The Molokans in Armenia

2007 ◽  
Vol 11 (1) ◽  
pp. 33-44
Author(s):  
Aram Haytian

AbstractThe Molokans are a Russian sectarian group formed in the 18th century. They reject the institute of Church and the church hierarchy. The members of this group refuse to worship icons and everything that is human-made, as well as the Cross as the instrument of murder. The real Christians, they believe, must worship only the living God and recognise the Bible as the Word of God. From the beginning of the 19th century, by the initiative of the Russian Orthodox Church, the Russian government started to relocate those who rejected the Orthodoxy, including the Molokans, to the remote areas of the Empire. In Transcaucasia the Molokans were allowed to settle in the provinces of Tiflis, Erivan (Yerevan), Elizavetopol, and Baku. For the time being, most of the Molokans living in Armenia retain the communal mentality, that has allowed them for nearly two centuries to preserve their cultural and religious identity and traditions. On the other hand, individual cases of active integration have always resulted in a departure from sectarianism, which does not necessarily cause the loss of self-awareness. The article gives a detailed description of the history of the Molokan colonies in Armenia.

2017 ◽  
Vol 4 (1) ◽  
pp. 9
Author(s):  
Dubravka Božić Bogović

Based on the data from canonical visitations to the dioceses in the territory of Syrmia in the 18th century and the first half of the 19th century, this paper analyses the determinants of the religious life of Catholics with a view to describing the basic characteristics of everyday religious life. The analysis and interpretation focus on determining the degree of acceptance of church regulations concerning cult and service issues, on religious practice, forms of popular piety, believers’ morality and behaviour, as well as religious disciplining and conformism. It determines the relation between the Catholic and other religious communities, particularly in the context of religious identity building. The paper also estimates the value of canonical visitations as a source for the history of everyday religious life.


2017 ◽  
pp. 651-664
Author(s):  
Vesna Peno ◽  
Ivana Vesic

Shaped in complex social circumstances and in accordance with the postulates of baroque historicism, Serbian ecclesial art has expressed clear tendency toward nationalization of Serbian religious identity during the 18th century. Due to general musical illiteracy of the clerics, the real conditions for the development of chanting art in Serbian Church were nonexistent. However, by the end of 18th and at the beginning of the 19th century the myth of authentic Serbian national Church singing, being the result of special ?Serbian folk piety?, was established. The construction of Serbian Church chanting tradition was primarily initialized by the growing distance from Greek psalmody in Serbian worship. In other words, because there was no historically relevant form of singing, the ancient singing of Fruska Gora and Krusedol, i.e. the singing of Karlovci, had to be constructed as an antithesis to Byzantine- Greek musical tradition. By comparing historical facts and critically reading the narrative of the origins of national Church music in the time of Metropolitan Stefan Stratimirovic of Karlovci, a new interpretation of common stereotype about Serbian musical reform and its main protagonists was produced. This paper offers an original analysis of the origin of: 1) the singing of Fruska Gora, in the context of the belief that Fruska Gora, with its monasteries which preserved the memory of the golden age of Serbian history, are sacred spaces - Serbian Mount Athos; as well as 2) the singing of Karlovci, where was the centre of Metropolitanate of Karlovci and first Ecclesiastical Seminary which was connected the ungrounded belief that it was nursery of a magnificent form of church chanting by the end of the 18th and the beginning of the 19th century. This paper, also for the first time, pointed the relationship between the monasteries of Fruska Gora, as Serbian sacred spaces of great importance for national identity, and their abbots Dimitrije Krestic, Dionisije Cupic and Jerotej Mutibaric, who were, according to oral tradition, the creators of singing of Karlovci. The adequate music and historical sources that would offer us an insight into the process of musical reform that was conducted by them do not exist, but their contributions in constituting national self-awareness and ?Serbian piety? are well known and documented. In conclusion, by the end of the 18th and the beginning of 19th century, but also during the entire century of ?nationalism(s)?, the prayers in Serbian Church were chanted for the glory of God, although with a clear tendency to emancipate a new religious identity of Serbian people. However, the catholic ecclesial spirit of Tradition was repressed in order to fulfill the goals of ideology of religious nationalism.


