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    exterior walls of a temple (“Parthenon Sculptures”). The real heat of the argument begins in the early twentieth century when a restoration movement was put into motion (Venieri). Greece wants their art back‚ as they have spent a great deal of money on a museum to house them. Though the legality and ownership of the Elgin Marbles remains a controversy‚ a compromise can be reached for their location. The British‚ however‚ do have quite a serious claim to the legal possession of the marbles. Consequently‚

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    Rogerian Paper

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    kept in Britain‚ or returned to Greece‚ has been a frenzied dispute since the early 1800’s. Lord Elgin originally took possession of the Marbles to either salvage them from being further destroyed‚ or he bought them and re-sold them to the British Museum. Whether Lord Elgin‚ ambassador to the then ruling Ottoman empire‚ had the authority to handle the Marbles presents great confusion‚ “[a]s to whether Elgin had legal authority to remove the marbles‚ the Ottomans being the ruling power‚ as the British

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    their contemporary locality in the British Museum has been the subject to rigorous debate from historians‚ politicians and the general public alike. The major contemporary arguments supporting the return of the marbles to Greece involve the fact that the Greek government has accepted concerns regarding inadequate conservational facilities in Greece and implemented corrections through the building of an entirely new facility known as the Acropolis Museum. Furthermore‚ the Parthenon Marbles are a part

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    Parthenon Marbles

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    and the British Museum over the Parthenon Marbles. In the 19th century‚ Lord Elgin removed Marble sculptures from the Parthenon on the Acropolis in Athens and sold them to the British Museum where they have been on display since. Arguments of both legal and moral standing have been put forward by both parties‚ in regard to where the Marbles

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    Elgin Marble

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    sculptures were bought and placed in the British Museum by the government in 1816 including 247 Parthenon frieze‚ 15 metopes‚ and 17 pediments. I think that was the reason why the sculptures were called with the name Elgin Marbles. Greek government has requested the return of the sculptures to Athens‚ but the British Museum has refused to return them with the reason that the sculptures are protected better in Britain. In my opinion the British Museum should return those sculptures to Greece because

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    Andrew Wyeth

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    secret from everyone‚ including his wife Betsy. He revealed the Helga pictures to Betsy in 1985‚ and arranged a sale of the paintings to Leonard Andrews‚ a private investor‚ the following year. Andrews arranged a publicity blitz that attracted major museums to exhibit the artwork. Enticed by the suggestion of a secret love

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    Snow in August

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    Pete Hamill expresses pressure through his story with an eleven year old American – Irish boy named Michael Devlin. Throughout the novel‚ Michael deals with the pressure of having a friendship with a lonely rabbi who is not easily accepted in the Brooklyn community. In addition‚ the all American-Irish boy has to deal with Frankie‚ the leader of the Falcons because he was the only witness to the hate crime he committed

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    I. Intro paragraph a. Hook: In the Irish American community of Brooklyn in the 1900’s‚ immigrants faced discrimination and crushing poverty b. In the world that Betty Smith describes in “A Tree Grows in Brooklyn” however‚ this poverty is depicted as a kind of virtue‚ a force that causes individuals to grow‚ and families to bond c. Yet‚ while female characters like Katie and Francie grow from overcoming the hardships brought on by poverty‚ Francie’s father Johnny Nolan is defeated

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    The Parthenon Marbles‚ known also as the Elgin Marbles (pronounced /ˈɛlɡən/‚ with a hard “g”)‚ are a collection of classical Greek marble sculptures (mostly by Phidias and his pupils)‚ inscriptions and architectural members that originally were part of the Parthenon and other buildings on the Acropolis of Athens. Thomas Bruce‚ 7th Earl of Elgin‚ the British ambassador to the Ottoman Empire from 1799–1803‚ had obtained a controversial permission from the Ottoman authorities to remove pieces from the

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    beliefs. This does not‚ however‚ excuse allowing past injustices to go uncorrected. Many of the worlds most prestigious museums are filled with trophies of colonial expansion (Rubenstein 2004271) obtained by veritable vandalism (Barringer 199821-23). It is no consolation that the responsible parties are long dead. In fact‚ the heart of the issue is the legitimacy of those museums themselves. Created to feed the imperial desire to show their dominance over non-western cultures‚ their exhibits consist

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