Цветы и монеты: некоторые образа авторитета текста в произведениях Исидора Севильского (Coins and Flowers: Some Images of the Textual Authority in the Works of Isidore of Seville) (original) (raw)
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The subject of this article are images of sacred geography in the paintings of synagogues. Three related concepts are investigated. The first one is the Jewish chronotope, the notion of space-time categories in the Jewish tradition and their reflection in visual culture and architecture, which effected the inclusion of these ideas in system of painting decoration. The second one is images of Jerusalem and the Jerusalem Temple in the program of paintings of synagogues as mandatory elements of the iconographic program. The third one is the holy places of Eretz Israel in the context of synagogue mural transformation characteristic of the later period — the end of XIX century. Visual sources for these images were biblical texts, medieval manuscripts, actual architectural monuments, “scientific” reconstruction blueprints, postcards from holy places in Palestine, as well as local, regional motifs with recognizable particular prototypes. In some cases the images were based on locally revered in the Diaspora edifices — the residences of Hasidic tzaddikim. Under the influence of Historicism and European genre painting, these images became incorporated into samples of stunning interior decoration. They combined the principles of constructing illusory paintings, architectural and scenic imitations of joined terrestrial and celestial spaces and “hung” genre paintings with sights of Eretz Israel. The decoration system as a whole was designed to transform the prayer space and create a comfortable, staged world, Olam. In this world, the past and the messianic future were united, as well as the earthly and the heavenly. It served to transport the Jews from everyday life to the realm of their dreams and hopes, to emphasize their connection to the Land of Israel, and to enhance the allure of their historical homeland. Portrayed by means of painting, images of holy places created a special system and the hierarchy of sacred space. This system in its artistic forms, abstract and particular geographical coordinates signified the spirit of Judaism and the Jewish meta-history, as well as culture and unique character of a particular community. (Котляр Евгений. Иерусалим, Храм, Эрец-Исраэль, места «силы и святости» в живописных декорациях синагог // Научные труды по иудаике. Материалы XX Международной ежегодной конференции по иудаике. – М.: Центр научных работников и преподавателей иудаики в вузах «Сэфер», 2013. – Т.I. (Академическая серия, вып. 45). – С. 341-380.)
ESSE: Studies in Philosophy and Theology, 2020
ESSE: Studies in Philosophy and Theology 5.1–2 (2020): 259–322. The publication presents a commented Russian translation, with a brief Introduction, of Book I: On Grammar, of Isidore of Seville’s Etymologies. Isidore was the last intermediary between antique and medieval scholarship, his work drawing a clear dividing line between the two, unlike similar mediators of earlier generations, including Cassiodorus, Boethius, Sidonius Apollinaris. The first book of his opus magnus was dedicated to the first among seven liberal arts, the first discipline of trivium (grammar – rhetoric – dialectic), whose basic function Sidonius had described as division (grammatica dividit, Ep. 5.2.1). Incidentally, Isidore’s other important work was entitled Differences (Differentiae). From here, a straight passage opened up leading to the medieval Scholasticism. On the side of Antiquity, Isidore was relying on later Latin grammarians and lexicographers (Servius, Donatus), who had already processed and appropriated both the rich Greek grammatical tradition and earlier Latin one (Varro, Verrius Flaccus). Undoubtedly, Isidore’s primary sources included the works of the leading figures of Latin Patristics, Augustine, Jerome, Tertullian. But the usage of the sources in Isidore is rather loose, creating considerable difficulties for adequate translation (at that, a lot of valuable fragments of Latin literature are extant only thanks to Isidore’s quotes). Basically, all of his text is weaved out of more or less warped quotations. An attempt has been made to render in the present translation the peculiar scholarly barbarous Latin of Isidore. The commentaries are limited to the most important references and parallels.
