Abstract
An account of the construction of Nashville's Parthenon, an exact-scale replica of the original in Athens--though built of concrete instead of marble.

From the Paper
"The purpose of this research is to examine the history and the preservation of the Parthenon in Nashville, Tennessee, from the time of its first appearance into the present day. The plan of the research will be to set forth the social context out of which the construction of the building occurred and then to discuss the features of the building with reference to its provenance, the Parthenon of Athens, Greece, which was constructed some years ago ...BC. The reason that the Nashville Parthenon was constructed in..."

Tags:Parthenon, Athens, Parthenon, Nashville, Artwork, architectural symbols

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."

Tags:Gaia, Agamemnon, Clytemnestra, Libation, Bearers

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.

Abstract
The paper explains that the primary patron of the temple was Pericles, the great leader of the Greek people who inevitably sought to dissolve the democracy of the Delian league. The paper discusses how although he was historically thought to be tyrannical, Pericles had his best wishes for the expansion of the Greek empire in mind when he had the temple built. The paper explains that his primary concern was to realize a temple that would be greater than the Parthenon that had stood before, reinforcing his own culture's triumphs over the Persians that had destroyed it.

Tags:architecture, study, greek

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."

Tags:athena, persian, wars, doric, temple

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."

Tags:aeneas, art, athena, augustus, centaurs, gaul, greece, history, lapiths, livia, pericles, persian, pompilius, poseidon, rome, romulus, titans, war, zeus

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.

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 facades 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 facade 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)."

Tags:Piraeus, Phidias, Iktinos, Kallikrates

Abstract
Thispaper gives a view of the making of the Parthenon in Athens Greece around 447 BCE.

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.."