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Journal articles on the topic 'Byzantine manuscript study'
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1
Wagschal, David. "The Byzantine canonical scholia: a case study in reading Byzantine manuscript marginalia." Byzantine and Modern Greek Studies 43, no. 1 (April 2019): 24–41. http://dx.doi.org/10.1017/byz.2018.23.
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The scholia to the canonical manuscripts of theCollection in Fifty TitlesandCollection in Fourteen Titlesserve as an excellent case study in the potentials of marginalia to illuminate historical narratives and broaden our understanding of how the Byzantines encountered and read their traditional texts. This article explores these potentials by a) offering an overview and taxonomy of the canonical scholia; b) (re)discovering a Macedonian ‘proto-commentator’ hiding in plain sight in the margins of one manuscript; c) sketching some of the scholia's hermeneutic particularities in comparison to the twelfth-century canonical commentaries.
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Clifton, James, and John Lowden. "The Octateuchs: A Study in Byzantine Manuscript Illustration." Sixteenth Century Journal 25, no. 1 (1994): 208. http://dx.doi.org/10.2307/2542579.
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Kurysheva, Marina A. "Dating and Historical Context of a Greek Manuscript Containing Palaiologoi Emperors’ Portraits (Paris. gr. 1783)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 86–95. http://dx.doi.org/10.15826/izv2.2021.23.2.027.
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This article puts forward a new later dating of the Greek manuscript BnF, Paris. gr. 1783 kept in the National Library of France and containing portraits of emperors of the Palaiologoi dynasty. The manuscript contains important texts related to the Constantinople period of court history and culture. Historiographers used to date the manuscript to the fifteenth century according to the portrait of Patriarch Joseph II (†1439), a famous participant of the Ferraro-Florence Council, which can be seen in the Italian fresco paintings of the fifteenth century. Meanwhile, the study of the manuscript’s palaeographical features shows that it was written by an anonymous scribe from Crete who worked in Venice and Rome for Italian humanists in the middle — third quarter of the sixteenth century. The handwriting of the famous Cretan calligrapher, employee of Francis I’s library in Fontainebleau Angelus Vergecius, as well as some other scribes associated with him was typologically close to the handwriting of the main scribe of the manuscript. Analogies to this handwriting can also be seen in the handwriting of Manuel Provataris, another famous scribe of the epoch, a Cretan Greek from Rethymno, employee and copyist of the Vatican Library. The new palaeographic dating of the Paris. gr. 1783 manuscript changes the date of creation of portrait drawings of the Byzantine emperors of the Palaiologoi dynasty and Patriarch Joseph II. Also, it is important to change the dating of all texts contained in the manuscript including such important texts as one of the three lists of imperial tombs of the Church of Sts. Apostles in Constantinople, as well the list of the offices of the Byzantine court. The Paris. gr. 1783 manuscript should be excluded from the circle of Late Byzantine booklore and attributed to post-Byzantine book heritage.
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Boeten, Julie, and Sien De Groot. "The Byzantine antiquarian: a case study of a compiled colophon." Byzantinische Zeitschrift 112, no. 1 (February 1, 2019): 31–46. http://dx.doi.org/10.1515/bz-2019-0003.
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Abstract In this article, we present a colophon epigram found in the manuscript Napoli, Biblioteca Nazionale, gr. II C 33. We edit the text, provide a translation and commentary and supply it with a thorough metrical analysis. Throughout the article, we investigate whether the scribe meant this colophon to be one text or three separate texts. By doing so, we will touch upon broader issues, such as Byzantine metrics in general and the Byzantine habit of compiling texts from an antiquarian perspective.
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Martani, Sandra. "The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213." Plainsong and Medieval Music 12, no. 1 (April 2003): 15–42. http://dx.doi.org/10.1017/s0961137103003024.
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The cantillation of the Scriptures played an important role in the complex matrix of symbols that is the Byzantine liturgy. Beginning in the ninth century, a special type of notation called ‘ekphonetic’ was developed to indicate in the lectionaries the formulae used in the chanting of the appointed scriptural pericopes. Gradually, over the course of the thirteenth and fourteenth centuries the system fell into disuse, and the meaning of the notational signs was forgotten. Unfortunately, no surviving Byzantine theoretical treatises explain the system; hence the only sources of information about it (apart from the lectionaries themselves) are lists of ekphonetic neumes found in some manuscripts. Of particular value in this regard is the manuscript Sinaiticus graecus 213. Not only is this one of the oldest datable Greek evangeliaries, but it contains the most ancient list of neumes heretofore discovered, having escaped the attention of musicologists probably because of its unusual location in the manuscript. The present study, proceeding from an analysis of the theoretical information contained in the Sinait. graec. 213 list, will seek to establish the practical application of the neumes within the body of the manuscript, thus contributing to a clarification of the structural characteristics of the earliest, so-called ‘preclassic’, phase of the notational system.
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Rodionov, Oleg. "Codex Vatopedinus gr. 610 and Its Place in the Manuscript Tradition of Kallistos Angelikoudes’ Works." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015968-3.
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The article deals with one of the oldest manuscripts containing a significant part of the theological chapters of Kallistos Angelikoudes, one of the most important hesychast authors of the late Byzantine period. Codex Vatopedinus gr. 610 was written in the late 14th c. It contains a great amount of quotations excerpted from Patristic literature. In the second part of the codex, one can find the chapters of Kallistos Angelikoudes; these 92 chapters were retrieved from a greater collection containing now about 200 chapters. The article discusses the content of the Vatopedi manuscript, pointing out to the use of many Patristic fragments included there in different works by Kallistos Angelikoudes. This may shed light on the origin and purpose of the manuscript. A further study of the history of the text of these chapters allows us to assess the place of the Vatopedi codex in the manuscript tradition of Kallistos Angelikoudes’ literary legacy. The Church Slavonic translation of this collection of Angelikoudes’ chapters made by Paisius Velichkovsky in the 1770—1790s reproduces many peculiarities of the Greek text contained in the Vatopedi manuscript and was presumably based on a copy of that codex.
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Myers, Gregory. "The medieval Russian Kondakar and the choirbook from Kastoria: a palaeographic study in Byzantine and Slavic musical relations." Plainsong and Medieval Music 7, no. 1 (April 1998): 21–46. http://dx.doi.org/10.1017/s0961137100001406.
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The Byzantine choirbook or Asmatikon was a musical anthology of melismatic chants for the Office and Liturgy of the fixed and movable parts of the Church year. With its counterpart for the soloist, the Psaltikon, the Asmatikon flourished in the twelfth and thirteenth centuries and was then superseded in the fourteenth and fifteenth by a new manuscript type known as the Akolouthia, which absorbed much of the material from the older sources and added collections of new chants. The older manuscript types were distinguished not only by their repertory of chants, but by separate modal and melodic traditions and stock of characteristic melodic formulae.1
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Emese, Egedi-Kovács. "A Barlám-Regény Kódexképei És Címsorai (Cod. Athon. Iviron 463)." Antik Tanulmányok 64, no. 2 (November 18, 2020): 203–26. http://dx.doi.org/10.1556/092.2020.00014.
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A tanulmány az Athós-hegyi Iviron 463-as jelzetű kétnyelvű (ógörög-ófrancia) bizánci kézirat különféle rétegeinek (ógörög főszöveg, miniatúrák, lapszélen szereplő ófrancia fordítás, ófrancia címsorok) összefüggéseit vizsgálja újabb megközelítésből, korábban nem vizsgált szempontok bevonásával: a miniatúrák és az ófrancia szövegben szereplő piros tintával kiemelt címsorok közötti kapcsolat feltárásával. A tanulmány a Barlám-regény görög változatait megőrző kódexek – ivironi kézirat szempontjából fontos – magyarázó címeit is áttekinti, a kéziratok közötti közös elemeket vizsgálja. Az elemzés az ivironi kódex készítésének körülményeivel kapcsolatban újabb fontos összefüggésekre világít rá.The study examines the relations between different aspects (Ancient Greek main text, miniatures, Old French translation on the margins, Old French headlines) of the manuscript Iviron № 463, which is a bilingual (Ancient Greek-Old French) Byzantine manuscript kept on Mount Athos, from a new perspective by including formerly not investigated viewpoints: by exploring the relationship between the miniatures and the headlines that are highlighted by red ink in the Old French text. The study also mentions the explanatory inscriptions in codices that preserved the Greek versions of the Barlaam-romance and are relevant in connection with the Iviron manuscript, furthermore, it investigates the common features of the manuscripts. The analysis reveals new important relations regarding the circumstances of the creation of codex Iviron.
