By Marios Skempis
By way of introducing a multifaceted method of epic geography, the editors of the quantity desire to supply a serious evaluate of spatial conception, of its repercussions on shaping narrative in addition to of its discursive features and cultural contexts. Taking the genre-specific limitations of Greco-Roman epic poetry as a for instance, a group of overseas students examines matters that lie on the center of contemporary feedback on human geography. glossy and old discourse on area representations revolves round the nation-shaping strength of geography, the gendered dynamics of landscapes, the topography of isolation and integration, the politics of imperialism, globalization, environmentalism in addition to the ability of language and narrative to show house into position. one of many significant goals of the amount is to teach that the area of the Classics is not only the beginning, however the essence of present debates on spatial buildings and reconstructions.
This selection of essays explores how epic narratives negotiate, outline, and remodel genre-specific geographical configurations. A group of foreign students engages in an interdisciplinary dialogue approximately how Greek and Roman epic poetry interacts with the old and cultural dynamics of geography. The e-book brings jointly the area of Classical literature with present developments in studying the politics of spatial structures.
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Additional resources for Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
Example text
Homer’s apparent propensity for avoiding “flat” or “blank” stretches in his poetry has also been noted by other scholars (Bassett 1938 [2003], 40, 44; Vivante 1970, 78). ²¹ When God finally speaks to Abraham, we are told neither where he calls from nor where he comes from, only that he “must enter the earthly realm from some unknown height or depths” (8, emphasis added). The “undetermined, dark place” (8), which marks the only kind of source we can determine for God’s voice, is never brought to light, never set in the foreground (9), in sharp contrast to the specifics of topography, landscape, and place that fill the mind of the Homeric reader with “the utmost fullness” (6) and superficiality.
There is, however, one important qualification to what I have just said: the format of the mid-air chase, so effective in so many ways, ensures that we do not linger in this fascinating but alien world. Successive verbs of motion drive us on relentlessly: ἐθύνεον ἀίσσοντες (20), ὄρουσαν (30). ³¹ A pause seems finally on the cards when we arrive with the Sirens: Il. 1– 9. Frr. 150 – 5 M-W; for Horse-milkers and Cheese-eaters, see frr. 15, 151 M-W; for further overlap with the Iliad, see fr.
As part of this concern, the Iliad channels ethnographic desire away from human societies towards the gods, whom it casts as an exotic tribe in terms of language, diet, and customs. 1– 9 is little more than a literary joke at the expense of Zeus, who treats himself to a fashionable catalogue of northern tribes only to lose sight of his own much more important plans. Hera’s plot makes this mini-ethnography obsolete even as a narrative diversion, as Zeus’s desire for broader horizons gives way to the pursuit of sexual gratification.