scholarly journals Orthodox joke as a phenomenon of modern Orthodox culture

2021 ◽  
Author(s):  
Olha Smolina
Keyword(s):  
Comparative Analysis ◽  
Folk Culture ◽  
Cultural Consciousness ◽  
Secular Culture ◽  
Cultural Specificity ◽  
History Of ◽  
First Time ◽  
Modern Orthodox ◽  
The Church ◽  
Pastoral Practice

The purpose of the article is to reveal the specifics of the Orthodox joke as a phenomenon of modern Orthodox culture. Methodology. In the context of the culturological approach, the method of comparative analysis, induction, deduction, typology, and classification was used. Scientific Novelty. For the first time the phenomenon of the Orthodox joke was investigated in the context of cultural studies; assumptions were made regarding the time and reasons for its appearance; its sources are highlighted, the typology of the Orthodox joke is proposed; supplemented with data on the cultural specificity of this phenomenon. Conclusions. In secular and folk culture, a joke is a form of uncensored folk art, a sphere of dissent. The Orthodox joke, by contrast, is one of the ways of preachingand does not oppose the official church line. A parable in the form of a joke is more understandable and acceptable to the cultural consciousness of a modern person. The following types of Orthodox jokes are distinguished: curious cases from the history of the church, the life of individual parishes, or pastoral practice; «Children's perception of religion»; «In front of Paradise doors»; «Dialogue between a believer and an unbeliever»; self-irony of Orthodox monks and laity. The development of the genre of the Orthodox joke testifies to the processes of adaptation of the Orthodox culture, which exists under the prevailing secular culture.

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

The 1912 Duma Elections: The State, the Opposition and the Clergy

Orthodoxia ◽  
2021 ◽  
pp. 111-124
Author(s):  
F. A. Gayda
Keyword(s):  
The State ◽  
Election Campaign ◽  
Difficult Situation ◽  
The Public ◽  
The Press ◽  
History Of ◽  
The Government ◽  
The Russian Empire ◽  
First Time ◽  
The Church

This article deals with the political situation around the elections to the State Duma of the Russian Empire in 1912 (4th convocation). The main actors of the campaign were the government, local administration, liberal opposition and the clergy of the Orthodox Russian Church. After the 1905 revolution, the “official Church” found itself in a difficult situation. In particular, anti-Church criticism intensified sharply and was expressed now quite openly, both in the press and from the rostrum of the Duma. A consequence of these circumstances was that in this Duma campaign, for the first time in the history of Russian parliamentarianism, “administrative resources” were widely used. At the same time, the authorities failed to achieve their political objectives. The Russian clergy became actively involved in the election campaign. The government sought to use the conflict between the liberal majority in the third Duma and the clerical hierarchy. Duma members launched an active criticism of the Orthodox clergy, using Grigory Rasputin as an excuse. Even staunch conservatives spoke negatively about Rasputin. According to the results of the election campaign, the opposition was even more active in using the label “Rasputinians” against the Holy Synod and the Russian episcopate. Forty-seven persons of clerical rank were elected to the House — three fewer than in the previous Duma. As a result, the assembly of the clergy elected to the Duma decided not to form its own group, but to spread out among the factions. An active campaign in Parliament and the press not only created a certain public mood, but also provoked a political split and polarization within the clergy. The clergy themselves were generally inclined to blame the state authorities for the public isolation of the Church. The Duma election of 1912 seriously affected the attitude of the opposition and the public toward the bishopric after the February revolution of 1917.

scholarly journals Pierre Boulez and Heinz Holliger: on the problem of transformation of a musical language

2020 ◽  
pp. 27-37
Author(s):  
Nadezhda Andreevna Petruseva
Keyword(s):  
Comparative Analysis ◽  
Music Perception ◽  
Comprehensive Approach ◽  
Cultural Authority ◽  
Musical Language ◽  
Pierre Boulez ◽  
Research Material ◽  
Solo Music ◽  
History Of ◽  
First Time

