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Download Aesthetic Value in Classical Antiquity by Professor Ineke Sluiter, Ralph M Rosen PDF

By Professor Ineke Sluiter, Ralph M Rosen

How do humans reply to and evaluation their sensory reviews of the normal and man-made global? What does it suggest to talk of the ‘value’ of aesthetic phenomena? And in comparing human arts and artifacts, what are the factors for fulfillment or failure?

The 6th in a sequence exploring ‘ancient values’, this publication investigates from various views aesthetic price in classical antiquity. The essays discover not just the evaluative innovations and phrases utilized to the humanities, but additionally the social and cultural ideologies of aesthetic worth itself. Seventeen chapters diversity from the ‘life with out the Muses’ to ‘the Sublime’, and from philosophical perspectives to middle-brow and renowned aesthetics.

Aesthetic worth in classical antiquity might be of curiosity to classicists, cultural and paintings historians, and philosophers.

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1028, Pax 775, 816, Ran. 356, 674, 876, frs. 347–348 KA. Sommerstein 2009, 116–135 is a useful survey of the vocabulary/ways in which Old Comedians, esp. Aristophanes, construct a poetics of their genre. 50 Ran. 1491–1499: discussions include Arrighetti 2006, 168–180 and Brancacci 2008, 35–55 (too anxious to see Plato and Xenophon as responding directly to this Aristophanic passage); cf. Halliwell 2011a, 151–152. The passage should not be read as critiquing a general ‘sophistic’ threat to traditional mousikê, contra Koller 1963, 88 (cf.

Euskhêmosunê), while in Republic 10 he will reductively use the same art as an example of ‘mere’ mirroring of appearances and superficial pretense? The orthodox answer to this question is simply to privilege one of these texts (Republic 10) as somehow definitive, Plato’s ‘final word’ on the subject, while downgrading or ignoring the implications of the other. But large parts of the Republic, from Republic 2 to 8, are underpinned by a conviction of the importance of (a reformed) mousikê for the life of both body and soul.

37 He then proceeds to invoke the counter-examples of figures such as Ibycus, Anacreon, Alcaeus and the early tragedian Phrynichus whose beautiful poetry and music were matched, he claims, by their fastidiously stylish dress and good looks. Agathon’s alignment of personal, even sartorial, deportment with the values of mousikê is a comically pointed version of a gesture of social and cultural exclusivity. v. ἄµουσος, is too bland, missing the resonance which the word derives from the scene’s clash of poetic/cultural values.

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