In the Philostratus trap: an enactive and embodied perspective on theImaginesand theirenargeia
The Journal of Hellenic Studies September 15, 2023 DOI: 10.1017/s0075426923000629 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Citations | 13 |
| Key points | Argues that Philostratus the Elder's Imagines does not immerse readers in the described paintings, as scholars often claim, but instead highlights Philostratus' rhetorical brilliance. The work is characterized as a meditation on ecphrastic practice rather than an ecphrasis defined by enargeia, and the reference to another representation introduces a reflexivity that pushes the goal of making the hearer see into the background. |
Abstract
Abstract In hisImagines, Philostratus the Elder stages a scintillating play with several levels of representation and suggests that his verbal account can give the reader access to the pictures described and even the scenes depicted in the pictures. But does Philostratus actually immerse us in the paintings? This is a claim often made by scholars; however, an embodied and enactive analysis of theImaginesalerts us to various features that, instead of immersing us, highlight Philostratus’ rhetorical brilliance. TheImaginesare not so much an ecphrasis in the sense of theProgymnasmata(that is, defined byenargeia) as a meditation on their ecphrastic practice. In general, the reference to another representation endows the ecphrasis of artwork with a reflexivity that tends to push the goal of making the hearer see something in the background.