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Un grande quadro a olio del giovane Tiziano che raffigura la Fuga in Egitto: Monica Ferrando ne sente tutta la fascinazione e ne coglie la forza provocatrice, muovendo dall'ipotesi secondo cui il luogo verso il quale il gruppo sacro si dirige sarebbe, più che un improbabile Egitto, un'Arcadia ideale. Ma perché sarà proprio Venezia – apparentemente così lontana dall'ambiente pastorale – a ispirare Tiziano nella pittura di quel paesaggio? Quale significato voleva attribuire all'Arcadia? Non certo quello di un rifugio per passatisti, e nemmeno di una semplice meta di fuga. Piuttosto quello di una terra promessa: a Venezia, in pieno Umanesimo, l'Arcadia poteva rappresentare un paradigma politico, una terra da abitare in cui i rapporti tra gli uomini potevano essere radicalmente diversi.

The Birth and Development of the Idealized Concept of Arcadia in the Ancient World for the first time brings together all the available evidence for this topic, from the Homeric period to the early Roman Empire, in one place. The evidence is both literary and visual and is considered in a chronological sequence. Thus the reader can follow the blossoming of the Arcadian dream through eight centuries. The ideological, political and philosophical background that forms the basis of this phenomenon is also outlined, and the contributions of poets, historians, philosophers, antiquarians, architects, sculptors and painters are duly considered. The book brings to light a treasure-trove of evidence, both well-known and obscure or fragmentary, filling a significant gap in the scholarly bibliography.

Et in Arcadia ego scrive Goethe a sigillo di un viaggio nella città di Roma – l'ideale Arcadia di scrittori, artisti ed intellettuali della modernità. Il presente volume raccoglie capitoli dedicati alla figura dell'Urbe in quanto città-Arcadia: come delle ideali vie consolari, tali interventi si sviluppano verso le più varie diramazioni tematiche, pur avendo tutti lo stesso punto di origine o di arrivo: Roma, intesa alla luce del valore architettonico, storico oppure anche simbolico. Una prima ideale “via” di discussione parte dalla Polonia, un'altra passa attraverso l'Inghilterra, una terza “via” unisce idealmente la Grecia con la Russia; un'ultima si origina dalla Roma antica e spazia dal Cinquecento fino ad arrivare alla fin de siècle e al Novecento. Et in Arcadia ego is what Goethe writes after his journey to the city of Rome, to denote the ideal Arcadia for writers, artists and intellectuals of modernity. The present collection comprises chapters dedicated to the figure of Rome as an Arcadia-city: like ideal consular roads, these papers develop into varied thematic branches, even though they all have the same starting, or ending, point – the city of Rome, analyzed from the point of view of its architectural, historical or symbolic value. One ideal “road” of discussion starts in Poland, another “road” passes through England, a third ideally combines Greece and Russia; yet another ideal discussion “road” originates from the ancient Roman myths, runs through the 16th century and reaches the fin de siècle and the 20th century.

This book is about Arcadia and the pastoral tradition; what it has meant for successive generations and their vision of the landscape, as well as the implications this has had for its design and management. Today the concept of Arcadia, and way it has shaped our landscape, is dimly perceived and little understood by landscape architects and those responsible for the management of land. This is in marked contrast to previous centuries when the vision of Arcadia and the pastoral was implanted by education among the more privileged in society. Young men spent many hours translating and learning by rote the words of Virgil and other classical authors and on the Grand Tour they would be introduced to work of painters like Poussin and Claude and their interpretations of the Ideal pastoral landscape. Today Arcadia holds as powerful an influence as at any time in the past and it is important that we plan our urban environment in ways that harmonize with the natural world.Arcadian Visions provides an alternative landscape history for all those involved with the landscape - either through its design, management, use or enjoyment. It begins by examining the origins of Arcadia and the pastoral in the classical poetry of Theocritus and Virgil, and the effects of, and on, Christianity before outlining its development in renaissance Italy and subsequently in the Netherlands, America and England. It concludes by looking at how Arcadian ecology is bringing about a reappraisal of the pastoral in the 21st century.

Gender, Interpretation, and Political Rule in Sidney's Arcadia studies cultural ideologies regarding gender and monarchy in early modern England by examining transformations of a single text, Sir Philip Sidney's Arcadia, in their historical contexts. It reveals changing tensions in the ideological struggles over queenship, especially with respect to cultural debates focused on anxieties about gendered reception and interpretation of persuasive rhetoric. The cultural shift between about 1550 and 1650 regarding gendered interpretation and political rule—a shift that was by no means complete or homogenous—reflects the changing position of women and their relationship to language within early modern domestic and political ideological discourses. The book begins by investigating primary cultural, political, and historical sources in order to provide a cultural scaffolding helpful to the interpretation of Sidney's enormously popular work. These sources include conduct manuals, gynecocratic debates, paintings, poems, diaries, pamphlets, and letters. Gender, Interpretation, and Political Rule then considers the initial version of the Arcadia (the Old Arcadia) Sidney authored and argues that Sidney's involvement in the marriage debate regarding the Duke of Anjou's courtship of Elizabeth I in the late 1570s shaped his representations of female characters and their questionable ability to interpret persuasive rhetoric. Next, the book turns to Sidney's expanded and revised version (the New Arcadia), authorized and published by his sister the Countess of Pembroke Mary Sidney Herbert. The New Arcadia ultimately provides a more positive representation of women readers and rulers and reveals a shift in cultural understandings of women's relationship to the persuasive rhetoric that both describes and enacts political power and authority. The penultimate chapter examines paradigms of active reading and their political consequences in Lady Mary Wroth's The Countess of Montgomery's Urania that demonstrate a need for well-balanced identification with characters. Finally, this book focuses on a little-studied seventeenth-century continuation of Sidney's work by a young woman, Anna Weamys, who asserts her authority as an interpreter of Sidney's Arcadia and in the process creates a political commentary about the legitimacy of female authority and influence just after the English Civil War.

