CONTENTS
Cover
Title page
Notes on Contributors
Acknowledgments
List of Illustrations
Introduction
What Is “Ancient Aesthetics”?
The Organization of This Companion
REFERENCES
FURTHER READING
PART I: Art in Context
CHAPTER 1: Festivals, Symposia, and the Performance of Greek Poetry
Festivals
Symposia
REFERENCES
FURTHER READING
CHAPTER 2: Figures of the Poet in Greek Epic and Lyric
Law-giver
Symposiast
Fabricant and Donor
REFERENCES
FURTHER READING
CHAPTER 3: The Contexts and Experience of Poetry and Art in the Hellenistic World
Cosmopolitanism and the “Idea” of a Classic
Poikilia
Leptotēs
The Hellenistic Baroque
Realism
Reader/Viewer Activity: Integration and Supplementation
Reader/Viewer Passivity
Spectacle
Psychagōgia
ACKNOWLEDGMENTS
REFERENCES
FURTHER READING
CHAPTER 4: Poetry, Patronage, and Roman Politics
Public and Private Literary Activity in Regal and Republican Rome
Poetry and Power, from Catullus through Ovid
Places for Poetry in Imperial Rome: Schools, Households, Contests, and the Court
The Persistence of a Classical Aesthetic
REFERENCES
FURTHER READING
CHAPTER 5: Music and Dance in Greece and Rome
Introduction
The Culture of
Mousikē
in Archaic and Classical Greece
Musical Performances between Greece and Rome
REFERENCES
FURTHER READING
CHAPTER 6: The Body, Human and Divine in Greek Sculpture
Art and Religion
The Peplos Kore and the Aphrodite of Cnidos
Polyclitus’s Doryphoros and the Barberini Faun
Human and Divine
REFERENCES
FURTHER READING
CHAPTER 7: Painting and Private Art Collections in Rome
Introduction
Triumph and Collections of Greek Art in Rome
Roman Collections and Aesthetics: The Theme of the Picture Gallery
The Evidence from Domestic Wall-Painting in Rome and in the Vesuvian Cities
Conclusion
REFERENCES
FURTHER READING
CHAPTER 8: Architecture and Society
Building, Public and Private
From Architectural to Civic Beauty
The Civic World of Imperial Times: An Obsession with Beauty
The Patrimony of Empire
REFERENCES
FURTHER READING
PART II: Reflecting on Art
CHAPTER 9: Literary Criticism and the Poet’s Autonomy
Art (
tekhnē
) and Autonomy
The Poet’s Autonomy in
Poetics
Ch. 25
Poetic Autonomy and Politics
Poetic Autonomy in Aristophanes’
Frogs
Conclusions
REFERENCES
FURTHER READING
CHAPTER 10: Poetic Inspiration
Inspiration and Craft
Inspiration and Authority
Inspiration and Value
Poetry,
Technē
, and
Poiēsis
Authorship and Authority
Inspiration, Criticism, and Theory
REFERENCES
FURTHER READING
CHAPTER 11: The Canons of Style
Introduction: Rhetoric, Poetics, Aesthetics
The Archaic Background
Unfortunate Necessities: Aristotle on Rhetoric
Aristotle on Style
After Aristotle: Hellenistic Advances
Types of Style
Conclusion
REFERENCES
FURTHER READING
CHAPTER 12: Sense and Sensation in Music
Responses to Music and
Mousikē
Elements of Greek Musical Sound
Aesthetics of Ancient Rhythm
Aesthetics of Melody, Voice, and Instruments
Conclusion
REFERENCES
FURTHER READING
CHAPTER 13: Dance and Aesthetic Perception
Taxonomies and Canons
Outlining an Aesthetics of Dance
The Limitations of Mimesis and the Aesthetic Imaginary
REFERENCES
FURTHER READING
CHAPTER 14: Greek Painting and the Challenge of
Mimēsis
Introduction: The School of Sicyon,
Chrēstographia
, and “undecaying beauty”
Physical Resemblance and the Limits of the Visible and the Invisible
The Aesthetics of the “Four-Color Palette”
The Painter’s Material Touch and the Evidence from Surviving Documents of Greek Painting
Conclusion: Artistic
Mimēsis
and Ways of Seeing
ACKNOWLEDGMENTS
REFERENCES
FURTHER READING
CHAPTER 15: Ways of Looking at Greek Vases
Vases versus Painting
Handling the Vase
Connective Dynamics
From Visual Connections to Iconographic Programs
REFERENCES
FURTHER READING
CHAPTER 16: Displaying Sculpture in Rome
Roman Sculpture and Aesthetics
The Aesthetics of Sculptural Display
Water and Sculpture: Multiplicity and Variability in the Setting of the Sculptures in Roman Imperial Residences
Conclusions
REFERENCES
FURTHER READING
CHAPTER 17: Perceiving Colors
Are There Different Ways of Perceiving Colors?