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Alexaki, Marirena. "Icons as punishers. Two narrations from the Vaticanus gr. 1587 manuscript (BHG 1390 f)." Byzantinische Zeitschrift 114, no. 1 (February 1, 2021): 35–64. http://dx.doi.org/10.1515/bz-2021-9003.
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Abstract The Iconoclastic controversies of the Byzantine Era have provided a rich literary tradition of miracle narrations regarding the various magical aspects of the icon. The second period of Iconoclasm however seems to have given rise to a lesser prominent motif of the earlier traditions, namely that of the icon-agent acting as active punisher against its transgressor. The current article explores the development of this motif after a concise survey of the history of icon-miracle narrations, their representative texts and their role in liturgical practice. The starting point of the study were two previously unedited byzantine texts from the manuscript Vaticanus gr. 1587, testifying unique stories of icons as punishers. Finally, these stories are also perfect examples of the rich historical information popular narrations can provide on a topographical and prosopographical level regarding the era within which they were produced.
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Chircev, Elena. "Archdeacon Sebastian Barbu-Bucur PhD – Researcher of the Byzantine Musical Tradition across the Romanian Territory." Artes. Journal of Musicology 17, no. 1 (January 1, 2018): 89–101. http://dx.doi.org/10.2478/ajm-2018-0004.
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Abstract Professor Archdeacon Sebastian Babu-Bucur PhD is one of the most prominent representatives of Romanian Byzantology with a tireless activity spreading throughout different fields – research, psalmic musical creation, teaching, performing. Our study focuses briefly on several of the researcher’s achievements, some of his main concerns having been the Romanianisation process of the church chant in the 18th century and the manuscripts elaborated by Romanians. We highlighted the merits of the Byzantinist musicologist who contributed to the discovery of most of the Romanian manuscript no. 61 in the Romanian Academy Library, who tracked down and catalogued over 250 Romanian manuscripts to be found in the libraries from Mount Athos, who demonstrated through documenta and transcripta editions the significance of the activity of various Romanian psalm readers whose contribution to the translation of chants in Romanian had been, up to that moment, almost unknown. Archdeacon Sebastian Babu-Bucur’s tireless work as a researcher of Byzantine music contributes to a better knowledge and understanding of the evolution of this type of music in the 18th and the 19th century and leads the way towards new investigations in the years to come.
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Bovon, François, and Nancy P. Ševčenko. "Byzantine Art and Gospel Commentary: The Case of Luke 13:6–9, 10–17." Harvard Theological Review 109, no. 2 (April 2016): 257–77. http://dx.doi.org/10.1017/s0017816016000055.
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This paper represents a conversation between two disciplines that too rarely enter into dialogue: New Testament studies and the history of Byzantine art. Two gospel passages have been chosen for analysis here: the first is a parable, the parable of the fig tree (Luke 13:6–9); the second, which follows immediately upon the first, is a miracle story that provokes a controversy (Luke 13:10–17). Both passages appear exclusively in the Gospel of Luke. Our joint study will start with exegetical notes on the Gospel of Luke and the history of the interpretation of these particular verses and will then turn to the miniatures that illustrate them in an eleventh-century Byzantine manuscript in the Bibliothèque nationale de France, Parisinus graecus 74 (figs. 1–2). François Bovon has interpreted the Gospel of Luke in a German collection, the Evangelisch-katholischer Kommentar zum Neuen Testament, a series attentive to the history of the reception (Wirkungsgeschichte) of the biblical text in the life of the Christian church. He will explain the two New Testament passages and follow the path of patristic and Byzantine interpretation during these periods.
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Borisova, T. S. "Stavrotheotokia troparia of the Great and Holy Friday Antiphons (tentative textological analysis of the 11th – 14th century manuscripts)." NSU Vestnik. Series: Linguistics and Intercultural Communication 17, no. 2 (2019): 14–26. http://dx.doi.org/10.25205/1818-7935-2019-17-2-14-26.
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The paper deals with certain troparia found in several Church Slavonic manuscripts as a part of the Great and Holy Friday Antiphons which don’t respond to the described Greek versions of the text. Troparia which appear in the penultimate place of each of the 15 Antiphons are devoted to the Mother of God and could be attributed to the Stavrotheotokion type. The Stavrotheotokia appear regularly almost in all East Slavonic manuscripts up to Patriarch Nikon book correction of the 17th century, while in the South Slavonic tradition they appear regularly only in two early Serbian manuscripts, in the most of the Antiphons in two early Bulgarian manuscripts and in one Antiphon in another Bulgarian manuscript. In the 14th century after the Mount Athos book correction the Stavrotheotokia disappear completely from the South Slavonic manuscript tradition. The goal of our study was a scientific critical edition of the Stavrotheotokia troparia based on 13 East and South Slavonic manuscripts (Triodion and Pentecostarion, Pentecostarion, Lent and Pentecost Sticherarium) of 11th – 14th centuries as well as their textological analysis. Based on the results of the textological analysis we distinguish two versions of the text: the first one is present in East Slavonic manuscripts and Zagreb Triodion, the second one – in two Serbian Triodia, and their compiled type – in the Orbele Triodion. Although no Greek correspondence to these texts have been found so far, the textual evidences argue for the Byzantine origin of a certain text. The outstanding poetic characteristics of certain troparia as well as their remarkable correspondence with the whole poetical structure of the Antiphons cause us to believe that unlike the Theotokia which are included in the Antiphons in the modern Greek and Slavic tradition, the Stavrotheotokia were the part of the initial text of the hymn. Since two versions of the Church Slavonic text are not located on a certain territory, the translation of these texts into Church Slavonic was probably made in the South Slavic area and later transferred to the East Slavonic tradition.
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Pentkovskaya, Tatiana V. "Maximus the Greek's Biblical Philology in the European Context and in the Church Slavonic Tradition." Slovene 9, no. 2 (2020): 448–60. http://dx.doi.org/10.31168/2305-6754.2020.9.2.18.
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[Rev. of: Verner I. V. The Interlinear Slavonic-Greek Psalter of 1552 Translated by Maximus the Greek. Moscow: Indrik, 2019, 928 pp. (in Russian)] The article offers a review of the study and publication of Maximus the Greek's 1552 translation of the Psalter. This translation, which has remained in manuscripts until now, is viewed as part of the European biblical revision, ialongside other well-known Renaissance translations and editions of the Holy Scriptures. The Church Slavonic-Greek Psalter of 1552 is a monument at once to Byzantine-Slavic, European-Slavic, and inter-Slavic cultural and linguistic ties of the early Modern period. The edition contains an exemplary linguistic and textological description of the Psalter of 1552 which clearly highlights the stages of Maximus the Greek's work on the text, reveals his methods using handwritten and printed sources in different languages, and explicates the translation technique of the Athos scholar. The book identifies the printed Greek original of the Psalter of 1552, which turns out to be the 1498 edition of Justin Decadius. The second part of the book contains a critical edition of the Psalter of 1552 based on the interlinear manuscript of the Russian State Library (RSL f. 173.I # 8) incorporating variant readings of six copies studied. The Greek part of the interlinear manuscript is presented in accordance with its specific Slavonic spelling. This book is a major contribution to paleoslavistics and to the research on biblical studies in Early Modern Russia.
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Americano, Sergio Gerardo. "Ignazio d’Antiochia nel ‘Pandette della Sacra Scrittura’ di Antioco di San Saba (CPG 7842-7844)." Augustinianum 57, no. 1 (2017): 191–208. http://dx.doi.org/10.5840/agstm201757110.
