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
it that works of art, the depiction of imagined worlds, can affect us in the way that they do? Plato’s myth of divine inspiration doesn’t provide an answer to these questions, but it does pose the problem. REFERENCES Acosta-Hughes, Benjamin and Stephens, Susan. 2002. “Rereading Callimachus Aetia fr. 1.” Classical Philology 97: 238–255. Acosta-Hughes, Benjamin and Stephens, Susan. 2012. Callimachus in Context: From Plato to the Augustan Poets. Cambridge: Cambridge University Press. Bing, Peter.
Fowden for reading my manuscript and for providing me with his valuable suggestions. REFERENCES Andronikos, M. 1984. Vergina. The Royal Tombs. Athens: Ekdotiki Athinōn. Andronikos, M. 1987. “H zografekē sten Archaia Makedonia.” AD: 363–382. Bertrand, E. 1893. Études sur la peinture et la critique d’art dans l'antiquité. Paris: E. Leroux. Boura, V. 2014. “La peinture des portraits à l’époque hellénistique et romaine: Textes et images.” PhD thesis, Université de Paris Ouest Nanterre la Défence.
which recreated a grassy landscape with dislocated shades of artificial green such as Juvenal’s Umbricius had despised (Juv. Sat. 3.19). The vestibules of the tepidarium of the Baths of Caracalla were lined with Spartan green porphyry (Lazzarini 2007, 49). The use of this marble to recreate natural colors continued to the olive-leaf capitals of this material in S. Apollinare at Ravenna. Buildings and Love By contrast with the grandeur of pulchritudo, Vitruvius’ concept of architectural beauty,
landscape I could picture to myself only with difficulty and thereby longed all the more to discover, set amid real lands and roads that would suddenly become immersed in heraldic details …] (Proust RTP II.314, Éd. Gallimard 1987–1989; trans. M. Treharne 2002: 8). 14 On the conjunction of journeying and theoria, see Nightingale (2004, ch. 1). 15 Gutzwiller (1991, 73–79). Cf. later encounters such as the story of Archilochus and his cow (from the third century BC, fr. 51 Diehl); and also Pearce
publications, mainly covering Presocratic thought, Plato, and Aristotle, include the books Le teorie della percezione in Democrito (1978), The Science of Man in Ancient Greece (2001), and Gli inizi della filosofia: in Grecia (2009). Anne Sheppard is Professor of Ancient Philosophy at Royal Holloway, University of London. She is the author of Studies on the 5th and 6th essays of Proclus’ Commentary on the Republic (1980), Aesthetics: An Introduction to the Philosophy of Art (1987), and The