Human emotional tones have a wide span of possibly timeframes that connect particular biological structures to particular types of experiences.

Fleeting, labile emotions much better describe modern experience in movie theatres that Athenians’ experience of tragedies at the annual City Dionysus.

Academy Awards notwithstanding, movies primarily compete for attention, while ancient tragedies competed for acclaim.

Indicating the communicative force of Prometheus Bound, Greco-Roman visual representations of Prometheus predominately shown him suffering punishment.

Symbolic competition in 5th-century Athens was mainly competition for acclaim. In Hellenistic and early Imperial periods, it was competition for attention.

Literary elaboration of epigrams seems to have risen with competition for attention in the Hellenistic world.

Terence’s rhetorical prologue to Hecyra probably isn’t factual history, but depicts realistically competition for attention in the Hellenistic world.

Roman leaders Aemilius and Anicius victory festivals contrast their status; Greek culture and Roman culture; and competition for acclaim and for attention.

Pantomime dance presented varied, short, intense emotions among spectacles competing for attention in the ancient Greco-Roman world.

Bathyllus of Alexandria and Pylades of Cilicia propelled comic and tragic pantomime, respectively, to great popularity in Augustan Rome.