Aesthetic Themes in Pagan and Christian Neoplatonism: From Plotinus to Gregory of Nyssa
Whilst aesthetics as a self-discipline didn't exist earlier than the fashionable age, historical philosophers supply many insights approximately attractiveness and paintings. In overdue Antiquity Plotinus faced the matter of attractiveness and the price of the humanities. Plotinus' reflections have an incredible position within the improvement of the idea that of the price of inventive mind's eye throughout the Renaissance and the Romantic period, yet he additionally motivated the inventive flavor of his time.
Aesthetic issues in Pagan and Christian Neoplatonism reconstructs the cultured philosophical perspectives of overdue Antiquity, and their relation to creative construction of the time. by means of interpreting the resonance of Plotinus' suggestion with modern artists and with Christian thinkers, together with Gregory of Nyssa, the publication demonstrates the significance of Plotinus' treatise On Beauty for the advance of overdue historical aesthetics. The Cappadocian fathers' curiosity in Plotinus is explored, in addition to the ensuing legacy of the pagan thinker's philosophy inside of Christian concept, akin to the concept that of attractiveness and the narration of the contemplative experience.
Uniquely utilizing philological and philosophical perception, in addition to exploring either pagan and Christian philosophy, Aesthetic topics in Pagan and Christian Neoplatonism represents the 1st entire synthesis of aesthetic considered overdue Antiquity.
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Additional info for Aesthetic Themes in Pagan and Christian Neoplatonism: From Plotinus to Gregory of Nyssa
II five 1, 12–20: sixteen Enn. II nine four, 14: 21, ninety eight n. 25 sixteen, 35–56: 19–20 Enn. III 2 three, 9–41 and thirteen, 18–25: one hundred ten n. forty two 16–18: 22–4, ninety nine n. 34, 35, 36 Enn III five: 79–80, eighty four, 102 n. fifty three Enn. III 6 four, 17: 111 n. 30 Enn. IV 7, 10, forty seven: forty two Enn. V five 12, nine: eighty two, 111 n. 24 12, 18: sixty nine, 109 n. 38 12, 34: seventy eight, 112 n. forty-one 12, 35: eighty two Enn. V 7 1, 22: 18–9 Enn. V eight: 17–8, forty four, sixty three, 70 1, 32–36: ninety seven n. 14 2, 6–15: sixty one, 108 n. 10 nine, forty-one: seventy nine eleven, 25–28: 111 n. 30 12, nine: eighty two, 111 n. 24 130 Enn. VI 2 1, 23: 18, 111 n. nine Enn. VI three 15, 30: 18 22, 1–12: sixteen Enn. VI five 10, three: eighty two Enn. VI 7 22, 24–26: sixty three, 108 n. 19 31, eight and 34,1: eighty two 32 and 33: seventy nine Enn. VI nine four: seventy eight metaphor 15–9 portrait of – 3–6 the area as theatre 22–24 enthousiasmos eleven Polykleitos 58–9, sixty one, 108 n. 12, thirteen. Porphyry three, five, 17, 28, 29, 32, 39, 46–7, fifty two, 63–4, sixty seven Contra Christianos 32 De abstinentia 2. 18: 109 n. 22 2. forty nine: 104 n. 14 De imaginibus fr. 351: forty six, 104 n. 27 fr. 352: 109 n. 23 fr. 357a, 358, 359: 108 n. 21 Sententiae 29 Vita Plotini 1. 7–10: three, five, ninety five n. 10 four. 9–14: 103 n. three eight. 1–4: 17, ninety eight n. 19 Index Proclus 29, sixty three, sixty seven, 89–91, 111 n. 31, 113 n. sixty five and sixty six observation at the Republic I eighty five, 16–86, five: 114 n. sixty seven statement at the Timaeus 1, 265. 18–26: ninety eight n. sixteen percentage 18, 20, 33, 57–62 playstation . Dionysius 14, 29, seventy four, ninety, 114 n. sixty nine Salonina 3–4, ninety four Sappho 82–3 fr. 22, forty eight, ninety four, 102: 112 n. 34 fr. 31, 22: 112 n. 39 fr. one hundred thirty: eighty three Seneca the Elder ninety seven n. eleven Seneca the more youthful ninety nine n. 27 Sextus Empiricus Adversus Mathematicos: ninety nine n 30 Socrates 15, fifty nine portrait of- 18–9 track of Songs 34, 84–90 three. 7–8: eighty five, 111 n. 23, 112 n. forty five five. 14: forty three Stoics three, 22, 26, sixty two, sixty seven, 70, Theagenes of Rhegium 113 n. sixty two Theodoret of Cyrus forty six Varchi, Benedetto fifty four, 106 n. forty six Vita Theodori: 6; 7; ninety five n.