1 À rebours: intervisuality from the Middle Ages to classical antiquity
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Aglae Pizzone
Abstract
This contribution aims to reflect on the potential that the insights and methodologies developed by medievalists in relation to intervisuality might have for classical studies. In so doing, it will show that the performative and bodily aspects highlighted by those who first described the power of intervisuality in pre-modern media find a theoretical counterpart in recent enactive approaches to the readerly imagination. It first considers the different approaches to intervisuality developed by medievalists and classicists in recent years, dividing them up into four main clusters. Second, it provides two case studies to show how these approaches can further our understanding of ancient texts.
Abstract
This contribution aims to reflect on the potential that the insights and methodologies developed by medievalists in relation to intervisuality might have for classical studies. In so doing, it will show that the performative and bodily aspects highlighted by those who first described the power of intervisuality in pre-modern media find a theoretical counterpart in recent enactive approaches to the readerly imagination. It first considers the different approaches to intervisuality developed by medievalists and classicists in recent years, dividing them up into four main clusters. Second, it provides two case studies to show how these approaches can further our understanding of ancient texts.
Chapters in this book
- Frontmatter I
- Contents V
- Introduction 1
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Part I: In limine
- 1 À rebours: intervisuality from the Middle Ages to classical antiquity 15
- 2 From image to theatrical play in Aeschylus’ Oresteia 33
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Part II: Archaic and classical age
- 3 Homer and the art of cinematic warfare 81
- 4 Intervisuality in the Greek symposium 103
- 5 The protohistory of portraits in words and images (sixth–fifth century BCE): tyrants, poets, and artists 121
- 6 Looking at Athens through the lyric lens 149
- 7 The politics of intervisuality 171
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Part III: Hellenistic and imperial age
- 8 The goddess playing with gold 197
- 9 Intervisuality in declamation and sung poetry in imperial Greek cities 213
- 10 Intervisual allusions in Lucian, Dialogues of the Sea Gods 15 235
- 11 Was Philostratus the Elder an admirer of Ovidian enargeia? 255
- 12 ἐκ τῶν πινάκων. Aristaenetus’ intervisual allusions to Philostratus’ art gallery 283
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Part IV: Pointing to Rome
- 13 Ordering the res gestae: observations on the relationship between texts and images in Roman ‘historical’ representations 305
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Appendix
- List of contributors 335
- Index nominum et rerum notabilium 339
- Index locorum 345
Chapters in this book
- Frontmatter I
- Contents V
- Introduction 1
-
Part I: In limine
- 1 À rebours: intervisuality from the Middle Ages to classical antiquity 15
- 2 From image to theatrical play in Aeschylus’ Oresteia 33
-
Part II: Archaic and classical age
- 3 Homer and the art of cinematic warfare 81
- 4 Intervisuality in the Greek symposium 103
- 5 The protohistory of portraits in words and images (sixth–fifth century BCE): tyrants, poets, and artists 121
- 6 Looking at Athens through the lyric lens 149
- 7 The politics of intervisuality 171
-
Part III: Hellenistic and imperial age
- 8 The goddess playing with gold 197
- 9 Intervisuality in declamation and sung poetry in imperial Greek cities 213
- 10 Intervisual allusions in Lucian, Dialogues of the Sea Gods 15 235
- 11 Was Philostratus the Elder an admirer of Ovidian enargeia? 255
- 12 ἐκ τῶν πινάκων. Aristaenetus’ intervisual allusions to Philostratus’ art gallery 283
-
Part IV: Pointing to Rome
- 13 Ordering the res gestae: observations on the relationship between texts and images in Roman ‘historical’ representations 305
-
Appendix
- List of contributors 335
- Index nominum et rerum notabilium 339
- Index locorum 345
