By William G. Thalmann
Even though Apollonius of Rhodes' striking epic poem at the Argonauts' quest for the Golden Fleece has started to get the eye it merits, it nonetheless isn't really popular to many readers and students. This booklet explores the poem's relation to the stipulations of its writing in 3rd century BCE Alexandria, the place a multicultural atmosphere reworked the Greeks' figuring out of themselves and the area. Apollonius makes use of the assets of the mind's eye - the parable of the Argonauts' voyage and their encounters with different peoples - to probe the multiplied chances and the anxieties unfolded while definitions of Hellenism and bounds among Greeks and others have been uncovered to query. important to this drawback with definitions is the poem's illustration of area. Thalmann makes use of spatial theories from cultural geography and anthropology to argue that the Argo's itinerary defines area from a Greek viewpoint that's even as certified. Its limits are uncovered, and the symptoms with which the Argonauts mark area by means of their passage guard the tales in their complicated interactions with non-Greeks. The publication heavily considers many episodes within the narrative with reference to the Argonauts' redefinition of house and the consequences in their activities for the Greeks' scenario in Egypt, and it ends via contemplating Alexandria itself as an area that accommodated either Greek and Egyptian cultures.
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Additional info for Apollonius of Rhodes and the Spaces of Hellenism (Classical Culture and Society)
64. Tuan 1978b: 14; cf. 1977: 6. OUTLINE OF AN APPROACH 21 sometimes feel the space of a city to be impersonal or alien by comparison with home or neighborhood, which I experience as centers of warm relationships. But at other times I might feel an attachment to that city in competition with other cities—a feeling often fostered by professional sports—or feel a rush of affection for it on returning to it from other places. Moreover, if places are produced as such by movement into and out of them, that does not mean that space is a void to be passed through on the way to creating meaning.
If this sense could be extended here so that it describes the word it grammatically modiﬁes, “sea,” the adjective would emphasize its vastness and so the need for paths. ” 9. Detienne and Vernant 1978: 140–62. Cf. Nagy 1979: 339–45. 10 Poros is thus a principle of spatial orientation and as such is active in navigation. Of various Greek words for sea, the same authors say, πόντος (pontos) refers to the sea as the trackless expanse, without spatial coordinates, upon which Poros performs his work of spatialization, and upon which ships inscribe paths (poroi) that create a humanly intelligible space.
Stephens 2008: 97; Hunter 2008a; Cusset 2004a. When Hunter discusses religion he moves away from treating space, and “map” seems to become metaphorical. Cusset sees Apollonius as using only the binary antithesis between Greek (cultured) and barbarian (savage), whereas I think that the poem’s treatment of this relationship has far more nuance. 14 APOLLONIUS OF RHODES or mental maps. 35 Paduano offers an interesting overview of space and time in the poem that has points of contact with my discussion of individual episodes.