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This chapter explores two scripts of thauma (marvel/wonder) regarding the interior of the human body: the first derives from the Aristotelian idea that a purpose can be assigned to virtually everything in the world, our interior organs included; as soon as the design within our bodies has been figured out, our interior instantly enters the realm of the beautiful. The second script of marvel pertains to the idea that there are little ‘machines’ and ‘sub-machines’ inside of us, with their own complex structures and their own distinctive power to make us marvel at their artistry and efficiency. Considerable attention has been paid recently on the reevaluation of the presumed polarity between teleology and mechanics in ancient Greek philosophy and medicine. Rather than assume a mutually exclusive relationship between the two, scholars argue that the two models can be seen as converging and combining with each other in a number of significant ways. An organ which looks like a machine is still working with a specific purpose; in fact, its machine-like design can be adduced as a confirmation of the fact that nature did everything in wisdom. Differences, however, persist, and one of them relates to the important issue that teleology ascribes the purpose of things to an invisible force, whereas a mēchanē has a human constructor. To argue that the body can be figurally understood in analogy with a machine can thus be seen as opening, among other things, new avenues concerning the question of how we look at and appreciate the body’s marvellous properties: kallos in this case, while still being thought to ultimately derive from a superhuman designer, is simultaneously more concretely understood and appreciated in practice with direct reference to the inventiveness of the human mind.
This introductory chapter examines the scope and range of wonder and the marvellous between Homer and the Hellenistic period, explores the significance of ancient conceptions of wonder in the modern literary critical tradition and outlines this book’s theoretical underpinnings and the scope and content of the subsequent chapters.
Wonder and wonders constituted a central theme in ancient Greek culture. In this book, Jessica Lightfoot provides the first full-length examination of its significance from Homer to the Hellenistic period. She demonstrates that wonder was an important term of aesthetic response and occupied a central position in concepts of what philosophy and literature are and do. She also argues that it became a means of expressing the manner in which the realms of the human and the divine interrelate with one another; and that it was central to the articulation of the ways in which the relationships between self and other, near and far, and familiar and unfamiliar were conceived. The book provides a much-needed starting point for re-assessments of the impact of wonder as a literary critical and cultural concept both in antiquity and in later periods. This title is available as Open Access on Cambridge Core.
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