Stylistic Landscapes
Nancy Worman
Search for more papers by this authorNancy Worman
Search for more papers by this authorPierre Destrée
Search for more papers by this authorPenelope Murray
Search for more papers by this authorSummary
Ancient poets and prose writers shape landscapes out of poetically and ritually significant topographies, highlighting certain rural settings as pleasurable and even erotic, as opposed to hard won and ethically stringent. Some scenes center on famous sites of religious and civic celebration, but their descriptions may overlap in tropes and tone with those more fully mythic and fictional. Portrayals of landscapes also frequently emphasize their physical inhabitation, the result of pilgrimage to and viewing of the setting's features, which activities often in turn spur creative emulation and angling for dominance. Landscapes are thus not neutral spaces, since they are always shaped by aesthetic negotiations that open out onto ethical and political valuations.
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Further Reading
- Scholars of ancient literature have studied the cultural molding and aesthetics of Greek and Roman landscapes, and there have been many distinctive studies on various aspects of landscape imagery, largely as they occur in poetry. Some of these focus on settings in relation to poets’ scenes of divine inspiration and initiation (e.g. Harriott 1969; Calame 1992; Murray 1992); discrete studies also treat path and road metaphors and/or springs and water imagery (e.g. Steiner 1986; Nünlist 1998). Others center on spaces such as meadows and gardens (e.g. Motte 1973; Giesecke 2007); and still others on the topos of the locus amoenus in particular (e.g. Curtius 1953, ch. 10; Elliger 1975; Hass 1998). While poetic landscapes generally receive the most attention in these studies, the one exception is the ever-evolving consideration of the setting of Plato's Phaedrus. This most recently includes that of Richard Hunter (2012), whose extensive work on ancient literary programs and criticism stands out for repeatedly drawing attention to significant poetic landscapes and their connections to aesthetic traditions (cf. Hunter 2006). On the Phaedrus setting, see also, for example, Wilamowitz (1919, 450–488); Lebeck (1972); Ferrari (1987); on the centrality of landscape aesthetics in literary criticism and theory more generally, see Worman (forthcoming).