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@article{2241189,
author = {Foletti, Ivan and Okáčová, Marie},
article_number = {Supplementum 10},
keywords = {cento; colored marble; cumulative aesthetics; fragmentation; open work; Ravenna; (re)appropriation; spoliation; Sant’Agnese in Rome; Santa Pudenziana; varietas; visual poetry},
language = {eng},
issn = {2336-3452},
journal = {Convivium. Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Meditteranean},
title = {An Age of Fragmentation. Evidence from Late Antique Literary, Visual, and Material Cultures},
url = {https://www.brepols.net/series/convisup#publications},
volume = {2022},
year = {2022}
}
TY - JOUR
ID - 2241189
AU - Foletti, Ivan - Okáčová, Marie
PY - 2022
TI - An Age of Fragmentation. Evidence from Late Antique Literary, Visual, and Material Cultures
JF - Convivium. Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Meditteranean
VL - 2022
IS - Supplementum 10
SP - 24-47
EP - 24-47
SN - 23363452
KW - cento
KW - colored marble
KW - cumulative aesthetics
KW - fragmentation
KW - open work
KW - Ravenna
KW - (re)appropriation
KW - spoliation
KW - Sant’Agnese in Rome
KW - Santa Pudenziana
KW - varietas
KW - visual poetry
UR - https://www.brepols.net/series/convisup#publications
N2 - Certain aesthetic phenomena of late antique (third to seventh centuries) seem to run parallel in literary, visual, and material cultures, attesting to an apparently coherent cultural transformation triggered off by the penetration of Christianity, especially in the Latin West. This study focuses on various manifestations of “cumulative aesthetics” that seem particularly characteristic of the period, such as cultural spoliation, fragmentation patterns, and the poetics of detail. Additional consideration is given to the changing role of audiences and the general movement toward “open artifacts”, as conceived by Umberto Eco. Accepting these practices as significant semantic strategies common in multiple media to reappropriate the past, the “radical” transformation of late antique society emerges as possible only through the continuity of and contiguity with classical heritage. The latter had first to be dismantled into parts before being reassembled into a new, coherent whole within the newly established prism of Christianity. This “unity in diversity” motif seems to be a dominant communication strategy in late antique visual and literary discourse, both encouraging and authorizing aesthetic experiments with the cultural heritage of the past and consistent with official imperial court propaganda.
ER -
FOLETTI, Ivan and Marie OKÁČOVÁ. An Age of Fragmentation. Evidence from Late Antique Literary, Visual, and Material Cultures. \textit{Convivium. Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Meditteranean}. 2022, vol.~2022, Supplementum 10, p.~24-47. ISSN~2336-3452.
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