AUA should take important steps in further developing its strategic and implementation plans to capitalize on its strength in addressing important agro-food, environmental and sustainability-related issues. The research operations of the university are sizeable and impressive, both in the physical sciences and the humanities. They also include a few excellent examples of world-class research and recognition. The University has initiated the strategic planning process, which should be continued and completed.
So it is that the Greeks, the most humane humans of ancient times, have within themselves a trait of cruelty, of tiger-like joy in destruction How do we make sense and cope with individuals who exist out of the norm, less in control of their primeval impulses, the weaker, those sometimes unaware of their own mortality?
Do we glorify them or, afraid of them, reduce them to the level of the animal? I am drawn to the tension inherent to coming-of-age sexual desires and discoveries in the mentally disabled, and how their surroundings handle them.
I explore the above questions through mythological, figurative and theatrical tropes, all intrinsically connected to investigations of cultural identity.
These are attempts at role reversals, a concurrent collapse of hierarchies and power structures of a world where a certain logic and order is expected from such rather traditional mythological and operatic symbols. Such an understanding of mythology, as a non-linear, non-sequential but interrelated events, applies to my studio practice and work as a whole; the sculptures are connected to the drawings which are connected to the performances which relate to the puppet theaters.
They are bound by common questions upon human behavior and interactions. Ancient Greeks used myths as a way to explain the unexplainable, make sense of randomness and understand the human condition in all its glory, suffering and inadequacies.
Through rituals carefully embedded in everyday life, chaos was rationalized and order created; violent impulses and animalistic urges were controlled and used as a constructive energy, considered an indispensible part of human nature and society.
Nevertheless, in ancient Greek sacrificial rituals, the role of the animal and of the goat in particular, is more complex than that of a mere symbolic offering to the gods: The feelings of guilt and remorse crystallize into symbolic acts through which man tries to restore the equilibrium disturbed, to stress the continuity of life through death [ ] masked, disguised men have to kill the animal In ancient Greece, violent urges were controlled through rites and rituals with men indulging in bakcheuein the intoxication of killing.
What kind of structures do we use now and what do individuals with a lesser capacity of control do? Even more intriguing is the relationship between mental disability and involuntary violence and animalistic urges. Why do disabled people fill us with guilt and a secret fascination?
Do they by any chance fulfill the same function as the goat did in ancient Greece? Actualizing a body in space became a mirror of sorts, the most logical way for me to even begin referring to the human condition and consciousness and, most importantly, to engage in a dialogue with my audience.
The human figure is that which we most immediately recognize and relate to on primordial level; unlike animals, we have the cognitive ability to identify ourselves in a mirror and make the distinction between I and You. Man becomes I through a You. What confronts us comes and vanishes, relational events take shape and scatter, and through these changes crystallizes, more and more each time, the consciousness of the constant partner, the I-consciousness.
That relationship of man with Himself and man with the Other is one that has been developing in my work first as my relationship to my sculptures Objects and as a progression, to my relationship with myself as an imagined Other in a parallel reality where the Objects take on an active role as costume, prop, or machine.
Beyond the existential need to involve myself with the figure, there was also an unconscious cultural impulse that I think guided me in that direction.
After going through a necessary phase of imitation and attempts at appropriations of Greek architectural vernacular as a younger maker, I found that I came closer to a fully realized I-You relationship through the making of figures and the letting-go of a cultural identity-centric practice.
But then, an insistence on the figure as a way of addressing the body in actual space versus virtual space, seems in way, still very Greek.
In Solar Metaphysics not only are the sculptures and their movements derived indirectly from a generally more "traditional" and Greek history of sculpture, their materiality plaster, concrete, dirt and coloration too refer to stone. Upon revisiting Solar Metaphysics, the elements now resemble fallen heroes, a commentary on the failure of the epic.
But also an observation on the current Greek identity crisis and questionings of what a monument is and how or why is should exist at all, literally or metaphorically. In the current state of desperation Greeks find themselves in for the first time in generations, bronze busts have been stolen from public areas such as parks and town squares.
With the progression of my figures from the representative to the non-representative and from the logical to the illogical, I have become interested in the concepts of the monster and the posthuman in modern society and in how these concepts can exist within a contemporary art discourse.
In Physics, Aristotle defines the monster not as a wrong but rather as an occasional thing that failed to complete its process of becoming: Now surely as in intelligent action, so in nature; and as in nature, so it is in each action, if nothing interferes.
Now intelligent action is for the sake of an end; therefore the nature of things also is so Hence clearly mistakes are possible in the operations of nature also. If then in art there are cases in which what is rightly produced serves a purpose, and if where mistakes occur there was a purpose in what was attempted, only it was not attained, so must it be also in natural products, and monstrosities will be failures in the purposive effort.
Patricia McCormack, in her essay Queer Posthumanism: Man has long been afraid of that which is different or hybrid, even though the Greeks are probably the closest example that I am aware of, of a society that succeeded to such an extend in creating stories around monsters and hybrids, thus attributing rationalized reasons for their existence.
They were sometimes daemonic or evil, but other times the result of punishment, or simply transformation as a means to an end.
In search of a place to exist? Or simply engaging in an activity that is in reality entirely sensical to her, a behavior that challenges our conventional public modes of operation and existence? Fugue is a split-screen single-channel video, displaying the running person on top and underneath it a video of the same individual crouching, rocking gently up and down, clothed in a long black piece of fabric and wearing a helmet obscuring facial features.
Identity and facial expressions are therefore lost, allowing for the body to be the mediator of emotion. These dichotomies of up-down, fastness-slowness, folly-meditation, relate to the religious concepts of good and evil as portrayed through the iconography of heaven up and hell down.
What are we to do with posthuman theory then?I am writing a paper and I don't know what a good thesis statement could be. It needs to say something like " Greek gods and goddesses have many unique traits " or something, please help!! How about Greek God and Goddesses in..
asked under Other. Essay on ancient greek: essay examples, topics, questions, thesis statement ancient greek Essay Examples Odyssey Film Adaptation Essay Adaptation of Homer’s epic is rather difficult task for a .
Are you required to write a Greek thesis on myth but haven’t got any idea how to commence your thesis? “OR” Have you tried your best to come with one of a kind thesis statement for your Greek mythology thesis but unable to achieve this objective? When writing a Greek thesis on mythology, students must keep in their minds that purpose of Greek mythology thesis is to provide sensible explanation about a selected topic within context of the Greek culture.
Greek mythology thesis writing will require a thorough research, deep understanding about the topic and readiness from your side. Oct 20, · Best Answer: Ancient Greece Essay example: About years ago, the original Greeks came from central Europe and settled on the Greek peninsula.
In about BC a great Greek civilization rose up. It was called the grupobittia.com: Resolved. I am writing a paper and I don't know what a good thesis statement could be. It needs to say something like " Greek gods and goddesses have many unique traits " or something, please help!!