scholarly journals Two Rare Canons to John the Baptist

2021 ◽  
Vol 3 ◽  
pp. 7-33
Author(s):  
Iulia G. Fefelova ◽  
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Fourteenth Century ◽  
The Other ◽  
State Archive ◽  
National Library ◽  
John The Baptist ◽  
Russian State

The article presents a study and a publication of two rare canons to John the Baptist. The canon with the opening words “Plodonosen tsvetets” (“A fertile flower ”) is known in two versions. One of them is found in two fourteenth-century manuscripts located in the Russian State Archive of Ancient Acts (Fonds 381, Nos. 114 and 116). The other survived in just one copy – a seventeenth-century manuscript in the Kirillo-Belozerskoe collection (No. 232/489) in the National Library of Russia. This version is peculiar in that it is a combination of the original troparia of this canon and the troparia borrowed from the canon “Molchanie starche” (“Elder’s silence”), which the Studite typikon assigned to the Afterfeast of the Nativity of the Forerunner. The second canon, which according to its character can be called “rejoicing”, is known from the only manuscript of a sixteenth-century psalter in the Solovetskoe collection (No. 762/872) in the National Library of Russia. It consists of common greetings – the anaphoric chairetismoi.

scholarly journals The iconostasis in Decani: the original painted programme and subsequent changes

Zograf ◽  
2012 ◽  
pp. 115-129
Author(s):  
Branislav Todic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Fourteenth Century ◽  
Wall Painting ◽  
John The Baptist ◽  
History Of ◽  
The Cross ◽  
The Church ◽  
Eighth Decade

The history of the iconostasis in the central nave of the church in Decani can be divided into two periods. The icons of Christ, the Mother of God, John the Baptist and St. Nicholas on the original altar screen, painted around 1343, were related to the relics of King Stefan Decanski and with the wall painting in the church space in front of the altar. The removal of those icons at the end of the sixteenth century and their replacement with new ones explains the strengthening cult of St. Stefan Decanski. In 1577 an icon of St. Stephen was placed over the king?s portrait depicted in the fourteenth century fresco painting, and by 1593/1594, the new despotic icons of Christ and the Virgin were painted for the iconostasis, then an expanded Deesis that was placed above them, with a large cross fixed on the top. The central icons were painted by the painter Longin, and the cross is attributed to Andreja, a painter known for his frescoes from the seventh and eighth decade of the seventeenth century.

The Musical Topic of the Mass in B Minor

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Music ◽  
Sacred Music ◽  
The Other ◽  
Entire Spectrum ◽  
Giovanni Pierluigi Da Palestrina ◽  
Early Eighteenth Century

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals Dynamics of Continuity and Change: Shifts in Labour Relations in the Potosí Mines (1680–1812)

2016 ◽  
Vol 61 (S24) ◽  
pp. 93-114 ◽  
Author(s):  
Rossana Barragán Romano
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
The Other ◽  
Economic Sectors ◽  
Labour Relations ◽  
Continuity And Change ◽  
The One

AbstractLabour relations in the silver mines of Potosí are almost synonymous with the mita, a system of unfree work that lasted from the end of the sixteenth century until the beginning of the nineteenth century. However, behind this continuity there were important changes, but also other forms of work, both free and self-employed. The analysis here is focused on how the “polity” contributed to shape labour relations, especially from the end of the seventeenth century and throughout the eighteenth century. This article scrutinizes the labour policies of the Spanish monarchy on the one hand, which favoured certain economic sectors and regions to ensure revenue, and on the other the initiatives both of mine entrepreneurs and workers – unfree, free, and self-employed – who all contributed to changing the system of labour.

Ottoman Tapu Title Deeds In The Eighteenth And Nineteenth Centuries: Origin, Typology And Diplomatics

2000 ◽  
Vol 7 (1) ◽  
pp. 65-101 ◽  
Author(s):  
Anton Minkov
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Detailed Analysis ◽  
National Library ◽  
Land Transfer ◽  
Eighteenth And Nineteenth Centuries

AbstractAlthough the existence of tapus is well known, their typology, form, and structure have not been the object of a detailed analysis. Based on research undertaken in the Ottoman archive of the National Library of Bulgaria, I analyze eighteenth- and nineteenth-century Ottoman tapu title deeds. I argue that their 'classical' eighteenth-and nineteenth-century form is the outcome of the amalgamation of (1) receipts for payment of the tapu fee (resm-i tapu) and (2) records of land transfer. I also argue that the process of amalgamation probably started in the middle of the sixteenth century and continued until the second half of the seventeenth century.

