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Academic literature on the topic 'Manuscrits byzantins'

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Published: 29 March 2025

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Journal articles on the topic "Manuscrits byzantins"

Villey, Émilie. "A Companion to Byzantine Science edited by Stavros Lazaris." Aestimatio: Sources and Studies in the History of Science 3, no. 1 (September 30, 2023): 182–93. http://dx.doi.org/10.33137/aestimatio.v3i1.41826.

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A Companion to Byzantine Science est un volume composé de 13 chapitres, d’une introduction de Stavros Lazaris, d’une conclusion d’Anne Tihon et de trois index (index général, index des manuscrits et index des noms modernes) réalisés par Antonio Ricciardetto. Onze des 13 chapitres sont consacrés à un domaine spécifique de la science byzantine (sur les sciences mathématiques, l’optique, la météorologie et la physique, l’astronomie et l’astrologie, la géographie, la zoologie, la botanique, la médecine et la pharmacologie, la médecine vétérinaire, l’art militaire et enfin les sciences occultes (divination, astrologie, alchimie). Les deux premiers chapitres (« ‘Inner’ and ‘Outer’ Knowledge : The Debate between Faith and Reason in Late Antiquity » d’Hervé Inglebert et « Science Teaching and Learning Methods in Byzantium » d’Immaculada Pérez Martín et Divna Manolova) constituent une sorte d’introduction à l’ensemble des sujets abordés dans le volume. L’éditeur réussit son pari en offrant ici un véritable guide utile pour faciliter l’accès aux textes grecs byzantins traitant de sciences mathématiques et naturelles.

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Lazaris, Stavros. "Le portrait d'auteur dans les manuscrits hippiatriques byzantins." Ktèma : civilisations de l'Orient, de la Grèce et de Rome antiques 34, no. 1 (2009): 307–18. http://dx.doi.org/10.3406/ktema.2009.1757.

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Saliou, Catherine. "Julien d'Ascalon?" Journal of Hellenic Studies 115 (November 1995): 168–71. http://dx.doi.org/10.2307/631656.

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“Je me propose de faire un jour une étude sur les notes de métrologie dont on a rempli les parties laissées en blanc dans nos manuscrits médievaux (...) Tout de même que sur le dos de nos cahiers nous avons l'habitude d'imprimer des tables de multiplication, tout de même les Byzantins utilisaient les bas de page de leurs manuscrits pour y inscrire des répertoires arithmétiques que la complication de la métrologie ancienne rendaient particulièrement indispensables.”

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MOSSAY, J. "Pour un corpus des annotations adventices des manuscrits byzantins et orientaux." Le Muséon 100, no. 1 (January 1, 1987): 259–67. http://dx.doi.org/10.2143/mus.100.1.2011450.

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Dufrenne, Suzy. "Problèmes des ornements de manuscrits byzantins. [Deux études dédiées à Kurt Weitzmann ]." Scriptorium 41, no. 1 (1987): 35–57. http://dx.doi.org/10.3406/scrip.1987.1463.

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Miljkovic, Bojan. "Ilustracija Druge uskrsnje homilije Grigorija Bogoslova." Zbornik radova Vizantoloskog instituta, no. 41 (2004): 105–12. http://dx.doi.org/10.2298/zrvi0441105m.

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(francuski) L'illustration de la Deuxi?me hom?lie pascale de Gr?goire de Nazianze a trouv? place dans plusieurs manuscrits byzantins dat?s du IXe au XIVe si?cle et sur une fresque dat?e de 1294/95 ornant la calotte du narthex de l'?glise de la Vierge P?ribleptos ? Ochrid. Le contenu iconographique complexe de cette vision trouve son explication dans le texte m?me de l'hom?lie de Gr?goire le Th?ologien, ainsi que dans les commentaires dus ? la plume d'?crivains tardifs : Jean Damsc?ne, Basile Le Minime, Georges Moc?nos, Michel Psellos et Nic?tas d'H?racl?e.

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Tuilier, André. "La tradition textuelle du Christos Paschôn et le texte d’Euripide." Kentron 13, no. 1 (1997): 119–31. http://dx.doi.org/10.3406/kent.1997.1579.

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Relevé d’un certain nombre de points où la tradition du texte d’Euripide, telle qu’elle est transmise par le Christus Patiens, renvoie à un état du texte d’Euripide antérieur à la tradition manuscrite byzantine (Pour les pièces qui appartiennent aux deux familles : Hipp. 663 ; Med. 1223 ; Rhes. 52 ; Troi. 474. Pour les Bacchantes : v. 20 ; 55 ; 694 ; 1031 ; 1041 ; 1048 ; 1084 ; 1087 ; 1091 ; 1150-51 ; 1161 ; 1212-15 ; 1345 ; 1353 ; ainsi que la confirmation de l’hypothèse de Kirchhoff en 1853 par le P. Antinoopolis I, 24). Les byzantins des XIème et XIIème siècles (et dès le Vième s.) ne disposant pour le texte d’Euripide que des recensions dont témoigne encore pour nous la tradition manuscrite, il est impossible d’attribuer le Christus Patiensk un byzantin du XIIème siècle.

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Glynias, Joe. "Reconstructing Middle Byzantine Arabo-Greek Astrology from Later Greek Manuscripts." Mediterranea. International Journal on the Transfer of Knowledge 7 (April 1, 2022): 183–224. http://dx.doi.org/10.21071/mijtk.v7i.13669.

