By Pierre Destrée, Penelope Murray
The first of its variety, A better half to historical Aesthetics provides a synoptic view of the humanities, which crosses conventional obstacles and explores the cultured event of the ancients throughout a number of media—oral, aural, visible, and literary.
- Investigates the numerous ways that the humanities have been skilled and conceptualized within the old world
- Explores the classy adventure of the ancients throughout various media, treating literary, oral, aural, and visible arts jointly in one volume
- Presents an built-in point of view at the significant subject matters of historic aesthetics which demanding situations conventional demarcations
- Raises questions on the similarities and adjustments among historical and smooth methods of considering where of artwork in society
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Additional resources for A Companion to Ancient Aesthetics
In Neils, 53–75. H. , eds. 1993. Tragedy, Comedy and the Polis. Bari: Levante Editori. Stehle, E. 1997. Performance and Gender in Ancient Greece, Nondramatic Poetry in Its Setting. Princeton: Princeton University Press. Tsagalis, C. 2008. The Oral Palimpsest: Exploring Intertextuality in the Homeric Epics. Washington, DC: Center for Hellenic Studies. Vetta, M. 1983a. Poesia e simposio nella Grecia antica. Rome: Laterza. Vetta, M. 1983b. ” In Vetta, 119–155. Wilson, P. 2000. The Athenian Institution of the Khoregia: The Chorus, the City and the Stage.
The inventors of the horse race and pentathlon clearly recognized zero‐sum criteria. Certain runners or horses crossed the line first, jumpers and throwers cast and leapt further, and results were usually clear‐cut. Since athletics and poetic events often took place at the same sites (although not at the classical Olympics), criteria might well have converged. At the other end of the spectrum were beauty contests known from various communities, the most famous being the Kallisteia on Lesbos (Alcaeus fr.
By contrast, in the dramatic contests at the same festival, the khorodidaskalos had to be a citizen, while the chorus members could be from various tribes. About the strict qualification of entrants into the competition we know little: the whole process of the “preview” (proagon) for drama, and the tribal selection of producers for dithyramb, are fairly opaque (Csapo and Slater 1995, 109– 110). Oxy 2737) is interpreted aright (Rosen 1989). Again, our ideas about aesthetic choices and values would be far better informed had we access to more precise factual information.