‘Silver’ in the Texts of Avesta / 'Серебро' в текстах Авесты
Vestnik drevnei istorii / Вестник древней истории, 2021
A context-semantic analysis of the use of the word ‘silver’ (Av. ərəzata-) in Avestan texts is carried out in the paper. There are 12 cases of its usage (Yasna 10.17; Yashts 5.129; 10.112, 125; 17.14; 19.67; Videvdat 7.75; 8.88; 14.11 (2); Aogemadaēca 17; 84). The analysis shows that the word ‘silver’ is used in several different semantic contexts, such as the ritual of Haoma (Yasna 10.17) and the purifying ceremony (Videvdat 7.75). Silver is associated with the concept of ‘brilliance’ and is represented in the descriptions of its various manifestations. The brilliance of silver is associated with the idea of the sun rays manifesting themselves in the image of Mithra (Yasht 10.112), and of lunar splendour (Yasht 10.125). Beaver-skin robe of the goddess Arədvī Sūrā Anāhitā glistens like “silver (and) gold” (Yasht 5.129). The connection of silver with water is confirmed by its inclusion in Iranian hydronymics (Yasht 19.67). The combination “silver (and) gold” may be a metonymic designation for the concept of wealth (Yasht 5.129; 17.14; Aogemadaēca 84). The value of silver was lower than that of gold (Yasna 10.17; Yasht 10.125; Videvdat 7.74–75, 8.87–88; 14.11). Silver is mentioned in the descriptions of the other world: the pantries of the righteous are filled with silver (Yasht 17.14), and the righteous deceased have silver clothes (Aogemadaēca 17).
Schole. Философское антиковедение и классическая традиция, 2016
The use of term σύµβολον in Clement's writings is problematic because of differences between common doctrine of symbol and symbolism expressed by Clement almost theoretically, and particular examples of symbolism and allegoric exegesis, where Clement's wording and underlying conceptions are strongly dependent on the relevant contexts. In order to bring the most instances of σύµβολον in a system we propose some classifications. Firstly, according to their function, we distinguish 'protective,' 'anagogic,' and 'manifestative' symbols; secondly, according to the contexts in which they predominantly appear, such as the Pythagorean tradition, Greek Mysteries, Egyptian religion and hieroglyphic script, and extracts from the Greek grammarians; finally, in the context of Biblical exegesis, where one can distinguish instances of typology, morally instructive allegory and symbolism per se. In the latter case the nature of symbol is constituted by Divine Logos who "signifies the invisible link between earth and heaven." Such a reading clarifies the ontological importance of symbolism for Clement's metaphysics and philosophy, and helps to explain some difficulties in Clement's writings actual for Western theology. Использование понятия σύμβολον в сочинениях Климента Александрийского остаётся проблематичным, несмотря на немалое число исследований, ввиду существенных разночтений между общим учением Климента о символе и символизме и тем, как оно практически применяется им в различных герменевтических ситуациях, где словоупотребление и обосновывающие его представления сильно зависят от контекста. Для упорядочения разнородного текстологического материала предложено классифицировать символы, во-первых, по их функции, «охранительной», «анагогической» и «манифестирующей»; во-вторых, по культурным контекстам, в которых они встречаются (пифагорейство, древнегреческие мистерии, египетская религия, труды греческих грамматиков); в-третьих, в христианском контексте, где доминирует библейская экзегетика, выделены типологическое, нравственно-увещевательное и собственно символическое употребления. В последнем аспекте подчёркнута роль Логоса, конституирующего природу символа, видимым образом «знаменующего невидимую связь неба и земли». Значительное внимание уделено Климентовой философии языка и лингвистической роли символа. В таком прочтении удаётся разрешить некоторые трудности, традиционно возникающие при прочтении Климента Александрийского.
Соединение факторов внутриязыкового и внеязыкового характера приводит к формированию оригинального семантического наполнения слов, отражающего своеобразие национального освоения действительности. Нередко здесь действуют столь характерные для испанского национального характера причудливые, порой Орнитонимические метафоры органично вплетаются в концептуальную систему мировидения этноса и обладают мощной символикой. В них живет дух народа и воплощены особенности психофизического склада народа и своеобразие его нравственно-эстетического потенциала, вырастающего из глубин мифологии. Межкультурное сопоставление орнитонимической идиоматики и символики осложняется фактором уникальности испанского языка, распространенного на огромной территории (Испания, Латинская Америка).