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This paper sheds light on one aspect of the large-scale influx of Arabic scientific knowledge into Byzantium through an analysis of three Byzantine astrological compendia that contain texts originally written in Greek as well as those translated from Arabic to Greek. While written c. 1200–1400, each manuscript contains a compilation that was assembled in the eleventh and twelfth centuries. The paper first considers the dating of each of the three compilations and shows the utility in using these late Byzantine manuscripts to study Middle Byzantine astrology. Second, it analyzes the Arabic texts translated in these compilations and uses them to explain the chronology and the scale of the translation of astrological material from Arabic to Greek. Third, it considers how the Arabic and Greek material is combined within these manuscripts, and what the resulting synthesis says about Middle Byzantine astrology writ large.

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ΜΑΛΤΕΖΟΥ, Χρύσα Α. "Τρία Κυπριακὰ ἀφιερωτήρια ἔγγραφα. Συμβολὴ στὴ μελέτη τῆς λατινοκρατούμενης Κύπρου." BYZANTINA SYMMEIKTA 7 (September 29, 1987): 1. http://dx.doi.org/10.12681/byzsym.706.

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Chryssa A. MaltèzouTrois actes de donation Chypriotes. Contribution à l'étude de Chypre pendant la domination latine Dans le second volume de miniatures de manuscrits byzantins de la Bibliothèque Nationale de Grèce, publié par Anna Marava-Chadjinicolaou et Christine Toufexi-Paschou (Athènes 1985), sont édités trois actes de donation des années 1499, 1542 et 1590 repérés dans l'évangéliaire n° 185. Les éditrices notent que ces actes sont selon toute vraisemblance originaires de Cythère. Pourtant l'étude de ces documents (langue, toponymie, prosopographie, cadre historique) a amené l'auteur de constater qu'ils proviennent de Chypre. Le toponyme Κιθιρία mentionné dans les actes n'a rien à faire avec l'île de Cythère: c'est le toponyme chypriote Κυθρέα.- Suit l'examen du cadre historique de ces actes, leur édition diplomatique et leur commentaire.- Enfin, l'auteur propose une autre lecture de la date du troisième acte qui ne serait pas 1590, mais 1501.

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Sautel, Jacques-Hubert. "Le choix du type de réglure dans les manuscrits byzantins : les Homélies sur la Genèse de saint Jean Chrysostome conservées à la BnF (Paris. gr. 602-652)." Scriptorium 66, no. 2 (2012): 221–80. http://dx.doi.org/10.3406/scrip.2012.4179.

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Dissertations / Theses on the topic "Manuscrits byzantins"

Mitsani, Angeliki. "Le ménologe métaphrastique illustre de Londres, British Library additional 11870." Paris 1, 1987. http://www.theses.fr/1987PA010617.

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Le manuscrit de la British Library add. 11870 est un ménologe métaphrastique qui contient les vies des saints du mois de septembre. Il s'agit d'un volume luxueux et richement décoré par vingt-deux miniatures. L'étude iconographique de ces miniatures ainsi que la comparaison avec les autres ménologes nous a montré les sources et la nature de cette iconographie et son influence sur l'iconographie des ménologes figures sur les icones et la peinture murale. L'analyse stylistique, d'autre part, nous oriente vers une origine constantinopolitaine du manuscrit et vers une datation dans le dernier quart du XIe siècle, confirmées par le rapport étroit du ménologe avec un manuscrit de la Bibliothèque Nationale de Paris, coislin 79. Les deux manuscrits sont très probablement exécutes par le même scriptorium.

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Ababi-Sirli, Adriana. "L'hymne Acathiste dans les manuscrits musicaux byzantins des XIVème et XVème siècles." Paris 4, 1995. http://www.theses.fr/1995PA040292.

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La plus ancienne version intégrale encore préservée de l'hymne acathiste en style kalophonique, est dûe à quatre compositeurs byzantins de la fin du XIIIe-début du XIVème siècle. L'hymne est très révélatrice des changements esthétiques survenus dans la musique de l'Eglise grecque. Le 1er chapitre propose un regard historique sur l'Acathiste. Son évolution liturgique est commentée dans le deuxième chapitre. Le texte -et les changements occasionnés par la kalophonie- font l'objet du troisième chapitre. La présentation des manuscrits (des XIVe et XVe siècle) sur lesquels repose cette restitution musicale est donnée au chapitre 4. Les deux chapitres suivants sont consacrés à la notation neumatique de l'époque et aux structures modales,les chapitres 7 et 8, à l'examen de la construction musicale et aux profonds changements déclenchés par l'esthétique nouvelle. L'étude est accompagnée de la version fac-similée-provenant du manuscrit Vatopedi (Mont Athos),1495-et de sa transcription en pentagramme
The oldest integral version still preserved of the Akathistos Hymn in the kalophonic style is due to four composers of the end of the 13th-first half of the 14th century. .

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Ulff-Møller, Nina Konstantinova. "Transcription of the Stichera idiomela for the month of April from Russian manuscripts from the 12th century /." München : O. Sagner, 1989. http://catalogue.bnf.fr/ark:/12148/cb37598717n.

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Chronopoulou, Maria. "Entre texte et image, entre écriture et oralité : les lettres enluminées dans les manuscrits des XVI discours de saint Grégoire de Nazianze (XIe et XIIe siècles)." Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLP069.

