| Papers [1-15] of 17 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "PARTHENON": |
|
|
"The Oresteia" and The Parthenon, 2001.
Examines Greek views and ideals through the play "The Oresteia" and the friezes from the Parthenon.
1,370 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
Using the art of the Parthenon and the play "The Oresteia", written by the Ancient Greek playwright Aeschylus, this paper determines a number of morals and ideals that the Ancient Greeks held in high esteem. In the first few paragraphs, the paper describes the various metopes in the Parthenon. It examines which gods and important Greek characters are depicted, what it is they are doing and how this represents a given Greek ideal. The paper then explores "The Oresteia" and uses important lines to either determine other Greek ideals or uses them to underscore the importance of an ideal already talked about in the segment on the Parthenon. Through comparing the Parthenon and "The Oresteia" the paper determines that the Greeks were a highly civilized people that believed highly in bravery, pride, civic duty, civility, order and justice.
From the Paper
"Greeks were the most civilized peoples in the fifth century BCE as well as the best fighters. This was, of course, according to their standards. Their success as warriors and the importance of the Apollonian way of life is inscribed on the walls of the Parthenon and within the pages of The Oresteia. The Parthenon?s gracefully sculpted friezes unite with ?schylus? trilogy and both are founded on pride and bravery. There is an obvious mindset, almost a moral code among the Athenians. They believed moderation and civility were the keys to success and it was up to them to impose this onto other races. An Athenian who didn?t abide by this code was a pariah of sorts, to say the least, and was portrayed as such through the Parthenon and The Oresteia."
| |
|
Parthenon, 2002.
Pericles' Parthenon from Plato's perspective.
650 words (approx. 2.6 pages), 4 sources, $ 26.95
»
Click here to show/hide summary
Abstract
This paper discusses Plato's perspective of the Parthenon and how it supports his dictum that, "That which changes least is most real." The author also examines the role of Plato's tripartite soul and his views of the value of architecture in the context of the Parthenon.
| |
|
Mythology in Art: the Ara Pacis and the Parthenon, 2003.
This paper looks at the ways in which mythology served as the means of legitimizing power for rulers who built and/or renovated the Ara Pacis and the Parthenon.
2,104 words (approx. 8.4 pages), 7 sources, MLA, $ 66.95
»
Click here to show/hide summary
Abstract
This paper begins by focusing on the Ara Pacis and then moves on to the Parthenon. Its argument is that both of these structures serve as sources of legitimization of power and that the means of this legitimization is mythology.
From the Paper
"Two works of art, the Ara Pacis monument and the Parthenon, exemplify the use of mythology as a tool of legitimization. In each case, the patrons sought to solidify their power by associating their societies with the gods. In the case of the Ara Pacis (fig. 1), Augustus sought to revitalize the Roman state to its former grandeur by building a monument to peace and a virtuous society. As David Castriota states, in The Ara Pacis Augustae?: ?The Ara Pacis was a complex creation intended to embody the ideology of the Roman state at a pivotal stage of its development? Augustus and the ruling Roman elite? were? committed to the belief that the Roman state could meet the imperial challenge only by renewing and revitalizing popular belief in the national mores and institutions which had been progressively eroded by the decades of military and political strife, social unrest, and cultural confrontation endemic to the Late Republic (3).? In the case of the Parthenon, Pericles sought to associate the victory of Athens over the Persians (in the Persian war) with the gods. This war began in 499 B.C. and stretched into the year 480 B.C., when the Persians sacked Athens (Skokstad 178). The temple was dedicated to Athena, the goddess of victory in war. Pericles claimed that she helped the Athenians vanquish over the Persians."
| |
|
The Parthenon, 2006.
An overview of the history and background of Athens' Parthenon.
894 words (approx. 3.6 pages), 3 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper examines how in its day, the Parthenon was considered the finest example of a Doric order temple and how it was built in the 5th century BCE to give thanks to Athena, the city's patron goddess, for the salvation of Athens and Greece in the Persian Wars.
From the Paper
""The name Parthenon refers to the worship of Athena Parthenos, the 'Virgin Athena' who issued fully grown from the head of her father Zeus" ("Parthenon, Athens, Greece"). Athena was the maiden goddess and patroness of Athens. She represented the gifts of intellect and understanding. Because of her purity in body, mind, and heart, Athena was considered "the symbol of the universal human aspiration for wisdom" ("Parthenon, Athens, Greece"). The topographical location, geometry, and astronomical orientation of the Parthenon reinforce the symbolism of the Parthenon as a shrine to the quest for wisdom. The temple itself was built to embody Athena's presence, both in its intention and in its physical construction."
| |
|
The Parthenon, 2002.
