Abstract In this article, the writer notes that Greekarchitecture has long been identified with the creation of the three classic architectural orders, the Doric, Ionic and Corinthian. The writer points out that Greek temples were not directly linked to the orders but show basic features that are much alike. The writer then discusses that Romanarchitecture reflects a way of public and private life, borrowing elements from the Greeks and the Etruscans. The writer concludes that Greekarchitecture is more limited in scope and adheres more closely to ideas of unity and symmetry, more like chamber music. The writer maintains that Romanarchitecture is more expansive and more inclusive, balancing different elements in the manner of the symphony.
From the Paper "The Greeks studied proportions to secure a general harmony in the relative massiveness or slenderness of all the parts as well as a mathematical relation between their dimensions. This process could be likened to that involved in chamber music, where harmony among the elements is controllable with the limited number of instruments and the unity of musical elements."
"R.W. Livingstone cites some of the differences between the Greek and Roman approaches to architecture in terms of the Greek dedication to the architectural order as the vocabulary of Greek architecture, stating ... "
Abstract In this article the writer looks at William MacDonald's review of the architectural achievements of classical Rome, 'Architecture of the Roman Empire'. The writer discusses that MacDonald contends that architecture works through a kinesthetic process by which its shapes and surfaces impact our consciousness and serve as devices of physical and mental learning. This essay explores this approach with reference to the Markets of Trajan, the generic structure of Roman baths and the Roman amphitheatres. This analysis argues, with reference to both particular structures and generic styles, that the Romans conceived of their architecture as conveying messages in stone and educating citizens and foreigners alike, in the values and culture of Rome.
From the Paper "William MacDonald, in his review of the architectural achievements of classical Rome Architecture of the Roman Empire, contends that architecture works through a "kinesthetic" process by which its shapes and surfaces impact our consciousness and serve as devices of physical and mental learning. This essay will explore this approach with reference to the Markets of Trajan, the generic structure of Roman baths, and the Roman amphitheatres."
Abstract The paper discusses the important characteristics of Romanarchitecture. Ancient Romans introduced many modern and sophisticated techniques in architectural design and were the first people to use concrete in their buildings. The writer explains that this is one reason why most of their buildings have managed to withstand the test of time.
From the Paper "Roman architecture is considered one of the greatest accomplishments of the Roman Empire because of the lasting impact of its magnificent buildings and sheer grandeur of the architectural designs. Roman architecture finds its roots in the Etruscan architecture of 12 B.C. and was markedly influenced by Greek architectural designs too. But Roman architects brilliantly added and subtracted on the architecture of preceding eras to introduce new unique techniques and established their name firmly in this field. They left an indelible mark on the architectural world with the power of their grand designs and original style."
Abstract This paper explains that the Greek, Roman, and Mayan worlds are of prime interest because of their influence upon the cultural and societal aspects of the civilizations that followed them. The author points out that the Mayan religion has greatly influenced Western thought and culture, although not as predominant as the Greek and Roman systems, because of its perceived origins in a traditional non-Western setting. The paper relates that the Mayan pantheon was very complex. Heaven and Hell were not considered either as reward or punishment for behavior on earth; rather, they were the after-life abodes natural to different classes of people, for one passed on to the sphere appropriate to one's class and occupation.
From the Paper "Culturally, the Greek "polis" or city-state was presided over by a particular god as protector and patron, such as Athena for the city of Athens. Different communities could choose the same deity as their protector; Sparta, for example, also had Athena as its patron god. The members of the "polis" constituted a religious association obliged to honor the state's patron deity as well as the community's other gods. Thus, the central ritual of a "polis" was the sacrifice of animals to demonstrate to the gods as divine protectors the respect and piety of the members of the ?polis.?"
The history and development of the architecture of the Roman theater building. An in-depth look at how the ancient Romans borrowed heavily from the Greek example, but improved upon it to create a building that was uniquely Roman.
Abstract The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Romanarchitecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.
From the Paper "Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."
Abstract This paper discusses how postmodern architecture, as its name suggests, and like so many aesthetic movements in general, arose as a reaction to the expressive sensibility of the previous generation and how perhaps the most striking formal and spatial qualities and characteristics of postmodern architecture is its lack of cohesion in all of the qualities of form and style. The paper also looks at how there are some shades of classicism in postmodern architecture--or at least neo-classicism and its embrace of an earlier era, that of Greek and Roman formality, and its transformation and appropriation of those forms in different uses.