The article focuses on the problem of transformation of a musical language, the correlation between an esthetic guideline, an invention, a composition technique and a language. The author describes the two strategies of life and work of Pierre Boulez which allowed him to gain significant cultural authority, and enumerates the persons who had influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in esthetical and theoretical texts of Pierre Boulez; describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique and a language, the author considers the piece for viola “Trema” (1981) by Heinz Holliger, Boulez’s adherent. The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing of mind on music structures), and hermeneutics (the process of understanding, interpreting). The research material is of a methodical importance for modern educational courses of theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation”; focuses on the overcoming of the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis” which includes not only the turn from a technique to a language, but also electroacoustic “sound manufacturing”.  The following aspects of Hollinger’s “Trema” are considered for the first time: the idea, the principles of new solo music, the new technique. The author arrives at the conclusion about “Trema” belonging to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.   

Anton Grigoryevich Rubinstein and his Russian Publishers

2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
Historical Research ◽  
National Museum ◽  
Archival Documents ◽  
History Of ◽  
Publishing Houses ◽  
The 19Th Century ◽  
First Time ◽  
Extensive List

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

Deistic Piety in the Cults of the French Revolution

1933 ◽  
Vol 2 (1) ◽  
pp. 22-40 ◽  
Author(s):  
Charles Lyttle
Keyword(s):  
French Revolution ◽  
Philosophy Of Religion ◽  
General Impression ◽  
Religious Impulse ◽  
History Of ◽  
First Time ◽  
The Church ◽  
Supreme Being ◽  
Public Worship ◽  
The French Revolution

Apart from the democratized Catholicism of the Civil Constitution of the Clergy (July 12, 1790) the French Revolution occasioned four phenomena of novel significance: (a) The so-called “Cult of Reason” established in effect though not in name by decree of the Convention in November, 1793; (b) The nationalist Decadal fêtes, provided for that same autumn, when the church calendar was replaced by the republican; (c) the “Cult of the Supreme Being” originating in legislation of May 1794 and culminating in the Fête of the Supreme Being on June 8 following; (d) the Cult of Theophilanthropism whose prayerbook, called a Manuel at first, was composed in the summer of 1796, printed in the fall, adapted to the needs of public worship as well as domestic in December, and actually used in the former way for the first time on January 15, 1797. Following the precedent of the Abbé Grégoire, whose great History of the Sects of the Revolution appeared in 1814, these four phenomena have been classed together, with the obvious implication that all were tarred with the same stick, the ingredients of the tar consisting of infidel fatuity and political chicanery. Such indeed was the general impression that had already been conveyed by the hostile comments of conservative critics outside France. Consequently it became almost a tradition for decades to consider the four phenomena together as brilliant illustrations of the Deistic philosophy of religion, with the overt or implicit suggestion that they stand as incontrovertible proof of the infatuation of radical doctrinaires and of their folly in supposing that the religious impulse could be suffocated, or that its forms of expression nonchalantly improvised, or its nature changed from that of faith, mystery and revelation to that of reason and morality. Only recently have the researches of Aulard, Mathiez and others served to set before us accurate pictures of the actual ceremonies of these novel cults, as well as careful analyses of the sources and motives of their inception. These researches and revaluations justify a review of the traditional conceptions. Omitting the nationalistic Decadal fêtes as purely secular, our study will be devoted to the Cults of Reason, of the Supreme Being and of Theophilanthropism.

scholarly journals ARCHAEOLOGICAL EXCAVATIONS IN THE LOWER PART OF THE NIZHNIY NOVGOROD KREMLIN (PRELIMINARY RESULTS OF THE 2018-2019 EXCAVATIONS)

2021 ◽  
pp. 322-338
Author(s):  
Н. Н. Грибов ◽  
Т. А. Марьенкина ◽  
Н. В. Иванова
Keyword(s):  
Large Scale ◽  
Historical Context ◽  
Urban Centers ◽  
Preliminary Results ◽  
History Of Development ◽  
History Of ◽  
First Time ◽  
The City ◽  
The Temple ◽  
The Church