An overview of the architectural details and history of this great Athenian building.
1,507 words (approx. 6.0 pages), 6 sources, MLA, $ 49.95
»
Click here to show/hide summary
Abstract
The Parthenon (447-32 BCE) was a crowning glory of Athenian civilization of the classical era and, what is more important, it was intended as such at the time. Thus, nearly 2,500 years later, it is possible to view the building as incorporating all of what the Athenians saw as beautiful, sacred and of civic importance in architecture. The paper shows that as its overwhelming position and the nature of its sculptural decoration make clear, it was the focal point of the religious-civic identity of the Athenian polis. The paper describes how the Parthenon housed the great statue of Athena Parthenos, was the main building in the complex of temples dedicated to the gods on the sacred rock of the Acropolis, depicted some version of the most important Athenian religious ceremony (the Panathenaic procession and festival) and loomed over the city as a reminder and a promise of Athenian greatness.
From the Paper
"But there was also a contradiction in being expected to achieve the perfection of the Doric order on a much larger scale, for which adjustments had to be made to the greater number of columns. As Boardman points out, however, the wider fa?ades lent the building a "reassuring breadth which is enhanced by the way its proportions then seem to match those" of the Acropolis on which it stands (112). But this breadth might have been oppressive in its effects if the architects had not devised a means of avoiding too great a visual equivalence between the rock and the temple. Their solution was a very subtle curvature of the stylobate, and the rest of the floor, which is also reflected in the entablature. This also affects the columns which "lean slightly in while the upperworks [that they support] lean slightly out" (Boardman 112). This gives the entire fa?ade a "pyramiding movement" to which all the external lines contribute; ever so subtly, therefore, the columns' inward inclination lends itself to a slight triangular effect that is enhanced by the surmounting pyramid of the pediment (Martin 292)."
| |
|
Le Corbusier: From the Parthenon to Modernism, 2002.
A biography of the life, work and influences of the architect Le Corbusier.
2,400 words (approx. 9.6 pages), 5 sources, $ 89.95
»
Click here to show/hide summary
Abstract
This paper looks at the life and the effects that we feel today of Corbusier. This biographical paper looks at his beginnings and early influences to understand this genius. For better or worse, the architect known as Le Corbusier changed the face of our cities. Along with Mies van der Rohe, Walter Gropius and Frank Lloyd Wright, Corbusier epitomizes modernism. Can, however, the future be built without standing on the shoulders of the past? Corbusier was a devotee of the esthetic of the machine and still he regarded the Parthenon as a pinnacle of architectural achievement. He believed in the Renaissance notion of man being at the center of creation and yet, built houses that men could not live in. Le Corbusier may have been designing square pegs for round holes but in the end, there was a direct line, for him, between the Parthenon and modernism.
| |
|
The Parthenon, 2002.
How the Pantheon was built.
650 words (approx. 2.6 pages), 1 source, $ 26.95
»
Click here to show/hide summary
Abstract
Thispaper gives a view of the making of the Parthenon in Athens Greece around 447 BCE.
| |
|
Parthenon Sculptures, 1996.
5th cent. B.C. Greek works: style, examples, realism & idealism, subjects, composition, compared to Olympian works.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"The sculptures of the Parthenon represent a high point in Classical sculpture and a culmination in the centuries-long effort by Greek sculptors to fashion images that represent natural movement and repose. But, with the increased naturalism of the Classical era, it became difficult for artists to reconcile that realism with the ideal. In comparison with the other sculpture of the Classical era, the sculptures of the Parthenon (447-432 BC) represent a unique solution to this problem.
It might have been assumed that the expression of mood and emotion, which constituted the essence of the representation of the ideal, would be facilitated by greater realism. Yet increasing realism did just the opposite, and much of Classical sculpture is distinctly less inclined toward the ideal than.."
| |
|
Parthenons In Athens & Rome, 1997.
