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Positive and negative of London's multiculturalism
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The evidence in regards to this topic is the embodiment of subjectivity. While it does provide an detailed overview of events such as the circumstances about how Lord Elgin was able to gain permission to transport the Parthenon marbles, the documentation is either bias or flawed. An example is how Lord Elgin has been viewed when he “liberated” the Parthenon marbles off the walls to be taken to his estate through the use of blackmail. The previous statement was a common opinion of British and Greeks citizens who saw Elgin as a thief who only wanted the marbles to put on display in his home. Alternatively others who favoured Elgin’s actions, viewed him as a hero who sought to enhance the cultural diversity of Britain. Both these interpretations are gross exaggerations on Elgin but they have had an impact on modern opinions on the Parthenon Marbles. …show more content…
However the concept of perspective should be taken in account when critically analysing Lord Elgin. Other artefacts were also supposedly plundered includes the bust of Nefertiti. Berlin still has claim over the invaluable relic due to an apparent agreement with the Egyptian government that allowed for the sculpture to be possessed by Germany. So the examination of bias is essential to convey meaning effectively. Furthermore for evidence to be accepted the shortcomings must be acknowledged. Elgin’s case is no different as his official record demonstrating he was given access to the Parthenon Marbles is problematic as the original document was lost and only the Italian translation exists. As the conversion from one language to another causes small discrepancies, so under close scrutiny, the document is not infallible. Nevertheless as it is a form of evidence, the inconsistencies will have to be recognised when used as a based for an
A Greek funerary plaque, these often decorated the walls of ancient tombs, created in a beautiful terracotta medium. These are dated in the late sixth century BC. Often these plaques would show different funeral customs, myths associated with death, or events within the culture.
Imagine that one piece of history that is taken from a town. This piece of history tells l people how this town was built and all the important people that were apart of the community. “Returning Antiquities to Their Countries of Origin” by Joyce Mortimer can many people about how objects are getting taken from Museums. They should be returned immediately. There are so many artifacts out there that could be so important to people, and if someone can just imagine what it would feel to have one of the most important object taken from a museum and to be never returned again. Many people enjoy seeing these objects so why are they being taken?
The controversy began almost one hundred years ago. Between 1801 and 1812, Thomas Bruce, 7th Earl of Elgin and British Ambassador to the Ottoman Empire, removed several sculptures from the Parthenon in Athens and shipped them to England, where he sold them to the British Museum in 1816. 167 years later, Melina Mercouri, Greek Minister of Culture, requested that the “Elgin” Marbles be returned. This request sparked one of the greatest debates the art world has ever known. For the past two decades, people have argued over who has the rights to these Marbles. The Greek position is certainly understandable from a cultural and emotional point of view. However, from the standpoint of legality and logic, it is hard to make a solid case against the Marbles’ continued presence in Britain.
There is an ongoing debate on whether the Parthenon Marbles, now located in London, England, should be returned to their original homeland of Athens, Greece. The marbles were removed from the Parthenon by Lord Elgin from 1801-1812 and transported to England. They were sold to the British government in 1816 and put in the British Museum where they have been for the last 200 years. I believe that the marbles should now be returned to Greece, not only because of the method and circumstances surrounding their removal, but because they are original pieces of the oldest and most symbolic structure in Greek history that epitomizes the pinnacle of Ancient Classical Greece and the beginning of western democracy through artistic ingenuity.
Marble statue of a kouros (youth), Greek, Attic, ca. 590-580 B.C. Fletcher Fund, 1932. Accession number: 32.11.1
The Greeks finished building an exquisite temple to their beloved goddess, Athena in the year 432 BCE. (Sayre 60). The name of this enriched, unique temple was the Parthenon. The Parthenon took the Greeks approximately fifteen years to complete and as Pericles stated, it was built to give gratitude to their goddess Athena for the salvation of their city, Athens and all of Greece in the Persian Wars (Sayre 60). It was also a symbol of their power and superiority among other cultures. It was something the Greeks took great pride in and recognized it to a great extent. The Parthenon was built on the highest point of the city of Athens to look over the precious Greek city. On the exterior walls of the Parthenon there was beautiful artwork that adorned the walls, also known as the Parthenon Frieze (“The Parthenon Frieze”, par 1). According to the National Geographic video, “Parthenon Marbles Battle”, two thousand years after the Parthenon was built, in the late 1600's the Parthenon was blown up during a war between Venice and the Ottoman Empire, which left the Parthenon almost in complete ruins. Then, in the early 1800's, there came Lord Elgin, who was a huge fanatic of Greek history. Because Greece was currently under conquest by the Ottoman Empire, Lord Elgin made the Ottoman Empire a deal and bought the remains of the Parthenon Frieze artwork along with other sculptures as well. Elgin sent these unique sculptures of art work back to his country, England. Since then these sculptures became known as the "Elgin Marbles", and currently sit in the British Museum at London (“What are the 'Elgin Marbles”, par 1). However, do these fine pieces of artwork truly belong to Elgin? There has been a lot of controversy throughout the years of whet...
