Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic


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There was a stand of ancient trees, not violated by any axe, and a cave in the. The quote is a prime example of the so called locus amoenus. A locus amoenus is a literary description, a topos , of an idealised landscape in which water, shade and trees play an important role.

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It is a pleasant place, which can be compared with the Garden of Eden. This idealisation is in contrast with the violence and business of life and mortality.

Locus amoenus is derived from the Latin word for love, amor, which contains a cognitive link to something beautiful. This eventually led to his exile. His main surviving works are the Metamorphoses , a history of the world in a mythological framework; the Fasti , a kind of calendar; the Amores and the Ars Amatoria , works about love; Heroides , letters from mythological heroines to their absent lovers; the Tristia and the Epistulae ex Ponto , which he wrote in exile.

Hinds states that Ovid appropriates and renews the highly rhetorical and idealized tradition of landscape description as he inherit its.


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In his Metamorphoses Ovid is thus building on an already existing tradition, namely the tradition of landscape description. His constructed idyllic landscapes are rhetorical and not actual landscapes. This, therefore, implies that Ovid is constructing a cognitive collage for his readers and makes him one of the creators of aesthetics in landscape in later literature and visual art.

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Through this association with the ancient settings, for example Homers ode to Demeter, Ovid himself built his stories around his own cultural memory and later became part of this cultural memory. He introduces his new layer to this layering of memory in landscape descriptions. In creating the locus est and the locus amoena there is also place for some rhetorical self-consciousness, which means that the author, Ovid, can create his own locus amoenus.


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  6. Ovid is often seen as a visual artist. The literary tradition in which he places himself states that topography is something general and conventional.

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    His landscape descriptions characteristically involve invitations to view, which is something new in this tradition. In doing so, Ovid creates a cognitive memory with his literature, which is still alive now by its representation in the arts. I was born right at the moment when the name of the fifth month is usurped by the dead tyrant.

    Thessaloniki, a city rich in cool bars and Roman ruins, is where I was born and raised. There first I saw the eternal light of Greek and Latin poetry shining upon the eager eyes of a young boy. Delight and pleasure have always been more Read my words, friend, so that you may know who I was and who I am. Delight and pleasure have always been more powerful incentives than money and profit.

    Often my father took me aside and admonished me: "Why do you try a profitless pursuit? Don't you see all these starving Classicists? Go to Business School or at least be an Engineer!

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    A polar demon was breathing his frozen curse over Upstate New York, while the rigors of Cornell's PhD program curbed and fashioned my shapeless and unruly ideas. By the end of my American Odyssey, Ithaca was home, not exile. Looking for a job at the dawn of the global financial crisis was what was expecting me after I left the nourishing bosom of my alma mater. As the US was sinking deeper and deeper into recession and Greece was groaning in the iron grip of a relentless austerity, I was blessed and lucky to find an oasis in Australia.

    Having traveled through many peoples and many seas, I am writing to you now, friend, from my room at the Australian National University, where I happily teach and study the literature for whose sake I have reached the edges of the world. Books by Ioannis Ziogas.


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    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic
    Geography, Topography, Landscape: Configurations of Space in Greek and Roman Epic

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