Letteratura scientifica selezionata sul tema "Orthodox Eastern Church – Liturgy – History"
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Articoli di riviste sul tema "Orthodox Eastern Church – Liturgy – History"
1
Рева, Константин. "A Study of Dochalcedonian Worship in the Context of the Training of Researchers and Teachers of Liturgy". Праксис, n. 2(9) (15 ottobre 2023): 116–25. http://dx.doi.org/10.31802/praxis.2022.9.2.010.
Testo completoAbstract (sommario):
В статье рассматривается один из значимых аспектов подготовки преподавателей литургики для духовных учебных заведений Русской Православной Церкви, освоение методики сравнительной литургики. Обозначено, что изучению истории и традиции Древних Восточных Церквей в учебной программе бакалавриата духовных учебных заведений уделено незначительное внимание. Изучение литургической традиции Древних Восточных Церквей в рамках магистерской программы обогатит исследовательский инструментарий будущих преподавателей литургики духовных учебных заведений, что важно в контексте активизации диалога Русской Православной Церкви с Ориентальными Церквями. В заключение обозначена важность включения в магистерскую программу по литургике курса, посвященного основам богослужебных традиций Древних Нехалкидонских Церквей. The article deals with one of the most important aspects of the training of teachers of liturgics for the spiritual educational institutions of the Russian Orthodox Church, the development of comparative liturgics methodology. It is pointed out that the study of the history and tradition of the Ancient Eastern Churches in the undergraduate curriculum of ecclesiastical educational institutions pays little attention. The study of the liturgical tradition of the Ancient Eastern Churches within the framework of the Master's program will enrich the research tools of future teachers of liturgics of the Theological Educational Institutions, which is important in the context of intensifying the dialogue between the Russian Orthodox Church and the Oriental Churches. In conclusion, the importance of including in the Master's program in Liturgics a course on the basics of the liturgical traditions of the Ancient Nechalcedonian Churches was emphasized.
2
Ikeda, Michel-Masafumi. "The Vision of Paradise for People in Difficulties: The Solution Shown by a Russian Architect". Resourceedings 2, n. 3 (13 settembre 2020): 210. http://dx.doi.org/10.21625/resourceedings.v2i3.734.
Testo completoAbstract (sommario):
The Eastern Orthodox is a minority in Japan. However, it played an important role in the modernization of architecture. This paper aims to review their early architectural activities, and further to uncover the influences they received from the Russian architect whose name was Mikhail Aref'evich Shchurupov.The architecture of Orthodox Church in Japan began from the conversion of existing private houses to chapels. The eclectic chapels followed them. The Resurrection Cathedral in Tokyo, designed by Shchurupov, made an epoch in the history of architecture in Japan. Needless to say, its greatest impact was on the Orthodox Church itself. The believers opened their eyes to the authentic western architecture. The churches at each stage can be seen in Kashiwa, Ishinomaki, and Odate.Shchurupov left a number of churches in Russia. Three of them, still existing around St. Petersburg, show the trajectory on which he explored the lightweight and inexpensive structure to build churches for the economically challenged parishes facing difficult geological conditions. At first, he showed a structural rationalism. Then, he tried to build a dome with wood. At last, he reached to the steel structure.At the Orthodox Churches, the division of interior space is emphasized and visualized. Each space symbolically plays various roles during the liturgy, and gives the believers the pseudo experience of the visit of heaven, which enables them to pass the faith across generations. The fact that the early believers in Japan projected the vision of paradise to the nave of their chapel means that they had reached the essence of church architecture.Shchurupov's architectural features were suitable to the Orthodox Church in Japan in various difficulties as a religious minority. His idea and concept reflected in the Resurrection Cathedral enabled the believers in Japan to maintain their worship facilities for a long time.
3
Drozdowski, Mariusz R. "Ruś – Ukraina, Białoruś w Pierwszej Rzeczypospolitej". Poznańskie Studia Slawistyczne, n. 16 (14 agosto 2019): 341–55. http://dx.doi.org/10.14746/pss.2019.16.20.
Testo completoAbstract (sommario):
The reviewed book is the eleventh in the series devoted to the “Culture of the First Polish Republic in dialogue with Europe. Hermeneutics of values”. This series is the aftermath of an interesting research project, whose aim is both to comprehensively present the cultural relations of the Polish-Lithuanian Commonwealth with Europe, as well as to recognize the ways and forms of mutual communication of literary, aesthetic, political and religious values. In addition, it aims to present in a broad comparative context the structure of Early Modern culture of the Polish-Lithuanian Commonwealth. Apart from the introduction, the book contains the dissertations of 11 authors originating from various scientific centers in Poland and abroad (Toruń, Białystok, Vilnius, Venice, Padua, Cracow, Poznań, Rzeszów) and representing different research specialties: philology, history, and history of art. The general and primary goal of the text it is to analyze various aspects of the Ruthenian culture of the Polish-Lithuanian Commonwealth, both in its dynamic connection with the Polish-Latin culture and the processes occurring in Eastern European Orthodoxy after the fall of the Byzantine Empire and in connection with the strengthening of the Moscow state. The key issues developed in the volume relate essentially to: values of the Ruthenian culture, some of which coincide or are identical to those recognized by Western-Polish citizens of the Commonwealth, while depend on the centuries old tradition of Eastern-Christian culture.The articles focuses on the values displayed in the Orthodox and Uniate spheres and around the polemics between them, punching with axiological arguments. The most frequently and basic problems that were raised are: determinants of identity, faith (religion), language (languages), social status, origin; the policy of rulers, the problem of ecclesiastical jurisdiction; tradition and change in culture – biblical studies, patristics, liturgy, theology; printing, translations, education; apologetics and polemics, preaching, iconography; a renewal program for the clergy that was to become the vanguard of the renewal of the entire Eastern Church; Bazylian Uniate ( Greek- Catholic) clergy: the idea of cultural integration, education, translation and publishing.