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Cette thèse se concentre sur l'étude des lettres enluminées dans les manuscrits byzantins des XVI discours de saint Grégoire de Nazianze, datés des XIe et XIIe siècles. Les homélies liturgiques étaient destinées à la lecture lors des offices, notamment monastiques. Les manuscrits sont richement illustrés de miniatures, d'images en pleine page et d'ornements marginaux, mais les lettres enluminées occupent une place centrale dans leur ornementation, servant de réceptacles privilégiés pour l'iconographie. L'étude porte sur dix-huit manuscrits grecs incluant 608 lettres enluminées. Ces lettres intègrent une iconographie riche et variée, comprenant des images directement liées au texte, telles que des représentations correspondantes aux thèmes des discours ou des portraits de l'auteur. En outre, elles incluent des scènes de la vie quotidienne, des spectacles, des travaux agricoles ou des représentations animales, qui, bien que parfois éloignées du contenu strictement théologique des homélies, apportent des nuances symboliques ou allusives. L'analyse de la fonction des lettres enluminées dans ces manuscrits liturgiques, et de leur interaction avec le texte des homélies, révèle comment ces lettres-images deviennent des véhicules de symbolisme, de métaphores visuelles, d'exégèses, ainsi que de messages théologiques et spirituels complexes. Elles transcendent leur apparence décorative pour influencer la lecture et l'usage du texte. Loin d'être de simples illustrations, ces lettres sont des éléments intrinsèques du livre, enrichissant et approfondissant le propos théologique de Grégoire et renforçant la solennité de ses paroles. La pratique d'ornementation des lettres dans ces manuscrits reflète l'admiration profonde des Byzantins pour les écrits de Grégoire de Nazianze, où les lettres enluminées reviennent à une sublimation visuelle du texte. La mise en image de la parole est une forme de vénération, soulignant l'importance théologique accordée à ces discours. Par ailleurs, la dimension liturgique et oratoire des homélies confère aux lettres enluminées un rôle central dans le déroulement de la lecture, s'intégrant de manière immédiate dans le texte et contribuant activement à sa proclamation orale. L'étude des lettres enluminées dans les XVI discours éclaire non seulement leur rôle spécifique dans les manuscrits byzantins, mais aussi leur capacité à transformer le texte en une expérience à la fois sensorielle et spirituelle. La lettre devient un médium hybride destiné à être vu, lu, contemplé, médité, tout en pouvant susciter l'émerveillement ou divertir. La lettre-image, qui atteint son apogée aux XIe et XIIe siècles, est un phénomène caractéristique de l'époque comnène. La lettre se présente comme un espace liminal et ambigu, accueillant des scènes abrégées, des micro-icônes ou des images-amulettes, reflétant les débats théologiques et la spiritualité de l'empire des Comnènes. Elle devient ainsi non seulement un repère pour la lecture, mais aussi un lieu d'animation, où une autre forme d'écriture — celle de l'image — prend vie. En parallèle, ce riche répertoire iconographique, incluant des images « profanes » telles que des spectacles et loisirs aristocratiques, des représentations d'animaux exotiques ou encore des images satiriques d'animaux moqueurs dans les lettres des homélies liturgiques, témoigne d'une société en pleine transformation. Ces représentations expriment la culture aristocratique sur ses deux terrains privilégiés, l'oikos et le monastère, projetant leur imaginaire et leur goût au sein de l'art du livre sacré et de l'espace monastique
This thesis focuses on the study of illuminated letters in Byzantine manuscripts of the Sixteen Homilies of Saint Gregory of Nazianzus, dating to the 11th and 12th centuries. These liturgical homilies were intended to be read during church services, particularly in monastic context. The manuscripts are richly adorned with miniatures, full-page images, and marginal decorations, but the illuminated letters hold a prominent position in the ornamentation, serving as primary mediums of iconography. The study examines eighteen Byzantine manuscripts, encompassing a total of 608 illuminated letters. These letters feature a rich and diverse iconography, including images directly tied to the text, such as scenes inspired by the subject of the Homilies or portraits of the author. Additionally, they depict scenes from everyday life, performances, agricultural works, and animals, which, although seemingly detached from the theological content of the homilies at first glance, they offer symbolic or allegorical nuances. The analysis of the function of these illuminated letters within the liturgical manuscripts, and their interaction with the homilies' text, reveals how these letters-images serve as vehicles for symbolisms, visual metaphors, exegesis, and intricate theological and spiritual messages. They transcend their decorative purpose to shape both the reading and interpretation of the text. Far from being mere embellishments, these letters are integral to the text itself, enriching Gregory's theological discourse and heightening the solemnity of his words. The illuminated letters in these manuscripts reflect the profound reverence of the Byzantines for the writings of Gregory of Nazianzus and embody a visual elevation of the text. This imagery acts as a form of veneration, underscoring the theological importance of the homilies. Furthermore, the liturgical and rhetoric nature of these homilies gives the illuminated letters a pivotal role in the reading process, seamlessly integrating into the text and actively contributing to its oral delivery. The study of the illuminated letters in the Sixteen Homilies sheds light not only on their specific role in Byzantine manuscripts but also on their ability to transform the text into a unique visual and spiritual experience. Instrumental to this osmosis of image and text, the illuminated letters celebrate the theological authority of Saint Gregory of Nazianzus's homilies, paying tribute to his work through the subtle fusion of image and word. The study of illuminated letters in the sixteen Homilies reveals not only their specific role in Byzantine manuscripts but also their capacity to transform the text into an experience that is both sensory and spiritual. These letters become hybrid mediums, designed to be seen, read, contemplated, and meditated upon, while also inspiring wonder or amusement. The letter-image, which flourished in the 11th and 12th centuries, is a distinctive phenomenon of the Comnenian era. The letter functions as a liminal and ambiguous space, containing abbreviated scenes, micro-icons, or amuletic images, reflecting the theological debates and spirituality of the Comnenian Empire. It serves not only as a reference point for reading but also as a dynamic space, where a different form of writing — that of imagery — comes to life. Simultaneously, this rich iconographic repertoire, featuring "profane" images such as aristocratic spectacles and pastimes, representations of exotic animals, or satirical depictions of mocking animals within the letters of liturgical homilies, reflects a society undergoing profound transformation. These representations express aristocratic culture within its two privileged domains — the oikos and the monastery — projecting their imagination and tastes into the art of the sacred book and the monasteries

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Yota, Elisabeth. "Le tétraévangile Harley 1810 de la British Library. Contribution à l'étude de l'illustration des tétraévangiles du Xe au XIIIe siècle." Paris 1, 2001. http://www.theses.fr/2001PA010575.

