Whose Genius Loci? Contrasting Interpretations of the Sacred Rock of the Athenian Acropolis (original) (raw)
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Monuments constitute a transmutation of the need for expressing communal memory. This paper explores the possibility of defining monumentality through the properties of memory and mnemonic reflection. What is required, however, for a monument to procure the attribute of monumentality? Is a monument monumental from the moment of its inception? In this context, it is debated whether monumentality constitutes an integral part of any monument, or whether it is composed of a series of qualities supplementary or even independent to it. The likelihood of the presence of monumentality without reference to the monument's content, or even without the latter's existence, is analysed. Through the analysis it becomes clear that monumentality is a condition which has a measure of organisation based on a number of criteria become interrelated. Next, it is attempted to analyze form and space as the fundamental components of the production of monumental sensation and to set a basic framework for the investigation of their more detailed parameters. The difference and interaction between the concepts of space and form is considered in terms of their perceptual characteristics, and followed by a discussion on the manner in which monumentality is generated by clearly identified perceptual properties. The paper focuses on the perceptual analysis of the performativity of space, namely the way space, despite the fact that it cannot be directly apprehended by the eye, contributes, through the organization of specific qualities, to the accentuation of a sense of the monumental. Lastly, various criteria, such as size, structure, and proportions are discussed through case studies. As Louis Kahn (1993) observed, a monumental structure must have a spiritual quality emitting a sense of eternity which may not be augmented or altered. This paper was presented at the international conference "On Monumentality", Acropolis Museum 4-6 April 2019, and will be published in the proceedings of the conference.
Monumental Architecture, Identity and Memory
The concept of monumentality embraces several types of built structures: palaces, élite residences, administrative complexes and political centres; ceremonial centres and 'temples'; fortifications and defensive compounds; and tomb constructions. Monumental structures can express power as well as mask it. The task of building such large and complex structures required a long-term commitment as well as the ability to control resources and coordinate substantial investments of labour.T hese undertakings cannot have failed to create as ense of group identity,oreven of distinct identities, e.g. between those who built and those who inhabited or used these structures.S uch monuments embody not just the earth or stone from which they were built, but the people and experiences involved in their construction: they thus hold as pecial place in human memory,and in individual or group identity.This paper offers asocial analysis of the construction, elaboration and meaning of monuments using specific examples from Cyprus.S uch an approach offers one means of conceptualisingi sland identities, assessing the impact of human memory,and of unpacking the intricacies involved in establishingideological or political authority.
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Political events have a repercussion on the monumental landscape of cities and their local tradition: that is still true today, and was undoubtedly the case in ancient Arcadia. In Greek poleis, monuments were built at strategic places which made sense, and presented viewers with different layers of possible interpretation, from episodes taken from panhellenic narratives to very local histories. In this paper, I will examine three cases in which the Arcadians used monumental memory, namely adding layers of interpretation to monuments, existing or new, to fulfil contemporary claims. These cases will be: - The monuments of the Tegean agora, which all seem to display how much the Tegeans hated the Spartans from a very early time; - The statuary group of the Arcadians at Delphi, which features a very conveniently newly found son of Arcas; - The Trophy of the Arcadians in the sanctuary of Poseidon at Mantinea, which is one example of how monuments contribute to filling gaps in local memory by creating historicizing events.
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Castillo, A. (ed.), Segundo congreso internacional de buenas prácticas en patrimonio mundial: Personas y communidades, 2015
This article explores attitudes towards heritage in periods of conflict. The aim is to compare how notions over heritage monuments are renegotiated during periods of war and other conflict situations. The above relationship is examined through the Athenian Acropolis, one of the most profound symbols of World Heritage.
International Journal of the Humanities, 6/1, 2008
After the establishment of the Modern Greek State, the issue of the conservation of Acropolis’ monuments is raised for the first time by the German architect, archaeologist, and diplomat Leo von Klenze. The first works aim primarily at the cleansing of the place, by extrapolating any modern component; but they are neither based on specialized studies nor do they pay any serious attention to the modern history of the monuments. These restorations will reveal the aesthetic and broader artistic value of the monuments, tending to re-establish the archetype design and form, but they will also harm their overall identity and they will undermine the historical and social value of these monuments. The need for a documented conservation of the Acropolis monuments was express as early as the Second World War. This was underlined from time to time by the directors of it and was realized by special technicians and scientists as well as by a UNESCO expert team in 1971. In 1975 the Committee for the Conservation of the Acropolis Monuments (CCAM) was founded. The founding of the CCAM puts the problem on an effective basis, while at the same time the internationalization of the issue of the conservation of the cultural heritage minimizes the local ideological and political intervention, which nevertheless changes form: it is now related to issues regarding multiculturalism, the clash of civilizations and globalization. In this paper I attempt to describe some aspects of the relation between the humane heritage of the objects and the historical continuity, namely the relation of the constructed environment with history, memory and the past. I claim that the term “global cultural heritage” is not at all ideologically neutral. Keywords: Acropolis’ Monuments, Technoscientific Community, Global Cultural Heritage
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