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Studying Contemporary Greek Neo-orientalism: the Case of the “Underdog Culture” Narrative

Studying Contemporary Greek Neo-orientalism: the Case of the “Underdog Culture” Narrative

Author(s): Sotiris Mitralexis / Language(s): English Issue: 25/2017

This paper studies the prevalence, pre-eminence, premises and political usage of the “cultural dualism” narrative in contemporary Greece, which is predominantly attributed to Nikiforos Diamandouros. The research problem and methods: The “cultural dualism” (“underdog culture”) reading of Modern Greece divides Greek society and political life into an “underdog” Orthodox conservative culture and a “reformist” Western secular culture, thus forming a Neo-orientalist schematization. The paper traces and analyses instances of this dichotomy (particularly instances in which it is presented as self-evident, a given) in Greek academia, journalism and political discourse. The process of argumentation: This “underdog culture” narrative, broadly understood, is here identified as the implicit hermeneutic approach almost universally employed when studying non-standard political and cultural thought in Greece: other forms thereof comprise the dichotomies of “normal/ non-biased” versus “anti-Western,” “European” versus “national-populist,” “secular” versus “religious/Byzantine/Orthodox” etc. I proceed to analyse those and propose the term “Greek Neo-orientalism” for their categorization. Research results: In the paper, the prevalence of Diamandourean “underdog culture” reading in the Greek public sphere – academic as well as political and journalistic – is demonstrated, concluding that a non-Neo-orientalist reading of contemporary Greek political thought and theory is yet to appear. Conclusions, innovations and recommendations: The paper underscores the need for an alternative research agenda that would for the first time examine non-standard Greek political thought that affirms Greece’s Byzantine past and Orthodox culture not via the Neo-orientalist approach, but through a methodology suitable to that end.

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Тернарные структуры в минейном Житии Иосифа Волоцкого

Тернарные структуры в минейном Житии Иосифа Волоцкого

Author(s): Igor E. Ivanov / Language(s): Russian Issue: 4/2023

The article is devoted to the reflection of the Trinitarian dogma in The Life of Joseph Volotsky, in which triple repetitions are found at the lexical, syntactic and plot levels of the text. The significance of the Trinitarian dogma in the biography of Joseph Volotsky is related to the controversy that erupted at the turn of the 15th-16th centuries between the Orthodox Church and the Judaizer heresy, whose adherents questioned the dogma of the Trinitarian nature of God. Joseph Volotsky became the most active participant in antiheretical activities. The Life compiled by Bishop Savva Cherny of Krutitsky in the 1740s aligns itself with the Life of Sergius of Radonezh, in which numerous triple repetitions are present. The connection between The Life of Joseph of Volotsky and the Life of Sergius of Radonezh is evidenced by the textual connection of the introductory parts of the texts; indirect proof of the importance of the figure of Sergius of Radonezh for Joseph Volotsky is also apparent in the genetic connection between the saints, based on belonging to the same line of monastic tradition: Joseph took the tonsure from Paphnutius Borovsky, whose mentor Nikita Borovsky was a novice of Sergius. Analysis of the Life for triple repetitions at the structural and event levels of the text not only indicates that the Life of Sergius of Radonezh became a literary source for the biography of the Volotsk hegumen and that the author of The Life reflected in the monument a polemic that was relevant at the time of the saint’s life, but also complements the ideas of philological medieval studies about the biography of Joseph Volotsky. Today we have to state with regret that the Life of Joseph Volotsky, with rare exceptions, has not become an object of interest for philologists; this article intends to shed light on one of the aspects of the poetics of the monument.

