This volume deals with the American production ‘Spartacus’ and the British-American-Italian co-production Rome. In the examination of the present, a turn to Greek or Roman antiquity can be observed again and again. To find there the roots of Western society for politics, economics or philosophy, or to derive comparative arguments for expansionist efforts or decline, is not just part of the rhetorical commonplace. So it is not surprising that the TV series format also takes up this period. Whereas in Rome the attempt is made to work through the historical guidelines in great detail, in Spartacus, apart from the rough sketch of the plot, one can speak of a far-reaching neglect of the historical situation. From a (media) ethical perspective, specific approaches to responsibility, the transmission of values, loyalty, education, self-discipline, and religion can be identified in the series, which can be interpreted as self-statements of the present or the producers.
Tabela de Conteúdo
The historical Spartacus and the medial Spartacus.- The series Spartacus.- Entertainment in the Roman Republic and in the series.- Identity, persona and questions of recognition.- Body enactments and corporeality.- Everyday use of violence and experience of violence.- Composed copulatory settings: sex, eroticism and love.- Understanding of freedom and freedom as conflict.- ‘Fuck the Gods: morality, religion and religiosity.- Experience and experiential eroticism. Composed copulatory settings: sex, eroticism, and love.- Understandings of freedom and freedom as conflict.- ‘Fuck the Gods’: morality, religion, and religiosity.- Experience and experiential extremism.- The myth and Spartacus – the myth of Spartacus.- Media and history.
Sobre o autor
Dr. Thomas Wilke is Professor of Cultural Education at the Ludwigsburg University of Education.
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