By Pierre Destrée, Penelope Murray
The first of its type, A significant other to old Aesthetics offers a synoptic view of the humanities, which crosses conventional barriers and explores the classy event of the ancients throughout quite a number media—oral, aural, visible, and literary.
- Investigates the various ways that the humanities have been skilled and conceptualized within the historical world
- Explores the cultured adventure of the ancients throughout various media, treating literary, oral, aural, and visible arts jointly in one volume
- Presents an built-in standpoint at the significant issues of historic aesthetics which demanding situations conventional demarcations
- Raises questions about the similarities and alterations among historical and sleek methods of puzzling over where of paintings in society
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If a consensus text of the Iliad and Odyssey had already been written down, against which individual rhapsodes could be checked, then competition at the Panathenaea would have devolved into a contest to see who best remembered lines from Homer. If, at the other extreme, there was as yet only a general notion of what episodes went where, in an otherwise unadorned and fluid “oral” text of the poems, then each rhapsode would be judged for composition‐in‐performance – a much tougher, but more rewarding, activity, for both artist and audience.
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1989. The Language of Heroes: Speech and Performance in the Iliad. Ithaca: Cornell University Press. Martin, R. 2000. ” In Gonzalez de Tobia, 403–432. Martin, R. 2001. ” Kernos 14: 23–33. Martin, R. 2003. “The Pipes are Brawling. ” In Dougherty and Kurke, 153–180. Martin, R. 2010. ” In González de Tobia, 17–41. Millis, B. , eds. 2012. Inscriptional Records for the Dramatic Festivals in Athens: IG II2 2318–2325 and Related Texts. Leiden: Brill. Murray, O. 1990a. ” In Murray, 3–13. , ed. 1990b. Sympotica: A Symposium on the Symposion.