Spartacus became one of the key figures of Soviet dramaturgy in the 1920s. He was presented as the only ancient predecessor of the Bolsheviks and his theatrical image significantly shaped the later icon of the gladiator as a brave leader of the oppressed masses and a hero acting in the name of the proletariat. This article explores the image of Spartacus in early Soviet theater and mass performance and outlines the correlation between the template of Spartacus’ portrayal, (...) Raffaello Giovagnoli’s novel Spartaco (1874), and the first dramatic adaptations by Vladimir Mazurkevich (1920) and Vladimir Volkenstein (1921). The article examines the use of the ancient hero in Bolshevik propaganda and traces the ways in which Spartacus’ image morphs and maps onto wider shifts of Soviet political and cultural policy in the early decades of the USSR. (shrink)

“The Fourth Spartacus” uses Alain Badiou’s work, especially Logics of Worlds, to critique the 1976 Soweto student rebellion. Soweto 1976 is one of the key events in black South African anti-apartheid history. Taking its cue from the figure of Spartacus, a figure that assumes many iterations in political history, this essay argues for a fidelity to the event of Soweto 1976: the recognition that Soweto 1976 must be understood as a radical moment that is not continuous with the (...) preceding and, particularly, successive moments of anti-apartheid struggle. Soweto 1976, “The Fourth Spartacus” insists, did not culminate, as the dominant political narrative in post-apartheid South Africa claims, in the democratic elections of 1994. More than anything, the event of Soweto 1976 stands determinedly opposed to the democratic materialism of post-apartheid South Africa. (shrink)

The paper introduces an approach to privacy enhancing technologies that sees privacy not merely as an individual right, but as a public good. This idea finds its correspondence in our approach to privacy protection through obfuscation, where everybody in a group takes a small privacy risk to protect the anonymity of fellow group members. We show how these ideas can be computationally realised in an Investigative Data Acquisition Platform. IDAP is an efficient symmetric Private Information Retrieval protocol optimised for the (...) specific purpose of facilitating public authorities’ enquiries for evidence. (shrink)

In this article, I explore two neglected works by the twentieth-century Jewish German Marxist philosopher Ernst Bloch, Avicenna and the Aristotelian Left and Natural Law and Human Dignity. Drawing on previous analyses of leftist Aristotelians and natural law, I blend Bloch’s two texts’ concepts of pregnant matter and maternal law into “pregnant materialist natural law.” More precisely, Aristotelian Left articulates a concept of matter as a dynamic, impersonal agential force, ever pregnant with possible forms delivered by artist-midwives, building Bloch’s messianic (...) utopia. And Natural Law resurrects the Stoics’ concept of natural law as drawing on a prehistoric matriarchal utopia, later channeled by earth goddess cults misconstrued by the nineteenth-century German anthropologist Johann Jakob Bachofen as political matriarchy. I then conclude by linking this pregnant materialist natural law to Dionysus as son of the Great Mother Goddess. Though stigmatized throughout homophobic Western history for his queerness and maternal dependence, Dionysus is also the patron god of Bloch’s hero, the slave revolutionary Spartacus, paramour of a priestess of Dionysus who prophesied his divine mission of liberation. (shrink)

Daga (the Bulgarian word for “rainbow”) was a Bulgarian comic magazine launched in 1979 and regularly published until 1992. Its remarkably westernized aesthetic greatly impacted an entire generation of readers. Included in its variety of stories (history, sci-fi, literary classics) is an action-packed account of Spartacus’ exploits. For ten consecutive issues (1979–1983), the story spanned the hero’s life from a more fanciful narrative of his early years in Thrace to the better-documented events in Italy and his death. The paper (...) explores the plotline, characterization, and visual aspects of “Spartak” to reveal the eponymous hero’s significance for young Bulgarian readers in the 1980s. Drawing on the cultural and historical context, I argue that Spartacus was well suited to serve as a role model and a national hero by embodying the proletarian anti-imperialist struggle and also, notably, because of his supposed place of birth near the river Strimon in modern-day Bulgaria. I also look at examples of contemporary comics, including a new graphic novel based on Daga’s story published in 2020, and consider the transmutations of the hero to suit the post-communist (and anti-communist) ideological agenda, characterized by a departure from the proletarian image of Spartacus in favor of more conservative, aristocratic features. (shrink)

