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Shot of tourism in italy
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“What did you do this summer?” our teacher grinned, as he announced the topic of our first essay this year. Everyone around me groaned in disappointment, but I raised my head, smirked, and realized, for the first time, my summer was extraordinary.
As part of a deal my dad made, with my mom, for forgetting her birthday, we spent our summer in Rome. Every emotion was heightened, from getting off the plane to stepping into the taxi; this was the first time our family had stepped on European soil. After we were dropped off at our hotel, we unpacked, freshened up, and looked over our itinerary. We were to visit every major site and monument that could be fitted into 3 weeks. As I was reading through the list, I realized Pompeii was not part of the tour. So, for the last 3 days, we booked another tour, and visited Pompeii, and that is where the fun began.
The tour company was called ‘Dark Rome Tours’ the name itself sent chills down my spine as we entered Pompeii, a bustling Roman city, destroyed by a still active volcano. Our tour guide walked us through the streets, cut out by carriage wheels 2,000 years ago. He showed us the ruins of various houses, both for the elite and the poor and the public bath. After a late breakfast, we visited the exhibit I was most anxious to see, the people, frozen in plaster death casts for thousands of years. As we entered the exhibit, my little sister got scared, seeing the faceless people in glass boxes, so my parents waited outside with her, as I looked around at the people who were frozen in the position they were in when the volcano erupted. I approached a figure, whose face was upturned, like in prayer and its hands holding what looked to be a stick of some sort. I touched the glass and thought,...
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...architecture and politics of an amazing Roman city.
Works Cited
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“I’ll be out of here and away from all you knaves for one time anyway, as not a month will pass before you’ll see whether I’m nobody or a somebody.” The story of Bianco Alfani reflected the nature of 14th century Florentine society where, as Alfani remarked, the election to public office could make or destroy a person. In late 14th century and early 15th century Florence, decreased population and expanding commerce provided a favorable environment for ambitious individuals. The real life examples of Buonaccorso Pitti and Gregorio Dati demonstrated the positive role of ambition in Florence. Pitti, a nobleman had an extremely successful career, partaking in military campaigns, holding public office in Florence and being an ambassador to foreign courts. Gregorio Dati, the grandson of purse venders, engaged in commerce, rising in social standing which culminated with his election to public office. Holding office was a definitive sign of success and recognition in Florence. In contrast was the tale Bianco Alfani, a deemed man unworthy of office. As told by Piero Veneziano, Alfani was the chief jailor in Florence who was duped into believing he had been named captain of the town of Norcia. Alfani publicly made a fool of himself, spending all his money and creating a great fanfare over his supposed appointment. Comparing the lives of Pitti and Dati to the story of Bianco Alfani illustrates how economic and social change in 14th century Florence produced a culture centered on reputation and commerce. For men like Pitti and Dati, who flourished within the constraints of Florentine society, their reward was election to office, a public mark of acceptance and social standing. Those who were ambitious but failed to abide by the values o...
The private and public leisure activities of Pompeii and Herculaneum were largely abundant. Many activities could be participated in and were used often. These include Drama performances, gladiatorial games, drinking, gambling, brothels, exercise, gardens, baths and food and dining. All these were an important part of Pompeian and Herculaneum life. They were seen as important to keep the body and mind healthy in most cases. Though some opposed some of the activities like brothels, gambling and drinking. But all give a important look into the life of those in Pompeii and Herculaneum before the catastrophic eruption of Vesuvius which completely destroyed both towns and all its inhabitants.
Ginsborg P (1990). ‘A History of Contemporary Italy: Society and Politics: 1943-1980’ Published by Penguin; Reprint edition (27 Sep 1990).
T.J. Cornell, The Beginnings of Rome: Italy and Rome from the Bronze Age to the Punic Wars (c. 1000-264 BC), London and New York: Routledge, 1995
Cumont argued for a complex allegorical symbolism concerning the fate of the soul after death. On the other hand, Nock stressed the importance of linking the myth to other areas of Roman art and their association with classicism and education. More generally, the use of myth on Roman sarcophagi as either allegory or decoration is part of a larger argument of whether it represents hopes and beliefs about life after death and assimilating the deceased with the myth or asserting messages about the life of the deceased before their death. Most recently Paul Zanker and Bjorn Ewald have widened the debate to suggest that myths can be read as consolations to the person who lost their loved one. This paper will be placed within the above debate by analyzing the sarcophagi of C. Junius Euhodus and his wife Metilia Acte, which depicts the Alcestis myth. I will be focusing on how the sarcophagi emphasizes the couples victory over death; how the patron who commissioned the sarcophagi influenced what was depicted, and the everyday themes that relate to Roman customs such as
Favro, Diane G.. The urban image of Augustan Rome. Cambridge: Cambridge University Press, 1996. (266)
Pompey the Great was awarded a triumph in 61 BC for his successful campaigns in the eastern Mediterranean, and following this he began work on a magnificent complex in the Campus Martius outside the city walls of Rome on the east bank of the Tiber River (Kleiner 56). The complex wa...
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
Nearly two millenniums ago a massive eruption rocked the Roman city of Pompeii, destroying buildings and coating the town in deep layers of volcanic ash. Fortunately, this same ash served as a tool for preservation and has allowed archaeologists to discover the remains of various types of Pompeii’s art. The values, beliefs, and daily workings of Roman culture have been brought to new light through the paintings, mosaics, statues and other forms of art found in the lost city of Pompeii.
Marcel Le Glay, Jean-Louis Voisin, Yann Le Bohec. A History of Rome. West Sussex, UK: Wiley-Blackwell, 2009.
Scott, Foreman and Company, 1903. Kohne, Eckhart and Cornelia Ewigleben, eds., pp. 113-117. Gladiators and Caesars: The Power of Spectacle in Ancient Rome. Berkeley: University of California Press, 2000. Meijer, Fik (Liz Waters, trans.).
Through historical and economic data this research paper will express how Florence flourished from a mercantile economy in the Renaissance.
Honour, Hugh, and John Fleming. "Hellenistic and Roman Art." A World History of Art. London: Laurence King, 1999. 179-213. Print.
Isn’t it weird when there is an odd figure in a museum, or an old extinct form of life that has never been seen before, for example? That is pretty much what the people of Pompeii have turned into. Mount Vesuvius in the southern part of Italy is dangerous to thousands of people who live around it, close to where it killed thousands of people in 79 A.D. The unlucky people who couldn’t make it out look like they were frozen in time because the ash fell and covered them. It also preserved their bodies. There were photos of them in a museum. In one, a mother was holding her baby, and in another, a man was on his knees holding his hands in front of his face (Colle, 1).Not only were the people covered in ash, but the entire city was. It went from a happy city to an ash covered pile of people and their things in less than two days. Pompeii is an unsafe place because Mt. Vesuvius is the most dangerous volcano, it killed thousands of people, and it is located near the largely populated city of Naples.
My favorite summer vacation was when my Father took me to Universal Studios in Orlando, Florida. It was one of the most memorable experiences of my life. What made it even more memorable was the fact that it was my very first time on an airplane. I cannot recall another time in my life when I experienced so much joy. That trip to Universal Studios was the first time my Father and I actually did something together, just the two of us and was something brought me close to my Father. In this essay I will tell you about my plane ride over there, what I did right when I got there, and about my time at Universal Studios.