía faltar la damnatio ad bestias de condenados. Aquellas personas que habían transgredido las leyes contra el Estado eran condenadas a muerte y, en algunos casos excepcionales, la ejecución se realizaba en público para escarmiento del reo y disfrute del público. El lugar del fatal desenlace era el edificio destinado a otros espectáculos como cacerías (venationes) o luchas de gladiadores (munera), es decir, los foros, circos y anfiteatros, durante las jornadas festivas. Además, tenían su propio espacio en la agenda de diversiones: el medio día, dando así oportunidad a los asistentes más aprensivos para volver a sus casas, comer y regresar por la tarde a ver las luchas de gladiadores. Si al principio se trataban de meras ejecuciones, con el tiempo pasaron a realizarse complejos espectáculos, denominados por algunos autores como «dramas mitológicos», en los que se escenificaba una obra teatral. El único objetivo de todo este montaje era la muerte final del reo. En estas representaciones eran necesarios básicamente tres elementos: la persona que iba a morir, la puesta en escena y, a modo de actor secundario, el animal que iba a realizar la ejecución, siendo la obra simplemente una excusa para llevar a cabo la pena de muerte.","downloadable_attachments":[{"id":49309989,"asset_id":28879635,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1393253,"first_name":"María Engracia","last_name":"Muñoz-Santos","domain_name":"uv","page_name":"MaríaEngraciaMuñozSantos","display_name":"María Engracia Muñoz-Santos","profile_url":"https://uv.academia.edu/Mar%C3%ADaEngraciaMu%C3%B1ozSantos?f_ri=35544","photo":"https://0.academia-photos.com/1393253/505395/104324015/s65_mar_a_engracia.mu_oz-santos.jpg"}],"research_interests":[{"id":35543,"name":"Roman Amphitheater","url":"https://www.academia.edu/Documents/in/Roman_Amphitheater?f_ri=35544","nofollow":true},{"id":35544,"name":"Roman 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venationes","url":"https://www.academia.edu/Documents/in/Roman_spectacles_venationes?f_ri=35544"},{"id":1601555,"name":"Spectacles and Romanisation","url":"https://www.academia.edu/Documents/in/Spectacles_and_Romanisation?f_ri=35544"},{"id":2540201,"name":"Espectáculos romanos","url":"https://www.academia.edu/Documents/in/Espect%C3%A1culos_romanos?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6640581" data-work_id="6640581" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6640581/Florent_Heintz_Circus_Curses_and_their_Archaeological_Contexts_Journal_of_Roman_Archaeology_vol_11_1998_pp_337_342">Florent Heintz, 'Circus Curses and their Archaeological Contexts', Journal of Roman Archaeology, vol. 11, 1998, pp. 337-342</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6640581" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8663b071c5a59c189a88373e2b590f41" rel="nofollow" data-download="{"attachment_id":33377055,"asset_id":6640581,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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magic","url":"https://www.academia.edu/Documents/in/Ancient_magic?f_ri=35544"},{"id":66983,"name":"Roman games","url":"https://www.academia.edu/Documents/in/Roman_games?f_ri=35544"},{"id":343002,"name":"Curse Tablets","url":"https://www.academia.edu/Documents/in/Curse_Tablets?f_ri=35544"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_80271763" data-work_id="80271763" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/80271763/Parure_monumentale_et_lieux_de_culture_urbaine_Lexemple_des_%C3%A9difices_de_spectacle_romains_de_Lugudunum_Lyon_2022">Parure monumentale et lieux de culture urbaine. L'exemple des édifices de spectacle romains de Lugudunum / Lyon, 2022.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Conférence le 2 juin 2022 dans le cadre du Congrès de la Société française d'histoire urbaine, qui se tiendra à Villeurbanne les 2-3 juin (Rize). 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