Text, Image, and Music

Subscibe in publisher´s online store Share via email
Text, Image, and Music

Performative Aspects of Optatian’s Visual Poetry

Okáčová, Marie

From the journal Hermes Hermes, Volume 151, September 2023, issue 4

Published by Franz Steiner Verlag

article, 8650 Words
Original language: English
Hermes 2023, pp 449-466
https://doi.org/10.25162/hermes-2023-0036

Abstract

The overall aim of this paper is to enquire about the performative qualities of Optatian’s visual poems and contextualize these experimental texts within the late-antique culture of transformation and change. Adopting a performative approach, the author sheds new light on the metatexts embedded in the majority of Optatian’s carmina as well as the metadiscursive significance of several individual pieces of his collection (Carm. 3 and 25, in particular). The performative features traceable in the corpus include: a) notions of multi-mediality and spectacularity together with the physical materiality and dynamics of language, all constantly advertised by the poet; b) the expected active role of readers as co-performers of these intricate texts; and c) the inherent performative power of particular intextual images.

Author information

Marie Okáčová

References

  • 1. Balme, D. M. (ed./transl.) 1991. Aristotle. History of Animals: Books VII-X, prepared for publication by Allan Gotthelf (Loeb Classical Library 439). Cambridge, Mass./London.
  • 2. Barthes, R. 1973. The Pleasure of the Text, translated by Richard Miller, with a note on the text by Richard Howard. New York 1975.
  • 3. Bažil, M. 2009. Centones Christiani. Métamorphoses d’une forme intertextuelle dans la poésie latine chrétienne de l’Antiquité tardive. Paris.
  • 4. Bažil, M. 2016. “V tom lese zůstaneš sám. ‘Krize interpretace’ a vznik ‘křesťanského textu’ v latinské literatuře od poloviny 3. do třetí čtvrtiny 4. století. Část I.” Auriga 58/1: 5-26.
  • 5. Bažil, M. 2017. “Elementorum varius textus: Atomistisches und Anagrammatisches in Optatians Textbegriff.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 341-368.
  • 6. Bažil, M. 2019. “Pátá kniha Aeneidy v antické centonové poezii I: Úvod, témata performance a pohledu.” Listy filologické 142/3-4: 307-332.
  • 7. Bažil, M. 2020a. “Pátá kniha Aeneidy v antické centonové poezii II: Básně Latinské antologie.” Listy filologické 143/1-2: 37-62.
  • 8. Bažil, M. 2020b. “Pátá kniha Aeneidy v antické centonové poezii III: Cento Probae a Ausoniovo Cento nuptialis.” Listy filologické 143/3-4: 339-358.
  • 9. Bianchi Bandinelli, R. 1970. Rom. Das Ende der Antike. Die römische Kunst in der Zeit von Septimius Severus bis Theodosius I., aus dem Italienischen übertragen von Annemarie Seling und Herbert Schlüter (Universum der Kunst). Munich 1971.
  • 10. Cantone, V. 2008. “L’immagine dell’aquila come figura della contemplazione.” In ead., Ars monastica. Iconografia teofanica e tradizione mistica nel mediterraneo altomedievale (V-XI secolo). Padua: 110-130.
  • 11. Cantone, V. 2013. “The Syncretic Portrait: Visual Contaminations in Early Christian Art.” In I. Foletti and A. Filipová (eds.), The Face of the Dead and the Early Christian World (Studia Artium Medievalium Brunensia 1). Rome/Brno: 107-122.
  • 12. Elsner, J. 2004. “Late Antique Art: The Problem of the Concept and the Cumulative Aesthetic.” In S. Swain and M. Edwards (eds.), Approaching Late Antiquity: The Transformation from Early to Late Empire. Oxford: 271-309.
  • 13. Fischer-Lichte, E. 2014. The Routledge Introduction to Theatre and Performance Studies, edited by Minou Arjomand and Ramona Mosse, translated by Minou Arjomand. London/New York.
  • 14. Foletti, I. / Meinecke, K. 2021. “From Serapis to Christ to the Caliph: Faces as Re-appropriation of the Past.” In J. Elsner and R. Wood (eds.), Imagining the Divine: Exploring Art in Religions of Late Antiquity across Eurasia (British Museum Research Publications 234). London: 116-132.
  • 15. Formisano, M. / Sogno, C. 2010. “Petite Poésie Portable. The Latin Cento in Its Late Antique Context.” In M. Horster and C. Reitz (eds.), Condensing Texts - Condensed Texts (Palingenesia 98). Stuttgart: 375-392.
  • 16. González Iglesias, J. A. 2000. “El intertexto absoluto: Optaciano Porfirio, entre Virgilio y Mallarmé.” In V. Bécares, F. Pordomingo, R. Cortés Tovar and J. C. Fernández Corte (eds.), Intertextualidad en las literaturas griega y latina (Classica Salmanticensia 2). Madrid: 337-366.
  • 17. Grabar, A. 1936. L’empereur dans l’art byzantin. Recherches sur l’art officiel de l’Empire d’Orient (Publications de la Faculté des lettres de l’Université de Strasbourg 75). Paris.
  • 18. Habinek, T. 2017. “Optatian and His OEuvre: Explorations in Ontology.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 391-425.
  • 19. Hernández Lobato, J. 2012. Vel Apolline muto. Estética y poética de la Antigüedad tardía. Bern.
  • 20. Hernández Lobato, J. 2017. “Conceptual Poetry: Rethinking Optatian from Contemporary Art.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 461-493.