From the Paper "The new postmodernists derided the formulaic genre of the preceding generations of architects, which they felt had produced buildings that were "monotonous" ("Art and culture: Postmodern architecture," 2007). The new critics despised modernism's uniform, linear lines, its consistency of shape, its "glass skyscrapers" that were "based on an efficiency of construction fostered by capitalist speculation ("Art and culture: Postmodern architecture," 2007). Modernism argued for architecture's politicization, an end to its "formal isolation" and for an expansion of architecture's role to address social problems. Postmodern critics of the early 1970s felt that elitism and individual expression were superior values to modernist's embrace of a populism that had really degenerated into a routinized corporate regime (McLeod 27)."
Abstract The paper discusses the movement away from classical designs in the Romantic Period. The paper describes the new taste for Gothic architecture that was a response to science and technology that challenged old views and ideas of reality. The paper looks at John Vanbrugh's Blenheim Palace, Horace Walpole's magnificent Strawberry Hill residence and Hagley Park's Gothic ruin as examples of the Gothic style in the 18th century.
From the Paper "Between 1750 and 1850 in Europe, a new artistic style arose and prospered in Europe, one which is now referred to as the Romantic Period. This period originated toward the end of the 18th century in Germany, where critics wished to distinguish between "modern" traits and "classical" traits, such as those found in ancient Greek and Roman art forms. At this time, many artisans and supporters of the arts in Europe, particularly in England where Romanticism in literature began, revolted against the observable regularity of classical art and moved instead toward a style that had its beginnings some four hundred years before during the Medieval Era."
Tags:Greek, Roman, Blenheim, Palace, Strawberry, Hill
Abstract This paper compares and contrasts the Roman and Greek ideals of marriage. The essay analyzes the Roman virtues of marriage and compares it with Greek virtues of matrimony (with respect to the women of the archaic and classical periods). The paper uses "Women in the Classical World" as a reference book for the essay.
Abstract This paper reviews the stylistic connections among Roman, Greek and Etruscan art, brought about by the many historical, political, cultural and economic correlations that existed among these three ancient societies. It focuses on the ways in which the art of the Roman Republic combined elements of both Etruscan and Greek art. The author discusses the distinctions between the art of these three societies.
From the Paper "There are clear stylistic connections among Roman, Greek and Etruscan art a point that should hardly surprise us given the many historical, political, cultural and economic connections that existed among these three ancient societies. But there are also as ..."
Tags: humanism, proportion, Estruscan, Greek, Roman
Abstract Ancient Greek art, architecture, and sculpture have fascinated spectators ever since their discovery. However, while the uninformed viewer might perceive of ancient Greek art, architecture, and sculpture as forming a single period in art history, marked by different styles, art historians have divided it into distinct periods. The paper looks at each of these periods: the Geometric, the Orientalizing, the Archaic, and the Classical, which are explained in terms of how differing philosophical beliefs, historical event,s and cultural developments impacted art, creating different and distinct styles. In specific reference to sculptures, the paper shows that the different styles characterizing each period express different artistic aims as regards to representation of the human body.
From the Paper "In direct contrast to this archaic statue is a classical one on the east pediment of the same temple. It is calculated that only about a decade separates these two works but, artistically speaking, ages separate them in terms of development of style and form. In this statue, also of a dying warrior, the figure "reacts to his wound as would a flesh-and-blood human. He knows that death is inevitable, but he still struggles to rise once again. And he does not look out at the spectator. He is concerned with his pain, not with us" (Tansey and Kleiner 139). This is definitely a much more realistic picture of a man who is dying from a painful wound."
Abstract In the "Odyssey", Penelope is portrayed as an ideal of aristocratic Greek womanhood. She exemplifies the feminine virtues of hospitality, faithfulness, prudence, and above all weaving, the symbol of chaste, virtuous conduct in women in Greece as much as it was in Rome. The paper examines the way Penelope's character is portrayed by the Roman writer Ovid as opposed to the original Greek written by Homer. The paper claims that Ovid's depiction of Penelope was the exact opposite of the character described by Homer. The paper then examines the reasons for this Roman point of view.
