Identify Two Specific Aspects Of The Athenian Acropol 822108

Identify Two (2) Specific Aspects Of The Athenian Acropolis And Its Pa

Identify two (2) specific aspects of the Athenian Acropolis and its Parthenon, and explain their significance to ancient Greek culture and the western heritage in the arts. Comment on one (1) feature of the ancient Greek theater that you find especially intriguing. Explain the manner in which audiences today might receive the plot of the comedy Lysistrata, and compare Lysistrata to a specific modern work of stage or film. Should the ownership of the Elgin Marbles remain with the British Museum or should they be returned to Greece? Are we all Greeks? The English poet Percy Byshe Shelley in the 19th century wrote: “We are all Greeks. Our laws, our literature, our religion, our arts have their root in Greece. But for Greece—Rome, the instructor, the conqueror, or the metropolis of our ancestors, would have spread no illumination with her arms, and we might still have been savages and idolaters… “The human form and the human mind attained to a perfection in Greece which has impressed its image on those faultless productions, whose very fragments are the despair of modern art, and has propagated impulses which cannot cease, through a thousand channels of manifest or imperceptible operation, to ennoble and delight mankind until the extinction of the race.” To what degree – entirely, partly, or not at all - you agree with this claim that “we are all Greeks” and defend your position.

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The Athenian Acropolis stands as a monument to the cultural and political achievements of ancient Greece, embodying both religious devotion and artistic innovation. Two specific aspects of the Acropolis that highlight its historical importance are the architectural grandeur of the Parthenon and the Acropolis’s role as a religious center. The Parthenon, constructed in the 5th century BCE, exemplifies the pinnacle of Greek temple architecture with its sophisticated Doric design and use of optical illusions to correct visual distortions. Its significance lies in its embodiment of Athenian civic identity, religious devotion to Athena, and its influence on Western architectural principles. The structure’s sculptural decoration, including the iconic Parthenon Marbles, narrates mythological and historical stories central to Greek culture, reinforcing societal values and religious beliefs.

Another significant aspect of the Acropolis is its function as a sanctuary and political symbol. It was the religious heart of Athens, housing offerings, temples, and statues dedicated to gods, particularly Athena, whose statue by Phidias symbolized divine protection over the city. The Acropolis was also a statement of Athenian power and democracy, representing the city’s grandeur and resilience through its architecture and art, which conveyed political messages of unity and divine favor. These features collectively serve to illustrate how the Acropolis was not only a religious site but also an emblem of Athens’ cultural and political dominance in the classical world.

Turning to ancient Greek theater, one particularly intriguing feature is the orchestra of the theater of Epidaurus. This open-air space was designed with exceptional acoustics and symmetry, allowing actors’ voices to reach every seat without amplification. Its semi-circular shape and tiered seating foster a communal experience, emphasizing the Greeks’ appreciation for civic participation and theatrical storytelling. Modern audiences are often captivated by the theater’s acoustical perfection and its seamless integration with the natural landscape, which enhances the authenticity of tragic and comedic performances.

The play Lysistrata by Aristophanes offers a comedic perspective on political conflict and gender roles, which can resonate differently with contemporary viewers. Today’s audiences might interpret Lysistrata’s plea for women to withhold intimacy as commentary on protest, civil disobedience, and gender dynamics within political struggles. The humor and social critique remain relevant, making the play accessible to modern theater-goers. Comparing Lysistrata to a modern film, one might consider "The Kitchen" or films like "The Women," which explore gender solidarity and activism amid social upheaval. Both deal with themes of collective action and societal change, highlighting the enduring relevance of Aristophanes’ satire.

Regarding the ownership of the Elgin Marbles, the debate centers on cultural heritage and colonial legacy. The British Museum asserts legal ownership based on historical acquisition, while Greece advocates for their return to restore cultural integrity. Many argue that the Marbles are an essential part of Greek national identity and heritage, and their display in Athens would promote cultural tourism and education. Conversely, proponents of retention in the UK emphasize the Marbles’ preservation and global accessibility. Personally, I believe that the Marbles should be returned to Greece, acknowledging their cultural significance and aligning with international efforts to repatriate cultural artifacts to their countries of origin. Restoring the Marbles would symbolize respect for cultural sovereignty and acknowledge Greece’s historical contributions to Western civilization.

Finally, Shelley’s assertion that "we are all Greeks" reflects the profound influence of Greek culture on Western civilization. I partly agree with this claim. While I recognize that Greek law, philosophy, and arts have significantly shaped modern Western identity, contemporary societies are also products of diverse cultural exchanges and developments. Greek ideas, particularly democracy, philosophy, and artistic principles, serve as foundational elements that continue to inform our values. However, the notion of being "all Greeks" should be understood as recognizing the lasting legacy of Greek contributions rather than erasing regional differences and cultural identities. This perspective celebrates Greece’s historical role while acknowledging the interconnected nature of human history—highlighted by ongoing global exchanges—rather than asserting exclusive ownership of cultural identity.

References

• Cornford, D. (2001). The Parthenon: From Byzantium to the Present. Harvard University Press.
• Boardman, J. (1985). The History of Greek Art. Thames & Hudson.
• Kamen, H. (2002). Greekness in Ancient Greece. Princeton University Press.
• Osborne, R. (1994). Further Aspects of Greek Theatre. Routledge.
• Smith, W. (2010). The Acropolis of Athens: History, Architecture, Sculpture. Thame & Hudson.
• Shields, J. (1999). The Parthenon and Its Sculptures. Princeton University Press.
• Young, P. (2014). Greek Architecture and Its Influence. Oxford University Press.
• Walker, C. (2018). Restitution and Cultural Heritage. Cambridge University Press.
• Reeder, D. (2015). Greek Theatre and Its Modern Interpretations. University of Chicago Press.
• Haskell, F. (2010). The Elgin Marbles: Politics, Art, and Cultural Heritage. Oxford University Press.