Compares ancient monuments' histories, cultural, architectural & political significance, styles, space and features.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
»
Click here to show/hide summary
From the Paper
" The Parthenon in Athens and the Pantheon in Rome are two of the greatest surviving monuments of ancient civilizations. Though they came from very different cultures, the two buildings have a great deal in common. Both monuments were symbols of the political goals of the rulers who built them. Each building is also considered the ultimate achievement of a period in architectural history. But, the two monuments also demonstrate differences between Greek and Roman ideas about architecture and the state.
The two monuments have similar recent histories. Both are so well preserved because they were adapted by later cultures. The Parthenon was the only temple ever to be used by four different religions (ancient Greek, Catholic, Greek Orthodox, and Islam). The survival of the Pantheon was due to its use by the.."
| |
|
Sculpture of the Parthenon, 1999.
Analyzes aesthetics, historical & cultural meaning of ancient Athenian temple's art.
3,150 words (approx. 12.6 pages), 11 sources, $ 111.95
»
Click here to show/hide summary
From the Paper
"The Parthenon, built atop the Acropolis, was ancient Athens' greatest temple. It was dedicated to the worship of Athena Parthenos (the virgin), and the rich program of sculptural decoration was devoted to the glory of her city and her legend. The principal decorative aspects of the Parthenon are the following: the east and west pediments; the metopes, which are divided panels set below the roofline and pediments on all sides of the building; the frieze, which runs, uninterrupted, around the outside top of the cella, behind the peristyle; and the enormous statue of Athena Parthenos that was housed inside the cella. The statue disappeared long ago, and, since 1687, the Parthenon itself has been a ruin, with many of the surviving sculptural fragments dispersed around the world. But archaeologists and scholars have tried to reconstruct the.."
| |
|
Parthenon, 1999.
Architectural, religious, political & cultural significance of ancient Greek temple.
1,125 words (approx. 4.5 pages), 6 sources, $ 39.95
»
Click here to show/hide summary
From the Paper
"The Parthenon has been admired for centuries for its architectural purity. The structure appears visually perfect. The source of this perfection is the subtle structural refinements conceived by its architects. Contributing to the Parthenon's majesty is a wealth of sculptural detail. The combination of superior sculpture and pleasing proportion make the Parthenon the best-known of all Greek buildings.
The Parthenon is both a religious and political structure. The war between the Greek city-states and Persia interrupted almost all temple building for a generation while the Greeks concentrated on restoring their defensive walls, civic buildings, and the fleet. When the Persians were defeated in 479 BC, Athens emerged as the leader among Greek cities. Thus Athens controlled the war chest of the Delian League, a Panhellenic league. "
| |
|
The "Elgin Marbles": Greek Property in British Museums, 2003.
An examination of the "Elgin Marbles", ancient Parthenon figures that were claimed by British archaeologists in the 18th century during Greek civil strife, and the debate over whether or not they should be returned to Greece.
3,175 words (approx. 12.7 pages), 7 sources, MLA, $ 91.95
»
Click here to show/hide summary
Abstract
This paper examines the controversy that exists over the "Elgin Marbles", which were originally part of the Greek Parthenon's frieze, that were taken by Lord Elgin of England in the late 18th century. The paper takes the position that the statues and other artifacts which currently are housed in English museums, are the rightful property of the Greek people and should be returned to Greece. The paper is divided into several sections. The first gives a history of the Elgin Marbles and how they came into possession of the English in the first place. A brief history of the Parthenon is also given in this section, with a detailed examination of the architecture and the ancient politics that surrounded its construction. The paper then spans the history of the Parthenon up until the 18th century, including the building losing its roof and several architectural designs due to the Ottoman Turks using it as an armory during their control of Greece. The paper discusses how British archaeologists claimed the pieces in the 1800s, fearful that the Greeks could not maintain such classical pieces of work. The paper ends with a section discussing the latest improvements that are underway in Greece to house the "Elgin Marbles" if an international agreement can be reached that will send the pieces of the Parthenon back to Athens. The concept of Greek pride and honor in their ancient ancestry is discussed and how originally, when Greece was unable to maintain such pieces, the idea to keep them in England was the correct decision to be made.