  • 21. Hernández Lobato, J. 2018. “Late Antique Foundations of Postmodern Theory: A Critical Overview.” In S. Schottenius Cullhed and M. Malm (eds.), Reading Late Antiquity (Bibliothek der klassischen Altertumswissenschaften 156). Heidelberg: 51-70.
  • 22. Ingleheart, J. 2006. “Burning Manuscripts: The Literary Apologia in Ovid’s Tristia 2 and Vladimir Nabokov’s ‘On a Book Entitled Lolita’.” Classical and Modern Literature 26/2: 79-109.
  • 23. Kemp, M. 1997. Behind the Picture: Art and Evidence in the Italian Renaissance. New Haven/London.
  • 24. Kitzinger, E. 1977. Byzantine Art in the Making: Main Lines of Stylistic Development in Mediterranean Art, 3rd - 7th Century. Second printing Cambridge, Mass., 1980.
  • 25. Körfer, A.-L. 2017. “Lector ludens: Spiel und Rätsel in Optatians Panegyrik.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 191-225.
  • 26. Körfer, A.-L. 2019. “ChiRho hoch 1225. Konstantin der Große als gelehrter Leser panegyrischer Gittergedichte.” In L. V. Schimmelpfennig and R. G. Kratz (eds.), Zahlen -und Buchstabensysteme im Dienste religiöser Bildung (SERAPHIM 5). Tübingen: 283-300.
  • 27. Körfer, A.-L. 2020. Kaiser Konstantin als Leser. Panegyrik, performance und Poetologie in den carmina Optatians (Millennium -Studien 77). Berlin/Boston.
  • 28. Larsen, L. I. / Rubenson, S. (eds.) 2018. Monastic Education in Late Antiquity: The Transformation of Classical Paideia. Cambridge/New York.
  • 29. Lunn-Rockliffe, S. 2017. “The Power of the Jewelled Style: Christian Signs and Names in Optatian’s versus intexti and on Gems.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 427-459.
  • 30. Männlein-Robert, I. 2017. “Morphogrammata - Klangbilder? Überlegungen zu Poetik und Medialität bei Optatian.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 319-339.
  • 31. Mathews, T. F. 1993. The Clash of Gods: A Reinterpretation of Early Christian Art. Princeton.
  • 32. McGill, S. 2005. Virgil Recomposed: The Mythological and Secular Centos in Antiquity (American Classical Studies 48). Oxford/New York.
  • 33. Merenus, A. 2010. “Divadlo a performance aneb Od divadelní sémiotiky k performančním studiím.” In O. Sládek (ed.), Performance/performativita. Prague: 149-170.
  • 34. Okáčová, M. 2006. “The Aural-Visual ‘Symbiosis’ in the Poetry of Publilius Optatianus Porfyrius (Towards the Disentanglement of the Mystery of Late-Ancient Expansive Grid-Verse).” In J. Nechutová and I. Radová (eds.), Laetae segetes. Griechische und lateinische Studien an der Masaryk Universität und Universität Wien. Brno: 41-50.
  • 35. Okáčová, M. 2007. “Publilius Optatianus Porfyrius: Characteristic Features of Late Ancient Figurative Poetics.” Graeco -Latina Brunensia 12: 57-71.
  • 36. Okáčová, M. 2016. Centones Vergiliani. Klasická poezie “pod kaleidoskopem” (Laborinthus 4). Prague.
  • 37. Okáčová, M. 2019. “Innocent Author vs. Obscene Reader: The Echoes of Ovid’s Tristia 2 in Ausonius’ Apologetic Catalogue of Literary Predecessors.” Eirene 55/1-2: 23-43.
  • 38. Pelttari, A. 2014. The Space That Remains: Reading Latin Poetry in Late Antiquity (Cornell Studies in Classical Philology). Ithaca, NY/London.
  • 39. Pelttari, A. 2017. “A Lexicographical Approach to the Poetry of Optatian.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 369-390.
  • 40. Perrot, A. (ed.) 2012. Les chrétiens et l’hellénisme. Identités religieuses et culture grecque dans l’Antiquité tardive (Études de littérature ancienne 20). Paris.
  • 41. Polara, G. (ed.) 1973. Publilii Optatiani Porfyrii Carmina. 2 vols. Turin.
  • 42. Prusac, M. 2011. From Face to Face: Recarving of Roman Portraits and the Late -Antique Portrait Arts (Monumenta Graeca et Romana 18). Leiden/Boston.
  • 43. Rühl, M. 2017. “Vielschichtige Palimpseste: Optatians Gedichte und die Möglichkeiten individueller Lektüren.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 227-255.
  • 44. Schierl, P. / Scheidegger Lämmle, C. 2017. “Herrscherbilder: Optatian und die Strukturen des Panegyrischen.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 283-318.
  • 45. Shepherd, S. 2016. The Cambridge Introduction to Performance Theory (Cambridge Introductions to Literature). Cambridge.
  • 46. Sládek, O. 2010a. “Literatura a performance.” In id. (ed.), Performance/performativita. Prague: 35-66.
  • 47. Sládek, O. 2010b. “Performance a performativita v kontextech.” In id. (ed.), Performance/performativita. Prague: 7-18.
  • 48. Spieser, J.-M. 2007. “Invention du portrait du Christ.” In A. Paravicini Bagliani, J.-M. Spieser and J. Wirth (eds.), Le portrait. La représentation de l’individu (Micrologus’ Library 17). Florence: 57-76.
  • 49. Squire, M. / Wienand, J. (eds.) 2017. Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn.
  • 50. Squire, M. 2017. “Optatian and His Lettered Art: A Kaleidoscopic Lens on Late Antiquity.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 55-120.
  • 51. Wienand, J. 2017. “Publilius Optatianus Porfyrius: The Man and His Book.” In M. Squire and J. Wienand (eds.), Morphogrammata / The Lettered Art of Optatian: Figuring Cultural Transformations in the Age of Constantine (Morphomata 33). Paderborn: 121-163.