scholarly journals Etymological dictionaries about the sources of church Slavonic vocabulary

2021 ◽  
Vol 29 (1) ◽  
pp. 40-43
Author(s):  
Tatiana Novikova
Keyword(s):  
Comprehensive Analysis ◽  
Organic Component ◽  
Literary Language ◽  
Ancient Greek ◽  
Scientific Methods ◽  
Cultural Aspects ◽  
Modern Greek ◽  
Slavonic Language ◽  
First Time ◽  
The Church

The article analyses the Church Slavonic vocabulary, which in the Ukrainian language, according to etymological dictionaries, were gone in different ways: 1) directly from the Church Slavonic language or through the literary language of the period of Kievan Rus; 2) from the Church Slavonic language through other languages: Russian, Czech or Slovak; 3) from the Church Slavonic language by the method of tracing; 4) from other languages through Church Slavonic mediation: from Ancient Greek, from Middle Greek, from Modern Greek, from Latin, from Turkic, from Hebrew, from German. The relevance of the article is determined by the need of a comprehensive analysis of Church Slavonic, which is an organic component of the Ukrainian language. The urgency of this issue in modern Ukrainian linguistics is due not only to its insufficient coverage and a certain fragmentation of the results, but also to the fact that in addition to linguistic and historical and cultural aspects, it has a certain rehabilitation orientation. The following scientific methods were used in the study: descriptive, comparative, statistical. The scientific novelty of the work is that for the first time the linguistic and extralinguistic factors of the appearance of Church Slavonic borrowings in the modern Ukrainian language, the main ways of entry of Church Slavonic into the Ukrainian language are systematically described. The results of the work show that discussions on the emergence of Church Slavonic in the Ukrainian language continue among industry experts and linguists.

Кирилична частина Реймського Євангелія – важлива пам’ятка давньоруськоукраїнської книжної писемності

2021 ◽  
Vol 65 (1) ◽  
pp. 115-128
Keyword(s):  
Original Writings ◽  
Linguistic Features ◽  
Slavonic Language ◽  
King Of France ◽  
First Time ◽  
The Church ◽  
Slavic Studies

У статті проаналізовані орфографічні та мовні особливості кириличної частини Реймського Єван- гелія. На сьогодні досліджувана пам’ятка у славістиці дискусійна, остаточно не розв’язане питання ні про місце і час її створення, ні про писця. Думки дослідників з цього приводу надто різняться: одні вчені вважають, що книгу привезла до Франції донька українського князя Ярослава Мудрого Анна, вийшовши заміж за французького короля Генріха І; інші це заперечують, і пов’язують її ство- рення з ім’ям святого Прокопія з Чехії, який, згідно із вкладним записом, написаним наприкінці глаголичної частини, написав це Євангеліє. Існує також гіпотеза про сербське походження книги.Ми проаналізували різні гіпотези від початків наукового вивчення Реймського Євангелія (В. Ган- ка, О. Соболевський, Л. Леже та ін.), до подальших (Ю. Шевельов, П. Курінний, Л. Жуковська, I. Тот та ін.) та останніх (Є. Луняк, В. Александрович, Т. Миронова, Е. Біккініна та ін.) студій. Урахували й критично осмислили висновки дослідників, які в різні роки вивчали палеографічні, графічні та орфографічні та мовні характеристики рукопису. Уперше в славістиці звернено увагу на порівняння аналізованого Євангелія з орфографічно-лінгвістичними особливостями пам’яток київської писем- ної школи та виявленими в тексті властиво українськими діалектними особливостями.Зроблено висновок, що згадувані в Реймському Євангелії діалектні особливості мають відповід- ність у точно локалізованих та датованих київських пам’ятках другої частини ХІ століття. Не дає підстав вивести книгу за межі ХІ ст. й орфографія рукопису, а порівняння з орфографічними особ- ливостями точно датованих та локалізованих Остромирового Євангелія, Ізборників Святослава, Архангельського Євангелія навпаки дає багато підстав для узагальнення про раніший час створен- ня Реймського Євангелія від названих пам’яток, оскільки явно виділяється низкою оригінальних написань: одноєровість, закінчення рядків на голосний та приголосний, майже цілковита відсут- ність йотованих, характерне уживання діакритичних знаків. Пам’ятка творена в час, коли устале- ної давньоруської редакції церковнослов’янської мови ще не було. Писець, вочевидь, сам творив руський писемний узус і вводив перші орфографічні руські писемні особливості. Писцем рукопису був русин, найімовірніше, киянин.The present paper analyzes the orthographic and linguistic features of the Cyrillic part of the Reims Gospel. Today, this monument is controversial in Slavic studies: the problems of the place and time of its creation and the questions about its writer have not been finally resolved yet. The opinions of researchers on this subject are very different: some scholars believe that book was brought to France by the daughter of Ukrainian Prince Yaroslav the Wise, Anne, who married the King of France Henry I. Others deny this idea and associate its creation with the name of St. Procopius from Bohemia, who allegedly wrote this Gospel, according to the appendix placed at the end of the Glagolitic part. There is also a hypothesis about the Serbian origin of the book.We analyzed various hypotheses, starting from the early studies of the Reims Gospel (V. Hanka, O. Sobolevsky, L. Leger, etc.), to subsequent ones (Yu. Shevelyov, P. Kurinny, L. Zhukovskaya, I. Tóth, etc.) and recent studies (E. Lunyak, V. Alexandrovich, T. Mironova, E. Bikkinina, G. Prikhodko, M. Fougeron, etc.). The conclusions of researchers who studied the palaeographic, graphic, orthographic, and linguistic characteristics of the manuscript in different years were taken into account and critically comprehended. For the first time in Slavic studies, attention was paid to the comparison of the analyzed Gospel with the orthographic and linguistic features of the monuments of the Kyiv written school and the Ukrainian dialectal features.It is concluded that the dialectal features observed in the Reims Gospel correspond to accurately dated and localized Kyiv monuments of the second part of the 11th century. The orthography of the manuscript does not make it possible to take the book outside the 11th century. A comparison with orthographic features of Ostromir Gospel, Svyatoslav’s Collected Works, and Archangel’s Gospel gives many grounds for generalization about the earlier time of creation of the Reims Gospel. It is clearly distinguished from the above-mentioned monuments by a number of original writings: singularity, the ending of lines on vowels and consonants, almost complete absence of iotated, the characteristic use of diacritical marks, etc. The monument was created at a time when there was no established Old Ruthenian edition of the Church Slavonic language. Apparently, the writer created the Ruthenian written usus by himself and introduced the first Russian orthographic features. The writer of the manuscript was a Ruthenian, most likely a Kyivan.