Virgil's book of bucolic verse, the Eclogues, defines a green space separate from the outside worlds both of other Roman verse and of the real world of his audience. However, the boundaries between inside and outside are deliberately porous. The bucolic natives are aware of the presence of Rome, and Virgil himself is free to enter their world. Virgil's bucolic space is, in many ways, a poetic replication of the public and private gardens of his Roman audience - enclosed green spaces which afforded the citizen sheltered social and cultural activities, temporary respite from the turbulence of public life, and a tamed landscape in which to play out the tensions between the simple ideal and the complexities of reality. This book examines the Eclogues in terms of the relationship between its contents and its cultural context, making connections between the Eclogues and the representational modes of Roman art, Roman concepts of space and landscape, and Roman gardens.

Klaus Garber hat sich während seines Forscherlebens mit der europäischen Arkadien-Utopie befaßt. Im Laufe der Jahrzehnte sind dafür eine Reihe von grundlegenden historiographischen und kulturphilosophischen Studien entstanden. Sie blieben bislang unpubliziert und werden hier erstmals in aktualisierter Form vorgelegt. Damit bietet der Band einen gewichtigen Beitrag zu den aktuellen kulturgeschichtlichen Diskussionen der verschiedenen historisch orientierten Disziplinen und reintegriert darin die bleibenden Anteile einer sozialgeschichtlichen Forschung, die ebenso unverzichtbar für die aktuelle Forschung sind. Eröffnet wird das Werk mit einer historiographischen Studie zum Absolutismus, der alteuropäischen Welt des Adels und der marxistischen Kritik der feudalabsolutistischen Gesellschaft. Ihm korrespondiert am Schluß eine weit ausholende sozialphilosophische Untersuchung zur Konstellation von Innerlichkeit und bürgerlicher Gesellschaft im Frühwerk Hegels mit flankierenden Betrachtungen zu Kant auf der einen, dem jungen Marx auf der anderen Seite. In der Mitte des Werkes sind Abhandlungen zu Leben und Werk Martin Opitzens und zum Nürnberger Hirten- und Blumenorden vereinigt.

Revises the semiotic paradigm of the early modern'literary system'dominant since 1983 by adapting methods entailed in the idea that literary works emerge through a series of semiotic events. Davis analyzes Philip Sidney's Arcadia and Astrophil and Stella to demonstrate how design elements stage the scene of reading these works.

'This is a well-organized, gracefully written account of a significant aspect of Southern fiction, and it contains information and incisive commentary that one can find nowhere else.'--Thomas Daniel YoungMany southern writers imagined the South as a qualified dream of Arcady. They retained the glow of the golden land as a device to expose or rebuke, to confront or escape the complexities of the actual times in which they lived.The Dream of Arcady examines the work of post-Civil War southern writers who criticize the myth of the South as pastoral paradise. Sooner or later in all their idealized worlds, the idyllic vision fades in an inescapable moment of awakening. This moment, which is central to MacKethan's study, produces an atmosphere pastoral in mood and implications.Her perspective analysis juxtaposes the responses of Sidney Lanier, Joel Chandler Harris, and Thomas Nelson Page, who contributed to yet hope to transcend sectionalism, with the ambivalent views of black writers Charles Chesnutt and Jean Toomer. Considering the writings of the Agrarians, William Faulkner, and Eudora Welty, MacKethan then concludes her study by questioning whether the Arcadian dream still serves the artist of our era as a frame for artistic and ideological purposes.

The argument of this study is that the Arcadia, like the High Renaissance painting analysed by Heinrich Wolfflin, is characterized by what may be called'multiple unity.'The complexity of its organization, whether examined rhetorically in terms of language and thought or tonally through its sequence of events, or narratively through the relation of episode to main plot, is an expression of Sidney's need to control and arrange experience for aesthetic and moral purposes without giving up his perception of its chaos or unmanageability. The nature of Sidney's complex vision, in spite of the apparently pastoral title of Arcadia, is not pastoral but epic. Like much important Renaissance writing, the work is a paedeia, an education of princes, in which the narrative seeks what Sidney considered the paramount object of learning:'the knowledge of a man's self, in the ethnic and politic consideration.'Professor Lindheim finds that the key to the greater stylistic and narrative complexity of the revised Arcadia lies in the larger and deeper reading of experience that it offers. The New Arcadia is not merely the Old Arcadia heavily ornamented and reassembled in quaint ways, but a radically receonceived work, a re-vision as well as a revision of the earlier version. The radical (root, upwards from the very foundation) coherence of the work is here explored by tracing its rhetoric to an inherent rhetoricism and by abalysing its style stylistically. The Arcadia is a masterpiece of Elizabethan literature because of this integrity: because Sidney's technique, whether stylistic, rhetorical, or narrative, has a direct bearing on his humanist understanding of experience.