A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)

A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)

Language: English

Pages: 552

ISBN: 1444337645

Format: PDF / Kindle (mobi) / ePub

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



















found. In this context inspiration is seen primarily in terms of the effects of discourse and the power of delivery to evoke an emotional response in an audience.9 Cicero confirms a connection between this rhetorical idea of inspiration and that of poetic enthousiasmos when he discusses the topic in the De Oratore (2.189–96). Antonius, the speaker, insists that in order to move an audience, the orator must genuinely feel the emotions he wishes to arouse in them. If anyone should doubt that this

contemplation of dance movement in Greece. In fact, we seem to have more evidence about the way Greek dance was apprehended as a visual stimulus than about technical aspects of dance and choreography. A brief digression can best explain this phenomenon. In his influential book Painting and Experience in Fifteenth Century Italy, Michael Baxandall interprets the presence of a somewhat enigmatic but repeatedly occurring figure in some paintings of this period by comparing it to an interesting

Stoics, any virtuous person at all is the equal of god in respect to his virtue. As mini-demiurges, human craftsmen join the company of the supreme demiurge. This is the ultimate vindication of the poet or any other artist. Their craft consists in making imitations (on this, the Stoics followed Plato and Aristotle); but there is nothing inferior about them as makers of imitations. Their creative wisdom, as such, is the same as god’s. One might object, as was a constant refrain, that this is an

(Galinsky 1992; Habinek 2002). Ovid’s exile – in effect the opposite of patronage – neither silenced his voice, nor, as far as can be told, reduced his impact on the aesthetic choices of his literary successors. Places for Poetry in Imperial Rome: Schools, Households, Contests, and the Court The possible means through which Ovid’s poetry was preserved, despite the author’s disgrace, remind us of the diverse contexts in which literature flourished during the early empire. Schools of literature

Greeks’ aestheticization of the body into something unrelatable to a “subjective” reality is closely related to their continuing sense of the objective reality of the divine, within and beneath the sculptural form. Not all Greek sculpture is religious, and not all Greek religion is expressed in sculpture, but the relation between aesthetics and religion, articulated through the body, at once human and divine, remains paramount. REFERENCES Birge, D.E., Miller, S.G., and Kraynak, L.H. 2001.

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