2019 ◽  
Author(s):  
N.S. Kanatyeva

В статье утверждается тезис о постепенной маргинализации старообрядчества русского религиозного течения, возникшего после церковных реформ 1653-1667 гг., называемых расколом. Одной из главнейших проблем, возникших у старообрядцев, было прерывание трёхчинной иерархии и, как следствие, отсутствие легитимного священства. Попытки восстановить иерархию различными путями осуществлялись вплоть до 1846 г., когда к старообрядчеству согласился присоединиться боснийский митрополит Амвросий. О некоторых обстоятельствах этого присоединения рассказано в статье. В ней также доказывается, что большинство в старообрядчестве не признало легитимность присоединения Амвросия (по нескольким причинам), и делается вывод о том, что, стремясь к восстановлению нормальной церковной жизни, старообрядцы принимали решения и совершали поступки, демонстрирующие нарастающую маргинализацию древлеправославного сообщества и усугубляющие противоречия внутри него.The Raskol (split) of the Russian Orthodox Church in 1653-1667, initiated by Tsar Aleksey Mikhailovich and realised by Patriarch Nikon, went on for 250 years until Nicholas II signed a decree On Tolerance Development on 17 April 1905. Over those years, the Old Believers had come a hard way. Since the beginning of the Raskol, the Old Believers Community had not been unified, which caused the marginalisation of those, who did not accept Nikons reforms. The key problem of the Old Believers was a lack of a legitimised priesthood. Pavel, bishop of Kolomna and Kashira, was the last bishop ordained before Nikons reforms and the only one who had not accepted the novelties. After his death in 1656, the Old Believers found themselves without a full three-pronged hierarchy. There was no one to ordain a new priesthood. Thus, since the beginning of the Raskol, the Old Believers had been seeking bishops who were ready to turn to Old Belief. Some of their attempts, made in the 18th century, failed. First Old Believers had to content with palliative measures. They managed to draw over priests and deacons in a variety of ways. However, not all Old Believers supported such a way of the priesthood formation. And soon a new split followed among Old Belief adepts: a new broad creed appeared, Popovtsy or Beglopopovtsy and a part of the community that did not accept such a priesthood, Bezpopovtsy. This way of acquiring the hierarchy was not approved by the authorities. In 1822 and in the 1830s-1840s, Alexander I and Nicholas I took measures to destroy the fleeing priesthood of Old Believers. At the Moscow Assembly of the Popovtsy, a decision was made to create a bishop diocese abroad. In 1846, Ambrose, metropolitan of Bosnia, became an Old Believer, and a hierarchy of Austria or Belaya Krinitsa was introduced the latter was a town belonging to Ausria-Hungary. Ambroses conversion to Old Belief occurred amid unsavory circumstances. There were rumours on his covetousness: as if the metropolitan made his decision after he had been paid. The amount mentioned was 500 chervontsy of Austrian gold. However, despite most of the Old Believers doubts and protests, including those of respected figures from the Old Believers clergy and clergy centres representatives, Ambrose was converted. In 1865, several high-rank clergymen from the Metropolis of Belaya Krinitsa became Orthodox, and handled the archive of the Monastery of Belaya Krinitsa to Professor Subbotin, a missioner, a theorist of the Russian Orthodox Church. The documents were about the establishment of the Belaya Krinitsa priesthood. On the basis of the documents, Subbotin published A History of the Belaya Krinitsa Priesthood in 1874. The Metropolitans conversion reflects the Old Believers marginalisation in the 19th century. The thirst for normal church life had led the supporters of Old Belief to marginal ways of priesthood formation.


1989 ◽  
Vol 6 (2) ◽  
pp. 319-328
Author(s):  
Salahudeen Yusuf

The history of Islam in part of what is known today as Nigeria datesto about the loth Century. Christianity dates to the late 18th Century. Bythe middle of the 19th Century, when Nigerian newspapers began to appearon the streets of Nigeria, both religions had won so many followers and extendedto so many places in Nigeria that very few areas were untouched bytheir influence. The impact of both religions on their adherents not only determinedtheir spiritual life, but influenced their social and political lives aswell. It therefore became inevitable that both religions receive coverage frommost of the newspapers of the time. How the newspapers as media of informationand communication reported issues about the two religions is thetheme of this paper.Rationale for the StudyThe purpose of this study is to highlight the context in which such earlynewspapers operated and the factors that dictated their performance. Thisis because it is assumed that when a society faces external threat to its territory,culture, and independence, all hands (the press inclusive) ought tobe on deck to resist the threat with all might. Were newspapers used as verbalartillery and how did they present each religion? It is also assumed thatin a multireligious society a true press should be objective and serve as avanguard in the promotion of the interest of the people in general and notcreate or foster an atmosphere of religious conflict. The study also aims atfinding out whether the papers promoted intellectual honesty and fosteredthe spirit of unity particularly when the society was faced with the encroachmentof the British who posed a threat to their freedom, culture, economy ...