4
Herțeliu, Agnos-Millian. "A Brief Comparative Study between the Seventh-Day Adventist Church and the Romanian Orthodox Church regarding (Online) Religious Worship during the COVID-19 Pandemic". Religions 14, n. 11 (25 ottobre 2023): 1353. http://dx.doi.org/10.3390/rel14111353.
Testo completoAbstract (sommario):
The COVID-19 pandemic has paralyzed entire social levels. Organized religion is one of those levels, having suffered a lot due to the closing of churches and the automatic physical cessation of religious services. Both the weekly practitioners and those attending church minimally (say at Easter and Christmas) felt the shock of the closing of the churches. As such, the online environment was the saving option during the pandemic. However, not all churches embraced the move of liturgical services to online from the start, and at the same time, not all churches had a rich history of using digital technologies or the Internet for religious purposes. In this context, I investigate how religious communities succeeded in dealing with the imposed governmental regulations on social distance. I follow the specific religious rituals that have suffered the most by moving liturgy online, rituals such as baptism, Eucharist, burial, etc. Because different Christian churches understand rituals and liturgical practices in different ways, I focus specifically on a succinct comparison between the Romanian Orthodox Church and the neo-Protestant environment, especially the Seventh-day Adventist Church. In addition, I briefly extend the comparison to Adventist communities from the diaspora—especially those from London, the United Kingdom.
5
Girevska, Marija. "Care for the Departed for the Benefit of the Living". Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 66, n. 2 (30 dicembre 2021): 95–101. http://dx.doi.org/10.24193/subbto.2021.2.07.
Testo completoAbstract (sommario):
"This article explores the care for the departed in the liturgical practice of the Eastern Orthodox Church. The Divine Liturgy and the memorial services show how the Church prays for both the departed and the mourners, thus creating a cycle of ecclesiastical communion. We are reminded of the greatness of the benefit of praying for and to the departed and of the mode of our salvation. Keywords: care, departed, Eastern Orthodox Church, Divine Liturgy, funeral. "
6
Sonea, Cristian. "The Missionary Formation in the Eastern Orthodox Theological Education in Present Day Romania". Transformation: An International Journal of Holistic Mission Studies 35, n. 3 (luglio 2018): 146–55. http://dx.doi.org/10.1177/0265378818803063.
Testo completoAbstract (sommario):
The article presents the current missionary formation in the Romanian Orthodox Church. I evaluated the national curricula from the faculties of Orthodox Theology, following the missionary orientated topics in each subject, and I analyzed the curricula of Missiology taught in the faculties.The article underlines the relation between the content of the Missiology curriculum and the historical context in which the Orthodox Church in Romania developed, and it explains why there are both innovative and conservative themes within the curriculum. Finally, the specificities of the orthodox missionary formation in Romania are emphasized, such as the spiritual education, the central place of the liturgy, and the focus on internal mission.
7
Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, n. 49 (15 settembre 2018): 85–99. http://dx.doi.org/10.34064/khnum2-49.06.
Testo completoAbstract (sommario):
The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M. Skoryk, V. Stepurko, G. Havrylets) and new authors of church chants - Volodymyr Feiner and Olena Yunek. Olena Yunek’s creativity is an example of liturgical as a secular concert application of the church repertoire. The education of a mistress’s personality took place on the basis of the Orthodox worldview. Her preferences of Ukrainian choral music from childhood were combined with participation in church-singing practice. The vast majority of works - spiritual content in the composer’s work refinement of the O. Yunek. The purpose of the article is to detect the identity of modern church music of young Ukrainian composers, whose works are becoming more popular in the choral performance of secular and spiritual collectives. The object of research – the work of Ukrainian church composers at the present stage; the subject – features of the individual composing style of O. Yunek, that been found on the material of the chants of the cycle "All-night vigil" (2007-2015). Research methodology. The presented material is the result of the interaction of musicological approaches to composing text (genre, composition, style, functional) and liturgical-theological discourse. Analysis of recent publications on research topic. A problem of author’s reading of canonical text by Ukrainian composers at the end of the XX - XXI centuries finds a solution in the thesis of O. Tyshchenko in terms of the correlation of the rite and genre [6]. The measure of the preservation of canonical features in the works of Ukrainian and Russian composers is determined in the work of N. Sereda on the material of the cycles of the Liturgy [4]. However, the cycle of "All-night vigil" in the works of contemporary Ukrainian composers has not yet become the subject of scientific interest on the part of musicology. The author of the article considered the problem of forming an individual style on the example of the All- Nightly V. Feiner, in which the original stylistic features of the polyphony of the Renaissance and the Ukrainian choral concert were originally combined [1]; The study of the work of O. Yunek in the master’s thesis was initiated. Presenting main material. When compiling their own church compositions Olena Yunek relied on the history of such outstanding artists as O. Yunek Georgy Sviridov, Sergei Rachmaninov, Arvo Pyart, Valery Kalistratov, Oleksiy Larin, Moris Duryuflie, Lesya Dichko. «All-night Vigil» is written for mixed choir. It consists of 19 chants, each of which is a separate independent composition, which can be performed independently of others. In the sequence of chants there are no traceable patterns associated with the dramatic organization of the whole. According to the author, she did not plan to create a separate cycle at the beginning, but in the process of composer’s searches, as well as through participation in the church choir at different times, a number of major chants of this cycle were created. Written at different times, the works do not have a common