Although gladiatorial spectacles in ancient Rome have been the subject of a great deal of recent scholarly literature, comparatively little attention has been paid to the contemporary animal spectacles and staged beast-hunts (venationes), the events most closely associated with gladiatorial combat in the imperial period. A number of different works have dealt with such topics as the origins and organization of gladiatorial combat in ancient Rome, but relatively few scholars have attempted to address similar questions concerning the venationes. Only a single monograph in English, written approximately 60 years ago, has been produced on the phenomenon of Roman animal spectacles. The purpose of .this thesis is to give a comprehensive account of Roman venationes and animal displays, incorporating, in certain cases, evidence that has only recently become available or has largely been overlooked by previous scholars. A wide variety of evidence will be used in this study, ranging from literary sources to archaeological data. The paper will trace the historical development of these spectacles, from Republican displays staged in imitation of contemporary Greek events, to the beasthunts of the Byzantine empire. Another major focus of the thesis will be the infrastructure and organization behind Roman animal spectacles, in particular the methods by which the Romans captured and transported the large numbers of animals necessary for events staged throughout the empire.

Although gladiatorial spectacles in ancient Rome have been the subject of a great deal of recent scholarly literature, comparatively little attention has been paid to the contemporary animal spectacles and staged beast-hunts (venationes), the events most closely associated with gladiatorial combat in the imperial period. A number of different works have dealt with such topics as the origins and organization of gladiatorial combat in ancient Rome, but relatively few scholars have attempted to address similar questions concerning the venationes. Only a single monograph in English, written approximately 60 years ago, has been produced on the phenomenon of Roman animal spectacles. The purpose of .this thesis is to give a comprehensive account of Roman venationes and animal displays, incorporating, in certain cases, evidence that has only recently become available or has largely been overlooked by previous scholars. A wide variety of evidence will be used in this study, ranging from literary sources to archaeological data. The paper will trace the historical development of these spectacles, from Republican displays staged in imitation of contemporary Greek events, to the beasthunts of the Byzantine empire. Another major focus of the thesis will be the infrastructure and organization behind Roman animal spectacles, in particular the methods by which the Romans captured and transported the large numbers of animals necessary for events staged throughout the empire. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

Orientador: Pedro Paulo de Abreu Funari / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T13:18:55Z (GMT). No. of bitstreams: 1 Pinto_Renato_D.pdf: 7203528 bytes, checksum: 8a71c18be2e77a3e65c874d174c02ea1 (MD5) Previous issue date: 2011 / Resumo: Desde a Renascença Inglesa no séc. XVI, a história da Bretanha Romana (ou Britânia) e as imagens de alguns de seus mais proeminentes protagonistas, tais como a rainha Boudica ou o príncipe Carataco, servem como fontes recorrentes e fluídas para a construção de identidades nacionais britânicas. Estes líderes romano-bretões, de acordo com o clima político-social no qual suas imagens ressurgem, podem ser considerados tanto como selvagens empedernidos que recusaram os modos civilizados quanto como heróis e heroínas da resistência contra o invasor romano. Do séc. XVI até meados do séc. XX, discursos de respeitabilidade, estabilidade e de tradições herdadas foram geralmente criados para ajudar a transpor os desafios e a ansiedade trazidos pelo fluxo e refluxo do que seria conhecido como, primeiro, o Império Inglês e, mais tarde, Britânico. No início da Idade Moderna, antiquários, cartógrafos, dramaturgos, pintores, e, depois, acadêmicos vitorianos e eduardianos reconstruíram de forma continuada as imagens dos bretões e de suas figuras icônicas ao reinterpretarem a cultura material existente e os textos clássicos relacionados com a Bretanha Romana. Neste processo, interpretações acríticas das relações de gênero e dos protocolos sexuais do passado foram misturadas às ideologias do masculino e do feminino do presente por artistas, acadêmicos e políticos, mutatis mutandis. Os discursos resultantes foram muitas vezes usados para fazer comparações entre o Império Romano e o Britânico - quase sempre ressaltando suas benesses - e para inventar definições normativas para os papeis de gênero e para as sexualidades humanas do presente. Historiadores e arqueólogos que estudam a Bretanha Romana têm contribuído ora para insinuar um imperialismo positivo e paralelismos entre o passado e o presente, ora para desconstruir tais discursos, sendo os últimos da geração pós-colonialista, grosso modo. Ao fazer uso da historiografia, literatura, das artes visuais e análises da cultura material, almejo pesquisar a dinâmica que existe entre as aspirações imperial-nacionalistas discursivas e as construções das ideologias do masculino e do feminino - identidades sexuais e de gênero inclusas - no contexto dos estudos sobre a Bretanha Romana, desde o séc. XVI / Abstract: Since the English Renaissance in the sixteenth-century, the history of Roman Britain and the images of some of its most prominent protagonists, such as queen Boudica and prince Caratacus, have served as recurrent and ever-changing sources for the construction of British national identities. These Romano-British tribal leaders have been considered either as savages who refused civilized manners or as heroes of the resistance against the Roman invader, depending on the vagaries of the socio-political context in which their images re-emerge. From the sixteenth to the middle of the twentieth-century, discourses of respectability, stability and of inherited traditions were often created to help to overcome the challenges and the anxiety brought about by the ebbs and flows of what was to be known, first, as the English, and later, as the British Empire. Early Modern antiquarians, cartographers, playwrights, painters, and, also, Victorian and Edwardian academicians, continuously reconstructed the images of the Britons and their iconic figures by reinterpreting the classical texts and the extant material culture related to Roman Britain. In this process, uncritical interpretations of gender relations and sexual protocols of the past got mixed with modern ideologies of the masculine and the feminine by artists, intellectuals and politicians alike. The resultant discourses were frequently used to make comparisons between the Roman Empire and the British - often as not highlighting their benefits - and to invent normative definitions for the gender roles and human sexualities of the present. Roman Britain historians and archaeologists have contributed both to insinuate positive imperialism and parallels between the past and the present as well as to deconstruct such discourses, the latter being done mostly by the post-colonial generation. Using historiography, literature, artistic visual manifestations and the analysis of material culture as documents, I aim to research the dynamics that exist between imperial-nationalistic discoursive aspirations and the constructions of masculine and feminine ideologies - gender and sexual identities included - in the context of the studies about Roman Britain, from the sixteenth-century until today / Doutorado / Historia Cultural / Doutor em História

