As an aesthetic ideal, classicism is often associated with a conventional set of rules founded on supposedly timeless notions such as order, reason, and decorum. As a result, it is sometimes viewed as rigid, outdated, or stodgy. But in actuality, classicism is far from a stable concept throughout history, it has given rise to more debate than consensus, and at times has been put to use for subversive ends. With contributions from an interdisciplinary group of scholars, this volume explodes the idea of classicism as an unchanging ideal. The essays trace the shifting parameters of classicism from antiquity to the twentieth century, documenting an exhibition of seventy objects in various media from the collection of the Smart Museum of Art and other American and international institutions. With its impressive historical and conceptual reach from ancient literature to contemporary race relations and beyond this colorfully illustrated book is a dynamic exploration of classicism as a fluctuating stylistic and ideological category.

Though much beloved and widely produced, Moliere's satirical comedies pose a problem for those reading or staging his works today: how can a genre associated with biting caricature and castigation deliver engaging theater? Instead of simply dismissing social satire as a foundation for Moliere's theater, as many have done, Larry F. Norman takes seriously Moliere's claim that his satires are first and foremost effective theater.
Pairing close readings of Moliere's comedies with insightful accounts of French social history and aesthetics, Norman shows how Moliere conceived of satire as a "public mirror" provoking dynamic exchange and conflict with audience members obsessed with their own images. Drawing on these tensions, Moliere portrays characters satirizing one another on stage, with their reactions providing dramatic conflict and propelling comic dialogue. By laying bare his society's system of imagining itself, Moliere's satires both enthralled and enraged his original audience and provide us with a crucial key to the classical culture of representation.

The late sixteenth and seventeenth centuries are frequently labeled the age of theater. Throughout western Europe, the dramatic arts attained new heights of cultural prestige, political importance, and commercial success. This series of essays investigates the dialogue between the newly invigorated theater and the plastic arts. Discussed are the interactions between spectator and spectacle, social performance and the staging of the individual, the shaping of space and time, and the debates over the relationship that visual and theatrical representations have to the objects they portray.