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Written in 620 ca., the Pandectes of the Holy Scripture (CPG 7842-7844) of Antiochus, monk of the Great Laura of Saint-Sabas (Jerusalem), represents a remarkable example of the kefavlaia literary genre in the early Byzantine period. It includes, among its many patristic sources, a series of 26 passages borrowed from the Epistles of Ignatius of Antioch (CPG 1025), used in their recensio media. The quotations are distributed in 13 of the 130 total chapters of the work. The present study aims not only to evaluate the textual contribution of the Pandectes to the study of the Epistles of Ignatius, but also attempts a critical outline of its wide manuscript tradition and text.
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Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.
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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.
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Sander, Christoph. "Magnetism for Librarians. Leone Allacci’s De Magnete (1625) and its Relation to Giulio Cesare LaGalla’s Disputatio de Sympathia et Antipathia (1623)." Erudition and the Republic of Letters 5, no. 3 (July 30, 2020): 274–307. http://dx.doi.org/10.1163/24055069-00503002.
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The investigation of magnetic phenomena played a crucial role for the emergence of an experimental approach to natural philosophy in the early modern period. William Gilbert’s De magnete, in particular, and Leonardo Garzoni’s Due trattati, are taken to herald this development. This article brings to light a contrasting approach to magnetism, by analyzing an extensive and hitherto unknown study on the magnet by the Vatican librarian Leone Allacci, and its relation to Giulio Cesare LaGalla’s Disputatio de sympathia et antipathia (1623). Allacci’s De magnete (1625) which survives in a single manuscript, offers a comprehensive literature review on early modern knowledge about the magnet in a variety of disciplines, including natural history, natural philosophy, navigational science, natural magic, and medicine. Allacci incorporates Greek Byzantine authors as well into his doxographical anthology, and he commends the Paracelsian ‘weapon salve,’ which was condemned by most Catholics at his time.
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Kryvenko, Marharyta. "Scientific catalog of the book collections of «Studion» as a «Byzantine» library: principles and features of formation." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 255–79. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-10.
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The article highlights the principles and sources of material selection for the Catalog; its structure and content are disclosed; attention is paid to the specifics of the processing and bibliography of Greek prints, a sample description of one of them is given. The already completed scientific catalog is the first attempt to identify, elaborate, describe and return to the scientific and public discourse the Byzantine materials of the Lviv «Studion» library, which Metropolitan Andrey has purposefully collected for over thirty years, to promote, first of all, theological research work, education of highly educated clergy, which would correspond to the level of knowledge of Western apologists of the time. The main source for the formation of the Catalog were the copies of the Byzantine-Christian content, which we found, first of all, in the retrospective fund of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv and other Lviv cultural and educational institutions. These sources were 279 searched, first of all, by studying the reference and bibliographic apparatus (DBA) of the Lviv academic institution; elaboration of manuscript materials, in particular, letters of the Italian theologian Father Aurelio Palmieri to Metropolitan Andrey Sheptytskyi in 1907–1914, stored in the Central State Historical Archive of Ukraine in Lviv; acquaintance with the reference and historical and literary literature etc. Thus, the Catalog includes the multi-genre, multi-sectoral and multilingual literature of the 15th – first half of the twentieth century, which determined the specifics and uniqueness of the Studion collection and which has not yet been investigated. Bibliographic descriptions of Greek and Latin prints are accompanied by Ukrainian translation of their titles. A special place is given to the problem of bibliography of Greek prints (transliteration and unification) as an important component of the national cultural heritage. On the example of one edition, an attempt was made to demonstrate the search algorithm and bibliographic stylistics, which is characteristic of the presented Catalog. The bibliographic reconstruction of the Studion Book Collection will show the depth of the idea of the Metropolitan of Galicia to create such a special library institution; will enlighten the participation of Fr. Klymentii Sheptytskyi in the organization and management of the library; will allow to define more fully its contents (thematic) and chronological features and multilingual character; will contribute to the study and discovery of not only valuable retrospective holdings of the academic library, but also a significant component of the national historical and cultural heritage. Keywords: Metropolitan Andrey Sheptytskyi, bookstore of «Studion» in Lviv, Byzantine materials (Byzantine literature), Greek books, printed catalog.
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Fershtej, Vasyl. "The Studion’s Library collection in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv: fragments of history, study experience and preservation issues." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 238–54. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-9.
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Vasyl Stefanyk National Scientific Library of Ukraine in Lviv (VSNSL of Ukraine in Lviv) is considered as an inheritor and successor for major Ukrainian libraries and institutions that constituted its base consequently to geopolitical upheavals of first half of 20th century. These are books, manuscripts, old prints, periodicals, notes and fine arts collections etc. from the libraries of Shevchenko Scientific Society, People’s Home in Lviv, monasteries, private collections, as well as Studion’s Library collection, whose substantial part now is being dispersed along the shelves of VSNSL of Ukraine in Lviv. The author defined the role of Metropolitan Andrey Sheptytskyi and Klymentii Sheptytskyi in establishing and maintaining this biggest specialized scientific library in Galicia at that time. The paper describes the rise and evolution of the Studion’s Library collection drawing on archival documents and revealing main stages of its formation, outlines objectives that Metropolitan Andrey Sheptytskyi determined for it and highlighted Metropolitan’s activity in church and social fields resulted in formation of national and cultural institutions. The author also defined the outstanding role of Studion’s in the religious life of Ukrainians. The Studion’s Library collection was officially integrated into Lviv Branch of the Library of the Academy of Sciences of USSR on February 12, 1940. So the dispersion of the once rich collection started. Now those books and periodicals are parts of Rare Book Department, Manuscript Department, Ucrainica Department, Exchange and Reserve Department, Department of European book of 19th–20th cc. and others. These collections were repeatedly examined within several bibliological studies conducted by the Library’s researchers. Thus, it is marked that unique collections of Studion’s like other historical libraries at VSNSL of Ukraine in Lviv need writing their history as well as their bibliographical reconstruction what is now composing one of main objectives of Library’s staff Keywords: Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, Metropolitan Andrey Sheptytskyi, Klymentii Sheptytskyi, the Studion’s Library collection, Byzantine Library.
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Semiachko, Svetlana A. "The Sermon to the Coenobitic Monastic Brotherhood: On the Formation of the Monastic Disciplinary Charter in Rus’." Slovene 4, no. 1 (2015): 474–92. http://dx.doi.org/10.31168/2305-6754.2015.4.1.28.
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This article is devoted to the study of sources transmitting the Sermon to the Coenobitic Monastic Brotherhood and its spheres of influence. The article determines authentic copies of this text and considers several elements: charters of the founders of several Russian monasteries and lectures to the brotherhood of the coenobitic monasteries and to their new members. Authors of Old Russian disciplinary charters were guided by apostolic and patristic texts; these sources were used not in their original language but in translation. Quotations from these authoritative compositions were often incorporated into charters through other texts, both translated and Russian. In their borrowings, the authors of these charters also used material that had been borrowed by their predecessors, who relied on their own authoritative texts. The Sermon to the Coenobitic Monastic Brotherhood is known in the Russian manuscript tradition from the beginning of the 15th century. Among its sources, there are compositions by Basil of Caesarea, Ephrem the Syrian, and a certain anonymous author. The Sermon influenced the Charter of Cornelius of Komel and some texts from the starchestvo tradition. The Sermon to the Coenobitic Monastic Brotherhood functioned as a link, a bridge between the Byzantine and Russian tradition of the monastic disciplinary charter.
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Savel’eva, Natalya V. "On the history of the texts of the Moscow Anfologion of 1660: Chapters… from the book Paradise and Tetrastichae sententiae by Gregory Nazianzen." Vestnik of Saint Petersburg University. Language and Literature 18, no. 1 (2021): 147–86. http://dx.doi.org/10.21638/spbu09.2021.109.
