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Relevant bibliographies by topics / American Gladiators

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Academic literature on the topic 'American Gladiators'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "American Gladiators"

1

Baker, Laura. "American Gladiators: Keeping the Body in Shape." Iowa Journal of Cultural Studies 1994, no. 13 (1994): 21–37. http://dx.doi.org/10.17077/2168-569x.1162.

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Rinehart, Robert. "Sport as Kitsch: A Case Study ofThe American Gladiators." Journal of Popular Culture 28, no. 2 (September 1994): 25–35. http://dx.doi.org/10.1111/j.0022-3840.1994.2802_25.x.

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Hall, Ronald E. "Clowns, Buffoons, and Gladiators: Media Portrayals of African-American Men." Journal of Men's Studies 1, no. 3 (February 1, 1993): 239–51. http://dx.doi.org/10.3149/jms.0103.239.

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Tadic, Marijana, Cesare Cuspidi, and Branislava Ivanovic. "American-Style Football Players as Modern Gladiators: Could Heart Rate Provide All Answers?" JACC: Cardiovascular Imaging 10, no. 4 (April 2017): 495–96. http://dx.doi.org/10.1016/j.jcmg.2016.12.015.

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5

Richards, Jeffrey H. "Politics, Playhouse, and Repertoire in Philadelphia, 1808." Theatre Survey 46, no. 2 (October 25, 2005): 199–224. http://dx.doi.org/10.1017/s004055740500013x.

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In theatre and drama histories, the politics of the American stage has most often been judged by the litmus test of nationalism, primarily in the “rise” of American-authored drama set in America, the development of American character types, and the appearance of American-born actors on the stages of the early United States. To uncover in the old playbills the mention of a performance of Royall Tyler's The Contrast, to celebrate the development of the stage Yankee, or to focus on Edwin Forrest's muscular rant in The Gladiator is to score a palpable hit for national theatre. Given the scarcity of American texts before the War of 1812, this search for national needles in the (British) theatrical haystack is understandable. But the politics reflected in the theatre in early America is far more complex than traditional theatre histories have acknowledged. Fortunately, there are signs of a new historiography at work. Heather Nathans's recent history of the postrevolutionary playhouses (to 1800) in Boston, New York, and Philadelphia, for instance, uncovers a web of economic and social relationships among the shareholders in the various theatres, which shows that simple party definition hardly accounts for a clear sense of who supports the stage and who does not. Examined more closely than as buildings in which to launch “Jonathan,” American theatres reveal their own traditions for handling topical material, a particularly thorny problem for cultural spaces dominated by British plays and actors. In other words, beyond identifying stage Yankees or following Forrest, finding the political in the theatrical may require other strategies of reading in order to determine the full range of interaction between the political and theatrical spheres.

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CRAIG, DOUGLAS A., DOUGLAS C. CURRIE, and JOHN K. MOULTON. "Reassignment of Western Australia Paracnephia gladiator Moulton & Adler to a new genus, Bunyipellum (Diptera: Simuliidae)." Zootaxa 4375, no. 3 (January 25, 2018): 341. http://dx.doi.org/10.11646/zootaxa.4375.3.3.

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With new material available of most stages of many known Australian Paracnephia, including new species, it is now clear that certain segregates warrant assignment to new genera. This applies to Paracnephia gladiator Moulton & Adler, a Western Australia simuliid with numerous unique character states. The species is fully redescribed and assigned to Bunyipellum nov. gen. A diagnosis is provided and relationships discussed, as is historical biogeography. Bunyipellum appears to be more closely related to elements of the South American simuliid fauna than to any other Gondwanan Australian species.

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7

May, R. M. "Address of the President, Lord May of Oxford OM AC KT FRS, given at the Anniversary Meeting on 29 November 2002." Notes and Records of the Royal Society of London 57, no. 1 (January 22, 2003): 117–32. http://dx.doi.org/10.1098/rsnr.2003.0199.

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Down through the years, Anniversary Addresses have again and again echoed the motto given to The Royal Society by its founders: ‘ Nullius in verba ’. The Latin words are taken from a passage in Horace in which the poet likens himself to a gladiator who, having earned retirement, need no longer bow to authority ( Nullius addictus iurarae in verba magistri ): ‘I say no master has the right to swear me to obedience blind’. Such classical arcana raises some eyebrows today, and we might often do better with the motto's equivalent in contemporary demotic—from the American TV series Dragnet—'just the facts, Ma‘am’. Independent of the details of the translation, our motto sets out the core values of The Royal Society: pursuit of secure, experimentally verifiable knowledge of how the world works, unfettered by the received wisdom of past belief or the constraints of past authority. It is no less a radical agenda in 2002 than it was in 1660.

