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Visual culture, performance and spectacle lay at the heart of all aspects of ancient Greek daily routine, such as court and assembly, cult and ritual, and art and culture. Seeing was considered the most secure means of obtaining knowledge, with many citing the etymological connection between ‘seeing’ and ‘knowing’ in ancient Greek as evidence for this. Seeing was also however often associated with mere appearances, false perception and deception. Gazing and visuality in the ancient Greek world have had a central place in the scholarship for some time now, enjoying an abundance of pertinent discussions and bibliography. If this book differs from the previous publications, it is in its emphasis on diverse genres: the concepts ‘gaze’, ‘vision’ and ‘visuality’ are considered across different Greek genres and media. The recipients of ancient Greek literature (both oral and written) were encouraged to perceive the narrated scenes as spectacles and to ‘follow the gaze’ of the characters in the narrative. By setting a broad time span, the evolution of visual culture in Greece is tracked, while also addressing broader topics such as theories of vision, the prominence of visuality in specific time periods, and the position of visuality in a hierarchisation of the senses.
Visual culture, performance and spectacle lay at the heart of all aspects of ancient Greek daily routine, such as court and assembly, cult and ritual, and art and culture. Seeing was considered the most secure means of obtaining knowledge, with many citing the etymological connection between ‘seeing’ and ‘knowing’ in ancient Greek as evidence for this. Seeing was also however often associated with mere appearances, false perception and deception. Gazing and visuality in the ancient Greek world have had a central place in the scholarship for some time now, enjoying an abundance of pertinent discussions and bibliography. If this book differs from the previous publications, it is in its emphasis on diverse genres: the concepts ‘gaze’, ‘vision’ and ‘visuality’ are considered across different Greek genres and media. The recipients of ancient Greek literature (both oral and written) were encouraged to perceive the narrated scenes as spectacles and to ‘follow the gaze’ of the characters in the narrative. By setting a broad time span, the evolution of visual culture in Greece is tracked, while also addressing broader topics such as theories of vision, the prominence of visuality in specific time periods, and the position of visuality in a hierarchisation of the senses.
Re-envisions epic from Homer to Nonnus through theories of the gaze.
Provides the first literary and cultural-historical analysis of the most important third-century Greek epic, Quintus' Posthomerica.
Plato’s Timaeus is unique in Greek Antiquity for presenting the creation of the world as the work of a divine demiurge. The maker bestows order on sensible things and imitates the world of the intellect by using the Forms as models. While the creation-myth of the Timaeus seems unparalleled, this book argues that it is not the first of Plato’s dialogues to use artistic language to articulate the relationship of the objects of the material world to the world of the intellect. The book adopts an interpretative angle that is sensitive to the visual and art-historical developments of Classical Athens to argue that sculpture, revolutionized by the advent of the lost-wax technique for the production of bronze statues, lies at the heart of Plato’s conception of the relation of the human soul and body to the Forms. It shows that, despite the severe criticism of mimēsis in the Republic, Plato’s use of artistic language rests on a positive model of mimēsis. Plato was in fact engaged in a constructive dialogue with material culture and he found in the technical processes and the cultural semantics of sculpture and of the art of weaving a valuable way to conceptualise and communicate complex ideas about humans’ relation to the Forms.
Provides a comprehensive and systematic treatment of the life and work of Aristophanes A Companion to Aristophanes provides an invaluable set of foundational resources for undergraduates, graduate students, and scholars alike. More than a basic reference text, this innovative volume situates each of Aristophanes' surviving plays within discussion of key themes relevant to the study of the Aristophanic corpus. Throughout the Companion, an international panel of contributors incorporates material culture and performance context, offers methodological and theoretical insights into the study of Aristophanes, demonstrates the relevance of Aristophanes to modern life, and more. Each chapter focused on a particular play is paired with a theme that is exemplified by that play, such as gender, sexuality, religion, ritual, and satire. With an emphasis on understanding Greek comedy and its ancient Athenian context, the text includes approaches to Aristophanes through criticism, performance, translation, and teaching to encourage and inform future work on Greek comedy. Illustrating the vitality of contemporary engagement with one of the world's great literary figures, this comprehensive volume: Helps new readers and teachers of Aristophanes appreciate the broader importance of each play within the study of antiquity Offers sophisticated analyses of the Aristophanic corpus and its place in literary and cultural history Includes chapters focused on teaching Aristophanes, including one emphasizing performance Provides detailed syllabi and lesson plans for integrating the material into high school and college curricula A Companion to Aristophanes is an essential resource for advanced students and instructors in Classics, Ancient Literature, Comparative Literature, and Ancient Drama and Theater. It is also a must-have reference for academic scholars, university libraries, non-specialist Classicists and other literary critics researching ancient drama, and sophisticated general readers interested in Aristophanes, Greek drama, classical Athens, or the ancient Mediterranean world.
