By Marios Skempis
By means of introducing a multifaceted method of epic geography, the editors of the amount desire to supply a serious review of spatial notion, of its repercussions on shaping narrative in addition to of its discursive features and cultural contexts. Taking the genre-specific barriers of Greco-Roman epic poetry as a working example, a group of foreign students examines concerns that lie on the middle of recent feedback on human geography. smooth and old discourse on house 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 quantity is to teach that the area of the Classics isn't just the beginning, however the essence of present debates on spatial buildings and reconstructions.
This choice of essays explores how epic narratives negotiate, outline, and rework genre-specific geographical configurations. A workforce of overseas students engages in an interdisciplinary dialogue approximately how Greek and Roman epic poetry interacts with the old and cultural dynamics of geography. The publication brings jointly the realm of Classical literature with present traits in reading the politics of spatial structures.
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Extra resources for Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
Yet although the stranger turns quickly (αἶψα), the two lines that follow (390 – 1) undercut precisely the notion of narrative transition and progression. ²⁶ That second “at once” takes a barely perceptible step backwards in time, in order to elaborate on the thought process that motivated the turn of Odysseus’ body (and which must, of course, have come first). Translations are my own. The work of Bonifazi (2008) on αὐ- discourse markers in Greek poetry, including αὐτίκα, is particularly illuminating in this context.
525 – 6). For Achilles, the suffering that unites all human beings is of paramount concern. 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.
Il. 440 – 2. Ethnography in the Iliad 31 Apollo’s famous admonition comes at a moment when Diomedes seems poised to transcend the boundaries between the divine and human realms. He has just wounded the goddess Aphrodite and is ready to take on Apollo himself. That Diomedes hails from Argos, fights for the Achaeans, has a famous father, etc. is irrelevant in this connection and would indeed be distracting: all that matters here is that he belongs to those beings that walk upon the earth (χαμαὶ ἐρχομένων τ’ ἀνθρώπων); and that he cannot therefore hope to challenge the gods.