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How do people respond to and evaluate their sensory experiences of the natural and man-made world? What does it mean to speak of the ‘value’ of aesthetic phenomena? And in evaluating human arts and artifacts, what are the criteria for success or failure? The sixth in a series exploring ‘ancient values’, this book investigates from a variety of perspectives aesthetic value in classical antiquity. The essays explore not only the evaluative concepts and terms applied to the arts, but also the social and cultural ideologies of aesthetic value itself. Seventeen chapters range from the ‘life without the Muses’ to ‘the Sublime’, and from philosophical views to middle-brow and popular aesthetics. Aesthetic value in classical antiquity should be of interest to classicists, cultural and art historians, and philosophers.
How do people respond to and evaluate their sensory experiences of the natural and man-made world? What does it mean to speak of the 'value' of aesthetic phenomena? And in evaluating human arts and artifacts, what are the criteria for success or failure? The sixth in a series exploring 'ancient values', this book investigates from a variety of perspectives aesthetic value in classical antiquity. The essays explore not only the evaluative concepts and terms applied to the arts, but also the social and cultural ideologies of aesthetic value itself. Seventeen chapters range from the 'life without the Muses' to 'the Sublime', and from philosophical views to middle-brow and popular aesthetics
Thinking about sensory experiences and evaluating human artifacts is an important part of Western European cultural and intellectual history. This book investigates from different perspectives the origins of this practice and the rich discourse of aesthetic value in classical antiquity.
The fourth in a series that explores cultural and ethical values in Classical Antiquity, this volume examines the negative foils, the anti-values, against which positive value notions are conceptualized and calibrated in Classical Antiquity. Eighteen chapters address this theme from different perspectives –historical, literary, legal and philosophical. What makes someone into a prototypically ‘bad’ citizen? Or an abomination of a scholar? What is the relationship between ugliness and value? How do icons of sexual perversion, monstruous emperors and detestable habits function in philosophical and rhetorical prose? The book illuminates the many rhetorical manifestations of the concept of ‘badness’ in classical antiquity in a variety of domains.
This book investigates the nature of aesthetic experience with the help of ancient material, exploring our responses to both narratives and images.
This is the first modern attempt to put aesthetics back on the map in classical studies. James Porter traces the origins of aesthetic thought and inquiry in their broadest manifestations as they evolved from before Homer down to the fourth-century and then into later antiquity, with an emphasis on Greece in its earlier phases. Greek aesthetics, he argues, originated in an attention to the senses and to matter as opposed to the formalism and idealism that were enshrined by Plato and Aristotle and through whose lens most subsequent views of ancient art and aesthetics have typically been filtered. Treating aesthetics in this way can help us reveal the commonly shared basis of the diverse arts of antiquity. Reorienting our view of the ancient vocabularies of art and experience around matter and sensation, this book dramatically changes how we look upon the ancient achievements in these same areas.
The third in a series that explores cultural and ethical values in Classical antiquity, this volume examines the dichotomy between 'city' and 'country' in ancient Greek and Roman cultures. Fourteen papers address a variety of topics on this theme, and include a variety of methodological approaches—archaeological, iconographic, literary and philosophical. The book demonstrates that, despite a common rhetoric of polarity in antiquity that tended to construct city and countryside as very distinct, oppositional categories, there was far less consistency (and far more nuance) about the ideologies felt to inhere in each.
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
The Living Death of Antiquity examines the idealization of an antiquity that exhibits, in the words of Johann Joachim Winckelmann, 'a noble simplicity and quiet grandeur'. Fitzgerald discusses the aesthetics of this strain of neoclassicism as manifested in a range of work in different media and periods, focusing on the late eighteenth and early nineteenth centuries. In the aftermath of Winckelmann's writing, John Flaxman's engraved scenes from the Iliad and the sculptors Antonio Canova and Bertel Thorvaldsen reinterpreted ancient prototypes or invented new ones. Earlier and later versions of this aesthetic in the ancient Greek Anacreontea, the French Parnassian poets and Erik Satie's Socrate, manifest its character in different media and periods. Looking with a sympathetic eye on the original aspirations of the neoclassical aesthetic and its forward-looking potential, Fitzgerald describes how it can tip over into the vacancy or kitsch through which a 'remaindered' antiquity lingers in our minds and environments. This book asks how the neoclassical value of simplicity serves to conjure up an epiphanic antiquity, and how whiteness, in both its literal and its metaphorical forms, acts as the 'logo' of neoclassical antiquity, and functions aesthetically in a variety of media. In the context of the waning of a neoclassically idealized antiquity, Fitzgerald describes the new contents produced by its asymptotic approach to meaninglessness, and how the antiquity that it imagined both is and is not with us.
An anthology of works commenting on the perception of beauty in art, structure and style in literature, and aesthetic judgement.