2007 ◽  
Vol 31 (3) ◽  
pp. 140-148
Author(s):  
Jurgis Bučas

The Curonian Spit was inhabited six thousand years ago. During this period its survival was menaced by natural forces. The 17th–18th centuries faced unreasonable deforestation of the Curonian Spit and opened its dunes to wind erosion. In the 18th century 14 settlements were hid under moving sand. The Spit survival was in danger of being flown under the Curonian Lagoon waters. At the begining of the 19th century radical actions were taken to save the Curonian Spit damaged by wind erosion. Tremendous ecological awareness of some natural powers as wind and flora helped man to create a landscape which was described at UNESCO General Conference as a worldwide worth cultural heritage and enrolled in the World Heritage List as a cultural landscape of universal worth illustrating the history of dramatic coexistence of nature and man. The paper describes the Curonian Spit as a cultural landscape, its historical formation and present managment, discusses its creation and management traditions and evaluates them while preparing the Curonian Spit National Park managment plan as well as the Master Plan of Neringa city. Gamtosauginė direktyva ar kraštotvarkinės tradicijos ? Santrauka Kuršių nerijoje žmonės įsikūrė ketvirtajame tūkstantmetyje prieš Kristų. Visą istorinį laikotarpį pusiasaliui grėsmę kėlė gamtos jėgos. XVI-XVIII a. neapgalvotas nerijos miškų naikinimas atidengė pusiasalio smėlynus vėjo erozijai. XVIII a. smėliu užpustyta 14 gyvenviečių. Kilo grėsmė, kad ir pats pusiasalis bus nupustytas į Kuršių marias. Pasitinkant XIX a., imtasi radikalių priemonių gelbėti vėjo erozijos naikinamą Kuršių neriją. Su didžiule ekologine išmintimi panaudodamas pačios gamtos jėgą (vėją) ir medžiagą (augalus), per XIX a. supustyto jūros smėlio kopose žmogus sukūrė kraštovaizdį, kuris UNESCO Generalinės konferencijos buvo įvardytas pasaulio reikšmės nekilnojamojo kultūros paveldo vertybe ir įrašytas į Pasaulio paveldo sąrašą kaip universalios reikšmės kultūrinis kraštovaizdis, iliustruojantis gamtos ir žmogaus dramatiško sambūvio istoriją. Nagrinėjama Kuršių nerijos kultūrinio kraštovaizdžio istorinio formavimo ir dabartinio jo tvarkymo veikla, aptariamos jo kūrimo bei priežiūros tradicijos ir kaip jos vertinimos rengiant Kuršių nerijos nacionalinio parko tvarkymo planą bei Neringos miesto savivaldybės bendrąjį planą.


Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.


Diacronia ◽  
2018 ◽  
Author(s):  
Gheorghe Chivu

The history of the verbal forms sum and sunt, introduced into the literary writing by the Transylvanian Latinist School, reveals a winding process in the elaboration of certain cultured norms proper to the modern literary Romanian. Not at all linear, this process was concurrently influenced by two, often divergent, tendencies that were active from the end of the 18th century up to the beginning of the 20th century: the use of some cultured forms, borrowed from Latin or created according to Latin patterns; and the revitalization of certain linguistic forms with regional diffusion. Initially proposed as literary pronunciations, the two verbal forms were soon adopted and used as etymological graphic forms that corresponded to sîm and suntu from certain conservative patois. During the second half of the 19th century (sum), and during the first decades of the 20th century (sunt), the two graphic forms became orthoepic norms as well, due to the phonological tradition of the Romanian writing.


