ἐάν ζησώμην [sic] – „Ha még élünk.”

Fordítói megjegyzések Pápai Páriz Ferenc Nagyenyedi Kollégium-történetével kapcsolatban

Author(s): Monika Frazer-Imregh / Language(s): Hungarian / Issue: 3/2013

In the summer of 2013 I translated Ferenc Pápai Páriz’s Illustris Collegii Betleniani [sic!] Albano Enyediensis Origo et Progressus (1704) from Latin into Hungarian. This manuscript was recently transcribed by Emese Rácz and will be published as a bilingual critical edition in Cluj, Romania (Kolozsvár) by the publisher Erdélyi Múzeum Egyesület Kiadó. The history of this great Transylvanian college has never been published or translated before in its entirety, only the correspondence between Pápai and Jablonski about the scholarship for Hungarian students in the Viadrina University in Frankfurt (Oder). (Pápai requested it with Jablonski’s help from the Elector of Brandenburg, Frederick III, later Frederick I of Prussia). In my paper I summarize the issues that emerged during the translation. First, I review all the Greek expressions Pápai used in his Latin text because some of them were not understood and simply omitted by the letters’ previous translators. I also point out some other mistakes in the translation of the letters. Secondly, I unravel the question of the two letters of the Transylvanian chancellor, Miklós Bethlen, to the Brandenburg court, that were published as three letters in the previous edition. Finally I publish and explain Pál Csernátoni’s epitaph written by Pápai and included only in the Origo, which is rather unusual in its metrical form.

ЄВРОПЕЙСЬКІСТЬ У ЛІТЕРАТУРІ: ДО ПИТАННЯ ЕВОЛЮЦІЇ ОСОБИСТОСТІ

Author(s): L. Reva / Language(s): English,Ukrainian / Issue: 3/2014

In article by Reva L. into the cultural and civilized phone across literature are investigate the role of personality. For the example of her evolution from the beginning of the Renaissance time XVII c. to our days we are to rush to clear up why individual- personality sometimes to lose his identical, to break in globalistik process, to send away for the models of literature.

Євхаристійні образи Христа у творчості риботицьких майстрів 1690–1750-х рр.: джерела іконографії та причини популярності

Author(s): Roksolana Romanivna Kosiv / Language(s): Ukrainian / Issue: 3/2018

The purpose of the article is to figure out the symbolic eucharistic iconography on the 1690–1750s icons of Rybotychi masters who worked mainly for the churches of Peremyshl and Mukachevo dioceses and to find out how and why the new models of iconography were reflected in their works, as well as to reconstruct the location of such icons in a church. Methodology. To achieve this goal, methods of iconographic and iconological analysis, methods of semiotics and reconstruction were applied. The scientific novelty of the article is that the 1690–1750s eucharistic symbolic icons of Rybotychi masters were under the study for the first time. Iconography sources of these images, their connection to the Ukrainian art of other regions, the reasons for the popularity of some themes and the location of the icons in the church were revealed. Conclusions. In the 1690–1750s works of Rybotychi masters, the images of Christ in the chalice and Christ the Vine were more prevalent. Icons of Christ in the chalice were on the prothesis, the icons of the Christ the Vine were mainly a part of the tabernacle. Rybotychi masters rarely turned to other symbolic eucharistic images of Christ, derived from Latin art.

ІКОНОГРАФІЯ ПРОРОЧОГО ЯРУСУ ІКОНОСТАСІВ РИБОТИЦЬКИХ МАЙСТРІВ (1680–1760-І РР.)

Author(s): Roksolana Romanivna Kosiv / Language(s): Ukrainian / Issue: 34/2018

The purpose of the article is to consider the iconography of the prophetic tier of 1680–1760s iconostases done by the masters of the church art center in Rybotychi (Nadsiannia, Poland) in the context of its content in the Western Ukrainian iconostases of the second half of the 17th – the beginning of the 18th century. Methodology. The research uses methods of iconographic and iconological analysis, reconstruction, and semiotics. The scientific novelty of the article is that for the first time attention has been paid to the theme of the prophetic tier of the Rybotychi masters iconostases which is considered in the semantic context of the Ukrainian iconography of the Virgin with praise from the 15th – 16th centuries and the representation of the prophets in the Western Ukrainian iconostases of the 17th – early 18th century.