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8

Wilson, Rob. "Ridley Scott's Gladiator and the spectacle of empire: global/local rumblings inside the Pax Americana." European Journal of American Culture 21, no. 2 (July 1, 2002): 62–73. http://dx.doi.org/10.1386/ejac.21.2.62.

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9

Welch, Katherine. "Recent work on amphitheatre architecture and arena spectacles - D. L. BOMGARDNER, THE STORY OF THE ROMAN AMPHITHEATRE (Routledge, London and New York 2000). Pp. xix + 276, 90 pls., 45 figs. and 16 tables. ISBN 0-415-16593-8. $60. - ALISON FUTRELL, BLOOD IN THE ARENA. THE SPECTACLE OF ROMAN POWER (University of Texas Press, Austin 1997). Pp. xiv + 338, 27 photos, 9 figs., 6 maps. ISBN 0-292-72504-3. $39.50. - GLADIATORS: SPORTS AND ENTERTAINMENT IN THE ROMAN WORLD. An illustrated video lecture by DAVID POTTER (produced in 1998 under the direction of G. M. COHEN and S. CLARE COHEN by the Institute for Mediterranean Studies, 7086 East Aracoma Drive, Cincinnati, OH 45237). $24.95 (American format) or $30.95 (European format). 22 minutes. - ECKART KÖHNE and CORNELIA EWIGLEBEN (Hrg.), CAESAREN UND GLADIATOREN. DIE MACHT DER UNTERHALTUNG IM ANTIKEN ROM (Begleitbuch zur Ausstellung Gladiatoren und Caesaren, Museum für Kunst und Gewerbe Hamburg 11. Februar bis 18. Juni 2000; Verlag Philipp von Zabem, Mainz 2000). S 160 mit 124 Farb- und 19 Schwarzweißabbildungen). ISBN 3-8053-2614-9. DM 68,00." Journal of Roman Archaeology 14 (2001): 492–98. http://dx.doi.org/10.1017/s1047759400020122.

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10

Turchynova, Ganna, Lyudmila Pet’ko, and Valeria Grigoruk. "The Colosseum in the film «Roman Holiday» (1953)." Intellectual Archive 10, no. 3 (September 23, 2021). http://dx.doi.org/10.32370/ia_2021_09_10.

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This article is dedicated to the Colosseum and a classic movie filmed in Rome "Roman Holiday” (1953, USA). It was the first Hollywood film to be filmed and processed entirely in Italy. The great thing about Rome is that not much changes in the historic city centre. The story is about princess Ann (played by Audrey Hepburn) who comes to Rome and slips out one evening from the Embassy, and an American journalist (Gregory Peck). Joe takes Ann around Rome for a "Grand Day Out" and we have loads of views of Rome, both the famous monuments and the streets, squares, and bridges. So when Audrey Hepburn surveys the Colosseum, she’s really surveying the Colosseum. In the film "Roman Holiday", Princess Ann holds on tight as they race through the roads past the famous Colosseum. The stars riding a Vespa made an iconic movie poster for the film, during an important era for Italian filmmaking. The authors of the article offer an innovative approach to the formation of a professionally oriented foreign language learning environment by studying the filming locations of the masterpiece of world cinema "Roman Holiday" (1953, USA), on the example of the Colosseum. It is a typical example copied throughout the empire: a highly decorative exterior, seats set over a network of barrel vaults, and underground rooms below the arena floor to hide people, animals and props until they were needed in the spectacles of the"Theatre of Death". Remembered the greatest English historian of all time Bede, Lord Byron’s poem"Child Harold's Pilgrimage", gladiators.

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Dissertations / Theses on the topic "American Gladiators"

1

Wahlström, Kristina. "Lamm blir lejon : den moraliska uppfostran i amerikansk äventyrsfilm." Thesis, Högskolan i Gävle, Akademin för utbildning och ekonomi, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8100.

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Denna uppsats rör den moral som presenteras för oss i amerikanska äventyrsfilmer. Tre filmer, King Arthur, Robin Hood och Gladiator, presenteras och analyseras. Hjältens handlingar är i fokus men även antagonisten och andra bikaraktärers handlingar är av vikt. Detta ställs mot den traditionella pliktetiken då vi får se om hjältens handlingar är förenliga eller strider mot den. En diskussion följer också kring filmernas upplägg och vad lockelsen med denna typ av film egentligen är.