scholarly journals Li Qingzhao and A. P. Bunina: difficult fates of women’s poetry

Litera ◽  
2021 ◽  
pp. 81-96
Author(s):  
Heng Xing Gong
Keyword(s):  
Family Life ◽  
Women's Literature ◽  
Literary Language ◽  
Public Attention ◽  
Ancient Greek ◽  
Women's Poetry ◽  
Patriarchal Family ◽  
Creative Self ◽  
First Time ◽  
High Social Status

Despite the fact that Li Qingzhao and Anna Petrovna Bunina were bound by neither geographical affiliation or time, their contemporaries called them the Chinese and Russian Sappho. This is substantiated by the consonance of their poems with the lyrics of the Ancient Greek poetess, sensuality of their poems, as well as their independent position atypical for the women of their eras. This article draws parallels between the biographies of the two prominent poetesses, each of whom is considered the founder of women's poetry in their homeland. Although both poetesses are widely known and considered the pioneers of women's literature, their works are compared virtually for the first time. Besides the high social status and good education, the poetesses are interrelated by the fact that their fates transgressed the traditional canon of women's behavior: instead of patriarchal family life, they have chosen creative self-realization. The uniqueness of their position, which placed them in the focus of public attention, and in a way made them pariahs, on the other hand gave them the freedom in choosing problematic and literary language. This allowed them to become the founders of women's poetry and develop their own literary style. Namely this circumstance typologically apposes the works of the two poetesses, which are eight centuries apart from each other. The theme of their poetry is remarkably similar; however, the imagery differs significantly, since it is justified by the literary tradition of their country.

scholarly journals The Serbian Redaction of the Church Slavonic Language: From St. Clement, the Bishop of the Slavs, to St. Sava, the Serbian Archbishop

Slovene ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 231-339 ◽  
Author(s):  
Viktor Savić
Keyword(s):  
Middle Ages ◽  
Specific Information ◽  
Literary Language ◽  
Cultural Centers ◽  
The Third ◽  
Relative Chronology ◽  
Slavonic Language ◽  
Close Relationship ◽  
Developmental Dynamics ◽  
The Church

