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"Conceived as a companion volume to Porphyrius the Charioteer, this study traces the history and significance of what are generally known as 'circus factions' from the principate of Augustus to the eve of the Crusades, dealing mainly with the late Roman to early Byzantine periods. Other historians have analysed the activities of the factions, particularly the urban riots, in social, political, and religious terms, ignoring their sporting allegiances. Cameron offers a thorough-going criticism of the 'traditional' presupposition 'that racing was a thin façade for social and religious conflict'. In its place he presents what is essentially the history of chariot racing, its organization, participants, and spectator supporters. He shows how circus entertainments developed from privately mounted games to publicly funded entertainments; he examines the role of the hippodrome and theatre within political life; and he studies the changing nature of factions--from sporting rivalry, through 'partisan' gangs and hooliganism, to their incorporation in the games' imperial ceremonial and consequent decline." -- Provided by publisher
From the length of the track and the need to ride small horses, to the risks, techniques, and training methods involved in racing, Meijer recreates ancient Rome’s favorite pastime in impressive detail.
The 12th and final book in the popular Roman Mysteries series finds first-century sleuths Flavia, Nubia, Jonathan, and Lupus plunged into the exciting world of chariot racing to solve new mystery.
'What are states but large bandit bands, and what are bandit bands but small states?' So asked St Augustine, reflecting on the late Roman world. Here nine original studies, by established historians of Greece, Rome and other ancient civilisations, explore the activities and the images of ancient criminal groups, comparing them closely and provocatively with the Greek and Roman government which the criminals challenged.
Warring Factions focuses on the United States Senate's confirmation process, the constitutional process the Senate uses to approve or reject the president's choices to fill federal government positions. It is a book about history, the evolution, and, argubly, the decline of the process. Most significantly, it is a book that demonstrates the extent to which interest groups and money have transformed the Senate's confirmation process into a virtual circus. Based on in-depth research, including two dozen original interviews with United States senators, former senators and Senate staff members and interest group leaders, this volume demonstrates that today's confirmation process is nothing more than an extension of the Senate's legislative work. Changes to internal Senate norms in the 1960s and 1970s, coupled with changes to the external political environment, have allowed interest groups to dominate the Senate confirmation process.
This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.