Towards an aesthetic paradigm of Late Antiquity

Formisano, Marco

doi:10.1484/j.at.2.303123

Cited by 33 publications

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“…26 See especially Formisano 2007Formisano , 2012Formisano and 2014, and his contribution to Poetics. 27 Roberts' analysis of the elegiac tradition in Poetics is a notable exception.…”

Section: Periodisation and The Limits Of 'Late Latin Poetry'mentioning

confidence: 99%

Thirty Years of the ‘Jeweled Style’

O’Hogan

2019

J. Rom. Stud.

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In seventh-century Wiltshire, a scholar-monk began to write classicising Latin poetry. In bold terms he describes himself as the first of the Germanic peoples to write Latin poetry (‘neminem nostrae stirpis prosapia genitum et Germanicae gentis cunabulis confotum in huiuscemodi negotio [i.e. poetry] ante nostram mediocritatem tantopere desudasse’). His programmatic statements cite Virgil explicitly, and allude to Prudentius and Sedulius. His is a poetry that sets out a stall for the beginning of something new, but does so by making clear his predecessors. For Aldhelm, as for much of the Middle Ages, the canonical models of Latin poetry included classical Latin authors as well as the Christian Latin poets of Late Antiquity.

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“…26 See especially Formisano 2007Formisano , 2012Formisano and 2014, and his contribution to Poetics. 27 Roberts' analysis of the elegiac tradition in Poetics is a notable exception.…”

Section: Periodisation and The Limits Of 'Late Latin Poetry'mentioning

confidence: 99%

Thirty Years of the ‘Jeweled Style’

O’Hogan

2019

J. Rom. Stud.

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“…zu ästhetischen Prinzipien in der spätantiken Kunst Bravi 2015;Veyne 2009;Herzog 1989, 33;Onians 1980;Riegl 1927. Vgl. zu ästhetischen Prinzipien in der spätantiken Literatur, der Dichtung im Besonderen Elsner/Hernández Lobato 2017;McGill 2012;Formisano 2007;Charlet 1997;Charlet 1988;Roberts 1989. 3 Der Ausdruck lehnt sich an Elsner/Hernández Lobato 2017, 9 ("aesthetics of the fragment") an.…”

Section: Das Paradoxon Von Einheit Und Fragment Bei Optatianunclassified

Kaiser Konstantin als Leser

Körfer¹

2019

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“…Whether there was a specifically 'late antique aesthetic' is also a current question. 23 Even if notand behind such an assumption lurks the assumption of a contrasting 'Byzantine aesthetic'a methodological approach to the writers of the sixth century based primarily on classical imitation and historical reliability will no longer serve, any more than an approach to the sixth century or other periods based only on what some call 'traditional text-based history'. In answer to Kaldellis, late antiquity is far from 'dissolving', but approaches to the hinge period of the sixth century do seem to be in a particular state of flux.…”

Section: The Sixth Centurymentioning

confidence: 99%

Late antiquity and Byzantium: an identity problem

Cameron¹

2016

Byz. Mod. Greek stud.

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1975 seems light years away. In parts of the field of Byzantine studies, at any rate, the world has shifted, and perhaps most of all in that contested territory of early Byzantium, otherwise known as late antiquity. The first issue ofByzantine and Modern Greek Studieswas published only four years after Peter Brown’sThe World of Late Antiquity,1and before the ‘explosion’ of late antiquity.2This was also the start of another explosion: the emergence of late antique archaeology as a discipline, leading to its vast expansion and the enormous and ever-growing amount of material available today. For the first time, John Hayes'sLate Roman Pottery(1972) enabled reliable dating criteria for the ceramic evidence that became the foundation of a new understanding of trade and economic life.3The UNESCO Save Carthage campaign, a landmark in the reliable recording of excavations of the late antique period, began in the following year, and since then the growth in data has been exponential.

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Towards an aesthetic paradigm of Late Antiquity

Cited by 33 publications

References 0 publications

Thirty Years of the ‘Jeweled Style’

Thirty Years of the ‘Jeweled Style’

Kaiser Konstantin als Leser

Late antiquity and Byzantium: an identity problem

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