Refraining the Reformation

2009 ◽  
Vol 36 (144) ◽  
pp. 598-603 ◽  
Author(s):  
Raymond Gillespie
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
The Other ◽  
Reform Process ◽  
Religious Change ◽  
Deep Roots ◽  
The Reformation

The Reformation in Ireland has never lacked chroniclers, defenders and detractors. The reason for this is not hard to discern. The older literature that grappled with the processes of religious change in sixteenth and seventeenth-century Ireland was based on a number of well-recognised and widely agreed propositions. The first of these was that confessional and political positions were inextricably linked, and the fate of one served not only as a proxy for the other but as an explanation for the trajectory of change; thus, to explain the failure of the reform process to strike deep roots in sixteenth-century Ireland, one had only to invoke the failure of the Tudor conquest.

scholarly journals Enn einn „útlenskur tónn'' í Rask 98

Gripla ◽  
2021 ◽  
Vol 32 ◽  
pp. 289-300
Author(s):  
Árni Ingólfsson
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Present Author ◽  
The Other ◽  
Arduous Task

The manuscript Rask 98, also known as Melódía (in the Arnamagnæan Collection, Copenhagen), was written ca. 1660–70 by an unknown scribe and contains 223 notated songs. The manuscriptʼs heading states that it contains “foreign tunes to Icelandic poetry.” Since none of the songs in Rask 98 carries an attribution, tracing their origins has proved to be an arduous task. In an article published in this journal in 2012, the present author identified models for five “foreign tunes” in Rask 98, extending our knowledge of musical repertoire and transmission in sixteenth- and seventeenth-century Iceland. One further piece can now be added to the collection: Jacobus Clemens (non Papa)ʼs four-part song Godt es mijn licht, first published in Leuven in 1567 but in Nuremberg a year later to a text in German, Gott ist mein liecht. Only the latter version repeats the songsʼs last two phrases, a repeat that is also found in Rask 98. Thus the Nuremberg print can be identified as the source for the version in Rask 98. The Icelandic text, Englar og menn og allar skepnur líka senn, is not a translation, but seems to be a free paraphrase of Psalm 148. Rask 98 (and JS 138 8vo, a later manuscript that seems to be a direct copy) contains only Clemensʼs tenor part in a non-rhythmic notation. Like the other polyphonic pieces that were brought to Iceland in the second half of the sixteenth century, Englar og menn was presumably sung in four parts while vocal resources allowed, and its lower parts were still transmitted on their own a century later.

scholarly journals Mikhail Bulgakov and Aleksandr Sukhovo-Kobylin. Textology of a Theater Album

2020 ◽  
pp. 219-245
Author(s):  
Elena N. Penskaya ◽  
Keyword(s):  
Data Bank ◽  
The Other ◽  
State Archive ◽  
Documentary Source ◽  
National Team ◽  
The Past ◽  
Mikhail Bulgakov ◽  
Russian State ◽  
History Of ◽  
Special Studies

