By Pierre Destrée, Penelope Murray
The first of its style, A significant other to historic Aesthetics offers a synoptic view of the humanities, which crosses conventional barriers and explores the cultured event of the ancients throughout a variety of media—oral, aural, visible, and literary.
- Investigates the various ways that the humanities have been skilled and conceptualized within the old world
- Explores the cultured adventure of the ancients throughout more than a few media, treating literary, oral, aural, and visible arts jointly in one volume
- Presents an built-in point of view at the significant issues of old aesthetics which demanding situations conventional demarcations
- Raises questions about the similarities and changes among historical and glossy methods of pondering where of artwork in society
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Additional resources for A Companion to Ancient Aesthetics
2004. ”TAPA 134: 295–322. Rösler, W. 1980. Dichter und Gruppe. Eine Untersuchung zu den Bedingungen und zur historischen Funktion früher griechischer Lyrik am Beispiel Alkaios. Munich: W. Fink. E. 1983. ” In Atti del VII Convegno di studio Spettacoli conviviali dall’antichità classica alle corti italiane del ’400, 41–50. Viterbo: Centro di studi sul teatro medioevale e rinascimentale. Rotstein, A. 2012. ” Classical Antiquity 31: 92–127. Rutherford, I. 2001. Pindar’s Paeans: A Reading of the Fragments with a Survey of the Genre.
2001. ” Kernos 14: 23–33. Martin, R. 2003. “The Pipes are Brawling. ” In Dougherty and Kurke, 153–180. Martin, R. 2010. ” In González de Tobia, 17–41. Millis, B. , eds. 2012. Inscriptional Records for the Dramatic Festivals in Athens: IG II2 2318–2325 and Related Texts. Leiden: Brill. Murray, O. 1990a. ” In Murray, 3–13. , ed. 1990b. Sympotica: A Symposium on the Symposion. Oxford: Oxford University Press. Nagy, G. 1990. Pindar’s Homer. The Lyric Possession of an Epic Past. Baltimore: Johns Hopkins University Press.
Judging artistic performances, however, came closer to the beauty contest model; from the scant and anecdotal evidence (Le Ven 2010), it appears sweetness of voice, fine sentiment in words, and the overall production of pleasure – rather than good technique – were central. Thus, competitive criteria coincided with the aesthetic ideal of extreme pleasure foremost in depictions of song within the epics and Homeric Hymns (Peponi 2012). Glimmers of evidence suggest the purely disinterested evaluation of aesthetic effect was not always uppermost for the ancient judge.
A Companion to Ancient Aesthetics by Pierre Destrée, Penelope Murray