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Books on the topic "American Gladiators"

1

Cindy, Armstrong, ed. The American gladiators: Taft versus Remus. [Hemet, Calif.]: Aimwell Press, 1995.

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2

Pohl, Frederik. Gladiator-at-law. London: Gollancz, 1987.

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3

Pohl, Frederik. Gladiator-at-Law. London: Gollancz, 1987.

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4

The memoirs of an American gladiator: My story. Bloomington, IN: AuthorHouse, 2008.

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5

Female gladiators: Gender, law, and contact sport in America. Urbana, Ill: University of Illinois Press, 2005.

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6

A gladiator dies only once. London: Robinson, 2006.

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7

Saylor, Steven. A gladiator dies only once: The further investigations of Gordianus the Finder. New York: St. Martin's Press, 2005.

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8

Mannix, Daniel P. Breve historia de los gladiadores. Madrid: Nowtilus, 2004.

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9

Super NES games secrets: For the super nintendo entertainment system. Rocklin, CA: Prima Pub., 1992.

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Eddy, Andy. Super NES Games Secrets. Rocklin, CA: Prima Publishing, 1992.

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Book chapters on the topic "American Gladiators"

1

Caldwell, Janalee P. "Diversity of Reproductive Modes in Anurans: Facultative Nest Construction in Gladiator Frogs." In Reproductive Biology of South American Vertebrates, 85–97. New York, NY: Springer New York, 1992. http://dx.doi.org/10.1007/978-1-4612-2866-0_6.

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2

Taube, Karl, and Marc Zender. "AMERICAN GLADIATORS:." In Blood and Beauty, 161–220. Cotsen Institute of Archaeology Press, 2009. http://dx.doi.org/10.2307/j.ctvdjrrp2.10.

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3

Taylor, Matthew. "Dreaming of Rome with Ridley Scott’s Gladiator (2000)." In Screening the Golden Ages of the Classical Tradition, 259–76. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440844.003.0015.

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The last of three chapters that address Rome’s complicated legacy as an imperial state tackles Gladiator, the film credited with the post-2000 resurgence of films set in classical antiquity. Taylor analyzes how the film’s imperial-era characters engage in a nostalgic figuration of the Roman Republic as a golden age, in the fight to define Rome once the tyrannical Commodus succeeds his father, the “good emperor” Marcus Aurelius. This fraught representation of Roman history accrues an unexpected complexity and ambivalence as the film attempts to “speak America through Rome,” including through the film’s interpretation of its protagonist Maximus as a Cincinnatus-figure in contrast with Commodus as a Nero-figure. Gladiator’s multifaceted engagement with the fetishized Roman past also seeks to seduce the audience through its hyperreal presentation of the imperial city through heavily advertised use of computer-generated imagery (CGI). Taylor regards with ambivalence the hopes, both in Hollywood and among Classicists, that the critical and commercial success of Gladiator would augur a new “golden age” for epics set in classical antiquity. This mise en abyme of nostalgic longing, both within and inspired by Gladiator,exemplifies the golden-age myth, wherein only fantasy can provide fulfilment.

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4

"Ben-Hur and Gladiator: Manifest Destiny and the Contradictions of American Empire." In Ancient Worlds in Film and Television, 15–39. BRILL, 2013. http://dx.doi.org/10.1163/9789004241923_003.

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Murray, Chris. "Penny Dreadfuls, Story Papers, and Protosuperheroes (1825–1935)." In The British Superhero. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496807373.003.0002.

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This chapter examines the tradition of periodical adventure stories that existed in Britain during the period 1825–1935, focusing on “story papers” and “penny bloods,” also known as “penny dreadfuls.” It first provides a historical background on the emergence of British comics before discussing “story papers” and “penny dreadfuls,” and especially their relationship with similar publications in America and the characters who, in retrospect, can be seen as protosuperheroes and villains. It also shows how these publications established the market and audience for adventure comics in Britain and influenced the rise of a similar market in America, where dime novels and pulp magazines, along with newspaper strips, would later influence the rise of superhero comics. The chapter concludes with an analysis of three of the early treatments of the superhuman from science-fiction literature: Edward Bulwer-Lytton's The Coming Race (1871), Philip Wylie's The Gladiator (1930), and Olaf Stapledon's Odd John (1935).

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