From the Paper "Ovid's approach to Penelope in the Heroides is satirical of the traditional portrait given of her by Homer. Many factors conditioned this choice. Simple repetition of Homer's version of Penelope would not have been sufficiently interesting since that approach was well known. The use of Homer as a schoolbook in Roman education would have encouraged a juvenile and satirical attitude toward the Epics (not that this was the only possible Roman attitude toward Homer!) in the same way that famous events from American history are today commonly used as a basis for satire in various forms of popular culture such as cartoons. The very seriousness of the epic genre, perhaps even more exaggerated in the Roman world than in the Greek, would have invited humor as a kind of relief. Ovid's early works, in any case, tended to be satirical and subversive of genre. The satirical technique Ovid employed in the first poem of the Heroides, a letter supposedly sent by Penelope to Odysseus on the eve of his return to Ithaca, is quite straightforward. He describes Penelope's character, actions, and concerns, as simply being the opposite of what one would expect from reading the Odyssey. The disconnection between this presentation and the reader's expectation provokes a reflection that gives rise to humor. Homer's Penelope is steadfast and resourceful; Ovid's is fearful and whining. Homer's Penelope is faithful and deeply in love with her absent husband; Ovid's is a jealous shrew fearful of his deceiving her with other women. Throughout the poem, every expectation about Penelope that the reader might have is subverted."
Tags: homer ovid greekroman mythology culture oddesy hospitality, faithfulness prudence weaving symbol chaste virtuous heroines epic satirical erotic
Abstract This paper discusses the basic themes of Greek artistic endeavors, such as individualism, rationalism, and humanism, and analyzes how Greek art, architecture, and literature reflected the society in which they were created.
Abstract Whatever the degree to which individual people embraced their leaders as literal gods or divine fountainheads, it is clear that such cults played a tremendous role in the religious and political development of ancient societies. The paper shows that this was especially true for Hellenistic Greece and the Roman Empire, both of which existed under these cults - the former providing much of the historical and ideological groundwork for the latter.
From the Paper "The ruler cults of ancient Greece and the later imperial cults of ancient Rome are much-debated topics in classical studies. Historians have long struggled to understand the role that these cults played in the construction of these societies both at the ideological and practical, day-to-day levels. The debate most often revolves around the degree to which these cults could be considered religious institutions at all (Harland par. 1-2). Many critics feel that these cults were little more than opportunistic attempts to manipulate politics in these societies. Others argue that these cults, whatever their political machinations, actually did have religious basis."
Abstract The purpose of this paper is to discuss the Greek and Roman Revival in public buildings, its background, history and development, and to provide an understanding of why it was appropriate for the time and how its popularity has waned and has given way to more egalitarian and user-friendly civic buildings.
From the Paper "The purpose of this paper is to discuss the Greek and Roman Revival in public buildings, its background, history and development, and to provide an understanding of why it was appropriate for the time, but its popularity has waned, and it has given way to more egalitarian and user-friendly civic buildings. During the 20th century, architects were very much on the lookout for the next new thing. This was a period of great change and advancement in society..."
Tags:greek revival, roman revival, neoclassicism, civic architecture
Abstract This paper traces the history of the architectural form and cultural function of the amphitheatre from its modest beginning in ancient Greece through to the Roman influenced theatre of today. It examines how, although some aspects of their design and function are debatable because so little of their physical structure exists today, Greek theaters can be chronologically classified into three categories: The early Athenian, Hellenistic and Graeco-Roman. It discusses how all of these theaters could be divided into essentially three parts: the theatron (or auditorium), the orchestra and the skene (or scene building) and how these standards developed over time.
From the Paper "In its simplest form the orchestra of a theater is simply a circular plot of land designated as a place for dance and this idea defines the orchestra employed during this time. It was circular in shape with a diameter of about 66 feet and was believed to be a locus for supernatural powers. An altar (or thymele), described as "a short drum of marble decorated with low-relief carvings of garlands and satyrs, or other Greek icons? was usually erected in the epicenter of the orchestra. It was primarily used prior to performances for sacrifices in honor of the god Dionysus, however plays with religious content often incorporated the altar into the performance. A level surface area, raised one foot from the orchestra and situated below the skene, termed the proscenium, served as the area in which the majority of the dramatic action transpired."
