The third volume of the Studies in Ancient Greek narrative deals with the narratological category of space: how is space, including objects which function as 'props', presented in narrative texts and what are its functions (thematic, symbolic, psychologising, or characterising).

This book brings together a collection of original essays that engage with cultural geography and landscape studies to produce new ways of understanding place, space, and landscape in Greek literature from the fifth and fourth centuries BCE. The authors draw on an eclectic collection of contemporary approaches to bring the study of ancient Greek literature into dialogue with the burgeoning discussion of spatial theory in the humanities. The essays in this volume treat a variety of textual spaces, from the intimate to the expansive: the bedroom, ritual space, the law courts, theatrical space, the poetics of the city, and the landscape of war. And yet, all of the contributions are united by an interest in recuperating some of the many ways in which the ancient Greeks in the archaic and classical periods invested places with meaning and in how the representation of place links texts to social practices.

In this wide-ranging survey of ancient Greek narrative from archaic epic to classical prose, Alex Purves shows how stories unfold in space as well as in time. She traces a shift in authorial perspective, from a godlike overview to the more focused outlook of human beings caught up in a developing plot, inspired by advances in cartography, travel, and geometry. Her analysis of the temporal and spatial dimensions of ancient narrative leads to new interpretations of important texts by Homer, Herodotus, and Xenophon, among others, showing previously unnoticed connections between epic and prose. Drawing on the methods of classical philology, narrative theory, and cultural geography, Purves recovers a poetics of spatial representation that lies at the core of the Greeks' conception of their plots.

A history of ancient literary culture told through the quantitative facts of canon, geography, and scale.

From Homer to Sophocles and Greek Middle Comedy, and from Plato and Protagoras to Ovid, this volume features a panoramic and cross-generic overview of the diverse handling and ad hoc elaboration of the overarching literary notions of "time" and "space". The twenty-one contributions of this volume written by an international group of esteemed scholars provide an equal number of hermeneutic approaches to individual, distinct aspects of Greek and Latin literature. The volume is purposely designed not as a linear display of knowledge, but rather as an anthology of select paradigms that aim to demonstrate the multidimensional function and multifaceted role of the twin notions of "time" and "space" throughout ancient Greek and Latin literary texts. The volume opens with analyses of conspicuous cases from epic poetry, proceeds with examples from drama (tragedy and comedy), and concludes with diverse instances of chronotopes (empirical, imaginary, and even shifting ones), in various literary genres. The volume is of greatest relevance since it meets the cultural and theoretical trends of today’s Classics. It therefore will attract not only the interest of specialised Classicists but it is also intended for a wider general readership.

Visual culture, performance and spectacle lay at the heart of all aspects of ancient Greek daily routine, such as court and assembly, cult and ritual, and art and culture. Seeing was considered the most secure means of obtaining knowledge, with many citing the etymological connection between ‘seeing’ and ‘knowing’ in ancient Greek as evidence for this. Seeing was also however often associated with mere appearances, false perception and deception. Gazing and visuality in the ancient Greek world have had a central place in the scholarship for some time now, enjoying an abundance of pertinent discussions and bibliography. If this book differs from the previous publications, it is in its emphasis on diverse genres: the concepts ‘gaze’, ‘vision’ and ‘visuality’ are considered across different Greek genres and media. The recipients of ancient Greek literature (both oral and written) were encouraged to perceive the narrated scenes as spectacles and to ‘follow the gaze’ of the characters in the narrative. By setting a broad time span, the evolution of visual culture in Greece is tracked, while also addressing broader topics such as theories of vision, the prominence of visuality in specific time periods, and the position of visuality in a hierarchisation of the senses.

Is "space" a thing, a container, an abstraction, a metaphor, or a social construct? This much is certain: space is part and parcel of the theater, of what it is and how it works. In The Play of Space, noted classicist-director Rush Rehm offers a strikingly original approach to the spatial parameters of Greek tragedy as performed in the open-air theater of Dionysus. Emphasizing the interplay between natural place and fictional setting, between the world visible to the audience and that evoked by individual tragedies, Rehm argues for an ecology of the ancient theater, one that "nests" fifth-century theatrical space within other significant social, political, and religious spaces of Athens. Drawing on the work of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a range of disciplines--classics, theater studies, cognitive psychology, archaeology and architectural history, cultural studies, and performance theory--to analyze the phenomenology of space and its transformations in the plays of Aeschylus, Sophocles, and Euripides. His discussion of Athenian theatrical and spatial practice challenges the contemporary view that space represents a "text" to be read, or constitutes a site of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on specific tragedies explore the spatial dynamics of homecoming ("space for returns"); the opposed constraints of exile ("eremetic space" devoid of normal community); the power of bodies in extremis to transform their theatrical environment ("space and the body"); the portrayal of characters on the margin ("space and the other"); and the tragic interactions of space and temporality ("space, time, and memory"). An appendix surveys pre-Socratic thought on space and motion, related ideas of Plato and Aristotle, and, as pertinent, later views on space developed by Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this book yields rich new insights into our oldest surviving drama.

Monsters in Greek literature are often thought of as creatures which exist in mythological narratives, however, as this book shows, they appear in a much broader range of ancient sources and are used in creation narratives, ethnographic texts, and biology to explore the limits of the human body and of the human world. This book provides an in-depth examination of the role of monstrosity in ancient Greek literature. In the past, monsters in this context have largely been treated as unimportant or analysed on an individual basis. By focusing on genres rather than single creatures, the book provides a greater understanding of how monstrosity and abnormal bodies are used in ancient sources. Very often ideas about monstrosity are used as a contrast against which to examine the nature of what it is to be human, both physically and behaviourally. This book focuses on creation narratives, ethnographic writing, and biological texts. These three genres address the origins of the human world, its spatial limits, and the nature of the human body; by examining monstrosity in these genres we can see the ways in which Greek texts construct the space and time in which people exist and the nature of our bodies. This book is aimed primarily at scholars and students undertaking research, not only those with an interest in monstrosity, but also scholars exploring cultural representations of time (especially the primordial and mythological past), ancient geography and ethnography, and ancient philosophy and science. As the representation of monsters in antiquity was strongly influential on medieval, renaissance, and early modern images and texts, this book will also be relevant to people researching these areas.

This is the second volume of a new narratological history of Ancient Greek lietrature, which deals with aspects of time: the order in which events are narrated, the amount of time devoted to the naration, and the number of times they are presented.

In this book, Tim Whitmarsh offers an innovative new introduction to ancient Greek literature. The volume integrates cutting-edge cultural theory with the latest research in classical scholarship, providing a comprehensive, sophisticated and accessible account of literature from Homer to late antiquity. Whitmarsh offers new readings of some of the best-known and most influential authors of Greek antiquity, including Sophocles, Euripides, Herodotus, Aristophanes and Plato, as well as introducing many lesser-known figures. Unlike conventional narrative histories, this volume focuses on the profound effects of literature within Greek society. Whitmarsh shows that literature, distributed via a range of social institutions, such as festivals, theatres, symposia and book production, played an important role in the legitimization – and challenging – of ideologies of gender, class and cultural identity. The volume also addresses the legacy of Greek literature: how the Victorian cult of Hellenism and its successors have structured the reception of ancient texts, and how and why the modern West has adopted the Greeks as its ancestors. This book will be important reading for undergraduates, in their first year and above, of ancient Greek literature and culture. All texts in the volume are translated, and no knowledge of ancient Greek literature is assumed.