From the Paper
"The mere thought of The Parthenon evokes an image of dignity and pride for not only the current Greek citizens who look upon their ancient ancestors with honor, but for the entirety of Western civilization who view The Parthenon as a representation of the greatness that can be achieved by Western culture. Using this Western concept of pride as a basis, it is clear to see why the British government has its roots in claiming that the treasures of the Parthenon would be better served in a more upscale environment such as The British Museum rather then an unfinished Acropolis museum in Athens. Nevertheless, the removal of The Parthenon artifacts, which are known as The Elgin Marbles since the works of art were "purchased" by the English noble Lord Thomas Bruce of Elgin in 1801, was in essence an infraction upon the Greek populace's right to their ancestors' culture. In large part due to the importance of The Parthenon and the culture that it represents to Greece, the rightful place of the Elgin Marbles is in Athens where the pieces of architecture were always intended to remain when they were completed. "
| |
|
Art In Ancient Crete and Athens, 1995.
Compares the "Bull Leaping" fresco from 1500 B.C. in Crete and the horsemen frieze from 500 B.C in the Parthenon in Athens. Discusses themes, styles, cultural and religious aspects, aims and subjects.
2,025 words (approx. 8.1 pages), 7 sources, $ 71.95
»
Click here to show/hide summary
From the Paper
"Two works of ancient art with a similarity of theme present very different approaches to the rendering of their subjects. In The "Bull Leaping" or "Tauromachy" fresco from the Minoan palace of Knossos, depicts a ceremonial game, an athletic event with religious overtones. The detail of horsemen from the sculptural frieze on the north side of the Parthenon in Athens shows the men and horses as part of an extended depiction of the procession in the greatest of Athens' religious festivals. The aims of the two works of art are similar. Each is a depiction of a religious event and an animal is included. Despite great differences in the media and the final effect, each work aims for a feeling of spontaneity and fluidity of movement combined with a certain amount of solemnity. In its own way, each work achieves these ends and the differences between them make an interesting ..."
| |
|
Roman and Christian Architecture, 1999.
Compares styles, themes, inspirations and cultural contexts, focusing on the Roman Parthenon and the Hagia Sophia of Christian/Byzantine influence.
1,800 words (approx. 7.2 pages), 3 sources, $ 63.95
»
Click here to show/hide summary
Abstract
"Greek architecture has long been identified with the creation of the three classic architectural orders, the Doric, Ionic, and Corinthian, though actually the Corinthian is a variation of the Ionic.
From the Paper
"Greek architecture has long been identified with the creation of the three classic architectural orders, the Doric, Ionic, and Corinthian, though actually the Corinthian is a variation of the Ionic. Greek temples were not directly linked to the orders but show basic features that are much alike. order and cleanness of lines marks Greek temples and other monumental Greek architecture. Roman architecture reflects a way of public and private life, borrowing elements from the Greeks and the Etruscans. The Pantheon is a large, round temple in Rome which shows the ability of the Romans to create vast interior spaces, perhaps for the first time in the history of architecture. Many Roman works are a mixture of styles, such as the Hagia Sophia, a monumental piece of architecture that links us with the era of Justinian's reign in Constantinople and is an interesting example of a ..."
| |
|
Greek Sculptures, 2003.
A comparison of two Greek sculptures: The "Nike of Samothrace" and the "Three Seated Goddesses" of the Parthenon.
1,807 words (approx. 7.2 pages), 2 sources, MLA, $ 58.95
»
Click here to show/hide summary
Abstract
This paper provides a thorough comparison of two pieces of art. It compares and contrasts them ,not only on their aesthetic properties, but also their historic and symbolic value.
From the Paper
"Of all of the ancient cultures, few are as compelling as the Greeks. Their relatively short lived culture has had a larger influence on its modern counterparts than any before or after it. They gave us grounding in our architecture; very few of our government buildings don?t borrow something from Greek architecture, especially in the use of columns, and the golden ratio, developed by Eucliud, is still a common fall back for many designers. The political philosophy of Greece also continues to inspire us. As the first truly successful democracy, their ideas on court and jury systems, as well as the fundamental ?on man, one vote? practice, can be seen in our everyday lives. Most importantly, Greek art transformed all art in the world forever after. Though we don?t encounter many examples of it in our everyday lives, current art is owed much credit to the Athenians and their kin. Greek art took leaps and bounds in just a couple hundred years, especially in the area of sculpture. Huge changes in the way cloth and drapery was represented as well as the change to more natural poses of human figures took place at this time. Two wonderful examples of these modernizations were the Three Seated Goddesses of the Parthenon and the Nike of Samothrace, which are so alike at first glace, yet are such opposites on any deeper level. They are practically identical in technique, yet their themes and other subtle qualities differ in many ways."
|
|
|
