To send content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about sending content to .
To send content items to your Kindle, first ensure email@example.com
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about sending to your Kindle.
Note you can select to send to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Cosmography is defined here as the rhetoric of cosmology: the art of composing worlds. The mirage of Hyperborea, which played a substantial role in Greek religion and culture throughout Antiquity, offers a remarkable window into the practice of composing and reading worlds. This book follows Hyperborea across genres and centuries, both as an exploration of the extraordinary record of Greek thought on that further North and as a case study of ancient cosmography and the anthropological philology that tracks ancient cosmography. Trajectories through the many forms of Greek thought on Hyperborea shed light on key aspects of the cosmography of cult and the cosmography of literature. The philology of worlds pursued in this book ranges from Archaic hymns to Hellenistic and Imperial reconfigurations of Hyperborea. A thousand years of cosmography is thus surveyed through the rewritings of one idea. This is a book on the art of reading worlds slowly.
This chapter focuses on the central question: what is the role of Greek thinking in the development of Christianity? This question is shaped by a judgment about how profoundly the revolutionary Greek texts of incipient Christianity were influenced by the Greek language and culture in which they were produced. The chapter explores three key moments in the history of Catholic engagement with the philology of Hellenization. The first is Guillaume Budé’s De transitu Hellenismi ad Christianismum, written amid the religious violence and intense arguments of the Reformation. The second is Festugière’s Observations stylistiques sur l’Évangile de Saint Jean: this is explored in relation to nineteenth- and early twentieth-century arguments about how Greek philosophy added a distorting corruption to Christianity. Third is the Regensburg Address, delivered by Pope Benedict XVI in 2006. Recalled mainly for its apparent attack on Islam, the text is more remarkable for its reversal of centuries of Catholic theology about Hellenization.
In this chapter, Renaud Gagné pursues a chronologically wide-ranging study of how the motion of the heavenly bodies was thought about through the idea of choral dance. This chapter compares various unrelated, self-reflexive usages of the astral chorus metaphor in three genres of poetry and briefly considers how each illuminates the others. Instead of a teleological narrative, a dialogue of commonalities and contrasts is sought in the juxtaposition of comparable case studies. The striking image of the astral chorus was, among many other things, a powerful catalyst for thinking mimesis in action. A vision of the cosmic order is used in all three texts to reflect on the boundaries of poetic representation. The first text is a short epigram from Marcus Argentarius (AP 9.270 = G.-P. XXVI). The second passage is the ecphrasis of Dionysus’s shield in the Dionysica of Nonnus of Panopolis (25.380-572). The third text is another shield ecphrasis, that one from the first stasimon of Euripides’ Electra (432-486). The readings illustrate how a key figure of cosmic harmony was revisited to ponder the limits of poetic representation. Projecting itself on the cosmos, the idea of the choral dance could also reflect the cosmos back on song itself.