For years on end, countries have been fighting with big museums from other countries for ancient artifacts that belong to the original countries. The argument of whether or not the museums should be able to keep them still remains. It is the right of the country to have their own artifacts. It is imperative for countries to be able showcase their historical artifacts, therefor museums should return them to their rightful owners.
The philosophical ideas of Plato that relate to the Parthenon include whether the structure is an element of the Visible World or the Intelligible World. In my opinion, Plato would view the Parthenon as an object in the Visible World. The Parthenon is a one of a kind monument that is tangible and exists in our real world. The Parthenon is an architectural project and deals with forms of science and mathematics. Plato's view of science and mathematics are categorized as forms in the Intelligible World, which are intangible. Through analysis of illusory tactics, the Tripartite Soul, the simile of the line, and the artistic qualities of architecture, Plato's, as well as my view of the Parthenon will become evident.
So to conclude, I believe that national pride was hugely important in the building of the Parthenon, and although it seems that religion took a lower priority, it may have been just as important as national pride in the building of the Parthenon. Bibliography - Books = == ==
My infatuation in fractals began freshmen year at Greeley after taking a Seminar with one of the seniors. I’m not sure exactly when simple interest turned to a kind of obsession, but during that lesson something seemed to click. It seemed as if this was the universe’s answer to everything; the mystery was solved, however complex the answer was to understand. I’m still not sure if I was misunderstanding the lesson, or if I had somehow seen it for what it really was; a pattern to describe the way the universe works.
The construct of the ‘Roman copy’ in art history has deeply rooted and extensive origins. Whilst this prejudiced was attached to Roman sculpture from an extremely early time in modern archaeology and art history, the construct viewed in a current context reveals issues with both its development and contribution to historical understanding and education. The construct is formed upon several main factors that have recently been called into question by revisionist historians. Firstly, the development of the construct by conservative historians during the 18th century, a context that valued artistic originality and authenticity, lead to it’s popularisation and circulation as a respected model. Secondly, the construct rests entirely on the presumption that Greek art is in fact aesthetically and artistically superior, insinuating a negative predisposition towards Roman artistic workmanship and aesthetics. Lastly, technological advancements aiding historiography have asserted the fact that many conclusions drawn by conservative historians through their methodology are in fact irrefutably incorrect. While the basis for much of the conservative historians argument has been seen as flawed, or otherwise seriously questioned in terms of accurate and reliable history, the construct of ‘Roman copies’ of Greek originals has remained a legitimised understanding and interpretation of Roman art for centuries. The question can then be raised as to whether the attention given to this aspect of history is worth the fact that much of the history being taught is now being heavily questioned.
... carved in the round, giving it a highly realistic look. The figures seem to jump out of the marble with almost completely three-dimensional bodies. The act of Greeks favoring reason over emotion is found in many sculptures and scenes on the Parthenon.
It is made up of Styrofoam and wood but painted to give it the texture of marble. I was inspired when I first learned about the Parthenon that I wanted to know everything I could about it. The real Parthenon is made of all marble, but seeming’s how marble is very heavy and expensive I chose a light weight medium so that it can be transported. The overall design was to keep it as accurate to the original as possible. Although nothing can be built exactly the same way it is a little off, but it has eight (8) columns on the facade, and there are seventeen (17) on the flanks. There are two (2) rooms on the inside and the statue of Athena on the inside. Although she is not made of gold and ivory she is made of clay and gold paint. I chose the Greek style because it inspired me to want to learn more and become familiar with the past. There is not symbolism to my architectural model. I chose the tan color because it makes the model look older. My piece means that there was a great accomplishment for the city and the people of Athens. It is supposed to make the viewer feel that the builders took the time to make something so geometrically correct. The realization as to how much thought actually went into making the Parthenon is
The Roman Pantheon, constructed around 126AD, and the Greek Parthenon constructed about 432BC, are famous not just because they are two of the few significant ancient temples that have survived mostly intact for thousands of years but because the offer a glimpse into the past of early Western civilizations. These temples were used by two different cultures and are constructed about 550 years apart, so it is expected that there would be differences. The question to be examined is – Are the differences between the Parthenon and the Pantheon that great and what do they say about their cultures?
interior of the Parthenon. "The statue seems to have been over 12 meters tall, nearly 40