The Bright World of the Philosophers
Nature Does It Better
Lightening and Shadowing
REFERENCES
FURTHER READING
CHAPTER 18: The Beauties of Architecture
“Beautiful” Buildings
Viewing Buildings
Architecture and the Senses
Buildings and Love
REFERENCES
FURTHER READING
CHAPTER 19: Stylistic Landscapes
Viewing and Reinventing the
Locus Amoenus
Pilgrimage I: Remote and Floral Pleasures
Pilgrimage II: In Plato’s Garden
Conclusion: Dreams of Order
REFERENCES
FURTHER READING
CHAPTER 20: Conceptualizing the (Visual) “Arts”
But Is It “Art”?
Pliny and the Forgings of “Art History”
The Rhetoric of Criticism
Conclusion: Discourse and Cultural Capital
REFERENCES
FURTHER READING
PART III: Aesthetic Issues
CHAPTER 21: Mimesis
Basic Account of Mimesis
Mimesis in Plato
Aristotle
Mimesis and the Fine Arts
REFERENCES
FURTHER READING
CHAPTER 22: Fiction
Defining Fiction
Classical Perspectives: Isocrates, Plato, Aristotle
Postclassical Developments
ACKNOWLEDGMENT
REFERENCES
FURTHER READING
CHAPTER 23: Imagination
Phantasia
as Visualization
Phantasia
as a Means of Going Beyond Everyday Experience
ACKNOWLEDGMENT
REFERENCES
FURTHER READING
CHAPTER 24: Beauty
Introduction
Beauty in Greek: The Problem
Beauty in Greek: A Solution
Beauty and Desire
Beauty and Art
Transcendent Beauty
Can a Picture of Something Ugly Be Beautiful?
Is There Beauty Without Desire?
Beauty and Goodness
The Varieties of Aesthetic Response
REFERENCES
FURTHER READING
CHAPTER 25: Unity, Wholeness, and Proportion
Plato: Appropriately Constructed Wholes
Aristotle: Bound and Bounded Unities
“Everyone, so to speak”: Proportion
Plotinus: Form
REFERENCES
FURTHER READING
CHAPTER 26: The Sublime
Testing the Limits of an Idea
The Manifold Traditions of the Sublime before Longinus
The Sublime as an Aesthetic Value
REFERENCES
FURTHER READING
CHAPTER 27:
Poikilia
Defining
Poikilia
. From Colors to Versatility: An Evolution toward Abstraction?
The Arts of
Poikilia
: Virtuosity, Perfection, and Harmony
What
Poikilia
Does: Pleasure, Enchantment, and Attraction
How
Poikilia
Works: Capturing the Eye and
Synaesthesia
An Evolution in the Taste for
Poikilia
REFERENCES
FURTHER READING
CHAPTER 28: Wonder
Thaumazein
: A Modality of Looking
The Specificity of Aesthetic
Thauma
Between Acceptance and Suspicion: Two Conceptions of Aesthetic
Thauma
Between Cognitive Power and Emotional Vertigo
REFERENCES
FURTHER READING
CHAPTER 29: Tragic Emotions
Emotions in Ancient Aesthetics
Emotions in Greek tragedy
Early Reflections on the Nature of Emotions
Plato on the Distorting Effects of Poetry and Music
Aristotle on the Arousal of Pity and Fear in Tragedy
Aristotelian
Katharsis
of Emotions
Tragedies and Emotions in the Roman World
REFERENCES
FURTHER READING
CHAPTER 30: Laughter
Greek Symposiarchs on Laughter
Aristophanes and the Taxonomy of Laughter
Horace and Roman Satirical Laughter
Plato and Aristotle on Comedy and Laughter
REFERENCES
FURTHER READING
CHAPTER 31: Pleasure
Aesthetic Attitude
Plato on Pure and Impure Pleasures
Aristotle on Emotional and Intellectual Pleasures of Art
Gorgias on Imagining Possible Worlds
ACKNOWLEDGMENTS
REFERENCES
FURTHER READING
CHAPTER 32: Art and Morality
Plato: Reforming Poetry
Aristotle: Defending Poetry
The Stoics: A Moral Point of View
The Epicureans: Seeking Pleasure
Conclusion
REFERENCES
FURTHER READING
CHAPTER 33: Art and Value
Categories and Complications
Assessing Art and Assessing Epochs
Ancient versus Modern
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. Koppermann, DAI negative number 66.1682.