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ВАРІАТИВНІСТЬ ВІЗАНТІЙСЬКОЇ ХУДОЖНЬОЇ ТРАДИЦІЇ В ХРАМОВОМУ ЖИВОПИСІ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ 1890–1910-Х

ВАРІАТИВНІСТЬ ВІЗАНТІЙСЬКОЇ ХУДОЖНЬОЇ ТРАДИЦІЇ В ХРАМОВОМУ ЖИВОПИСІ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ 1890–1910-Х

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 43/2023

The purpose of the article is to study the embodiment of the Byzantine artistic tradition in the monumantal painting of the Kyiv-Pechersk Lavra in 1890s – 1910s. The research methodology is based on historical, cultural, and art historical analysis. Scientific novelty. The article reveals a weakening in the use of the Byzantine artistic heritage in the monumental painting of the churches in the Kyiv-Pechersk Lavra. The transformation from the systematic use of Byzantine ornaments and the symbolism of gold in the Great Church (the Dormition Cathedral) in the late 19th century to fragments of Byzantine compositions in Art Nouveau ornaments have been traced. The decorative golden background in the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) in the early 20th century has been explored. The use of the term "Neo-Byzantine style" for the painting of the Great Church is proved to be incorrect. The author made the following conclusions on the basis of archival information introduced into scientific circulation. Firstly, the algorithm of creating ornaments and a golden background as the basis of the Byzantine artistic tradition has been observed. Secondly, the authorship and dating of paintings of the Great Church have been clarified. Thirdly, it is determined that the rejection of the Byzantine tradition in favour of the Art Nouveau style in the Refectory Church took place in 1902, along with the change of artists. The significance of preparatory sketches and paintings of the Great Church for the creation of the compositions of the Refectory Church has been emphasised. Conclusions. The Kyiv-Pechersk Lavra did not have the opportunity to return to the Byzantine tradition in the technique of monumantal painting, namely to the technique of mosaics and frescoes. In the paintings of the Great Church (the Dormition Cathedral) and the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) the Byzantine tradition was realised mainly in decorative elements, namely in ornaments and the golden background of compositions. In both churches, the artists implemented thematic and narrative lines in the tradition of late academicism. Along with V. Vereshchagin, V. Fartusov was the author of the paintings in the Great Church. The paintings date from 1897 to 1901. The transition to the Art Nouveau style in the decor of the Refectory Church began in 1902. The ornaments of the Refectory contain elements of national (Ukrainian) motifs and fragments of Byzantine ornaments. The preparatory sketches and paintings of the Great Church served as the pictorial basis for the compositions of the Refectory Church and the Chamber.

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Хроника

Хроника

Author(s): Author Not Specified / Language(s): Serbian Issue: 22/2023

На први циклус студија Православног богословског факултета „Свети Василије Острошки” у Фочи, у академској 2022/23. години уписана су 273 студента. У току речене академске године, школовање на првом циклусу студија успјешно је окончало осам студената, док је пет студената успјешно одбранило мастер радове на другом циклусу студија.

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Osmanlı İdarî Sistemi İçerisinde İstanbul Rum Patrikhanesi’ne Bağlı Metropolitlerin Görevleri

Osmanlı İdarî Sistemi İçerisinde İstanbul Rum Patrikhanesi’ne Bağlı Metropolitlerin Görevleri

Author(s): Filiz Yaşar Keskin / Language(s): Turkish Issue: 2/2023

In the Ottoman Empire, one of the officials within the hierarchical structure of the Orthodox Greek Patriarchate was the metropolitans. Metropolitans were responsible for the administration of churches and communities in various regions within the jurisdiction of the patriarchate. Their duties included organizing and managing religious ceremonies, providing religious education, overseeing the administration of the church and its properties, supervising the priests, and maintaining internal discipline. This article examines the roles and relationships of metropolitans affiliated with the Istanbul Greek Patriarchate during the Ottoman period. The research analyzes the structure in the XVIIIth century based on contemporary sources. Metropolitans were individuals who served in both religious and administrative capacities within the Ottoman administrative system and the patriarchate. As part of the patriarchal system, metropolitans not only fulfilled religious duties but also performed non-religious tasks such as tax collection and maintaining social balance. Thus, the role of metropolitans extended beyond religious leadership, encompassing significant responsibilities in various aspects of society. For this study, original documents from various classifications in the Ottoman archives of the State Archives of the Presidency of the Republic of Turkey were meticulously examined, and in-depth research was conducted using the historical analysis method based on cause and effect relationships. The findings, along with the existing literature, were evaluated and presented from a scholarly perspective. Based on these investigations, it has been determined and confirmed from Ottoman sources that metropolitans held institutional authority at the spiritual, social, and administrative levels. While fulfilling their responsibilities in line with the relationships between the Patriarchate and the central government, they carried responsibilities towards both authorities. The appointment of metropolitans was subject to the approval of the Patriarchate and the central government, granting them an official status. This confirms that metropolitans possessed both spiritual and official qualities. They operated under the authority of the Patriarchate, implementing its decisions and policies. Additionally, they maintained an indirect relationship with the central bureaucracy of the Ottoman state. However, the pervasive nature of central authority in the Ottoman system meant that this indirect relationship could readily evolve into direct contact. During the XVIIIth century, as cooperation between Ottoman administrative institutions and church institutions increased, the prominence of such roles for metropolitans aligned with the developments of the period. In conclusion, within the Ottoman administrative structure, metropolitans were not solely responsible to the Patriarchate but also held obligations towards the central government. They played significant roles as influential figures assuming both religious and official functions in Ottoman society. Through their direct relations with the Patriarchate and indirect connections with the Ottoman state, they effectively regulated the religious and social life of the community. This duality in their responsibilities derived from the nature of their role, shaping their institutional attributes, and reflected the centralizing tendencies of the Ottoman society's complex structure.