The focus of this article is J. Leslie Mitchell’s Spartacus (1933), his fictional representation of the slave rebellion in ancient Rome led by the eponymous gladiator. The article begins by examining Mitchell’s contribution to debates over the role of the revolutionary writer in Left Review in the mid-1930s and his place in the British Left in this era, before going on to survey the ways in which the figure of Spartacus and the German Spartacists are represented across Mitchell’s (...) oeuvre. It then explores key source material utilized in the writing of the novel, as well as outlining comparisons between Mitchell’s representation of Spartacus and those of his fellow novelists Howard Fast and Arthur Koestler. Including close readings of Spartacus and informed by archival research and previously unpublished manuscript items, the article argues that at the same time as denouncing the cruelties of Roman rule, Spartacus also signals Mitchell’s passionate opposition to what he considered the violent histories of oppression suffered by the commons of the earth of all times, culminating in the capitalist crisis of Mitchell’s own period in the 1930s. Mitchell creates this effect of historical simultaneity by writing a work of myth-history – as opposed to historical realism or political propaganda – that employs the utopian legend of the Golden Age to inspire radical dissent against modern deprivation. (shrink)

Name der Zeitschrift: Klio Jahrgang: 97 Heft: 1 Seiten: 405-442.

A new interpretation of glandes inscriptae with the formular fugitivi peristis and servi peristis is given in this contribution. It can be shown that Klaus Zangemeisters general verdict from the 1880s - that all slingshot bullets inscribed servi peristis are modern fakes - is untenable: a hitherto unpublished ancient lead bullet with this formular is presented here. Undoubtedly glandes inscribed servi peristis and fugitivi peristis were used by soldiers of the Senatorial armies as deadly weapons in the slave wars against (...) Spartacus. (shrink)

« Qu'est-ce qu'un homme révolté? Un homme qui dit non. Mais s'il refuse, il ne renonce pas : c'est aussi un homme qui dit oui, dès son premier mouvement. »[réf. nécessaire] D'apparence, il existe une limite à la révolte. Cependant, la révolte est un droit. La révolte naît de la perte de patience. Elle est un mouvement et se situe donc dans l'agir. Elle se définit par le « Tout ou Rien », le « Tous ou Personne ». En premier, (...) elle soumet l'idée d'égalité : position d'égal à égal entre le maître et l'esclave. Mais le révolté finit par imposer cette égalité qui se traduit souvent par une inversion des rôles (dialectique hégélienne). Suivant le raisonnement de Scheler, l'homme révolté n'est pas l'homme du ressentiment, c'est-à-dire qu'il ne baigne ni dans la haine ni dans le mépris. La révolte enfante des valeurs. De fait, « pour être, l'homme doit se révolter ». La révolte extirpe l'homme de la solitude puisqu'elle est collective, c'est l'« aventure de tous ». Néanmoins, faire l'expérience de la révolte, c'est faire l'expérience de l'ascèse. Les mythes de Prométhée, d'Achille (avec Patrocle), d'OEdipe et d'Antigone, sont des archétypes de révoltes antiques au même titre que la révolte de Spartacus. La révolte est souvent légitime, elle est l'expression la plus pure de la liberté et semble revêtir le visage de l'espoir. De surcroît, la révolte impose une tension, elle refuse donc formellement le confort de la tyrannie ou de la servitude. Le révolutionnaire a la volonté de « transformer le monde » (Marx) alors que le révolté veut « changer la vie » (Rimbaud). (shrink)

Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and (...) Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

I think I would not err in saying that Dvoretskii's chronicle of our times, The Man from Outside, is stimulating unusual interest on the part of theater companies and audiences. It has been produced on two Moscow stages, something that is quite rare. It is playing in Leningrad, Kiev, Vilnius, Arkhangelsk, Barnaul, Vladivostok, Volgograd, Kuibyshev, Murmansk, Novokuznetsk, Petrozavodsk, Pskov, Sverdlovsk, Simferopol, Stavropol, and other cities. Judging by the reviews, the play and its productions are successful everywhere. It is as hard (...) to get a ticket to Moscow's Malaia Bronnaia Theater as to Spartacus at the Bolshoi or Hamlet at the Taganka. (shrink)