В статье представлены предварительные результаты первых масштабных археологических исследований в нижней части Нижегородского кремля. Раскоп, заложенный в зоне воссоздания храма Святого Симеона Столпника, вскрыл культурные отложения двух периодов - XIII - начала XV в. и XVI - середины XVIII в. Впервые средневековая усадебная застройка Нижнего Новгорода зафиксирована на таком элементе волжской долины, как береговой склон. Выдающееся значение для нижегородской археологии имеют обнаружение стратифицированных культурных напластований XIII - начала XV в. и зафиксированный на стратиграфических разрезах перерыв в активном освоении городской территории, соответствующий большей части XV в. Предложена реконструкция истории освоения раскопанного участка. Выяснилось, что связанный с храмом малоизвестный нижегородский Симеоновский монастырь вряд ли существовал до строительства Нижегородского кремля. Наиболее раннее, предположительно, монастырское сооружение, возникшее после исчезновения усадебной застройки XIII - начала XV в., датировано концом XV - серединой XVI в. С этим периодом связано строительство деревянного моста, обеспечивавшего транспортное сообщение между «нагорным» и приречным районами города. Обнаружение остатков этого свайного сооружения существенно корректирует известную реконструкцию застройки кремлевской территории начала XVII в., выполненную по письменным источникам. Дано обоснование времени функционирования обнаруженного некрополя Симеоновского монастыря в пределах середины XVI - начала XVIII в., приведена общая характеристика изученных погребений. В общеисторическом контексте материалы исследований представляют интерес для изучения процессов, сопровождающих превращение удельных городских центров в города Московской Руси. The article presents preliminary results of the first large-scale archaeological research in the lower part of the Nizhniy Novgorod Kremlin. The excavation, laid in the area of the reconstruction of the Church of St. Simeon the Stylite, uncovered cultural layer of two periods - the XIII - early XV centuries and the XVI - mid XVIII centuries. For the first time, the medieval estate development of Nizhniy Novgorod was recorded on such an element of the Volga valley as the coastal slope. The discovery of stratified cultural strata of the XIII - early XV centuries and the break in the active development of urban territory recorded on stratigraphic sections, corresponding to most of the XV century, are of outstanding significance for Nizhniy Novgorod archeology. The reconstruction of the history of development of the excavated site is proposed. It turned out that the little-known Nizhniy Novgorod Simeon monastery associated with the temple hardly existed before the construction of the Nizhniy Novgorod Kremlin. The earliest, presumably, monastic structure that arose after the disappearance of the manor buildings of the XIII -early XV centuries., dated to the end of the XV - mid XVI centuries. This period is associated with the construction of a wooden bridge that provided transport links between the «Nagorny» and riverine districts of the city. The discovery of the remains of this pile structure significantly corrects the well-known reconstruction of the Kremlin territory of the beginning of the XVII century, made according to written sources. The justification for the functioning of the necropolis discovered Simeon monastery in the middle of the XVI century - beginning of the XVIII centuries, the general characteristics of the studied burials. In the general historical context, the research materials are of interest for studying the processes that accompany the transformation of specific urban centers into cities of Muscovite Russia.

scholarly journals “Uma bênção para a humanidade”. Densidade teológica das organizações e lutas populares

2018 ◽  
Vol 78 (309) ◽  
pp. 222
Author(s):  
Francisco De Aquino Júnior
Keyword(s):  
The Poor ◽  
History Of ◽  
Popular Movements ◽  
First Time ◽  
The Church

Pela primeira vez na história da Igreja um papa convida lideranças de movimentos populares de várias regiões do planeta para discutir os grandes problemas do mundo atual e as busca e perspectivas de superação desses problemas a partir dos pobres e das vítimas. E faz isso por estar convencido da importância sócio-espiritual desses movimentos no processo de transformação da sociedade segundo o Evangelho de Jesus Cristo. O artigo trata especificamente do caráter salvífico-espiritual das organizações e lutas populares a partir dos discursos do Papa Francisco nos três encontros mundiais com os movimentos populares.Abstract: For the first time in the history of the Church a Pope invites leaders of popular movements from various regions of the planet to discuss the great problems of today’s world and search for the perspectives of solution for these problems from the viewpoints of the poor and the victims. And he does this because he is convinced of the socio-spiritual relevance of these movements in the process of transformation of society according to Jesus Christ’s Gospel. The article deals specifically with the salvific-spiritual character of the popular organizations and struggles expressed in Pope Francisco’s speeches in the three world meetings he held with the popular movements.Keywords: Pape Francis; Popular movements; Salvation-spiritual cha- racter.