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«СВЯЩЕННІ ЗОБРАЖЕННЯ» В ІНТЕР’ЄРІ ВЕЛИКОЇ ЦЕРКВИ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ: ФАКТИЧНА СИСТЕМА  САКРАЛЬНИХ РОЗПИСІВ 1897–1901 РР.

«СВЯЩЕННІ ЗОБРАЖЕННЯ» В ІНТЕР’ЄРІ ВЕЛИКОЇ ЦЕРКВИ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ: ФАКТИЧНА СИСТЕМА САКРАЛЬНИХ РОЗПИСІВ 1897–1901 РР.

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 3/2023

The purpose of the article is to introduce into scientific circulation documents presenting the factual system of sacred compositions 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Dormition Cathedral (Great Church). The research methodology is synthesis of historical and cultural analysis, as well as art study analysis. Scientific novelty. The author has introduced the album of drawings by the artist Andrii Lakov into scientific circulation: “V. І. Vernadsky National Library of Ukraine. Lakov A. A. The album of plans and detailed drawings the inside of the Kyiv-Pechersk Lavra’s Great Church showing the locations of sacred images. 1905. Paper, mixed technique. 19 sheets”. Based on this document, the author has performed three research tasks using examples. First, she reconstructed the system of sacral murals of the Church’s compartment. Second, she revealed the difference between the project and the actual mural. Third, she improved and determined the location of a number of compositions. The author has revealed the important theoretical and practical significance of the album as a presentation of the factual system of sacred compositions of 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral). Conclusions. The album of drawings by the artist Andriі Lakov (1905) presents the factual system of sacral mural painting of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral) of the late 19th – early 20th century. The album permits the determination of the compositions’ location on architectural surface. It is the evidence that artists partially changed the project in terms of the location of some compositions. This album provides an opportunity for the authentic historical reconstruction of the Cathedral’s painting decoration.

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АКАДЕМІЗМ У МОНУМЕНТАЛЬНОМУ ЖИВОПИСІ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ В КІНЦІ ХІХ – НА ПОЧАТКУ ХХІ СТОЛІТТЯ

АКАДЕМІЗМ У МОНУМЕНТАЛЬНОМУ ЖИВОПИСІ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ В КІНЦІ ХІХ – НА ПОЧАТКУ ХХІ СТОЛІТТЯ