tonality. In general, mineral complexes predominate. The leitmotif system in the loop is absent, however, a number of composer techniques and means of expressiveness, combining works, can be traced. The article provides a holistic analysis of three chants from the cycle: Psalm 103, «O gladsome light», «From my youth». By their example, the presence of the melo-formula – singing, and constantly repeating rhythmic groups is clearly demonstrated. A detailed analysis of the harmonic sequences, the change of texture and the course of melodic lines made it possible to identify certain features of the composer’s individual style and the methods of writing that he uses to create church compositions. A comparative analysis of the canonical text and its interpretation in compositions by O. Yunek is presented. Conclusions. O. Yunek’s personal style is characterized by a high level of possession of the technique of choral writing: the variety of harmonious, timbralregister and textural means while preserving the canonical liturgical text, a careful attitude towards it. The choral style of sounding differs by the ease, the availability of perception. In her compositions, the words of the chants are completely audible - without bills, overlays; no sharp contrasts in the dynamics. The primary role among means of expressiveness is given to harmony. It is at its level that certain elements of the Eastern Slavic singing are found (plagiarism, the use of medial chords, the linear nature of the formation of the accordion), the West European classical type of harmony (chords of the main functions in typical relations) and modern musical language (the presence of dissonant consonants, not the classical sequence in the middle construction, accordion of the nontheric structure). The role of melodies is very important. Often harmonic changes occur due to the linear motion of the melody in separate voices. Layout intonations and rhythmic figures common to compositions contribute to the integrity of the cycle and allow it to be perceived as such. In particular, it is observed in conducting the main melody frequent use of singing, gradual mirror-symmetric movement of voices, passage and auxiliary non-chord sounds. These melodic cells have the same features with the sounds of a significant singing, which confirms the composer’s tendency to the ancient chants. Similar rhythmic patterns (dashed rhythm, two sixteenth and eighth, eighth and two sixteenth, fourteenth and sixteenth), osintato also contributes to the integration of the cycle. The choral texture is characterized by flexibility and richness of presentation. Often there is a chord composition with elements of singing in separate voices, as well as contrasting fragments of unison («Blessed man»), chanting (two voices) («Virgin Mary, rejoice», «Praise the Name of the Lord», «Blessed art Thou, O Lord»). Changing the invoice occurs organically and appropriately to the performance requirements, which indicates the professional approach and knowledge of the composer’s choral writing. Consequently, all the inventions and means of expressiveness that were invented during the analysis show that the work of the contemporary composer of Kharkov, Olena Yunek, is an example of an original author’s reading of the canon in the field of church music. Together with the embodiment of the church canon, the principles of individual thinking operate and a modern link of church-composing creativity is formed.
8
Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, n. 49 (15 settembre 2018): 85–99. http://dx.doi.org/10.34064/khnum1-49.06.
Testo completoAbstract (sommario):
The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M. Skoryk, V. Stepurko, G. Havrylets) and new authors of church chants - Volodymyr Feiner and Olena Yunek. Olena Yunek’s creativity is an example of liturgical as a secular concert application of the church repertoire. The education of a mistress’s personality took place on the basis of the Orthodox worldview. Her preferences of Ukrainian choral music from childhood were combined with participation in church-singing practice. The vast majority of works - spiritual content in the composer’s work refinement of the O. Yunek. The purpose of the article is to detect the identity of modern church music of young Ukrainian composers, whose works are becoming more popular in the choral performance of secular and spiritual collectives. The object of research – the work of Ukrainian church composers at the present stage; the subject – features of the individual composing style of O. Yunek, that been found on the material of the chants of the cycle "All-night vigil" (2007-2015). Research methodology. The presented material is the result of the interaction of musicological approaches to composing text (genre, composition, style, functional) and liturgical-theological discourse. Analysis of recent publications on research topic. A problem of author’s reading of canonical text by Ukrainian composers at the end of the XX - XXI centuries finds a solution in the thesis of O. Tyshchenko in terms of the correlation of the rite and genre [6]. The measure of the preservation of canonical features in the works of Ukrainian and Russian composers is determined in the work of N. Sereda on the material of the cycles of the Liturgy [4]. However, the cycle of "All-night vigil" in the works of contemporary Ukrainian composers has not yet become the subject of scientific interest on the part of musicology. The author of the article considered the problem of forming an individual style on the example of the All- Nightly V. Feiner, in which the original stylistic features of the polyphony of the Renaissance and the Ukrainian choral concert were originally combined [1]; The study of the work of O. Yunek in the master’s thesis was initiated. Presenting main material. When compiling their own church compositions Olena Yunek relied on the history of such outstanding artists as O. Yunek Georgy Sviridov, Sergei Rachmaninov, Arvo Pyart, Valery Kalistratov, Oleksiy Larin, Moris Duryuflie, Lesya Dichko. «All-night Vigil» is written for mixed choir. It consists of 19 chants, each of which is a separate independent composition, which can be performed independently of others. In the sequence of chants there are no traceable patterns associated with the dramatic organization of the whole. According to the author, she did not plan to create a separate cycle at the beginning, but in the process of composer’s searches, as well as through participation in the church choir at different times, a number of major chants of this