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Le sujet de cette thèse est le tétraévangile médio-byzantin Harley, 1810. Il s'agit d'un manuscrit qui peut être daté de la dernière décennie du XIIe siècle. Il se présente sous la forme d'un volume de 269 folios en parchemin précédés de 13 folios en papier, ajoutés postérieurement, dans lesquels sont écrits un synaxaire et ménologe. De par le style de son écriture le Harley 1810 se rattache étroitement au groupe des manuscrits du "style epsilon" à stylisation rectangulaire. La majorité de ces manuscrits a été exécutée dans l'aire palestino-chypriote. Les rapprochements paléographiques entre le Harley 1810 et certains manuscrits de ce groupe ont démontré que le lieu d'exécution du Harley 1810 peut être situé dans cette même région. L'analyse du cycle christologique du Harley 1810 a souligné la singularité iconographique de ce manuscrit qui se traduit tant par le choix des thèmes illustrés que par celui des types iconographiques. L'étude de la mise en oeuvre de l'illustration des tétraévangiles du Xe au XIIIe siècle a mis en évidence non seulement le caractère particulier du Harley 1810 mais aussi la pluralité des modes d'illustration et des sources d'inspiration. Peu nombreux aux Xe et XIe siècles, les tétraévangiles se caractérisent par leur cycle narratif très développé. Aux XIe et XIIe siècles, on assiste à la prolifération d'une illustration beaucoup moins détaillée qui, sous l'influence du calendrier liturgique et de l'évangéliaire, acquiert un caractère liturgique. A partir de la fin du XIIe siècle et durant le X111e siècle, les tétraévangiles byzantins sont de nouveau dotés d'un cycle narratif abondant dans lequel on voit s ' introduire des thèmes nouveaux qui soulignent l' influence de l' art monumental. Enfin, quel que soit le mode d'illustration adopté, le tétraévangile médio-byzantin. A été confectionné pour un usage privé et servait surtout de livre de dévotion personnelle.

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Krause, Karin. "Die illustrierten Homilien des Johannes Chrysostomos in Byzanz /." Wiesbaden : Reichert, 2004. http://www.loc.gov/catdir/toc/fy0610/2004471848.html.

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Lazaris, Stavros. "Art et science au moyen age : l'illustration des manuscrits grecs hippiatriques. etude iconographique et analyse des rapports texte-image." Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20017.

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Le present travail se fonde sur un traite grec inedit relatif aux maladies de chevaux et sur son illustration. Il s'agit d'un abrege de la collection hippiatrique grecque connu sous le nom d'epitome et conserve, entre autres, dans deux manuscrits illustres du xive siecle. En choisissant de travailler sur un sujet, qui, de par sa nature-meme, embrasse deux domaines differents (la philologie, limitee a son seul aspect d'histoire des textes, et l'histoire de l'art) l'auteur s'est fixe plusieurs objectifs. Parmi les plus importants, le premier consiste a dresser un bilan de la medecine hippiatrique grecque au moyen age et le second, a etudier l'illustration scientifique et les rapports qu'elle entretient avec le mot ecrit. Les auteurs hippiatres grecs de l'antiquite tardive et du haut moyen age ont ainsi ete etudies les uns apres les autres. Des modifications, d'apres des elements nouveaux, ont pu etre apportees quant a la chronologie de certains de ces auteurs. Leur production scientifique et leur posterite dans l'empire byzantin ainsi que leur influence, directe et indirecte, sur les auteurs occidentaux et arabes ont fait l'objet d'une etude detaillee. Enfin, outre une description codicologique des deux manuscrits grecs illustres, un inventaire, qui s'est voulu exhaustif, de manuscrits hippiatriques byzantins, occidentaux et arabes, incluant de nouveaux temoins, a ete dresse. Un "code descriptif" elabore par l'auteur a ete utilise pour la description de toutes les miniatures de chaque manuscrit. Celles-ci ont ensuite ete analysees, successivement, dans leurs rapports avec le texte qu'elles illustrent. Et l'etude iconographique qui leur est consacree prend en compte, non seulement l'illustration hippiatrique de manuscrits occidentaux, mais egalement des oeuvres artistiques aussi variees que les mosaiques, les fresques ou encore les miniatures allant de l'antiquite jusqu'au moyen age. Enfin, le role de ces illustrations pour les utilisateurs du texte, leur fonction et leur place au sein de la societe byzantine font l'objet d'un dernier chapitre.

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Franses, Henri. "Portraits of patrons in Byzantine religious manuscripts." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22359.

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Byzantine religious manuscripts were commissioned by people from many levels of society. Several contain portraits of their commissioners, represented together with a holy figure. An analysis of these scenes, examining features such as the holy figures represented and their specific iconographic meaning, and the relation of mortal to divine, reveals many facets of Byzantine art, religion and society. This analysis indicates a major distinction between portraits representing the emperor, and those depicting all other patrons. Non-imperial portraits show deep personal devotion and piety. The manuscripts in which they occur were commissioned to honour the holy figure, and many request salvation in return. Imperial commissions, on the other hand, were not votive gifts. Their portraits stress the public, political, and occasionally religious role of the emperor as the elected of God upon earth, and head of state. These portraits are thus highly informative of several aspects of Byzantine life.