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 4/2023

The purpose of the article is to introduce into scientific circulation, to attribute modern compositions of the academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra, to study their genesis. The research methodology consists in the complex application of historical and cultural analysis, art study, diachronic ones, as well as empirical observation. The scientific novelty of the study. The materials of the survey and proposals for restoration (1998) the compositions of academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra of the late 19th – early 20th centuries have been introduced into scientific circulation. The academic mural painting in the Dormition Cathedral, the 21st century, has been introduced into scientific circulation. Its attribution has been performed. The names of the artists have been introduced into scientific circulation and it has been detailed who among them is the author of the project, who painted the holy images and who painted the ornaments. The dating of the compositions in different compartments of the Cathedral and the technique of their performance have been determined. The main thematic and plot lines have been revealed. The thematic, plot, iconographic, decorative, coloristic connections of the modern academic mural painting with the murals of the late 19th – early 20th centuries and with visual records have been studied. The similarities and differences of the academic compositions of 1897–1901 and 2018–2022 have been analysed. The principle of forming the colouring of modern academic murals has been revealed. Conclusions. In the modern decoration of the Dormition Cathedral of the Kyiv-Pechersk Lavra, the Academicism painting (1897–1901) is presented in the apse of the southern nave (diaconicon). In this compartment, authentic fragments of academic compositions have been restored, the painting system has been revived based on archival photos, and some new academic compositions have been introduced to it. Mural paintings have been performed by artists under the supervision of Oleksandr Pashkovskyi in 2018–2019. They also performed new murals in the academic tradition in the altar part of side-altar of the Saint Apostle Andrew the First Called in the southern part of choirs in 2020–2021. In the northern part of the choirs, paintings have been started and then suspended in 2022. In the new murals complex the artists cite in extenso or in part the compositions of the late 19th – early 20th centuries using archival photos. The murals have been performed in mixed techniques: holy images in oil, ornaments in acrylic paints. The composition ‘Glorification of Theotokos’ differs in the techniques; it is painted with oil on canvas. In the modern interpretation, the cited compositions can keep or change the primary location. The colouring of the new murals is formed on the basis of fragments of authentic compositions. A considerable part of the decoration is occupied by stylised ornaments as well as in murals of 1897–1901. The new and primary mural painting combine same academic principles of visual language, iconographic and colour principles, thematic and plot lines. Same general thematic lines are such as Theotokos theme, the theme of the Last Judgment, the Christianization of Ancient Rus, images of the saints of Ancient Rus and saints associated with the Kyiv-Pechersk Lavra.

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THE SAINT OR THE CHRISTOPHORIC MAN AND HIS ICONIC REFLECTION

THE SAINT OR THE CHRISTOPHORIC MAN AND HIS ICONIC REFLECTION

Author(s): Gabriel V. Ciofu / Language(s): Romanian Issue: 35/2023

The Saint or the christophoric man and his iconic reflection. Man has been a leitmotif of most religions, philosophical systems and ideologies from the dawn of creation to the present moment, and anthropology has acquired varied dimensions over time depending on the socio-spiritual branch, conceptions, perspectives and subjective interests. The anthropos, not being inspired (divinely favored) or even revealed (directly involved in divine discovery), knows nothing (cf. Alexandre François Malbranche); he seeks, but does not discover, but is revealed to him and receives, as he neither creates, but only imitates. ”Man does nothing but reflect in letters, in music or in philosophy patches of transcendence”, and art in general, and iconography in particular, becomes a vehicle of transcendence, a true” Jacob's ladder” of the man-God theandry through the intercession of the God-Man – Jesus Christ. Man – ”image and likeness of God” – regains the likeness of God through regeneration, imitating the appointed Son of God through asceticism and mysticism, and this fact is sublimely captured and illustrated by the icon. The icon thus defines itself as an aesthetic x-ray of holiness and personal theosis, a mirror of transcendence cast over the immanence of human nature. The present study, without exhaustive claims, wants to summarize the Christian anthropology reflected in the iconography.

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CYRYLICKIE EWANGELIE Z XVI I XVII WIEKU ZE ZBIORÓW BIBLIOTEKI KÓRNICKIEJ

CYRYLICKIE EWANGELIE Z XVI I XVII WIEKU ZE ZBIORÓW BIBLIOTEKI KÓRNICKIEJ

Author(s): Marzanna Kuczyńska,Maya Ivanova / Language(s): Polish Issue: 37/2020

The article describes two Cyrillic Gospels from the Kórnik Library: BK 11985 and BK 896. It presents the cultural context of their creation, as well as their history, content, illuminations and a short lexical description. Both codices were the result of a cultural and spiritual revival in the Orthodox Church in the Polish-Lithuanian Commonwealth. Both of them were luxury, professionally made goods; their copyists were experienced specialists. BK 896 represents a higher level of artistry. In view of their lexical characteristics, the manuscripts can be classifi ed as the third so-called Mount Athos-Tyrnovo linguistic redaction of the Gospel.