The paper seeks to outline the overall framework for the reception of St. Clement’s tradition in Slavic literacy in northern, Serb-populated areas; the paper also analyzes major Serbian literary monuments, both Glagolitic and Cyrillic, which may be brought into a close relationship with the literacy tradition of St. Clement. They are presented individually, also taking into account an earlier linguistic background from which they stemmed. These older linguistic traits which are Old Slavonic as well as some later characteristics are generally possible to arrange in an ideal chronological sequence. This makes it possible to suggest a relative chronology of the formation of some Serbian literary monuments. There are also some local linguistic traits and other parameters that allow one to date Serbian literary monuments more precisely and, sometimes, even to delimit their territory of origin. This series begins with the Codex Marianus and continues with Miroslav’s Gospel, the Mihanović Fragment, the Gršković Fragment, Bratko’s Menaion, the Jerusalem Palimpsest, and the Belgrade Prophetologion, ending with the Serbian Prophetologion from St. Petersburg and Kiev. One must keep in mind that the Serbian language, which underlies the spoken background of the Serbian redaction of the Church Slavonic language, was, shortly after its formation (up to the end of the 11th century), still dialectically undiversified (regardless of the potentially heterogeneous situation before the 9th century); thus, based on the current body of knowledge, it is not possible to identify dialectical traits that would provide more specific information about individual writings. However, traces of the general logic of the developmental dynamics of the folk language can be identified in the language of the only 11th-century source presented in this paper: the Codex Marianus. This literary monument is temporally and spatially located in the third quarter of the 11th century and the southeastern boundary of Raška (roughly in Poibarje), near the fortress of Zvečan and the early medieval settlement of Čečan. Miroslav’s Gospel is dated to the period between 1161 and 1170 (ca. 1165) and is linguistically associated with the territory of the Bishopric of Raška because its scribes were the bearers of a dialect typical of this region: the manuscript either originates from Raška or it was written by Rascian scribes in some other area. Based on a rather large number of literary monuments, it is possible to get insight into the third stage in the life of this form of literacy in Polimlje, where the hereditary estates of the Nemanjićs and their relatives were located. From the early Middle Ages this area witnessed lively ecclesiastical activities, though they were based on the Roman Rite. One of the cultural centers must have been located around the trefoil church of St. John at Zaton (9th–11th centuries). In this wider area, a more conservative Serbian literary tradition, which can be traced in the Mihanović Fragment, could have persisted slightly longer. The Mihanović Fragment was the purest representative of the Serbian redaction, without secondary shadings typical of the innovative southern Slavic areas in the 11th century (with the mildest divergence from the vernacular variety when pronouncing the literary language), and it was still based on the linguistic background shaped by St. Clement. The linguistic picture of this literary monument indicates that it could have originated from an area where an ancient linguistic redaction dating back to the early 10th century, or perhaps an even older variety of a literary language from the 9th century (associated with the Roman Rite) combined with a later South Slavic layer of undetermined age (10th–11th centuries), persisted.

The Bible in the spiritual culture of Kievan Rus

1998 ◽  
pp. 46-52
Author(s):  
S. V. Rabotkina
Keyword(s):  
Full Text ◽  
Spiritual Life ◽  
The Bible ◽  
Spiritual Culture ◽  
Slavonic Language ◽  
Long Time ◽  
The Church

A huge place in the spiritual life of medieval Rusich was occupied by the Bible, although for a long time Kievan Rus did not know it fully. The full text of the Holy Scriptures appears in the Church Slavonic language not earlier than 1499.

The Theological Dialogue Between the Orthodox and the Non-Chalcedonians (Past - Present - Future): An Athonite Critique. Part 1: Prologue. Introduction, ch. 1, nn. 1-3

2019 ◽  
pp. 109-144
Author(s):  
Михаил Андреевич Вишняк
Keyword(s):  
Orthodox Church ◽  
Modern Greek ◽  
History Of ◽  
The Church

