A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)
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The first of its kind, A Companion to Ancient Aesthetics presents a synoptic view of the arts, which crosses traditional boundaries and explores the aesthetic experience of the ancients across a range of media—oral, aural, visual, and literary.
- Investigates the many ways in which the arts were experienced and conceptualized in the ancient world
- Explores the aesthetic experience of the ancients across a range of media, treating literary, oral, aural, and visual arts together in a single volume
- Presents an integrated perspective on the major themes of ancient aesthetics which challenges traditional demarcations
- Raises questions about the similarities and differences between ancient and modern ways of thinking about the place of art in society
Greece.” In Debating the Athenian Cultural Revolution, edited by Robin Osborne, 288–300. Cambridge: Cambridge University Press. D’Angour, Armand J. 2011. The Greeks and the New. Cambridge: Cambridge University Press. D’Angour, Armand J. Forthcoming. “Euripides and the Sound of Music.” In The Blackwell Companion to Euripides, edited by Robin Mitchell-Boyask. New York: Wiley-Blackwell. Danielewicz, Jerzy. 1990 “Il nomos nella parodia di Aristofane (Ran. 1264 sgg.).” AION 12: 131–142. Destrée,
Batteux, C. 1989. Les Beaux-Arts réduits à un même principe. Édition critique par Jean-Rémy Mantion. Paris: Aux Amateurs de Livres. (Originally published 1746) Baxandall, M. 1988. Painting and Experience in Fifteenth Century Italy, 2nd edn. Oxford: Oxford University Press. Billings, J., Budelmann, F., and Macintosh, F. eds. 2013. Choruses, Ancient and Modern. Oxford: Oxford University Press. Bourdieu, P. 1987. “The Historical Genesis of a Pure Aesthetic.” The Journal of Aesthetics and Art
generates the lovely locale. Cicero’s turn on the original Athenian terrain further suggests that the dialogue will unfold in a latter-day, perhaps more “cultured” mode (hence the private garden setting, with its cushions and seats), but one that is similarly inspired by the carefully crafted scene and wittily engaged with the aesthetics of an elite, thinking man’s rhetoric. The book concludes with a punctuating reference to the heat of the day, recalling the argument that Phaedrus uses to keep
Theocritus, Idylls 1.41–42, a detail on a cup represents an old fisherman whom one imagines seeing as he struggles to drag his net; or the comments of women on the liveliness that animates statues in Herondas (third century BC), Mimes 4.33–34, 64–65, 73. The author of an epigram on the statue of a dancer imagines that the dancer he is looking at endured the same fate as Niobe, turned to stone: the only way to interpret the paradox of suspended life, of fixed movement (Palatine Anthology 11.253).
must be an interaction between body and soul (and that, hence, the soul must be corporeal to facilitate this interaction).4 For reasons like these, emotions also came to play a role in discussions about the relation of body and soul. In addition, the somatic-physiological side of emotions was recognized as an object of study for the field of medicine, and thus the bodily alterations connected with the several types of emotions were described in detail. For those first attempting to localize the