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Calia, Anna. "Meglio il turbante del sultano della tiara latina : Giovanni Dokeianos e la transizione bizantino-ottomana a Costantinopoli nel secondo Quattrocento." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4059.

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Contrairement à la diaspora des intellectuels et des manuscrits grecs en Occident au XVème siècle, le rôle joué par les savants byzantins à Constantinople après la conquête ottomane de 1453 est un sujet encore peu connu. Dans le premier chapitre de ma thèse je dresse un tableau de Constantinople avant et après la Chute, tout en soulignant le développement de l’idéologie impériale ottomane et l’importance des réseaux marchands et des archontes grecs en tant qu’intermédiaires entre la cour ottomane et le Patriarcat. Le deuxième chapitre se concentre sur la présence grecque dans la cour ottomane de Mehmed II. J’aborde en particulier le cosmopolitisme culturel dans la cour à partir de l’intérêt ottoman pour l’héritage culturel byzantin, qui est attesté aussi par la circulation des savants byzantins et de quelques manuscrits grecs. La deuxième partie de la thèse est consacrée au rhéteur et copiste Jean Dokeianos, un personnage représentatif de la transition byzantine-ottomane. J’offre une édition commentée de ses ouvrages rhétoriques inédits, écrits pour les membres de la dernière cour byzantine de Mistra. Initialement proche de Pléthon, il s’approcha au cercle anti-unioniste de Gennadios Scholarios après son déplacement à Constantinople autour de 1460, où il travailla pour le Patriarcat et pour la cour ottomane. Dans le dernier chapitre je présente l’éclectique collection manuscrite de Dokeianos et son activité de copie à Mistra et à Constantinople, tout en proposant des nouvelles identifications. Dans l’appendice j’offre une édition de quelques ouvrages Byzantines inédits de la moitié du XVème siècle écrites par des auteurs liés à différents égards à Dokeianos
Unlike the XVth century diaspora of Byzantine intellectuals and Greek manuscripts to the West, the role played by Byzantine scholars in Constantinople in the aftermath of the Ottoman conquest in 1453 is still a little-explored subject. In the first chapter of my dissertation I provide an overview of the conditions of Constantinople before and after the conquest, discussing the emergence of an Ottoman imperial ideology and the importance of Greek merchant networks and Greek archons as intermediators between the Ottoman court and the Patriarchate. The second chapter focuses on the Greek presence in the Ottoman court during Mehmed II’s reign. In particular, I address cultural cosmopolitism in the sultan’s court by looking at the Ottoman interest for the Byzantine cultural legacy, which is also attested by the circulation of Byzantine scholars and by a number of Greek manuscripts in the Ottoman court. The second part of the dissertation is devoted to the rhetorician and copyist John Dokeianos, a representative figure of the Byzantine-Ottoman transition. I provide a commented edition of his unedited rhetorical works written for members of the Byzantine court of Mistra. Formerly close to Pletho, he became close to the anti-Unionist circle of Gennadios Scholarios when he moved to Constantinople around 1460, where he worked for both the Patriarchate and the Ottoman court. In the last chapter I discuss Dokeianos’ eclectic book collection and his copying activities in Mistra and Constantinople, proposing new manuscripts identifications. In the appendix I provide an edition of some unedited XVth century Byzantine works written by authors connected in various degrees to Dokeianos

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Garnier, Sébastien. "L'explication touchant le temple divin, les ornements sacrés et la divine Mystagogie de Syméon de Thessalonique (1429) : édition, traduction, commentaire." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10108.

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À la veille de la prise définitive de Thessalonique, l’archevêque Syméon (†1429) apporte les dernières retouches à son commentaire mystagogique, l’Explication touchant le temple divin, les ornements sacrés et la divine Mystagogie. Il s’agit de la troisième version d’un traité destiné à l’origine au clergé crétois. Le dernier traité mystagogique byzantin fait le tableau des fastes d’une liturgie pontificale et enregistre les derniers développements d’un rituel dont l’évolution touche alors à son terme. Synthèse de la tradition mystagogique qui l’a précédé, l’ouvrage manifeste un véritable retour aux sources du genre (Denys l’Aréopagite et Maxime le Confesseur). Syméon y propose un exposé de la doctrine eucharistique conforme aux thèses palamites sur la Grâce, conçue comme énergie commune aux hypostases de la Trinité mais distincte de son essence. Ce commentaire a joué un rôle essentiel dans le développement et la transmission du palamisme au sein de l’Église grecque. Cette dernière version est conservée dans le Zagorensis 23, où une main est intervenue directement dans le corps et les marges du texte afin de le corriger et de l’amplifier. La question de savoir si ces interventions sont autographes se pose. Nous tenterons d’en comprendre la signification. D’autre part les quatre témoins qui conservent cette version révisée, nous permettront d’en retracer l’histoire. Complétée par ces quatre témoins, nous présentons une édition de la leçon du Zagorensis, de lecture souvent difficile et lacunaire. Elle sera accompagnée d’une traduction. En contrepoint, l’étude de la tradition manuscrite nous permettra d’esquisser l’histoire de deux premières versions de cette œuvre
On the eve of the definitive fall of Thessalonica, archbishop Symeon (1429 ) brings the last touch to his mystagogical comment, the Explanation about the Divine Temple, the Sacred Ornaments and Divine Mystagogy. It is the third version of a treaty originally intended for the Cretan clergy. The last Byzantine Mystagogical treaty made thepicture of the splendors of an episcopal liturgy and registered the last developments of a rite the evolution of which touched then its term. Synthesis of the mystagogical tradition which preceded, the work testifies for a real return to the sources of the genre (Denys the Areopagite and Maxime the Confessor). Symeon proposes a presentation of the eucharistic doctrine in accordance with the palamites theses on the Grace, conceived as the energy common to the hypostases of the Trinity but different from Their essence. This comment played anessential role in the development and the transmission of Palamism within the Greek Church. This last version is preserved in Zagorensis 23, where a hand intervened directly in the body and the margins of the text to correct and amplify it. The question to know if these interventions are original arises. We shall try to understand its meaning. On the other hand four witnesses which keep this revised version, will allow us to redraw its history. Completed by these four witnesses, we present an edition of the lesson of Zagorensis, whose reading is often difficult and incomplete. It will be accompanied with a translation. In counterpoint, the study of the handwritten tradition will allow us to sketch the history of first two versions of this work