Personal collections of documents related to the performances of SukhovoKobylin’s and Bulgakov’s own plays have never been compared. Bulgakov practically never mentions Sukhovo-Kobylin in his texts. However, the “meeting” of the two playwrights took place in the space of the theatrical album. Unlike the literary album that has been studied many times, there are no special studies about the typology of the theatrical album and its cultural semantics. The textological study of album “autocollections” as drama companions contributes to the acquisition of semantic “keys” not only to certain texts, but also to those meta-links that they form as well as to the compilation of mobile text transcriptions. The album laboratories of the two playwrights make this similarity clear. The theatrical albums by Sukhovo-Kobylin (a blue blotter with envelopes of versions of plays that are part of the “Pictures of the Past” trilogy, held in the Russian State Archive of Literature and Arts) and Bulgakov (eight albums in the Handwritten Section of the IRLI) reveal two layers. One is an “encyclopedia” of theatrical history of plays, posters, reviews, accompanied by the author’s notes, and a detailed “dossier of censorship ordeals”. The other layer is newspaper clippings with author’s marginalities, marks that simulate a vocabulary universe and the library of plots reflecting newspaper reality and later turned into works. Thus, it is known that Sukhovo-Kobylin was one of the characters in V. Chernoyarov’s feuilleton “The National Team”, published in the magazine “Novyy Zritel” in 1926 and pasted into Bulgakov’s album related to the play The Days of the Turbins at the Moscow Art Theater in 1926. The specified album is an auto-documentary source of Theatrical Novel. The metamorphoses of the texts in the album, accompanied by the author’s notes, marginalities, typologically bring together the theatrical albums of Sukhovo-Kobylin and Bulgakov. They are related semiotically and visually to the scenario of a conventional play, the director’s staged copy, or the exhibition plan of the exposition. The playwrights quite obviously collect the dossier, the “data bank”, fixing the junctions, the path from the manuscript to the publication and the scene (especially in Bulgakov’s case), as if they were making up a biography of their own text. Bulgakov appreciates the author’s recipes and technical guidelines for making an author, formulated in feuilletons of the 1920s. By coincidence, Sukhovo-Kobylin got into this feuilleton environment.

scholarly journals Western Immigration in the fourteenth-century Golden Horde: The Case of Venetian Tana

2021 ◽  
Vol 9 (1) ◽  
pp. 90-107
Author(s):  
Lorenzo Pubblici ◽  
Keyword(s):  
Fourteenth Century ◽  
Close Contact ◽  
Cultural Background ◽  
The Other ◽  
Sea Of Azov ◽  
State Archive ◽  
Associative Model ◽  
Western Population ◽  
The Sea Of Azov ◽  
The World

Objective: This paper’s aim is to reconstruct the Western population of Venetian Tana in the fourteenth century, the residents’ perception of their condition as “mig­rants”, and finally this population’s interactions with the other communities who lived there. Research materials: The sources used are primarily the notarial deeds of the Venice State Archive together with the vast and excellent scholarship produced in recent decades. Research results and novelty: For over two centuries the settlement of Tana, situated in the territory of the Golden Horde, represented the easternmost outpost of the Latin emporia in the Levant. Here, the utilitarian concept of the Western urban mercantile class found itself confronted with a new experience. This group was a minority living in close contact with larger, cohesive communities whose cultural background was extremely diverse. Those who emigrated east were mainly the emerging urban bourgeoisie, but also families of ancient noble origin who had nothing in common with the world of the Steppe and its traditional roots. These citizens came to the Levant, bringing with them the urban associative model. The life of the settlement at the mouth of the river Don is an ideal basis for observing the flow of people who left Venice and its surroundings on galleys and, after months of travel, arrived on the shores of the Sea of Azov.

scholarly journals Mulier Striga, documento atribuido a Bartolo de Sassoferrato. ¿Primera piedra medieval para el retrato de la bruja?

Medievalismo ◽  
2021 ◽  
pp. 273-301
Author(s):  
Eva LARA ALBEROLA
Keyword(s):  
Sixteenth Century ◽  
Fourteenth Century ◽  
The Other ◽  
Other Hand ◽  
The Witch

In this article we delve into de consilium entitled Mulier striga, attributed to Bartolo de Sassoferrato and dated between 1331-1334. We contribute to spread the fact it is a forgery and that its author was Giovanni Battista Piotti, a sixteenth-century lawyer, a fact hardly known by many specialists who continue to present the texto as medieval. On the other hand, we will analyze in detail the portrait ot the witch present in this work, never examined by the experts before, in order to determine whether the picture offered is anachronistic, as it happens with other aspects of the document, or matches the beliefs of the first half of the fourteenth century. En este artículo profundizamos en el consilum Mulier striga, atribuido a Bartolo de Sassoferrato y fechado entre 1331-1334. Contribuimos a difundir el hecho de que se trata de una falsificación y que su autor fue Giovanni Battista Piotti, jurista del siglo XVI; cuestión apenas conocida por muchos especialistas que siguen presentando el texto como medieval. Por otra parte, analizaremos pormenorizadamente el retrato de la bruja presente en este escrito, no abordado por los expertos, con el fin de determinar si la imagen ofrecida es anacrónica, como sucede con otros aspectos del documento, o se ajusta a la primera mitad del siglo XIV.

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