Вниманию русскоязычного читателя предлагается первая часть перевода с новогреческого на русский язык книги Ὁ Θεολογικός Διάλογος Ὀρθοδόξων καί Ἀντιχαλκηδονίων (παρελθόν - παρόν - μέλλον): Μία ἁγιορειτική συμβολή. Ἅγιον Ὄρος: Ἱερά Μονή Ὁσίου Γρηγορίου, 2018 (841 σ.). Это издание посвящено богословскому диалогу между Православной Церковью и антихалкидонитами и включает в себя все тексты соответствующей тематики, составленные на Святой Горе Афон в период 1991-2015 гг. Настоящая публикация включает перевод предисловия архим. Христофора, игумена монастыря Григориат, и части введения (гл. 1, пп. 1-3). Перевод снабжён также предисловием переводчика, в котором кратко изложена история богословского диалога, цель издания и его перевода на русский язык, которая заключается в содействии плодотворному и согласному со Священным Преданием воссоединению антихалкидонитов с Церковью. The Russian-speaking reader is presented with the first part of the translation into Russian from the modern Greek of the book Ὁ Θεολογικός Διάλογος Ὀρθοδόξων καί Ἀντιχαλκηδονίων (παρελθόν - παρόν - μέλλον): Μία ἁγιορειτική συμβολή. Ἅγιον Ὄρος: Ἱερά Μονή Ὁσίου Γρηγορίου, 2018 (841 p.). This edition is devoted to the Theological Dialogue between the Orthodox Church and the non-Chalcedonians and includes all texts of the relevant topics, published on the Holy Mount Athos in the period 1991-2015. This publication includes a translation of the Prologue of archim. Christophoros, the abbot of the monastery of St. Gregory, and of a part of the Introduction (Chapter 1, paragraphs 1-3). The translation is also provided with a preface of the translator, which summarizes the history of the Theological Dialogue, the purpose of the publication and its translation into Russian, which is to contribute to the fruitful and consistent with the Holy Tradition reunification of the non-Chalcedonians with the Church.

Битвазапрошлое:храмсвятогоГеоргия вИзраавэпицентре церковно-политическойборьбыконцаXIXв.

2019 ◽  
pp. 256-281
Author(s):  
E.M. Kopot`
Keyword(s):  
Middle East ◽  
Ottoman Empire ◽  
19Th Century ◽  
Russian Empire ◽  
Foreign Affairs ◽  
Late 19Th Century ◽  
History Of ◽  
The Russian Empire ◽  
First Time ◽  
The Church

The article brings up an obscure episode in the rivalry of the Orthodox and Melkite communities in Syria in the late 19th century. In order to strengthen their superiority over the Orthodox, the Uniates attempted to seize the church of St. George in Izraa, one of the oldest Christian temples in the region. To the Orthodox community it presented a threat coming from a wealthier enemy backed up by the See of Rome and the French embassy. The only ally the Antioch Patriarchate could lean on for support in the fight for its identity was the Russian Empire, a traditional protector of the Orthodox Arabs in the Middle East. The documents from the Foreign Affairs Archive of the Russian Empire, introduced to the scientific usage for the first time, present a unique opportunity to delve into the history of this conflict involving the higher officials of the Ottoman Empire as well as the Russian embassy in ConstantinopleВ статье рассматривается малоизвестный эпизод соперничества православной и Мелкитской общин в Сирии в конце XIX века. Чтобы укрепить свое превосходство над православными, униаты предприняли попытку захватить церковь Святого Георгия в Израа, один из старейших христианских храмов в регионе. Для православной общины он представлял угрозу, исходящую от более богатого врага, поддерживаемого Римским престолом и французским посольством. Единственным союзником, на которого Антиохийский патриархат мог опереться в борьбе за свою идентичность, была Российская Империя, традиционный защитник православных арабов на Ближнем Востоке. Документы из архива иностранных дел Российской Империи, введены в научный оборот впервые, уникальная возможность углубиться в историю этого конфликта с участием высших должностных лиц в Османской империи, а также российского посольства в Константинополе.

Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century

2019 ◽  
pp. 73-88
Author(s):  
Mariia Helytovych
Keyword(s):  
Virgin Mary ◽  
Xvii Century ◽  
Blessed Virgin Mary ◽  
History Of ◽  
First Time ◽  
The Church

The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century

Christian Radicalism in the Church of England and the Invention of the British Sixties, 1957-1970

2018 ◽  
Author(s):  
Sam Brewitt-Taylor
Keyword(s):  
Cold War ◽  
Soviet Union ◽  
Church Of England ◽  
Social Revolution ◽  
The Soviet Union ◽  
Moral Arguments ◽  
Cultural Origins ◽  
The Cold War ◽  
First Time ◽  
The Church