cycle were created. Written at different times, the works do not have a common tonality. In general, mineral complexes predominate. The leitmotif system in the loop is absent, however, a number of composer techniques and means of expressiveness, combining works, can be traced. The article provides a holistic analysis of three chants from the cycle: Psalm 103, «O gladsome light», «From my youth». By their example, the presence of the melo-formula – singing, and constantly repeating rhythmic groups is clearly demonstrated. A detailed analysis of the harmonic sequences, the change of texture and the course of melodic lines made it possible to identify certain features of the composer’s individual style and the methods of writing that he uses to create church compositions. A comparative analysis of the canonical text and its interpretation in compositions by O. Yunek is presented. Conclusions. O. Yunek’s personal style is characterized by a high level of possession of the technique of choral writing: the variety of harmonious, timbralregister and textural means while preserving the canonical liturgical text, a careful attitude towards it. The choral style of sounding differs by the ease, the availability of perception. In her compositions, the words of the chants are completely audible - without bills, overlays; no sharp contrasts in the dynamics. The primary role among means of expressiveness is given to harmony. It is at its level that certain elements of the Eastern Slavic singing are found (plagiarism, the use of medial chords, the linear nature of the formation of the accordion), the West European classical type of harmony (chords of the main functions in typical relations) and modern musical language (the presence of dissonant consonants, not the classical sequence in the middle construction, accordion of the nontheric structure). The role of melodies is very important. Often harmonic changes occur due to the linear motion of the melody in separate voices. Layout intonations and rhythmic figures common to compositions contribute to the integrity of the cycle and allow it to be perceived as such. In particular, it is observed in conducting the main melody frequent use of singing, gradual mirror-symmetric movement of voices, passage and auxiliary non-chord sounds. These melodic cells have the same features with the sounds of a significant singing, which confirms the composer’s tendency to the ancient chants. Similar rhythmic patterns (dashed rhythm, two sixteenth and eighth, eighth and two sixteenth, fourteenth and sixteenth), osintato also contributes to the integration of the cycle. The choral texture is characterized by flexibility and richness of presentation. Often there is a chord composition with elements of singing in separate voices, as well as contrasting fragments of unison («Blessed man»), chanting (two voices) («Virgin Mary, rejoice», «Praise the Name of the Lord», «Blessed art Thou, O Lord»). Changing the invoice occurs organically and appropriately to the performance requirements, which indicates the professional approach and knowledge of the composer’s choral writing. Consequently, all the inventions and means of expressiveness that were invented during the analysis show that the work of the contemporary composer of Kharkov, Olena Yunek, is an example of an original author’s reading of the canon in the field of church music. Together with the embodiment of the church canon, the principles of individual thinking operate and a modern link of church-composing creativity is formed.
9
Małecki, Paweł, Jerzy Wiciak e Damian Nowak. "Acoustics of Orthodox Churches in Poland". Archives of Acoustics 42, n. 4 (20 dicembre 2017): 579–90. http://dx.doi.org/10.1515/aoa-2017-0062.
Testo completoAbstract (sommario):
Abstract An Orthodox church as a building expresses the Eastern Orthodox spirituality - all the details and general aspects have a deep and philosophical meaning. The architecture, being an illustration of the character of the Orthodox Church liturgy, has become a natural component of the cultural landscape of Poland and Eastern Europe. Acoustic research into Orthodox churches has so far been marginalized. Up to now, only a few churches of this type have been studied. The article is a review of the acoustic environment of churches in Poland. Churches, differing in terms of size, architectural style and other quantities, were chosen and acoustic measurements were made. The results of the measurements have been analyzed and collated. In particular, a detailed analysis and comparison was made for reverberation time as a function of frequency, due to the largest differences in this parameter between the rooms.
10
Hannick, Christian. "Reference materials on Byzantine and Old Slavic music and hymnography". Journal of the Plainsong and Mediaeval Music Society 13 (novembre 1990): 83–89. http://dx.doi.org/10.1017/s0143491800001343.
Testo completoAbstract (sommario):
One of the reasons for the neglect of Byzantine music, liturgy and hymnography within medieval studies undoubtedly lies in the difficulty of comprehending the special terminology. The indices in general accounts such as A History of Byzantine Music and Hymnography by Egon Wellesz (Oxford 1/1949, 2/1961), a work still not surpassed, help only those who are already acquainted with the liturgical practice of the Orthodox Church to find a way into the subject. The booklet by Dimitri Conomos, Byzantine Hymnography and Byzantine Chant (Brookline 1984), which is much more modest in scope, constitutes a suitable introduction. We may therefore applaud the initiative of the Greek scholar Georgios Bergotes, professor at the Ecclesiastical Academy in Thessalonika and author of several works in the area of liturgy and church music, who has compiled a Λεξικò λειτουργικν κα τελετουργικν ὅρων (Lexicon of liturgical and teleturgical terms, Thessalonika 1988). In this introduction to teleturgy Bergotes offers a definition of the two terms liturgy and teleturgy as conceived by the Orthodox Church, which help understand the aims and methods of compilation of the lexicon: ‘In the discipline of liturgy the services and festivals of the orthodox rite are investigated from a historical, archeological and theological standpoint, while the discipline of teleturgy engages the same services or festivals from the practical point of view and in their technical aspects.’
Tesi sul tema "Orthodox Eastern Church – Liturgy – History"
1
Penkrat, Tatiana. "Image and liturgy the history and meaning of the Epitaphion /". Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0478.