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The article is devoted to the publication history of two poetic gnomologies (collections of maxims) as part of the collection “Anfologion” published in 1660 at the Moscow Print Yard. This collection house primarily published works translated from the Modern Greek Venetian editions, which presented new versions of monuments of hagiography and Byzantine patristic heritage, theological treatises and poetic works of medieval Christian authors. Some translations were made by the publisher — director (spravshchik) of the Printing House Arseny Grek. Among his translations there were also collections of poetic maxims Chapters… from the book Paradise and Tetrastichae sententiae by Gregory Nazianzen. Until now these texts were known in Slavic translation only from the Moscow edition of 1660. The article provides information about the previously unknown translation of both gnomologies, found in a Western Russian manuscript of the early 17th century. The study of the texts showed that one of them ( Chapters… from the Book Paradise ) was published in Anfologion in this translation, and the newly found translation of the maxims of Gregory Nazianzen was used by Arseny Greek to work on his text. The author expresses a hypothesis about the origin of the newly found translation of two gnomologies from the literary circles of the Ostrog Book publishing Center, and its possible attribution to Cyprian, the author, publisher and translator directly related to the works of the Ostrog printing house and the printing house of the Derman Monastery. Newly found translations are published in the Appendix.
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Minale, Valerio. "About the reception of Isaurian Ekloge in Byzantine Italy: An effort of comparison with Slavian world and mainly Stefan Dusan’s Serbian empire." Zbornik radova Vizantoloskog instituta, no. 49 (2012): 43–74. http://dx.doi.org/10.2298/zrvi1249043m.
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Aim of the contribute is to offer a new key to analyse the matter concerning the influence of Byzantine law sources on the development of the legal system in Southern Italy. In addition to a historical and juridical survey about the reception process of the Isaurian Ekloge in the territories controlled by the Byzantines, a comparison is tried considering the diffusion of the compilation also in the Slavian world and especially in the Balkan regions: to study the reasons, which persuaded Stefan Du{an to use the text to compose his Zakonik, could be very useful to understand the characters - totally different because of political grounds - of the preservation of the Isaurian Ekloge in the manuscripts coming from Southern Italy.
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Cvetković, Branislav. "Zaglavlje Dekaloga u Hvalovom zborniku: prilog semantici srednjovjekovne iluminacije." Ars Adriatica, no. 4 (January 1, 2014): 155. http://dx.doi.org/10.15291/ars.493.
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This article is dedicated to the interpretation of the header before the text of the Ten Commandments on fol. 150 of the Hval Codex. The author is drawing attention to a gloss in the margin to the left of the banner which has not been addressed in the earlier scholarly literature nor recorded in the facsimile transcription of 1986. The rectangular banner consists of a lozenge net filled with gold lilies while three gold interlace crosses of a complex shape are placed on top of the banner. The gloss next to it was written in blue ink as an abbreviated word under a line. It is a rather common abbreviation from the nomina sacra category (God). The significance of this hitherto-overlooked gloss is extraordinary. It was written in the same manner which was used for adding legends to miniatures or headers in order to clarify images in medieval illuminated manuscripts. Hval wrote similar notes in several margins of this manuscript.The location of the gloss itself points to its function as an explanation of the banner before the words which the Lord communicated to Moses on Mount Sinai. That the text of the Ten Commandments was significant in Bosnian illuminated manuscripts is also attested to by the header before the Ten Commandments in a Venetian miscellany codex, which depicts the narrative scene of the theophany on Sinai while, at the same time, containing a fairly long inscription which clarifies the image. Similar textual clues appear in the Dobrejšovo Evangelie, the most important of which is the one positioned next to the Synaxarion header where the inscription, “this is heaven which is also called paradise”, explains the scene. In the context of such examples, this article discusses analogous material from illuminated manuscripts and monumental painting alike by applying a new approach to the study of function of medieval ornament, while also highlighting the problem of the etymology of the notion of ornament in different languages. The findings resulting from this research show that the function of ornament in a religious context was not just decorative, but that it was used to mark the holiness of a space, that is, the presence of the divinity, which is a phenomenon witnessed in illuminated manuscripts, wall paintings, icons and reliquaries.H. Kessler’s research into Judeo-Christian symbol-paradigms confirms the essential importance of the depiction of the Old Testament tabernacle in the manuscripts of the Christian Topography as a source of ornamental motifs. They can be grouped into a relatively narrow set of symbols, always included in a structural system: star-shaped schemes, fields of flowers, interlace and lozenge nets as well as chequers. Their origin is found in the coffered vaults of classical tombs and temples where they represented the sky and Elysium. They were transported to medieval art through identical motifs which were painted in the catacombs and early Christian basilicas. It is these exampes that constitute a formal template for the header to the Ten Commandments in the Hval Codex the meaning of which is, therefore, a symbolic depiction of the Word, Logos, as the source of God’s Ten Commandments, which is why the banner was marked with a corresponding gloss.The article also pays attention to an unusual illumination in the Gospels of Jakov of Serres because it also witnesses that a grid with floral motifs possessed a special meaning to educated medieval men. The portion above the head of Metropolitan Jakov, formed by a band of a lozenge net with flowers, has been described in the scholarship only as decorative, that is, as forming a floral background, but, given that its position and shape both conform to signifiers of heavenly kingdom in Byzantine manuscripts of the Christian Topography, it is erroneous to interpret it only as a floral background and a mere ornament. In this case too, the lozenge field filled with flowers denotes the Empire of God to which Jakov directs his prayers. Therefore, when one studies ornament in a religious context, it is necessary to use a more precise language, one which is rooted in the manuscript material itself. A concrete evidence for such a practice can also be seen in the colophon of this manuscript because the scribe who wrote it compared all of the decoration in the codex to the starry sky of a theological rather than actual kind.Other notes in the Hval Codex margins are also mentioned in the article. Some of these record the name of the manuscript’s commissioner who was addressed out of respect as uram (Hungarian for “my sire and master”): Hrvoje Vukčić Hrvatinić, Grand Duke of Bosnia and a Herzog of Split. The article emphasizes the need to study more closely the location of glosses and all other marginal notes within the codex, and highlights the fact that the two notes recording the name of the patron were placed next to the Gospel sections describing Christ’s healing miracles which, generally speaking, figure prominently in Christian art and exegesis. Furthermore, the article also analyzes the previously-unpublished illumination which depicts Moses in front of the Burning Bush, the branches of which were rendered as interlace ornament resembling a labyrinth. The rendition of the Burning Bush as interlace stemming from the floral frame of the header is a unique example which demonstrates that medieval art did not consider ornament as a meaningless arabesque but that it frequently functioned as a signifier.
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Bowden, W., R. Hodges, K. Lako, D. Bescoby, A. Crowson, O. Gilkes, S. Martin, J. Mitchell, L. Përzhita, and P. Reynolds. "Roman and late-antique Butrint: excavations and survey 2000-2001." Journal of Roman Archaeology 15 (2002): 199–229. http://dx.doi.org/10.1017/s104775940001391x.
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The Roman and Byzantine port of Butrint, situated on the SW coast of Albania directly opposite the island of Corfu, has been the focus of a major research project since 1994. The investigation of the site and its hinterland commenced with excavations within the walled town and a survey of sites and monuments in the region (Hodges et al 1997). Despite a brief hiatus caused by civil unrest in Albania in 1997, work continued with excavation and study seasons in 1998 and 1999. The results of the first five years of the project are due to be published shortly (Hodges, Bowden and Lako, forthcoming).The second phase of the Butrint project, starting in 2000, has encompassed a wide variety of research aims. They have included extensive research on the archives of the Italian mission that conducted large-scale excavations between 1928 and 1942. Among other finds, this resulted in the discovery of the manuscript of L. Ugolini's Albania antica vol. 4, the hitherto unpublished results of the Italian excavation of the Hellenistic and Roman theatre (Gilkes, forthcoming). Other archival research has focussed on the records of the communist-period archaeological investigations, and has resulted in a much better understanding of the aims and results of these projects, which in some cases are almost wholly unpublished. Our project is also concerned with the controlled development of the site for tourism. This has resulted in the expansion of the UNESCO World Heritage site to 2900 ha and the creation of a National Park with the intent of protecting the archaeological and natural landscape around Butrint (Hodges and Martin 2000; Martin 2001). The present report is a synthesis of the first results of the major excavations of 2000 and 2001. While it is possible (and indeed likely) that interpretations may change as excavations continue, it was felt that the material was of sufficient interest to justify an interim statement.