Figure 3.5 Chrysippus: Reconstruction of the statue of Chrysippus, a combination of the portrait head in Naples, MAN 6127 from the Farnese collection and a headless statue in Paris, Louvre MA 80.
Chapter 06
Figure 6.1 The Peplos Kore (Acropolis Museum, Athens 679). Hellner, Neg. D-DAI-ATH-Akropolis 2378.
Figure 6.2 The Aphrodite of Cnidos (Roman copy after a Greek original,
c
.350
BC
: Vatican Museum, Rome). Museo Pio-Clementino.
Figure 6.3 Polyclitus, Doryphoros (Roman copy after a Greek original
c
.440s
BC
: Archaeological Museum, Naples). Koppermann, Neg. D-DAI-ROM-66.1831.
Figure 6.4 Barberini faun (circa third century
BC
: Glyptothek, Munich). Staatliche Antikensammlungen und Glyptothek München.
Chapter 07
Figure 7.1 Boscoreale, Villa of P. Fannius Synistor,
Oecus
H, west wall, Naples, National Archaeological Museum, inv. s.n.5. With permission of the Ministero dei beni e delle attivita culturali e del turismo – Soprintendenza per i Beni Archeologici di Napoli.
Figure 7.2 Rome, Farnesina Villa, detail from corridor F, view of a harbor, National Museum of the Terme, inv. 1233. With permission of the Ministero dei beni e delle attivita culturali e del turismo – Soprintendenza Speciale per i Beni Archeologici di Roma.
Figure 7.3 Rome, Farnesina Villa, bedroom B, back wall, National Museum of the Terme inv.1118. With permission of the Ministero dei beni e delle attivita culturali e del turismo – Soprintendenza Speciale per i Beni Archeologici di Roma.
Figure 7.4 Boscotrecase Villa, Room 19, west wall, central panel: Polyphemus and Galatea. New York, The Metropolitan Museum of Art, Rogers Fund, 1920 (20.192.17).
Chapter 12
Figure 12.1 The Song of Seikilos with modern musical notation.
Chapter 14
Figure 14.1 Aegae, “Tomb of Queen Eurydice,” second half of fourth century
BC
. Painted marble throne. Hades and Persephone on a quadriga, detail.
Figure 14.2 Aghios Athanasios, Thessaloniki, end of fourth century
BC
. Painted facade. Large-scale male figure, detail.
Figure 14.3 Aghios Athanasios, Thessaloniki, end of fourth century
BC
. Painted facade. Large-scale male figure, detail of the face.
Figure 14.4 Aegae, Tomb of Philip II, 336
BC
. Facade, painted frieze, detail of a hunter’s body.
Figure 14.5 Aegae, Tomb of Philip II, 336
BC
. Facade, painted frieze, detail of a hunter’s body.
Chapter 16
Figure 16.1 Hadrian’s villa (Tivoli). Reconstructed plan of the Building with Three Exedras. Redrawn by author from Kähler (1950, tab.9).
Figure 16.2 Hadrian’s villa (Tivoli), Building with Three Exedras. Above: viewing of the sculptures in the niches of the eastern exedra: from (a, c) the wrong and (b, d) the correct position; (c) viewing of the sculpture from the main hall; (d) reconstructed view of a sculpture arranged in the northern niche of the eastern exedra, together with the fountain at the center of the exedra. Drawings and photos by the author.
Figure 16.3 Hadrian’s villa (Tivoli), Building with Three Exedras. Reconstructed sketch of a niche flanked by two octagonal fountains in the main hall of the building. Drawing by the author.
Chapter 18
Figure 18.1 Funerary inscription for P. Cornelius Tacitus, circa
AD
120–130. Museo Epigrafico, Museo Nazionale Romano delle Terme di Diocleziano, Rome.
CIL
VI.1574 + 41106 =
AE
1995, 92 = AE 2000, 160:
Ta]cito(?) Ca[---/ --- X]viro stlitib[us iudicandis ---/ --- quaesto]ri Aug(usti) tribun[o plebis
---.
Figure 18.2 Pergamon, Mysia (northwestern Asia Minor). View today of the acropolis from below.
Figure 18.3 The Gate of Hadrian, Antalya (ancient Attaleia), Pamphylia (southwestern Turkey). View of the exterior, eastern facade.
Figure 18.4 The Imperial Fora, circa
AD
75. Reconstruction after Elisabetta Bianchi and Roberto Meneghini (2007).
Guide
Cover
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