The Poem "Christus patiens" and the Poiesis of Greek Cento Poetry

该项目将首次探索希腊centto -poetry的出现、发展和接受，以及它在从一种写作风格到一种文学形式的发展过程中的不同功能。我们将重点关注关于基督的死亡和复活的中心戏剧，自1542年版的《原则》（1542）以来，它一直被称为“基督病人”。这篇文章可以追溯到罗马晚期或拜占庭帝国，因为它的诗性而引人注目，这是希腊centos的特征。拉丁古诗遵循所谓的“奥索尼乌斯规则”，使用现有的诗歌材料创造新的内容，而“基督病人”则不同，它使用模仿的创作方法，改变引用，借用其他诗人的短语，将它们与自己的诗歌混合在一起。这种诗歌方法加强了读者对意义生产的参与，提出了关于这部作品诗歌的具体预期效果的问题，并为元化开辟了一个舞台，揭示了它自己的混合诗学。本文将进一步探讨这种诗学在古代体裁理论中的作用以及它的生产性接受。提议的项目将提供“基督病人”的第一个综合评论，并将研究其对中世纪后期受难和复活戏剧以及耶稣会戏剧的影响。开放获取的《希腊Centos》网络版本为一种创新的评论提供了合适的工具，它使互文关系可见，为读者提供了所有相关的互文，揭示了文学传统与诗歌创新的创造性结合。

The project will be the first to explore the emergence, development, and reception of Greek cento-poetry as well as its different functions in the course of its progression from a style of writing into a literary form. We will focus on the cento-drama about the death and resurrection of Christ, which has been referred to as "Christus patiens" since the editio princeps (1542). This text, which dates from either the Late Roman or Byzantine Empire, stands out because of its poiesis, which is characteristic of Greek centos. Unlike Latin cento-poems, which, following the so called "Rule of Ausonius", use existing poetic material to create new content, the "Christus patiens" uses the compositional method of parody insofar as it alters citations and borrows phrases from other poets, mingling them with its own poetry. This poetic method intensifies the reader's involvement in the production of meaning, raises questions concerning the specific intended effects of the poetry of this work, and opens up an arena for metaisations, which reveals its own poetics of hybridity. This poetics will be further explored with regard to both its role in ancient genre theory its productive reception. The project proposed will provide the first comprehensive commentary of the "Christus patiens" and will examine its influence on later medieval Passion- and Resurrection Plays as well as on Jesuit Drama. The open-access online edition of the Greek Centos constitutes an appropriate tool for an innovative kind of commentary which makes intertextual relations visible, provides its readers with all relevant intertexts and reveals the creative combination of literary tradition and poetic innovation.