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Piñol Álvarez, Estefanía. "Alfonso X y el Mediterráneo: algunas reflexiones acerca de la influencia de los manuscritos iluminados árabes en las Cantigas de Santa María. Alfonso X of Castile and the Mediterranean: some considerations about the influence of the illuminated Arabic manuscripts on the Cantigas de Santa María." Territorio, Sociedad y Poder 13, no. 13 (November 25, 2018): 71. http://dx.doi.org/10.17811/tsp.13.2018.71-99.
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El presente estudio pretende ofrecer un análisis sobre las fuentes visuales de origen árabe y su influencia en las Cantigas de Santa María de Alfonso X el Sabio. Partiendo de un estado de la cuestión donde se tienen en cuenta aquellas propuestas realizadas a lo largo de estos años en relación al marco geográfico de influencias —situadas inicialmente en Francia e Italia pero defendiendo posteriormente la necesidad de reubicar la miniatura alfonsí dentro del ámbito del Mediterráneo— se pretenden aportar nuevas reflexiones críticas, cuestionando algunos de los vínculos concretos e intrínsecos que se han establecido entre el marial alfonsí y otros manuscritos iluminados del mundo árabe, especialmente algunos folios relativos a los Maqamat de al-Hariri.The aim of this paper is to provide an analysis of the Arabic visual resources and their influences on the Alfonso X the Learned’s Cantigas de Santa Maria.Firstly, I present the current status of the issue taking into account all of the proposals made throughout the last approaches concerning the geographical frame of influences. These frames of influences had been situated by the first researchers, particularly in the 19th Century, in France and Italy.Subsequently, other «inspirations», such as the Arabic and Byzantine world, started to be considered as an important focus to help us understand some of the miniatures of our manuscript, not only in style but also in regards to profane topics, which are generally predominant in the alphonsine productions.In response to these last suggestions, one of the principal purposes of this study is to defend the necessity to understand the alphonsine illumination in a Mediterranean context. Furthermore, I aim to present a new critical approach by questioning some of the specific links established between our codex and the Arabic illuminated manuscripts. In particular, there are some folios of the Maqamat illuminated by al-Wasiti which have been considered an essential influence for the Cantigas miniaturists. I go on to explain that other depictions that can be found in different 13th century painting productions— such as the crusader illumination, the miniatures made in the Staufen Court in Sicily or the Mural paintings of the conquest of Majorca, among others— present a very similar composition to those Arabic depictions and, therefore, to our Castilian manuscript.For that reason, taking these new proposals into consideration allow us to distance the Cantigas de Santa María from the Arabic models, without rejecting their presence, in order to talk about general depictions that appear in different productions made in the second half of the 13th century in diverse European courts and Mediterranean commercial points. Finally, we can affirm that the Cantigas de Santa María is the result of a fusion between foreign and local resources, and consequently it is difficult to find specific sources that could have been known and copied in an itinerant court.
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Mocanu, Alina Viorela. "The Byzantine Icon Hermeneia." Review of Artistic Education 22, no. 1 (June 1, 2021): 200–205. http://dx.doi.org/10.2478/rae-2021-0025.
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Abstract In the context of the flagrant mistakes that are encountered in ecclesiastical painting and the lack of basic knowledge in this field, this study comes to present how Hermeneia has evolved throughout history. Starting from the Byzantine period, passing through the post-Byzantine period and reaching to the present day, Hermeneia and her predecessors, manuscripts and sketchbooks, aimed to help and maintain a canonical-artistic-ecclesial unity throughout the Orthodox Christian area. Another aspect of the article presents some ways of approaching Hermeneia from various points of view: technical, iconographic-illustrative, compositional, academic and theological. Throughout history, Hermeneia has been synthesized and structured in such a way as to provide a maximum of information but its volume should not be difficult to use by iconographers.
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Rafiyenko, Dariya. "Excerpta Historica Constantiniana: An Encyclopaedia from Tenth-Century Byzantium?" Journal of Abbasid Studies 7, no. 2 (December 29, 2020): 243–63. http://dx.doi.org/10.1163/22142371-12340055.
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Abstract When approaching Byzantine-Greek texts that organize knowledge in one way or another, Byzantinists encounter similar issues to those facing Arabists working on pre-modern Arabic literature. In this article, I discuss two of these more specifically: (1) The layout of the medieval manuscripts has been hitherto systematically neglected, although many manuscripts contain chapter headings, lists of contents and other features that provide “reading aids” or “finding devices” and thus offer clues as to how the text they contain were conceived and designed to be read; and (2) The term “encyclopaedia” has been used in too vague a fashion with regard to Byzantine works of the tenth to twelfth centuries CE and has to be reconsidered. This article discusses both issues with reference to the example of the Excerpta historica Constantiniana (henceforth, Excerpta), apparently a reference work, written in Ancient Greek in Constantinople in the tenth century CE. The goal is to make a description of the Excerpta available to Arabists, laying the ground for future study of the two traditions in comparative perspective.
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Kumbe, Meri. "Music in Albania through the medium of paper musical manuscripts." New Sound, no. 46 (2015): 170–80. http://dx.doi.org/10.5937/newso1545170k.
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The aim of this paper is to present the musical Byzantine manuscripts, kept in the Central State Archive of Albania. It particularly focuses on the historical importance they had in the evolution of religious music in Albania and Albanian music per se, whilst providing important information related to the specificity of names and other music elements. This paper also focuses on the characteristics of these "papers", and "papers" in general, published through the medium of paper, from papers (article, essay, study) as a "text".
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BENAKIS, Linos G. "Aristotelian Ethics in Byzantium." WISDOM 9, no. 2 (December 25, 2017): 67–73. http://dx.doi.org/10.24234/wisdom.v9i2.191.
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This paper argues that research in the primary sources must precede the investigation of Byzantine philosophy. Two points are to be considered, on the one hand, the gathering of texts, and, on the other hand, the study of texts in relation to their sources. Thus the external evidence as well as the internal evidence of texts should be examined. In this double regard, the manuscripts containing Aristotle’s Nicomachean Ethics are considered. Their authors are Michael of Ephesos, Eustratios of Nicaea, “Anonymus”, Heliodoros of Prussa, Georgios Pachymeres, Michael Psellos, John Italos, Nikephoros Blemmydes, George Gemistos Plethon.
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Gonzalez-Calderon, Juan Felipe. "Constantine Lascaris, his manuscripts and his ethical concerns." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 538–72. http://dx.doi.org/10.25205/1995-4328-2021-15-2-538-572.
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This article aims to examine Constantine Lascaris’s work on Aristoteles’ ethical corpus. We consider evidence from the textual witnesses of the Nicomachean Ethics, the Eudemian Ethics, the Magna Moralia, and some other minor ethical writings, which belonged to Lascaris, in order to reconstruct his working methods. We also explore Lascaris’ own statements about virtuous life; a life devoted to the service of the common good, to philosophy and to the study of texts. For him philosophy was a way of life, rather than simply a discourse. We look at the link between written culture and philosophical life and propose further research into how Byzantine and Renaissance scholars understood their own intellectual activities to be a special kind of spiritual exercise intended to promote moral improvement in both individuals and societies.
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Peno, Vesna. "The traditional and modern in church music: A study in canon and creativity." Muzikologija, no. 6 (2006): 233–50. http://dx.doi.org/10.2298/muz0606233p.
