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
Early Greece Conclusions REFERENCES FURTHER READING Index of Subjects Index of Ancient Texts Discussed End User License Agreement List of Illustrations Chapter 03 Figure 3.1 Ludovisi Gaul: Suicidal Gaul. Museo Nazionale Romano (Terme), Rome. Sansaini, DAI negative number 56.349. Figure 3.2 The Drunken Old Woman in Munich. Figure 3.3 Terme Boxer. Museo Nazionale Romano (Terme), Rome. Koppermann, DAI negative number 66.1689. Figure 3.4 Crouching Aphrodite. Museo Nazionale Romano (Terme), Rome.
the panegyrist takes the virtues his subjects really do possess and makes the most of them. In praising a dog, for example, a skillful panegyrist should be able to liken “the dog’s size and spirit to the lion’s” (tr. Fowler 1905). Aristotle in his Poetics (1448a1–6) already refers to the possibilities poetry offers for representing men “better,” or “worse,” or “much what they are,” just like in painting: Polygnotus depicted men as better (kreittous) that they are and Pauson worse (cheirous),
(Cicero, On Duties 1.27.97–98 and 1.35.128) as well as to architecture (Vitruvius, On Architecture 1.2.1–5), also shaped the way Roman aristocrats chose what sculptures to display and where (Bartman 1991, 74–75). Sculptures were chosen according to their suitability for a building, its role and its final destination: statues of athletes were considered to be appropriate for baths, palaestrai, and gymnasia while philosophers could properly be displayed in the library of a villa (Cicero, Letters to
Latin communities, a number of which were well integrated into the wider Mediterranean world (Cornell 1995; Smith 1996; Terrenato 2006). Already during the so-called regal period (753–509 BC) there is evidence of the circulation of precious objects among the elites of Latium and of the construction of palaces, temples, and other monuments, presumably financed by local potentates. Among the legends concerning early Rome is the story that the family of the Tarquins (the last three kings of Rome)
Madison: University of Wisconsin Press. Sciarrino, Enrica. 2011. Cato the Censor and the Beginnings of Latin Prose: From Poetic Translation to Elite Transcription. Columbus: Ohio State University Press. Smith, Christopher J. 1996. Early Rome and Latium: Economy and Society, c. 1000 BC to 500 BC. Oxford: Oxford University Press. Starr, Raymond J. 1987. “The Circulation of Literary Texts in the Roman World.” Classical Quarterly 81: 213–223. Sullivan, John P. and Whigham, Peter, eds. 1987. Epigrams