This is the first scholarly exploration of concepts and representations of Artificial Intelligence in ancient Greek and Roman epic, including their reception in later literature and culture. Contributors look at how Hesiod, Homer, Apollonius of Rhodes, Moschus, Ovid and Valerius Flaccus crafted the first literary concepts concerned with automata and the quest for artificial life, as well as technological intervention improving human life. Parts one and two consider, respectively, archaic Greek, and Hellenistic and Roman, epics. Contributors explore the representations of Pandora in Hesiod, and Homeric automata such as Hephaestus' wheeled tripods, the Phaeacian king Alcinous' golden and silver guard dogs, and even the Trojan Horse. Later examples cover Artificial Intelligence and automation (including Talos) in the Argonautica of Apollonius and Valerius Flaccus, and Pygmalion's ivory woman in Ovid's Metamorphoses. Part three underlines how these concepts benefit from analysis of the ekphrasis device, within which they often feature. These chapters investigate the cyborg potential of the epic hero and the literary implications of ancient technology. Moving into contemporary examples, the final chapters consider the reception of ancient literary Artificial Intelligence in contemporary film and literature, such as the Czech science-fiction epic Starvoyage, or Small Cosmic Odyssey by Jan Kr?esadlo (1995) and the British science-fiction novel The Holy Machine by Chris Beckett (2004).
This is the first book to approach the visuality of ancient Greek drama through the lens of theater phenomenology. Gathering evidence from tragedy, comedy, satyr play, and vase painting, Naomi Weiss argues that, from its very beginnings, Greek theater in the fifth century BCE was understood as a complex interplay of actuality and virtuality. Classical drama frequently exposes and interrogates potential viewing experiences within the theatron—literally, “the place for seeing.” Weiss shows how, in so doing, it demands distinctive modes of engagement from its audiences. Examining plays and pottery with attention to the instability and ambiguity inherent in visual perception, Seeing Theater provides an entirely new model for understanding this ancient art form.
In ancient Greece, philosophers developed new and dazzling ideas about divinity, drawing on the deep well of poetry, myth, and religious practices even as they set out to construct new theological ideas. Andrea Nightingale argues that Plato shared in this culture and appropriates specific Greek religious discourses and practices to present his metaphysical philosophy. In particular, he uses the Greek conception of divine epiphany - a god appearing to humans - to claim that the Forms manifest their divinity epiphanically to the philosopher, with the result that the human soul becomes divine by contemplating these Forms and the cosmos. Nightingale also offers a detailed discussion of the Eleusinian Mysteries and the Orphic Mysteries and shows how these mystery religions influenced Plato's thinking. This book offers a robust challenge to the idea that Plato is a secular thinker.
This volume aims to revisit, further explore and tease out the textual, but also non-textual sources in an attempt to reconstruct a clearer picture of a particular aspect of sexuality, i.e. sexual practices, in Greco-Roman antiquity. Sexual practices refers to a part of the overarching notion of sexuality: specifically, the acts of sexual intercourse, the erogenous capacities and genital functions of male and female body, and any other physical or biological actions that define one’s sexual identity or orientation. This volume aims to approach not simply the acts of sexual intercourse themselves, but also their legal, social, political, religious, medical, cultural/moral and interdisciplinary (e.g. emotional, performative) perspectives, as manifested in a range of both textual and non-textual evidence (i.e. architecture, iconography, epigraphy, etc.). The insights taken from the contributions to this volume would enable researchers across a range of disciplines – e.g. sex/gender studies, comparative literature, psychology and cognitive neuroscience – to use theoretical perspectives, methodologies and conceptual tools to frame the sprawling examination of aspects of sexuality in broad terms, or sexual practices in particular.