Іконографія сюжету "Оплакування Христа" в живопису Італії ХV – ХVII ст.

Author(s): Anna Viktorovna Boretka / Language(s): Ukrainian / Issue: 1/2010

The article is dedicated to studying of the iconography of the subject "The Lamentation of Christ" in Italian painting of XVth – XVIIth centuries. In this research the odd information on the iconographic types of this subject has been systematized, the reasons of this topic popularity in this period have been analyzed, the stages of the subject’s evolution of "The Lamentation of Christ" has been shown.

ІКОНОПИС КИЄВА ТА КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ: кінець XVII – початок XIX ст. (базові терміни дослідження та їх значення)

Author(s): Olga Olegivna Ryzhova / Language(s): Ukrainian / Issue: 1/2018

The purpose of the article is to clarify such basic concepts as "school", "workshop", "artistic tradition", "style", "manner", "idea", "theme", "story", "traditions" in the context of the iconography of Kiev and Kiev Pechersk Lavra. The methodology of the research is to apply principles of historicism and systematic comparative analysis. Scientific novelty is to clarify the role and meaning of the terms "school", "workshop", "artistic tradition", "style", "manner", "idea","theme", "story", "traditions" of the examples. Conclusions. As a result of the research, it is established that the term "school" defines the association of monuments on a territorial bases (place of creation) Kiev, Kiev Pechersk Lavra; this is a local phenomenon that is caused by territorial limits. "Workshop" is a term mainly used in the context of studying the monuments of fine arts of the Lavra; it means masters, work-related over some objects or orders. Its system of samples in each school in the middle of the XVII century created prerequisites for the formation of various artistic traditions of Kiev and Lavra. Kyiv artistic tradition in the iconography formed with the focus on the samples of European baroque and Mannerism, Lavra’s based on Greek, Athonite, Cypriot. It should be noted that in addition to baroque trunk line (style) in Kiev and Lavra iconography polystylism is a parallel artistic tendency. The main ideas that found a special reflection in the art of the Lavra monastery are the "idea of the Crucified", the theme “The Virgin”, "Lavra as the Destiny of the Virgin", the theme of monasticism is dogmatically connected both with the concept of the Crucified Christ, and with the Mother of God motives. These ideas served as the basis for creating passion motives that make up a separate cycle in the Lavra fine arts, the Virgin plots, which received a special Kiev and Lavra editorship and compilation of iconography of subjects connected with the depiction of St. Fathers of the Caves. Canon Traditionally, for the iconography of the Lavra, was the Greek icon as a model of divinely inspired sacred art; leading works, which icon painters of Kiev oriented on (i.e., the canon), were icons created for iconostasis of the Kiev Pechersk Lavra.

Іконопис Києво-Печерської лаври кінця XVII – початку XIX століття: особливості формування та розвитку стилю й іконографії

