Classical scholarship has traditionally neglected the prominence of the body in antiquity. Constructions of the Classical Body theorizes that the study of antiquity is necessarily a study of the body,
This book argues that The Birth of Tragedy, Nietzsche's first book, does not mark a rupture with his prior philosophical undertakings but is, in fact, continuous with them and with his later writings
Drawing on Nietzsche's prolific early notebooks and correspondence, this book challenges the polarized picture of Nietzsche as a philosopher who abandoned classical philology. By showing how frequentl
This is the first modern attempt to put aesthetics back on the map in classical studies. James I. Porter traces the origins of aesthetic thought and inquiry in their broadest manifestations as they evolved from before Homer down to the fourth century and then into later antiquity, with an emphasis on Greece in its earlier phases. Greek aesthetics, he argues, originated in an attention to the senses and to matter as opposed to the formalism and idealism that were enshrined by Plato and Aristotle, and through whose lens most subsequent views of ancient art and aesthetics have typically been filtered. Treating aesthetics in this way can help us perceive the commonly shared basis of the diverse arts of antiquity. Reorienting our view of the ancient vocabularies of art and experience around matter and sensation, this book dramatically changes how we look upon the ancient achievements in these same areas.
This is the first modern attempt to put aesthetics back on the map in classical studies. James I. Porter traces the origins of aesthetic thought and inquiry in their broadest manifestations as they evolved from before Homer down to the fourth century and then into later antiquity, with an emphasis on Greece in its earlier phases. Greek aesthetics, he argues, originated in an attention to the senses and to matter as opposed to the formalism and idealism that were enshrined by Plato and Aristotle, and through whose lens most subsequent views of ancient art and aesthetics have typically been filtered. Treating aesthetics in this way can help us perceive the commonly shared basis of the diverse arts of antiquity. Reorienting our view of the ancient vocabularies of art and experience around matter and sensation, this book dramatically changes how we look upon the ancient achievements in these same areas.
Current understandings of the sublime are focused by a single word ('sublimity') and by a single author ('Longinus'). The sublime is not a word: it is a concept and an experience, or rather a whole range of ideas, meanings and experiences that are embedded in conceptual and experiential patterns. Once we train our sights on these patterns a radically different prospect on the sublime in antiquity comes to light, one that touches everything from its range of expressions to its dates of emergence, evolution, role in the cultures of antiquity as a whole, and later reception. This book is the first to outline an alternative account of the sublime in Greek and Roman poetry, philosophy, and the sciences, in addition to rhetoric and literary criticism. It offers new readings of Longinus without privileging him, but instead situates him within a much larger context of reflection on the sublime in antiquity.
This book argues that The Birth of Tragedy, Nietzsche's first book, does not mark a rupture with his prior philosophical undertakings but is, in fact, continuous with them and with his later writings
Drawing on Nietzsche's prolific early notebooks and correspondence, this book challenges the polarized picture of Nietzsche as a philosopher who abandoned classical philology. It traces the contours o
Erich Auerbach (1892-1957), best known for his classic literary study Mimesis, is celebrated today as a founder of comparative literature, a forerunner of secular criticism, and a prophet of global li
Erich Auerbach (1892-1957), best known for his classic literary study Mimesis, is celebrated today as a founder of comparative literature, a forerunner of secular criticism, and a prophet of global li
