Art, craft, and theology in fourth-century Christian authors /
| Main Author: | |
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| Corporate Author: | |
| Format: | eBook |
| Language: | English |
| Published: |
Oxford :
Oxford University Press,
2020.
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| Edition: | First edition. |
| Series: | Oxford early Christian studies.
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| Subjects: | |
| Online Access: | Connect to the full text of this electronic book |
Table of Contents:
- Cover
- Art, Craft, and Theology in Fourth-Century Christian Authors
- Copyright
- Dedication
- Preface
- Contents
- Abbreviations
- 1 Introduction
- A. VISUAL, VERBAL, AND SPIRITUAL CRAFT
- B. MIMĒSIS: REPRESENTATION, EMULATION, IMITATION
- i. Representing the Real: Ekphrasis and Prosōpopoeia
- ii. Emulating Literary Tradition: Adaptation and Experimentation
- iii. Imitating the Good
- C. IMITATION AND THE 'SECOND SOPHISTIC'
- i. Nineteenth-Century Classicists' Debates
- ii. Recent Classical Scholarship
- iii. Late-Antique Christian Literature
- iv. Recovering Mimēsis
- 6 Role-playing: Prosōpopoeia and Embodied Performance
- A. PROSŌPOPOEIA: AUTHORITY, EMOTION, AND RISK
- i. Appropriate, but Hypothetical
- ii. Emotional
- iii. Risky
- B. THE NORMS AND LIMITS OF WOMEN'S SPEECH
- i. Women's Ability to Exercise Authoritative Public Speech
- ii. Women's Speech in Epic and Drama
- iii. Plutarch's Exceptional Women
- C. LOW STATUS AND PUBLIC SPEECH
- i. Political Speech
- ii. Stage
- D. PERFORMING BODIES IN THE ROMAN EMPIRE: STAGE AND LAW-COURT
- i. The Continuing Influence of Drama
- ii. Performing Bodies on Stage
- D. ART, CRAFT, AND THEOLOGY
- i. Beyond Mimēsis
- ii. Craft (Technē)
- E. STRUCTURE OF THE BOOK
- Part I Experimenting with Pictures
- 2 Ekphrasis: Seeing Things Differently
- A. EKPHRASIS AS A TOOL OF THE TRADE
- i. Function
- ii. Vividness (Enargeia)
- iii. Emotion
- iv. The Impact of Images
- B. 'BRINGING WHAT IS PORTRAYED CLEARLY BEFORE THE SIGHT'
- i. Presence
- ii. Two Kinds of Detail
- iii. Engaging the Audience
- C. CRAFTSMANSHIP
- i. Order
- ii. Reading Things as Texts
- iii. Variety
- D. EKPHRASIS PROMPTS QUESTIONS
- i. Who Is the Maker?
- ii. Who Is the Observer?
- Ii. Character
- iii. Mood
- iv. Reflection on the Craft of Words
- C. GARDENS, LANDSCAPES, AND GREGORY OF NYSSA
- D. HOMILIES ON THE SONG OF SONGS V
- i. Form and Structure
- ii. Mood
- iii. Character
- iv. Divine Discourse
- E. CONCLUSIONS
- 5 Ascetic Landscapes and Aesthetic Landscapes
- A. LANGUAGE AND PLACE
- B. SETTING THE SCENE
- C. BASIL'S ASCETIC RETREAT IN PONTUS: BEAUTIFUL AND USEFUL?
- D. TWO MEN IN A LANDSCAPE: GARDENS, ISLANDS, AND ENCLOSURES
- E. BASIL AND GREGORY OF NAZIANZUS ARGUE ABOUT A PLACE
- Part II Experimenting with Voice
- Iii. Why Is It Absent?
- E. SEEING THINGS DIFFERENTLY
- 3 Ekphrasis and Decision
- A. PROVOKING A REACTION
- B. GAZING ON CORPSES WITH PLATO
- C. SEEING DEATH WITH THE CAPPADOCIANS
- i. Disgust and Hope in Gregory of Nyssa
- ii. 'Some Day All This Beauty Will Melt Away'
- iii. 'People Who Are Both Dead and Alive'
- iv. The Judgment Seat of Christ
- D. JUDGEMENT, DISCERNMENT, AND ACTION
- 4 The Rhetoric of Landscape in Gregory of Nyssa's Homilies on the Song of Songs
- A. INTRODUCTION
- B. LANDSCAPES AND GARDENS IN THE ANCIENT IMAGINATION
- i. Nature Tamed and Bounded