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The 1st of its variety, A spouse to old Aesthetics offers a synoptic view of the humanities, which crosses conventional barriers and explores the classy adventure of the ancients throughout a number media-oral, aural, visible, and literary.

• Investigates the numerous ways that the humanities have been skilled and conceptualized within the historic international
• Explores the cultured event of the ancients throughout various media, treating literary, oral, aural, and visible arts jointly in one quantity
• offers an built-in point of view at the significant topics of historic aesthetics which demanding situations conventional demarcations
• increases questions on the similarities and modifications among old and glossy methods of brooding about where of artwork in society

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Extra resources for A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)

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But we then have terroristic despotism, together with the obligatory love of 52 remains linked here to a transference unto the master. We have finally touched on the core of our problem. Are we summoned to make a radical choice between two orientations of thought? The one, disjoining truth and mastery, would demand transcendence and sacrifice. Within this orientation, we could wish for truth without loving the master, but this wish would have to inscribe itself beyond the Earth, in a place indexed by death.

Childhood. In actual fact. what justifies the identification of dance as the metaphor for thought is Nietzsche's conviction that thought is an intensification. This conviction is primarily opposed to the thesis according to which thought is a principle whose mode of realization is externaL For Nietzsche. thought is not effectuated anywhere else than where it is giventhought is effective in situ, it is what (if one may speak in this manner) is But then the image of dance is a natural one. Dance visibly transmits the Idea of thought as an immanent intensification.

Once there is a text, once the name has been given, the demand is that of time, not space. Theater can consist in someone reading from behind a table. Of course, we can provide him with a set, a decor, but all of this, for Mallarme, remains inessential. Space is not an intrinsic obligation of theater. Dance in- stead integrates space into its essence. It is the only figure of thought to do this, so that we could argue that dance symbolizes the very spacing of thought. What does this mean? Once again, we need to reiterate the evental origin of any instance of thought.

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