2021 ◽  
pp. 946-952
Author(s):  
Z. P. Inozemtseva ◽  

The peer-reviewed monographic study by Archimandrite Damaskin (Orlovsky), dedicated to the little-studied problem of the missionary activity of the Russian Orthodox Church and the policy of the Russian government towards the Christian part of the Syrian people, has been carried out on the basis of a vast array of archival primary sources, many of which have been thus introduced into scientific use. It is noted that the peer-reviewed work is one of the first, where the author, acting simultaneously as historian and as agiator, recreates the historical canvas of the saint’s life on the basis of a comprehensive study of archival sources, including documented testimonies of persons who were canonized, but whose names and works were crossed out from the official historiography. The review shows that the historical and agiographic context of the author's study has allowed him to quickly and comprehensively recreate historical facts and events, fates of individuals and to reveal their morality. The reviewer appreciates the historical significance of the book's materials, believing that they deserve the closest attention of historians, foreign policy specialists, political scientists, clergy, scholars in historical psychology. The book will be of interest to teachers and students studying the history of religions and of the Russian Orthodox Church.


2021 ◽  
Vol 7 (1) ◽  
pp. 1-20
Author(s):  
Sarali Gintsburg ◽  
Luis Galván Moreno ◽  
Ruth Finnegan

Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society at the University of Navarra. In this trialogue-like interview, Ruth tells about the childhood experiences that were decisive for her interest in orality and storytelling, about her education and training as a Classicist in Oxford, the beginnings of her fieldwork in Africa among the Limba of Sierra Leone, and her recent activity as a novelist. She stresses the importance of voice, of its physical, bodily dimensions, its pitch and cadence; and then affirms the essential role of audience in communication. The discussion then touches upon several features of African languages, classical Arabic and Greek, and authoritative texts of Western culture, from Homer and the Bible to the 19th century novel. Through discussing her childhood memories, her assessment of the development and challenges of anthropology, and her views on the digital transformation of the world, Ruth concludes that the notion of narrative, communication, and multimodality are inseparably linked.


2020 ◽  
pp. 126-136
Author(s):  
Константин Рева

В настоящей статье предпринята попытка рассмотреть влияние Придворной певческой капеллы на развитие богослужебной практики Русской Православной Церкви в Синодальный период. После церковного раскола XVII в. продолжающееся развитие богослужебной практики не находило отражения в корпусе богослужебных книг. В XVII в. в Русской Церкви было два практически равновеликих по значению образцовых столичных хора: хор патриарших певчих дьяков и хор государевых певчих дьяков. С упразднением патриаршества и переносом столицы в Санкт¬-Петербург в Синодальный период истории Русской Православной Церкви Придворная певческая капелла стала главным церковным хоровым коллективом, основной обязанностью которого было пение за богослужением в придворных церквях. В XIX в. Придворная певческая капелла была на делена особыми административными правами в церковно-¬певческой сфере, связанны ми с цензурой церковно-¬певческих произведений и подготовкой церковных регентов. Исключительные права по изданию церковно¬-певческих книг в Русской Православной Церкви, закрепленные Святейшим Синодом за Придворной певческой капеллой, стали причиной широкого распространения литургических особенностей богослужения придворных церквей в Российской империи. Практика обязательной аттестации церковных регентов Придворной певческой капеллой усилила распространение не только её церковно-¬музыкальной традиции, но и придворного литургического порядка, что оказало существенное влияние на практику совершения кафедрального и приходского богослужения. Изучение богослужебной практики Русской Православной Церкви в XVIII-XX вв. немыслимо без учёта деятельности и наследия Придворной певческой капеллы. This article attempts to consider the influence of the Court Singing Chapel on the development of divine practice of the Russian Orthodox Church during the synodal period. After the Church split of the 17th century, the continuing development of liturgical practice was not re flected in the corpus of liturgical books. In the XVII century the Russian Church had two almost equal in importance exemplary Metropolitan choirs: the choir of Patriarchal singing deacons and the choir of sovereign singing deacons. With the abolition of the Patriarchate and the transfer of the capital to Saint Petersburg during the Synodal period of the history of the Russian Orthodox Church, the Court singing Capella became the main Church choral group, whose main duty was to sing at divine services in the court churches. In the 19th century, the Court singing chapel was giv en special administrative rights in the Church singing sphere related to the censorship of Church singing works and the training of Church Regents. The exclusive rights to publish Church sing ing books in the Russian Orthodox Church, which were assigned by the Holy Synod to the Court singing chapel, caused a wide spread of liturgical features of the service of court churches in the Russian Empire. The practice of mandatory certification of Church Regents by the Court singingchapel has increased the spread of not only its Church music tradition, but also the court liturgical order, which has had a significant impact on the practice of performing Cathedral and parish ser vices. The study of the liturgical practice of the Russian Orthodox Church in the XVIII-XX centuries is unthinkable without taking into account the activities and heritage of the court singing chapel.


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