Author(s): Olga Olegivna Ryzhova / Language(s): Ukrainian / Issue: 1/2014

This paper provides an analysis of recent research and publications on the icon painting of Kiev-Pechersk Lavra of late XVII – early XIX centuries. Briefly reviewed publications of P. Zholtovskoho, P. Umantsev, L. Mylyaevoyi, O. Lopuhinoyi, O. Pitatelevoyi, A. Kondratyuk, Ya. Lytyvynenko, V. Shydenko, O. Sitkarovoyi, H. Byelikovoyi, L. Chlenovoyi, Yu. Korenyuka, O. Ryzhovoyi. It was found that the icon painting of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century, which largely remains in the territory and in the collection of the National Kyiv-Pechersk Historical and Cultural Preserve, may conditionally be divided into two groups. The first group includes icons from ensembles that have been preserved in situ in the Kiev- Pechersk Lavra. The iconostasis of the Trinity Gate Church (1734-1735 biennium) and the Church of All Saints (1741) on the Еconomic gate relates to the first half of the XVIII century. The complex of monuments of the second half of XVIII and beginning of XIX century iconostasis includes cave church (1760-1762 years) St. Theodosius of the Caves, four icons (1767-1769 years) of the iconostasis of the church of the Exaltation of the Holy Cross and Icon from its back side (1789 's), as well as icons of the iconostasis cave church of the Nativity (1802). During all the time the iconostasis ensemble of Kiev-Pechersk Lavra was considered outstanding monument of sacred art and served for visual patterns. In many ways, these iconswere "extremely important" in Kiev icon painting of their time. This branch – iconostasis icons of Kiev Pechersk Lavra – is the greatest in Lavra icon painting. The second group includes the icons that came to our century without their iconostasis but were titles especially for them – they are the icons of the end of XVII century (1691) from the iconostasis of the cave church of reverend Varlaam Pecherskiy (are kept in the church’s north wall) and the icons of XVII – XVIII centuries (1700) from church of Exhalation of the Holy Cross at Blizhni caves (are kept at fond of NKPIKZ), also the icons of the holiday row of the main iconostasis (1719 – 1729) and the iconostasis’ cartouches of the front narthex (1725 – 1729) of Uspenskiy cathedral (are kept at the NHMU collection). Surprisingly, there’s no general art historical research of such bright phenomenon as the icon painting of Kiev – Pechersk Lavra, time borders of which cover the end of XVII – beginning of XIX century. Already famous attractions are too scattered or fragmented and published intermittently. Art analysis is limited to the designation of certain icons belonging to a particular "manners." Therefore, this fact does not allow tracing the evolution of art forms. Therefore, the relevance of the study is to deepen scientific knowledge of icon-painting school of Kiev-Pechersk Lavra and do a thorough, art generalizations regarding one of the most important phenomena of Ukrainian iconography end of XVII – beginning of the XIX century, involving historical, archival and literary sources, iconographic material, factual study of the works. The purpose of the study is to trace and identify issues of formation and development of the Kiev-Pechersk school of icon painting and assembling special Lavra iconography. To achieve this goal it is necessary to perform the following tasks: process studies, which are devoted to the iconography of Kiev-Pechersk Lavra end of XVII – beginning of XIX century, to define the source base and terminology research, classify and to characterize the textual, visual and material sources, which are formed on the basis of style and iconography monuments and carry out thorough investigations of art and trace the formation and development of style and iconography, to track changes iconic traditions, to determine the characteristic stylistic and iconographic features icons created in icon painting workshops of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. The object of the research is the process of formation and development of the style and of iconography the icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. The subject of the study is, first and foremost, memo icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century, preserved in situ, as well as from museum collections NZSK, NKPIKZ, National Art Museum. Secondly, text, visual and material sources, formed the basis for the style and iconography in icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. Thus, gradually, along with the study of the works and primary sources, you can at least come close to being able to create a single research about the history of icon painting school of Kiev-Pechersk Lavraof the end of XVII – beginning of XIX century. The most comprehensive list of publications on the icon painting school of Kiev-Pechersk Lavra of XVII – beginning of XIX century is given in the "Вibliography".

Ірина Ворончук, "Родоводи волинської шляхти XVI – першої половини XVII ст. (реконструкція родинних структур: методологія, методика, джерела)", Київ 2009, ss. 512

Author(s): Konrad Rzemieniecki / Language(s): Polish / Issue: 2/2017

Ірмолой Артемія Компайського – яскрава пам’ятка української рукописної книги XVII – XVIII століть

Author(s): Liliia Tereshchenko-Kaidan / Language(s): Ukrainian / Issue: 27/2011

In this paper the Ukrainian book manuscript in the form of a particular sample – Irmoloya Artemia Kompayskoho. It is a peculiarity of the manuscript and belonging to Muscovite Code tradition of church-singers practice. Also, consider the causes of the two traditions of church music. Shown difference Ukrainian church singers repertoire XVII– XVIII century.

Історичні аспекти осмислення музичної культури XVII – XVIII ст.

Author(s): Natalia Sergeevna Sviridenko / Language(s): Ukrainian / Issue: 3/2010

In the articles presented the main sending of development of history and aesthetically beautiful looks to the musical art of XVII-XVIII cen. and creations of theories, which are instrumental in the truthful revival of age-old music in modern performance practice.

