In the past, architectural change in Archaic Greece was often explained as a somehow natural, coherent evolution from “primitive” wooden structures to sophisticated stone temples. Following the ancient writer Vitruvius, modern authors have attempted to demonstrate that the architectural orders, in particular the Doric, can be traced back to functional necessities typical of wooden buildings. While this explanation of the Doric order has long been questioned, few attempts have been made to explore alternative explanations. The chapter lays out a methodology to analyze architectural change by asking how the experience of sacred spaces and landscapes changed and who were the social groups interested in promoting such change. The chapter highlights the kinetic and multisensorial dimension of the experience of space and architecture, as stressed also by authors from other fields. Further, a survey of recent contributions to the study of the Doric and Ionic orders suggests that they emerged suddenly in the early sixth century BC, rather than evolving slowly over centuries. The emergence of the Doric order went hand in hand with the emergence of architectural sculpture on pediments and friezes. By looking at a series of case studies the book aims to shed light on the relation between the various transformation processes.

This chapter discusses a bilingual poem in Quechua and Spanish by the twentieth-century Peruvian writer, Teodoro Meneses Morales (1915-87). It argues that the poem evinces a loss of solidarity between humanity and the wider cosmos and that this loss is the result of social, cultural, and environmental transitions occurring at the time. By synthesizing Cornejo Polar’s concept of heterogeneity with Westphal’s geocritical approach, the chapter develops a theoretical framework that accounts for how transitions in mid-twentieth-century Peruvian society disrupt normal patterns of relating to the natural environment as reflected in the poem. As humanity becomes ever more fragmented, pulled in opposing directions between traditional Andean and Western ways of relating to the land, so the land itself ceases to be the stable environment that it was before. In Meneses Morales’ poem, the emblem of such transformations is a drought. While far from unprecedented in the Andes, in a context of heterogeneity this natural disaster becomes symbolic of a more fundamental dislocation between the human inhabitant and the wider landscape of which humans form a part.

This chapter discusses a bilingual poem in Quechua and Spanish by the twentieth-century Peruvian writer, Teodoro Meneses Morales (1915-87). It argues that the poem evinces a loss of solidarity between humanity and the wider cosmos and that this loss is the result of social, cultural, and environmental transitions occurring at the time. By synthesizing Cornejo Polar’s concept of heterogeneity with Westphal’s geocritical approach, the chapter develops a theoretical framework that accounts for how transitions in mid-twentieth-century Peruvian society disrupt normal patterns of relating to the natural environment as reflected in the poem. As humanity becomes ever more fragmented, pulled in opposing directions between traditional Andean and Western ways of relating to the land, so the land itself ceases to be the stable environment that it was before. In Meneses Morales’ poem, the emblem of such transformations is a drought. While far from unprecedented in the Andes, in a context of heterogeneity this natural disaster becomes symbolic of a more fundamental dislocation between the human inhabitant and the wider landscape of which humans form a part.

The Introduction seeks to define cosmography. The first half of the Introduction takes Pindar's 3rd Olympian as a point of entry to illustrate cosmography with a concrete example. Building on that specific discussion and unpacking it, the second half of the Introduction moves on to more general considerations of a methodological and terminological order, so as to delineate the notion more explicitly, and the possibilities of its application, far beyond Pindar. All following chapters expand and build on these general considerations of the Introduction. The first chapter thus aims to explore the challenges and illustrate the significance of studying cosmography through cult and place. Through a complementary focus on the visual media of epiphany in language and art, the second chapter expands the investigation of the first chapter on the cosmography of cult and place. The third chapter aims to further explore the challenges and illustrate the significance of studying cosmography through an archive of genres and chronological periods. The fourth chapter looks more closely at the conflicts of knowledge and authority that punctuate the transformations of cosmography in the Classical period. The distinctive creativity of Hellenistic cosmography, finally, is the main object of the fifth chapter.