"Current attempts to understand the affective impact of landscapes followdistinct paradigms such as visul assessment (better called pictorial prefer-ence), historical studies in built/spatial form, the landscape experience associo/cultural transcation construction of internal landscape narrative, etc.This paper discusses another concept, that ofthe culturally-specific, mythiclandscape, that is both a complementary addition to other paradigms, andpotentially an integrative symbol."Mythic landscape" is first defined. Then a distinciton is made betweenmythic landscapes assumed to be pan-human (e.g., "Jungian archetypes")and those specific to a cultural/historic tradition (e.g., the "Landscapetaste" refined by Lowenthal and Prince).Three major Issues are raised concerning these latter landscapes. One is theauthors artificial but possibly useful distinction between mythic land-scapes that confirm and modify a culture's actual spatial habits, and those that stimulate internal, "charged" narratives that are dependent upon cultu-ral myth, not necessarily immediate experience. A second issue is the evr-increasing role of media, secondary information, and secondary modes informing landscape perceptions and thus, the questional validity of the tradi-tional distinction between insiders' vs. outsiders' (or "real" vs. "spurious")landscapes. Third, is the possibility of ecumenical, universal, culturallansdcapes in a global society of information and tourism, and whether suchlandscapes can carry any significant affective content. Can Jungain arche-types be media-made?The presentation will be illustrated with the author's own interpretation ofcultural lanscapes within the Anglo-American traditition, from literatureto television, from Alexander Pope to John Wayne and Woody Allen. Thischoice is explicit and unashamed, in an attempt to highlight the culturalspecificity of mythic landscapes and to stimulate the audience to speculate onthe nature and role of such landscapes in their own tradition."