Parthenon Marbles as Embodiments of Dramatic Consciousness: Aesthetics of Place

Jeni Mihova
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It will be a lost opportunity if we do not review the Periclian Parthenon and its architectural sculpture in the light of the ancient drama - one of the most dominant factors in shaping the social consciousness during the time of their creation. Greek theatre - an already established social institution in the time of Pericles was an actual mechanism for influencing and “shaping” the Athenian citizens. Let us not forget that the father of the Greek theatre, Aeschylus, himself a participant in the Persian wars was as well an eyewitness of overthrowing the tyranny and the establishment of the new democratic order in Athens. The survived until today 33 dramatic works by the three great Athenian playwrights – Aeschylus, Sophocles and Euripides (from about grossly created 300 by them) are one albeit incomplete evidence about the importance of the theatre in the life of democratic polis. Certainly in the form of written texts in which those ancient works had reached our time, their prime magnitude as oral texts/performances to be perceived collectively as a part of city Dionissia could not be appreciated fully today. Exactly this original role of the texts to stimulate ‘collective dramatic intercourse’ intending transpose is here our task to accentuate and to reconsider again in order to produce a more integral reading of the Parthenon Sculptures.

Keywords: Parthenon Marbles, Periclean Parthenon, Ancient Drama, Architectural Sculpture
Stream: Anthropology, Archaeology, Cultural Studies, Humanities
Presentation Type: Paper Presentation in English
Paper: Parthenon Marbles as Embodiments of Dramatic Consciousness

Jeni Mihova

Lecturer, School of Architecture & Design
Victoria University of Wellington, International Congress of Aesthetics

Wellington, New Zealand

I am an architect and design educator. In the last five years i am working on a research project.

Ref: I07P0816