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Prawosławna ludność Konina i okolic przed 1914 rokiem

Prawosławna ludność Konina i okolic przed 1914 rokiem

Author(s): Violetta Wiernicka / Language(s): Polish Issue: X/2023

The article defines the main stages of development of the Orthodox community of Konin and its vivinities. It presents the characteristics of the basic social and professional groups shaping the mosaic of this community. It emphasizes the role of the Orthodox Church in the life of Russian-speaking inhabitants and allows us to have a brief look at the development of Orthodox communities in other counties and governorates of the Kingdom of Poland.

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Руски триодни стихирар с краја XII века – рукопис Хиландар 307

Руски триодни стихирар с краја XII века – рукопис Хиландар 307

Author(s): Tatjana Subotin-Golubović / Language(s): Serbian Issue: 28/2020

MS Hilandar 307, a triodion sticherarion from the late 12th century, is one of the oldest Slavonic manuscripts kept at Hilandar. The manuscript has not survived in its entirety – it is missing the first part which contained stichera of the Lenten cycle; the extant part contains the pentecostarion cycle of stichera. It was written in the Russian recension. The manuscript has probably been kept at the monastery ever since its establishment and could have been even procured by St. Sava at the time of the formation of the monastery library. Its presence at the Serbian monastery confirms that there were no linguistic or practical liturgical obstacles to its use in religious services. Since the Serbian manuscript heritage does not include surviving sticheraria as a type of liturgical book, its content is highly interesting. This paper explores the interrelationship between the sticherarion and corresponding services in the oldest Serbian triodion, copied in the first half of the 13th century and now kept in the National Library of Russia in Saint Petersburg (F. п. I. 68). Two services were selected as examples – the service for the Mid-Pentecost (Midfeast) and the service to the Holy Fathers of the First Ecumenical Council. An initial careful comparison already revealed the appearance of different translations of the texts shared by both manuscripts. Also, it was found that only a part of stichera in the sticherarion appear in full triodion services, in which stichera make up just one segment of the service as a complex hymnographic ensemble.

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Песнопения в честь великомученика князя Лазаря Сербского в древнерусских нотированных рукописях

Песнопения в честь великомученика князя Лазаря Сербского в древнерусских нотированных рукописях

Author(s): Natalʹia Viktorovna Mosiagina / Language(s): Russian Issue: 28/2020

The manuscript containing the service of St. Lazar Hrebeljanović was presented to the Russian Tsar in 1550 by the abbot of the Hilandar monastery Paisius. We currently know only two manuscripts containing hymns to the Saint Lazar: RNB, Kir.-Bel. 586/843 (eighth decade of the 16th century) and RBB, f. 379 № 66 (mid17th century). The older source is more complete. It includes stichera of Small and Great Vespers (on Lord I have cried and aposticha), stichera at the Litya, stichera at the end of Psalm 50, aposticha of Matins, as well as exapostilarion and theotokion. In addition, there are indications that two canons have been performed (a total of 31 hymns). In the younger source the chanting repertoire is much smaller - there are only doxastika and , stichera at the end of Psalm 50 (a total of 6 songs). The doxastika presented in these manuscripts have different musical variants.

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Вјеронаучна искуства из угла православне вјеронауке

Вјеронаучна искуства из угла православне вјеронауке

Author(s): Vladimir Stupar / Language(s): Serbian Issue: 28/2023

The experiences of Orthodox religious education rest on the imperishable value of man as a personality and as God’s creature who has the gift of freedom but also a huge responsibility before God and people, both for his moral and spiritual life and for his social life. The Church, as a community of God and man, through its preaching and religious educational experiences, reveals that life with God in the innermost being of a person, though hidden from external view, is crucial for the proper development and perfection of a person. Shaping a person after God’s will and renewing the image of God in a person is the primary task of Orthodox religious education. Children, as future agents of social and moral development of not only Bosnia and Herzegovina but also of humankind as a whole, cannot properly understand the struggle taking place within their hearts and the community in which they live, from the family to the broader social community to which they belong. Means given by God and teachings in fasting, prayer, and love for God and neighbors are crucial for the proper development of human personality in all stages of development. Despite all the challenges of religious education in the educational systems in Bosnia and Herzegovina, religious education has not only survived but its true fruits will be a guarantee of good in the future.

