Byzantine Liturgy Research Papers - Academia.edu (original) (raw)

Taft R. F. The Great Entrance. A History of the Transfer of Gifts and other Preanaphoral Rites of the Liturgy of St. John Chrysostom. [A History of the Liturgy of St. John Chrysostom, vol. II]. Roma, 1975. (Orientalia Christiana Analecta;... more

In this paper I propose a new narrative of the history and milieu of the Jerusalem (Hagiopolitan) Daily Office in Constantinople. I show that this Office was monastic neither typologically nor sociologically, but practiced at the Great Palace and in public churches at an early date - in addition to monasteries such as Stoudios. I also suggest an earlier date for the adoption in Constantinople of the Jerusalem Office than what has been previously thought.

- by Beatrice Caseau
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- Liturgical Studies, Medieval History, Patristics, Anthropology of Food
- by Nicholas Denysenko
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- Liturgy, Religion and Politics, Orthodox Theology, Byzantine Liturgy

Italian translation with transliterated church-slavonic text and Introduction

- by Stefano Parenti
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- Byzantine Liturgy, Russian Liturgy, Byzantine Slavic Liturgy

This essay presents a critical review of Schmemann's liturgical legacy and outlines a proposal for renewing his liturgical theology. Following a brief introduction, the essay examines the state of the Eucharistic revival attributed to Schmemann by looking at the state of liturgical practice in the Orthodox Church, with special emphasis on America. The essay then looks develops the core of Schmemann's legacy and asserts that his application of Eucharistic revival was aimed to renew ordinary parish life, a pastoral project related to his efforts in establishing an autocephalous Church in America. The penultimate section of the essay addresses a crucial problem: the tendency to evaluate liturgical reform by observing the forms of ritual practice. This component of the essay's argument states that limiting evaluation to observation of ritual forms promotes the proliferation of subjective views that privilege one or another liturgical style on the basis of aesthetical preference. Here, we will explore the complexities of liturgy as the bearer of multiple ecclesial identities as a problem interrupting the process of renewing Church life, with attention to Schmemann's liturgical eschatology. The agenda for renewing Schmemann's liturgical legacy concludes the essay. In this section, we will outline an agenda for restoring liturgical renewal by outlining the steps required and obstacles that need to be confronted in the twenty-first century milieu. Outline of the essay:

- by Nicholas Denysenko
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- Liturgical Studies, Orthodox Theology, Byzantine Liturgy, Liturgical Theology

La presentazione avverrà all'interno dell'iniziativa: «Musica all’Università», ricerche sviluppate nell’ambito del Corso di dottorato in «Storia, critica e conservazione dei beni culturali» dell’Università di Padova, il 17 aprile 2017, dalle 15.30 alle 17.00 presso Palazzo Liviano - Aula Diano, Padova. Presentano: Sandra Martani (Università di Pavia); Anna Meschini Pontani (Università di Padova).

This article examines the celebration of Lazarus Saturday in Hagiopolite liturgical practice between the late fourth and early tenth centuries. Lazarus Saturday occupied a significant place within the liturgical year in ancient Jerusalem, signaling the end of Lent and the beginning of Holy Week. Building on several previous studies concerning the structural development of the Lazarus Saturday rites, this work offers a consideration of the broader themes and beliefs celebrated in these liturgies. It concludes by noting that Lazarus Saturday served as an encapsulation of the community’s Paschal celebration of salvation through Christ and a thematic hinge that connected the events of Holy Week to the lives of worshippers.

Scholars have traditionally read John Chrysostom's baptismal instructions, preached in Antioch, as examples of a new, post-Constantinian paradigm in liturgical theology: the Romans 6 notion of baptism as death and resurrection with Christ. This article argues that the metaphor of "putting on Christ" from Galatians 3:27 is the more dominant metaphor for Chrysostom. He connected the "putting on" of Christ in baptism to the martyrs' imitation of Christ in death. To reinforce this connection, he brought the newly-baptized to the tombs of martyrs on the outskirts of Antioch, where he preached some of the baptismal instructions. He kept their memory of martyrdom alive by allowing martyred bodies to "speak" to a new generation of Christians.

- by Mark Roosien
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- Liturgical Studies, Patristics, Early Christianity, Byzantine Studies

Das Paper bietet einen Einführung in die Liturgie der Orthodoxen Kirchen.