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2
Andersen, Benjamin Joseph. "An Anglican liturgy in the Orthodox Church the origins and development of the Antiochian Orthodox liturgy of Saint Tikhon /". Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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3
Stavropoulos, John. "A history of eastern orthodox deaconesses and future renewal". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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4
Clark, Timothy Scott. "The function and task of liturgical preaching". Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
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5
Rolando, Sloan. "Save us who sing to you the form and function of the three antiphons of the divine liturgy /". Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
Testo completo
6
Kimball, Virginia M. "Liturgical illuminations: Marian theology in the Eastern Orthros, Morning Hours: a contextual study of Orthros for feast days of the Theotokos, the perspective of liturgical theology". IMRI - Marian Library / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1431532210.
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7
Filipovich, Richard John. "The Ukrainian Autocephalous Orthodox Church a survey of its development, history, and its place in the Orthodox world /". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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8
Protopopov, Michael Alex. "The Russian Orthodox presence in Australia: The history of a church told from recently opened archives and previously unpublished sources". Phd thesis, Australian Catholic University, 2005. https://acuresearchbank.acu.edu.au/download/7a6f29d5f4ab0a9d13ba30eced67fe15b6b07e63c698a776224464e4706f77bb/2271032/65054_downloaded_stream_279.pdf.
Testo completoAbstract (sommario):
The Russian Orthodox community is a relatively small and little known group in Australian society, however, the history of the Russian presence in Australia goes back to 1809. As the Russian community includes a number of groups, both Christian and non-Christian, it would not be feasible to undertake a complete review of all aspects of the community and consequently, this work limits itself in scope to the Russian Orthodox community. The thesis broadly chronicles the development of the Russian community as it struggles to become a viable partner in Australia's multicultural society. Many never before published documents have been researched and hitherto closed archives in Russia have been accessed. To facilitate this research the author travelled to Russia, the United States and a number of European centres to study the archives of pre-Soviet Russian communities. Furthermore, the archives and publications of the Australian and New Zealand Diocese of the Russian Orthodox Church have been used extensively. The thesis notes the development of Australian-Russian relations as contacts with Imperial Russian naval and scientific ships visiting the colonies increase during the 1800's and traces this relationship into the twentieth century. With the appearance of a Russian community in the nineteenth century, attempts were made to establish the Russian Orthodox Church on Australian soil. However, this did not eventuate until the arrival of a number of groups of Russian refugees after the Revolution of 1917 and the Civil War (1918-1922). As a consequence of Australia's 'Populate or Perish' policy following the Second World War, the numbers of Russian and other Orthodox Slavic displaced persons arriving in this country grew to such an extent that the Russian Church was able to establish a diocese in Australia, and later in New Zealand.;The thesis then divides the history of the Russian Orthodox presence into chapters dealing with the administrative epochs of each of the ruling bishops. This has proven to be a suitable matrix for study as each period has its own distinct personalities and issues. The successes, tribulations and challengers of the Church in Australia are chronicled up to the end of the twentieth century. However, a further chapter deals with the issue of the Church's prospects in Australia and its relevance to future generations of Russian Orthodox people. As the history of the Russians in this country has received little attention in the past, this work gives a broad spectrum of the issues, people and events associated with the Russian community and society at large, whilst opening up new opportunities for further research.
9
Dragas, Alexander G. "The history of the Bulgarian Orthodox Diocese of the Americas and Australia from its beginnings to the schism in 1964". Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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10
Liveris, Leonie B. "Patriarchy, authority and exclusion from full participation of women in the Orthodox Church". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1250.
Testo completoAbstract (sommario):
From 1948, when the Orthodox churches became members of the World Council of Churches, the "woman question" has been debated and researched through various assemblies, consultations and programmes. The general attitude of Orthodox Church hierarchs on the debate of the 'woman question' is that it is an imposition from the West and therefore any changes for the Church to be active in improving the status of women are not under serious consideration. The question of changing roles in the ministry of women is one of the most contentious issues in the ecumenical movement for the Orthodox Church. The Orthodox member churches have not implemented specific programmes for Orthodox women based on the work of the WCC. This thesis includes analysis of the archives of meetings and documents contributed by Orthodox theologians and historians to discern at what level the recommendations for change were acted upon or ignored. This thesis analyses patriarchy and authority within the Orthodox Church and the influences of culture and tradition upon the status and participation of women. The analysis focuses on data from ecumenical archives; national church documents and statements; traditional Orthodox church theology and history and sacramental practices of the Church. The thesis questions the present understanding that in order to be Orthodox, that is, for 'right thinking' and 'correct practice' in the faith of the Orthodox Church, Orthodox men have authority and spiritual leadership for both the sacramental and liturgical life of the church and in turn their rightful authority and headship in the family and community. This thesis focuses on both historical and contemporary elements of human sexuality, ministry and participation of women in the Orthodox Church with reference to selected teachings of the Church Fathers whose attitudes and perceptions were very often to the detriment of women. The Church Fathers continue as guide lines for the Church today with little reference to the context of their times und in contrast to contemporary issues and concerns for women and societal influences of society, imposed and absorbed, that have arisen in the twentieth century. The women's movement in the Orthodox Church is in the infancy stage and very few women have written or researched present day situations; contemporary Orthodox Church historians are not engaged in critical analysis of the liturgical, religious or cultural traditions that place women in gender specific subservient roles and have led to the exclusion and prohibition of women within the fullness of religious life of church communities. Specific contributions of Orthodox women, though not necessarily with a feminist agenda, are analysed in the context of a feminist framework of a 'hermeneutics of suspicion' in addition to references to the contemporary work of Catholic and Protestant feminist historians and theologians.