Like all transformative revolutions, Britain’s Sixties was an episode of highly influential myth-making. This book delves behind the mythology of inexorable ‘secularization’ to recover, for the first time, the cultural origins of Britain’s moral revolution. In a radical departure from conventional teleologies, it argues that British secularity is a specific cultural invention of the late 1950s and early 1960s, which was introduced most influentially by radical utopian Christians during this most desperate episode of the Cold War. In the 1950s, Britain’s predominantly Christian moral culture had marginalized ‘secular’ moral arguments by arguing that they created societies like the Soviet Union; but the rapid acceptance of ‘secularization’ teleologies in the early 1960s abruptly normalized ‘secular’ attitudes and behaviours, thus prompting the slow social revolution that unfolded during the 1970s, 1980s, and 1990s. By tracing the evolving thought of radical Anglicans—uniquely positioned in the late 1950s and early 1960s as simultaneously moral radicals and authoritative moral insiders—this book reveals crucial and unexpected intellectual links between radical Christianity and the wider invention of Britain’s new secular morality, in areas as diverse as globalism, anti-authoritarianism, sexual liberation, and revolutionary egalitarianism. From the mid-1960s, British secularity began to be developed by a much wider range of groups, and radical Anglicans faded into the cultural background. Yet by disseminating the deeply ideological metanarrative of ‘secularization’ in the early 1960s, and by influentially discussing its implications, they had made crucial contributions to the nature and existence of Britain’s secular revolution.

La part d’Henri Weil dans l’édition du De la musique attribué à Plutarque (Paris, E. Leroux, 1900)

2017 ◽  
Vol 5 (2) ◽  
pp. 233-265
Author(s):  
Laurent Calvié
Keyword(s):  
Original Condition ◽  
Ancient Greek ◽  
Close Collaboration ◽  
First Time ◽  
Ancient Texts

The Weil-Reinach edition of the De musica attributed to Plutarch is the result of a close collaboration of two among the best philologists and specialists of ancient Greek music active in France between the 19th and the 20th centuries : H. Weil and his pupil Th. Reinach. The latter (who personally provided the collation of the manuscripts, some of the exegetical notes and the index) put together the material, but it was Weil who should be regarded as primarily responsible for the work, whose overall organization and component parts are perfectly consistent with the principles and methods that he had already applied to his previous editions : the subordination of the criticism of the texts, founded on the recension of manuscripts, to their history and interpretation. The interventionism typical of this publication derives from the extremely ambitious target that Weil imposed on all his ecdotic works : the reconstruction not of the corrupt archetype of the extant Byzantine and Humanist manuscripts, but of the original condition of the ancient texts. Viewed in this light, the Weil-Reinach edition of the De musica is a treasure of erudition and intelligence, in which the textual problems of a text, which had been deeply altered since antiquity, are raised for the first time.

scholarly journals Bodies Out of Time: Sculpting Queer Poetics and Queering Classical Sculpture in the Poetry of C. P. Cavafy

2021 ◽  
Author(s):  
J. L. Watson
Keyword(s):  
Raw Material ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Modern Greek ◽  
The Past ◽  
Greek World

AbstractTwo major themes dominate the poetry of the Alexandrian poet, C. P. Cavafy: homosexual desire and Greekness, broadly defined. This paper explores the interconnectivity of these motifs, showing how Cavafy’s poetic queerness is expressed through his relationship with the ancient Greek world, especially Hellenistic Alexandria. I focus on Cavafy’s incorporation of ancient sculpture into his poetry and the ways that sculpture, for Cavafy, is a vehicle for expressing forbidden desires in an acceptable way. In this, I draw on the works of Liana Giannakopoulou on statuary in modern Greek poetry and Dimitris Papanikolaou on Cavafy’s homosexuality and its presentation in the poetry. Sculpture features in around a third of Cavafy’s poems and pervades it in various ways: the inclusion of physical statues as focuses of ecphrastic description, the use of sculptural language and metaphor, and the likening of Cavafy’s beloveds to Greek marbles of the past, to name but three. This article argues that Cavafy utilizes the statuary of the ancient Greek world as raw material, from which he sculpts his modern Greek queerness, variously desiring the statuesque bodies of contemporary Alexandrian youths and constructing eroticized depictions of ancient Greek marbles. The very ontology of queerness is, for Cavafy, ‘created’ using explicitly sculptural metaphors (e.g. the repeated uses of the verb κάνω [‘to make’] in descriptions of ‘those made like me’) and he employs Hellenistic statues as a productive link between his desires and so-called ‘Greek desire’, placing himself within a continuum of queer, Greek men.

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