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001 301794
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020 _a9783111178196
_qprint
020 _a9783111178752
_qEPUB
020 _a9783111178219
_qPDF
024 7 _a10.1515/9783111178219
_2doi
035 _a(DE-B1597)9783111178219
035 _a(DE-B1597)645104
035 _a(OCoLC)1392642612
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aBH
082 0 4 _a184
_223
084 _aonline - DeGruyter
100 1 _aPetraki, Zacharoula
_eautore
245 1 0 _aSculpture, weaving, and the body in Plato /
_cZacharoula Petraki.
264 1 _aBerlin ;
_aBoston :
_bDe Gruyter,
_c[2023]
264 4 _c©2023
300 _a1 online resource (XIV, 351 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aMythosEikonPoiesis ,
_x1868-5080 ;
_v17
505 0 0 _tFrontmatter --
_tAcknowledgements --
_tContents --
_tChapter One Introduction --
_tChapter Two The Phaedo --
_tChapter Three The Symposium --
_tChapter Four The Republic --
_tChapter Five The Politicus --
_tChapter Six The Laws --
_tEpilogue: Resemblance --
_tBibliography --
_tIndex Locorum --
_tIndex Rerum
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aPlato’s Timaeus is unique in Greek Antiquity for presenting the creation of the world as the work of a divine demiurge. The maker bestows order on sensible things and imitates the world of the intellect by using the Forms as models. While the creation-myth of the Timaeus seems unparalleled, this book argues that it is not the first of Plato’s dialogues to use artistic language to articulate the relationship of the objects of the material world to the world of the intellect. The book adopts an interpretative angle that is sensitive to the visual and art-historical developments of Classical Athens to argue that sculpture, revolutionized by the advent of the lost-wax technique for the production of bronze statues, lies at the heart of Plato’s conception of the relation of the human soul and body to the Forms. It shows that, despite the severe criticism of mimēsis in the Republic, Plato’s use of artistic language rests on a positive model of mimēsis. Plato was in fact engaged in a constructive dialogue with material culture and he found in the technical processes and the cultural semantics of sculpture and of the art of weaving a valuable way to conceptualise and communicate complex ideas about humans’ relation to the Forms.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)
650 4 _aAntike Philosophie.
650 4 _aGriechische Skulpturen.
650 4 _aMetaphysik.
650 4 _aMimesis.
650 4 _aÄsthetik.
653 _aGreek sculpture.
653 _aaesthetics.
653 _aancient philosophy.
653 _ametaphysics.
653 _amimesis.
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9783111178219
856 4 0 _uhttps://www.degruyter.com/isbn/9783111178219
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9783111178219/original
942 _cEB
999 _c301794
_d301794