Aesthetic Value in Classical Antiquity

Aesthetic Value in Classical Antiquity......Page 4
Contents
......Page 6
List of Contributors......Page 8
1. Introduction......Page 10
2. Fans and Experts, High-Brow and Middle-Brow......Page 11
3. What Makes Art Good?......Page 14
4. The Penn-Leiden Project......Page 15
5. In This Volume …......Page 16
Bibliography......Page 22
1. Introduction......Page 24
2. Euripides and Tragedy’s Rejection of amousia......Page 27
3. Aristophanes and the Comic Ambiguities of amousia......Page 35
4. Plato and the Philosophical Revaluation of mousikê......Page 44
5. Conclusion......Page 50
Bibliography......Page 51
Introduction: The Case for Aesthetic Values in Greece and Rome......Page 56
2. The Case for the Sublime......Page 58
3. The Sublime at the Limit of Aesthetic Value......Page 62
4. The Material Sublime and Natural Speculation......Page 66
5. The Immaterial Sublime and the Sublimity of Divinity......Page 68
6. A Modest Proposal: Aesthetic Values as Aesthetic Intensities......Page 75
7. Conclusion......Page 77
Bibliography......Page 78
1. Introduction: Sense and Nonsense at the Symposium......Page 80
2. Mixing Sense and Nonsense......Page 86
3. The Ancient Viewing Experience......Page 88
4. The Inscriptions......Page 90
5. Nonsense as Special Language......Page 92
6. Political Nonsense......Page 107
7. Conclusion: The Aesthetic Value of Nonsense......Page 116
Bibliography......Page 117
1. Introduction......Page 122
2. khoreia and paideia in Plato’s Laws......Page 123
3. Musical ‘Goodness’ and its Learning through Training and Habit......Page 126
4. The Three Criteria of Musical Judgment......Page 130
5. Plato between Tradition and Innovation......Page 136
6. Conclusion......Page 139
Bibliography......Page 140
1. Introduction: An Objective Standard amidst Diferences of Taste......Page 142
2. Humans’ Potential for ἀρετή: First-Stage paideia and Sensitivity to Music......Page 146
3. Second-Stage paideia: khoreia, Virtue, and the Importance of ὀρθότης in Music......Page 150
4. The Three Choruses and the Elderly muthologoi......Page 156
5. The Pleasure (χάρις) that Comes with Old Age......Page 161
6. Conclusion......Page 165
Bibliography......Page 166
1. Introduction......Page 168
2. Pleasure and Performance in Plato’s Laws......Page 169
3. Pleasure and Education in Politics 8......Page 172
3.1. ‘Natural Pleasure’ in Music......Page 173
3.2. mousikê and êthos......Page 176
3.3. Moral Pleasure and the Performer......Page 181
4. The Sociology of Pleasure......Page 183
5. pathos and hêdonê......Page 185
6. Conclusion......Page 189
Bibliography......Page 190
1. Introduction......Page 192
2. Critical Standards and Audience Standards......Page 194
3. Iphigenia in Tauris vs Oedipus Tyrannus......Page 199
4. philanthrôpia in the Poetics......Page 204
5. Literary Excellence and Contest Performance in Ancient Criticism......Page 206
6. Euripides: A Critical Battleeld......Page 212
7. Customized Pleasures......Page 214
8. Conclusion......Page 219
Bibliography......Page 220
1. Introduction......Page 224
2. Authenticity as a Value......Page 227
3. Authenticity and Canon......Page 234
4. Aesthetics without Authenticity......Page 239
5. Anti-Values: The Bad and the Unoriginal......Page 244
6. Conclusion: The ‘Value’ of Authenticity......Page 245
Bibliography......Page 249
1. Introduction: Aesthetics and Taste......Page 252
2. The First Blog......Page 254
3. Visions of Athens......Page 256
4. To Boeotia......Page 261
5. What is Hellas?......Page 266
6. A Travelling Actor......Page 269
Bibliography......Page 271
1. Introduction......Page 274
2. Personal Art Appreciation......Page 277
3. A Literary Perspective?......Page 280
4. The Archaeological Evidence......Page 283
5. Conclusion: Public Viewing in the Hellenistic Period......Page 287
Bibliography......Page 290
1. Introduction......Page 294
2. ‘Art’ and ‘Aesthetics’: Some Denitions......Page 295
3. Connoisseurship in Eclogue 3......Page 297
4. Artes in Aeneid 6......Page 299
5.1. Aeneas and Emotional Response: The Temple of Juno......Page 303
5.2. Heroic Progression in Responses to Art......Page 313
5.3. A Diferent Kind of Sign: Pallas’ Baldric......Page 317
6. Conclusion......Page 318
Bibliography......Page 319
1. Introduction......Page 324
2. Framing the View: Building Inscriptions......Page 326
3. Framing the View: Visual Depictions of Construction in Progress......Page 330
4. Framing the View: Statius’ Architectural Silvae......Page 341
Bibliography......Page 350
1. Introduction......Page 354
2. The Role of Pleasure in Poetry and Oratory......Page 355
3. Problematic Pleasures......Page 358
4. Poetry and Luxury......Page 364
5. Conclusion......Page 368
6. Epilogue......Page 370
Bibliography......Page 371
2. Roman Satire on Old Comedy......Page 374
3. Laughter Speaks the Truth......Page 376
4.1. Lucilius and Roman Satire’s Old Comic Models......Page 381
4.2. Horace......Page 384
4.3. Persius......Page 388
4.4. Juvenal......Page 394
5. Conclusion......Page 396
Bibliography......Page 397
1. Introduction......Page 402
2. Audience Captivity: Setting the Stage......Page 403
2.1. Seized by the Hair: Power and enargeia......Page 405
3. Playing the Victim: Thyestes and Jason......Page 408
3.1. Medea and Atreus: Take One … and Take Two......Page 409
3.2. Radical enargeia: Out of Sight, but Not Out of Mind......Page 411
4. Troades: Crowd Control......Page 416
4.1. Leve vulgus, ferus spectator......Page 417
4.2. Greek Tears......Page 418
4.3. Audience Alignment and the Power of pathos......Page 421
4.4. A Coda of Critical Response?......Page 423
5. Conclusion......Page 425
Bibliography......Page 427
1. Introduction......Page 430
2. The Prologue......Page 434
3. Beauty and Knowledge......Page 436
4. Chloe, muthoi, and mimêsis......Page 442
5. Chloe and Aesthetic Objectification......Page 447
6. Playful Endings......Page 450
7. Conclusion......Page 451
Bibliography......Page 452
Index of Greek Terms......Page 456
Index of Latin Terms......Page 462
Index Locorum......Page 466
General Index......Page 484