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Books on the topic "Manuscrits byzantins"

Université de Paris IV: Paris-Sorbonne, ed. L'hymne acathiste dans les manuscrits musicaux byzantins des XIV-ème et XV-ème siècles. Lille: A.N.R.T, Université de Lille III, 1995.

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Stănculescu, Ileana. Manuscrise bizantine în colecții bucureștene =: Byzantine manuscripts in Bucharest's collections. București: Institutul Cultural Român, 2009.

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Jens, Fleischer, Hjort Øystein, and Rasmussen Mikael Bøgh, eds. Byzantium: Late antique and Byzantine art in Scandinavian collections. [Copenhagen]: Ny Carlsberg Glyptotek, 1996.

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Adam, Bülow-Jacobsen, and Københavns universitet Klassisk institut, eds. Subliterary texts and Byzantine documents from Egypt. Bonn: R. Habelt, 1985.

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Mircea, Ion-Radu. Repertoire des manuscrits slaves en Roumanie: Auteurs byzantines et slaves. Sofia: Institut d'Études balkaniques, 2005.

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Wilson, Nigel Guy. Mediaeval Greek bookhands: Examples selected from Greek manuscripts in Oxford libraries. Cambridge, Mass: Medieval Academy of America, 1995.

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Herwig, Maehler, ed. Greek bookhands of the early Byzantine period, A.D. 300-800. London: University of London, Institute of Classical Studies, 1987.

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Sinkewicz, Robert E. Manuscript listings for the authors of the patristic and Byzantine periods. Toronto, Ont., Canada: Pontifical Institute of Mediaeval Studies, 1992.

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Colloque international "Signes dans les textes, recherches sur les continuités et les ruptures des pratiques scribales en Égypte pharaonique, gréco-romaine et byzantine" (2016 Liège, Belgium). Signes dans les textes: Continuités et ruptures des pratiques scribales en Égypte pharaonique, gréco-romaine et byzantine : actes du colloque international de Liège (2-4 juin 2016). Liège: Presses Universitaires de Liège, 2020.

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Cutler, Anthony. Imagery and ideology in Byzantine art. [Aldershot], Hampshire, Great Britain: Variorum, 1992.

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Book chapters on the topic "Manuscrits byzantins"

Golitsis, Pantelis. "La recensio altera du Commentaire d’Alexandre d’Aphrodise à la Métaphysique d’Aristote et le témoignage des manuscrits byzantins Laurentianus Plut. 87,12 et Ambrosianus F 113 sup." In Textual Transmission in Byzantium: between Textual Criticism and Quellenforschung, 199–230. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.lectio-eb.5.102547.

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Ševcenko, Nancy P. "Animals in Byzantine Manuscripts." In The Routledge Handbook of Human-Animal Relations in the Byzantine World, 234–62. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003055877-15.

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Kritikou, Flora. "Les manuscrits musicaux post-byzantins d’origine crétoise comme témoins des échanges culturels entre Vénitiens et Grecs (xvi^e-xvii^e siècles)." In Bibliothèque de l'Ecole des Hautes Etudes, Sciences Religieuses, 85–98. Turnhout, Belgium: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.behe-eb.5.134749.

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Rebours, J. B. "QUELQUES MANUSCRITS DE MUSIQUE BYZANTINE." In Revue de l’Orient Chrétien (1896-1946), edited by René Graffin, 301–11. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463220723-036.

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Ševčenko, Nancy P. "Monastic Challenges: Some Manuscripts of theHeavenly Ladder." In Byzantine Art, 39–62. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2789.

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de Lange, Nicholas. "Hebrew inscriptions of the Byzantine empire." In Manuscrits hébreux et arabes, 415–24. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.bib.1.102103.

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Kotzabassi, Sofia. "Manuscripts Speaking: The History of the Readership and Ownership." In Byzantine Art, 171–84. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2795.

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Skemer, Don C. "From Byzantium to Princeton: A Century of Collecting Greek Manuscripts." In Byzantine Art, 185–97. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2796.

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Nelson, Robert S., and John Lowden. "The Palaeologina Group: Additional Manuscripts and New Questions." In Later Byzantine Painting, VII—59—VII—68. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554134-7.

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Nelson, Robert S. "The Italian Appreciation and Appropriation of Illuminated Byzantine Manuscripts, ca. 1200–1450." In Later Byzantine Painting, XIV—209—XIV—235. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554134-14.

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Conference papers on the topic "Manuscrits byzantins"

Borisova, Tatyana. "ON THE QUESTION OF THE ELDEST TEXTOLOGICAL LAYER OF THE HOLY WEEK SERVICES (Based on the Holy Friday Hours)." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.09.