Історіографія дослідження болгарського наспіву

Author(s): Olga Viktorovna Putyatitskaya / Language(s): Ukrainian / Issue: 22/2012

Dominant place in notolines manuscripts Irmoloys of the 16 – 18 century item was occupied by the Bulgarian tune. It is the unique and ponderable phenomenon in the bogosluzhebnom singing art of this period. In the article examine-this the features of theoretical subsoil of researches of the Bulgarian tune in musicology labours of domestic and foreign researchers in the chronologic foreshortening.

Італійські маньєристи при європейських дворах у XVI – на початку XVII століть

Author(s): Yulia V. Romanenko / Language(s): Ukrainian / Issue: 20/2011

The purpose of the essay is analysis of periods of creative work of Italian artists as styles’ creators. Spanish and English directions have been demonstrated among the most important.

Італійські професійні та любительські об’єднання як осередки концертування у XVII столітті

Author(s): Natalia Belyavina / Language(s): Ukrainian / Issue: 2/2012

In article the way of development of public forms of playing music on an example of activity of the Italian professional and amateur associations in XVII item is traced. The concerts centers are defined and signs which characterize primary concerts forms are revealed.

Један војнички дневник из времена аустријске опсаде Београда (1688)

Author(s): Vladimir Abramović / Language(s): Serbian / Issue: 2/2013

The Austrian victories in the Great Turkish War (1683–1699) sparked interest throughout Europe for the regions conquered from the Ottoman Empire. This was manifested in numerous books, brochures and proclamations, that sought to introduce readers to the history and geography of the Danube area, Pannonia and Balkans. This article aims to examine the anonymous soldier’s diary from the campaign of 1688, which ended with capturing of Belgrade, one of the most important fortresses of the Ottoman Empire. This manuscript has until now been unpublished and unknown in Serbian historiography. The diary is partly motivated by the author’s desire to convey image of the areas in which he fought and to preserve its description for the „new generations“. Therefore, this manuscript isn’t only a classical diary; it has features of travelogue or itinerary. The author’s personality remains unknown to us. We can only deduce that he was inhabitant of Franconia, and that he spent two years in the service of count Heinrich Friedrich of Hohenlohe-Langenburg, before he joined ranks of the army. The author devotes only sporadic attention to purely military matters, but nevertheless the information regarding discipline, marching tempo and customs prevalent in the late 17th century Austrian army can be gauged. However, the manuscript informs us more generously of the living and dietary habits of the local population; furthermore it is an eyewitness testimony of the diversity of vegetation and crops in the Danube and Belgrade area.

Језичка ситуација у западним дијеловима источнoг и јужнoг cловенcтвa у 17. веку (покушај упоредног разматрања)

Author(s): Nikita I. Tolstoy / Language(s): Croatian,Serbian / Issue: 4/1990

Eines der Hauptprobleme der sprachlichen Soziologie und Kulturologie ist das Problem der sprächlichen Situation heutzutage. Um sie zu erläutern, muss man frühere Umstande kennen, da deren Folgen gerade heute spürbar sind. Da die früheren Situationen sowohl vom linguisitischen ls auch vom kulturologischen als auch vom literaturgesechichtlichen Standpunkt ungenügend erforscht sind, macht der Autor in dieser Arbeit auf die sprachliche Situation in Westgebieten der Ost- und Südslaven im 17. Jahrhundert aufmerksam, bzw. auf die äussere Geschichte der Sprache im östlichen Teil Polens (Reči Pospolite) und in Bosnien und der Herzegowina.

Шляхи Польської королівської придворної капели у XVII-XVIII ст.

Author(s): Natalia Belyavina / Language(s): Ukrainian / Issue: 3/2012

In article the basic stages of activity of a royal court thaw in XVII–XVIII item. Are traced is presented the European tendencies: development of "concert style", distribution polyphonic sacral and secular vocal and instrumental compositions of a baroque direction; occurrence of concert genres (a canzone, a sonata, a cantata, a concert); active influence of foreign "general" musicians.