This dissertation presents an investigation of the place of the horse in Roman society, within the context of its roles as equus publicus, which derived ultimately from that of the cavalry mount, and race-horse. Consideration of the ceremonial role of the horse provides a clearer understanding of the value placed upon horses and horsemanship in the Roman world, thus permitting inferences to be drawn regarding the role played by the horse in the development of the equester ordo. Evidence is drawn from both literary and archaeological sources to shed light on the management and training of the horses of equestrian Rome. Chariot racing is also re-examined from the perspective of its equine players, and evidence is drawn from various sources to provide a more complete picture of the Roman horse-racing industry as a social structure. The importance of the racehorse in Roman society is examined and the symbolism of the victorious horse as represented in Roman art is discussed. / Classics & Modern European Languages / M.A. (Ancient Languages and Cultures)

This dissertation presents an investigation of the place of the horse in Roman society, within the context of its roles as equus publicus, which derived ultimately from that of the cavalry mount, and race-horse. Consideration of the ceremonial role of the horse provides a clearer understanding of the value placed upon horses and horsemanship in the Roman world, thus permitting inferences to be drawn regarding the role played by the horse in the development of the equester ordo. Evidence is drawn from both literary and archaeological sources to shed light on the management and training of the horses of equestrian Rome. Chariot racing is also re-examined from the perspective of its equine players, and evidence is drawn from various sources to provide a more complete picture of the Roman horse-racing industry as a social structure. The importance of the racehorse in Roman society is examined and the symbolism of the victorious horse as represented in Roman art is discussed. / Classics and Modern European Languages / M.A. (Ancient Languages and Cultures)

The presentation of the body in early imperial Rome can be viewed as the manipulation of a semiotic language of dress, in which various hierarchies that both defined and limited human experience were entrenched. The study of Roman self-presentation illuminates the intersections of categories of identity, as well as the individual's desire and ability to resist essentializing views of Romanness (Romanitas), and to transform destiny through transforming identity. These categories of identity include gender; sexuality or sexual behavior; social status; economic status; ethnicity or place of origin; religion; and age. Applying the model of a matrix of identity deepens our appreciation for the work of self-presentation and its ultimate purposes. In this paper the practices and products used by Romans are described as vital indicators of self-identification, and as segues into Roman social semiotics, providing a more complete view of the possibilities for life in early imperial Rome. In the introduction, the use of queer theory and the function of the matrix model are outlined. Haircare, the maintenance of facial and bodily hair, the use of cosmetics, perfumes, skincare products, and beauty tools, the accessorizing of the body with jewelry, color, and pattern, and the display of these behaviors are examined in the main body chapters. The conclusion discusses the relevance of the matrix model to self-presentation studies in general and possible future uses.