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The present paper deals with the eldest stages of Church Slavonic translations of Byzantine hymnography reconstructed over the Great and Holy Week services of the early South and East Slavonic manuscripts. Specifically the Service of the Great and Holy Friday Hours was studied on the material of 15 Triodia and Stichiraria from 12th–14th centuries. The comparative analysis of the Greek and Slavonic sources demonstrated the great divergence in the certain service structure and text and revealed that it was composed and extended gradually by compiling of hymnographic units from the Antiphons and the Vespers Services. Some of these troparia retained the features of the first Slavonic translations, while the others in the same manuscripts probably originated from later versions. The textological history of the certain service in the manuscripts under analysis was reconstructed and the changes that occurred on every stage of this history due to either systematic corrections according to Greek manuscripts or compilations of various Slavonic sources were described.

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Zenuch, Peter. "ON THE LITURGICAL LANGUAGE AND CULTURAL IDENTITY OF THE BYZANTINE-SLAVIC CHURCH IN THE HANDWRITTEN EDUCATIONAL MANUALS, IN THE 18TH CENTURY, UNDER THE CARPATHIAN MOUNTAINS." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.18.

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The Educational manuals, which were fully applied in the 18th and 19th centuries, were a substantial part of the educational and cultural formation of a man. They provided simplified answers to various religious questions, questions concerning biblical and ecclesiastical history, or even Christian morality. They also taught about the origin of church holidays, ceremonies and the origin of liturgical languages used in individual local churches. These interpretations have been contained in various educational or interpretative manuals and manuscript collections. The structure of these handbooks was an excellent tool for the successful education of local churches. The paper focuses on the characterization of selected scientific manuscripts from the 18th century, which provide a contemporary picture of knowledge related to the linguistic and liturgical tradition under the Carpathian Mountains, associated with the Cyril and Methodius heritage. Manuals with these educational dimensions were used in educational training and upbringings in the environment of the Mukachevo Greek Catholic Church, in the 18th century.

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Evdokimova, A. A. "Corpus of Accentuated Byzantine Written Monuments and Methods of Its Markup." In INTERNATIONAL CONFERENCE on Computational Linguistics and Intellectual Technologies. RSUH, 2023. http://dx.doi.org/10.28995/2075-7182-2023-22-1071-1081.

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This article presents a corpus of Byzantine accentuated texts (BGAT) created since 2008. It currently includes 1010 Byzantine inscriptions, 950 papyri from various collections from the 1st to the 9th centuries, 132 seals from the collection of Dumbarton Oaks, and a selection of 100 Athos manuscripts from the 8th to the 15th centuries. Based on the collected data, we developed a method for markup such texts, which later makes it possible to create a database of accentuated texts from them and, based on the entire corpus, to train neural networks for classifying texts according to accentuation systems and recognizing them in images. As a result of marking texts, in addition to the previously known Alexandrian, Byzantine, and Dorian systems of accentuation, new accentuation systems were identified, including logical or semantic, with a shift of an accent mark to the right, with a displacement of an accent mark to the left, and mixed. For each group of monuments, their variants of using accentuation systems, especially the Alexandrian one, were identified, which show different aspects of the accentuation of the Byzantine Greek language. When creating a glossary of accentuated word forms based on the corpus, we determined that there were lexemes that retained their accentuation regardless of the influence of the dialect, meter, or traditions characteristic of the masters. However, a comparison of identical texts, even found in the same region of the Byzantine Empire, showed that the accentuation was not replicated when quoting.

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Bibikov, M. V. "“The Notice about Pious Russia” in Post-Byzantine manuscript tradition of Athos." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_17.

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Йотов, Валери. "Archaeological and art parallels of byzantine sword discovered in grave no. 55 of Garabonc I necropolis (second half of 9th century)." In Hadak útján. A népvándorláskor kutatóinak XXIX. konferenciája. Budapest, 2019. november 15–16. 29th. Bölcsészettudományi Kutatóközpont Magyar Őstörténeti Kutatócsoport, 2022. http://dx.doi.org/10.55722/arpad.kiad.2021.4.1_11.

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The author stops attention on the famous sword that was discovered in the 80ies of 20th century in grave No 55 of the Garabonc I necropolis, Hungary. In 2011, the author wrote an article in attempt to systematize a few types of Byzantine swords. One of the types of swords he called „Garabonc type” – according to this weapon found in a sure archeological context. To date, „Garabonc type” is represented by six pieces – swords and/ or their details. The swords of this type are one-handed and consist of a blade with swordguards and hemispherical pommel on top. According the author, the closest artistic parallels to the „Garabonc type” of swords are depicted in famous manuscript of „The Homilies of Saint Gregory of Nazianzus” that was completed in Constantinople in 879–882, where similar swords are shown in four folios of the book. The discussed here sword type may be determined as a Byzantine invention and maybe it was produced in the empire. This has also been proved by some other works of art, although dated to a later period (9th–10th centuries). The author, accepted for most possible the hypothesis proposed by the first researcher B. M. Szőke that the Garabonc sword was transferred in the lands south of Balaton Lake by Bulgarsmercenaries. Most possibility that, they have joined the retinue of Prince Pribina, the head of the Blatna Principality and his son Chezil around the second third of 9th century.

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Stanojlović, Jovana. "LIKOVNO OBLIKOVANjE SRPSKIH KNjIGA U VREME VLADAVINE KRALjA MILUTINA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.367s.