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Definitions of the terms "traditional" and "modern", relating to the chanting tradition of the Eastern Church, sprang from research into so-called kalophony ? a specific compositional method that established melismatic melody. Despite differing academic opinions about the origins of this melody in the liturgical practice of the Eastern Church, it is evident that very embellished and elaborate kalophonic melodies appeared frequently from the mid-13th century onwards. The compositional treatment of various genres of these melodies began historically with partial respect for the established hymnographic text. This was followed by a more liberal arrangement, ending in a total departure from any textual base (kratema). The fact that the melody in melismatic mode superseded the text suggests that kalophony represented a certain kind of modernity. Even though musical manuscripts in neumatic notation had no written rules about methods of composition or how to balance tones and words, in the tradition of the Easternchanting practice, melody was always recognized as a helpful addition, an exegesis of the textus receptus. In order to fully comprehend the introduction of this "new sound" and "new style", this study focuses on the work of a major protagonist of them, a monk from the Great Lavra, blessed John Koukouzeles. I consider the following questions: 1) The purpose and function of chant in the art of Byzantium in general 2) The role of the composer/ artist and his creative freedom 3) Evaluating criteria for church-related arts/composition 4) Criteria which immortalized or buried artwork/composition of the time Allowing for what possibly motivated John Koukouzeles and his contemporaries to compose kalophonic melodies or to kalophonically modify old, traditional melodies this study focuses on the effects that hesychasm had on the chanting practice of the time. Considering the theological validation of kalophonic modifications of some liturgical hymns, an attempt was made to interpret the introduction of kalophony as a reflection of prevailing tendencies in Byzantium church life at the dawn of its demise, which affected all areas of artistic production. One of the leading hesychast theologians of the time St. Gregory of Palama (who shared at one point monastic community with St. John Koukouzeles in the Great Lavra) questioned whether continuous prayer simultaneous to breathing, a practice taught by hecychasts, could influence composers in their chanted prayer. Did they too want to prove that chanting which acts (in time), as continual prayer, leads to unity with God? Did the composers seek melodies that would express the apophatic, melodies that no longer needed words? Could it be that the result of their creativity (kalophony) replaced the old poetics of the chanting art with the newly discovered beauty of their sound? In this study, the questions of whether the 14th century found its Ars Nova in Byzantine named manuscripts and whether these new compositional principles preceded modernism, or were, as implied by the aforementioned questions, a reinforcement of the tradition with a new means of expression, is answered by the fact that the Eastern Church included John Koukouzeles in the assembly of the saints. Thus, his opus, albeit new was recognized in the foundational spirit, and as such, endures through the history on its way to Eshaton.
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Devoge, Jeanne. "When Job falls ill: Literary and iconographical study of a biblical scene from the Septuagint." Zograf, no. 33 (2009): 9–18. http://dx.doi.org/10.2298/zog0933009d.
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The particular scene from the Book of Job where Job falls ill, struck down by Satan (Job, II, 1-8), is studied from the link between the Septuagint text and the images that illustrate it. The text, transcribed and translated reveals the vocabulary of the body and the disease of Job, supported by the comments of the Greek Fathers that surround it. Compared with the description of some images issued from the iconographical cycles created especially for the Byzantine Books of Job, the text appears clear and concise. Thus, the text offered large scope for interpretation to the manuscript's painters: the numerous variants of the scene where Job falls ill indicate this.
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Lorrain, Agnès. "Der Fall Jerusalem, Timiou Staurou 104 (12. Jh.):Eine Untersuchung zur Herkunft patristischerExzerpte in den Tetraevangelien." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 24, no. 2 (October 5, 2020): 355–88. http://dx.doi.org/10.1515/zac-2020-0025.
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AbstractA number of Byzantine tetraevangelia dating from between the tenth and twelfth centuries contain sequences of accompanying texts (among which patristic excerpts) that are very similar to those found in manuscripts with catena commentaries. This similarity raises the question of how the paths of such accompanying texts were formed during their transmission. Is it possible to define intermediate sources or relationships between manuscripts despite the complex traditions of such elements? This article first considers some methodological questions and then takes as a case study a tetraevangelium which features a collection of introductory texts that were likely all copied from a single catena. The structure of the content, the textual variants, and some of the codicological characteristics of the two manuscripts in question shed light on the process of compilation. This kind of analysis can contribute to a better understanding of scribal practices and shows how paratexts of the Bible represent a rich and, until now, untapped source of information on the transmission of the exegesis of the Church Fathers in the form of small excerpts.
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Zajc, Neža. "St Maxim the Greek: Some notes on his understanding of the sacred time." Slavia Meridionalis 16 (October 21, 2016): 329–68. http://dx.doi.org/10.11649/sm.2016.017.
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St Maxim the Greek: Some notes on his understanding of the sacred timeBased on a manuscript by St Maxim the Greek, this article explores his specific understanding of the relationship between language and biblical tradition. It gives some answers to questions concerning his theology, which are posed by his liturgical experience of the sacred time, which is based not on repeating the excerptions from the patristic authors, but is primarily founded on his accurate reading and in-depth perception of the Holy Bible. Maxim the Greek, who in his personal writings showed a detailed knowledge of both the Old Testament and Slavonic biblical texts, was thus not only able to separate the canonical from the non-canonical sacred texts, but also successfully classified the Christian teachings according to ethical value, from the Old Testament prophets to the apostles and the Church Fathers. With his hierarchy he also gave meaning to the ontological-eschatological dimension (three levels – appropriate to the Holy Trinity) of their spiritual efforts. His knowledge, which also reflects the precise understanding of dogmatic theological decisions of the first ecumenical church councils, ranks highest the learning that comes directly from the Son of God, which Maxim the Greek experienced through his theological-liturgical prayer practice.Maxim found theologically unambiguous formulations which most profoundly determined the specific nature of his personal theology in the Byzantine hymnography dedicated to the Mother of God. All the mentioned facts lead the author to the further explore his specific Old Church Slavonic language, in which he managed to preserve not only the early Christian mentality but also the theological-liturgical characteristics of the ascetic and later monastic discipline that he learned in the monastery of Vatopedi at the Holy Mount Athos. The article concludes with the proposition that only through detailed study of the personal language of St Maxim the Greek can we arrive at a definition of his Theology. Św. Maksym Grek. Kilka uwag o jego rozumieniu czasu świętegoArtykuł poświęcony jest specyficznemu rozumieniu związku języka i tradycji biblijnej w manuskrypcie św. Maksyma Greka. Proponuje odpowiedzi na pytania dotyczącego jego teologii, jakie zostały zawarte w jego liturgicznym doświadczeniu świętego czasu, które nie polega na odtwarzaniu ekscerpcji z autorów patrystycznych, lecz jest przede wszystkim oparte na właściwym odczytaniu i dogłębnym rozumieniu Biblii. Maksym Grek, który w swoich pismach osobistych wykazuje szczegółową wiedzę na temat zarówno Starego Testamentu, jak i słowiańskich tekstów biblijnych, posiada umiejętność oddzielenia nie tylko tekstów kanonicznych od niekanonicznych, ale także z powodzeniem klasyfikuje nauki chrześcijańskie zgodnie z ich wartością etyczną, od proroków Starego Testamentu do apostołów i Ojców Kościoła. Hierarchią tą nadaje także znaczenie wymiarowi ontologiczno-eschatologicznemu (trzy poziomy – właściwe Świętej Trójcy) ich wysiłków duchowym. Wiedza, która ujawnia się również w precyzyjnym rozumieniu decyzji dogmatycznych pierwszych ekumenicznych soborów Kościoła, sytuuje najwyżej bezpośrednią naukę płynącą od Syna Bożego, której Maksym Grek doświadczył dzięki teologiczno-liturgicznej praktyce modlitewnej.W bizantyńskiej hymnografii odnajduje on jednoznaczne sformułowania teologicznie, poświęcone Matce Boskiej, które najdobitniej określają specyfikę jego osobistej teologii. Wszystkie wspomniane fakty wiodą do dalszych badań jego charakterystycznego języka staro-cerkiewno-słowiańskiego, w którym stara się zachować nie tylko wczesną mentalność chrześcijańską, lecz także teologiczno-liturgiczne cechy ascetycznej, a później monastycznej, dyscypliny, której nauczył się w monastyrze Vatopedi na Świętej Górze Atos. Artykuł stawia tezę, że tylko szczegółowe badania języka św. Maksyma Greka pozwalają na zdefiniowanie jego teologii.
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Christides, V. "THE SOURCES OF COSMAS INDICOPLEUSTES’ MINIATURES OF ANIMALS: THE CASE OF THE “UNICORNâ€." Journal for Semitics 23, no. 2 (November 21, 2017): 531–46. http://dx.doi.org/10.25159/1013-8471/3504.