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"DRUGI" U PRAVOSLAVNIM I KATOLIČKIM VJERONAUČNIM UDŽBENICIMA ZA OSNOVNE ŠKOLE U BIH

"DRUGI" U PRAVOSLAVNIM I KATOLIČKIM VJERONAUČNIM UDŽBENICIMA ZA OSNOVNE ŠKOLE U BIH

Author(s): Aid Smajić / Language(s): Bosnian Issue: 12/2008

Religious Education and Religious Education textbooks in public schools in Bosnia and Herzegovina can, surely, make great contribution to development of a real post-war multiethnic society in Bosnia and Herzegovina. The level of success depends on the way in which the teachers and respective Religious Education textbooks represent the members of other ethno-religious traditions in Bosnia and Herzegovina. Our analysis shows that the most attention to this problem is paid in the Catholic textbooks. At presentation of the “others” the textbooks usually avoid their personalisation, preferring presentation of their teachings and history from their own point of view. The use of descriptive principles as well as positive or negative evaluation of the “others” is greatly conditioned by the context. Nevertheless, it seams that historical context of the discussion greatly remain to be the main source of mythic prejudices in Orthodox religious instruction textbooks and negative stereotypes in the case of the Catholic ones.

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Српско црквено појање у служби националне идеологије

Српско црквено појање у служби националне идеологије

Author(s): Vesna Sara Peno,Ivana Vesić / Language(s): Serbian Issue: 20/2016

In this paper we investigate the process of the creation and embodiment of the concept of Serbian folk church chant throughout the 19th and the beginning of the 20th century among Serbian intellectuals and scholars. In order to indicate its main dimensions we focused on church music narratives of that time. Due to a detailed analysis of discussions and writings in periodicals as well as the published chant collections themselves, we were able to assess the dominant interpretations of the historical development of church singing in the Serbian Orthodox church. Looking closely at suppositions made about the origins and formation of church chants through the history of the Serbian church we could unveil their character e.g. whether they were the result of previously done research or were just a product of speculative thinking. In addition, we formed assumptions on the embeddedness of the concept of Serbian folk church chant in influential narratives on national identity and culture developed among the Serbian political and intellectual elite. The aim of our investigation was to show that the concept of Serbian folk church chant was not only determined by socio-political strivings in the Serbian state but that it was also a product of the wider political and cultural goals of the Serbian elite. Finally, we sought to suggest the important role played by 19th and early 20th century Serbian church music scholars in the process of imagining the Serbian nation.

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Писци и појци XIX века као чувари традиције српске црквене музике

Писци и појци XIX века као чувари традиције српске црквене музике

Author(s): Nataša Marjanović / Language(s): Serbian Issue: 16/2014

In this paper, parts of the memoir literary works from the second half of the nineteenth century are presented as important sources for the research of Serbian traditional church chant. The testimonies on church music from diaries, memoirs and autobiographical notes by famous Serbian writers, statesmen and politicians, namely Jovan Subotić, Jakov Ignjatović, Milan Savić, Milica Stojadinović Srpkinja, Todor Stefanović Vilovski, Vladimir Jovanović and Kosta Hristić, were analyzed. Those writings bring to light a time when church chant was appreciated as an important part of the spiritual, folk heritage and had an important role in everyday culture of Serbian people both in the Habsburg Monarchy and in the Principality and Kingdom of Serbia. The authors wrote about musical skills of chanters from clerical, church circles and about the practice of chanting among school teachers. They also described different kinds of musical performances of church chant among laymen and children. These sources testify to writers’ general and musical education and experiences, to their environment and its relation to the aesthetics of spiritual folk tradition. This paper also analyzes sources in the context of the history and theory of literature, having in mind the authors’ commentary techniques and narrative style. Those issues are discussed in relation to the poetics of romanticism, Biedermeier and realism in Serbian literature.

