By Professor Ineke Sluiter, Ralph M Rosen
How do humans reply to and review their sensory stories of the usual and man-made international? 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 chain exploring ‘ancient values’, this ebook investigates from quite a few views aesthetic price in classical antiquity. The essays discover not just the evaluative strategies and phrases utilized to the humanities, but in addition 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 well known aesthetics.
Aesthetic worth in classical antiquity might be of curiosity to classicists, cultural and artwork historians, and philosophers.
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Additional info for Aesthetic Value in Classical Antiquity
He thinks others should do so too. But is the Kinsman of Thesmophoriazusae just a comically reductive equivalent to the principles of Zethus? The clash between him and Agathon, I suggest, involves something more complicated than that—more complicated, not least, for the aesthetic experience of Aristophanes’ own audience. In the course of the first scene, the play sets up a series of polarized contrasts between, on one side, the intellectual-cum-poetic pretensions of Euripides, Agathon’s slave, and Agathon himself, and, on the other, the Kinsman’s traits of obtuseness, cynicism, and vulgarity.
Resp. 403c). Immediately after this, he encapsulates his ideal in the grand 67 For perceptive remarks on this passage, including the mimetic aspect of the theory, see Schofield 2011, 236–238; his article is the best analysis of the psychology of music in the Republic. Cf. Halliwell 2011b, 309–311. 68 Although the terminology of aisthêsis is no necessary part of my argument, I note that Socrates’ ideals in this section of Republic 3 do in fact identify sense-perception (αἰσθάνεσθαι, αἴσθησις) as the channel of the evaluative experiences in question: see 401e3, 402c5, 411d5.
For these Theban elders, a life ‘without the Muses’, a life µετ’ ἀµουσίας (Eur. HF. 676), would indeed lack much more than music stricto sensu. Yet what the chorus enacts in this ode (as well as in their almost ecstatic rejoicing over the death of Lycus, soon afterwards, in the third stasimon, Eur. HF. 763–814) is overcast by a terrible cloud of dramatic irony. There will soon be nothing left to celebrate about Heracles’ return or his relationship to the gods; quite the reverse. To consider what difference such tragic irony makes to the values espoused by the chorus would require, in a sense, a complete theory of tragedy itself.