Despite being ‘one of the most notable leaders of the German Communist movement’, Ernst Meyer remains relatively unknown. Prior to the online publication of the author’s PhD dissertation – an extensive 666-page biography of Meyer – there existed beyond two short biographies – an informative political autobiography from Meyer’s wife Rosa Meyer-Leviné and an essay by Hermann Weber published in 1968 – and some recent texts from the author, no other publications dealing closely with his life and work. Of these, (...) only Meyer-Leviné’s biography has been published in English. Meyer played a major role in the left wing of the German labour movement, beginning in 1908 when he joined the German Social-Democratic Party until his death over twenty years later. A friend and collaborator of Rosa Luxemburg, he was also one of the founding and leading members of the International Group and its successor, the Spartacus League, in which the radical, anti-war wing of Social Democracy organised itself after the outbreak of World War i. He represented both of these groups as a delegate to the international conferences of anti-war socialists at Zimmerwald and Kienthal. Elected to the kpd’s Zentrale at the party’s founding conference, Meyer remained a member of the leadership almost continuously in the years to come, occupying various leading positions. He also represented the party at the Second and Fourth World-Congresses of the Communist International. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What is Fantasy?Brian Laetz and Joshua J. JohnstonWizards, elves, dragons, and trolls—this is certainly the stuff of fantasy, populating the fictions of such giants as Tolkien, no less than the juvenilia of many aspiring writers. However, it is much easier to identify typical elements of fantasy, than it is to understand the category of fantasy itself. There can be little doubt that, in practice, the genre is pretty well (...) defined, concretely manifesting itself in the shelves reserved for it in video shops and bookstores. But stating why a work belongs on these shelves, rather than those in the near vicinity, such as horror and science fiction, or those more remote, like plain old fiction, presents a real challenge. Certainly, a mere few feet could separate fantasy from the other shelves, but the conceptual distance those feet represent appears great indeed. What, if anything, distinguishes this genre from other categories of mass art. In other words, what is fantasy?To begin, fantasy is a transmedia genre, since there are fantasy novels and movies, for instance, as is illustrated by J. R. R. Tolkien's Lord of the Rings saga and its recent cinematic adaptation. It is interesting to note that fantasy includes works from other media as well, such as paintings, which often accompany fantasy narratives, like Frank Frazetta's recognizable illustrations for Robert E. Howard's Conan the Barbarian stories. Forms of entertainment are also affiliated with the genre, such as role-playing games, like Dungeons and Dragons, though one might balk at considering such things even forms of mass art? Nonetheless, despite the variety of media and entertainments associated with fantasy, [End Page 161] narratives occupy a fundamental place within the genre. For paintings, drawings, and the like are only recognizably fantastic given some narrative background that tells us what wizards, trolls, and dragons look like.1 Plausibly, it is what allows us to see that a drawing depicts an elf, for example, rather than a child with odd pointy ears. Thus, even if some works of fantasy are, strictly speaking, non-narrative, fantastic narratives remain fundamental, since these other works would not be classified as fantasy without them. This warrants initially setting aside things like fantasy games and paintings to focus on narratives. What, precisely, makes a narrative fantastic?First, fantastic narratives are essentially fictional. For regardless of how one ultimately understands the nature of fiction, the notion of true fantasy seems patently incoherent, quite unlike, say, true crime. And it must be stressed that this point should be compatible with any theory of fiction. Second, the sort of things that can make a work fantastic, like wizards and dragons, must be prominent in the work—they cannot be minor details. For example, had there been a two-minute scene in Spartacus in which someone cast a spell, the scene would have been fantastic, but ultimately the movie would not be classified any differently; you would still find it on the drama shelf. Moreover, this condition is not peculiar to fantasy.2 For instance, no one who has suffered through a Steven Seagal film would seriously classify it as romance or even action-romance, simply because it has a minor romantic subplot. Fantasy is no different from any other genre in this regard: whatever features define a genre must be prominent in a work in order for it to belong to the relevant genre. Third, the sort of content that can make a work fantastic must not solely be viewed as symbols for things that are not fantastic. In other words, these elements cannot just be taken as allegorical.3 This alone would seem to disqualify George Orwell's Animal Farm from the genre, since most read the intelligent animals as merely symbols portraying various factions in communist Russia. It should be noted that the actual intentions of the author probably matter little here. For example, even if scholars discovered that Tolkien merely intended the Middle Earth saga as an elaborate allegory, it would remain fantasy; few would be tempted to move the books to another shelf. Fourth, the relevant content must not solely be mocked or lampooned within the work.4 This is necessary... (shrink)

Contents: K. Ludeking, The Body and the Letters Albrecht Durer s self-portrait from 1500; E. Osterkamp, Spartacus under the Germans on the history of a literary legacy; F. Forster-Hahn, German, Modern and Jewish Max Liebermann s 1906 exhibitions in Berlin and London; U. Haselstein, A Genealogy of Modernity Flaubert, Cezanne, and Gertrude Stein; C. Asendurf, Bodies in Force Fields Art War and Spatial Theory in Classical Modernity.".

Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and (...) Husserl. The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

other approaches. The first of these is `material thinking' (das materielles Denken): `a contingent consciousness that is absorbed only in material stuff', a form of thought which is rooted in existing conditions and cannot see beyond them. At the `opposite extreme' is the transcendent critical method of `argumentation' (das Räsonieren), which involves `freedom from all content and a sense of vanity towards it'. The dialectical method, Hegel maintains, must `give up this freedom'. It refuses `to intrude into the immanent rhythm (...) of the Notion, either arbitrarily or with wisdom obtained from elsewhere'. Instead, it `sink[s] this freedom in the content, letting it move spontaneously of its own nature ... and then ... contemplate[s] this movement' (Hegel 1970 p. 56; Hegel 1977 pp. 35-6). (shrink)