Libri sul tema "Orthodox Eastern Church – Liturgy – History"
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Winkler, Gabriele. Studies in early Christian liturgy and its context. Aldershot, England: Ashgate, 1997.
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Paul, Lazor, a cura di. Evening worship in the Orthodox Church. Crestwood, N.Y: St. Vladimir's Seminary Press, 1985.
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Taft, Robert F. Through their own eyes: Liturgy as the Byzantines saw it. Berkeley, CA: InterOrthodox Press, 2006.
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Wegman, Herman A. J. Christian worship in East and West: A study guide to liturgical history. Collegeville, Minn: Liturgical Press, 1993.
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translator, Meyendorff Paul, a cura di. Byzantine liturgical reform: A study of liturgical change in the Byzantine tradition. Crestwood, N.Y: St Vladimir's Seminary Press, 2010.
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Petras, David M. The Typicon of the Patriarch Alexis the Studite: Novgorod - St. Sophia 1136. Cleveland: Star Printing, 1991.
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Rodopoulos, Panteleēmon. Meletai A: Kanonika, poimantika, leitourgika, oikoumenika, diaphora. Tessalonikē: Patriarchicon Idryma Paterikōn Meletōn, 1993.
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Dovlatov, Sergeĭ. Iz neopublikovannogo. Sankt-Peterburg: Dovlatovskiĭ fond, 1994.
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Wybrew, Hugh. The Orthodox liturgy: The development of the eucharistic liturgy in the Byzantine rite. Crestwood, N.Y: St. Vladimir's Seminary Press, 1990.
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Pott, Thomas. La réforme liturgique byzantine: Étude du phénomène de l'évolution non spontanée de la liturgie byzantine. Roma: CLV-Edizioni liturgiche, 2000.
Cerca il testo completoCapitoli di libri sul tema "Orthodox Eastern Church – Liturgy – History"
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Rousselet, Kathy. "The Russian Orthodox Church and Reconciliation with the Soviet Past". In History, Memory and Politics in Central and Eastern Europe, 39–53. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137302052_3.
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Gallaher, Brandon. "A Secularism of the Royal Doors: Toward an Eastern Orthodox Christian Theology of Secularism". In Fundamentalism or Tradition, 108–30. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823285792.003.0007.
Testo completoAbstract (sommario):
The opposites, sacred and secular, are in an ‘original’ or ‘polemical unity’ in Christ and do not have their reality except in Him in a polemical attitude toward one another bearing witness in this way to their common reality and unity in the God-Man. History’s movement consists of divergence and convergence from and toward Him. One cannot, therefore, understand secularism and the secular and secularization apart from the fact that the secular is what is continuously being accepted and becoming accepted by God in Christ. Influenced by the work of Bonhoeffer, Bulgakov, and Richard Kearney and invoking Orthodox liturgy and iconography, Gallaher points to a church that images Christ and the Trinity by manifesting itself in kenosis. He argues for a move from an Orthodox anti-secularism that simply denounces and shakes its fist at the West to a positive Orthodox theology of secularism that tries to see how Orthodoxy might witness boldly to Christ in the modern pluralistic and secular West.
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Benz, Ernst. "Liturgy and Sacraments". In The Eastern Orthodox Church, 20–39. Routledge, 2017. http://dx.doi.org/10.4324/9781351304764-2.
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"THE EASTERN AND ORTHODOX EARLY CHURCH (100–800)". In Singing Church History, 27–40. Fortress Press, 2024. http://dx.doi.org/10.2307/jj.5736217.6.
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Stanley, Brian. "The Eastern Orthodox Church and the Modern World". In Christianity in the Twentieth Century, 313–36. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691196848.003.0015.
Testo completoAbstract (sommario):
This chapter details how, in the course of the twentieth century, the position of the Orthodox and Oriental Orthodox Churches weakened markedly—and apparently irreversibly—in some of their historic strongholds, such as Egypt and Palestine, while in most of eastern Europe, Orthodoxy came under severe ideological pressure from communist regimes between 1917 and 1989, only to emerge into the post-Soviet era remarkably intact. Perhaps the most striking feature of Orthodox history during the century is the extent of the global diffusion—yet at the same time tendency to ethnic fragmentation—of Orthodox Christianity. By the close of the century, there were more than 3 million Orthodox Christians in North America, who were subject to at least fifteen different ecclesiastical jurisdictions. The primary reason for such geographical and institutional diffusion was the intercontinental migration of diverse Orthodox populations from various parts of eastern and central Europe, but an important secondary reason was the growing appeal that Orthodoxy exerted on Christians who for one reason or another had become dissatisfied with their former Protestant or Catholic allegiance. By the 1990s, the Orthodox Church was one of the very few churches in western Europe or North America that was displaying steady growth, as a result of both immigration and conversion.
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Nowakowski, Przemysław. "Ikona w liturgii, liturgia na ikonie. O ikonie w przestrzeni sakralnej". In Przestrzeń liturgiczna. Uniwersytet Papieski Jana Pawła II w Krakowie. Wydawnictwo Naukowe, 2019. http://dx.doi.org/10.15633/9788374387828.09.