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The period of King Milutin’s reign, marked by the strengthening and expan- sion of the Serbian state, is important for the manuscript book, primarily because of its increased production, caused by the building of a larger number of churches and monasteries, but also in artistic terms, due to the frequent appearance of new ornamental motifs. At that time, there was a gradual change in the decoration of manuscript books created in Serbian scriptoriums. Teratological motifs, which will continue to appear sporadically, give way to geometric-intertwined forms. In the adapted style of the books of this period, there are three basic geometric mo- tifs - a circle, a knot and a rhomboid ring that form various decorative surfaces - from very small discrete flags to those that can occupy an entire page. In addition to flags, initials also have a special place. They can be simpler - geometrically or more developed - intertwined. The period of King Milutin’s long reign is also characterized by the codification of liturgical books according to the Jerusalem typikon, which, among other things, led to the fact that books that were once separate (eg, Prophetologion) became part of other liturgical books. This also affects the artistic design of books, because each liturgical book has recognizable places, highlighted with decorative motifs. At this time at the end of the 13th and the beginning of the 14th century, in the long process of creating books, the use of extremely high quality parchment and ink is striking, as evidenced by their current state. Considering that only a small number of those codices that had to exist at that time have been preserved, for the sake of a more complete idea of their illumina- tion at that time, quite discreet decorations are included in the research. The illu- mination of Serbian books, as well as the entire artistic creation in the considered period, developed within the framework of the Byzantine cultural, spiritual and aesthetic circle. On some pages of the code, however, the original solutions of talented Serbian illuminators and calligraphers are noticeable. This primarily re- fers to the intertwined geometric-floral style, which will reach its full expression in rich compositional solutions during the 14th century.

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Daiber, Thomas. "THE TRANSLATION OF 1COR 14:5–39 ACCORDING TO VITA CONSTANTINI-CYRILLI XVI:2–57." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.10.

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Chapter XVI: 2–57 of Vita Constantini-Cyrilli offers an unabridged translation of a lengthy passage from apostle Paul’s First letter to the Corinthians (14: 5–9). The Old Church Slavonic translation closely follows the Byzantine redaction of the Greek original; 5 variants are found, which are not covered in the Nestle/ Aland edition of the New Testament. While the Old Church Slavonic translation is a good example for the Bible tanslations made by Cyrill and Method in preparation of their Moravian mission, it poses two questions. The first question is related to the condition, the text is preserved in the transmitted copies of Vita Cyrilli. Sometimes the correct Old Church Slavonic translation of the Greek source can only been reached by a re-combination of the extent reading variants from different manuscripts. It can be asked why no copyist of Vita Cyrilli bothered to compare the text, he was copying, with a sound Church Slavonic translation, which had been possible, at least, after the appearance of printed Slavonic Bibles. The second question is related to the function, the lengthy translation may have in the context of Vita Cyrilli. Being an example for the high quality of the first Slavic Bible translation of Cyrill and Method, it may have been included into Vita Cyrilli originally in company with the Greek original. Additionally, the topic of ‘speech and language’ seems related to the narrative context of Vita Cyrilli, where the Venetian clergy promotes the theory of “Holy three languages”. The paper suggests, that the argument of “Holy three languages” has a more ‘nationalistic’ meaning here in comparison to Vita Cyrilli XV: 5, where the argument had already been used by the clergy of Salzburg.

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Bulanin, Dmitrii. "KORMCHII DUSHAM BY EMPEROR LEO THE WISE IN THE EARLIER COLLECTIONS OF THE PRESCRIPTIONS FOR ASCETICS." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.14.

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Kormchii dusham is named the translation of the prescriptions for monks, which was compiled by Emperor Leo VI the Wise as a series of aphorisms and the interpretations to every one of them (Οἰακιστικὴ ψυχῶν ὑποτύπωσις). The translation is preserved in several East Slavic copies of the 14–17th centuries. The author’s name is omitted in the translation, as it is omitted in some Greek copies of the work. The translation represents a typical specimen of the most ancient period in the history of Slavic literature. A number of peculiar traits indicates that “Kormchii” can be counted among the writings of the 10th century, the “golden age” of Bulgarian literature. Most likely, the translation was made by somebody from the circle of Tsar Symeon. A comparative analysis of the copies brings to the conclusion that at an early stage of its development the translation gave birth to two hyparchetypes (G1, with an error, and G2, with an error corrected), they are preserved in the collections of two types. Each type includes its own selection of the texts, and each type belongs to one out of the two generations. G2, although it arose on the basis of G1, was preserved in the collections of the senior generation. “Kormchii” is placed there at the beginning of the set of contemporary translations similar to the “Kormchii” in their content and in their form. All of them are addressed to monks, and the appropriate teachings are shaped either in the compositions made of the short chapters, or in the series of excerpts taken from the lengthy Byzantine church writings (the “Menaia Izbornik”). The second type of collections belongs to the next generation, and it includes a number of new translations. “Kormchii” was included there from G1, and it is also placed at the beginning of the new formed book. The new transla245 tions are similar in genre and in structure to those that composed the “Menaia Izbornik”. Although the localization of the younger type of collections is not easy, it is most likely, that the progenitor of this book formed up as well within the Bulgarian literature of the “golden age”. The second type is interesting in that the compilers of the book sought to pass it off as the opus by Maximus the Confessor. Maximus is acknowledged here as the author of “Kormchii”. The copy of “Kormchii” in the West Russian manuscript Mazurin, No. 616 is very important. The copy contains the readings of the translation before its text was divided into G1 and G2. In addition, the manuscript demonstrates how the title of “Kormchii dusham” gradually expanded its function. Already in the older and younger types of collections, the title was applied not only to the work of Leo the Wise, but also to the book as a whole. In Mazurin codex, it is used as a standard designation of any book with short commandments for monks, and for all pious Christians. The mutual influence of the descendants of G1 and G2 does not allow to follow the text evolution of “Kormchii” step by step. Nevertheless, the existing copies of the translation provide a reliable basis for the reconstruction of this little-known monument of Bulgarian literature.

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