scholarly journals THE WAY TO THE AUTOCEPHALY OF THE UKRAINIAN ORTHODOX CHURCH IN 1918 (THROUGH THE PRIZE OF DOCUMENTS OF THE SECOND SESSION OF THE ALL-UKRAINIAN ORTHODOX COUNCIL)

2019 ◽  
pp. 37-42
Author(s):  
A. Sliusarenko ◽  
T. Pshenychnyi
Keyword(s):  
National Security ◽  
The State ◽  
Political Elite ◽  
Russian Orthodox ◽  
Orthodox Church ◽  
Russian Orthodox Church ◽  
History Of ◽  
First Time ◽  
The Church ◽  
Church Tradition

The events that are taking place today in the church field of the Ukrainian State testify to the importance of the national church in building the national security of the country. The union of the church with the state has been formed for centuries, and to consider the absence of this tandem today would be wrong. However, such an alliance can be dangerous for the state if the church provokes separatism, ignites national conflict, undermines the national security of the state. Evidence of this is the aggressive policy of the leaders of the Russian Orthodox Church towards Ukraine throughout history, which has turned the church into an instrument of political games. Thus, by annexing the Metropolitan of Kiev in 1686 and establishing a protectorate over the Ukrainian church space, the leaders of the Russian Orthodox Church did everything to destroy the Ukrainian church tradition. History of Ukraine of the twentieth century testifies to the repeated attempts of Ukrainians to get out of the grip of the Russian Orthodox Church and build their own independent Ukrainian Orthodox Church. A striking example of this is the All-Ukrainian Orthodox Church Council of 1918, which, in the context of national competitions of the Ukrainian people for their own state, brought to the agenda of the revolutionary events the question of independence of the Ukrainian Church. At the second session of the Council, the idea of autocephaly of the Ukrainian Orthodox Church for the first time in many years consolidated a small part of the Ukrainian church and political elite around it. This article is devoted to analyzing the documents of this council session. The author tries to present the main stages of the competition for the autocephaly of the Ukrainian Orthodox Church and the difficulties that have arisen.

scholarly journals Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text

2021 ◽  
pp. 167-181
Author(s):  
Dmytro Savon
Keyword(s):  
Comparative Analysis ◽  
Johann Sebastian Bach ◽  
Historical Reconstruction ◽  
The Third ◽  
Choral Repertoire ◽  
History Of ◽  
Baroque Era ◽  
The One ◽  
First Time

Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology, three edited versions of the motet “Jesu, meine Freude” are analyzed from the standpoint of historically oriented performance. Based on the study of editors’ comments and source literature (mostly German), the question of compliance of the musical text with the task of performing reconstruction of the baroque vocal and choral style was studied. The aim of the article lies in the need to find out specificity of the editors’ interpretation of motet “Jesu, meine Freude” written by Johann Bach and suitability extent of different edited versions for the historical reconstruction of the vocal-choral style of the German Baroque. During the development of particular article, such methods were utilized: historical — the history of edited versions of “Jesu, meine Freude” motet was traced, comparative — the comparative analysis of three edited versions of motet “Jesu, meine Freude” written by Johann Bach (Franz Wulner, Konrad Ameln and Mykhailo Berdennykov) was completed. Main results and conclusions. According to the completed comparative analysis, the first two of the three considered edited versions are textual, while the third one is adopted for performing. Textual versions are characterized by the preservation of the composer’s text in the smallest details, including comments to clearly identify the extent of changes made by the editor in the text. The peculiarities of the version adopted for performing contain the large amount of remarks added by the editor, covering dynamic shades, strokes, tempo notation, etc. It is noted that the choice of version type is determined by performance goals: to perform the works of Johann Bach in an authentic manner, the conductor should focus on facsimile versions, and if they are absent (as in the case of the “Jesu, meine Freude” motet), the one should use textual type of edited versions. The version developed for performing cannot correspond to the authentic performing, as the first does not reflect specific tendencies of the time when it was created. It is specified that the conductor should be familiar with the peculiarities of fixing the means of performance in the musical text of the Baroque era.

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