Article review: The purpose of the article review essay is to critically analyze an article written on a topic represented in the course.

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HAGIA SOPHIA AND MULTISENSORY AESTHETICS: ARTICLE REVIEW
Student Name
Class
Due Date
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Your Name and date
1 Author(s): Bissera V. Penthceva
2 Bibliographic info (title: “Hagia Sophia and Multisensory Aesthetics”; source: Gesta; date: 2011; page numbers: 19)
3 Subject of article (brief synopsis):
“Hagia Sophia and Multisensory Aesthetics” (Penthceva 2011) explores visual and acoustic interplay and effects on spectators, listeners and/or worshipers at Hagia Sophia Church, Constantinople, Turkey. Central to current article’s claim is using marble, gold and carved designs and inscriptions, coupled by acoustic effects caused by actual, perceived and imagined liturgical rituals and practices, in order to impart specific visual and acoustic effects. Essentially, “marmarygma [optical shimmer], is linked to the acoustic properties of marble, especially its capacity to reflect sound waves. The meaning of the optical and acoustic reflection is related to the Eucharistie rite and, more specifically, to the concept of animation, empsychosis” (Penthceva, 93).
4. Thesis of article (focus or controlling idea):
“In part literary analysis, philological inquiry, and scientific work, this essay focuses on the psychology of response, especially on the effect polymorphy has on the viewer and how it was culturally and religiously conditioned. More precisely, the goal of this article is to recover the interior art and architecture of Hagia Sophia as experienced by the visitor in the sixth century” (Penthceva, 93).
5. Supporting Thesis
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In exploring visual and acoustic effects as experienced by Hagia Sophia sixth-century visitor, Penthceva provides several evidences, descriptions (original and borrowed) and examples. For instance, Penthceva relies extensively on Paul the Silentiary’s ekphrasis of Hagia Sophia in order to extract descriptive passages indicatory of Hagia Sophia visual and acoustic effects on visitors. Quoting Paul the Silentiary, more specifically, Penthceva shows Hagia Sophia’s Proconnesian floor as a nexus for visual, acoustic and spiritual experiences: “The ceiling encompassing gold-inlaid tesserae, / whose pouring down (chyden) in glittering (marmairousa) gold- streaming (chrysorrytos) ray (aktis) / irresistibly bounces off the faces of the faithful” (98). Penthceva also resorts to filming – dubbed “a radical move” – in order to record how marble and gold change at such moments of transition as sun...