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The aim of this paper is to trace the sources of the Byzantine author Cosmas Indicopleustes’ miniatures of animals, in particular of the “unicornâ€, in his work Christian topography. Cosmas, a sixth century seaman and merchant, wrote his work, Christian topography, based on his personal experience travelling in the Red Sea and beyond. Although his main aim was to enhance religious beliefs, his work yields important geographical information concerning navigation, peoples and animals of various countries neighbouring the Red Sea and beyond. His description of various exotic countries is decorated with drawings and numerous designs relevant to his cosmological interpretation of the Bible. While Cosmas’ cosmological theory and the relevant designs have been studied by a number of scholars, little attention has been paid to his drawings of animals based on his travelling experience. An attempt is made in this study to trace the origin of Cosmas Indicopleustes’ illustrations of animals, focusing on the unicorn. Furthermore, a comparison with similar drawings found in Arabic manuscripts is added. An effort is also made in this study to draw information not only from the pictorial evidence but also from the literary tradition of the original Greek and Arabic sources.
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Berggren, J. L. "Islamic Acquisition of the Foreign Sciences." American Journal of Islam and Society 9, no. 3 (October 1, 1992): 310–24. http://dx.doi.org/10.35632/ajis.v9i3.2570.
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The study of the transmission and transformation of ancient science ismore than a study of which texts were translated, when, and by whom. It wasa complex process, better seen as beginning rather than ending with the translationof relevant books, for the heart of the process is the assimilation ratherthan the simple reception of the material. Scientific ideas move because peoplestudy books, compute with tables, and use instruments, not simply becausethey translate books, transcribe tables, or buy pretty artifacts. It sufficesto recall that the scholars of the Byzantine Empire, despite their status as thedirect heirs of the classical Greek scientific tradition and their direct accessto whatever classical Greek manuscripts the Islamic world eventually cameto possess-indeed to more of them and from an earlier date-were largelyuninterested in this knowleldge. Hence no account of the transmission of scientificknowledge can be complete if it does not recognize that it is, at root,an account of the activities of what Dupree has called "homo sapiens in asocial context."Two CaveatsAt the outset of this paper, two points mu5t be taken into consideration.First, although we may wish to study the whole process of the Islamic acquisitionof the foreign sciences as it took place over several centuries and overan area extending from Spain to Afghanistan, it must be realized that theexamples given refer to specific events that took place at specific times andin specific places. As a result, eminent Islamic thinkers and writers are quotedwithout any accompanying claim that each one is representative of all Islamicthinkers at all times and in all places. It is sufficient that when a person suchwithout any accompanying claim that each one is representative of all Islamic ...
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Peno, Vesna, and Marija Obradovic. "On the chanting space and hymns that were sung in it. Searching for chanting-architectural connections in the middle ages." Muzikologija, no. 23 (2017): 145–73. http://dx.doi.org/10.2298/muz1723145p.
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The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. A reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. The scarcity of written historical sources, and especially musical ones, made it particularly difficult to define the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual - Greek-Slavic neumatic manuscripts, mentioning both the names of the first famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that after the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. The architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in the consistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. The existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a significant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.
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Seyidbeyli, Maryam. "Life and activity of Nasir al-Din al-Tusi." History of science and technology 10, no. 2 (December 12, 2020): 353–67. http://dx.doi.org/10.32703/2415-7422-2020-10-2-353-367.
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At the beginning of the VII century in the political life of the Near and Middle East, fundamental changes have taken place. The Arabs conquered a colossal territory, which included the lands of Iran, North Africa, North-West India, the Asian provinces of Byzantium, most of the former Roman Empire. In the conquered cities of the caliphate, observatories, madaris, libraries were built. At the end of VII century, the first scientific center, an academy, the House of Wisdom, was founded in Baghdad, in which scholars who spoke different languages were assembled. Here the translation and commentary activity were very developed, the main works of ancient thought, such as the writings of Aristotle, Ptolemy were published in the 9th century in the Arabic-speaking world. For two centuries from 750 to 950 years, the works of ancient authors on philosophy, mathematics, medicine, alchemy, and astronomy were translated into Arabic, which indicates the high scientific potential of that time in the East. At the same time, in the XII century, Ibn Rushd composed 38 commentaries on the works of Aristotle, the “Republic” of Plato, the treatise “On the Mind” of Alexander of Aphrodisias, which subsequently had an important influence on the work of Nasir al-Din al-Tusi. Thus, this period in the history of Eastern scientific thought is marked by high intellectual potential. To this day, historians of medieval Arabic literature face a sufficient number of difficulties, since the vast majority of manuscripts remain inaccessible to them. The works of many renowned Arab authors of the middle Ages are more than 1000 years old, so it seems obvious that the manuscripts of the vast majority of authors have not survived to this day. The researchers of the history of Azerbaijan and neighboring countries in the middle Ages, with all the variety of available sources on which they rely, still attract little factual material related to the Arabic-language works of the historical and scientific genre. Undoubtedly, a comprehensive study of the entire complex of information of Nasir al-Din al-Tusi on the history of science in Azerbaijan is of great importance.
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Peattie, Matthew. "Old Beneventan Melodies in a Breviary at Naples: New Evidence of Old Beneventan Music for the Office." Journal of Musicology 29, no. 3 (2012): 239–61. http://dx.doi.org/10.1525/jm.2012.29.3.239.
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This article discusses previously undocumented examples of music for the old Beneventan divine office in a manuscript housed in the Archivio Storico Diocesano in Naples (Cod. Misc. 1, fasc. VII). The breviary, which was copied at the scriptorium of Santa Sofia, Benevento, in 1161, transmits two unica—canticle antiphons for the feast of St. Mercurius—in Beneventan style. It also preserves a Beneventan-style antiphon for the Holy Twelve Brothers of Benevento that is not transmitted in previously published sources of Beneventan chant. The discovery of music in Beneventan style for St. Mercurius is of importance to the history of the old Beneventan rite, as it attests to the continued production of the distinctive formulaic style of the Beneventan rite into the later eighth century. The relics of Mercurius, a military saint of Byzantium, were enshrined at the altar of Santa Sofia at Benevento in 768, and Mercurius was adopted as patron of the court, the church of Santa Sofia, and the city of Benevento. Despite the establishment of the cult of St. Mercurius in the second half of the eighth century, until now no musical record has indicated the presence of old Beneventan music for this feast (there is no extant Beneventan mass proper for Mercurius, and the documented sources for the divine office preserve only Romano-Beneventan or neo-Gregorian-style music). I consider the St. Mercurius antiphons within the context of the musical style of the old Beneventan rite and argue that they should be included in the Beneventan canon on the basis of musical style. As pitch-specific exemplars of the distinctive formulaic style of the Beneventan chant, this source is of particular value to the study of Beneventan pitch and modality. Notated in fully heightened Beneventan neumes on a staff line, these antiphons are among the few surviving witnesses of the old Beneventan repertory that preserve the distinctive modal properties of the repertory in pitch-specific notation. I introduce the music of these antiphons and consider their importance as witnesses to the continued production and copying of Beneventan music from the late eighth to the twelfth centuries.
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Ševčenko, Nancy Patterson. "Stella Papadaki-Oekland, Byzantine Illuminated Manuscripts of the Book of Job: A Preliminary Study of the Miniature Illustrations, Its Origin and Development. Athens: Brepols, 2009. Pp. iv, 433 plus facsimile pages and 6 foldout tables; many black-and-white and color figures and tables. €150. ISBN: 978-2503532325." Speculum 87, no. 1 (January 2012): 264–66. http://dx.doi.org/10.1017/s0038713412000541.
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Шмігер, Тарас. "Погляди Роналда Ленекера на когнітивну семантику як модель перекладознавчого аналізу ("Слово некоего калугера о чьтьи книг» в сучасних українсько- та англомовних перекладах." East European Journal of Psycholinguistics 3, no. 1 (June 30, 2016): 102–17. http://dx.doi.org/10.29038/eejpl.2016.3.1.shm.
