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The Origins of Aesthetic Thought in Ancient Greece : Matter, Sensation, and Experience - James I. Porter

The Origins of Aesthetic Thought in Ancient Greece

Matter, Sensation, and Experience

Hardcover Published: 31st December 2010
ISBN: 9780521841801
Number Of Pages: 626

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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.

'[A] remarkable book ... Porter's argument is substantial: learned, challenging and, on various levels, worth serious consideration.' The Times Literary Supplement
'... a lengthy, learned, and bold book ... tremendously stimulating ...' Jane Heath, The Expository Times
"... a lengthy, learned, and bold book ... tremendously stimulating ...' Jane Heath, The Expository Times

List of figuresp. ix
Acknowledgmentsp. xi
Note on translationsp. xiv
Abbreviationsp. xv
Introductionp. 1
The aesthetics of experiencep. 4
Aesthetic materialismp. 7
The disgrace of matter and the senses: a correctivep. 14
Realignmentsp. 17
Foundations: Aesthetics, Formalism, and Materialism
Aesthetic thought in antiquityp. 25
Is art modern?p. 26
Aesthetic questionsp. 40
Aesthetic perceptionsp. 48
Aesthetic vocabularies and the languages of artp. 56
Form and formalismp. 70
Forms of formalismp. 71
Form and the form of beauty in Plato and Aristotlep. 83
Matter and appearancesp. 121
The disgrace of matter in philosophy, art, and culturep. 122
Materialism in artp. 132
Presocratic materialism, en route to the sublimep. 138
Were the Presocratics really materialists?p. 147
Presocratic aesthetics: painting the phainomenap. 151
Sublime matter: a Presocratic inventionp. 158
The aesthetics of atomic matterp. 165
Presocratic empiricism: perception and experiencep. 167
Aesthetic developments in the wake of early philosophy, and earlierp. 169
The Nascent Aesthetic Languages of the Sixth to Fourth Centuries BCE
The rise of aesthetic reflection in the fifth centuryp. 179
Reflecting on art and aesthetics: first beginnings?p. 179
Material economies of art and aestheticsp. 188
The rise of aesthetic reflection in a new aesthetic public spherep. 193
Protagoras and the new role of experiencep. 196
Protagoras' peersp. 205
Gorgiasp. 209
Democritus, Hippias, and Prodicus: the componential and compositional methodp. 209
Stoicheia and componential analysisp. 213
"Radical empiricism" and the radical aesthetics of the Particularp. 239
Beauty's material causesp. 248
Aesthetic pleasures of the sensesp. 256
The evidence of Aristophanes and Gorgiasp. 261
Measuring values in Frogsp. 262
Gorgias' "critical" materialismp. 275
Gorgias and the stoicheion: structure, sign, and play at the end of the fifth centuryp. 298
The music of the voicep. 308
Aristotle on the ascendancy of the "voice"p. 312
Euphony and the new science of aesthetic soundp. 319
The vivacity of the voicep. 330
Speech-writing: Alcidamas of Elaea on the spoken and written wordp. 335
Hieronymus of Rhodes on the animated voicep. 339
Isocrates on the written voicep. 341
Hearing and punctuating the voice: incipient classicismp. 347
The voice visualizedp. 355
Cultures of the voice in Greece and Romep. 357
The voice of musicp. 365
Music in its ancient contextsp. 365
Lasus of Hermione and the new poetics of soundp. 371
Clearchus and the riddle of Sp. 373
Pindar's rhetoric of innovation and the new poetics of soundp. 378
Sacadas, Lasus, and the new poetics of soundp. 383
Lasus' theory of the musical notep. 387
The search for new soundsp. 393
Solving the riddlep. 397
Appendix: Clearchus of Soli on Pindar in Athenaeusp. 402
Visual experiencep. 405
The majesty of Phidiasp. 407
Tastsinn to Gesichtssinn?p. 416
Locating ideals: the Foundry Cupp. 420
Idealization in art: a materialist perspectivep. 423
Cycladic marblep. 426
The Nolan amphora by the Berlin Painterp. 430
Phenomenalityp. 435
Frozen musicp. 436
Hiding in the light: perception, deception, allurementp. 444
Broader Perspectives
Sublime monuments in ancient aestheticsp. 453
La parole et le marbrep. 454
Voices made of stone: towards an aesthetics of early sepulchral verse inscriptionsp. 464
Homer's monumentalizing imaginationp. 476
Song versus stone?p. 479
Hellenistic monumentality: lithic leptotesp. 481
Verbal architecturep. 490
Sound sculpturep. 494
Taking stockp. 509
Monuments and their shadowsp. 510
Sublime matterp. 519
Aesthetic Futures
Epiloguep. 527
Bibliographyp. 530
Index locorump. 569
General indexp. 586
Table of Contents provided by Ingram. All Rights Reserved.

ISBN: 9780521841801
ISBN-10: 0521841801
Audience: Tertiary; University or College
Format: Hardcover
Language: English
Number Of Pages: 626
Published: 31st December 2010
Publisher: Cambridge University Press
Country of Publication: GB
Dimensions (cm): 22.8 x 15.2  x 3.6
Weight (kg): 1.12