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The icon in liturgy, liturgy on the icon.The icon in liturgical space The article presents the position of icon in the sacred space of the Orthodox church and its function in liturgy of the Byzantine rite. In the beginning a rich theology of icon was outlined and its importance in Eastern tradition. In the Eastern Church the icon is considered as a window to heaven, a special sacrament of God’s presence – Christ, Mary and saints among the people. Equally important is the role of illustrating and revealing a dogma, a didactic explanation of the Church’s teaching to the faith-ful. These functions the icon plays mostly within the temple, mainly during liturgy, which celebrated on the earth is also considered as an image – an icon of celestial liturgy. Through the article a reader is made familiar with the iconographic plan of the church and the arrangement of the icons according to the strictly observed pattern. It becomes more comprehensive in the context of liturgical action, when the icon plays a very important role. For that reason the particular parts of Divine Liturgy (Eucha-rist) are described with regard to the role of icons within the celebration. Eventually the paper presents several icons of a strictly liturgical character, that have started to appear within the church since the 9th century. Finding a right place within the sacred space, the icons have affirmed their liturgical flavour and assured about their exceptional meaning in life, liturgy and ecclesial spirituality of the Byzantine rite.
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"Religion and power in the history of the Eastern Orthodox Church". In Comparing Modernities, 339–63. BRILL, 2005. http://dx.doi.org/10.1163/9789047407560_022.
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Xenophontos, Fr Damaskinos (Olkinuora) of. "Orthodox Chanters as Divine Instruments: Pseudo-Dionysios and Beyond". In Musikk og religion: Tekster om musikk i religion og religion i musikk, 183–200. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.177.ch10.
Testo completoAbstract (sommario):
The present chapter explores the Pseudo-Dionysian understanding of church singing and its influence on later liturgical commentaries up until the 20th century, including Maximus the Confessor’s Mystagogy, (Pseudo-?)Germanus of Constantinople’s Ecclesiastical History, Nicholas Cabasilas’ Commentary on the Divine Liturgy, and Archimandrite Vasileios’ Hymn of Entry, through three case studies: the Antiphons, Trisagion, and the Cherubic Hymn sung in the Divine Liturgy. These hymns are examined through the Pseudo-Dionysian notion of hymnody, in which the one chanting (either spiritually or concretely) steps onto the path of divine ascent. In the end, the difference between the faithful and the appointed chanters in the light of these texts is considered, providing conclusions to understand better the sacramental role of the appointed chanter in the Pseudo-Dionysian hierarchic worldview.
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Sabau, Isabelle. "The Power of Symbolism in Byzantine Art". In The Paideia Archive: Twentieth World Congress of Philosophy, 152–57. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia1998123.
Testo completoAbstract (sommario):
Our deeply visual culture today shows the fascination humanity has with the power of images. This paper intends to discuss the use and importance of images within the context of Byzantine art. The works produced in the service of the Eastern Orthodox Church still employed today, show a remarkable synthesis of doctrine, theology and aesthetics. The rigid program of Church decoration was meant as a didactic element to accompany the liturgy. The majesty of the images bespeaks of the Glory of God and the spiritual realities of the Christian faith. The images were intended to educated and provide contemplation of the invisible realm of the spirit. Byzantine aesthetics, therefore, is thoroughly in the service of theology.
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Kurien, Prema A. "Syrian Christian Encounters with Colonial Missionaries and Indian Nationalism". In Ethnic Church Meets Megachurch. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479804757.003.0002.
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This chapter presents the complex history of the Malankara Mar Thoma Syrian denomination, which is essential to understanding many of the contemporary features of the church. Early Syrian Christians in Kerala considered themselves to be “Hindu in culture, Christian in religion, and Oriental in worship.” The chapter draws on archival and secondary research to examine how Syrian Christians were viewed and treated very differently by Portuguese Catholic and British Protestant missionaries during the colonial period and how their self-understanding, practices, and communities were fundamentally transformed by these encounters. It discusses the factors that led the leaders of the church to initiate a reformation of the liturgy and practices of the church and break away from Syrian Orthodox leadership and control to form a separate and autonomous Indian denomination in 1889. It also examines the influence of Indian nationalism and the Indian independence struggle on the church.
Atti di convegni sul tema "Orthodox Eastern Church – Liturgy – History"
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Ubiparipović, Srboljub. "POSLEDOVANjE OMIVANjA NOGU NA VELIKI ČETVRTAK U TIPIKU ARHIEPISKOPA NIKODIMA". 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/10.46793/6008-065-5.307u.
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Taking into account the fact that the acolouthy of the Footwashing on Maundy Thursday had been formed in Jerusalem, probably during 5th Century, the existence of this rite in Typicon of Nicodemus, Archbishop of Serbia (1316- 1324), is an inspiring subject for liturgiological research. Although this acolouthy is well-known in Greek as Ὁ νιπτὴρ or τὸ νίμμα, we have approached to this topic by theological and teleturgical studying of its origin. The roots of this rite lie in the early centuries of Christianity, with various additions, deletions and variations of the specific acolouthy in use even nowadays in some of the centers of the Eastern Orthodox Church. The acolouthy of the Footwashing on Maundy Thursday has been shaped in 10th Century in two different modalities, one for the urban churches, and another one for the monastic churches at the Orthodox East. The rite from Typicon of Nicodemus (1319) belongs to the group of monastic acolouthies with direct impact of liturgical praxis of the Holy City of Jerusalem and Constantinopolitan monasteries. It implies that should be performed immediately after the Ambo prayer on Maundy Thursday’s Holy Liturgy in the pronaos of the monastic church. Such an acolouthy had retained some aspects of the earlier prayer for the sanctification of the water for the footwashing and also rubric for the anointing of all assembled in the church. The acolouthy of the Footwashing on Maundy Thursday in Typicon of Nicodemus is very important testimony about vivid and strong liturgical life of the Eastern Orthodox Serbs and Archbishopric of the Serbian and Maritime Lands in the 14th Century.