Full textAbstract:
Мета цього дослідження – проаналізувати можливість використовувати погляди Р. В. Ленекера на когнітивну семантику як семантико-текстологічну модель перекладознавчого аналізу. Матеріалом для розгляду обрано твір «Слово некоего калугера о чьтьи книг» із «Ізборника Святослава» 1076 р. та його три переклади: два переклади сучасною українською мовою (повний – В. Яременка, частковий – Є. Карпіловської й Л. Тарновецької) та один переклад англійською мовою (В. Федера). Теорія когнітивної семантики Р. Ленекера орієнтується здебільшого на граматичні проблеми й опис мови через параметри простору. Параметрам опису образности, які пропонує когнітивна семантика, бракує чіткости, які мають аналітичні методи структуралізму. Однак, вони виконують головну аналітичну функцію: вони дозволяють усвідомити наявні в перекладі порушення й відхилення від першотвору та намагатися усвідомити їхню природу й межі.
Література
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Kokla, Vasiliki. "Contemporary approach in the study of a Byzantine-illuminated manuscript on parchment." European Physical Journal Plus 136, no. 7 (July 2021). http://dx.doi.org/10.1140/epjp/s13360-021-01699-z.
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Данова, Цветомира. "The Homily on The [Cursed] Fig-Tree and the Parable of the Vineyard by John Damascene in Mediaeval Slavonic Literature [Preliminary Observations]." Poznańskie Studia Slawistyczne, no. 14 (September 21, 2018). http://dx.doi.org/10.14746/pss.2018.14.4.
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The Slavonic version of the homily dedicated to The (Cursed) Fig-Tree and the Parable of the Vineyard by John Damascene has not been so far object of an archeographic-textological study. The present study gives the initial observations on the reception of that Byzantine work in Mediaeval Slavonic Literature. The work centred mainly on the South Slavonic manuscript tradition, while the East Slavonic manuscript tradition represented by the text from the well-known Uspensky Miscellany was used as a starting point and as a basis for comparison during the analysis. The study showed that in Mediaeval Slavonic Literature the homily dedicated to The (Cursed) Fig-Tree and the Parable of the Vineyard by John Damascene has been disseminated through three different Slavonic translations, one redaction, and one contaminated version.
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Gratziou, Olga. "J . Lowden, Illuminated Prophet Books. A Study of Byzantine Manuscripts." Byzantinische Zeitschrift 84-85, no. 1-2 (January 1, 1992). http://dx.doi.org/10.1515/bz-1992-1-266.
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Ebrahimi, Mansoureh, Kamaruzaman Yusoff, Salah L-A Mohammed, and Azlizan Mat Enh. "The Battle of Manzikert in 1071 A.D and Its Consequences to the Byzantine Empire." UMRAN - International Journal of Islamic and Civilizational Studies (EISSN: 2289-8204) 2, no. 1 (March 9, 2015). http://dx.doi.org/10.11113/umran2015.2n1.14.
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This study aims to analyze the battle of Manzikert in 1071 A.D, and to examine its consequences on the Byzantine Empire. The methodology used in this article are primary sources namely manuscripts, historical records as well as secondary sources. The impact of Manzikert battle which occurred between the Byzantine Empire and the Seljuk State in 1071 A.D. indicates the powers and forces of the Byzantine Empire were destroyed economically and militarily. Actually, it is a turning point in the history of Christian-Muslim conflict. The Byzantine Empire started to set its eyes on the Catholic West to save it from dangers of the Islamic State and heathenish dangers represented by Pechenegs and Turkmen. However, it was not able anymore to defend itself after this battle. Hence, Manzikert battle increased Byzantine internal confusion and helped the Seljuk to interfere onto the Empire affairs. Finally, this study reveals that the Byzantine Empire was beginning to end from 1071 to 1204 A.D.
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"Illuminated Prophet Books: A Study of Byzantine Manuscripts of the Major and Minor Prophets.John Lowden." Speculum 66, no. 2 (April 1991): 437–40. http://dx.doi.org/10.2307/2864187.
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Kaznokh, Iryna. "The sticheras of the holiday of Pentecost in musical and poetic context (on the materials of Liubachiv Irmologion, 1674)." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2018, 26–37. http://dx.doi.org/10.33398/2310-0583.2018.4243.26.37.
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Objectives of the scientific research lies in a) comprehension of the dramaturgy of the holiday of Pentecost on the basis of theological, musical and poetic analysis of the selected sticheras of the evening ceremony from the Liubachiv Irmologion, 1674; b) detailed analysis of the interaction of the poetic text with the melody of the sticheras «Come, people» and «The Lord of the heavens» to understand and perform liturgies correctly c) study of the musical and rhetorical models in the verbal texts of the sticheras. Methodology and scientific approaches. In the process of research, the source-study method was used for manuscript analysis; - historical method is used in deciphering the Kiev square notation; – musical and theoretical method, which is related to the analysis of the sticheras of the holiday of Pentecost; the liturgical and theological method, which is used to understand the connection between theological content and artistic forms. Conclusions of the research. The results of the research showed that the musical material of the sticheras «Come, people» and «The Lord of the heavens» follow all indicated principles of poetic texts and monody colors underline the significance of the theological content. The common base for both sticheras is a melody that is framed by melusmatics in the form of third links of the ascending and descending movement around the supporting sounds, which gives the songs solemn and commendable character. In most cases melos moves smoothly within a second, third, and fourth diapason. The dramaturgy of chants is based on two intonation tunes of major and minor slopes. The interaction of poetic and musical material builds the perfect structural form of the songs. The composition of the melody of the sticheras is set out in repeated tunes based on the principle of the main development of chants. Rhetorical formulas help understand the concealed theological content and interpret them correctly. Poetic texts of the sticheras determine the importance of theological content of the songs, which is manifested through the perfect musical and poetic form of works and shows excellent skills of their creators. The frameworks of the research, the possibility of using the results, the direction for further research. The results of the research are important for use in the study of the liturgy, theology and the history of the Church and they can also be used in further studies of the church monody of the Byzantine and Slavic Christian areas. Practical importance. The ideas and conclusions of this research, which are drawn on the basis of musical and textual analysis, can be used not only in further research, but also in teaching practice, in particular, by including them in lectures on liturgical singing, which will help conductors and singers understand the meaning of the liturgy of the holiday of Pentecost better. Originality / value. The results of the research give an opportunity to understand the world of sacred musical art better in the cultural and aesthetic meaning, which defines a scientific topicality. The analysis underlined the uniqueness of the sticheras in liturgical practice, and the hidden content of the songs by the means of oratory art is shown.
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Panin, Leonid G., and Borisova Tatiana S. "Comparative Linguistic Textological Analysis as a Means of Research into the Evolution of the Derivation System (on the Early Church Slavonic Translations of Greek Words with the Prefix συν-)." Journal of Siberian Federal University. Humanities & Social Sciences, October 2019, 1887–903. http://dx.doi.org/10.17516/1997-1370-0490.
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The present study has delved into the different ways the Greek prefix συν- has been translated in the Church Slavonic language. Our research was conducted on the available Church Slavonic translations of four Byzantine hymns (the Akathistos Hymn, the Great Canon of Repentance by St. Andrew of Crete, the Alphabetical Shichera from the Great Canon service and the Antiphons of the Great and Holy Friday) examined in the South and East Slavonic manuscripts of the 11th — 15th century. The textological study of the Slavonic translation revealed the existence of eight versions of the texts caused by several successive corrections of the Slavonic text in accordance with the Greek original. Based on these results, the linguistic textological method was applied in order to reveal the main differences between said versions in regard to the conveyance of the words with the prefix συν-. We examined a total of 46 words in 58 contexts and separated them in four categories depending on their grammatical characteristics. The comparative analysis of the structures corresponding to the συν- prefix in the Slavonic translation revealed eight different ways in which the semantics of this prefix could be conveyed in the target language. The results of our research showcased the different role the calque word formation in accordance with the Greek pattern played in the Slavonic noun and verb derivation. The relatively small amount of calque verbs with the prefix съ-, which is the Church Slavonic equivalent of the Greek συν-, is a result of the weak aspect formation potential of this prefix in comitative semantics. Therefore, the linguistic textological method helps us arrive at conclusions that are of interest to the fields of translation theory, history of the Church Slavonic language, Greek — Slavonic language communication, and comparative linguistics