By Pierre Destrée, Penelope Murray
The first of its style, A better half to historic Aesthetics provides a synoptic view of the humanities, which crosses conventional limitations and explores the classy 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 historic world
- Explores the classy event of the ancients throughout a variety of 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 on the similarities and transformations among historic and glossy methods of wondering where of paintings in society
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Extra resources for A Companion to Ancient Aesthetics
30 Richard P. Martin Studies of the symposium and its poetry have exploded since the 1980s. Essential is Murray (1990b); Rösler (1980), Rossi (1983), and Gentili (1988) are still fundamental. Hobden’s recent work (2013) offers a greatly expanded overview and bibliography. Filtering of poetic corpora through symposia is examined in Budelmann (2012), Carey (2011), Figueira and Nagy (1985), Nagy (2004), and Irwin (2005). A vast literature took the symposium as its fictional setting: J. Martin (1931) is still a good introduction to the whole range, while Bowie (1993) concentrates on the early period.
By the seventh century bc, the Pythia at Delphi had become a major event for contests in music and song (with athletics on the side). We might see the mythical retrojection as akin to the story of the Judgment of Paris with its international consequences in the Trojan War. Such stories dramatized a broader Greek concern with the exercise of serious decision making in key moments: it is not surprising that the word for “act of judgment” (krisis) underlies our words “crisis” as well as “criticism” (Nagy 1990: 402–403).
Selectivity, for instance, characterizes everything about the annual July festival (made especially grand every four years), from the choosing of who will parade in the great procession, carrying various objects (as depicted on the famous Parthenon frieze), to the handling of the musical/poetic competitions. A key selection was the choice, apparently in the sixth century, of just five musical tekhnai as being eligible for prize competition: the “rhapsodic” performance of poetry without music, alongside four arts related to instruments (singing to the kithara; singing to the aulos; playing the kithara; playing the aulos).
A Companion to Ancient Aesthetics by Pierre Destrée, Penelope Murray