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DIN CULISELE ADOPTĂRII CONSTITUŢIEI DIN 1923. NEGOCIERILE REFERITOARE LA STATUTUL CONSTITUŢIONAL AL BISERICILOR ROMÂNEŞTI (ORTODOXĂ ŞI GRECO-CATOLICĂ)

DIN CULISELE ADOPTĂRII CONSTITUŢIEI DIN 1923. NEGOCIERILE REFERITOARE LA STATUTUL CONSTITUŢIONAL AL BISERICILOR ROMÂNEŞTI (ORTODOXĂ ŞI GRECO-CATOLICĂ)

Author(s): Lucian Turcu / Language(s): Romanian Issue: 5/2023

Our study highlights, based on published sources, the press, the general bibliography and specialized works, behind the scenes of the discussions, debates and negotiations between the representatives of the two Romanian confessions and the political decision-makers regarding the provisions of the 1923 Constitution regarding the Orthodox Church and the Greek-Catholic one.

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RELIGIJSKI ASPEKTI RATA U BIH (UZROCI I POSLJEDICE)

RELIGIJSKI ASPEKTI RATA U BIH (UZROCI I POSLJEDICE)

Author(s): Nedžad Grabus / Language(s): Bosnian Issue: 10/2005

The question of the role of religion causes large disagreement in the total analysis of war in Bosnia and Herzegovina. Many authors are inclined to connect the war in former Yugoslavia with vulgar reading out and glorification of the past of Balkan area and inexplicable pride which has been founded in ancient times. Following the pattern which was set by German sociologist Andreas Hasenclever it is possible to affirm that in the war in Bosnia and Herzegovina there was strong accent on the traditional understanding of religion since Serbian political and Oriental circles today's inhabitants of Bosnia and Herzegovina present as traitors Orthodox religion. On the basis of presented facts it is possible to confirm that the symbiosis was established between political and religious leadership of Serbs in Bosnia and Herzegovina during the war 1992-1995. There existed a strong connection SPC (Serbian Orthodox Church) from Bosnia and Herzegovina with SPC in Serbia and Montenegro, and also with Orthodox churches in Greece and Russia. The disturbing fact is that even after ten years from the genocide in Srebrenica the signs of remorse of representatives SPC can not be seen.

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О напеву у православном црквеном појању - прилог типологији црквених напева

О напеву у православном црквеном појању - прилог типологији црквених напева

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 3/2003

Many unresolved questions related to post-Byzantine church chanting present obstacles to understanding some aspects of church music since the 19th century. One of those problems concerns the need for strict definitions of criteria according to which a church melody is classified as "melos" (Serb., napev). In this article the actual classifications of new Greek and Serbian chants are given. The most important Greek theoretical sources (theoretikon) are taken into consideration, as well as writings in which Serbian theoreticians and chanters explain the classification of hymns in Serbian church singing. The terminology related to "melos" in Greek and Serbian church chanting practice is critically examined. Attention is also drawn to elements common to new Greek (neumatic) and Serbian (staff notation) "melos". This article is an introduction to more detailed research whose aim will be to establish similarities and distinctions between the two church singing traditions that have the same origins in Byzantine church music.

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Special melodic formulas in the Psalm cycles of the Vigil in Russian manuscripts of the 16th to 18th centuries

Author(s): Irina Starikova / Language(s): English Issue: 11/2011

This paper discusses the melodic formulas of psalmodic cycles of the Vigil in Russian manuscripts of the 16th to 18th centuries. It shows that some special formulas are used in the melos of the psalmody, along with the formulas of znamenny and putevoy chant. They are found in the eight-mode cycles, such as “Lord, I have cried” and “God is the Lord”, and in the cycles with one melodic model (according to the Jerusalem Typicon tradition; sometimes without indication of modes), such as the Polyeleos, the ainoi, or the first antiphon of the first kathisma and the seventeenth kathisma. Similarities between special formulas in various psalmodic cycles, including eight-mode and non-octomodal Psalms, suggest the presence of remnants of the archaic eight-mode psalmodic system in the cycles of the Vigil

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