Щрихи върху ежедневието на дербентджийското и войнушкото население през XVI–XVII век

Author(s): Krastyo Yordanov / Language(s): Bulgarian / Issue: 1/2021

The main object of this study is, on the basis of some Ottoman documents, to shed new light on the everyday life of some settlements situated along the busy road from the Ottoman capital city of Istanbul to Central Europe. Some details are given about the daily duties of the Bulgarians who went to work in the Capital’s State Stables or went on a risky journey, following the conquests of the Ottoman army. They are studied on the basis of an unpublished list of voynuks assigned to service. The population of the Christian villages along important roads most often performed derbendji service. Despite their tax privileges, Bulgarians from these villages had a difficult life. They were often disturbed by the presence of Ottoman troops and state officials, who during war, but in peacetime as well, moved along this main road, staying in people’s houses and expecting to be fed and supplied with provisions. The everyday life in the villages of the region of the Balkan Mountains Range and the Sredna gora Mountain, far from the busy roads, was quite different. There the population was engaged in cattle breeding and crafts related to it. In this region there were some very large entirely Bulgarian settlements, which over time became thriving trade and craft centres having the appearance of small towns.

Щрихи от портрета на наемните работници в чифлиците от XVII - средата на XVIII век

Author(s): Stefka Parveva / Language(s): English,Bulgarian / Publication Year: 0

The paper aims to add some elements to the portrait of hired workers (ter oglani, irgat) or share croppers (ortakci) in the askeri cifliks. The inheritance documents of several men and one woman who had died in the cifliks present a rare opportunity to examine aspects of the life of this category of people. The inheritance inventories (terke/ muhalleft defters) of these people were registered in the kadi court registers of the towns of Sofia, Vidin and Ruscuk (mod. Rousse). The first part of the paper analyses the main elements of the contractual relations between ciflik owners and the people they had hired and taxation of the workers. The second part of the paper examines some aspects of the portrait of these workers, based on a structural analysis of inheritance inventories of their representatives, who were either peasants or town dwellers.

Эпизод из истории литературных контактов: рецепция сочинений Франца Костера SI в книжной культуре Речи Посполитой XVI–XVII вв.

Author(s): Margarita A. Korzo / Language(s): Russian / Issue: 1/2017

The history of the ascetic works composed by the Flemish Jesuit Franz Coster (1531–1619) and their translations into Polish and “prosta mova” are considered as an interesting example of the 17th-century literary contacts in Europe and an example of the spread of Catholic works among adherents of Orthodoxy. Coster’s Bulla super forma iuramenti professionis fidei (1576) was originally intended to members of the Catholic Sodality of the Blessed Virgin Mary in Cologne. Two Polish-language reversed editions entitled Skarb duszny (1582 and 1594) served as a source of a concise text of admonition written in “prosta mova” to the confession Nauka i priklady, which can be found in two editions of the 17th-century Orthodox Vilna’s Poluustav: ca. 1637–1640 and ca. 1643–1644. The Polish translation later was taken as a basis for drawing up a manual of confession Nauka o tainie svyatogo pokayaniya (1671) published in the Kiev Monastery of the Caves. The question of the translator from Latin into Polish as well as the translator from Polish into “prosta mova” remains open.

ЯВИЩЕ КУЛЬТУРНОЇ ПАМ’ЯТІ Й «РУНО ОРОШЕННОЄ» ДИМИТРІЯ ТУПТАЛА

Author(s): Tetyana Irtuganova / Language(s): Ukrainian / Issue: 4/2018

The article analyses the role of cultural memory and its sacred significance in the sample sermon literature of the seventeenth century Dewy Fleece (Runo Oroshennoje) by Dymytriy Tuptalo (St. Dymytriy of Rostov). This work is devoted to the description of well-known at the time of the wonders of the Icon of the Mother of God, which was in Illinsky Monastery of the town Chernigov. The image of the miraculous Icon of the Mother of God of Illinsky Monastery has two functions: a practical (storage and transmission of cultural memory of Chernigov region) and the sacred one (the object of divine radiation of assistance). Research methods. In the article, descriptive-analytical, structural-semiotic and cultural methods were used.