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Svetlana, Shalamova. "KLIROVYE VEDOMOSTI AS A SOURSE FOR THE STUDY OF THE HISTORY OF THE ORTHODOX CHURCH AND THE PIER IN EASTERN SEBIRIA IN THE II HALF OF THE XIX CENTURY". In Archives in history. History in archives. Ottisk, 2018. http://dx.doi.org/10.32363/978-5-6041443-5-0-2018-172-178.
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Hajdinac, Sara. "Religious identity as the state’s tool in modification of public space and its identity: the Yugoslav concept of the two squares in Maribor". In International conference Religious Conversions and Atheization in 20th Century Central and Eastern Europe. Znanstveno-raziskovalno središče Koper, Annales ZRS, 2024. http://dx.doi.org/10.35469/978-961-7195-39-2_05.
Testo completoAbstract (sommario):
In 1934, after several years of struggle, the Orthodox community of Maribor was awarded a lot to construct a new sacral object on General Maister Square (then Yugoslavia Square) in Maribor, at the site of the recently removed monument dedicated to vice-admiral Wilhelm Tegetthoff. The square boasts a rich symbolic history, wherein the very names of the square have clearly indicated the identity of the city through time. The new government sought to modify public space in accordance with the new state – these spaces had to be given not only a Slovenian but also a Yugoslav outlook. The first modification was changing the square’s name to Yugoslavia Square, after which a Serbian Orthodox church was built in Serbian national architectural style by the architect Momir Korunović (1883–1969), who designed all three Serbian sacral objects in the province of Dravska Banovina (in Maribor, Ljubljana, and Celje). The Church of St. Lasarus was to be ideologically connected to the monument dedicated to King Aleksandar Karađorđević on Liberty Square, which would provide a clear Yugoslav identity to the city district. However, the construction of said monument was disabled by the beginning of the Second World War, while the church was destroyed by the Nazis in April 1941 and thus erased from local collective memory. Maribor was the northernmost city of Dravska Banovina and indeed the Kingdom of Yugoslavia, yet its public space still failed to reflect a “Yugoslav identity” in the 1930s. Local residents primarily identified as Roman Catholic, while the city was politically predominantly ruled by the Slovenian People’s Party which imposed additional difficulties on the process of selecting the new church’s location. This paper will, accounting for the city’s religious and political climate, present Maribor as a place that obtained one of the biggest and most prominently representative Orthodox sacral objects, despite the fact the Orthodox religion was not dominant in the area. The focus will be on the question of the role and reflection of the unitarian-centralist politics of Belgrade through religion (Orthodox faith) on public space modification, what factors and agents design such space (and memory of such space) and in what way, by analysing commissions and art styles within the context of public spaces of Maister Square and Liberty Square in Maribor.
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Candu, Teodor. "The value and importance of the Forms of the churches and the service states of the clergy in the numerical assessment of the population of the Pruto-Dnistrian region in 1812". In Latinitate, Romanitate, Românitate. Conferinţa ştiinţifică internaţională, Ediția a 7-a. Moldova State University, 2023. http://dx.doi.org/10.59295/lrr2023.16.
Testo completoAbstract (sommario):
The sources for studying the demographic situation in the Romanian area, especially those from Moldova Principality and neighboring territories, increase quantitatively with the expansion of Russia towards South-Eastern Europe. During the Russo-Turkish War of 1806-1812, as well as during the conflagrations of the late XVIIIth century, the Russian Empire preferred to establish its own administration of occupation, which for the most efficient record of resources was used not only by its own apparatus, but also by the local administrative and ecclesiastical institutions of the Romanian Principalities, introducing several statistical tools for population records. Among the statistical instruments introduced during this period (e.g. forms, registers, etc.) that followed the record of the population at all stages of life, through civil status registers, in which births, marriages and deaths were recorded; confession registers of Orthodox believers; the forms of the churches and the service records of the clergy, where, in addition to the information about the status of the churches and the situation of the parish clergy, there was also information about the number of the population according to ethnic and gender composition, the latter are the object of our intervention. In the framework of this study, a series of information was exposed about the process of introducing Church Forms and clergy service statuses, a process initiated in December 1809, as a result of insufficient data presented by diocesan bishops and other church structures during the same year. Taking into account the value of the information contained in these sources, here we focused on the selection and accounting of the data regarding the numerical situation of the Christian-Orthodox population in the Pruto-Nistrian area in 1812. As a result of comparing the fiscal data contained in the Evideces of the Moldovan Treasury from 1808 and other statistical data known from the era with those contained in the Forms,we find that the data from the sources we considered, although they were used to clarify some information regarding the history of the Orthodox Church in Bessarabia. However, they were not used at their fair value to clarify those contradictions that continue to hover over the issue of the numerical composition of the population in the region newly annexed to Russia in 1812. Thus, following the analysis of the statistical data provided by several registers with the Forms that have reached us, it can be concluded that the population of the region not only approached the number of 300,000 people, but even exceeded it. Therefore, it would be recommended that researchers concerned with the study of demographic issues in the region not only refer to the records of a fiscal nature, which, although they are recognized to be of particular value. Nevertheless the information provided by the Forms allows verification of the veracity/correctness of the premiums, detailing some aspects, such as the ratio between churched and non-churched localities, the ratio between the male and female population, as well as other indicators that tax statistics from the early XIXth century do not record.