- by Andreas Müller
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- Liturgy, Orthodox Theology, Byzantine Liturgy, Liturgie

In his article the author presents an overview of the entire corpus of Byzantine multistrophic ecclesiastical hymns — canons and kontakia — dedicated to Saint Nicholas.
Without any doubt, for the Byzantine hymnographers Nicholas of Myra was a very important person — they wrote more hymnographic canons in his honour than in honour of any other certain saint. One can count 55 canons of Byzantine authors in honour of Saint Nicholas — not taking into account the canons, where Saint Nicholas is mentioned along with the other saints and the mixed canons from some Parakletika, where Saint Nicholas has just a troparion in each ode. Many of these 55 canons are still unedited. It is worth noting that there are three so-called garlands of canons, i. e. sets consisting of 8 canons each — one for each of the 8 musical tones (and only one of these garlands has been published, the editions of two others are in preparation, one of them — by the author of this paper).
The author analyzes the texts of the canons already edited, as well as all the accessible information about the unedited. He begins with the 9 canons (a garland plus an additional canon) by Saint Joseph the Hymnographer,
showing that their traditional attribution is correct indeed (the same cannot be said about a canon recently published by V. Vasilik, which was falsely attributed to Saint Joseph by the editor) and drawing the parallels between these canons and the Constantinopolitan hagiographic tradition concerning Saint Nicholas in the times of Saint Joseph (about 816 — about 886).
Then the author proceeds with the other canons, discussing the questions of their attributions, datings and interrelationships with the changing hagiographic tradition. After the canons, he analyzes the remaining multistrophic Byzantine kontakia in honour of Saint Nicholas. There are three such multistrophic (i. e., with more than one oikos) kontakia, as well as two akathistoi.
The article is followed by a complete list of the Byzantine canons and kontakia dedicated to Saint Nicholas, a proposed timeline of their composition and, finally, by an edition of the Greek text and a Slavonic translation (made by the author of the article) of the previously unedited parakletikos canon for Saint Nicholas in 8th tone from the codex Vatic. Palat. gr. 138, 1299 (?) A.D. Fol. 303–304.

- by Michael Zheltov
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- Byzantine Liturgy, Byzantine Hagiography, Byzantine Hymnography

The author of this article discusses the question of the necessity of the renewal of the liturgical tradition of the UGCC, pointing at the importance of the liturgical prayers of the priest. Nowadays, in the tradition of most Byzantine Churches, the priest prays "his" prayers parallel to the congregational chant or other activities of the liturgical gath-ering. The importance of those prayers to be recited aloud is treated in three différent theological-liturgical perspectives: tjhe iconicity of the person of the priest, the dialogical character of the Byzantine liturgy, and the integrity of the liturgical célébration. As a concrète example, the author uses the prayers before and after communion in the Divine Liturgy of St. Basil, which, as known, was placed as the theological basis for the text of the new Catechism of the UGCC, "Christ - our Pascha".

- by Vasyl Rudeyko
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- Liturgy, Byzantine Liturgy

Monastyczne Wspólnoty Jerozolimskie to dwa katolickie instytuty życia konsekrowanego – sióstr i braci – założone we Francji w latach 70. XX w. przez Pierre’a-Marie Delfieux. W swoich założeniach są realizacją odnowy, jaka nastąpiła po Soborze Watykańskim II. Choć w świetle prawa kanonicznego siostry i bracia funkcjonują jako niezależne od siebie zgromadzenia, swój charyzmat – modlitwę w sercu miasta za miasto – realizują poprzez organizowanie przy każdym powierzonym sobie kościele zawsze obu klasztorów i wspólne sprawowanie liturgii. Sprawowana jest ona w ten sam sposób we wszystkich kościołach Wspólnot i, co najistotniejsze z ekumenicznego punktu widzenia, jest mocno inspirowana liturgią Wschodu. To „uwschodnienie” poprzez chęć poznania i przyswojenia licznych elementów innej niż zachodnia tradycji liturgicznej, stanowi oryginalne pole dla dialogu ekumenicznego, szczególnie katolicko-prawosławnego.

- by Angelika M . Małek
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- Theology, Liturgy, Systematic Theology, Catholic Theology

Studie byla publikována roku 1935 v knize ,,Sbornik statej po archeologii i vizantinovedeniju izdavajemyj Seminarijem imeni N.P. Kondakova" (Díl 7) / The study was published in 1935 in the book ,,Sbornik statj po archeologii i... more

- by Digital library Bohemia
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- Iconography, Art History, Medieval Studies, Medieval Church History
- by Heinzgerd Brakmann
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- Liturgical Studies, Byzantine Liturgy

For centuries, Christian theology has understood the Eucharist in terms of metaphysics or in protest against it. Today an opening has been made to imagine the sacrament through the method of phenomenology, bringing about new theological life and meaning. In Dialectical Anatomy of the Eucharist, Donald Wallenfang conducts a sustained analysis of the Eucharist through the aperture of phenomenology, yet concludes the study with poetic and metaphysical twists. Engaging the work of Jean-Luc Marion, Paul Ricoeur, and Emmanuel Levinas, Wallenfang proposes pioneering ideas for contemporary sacramental theology that have vast implications for interfaith and interreligious dialogue. By tapping into the various currents within the Judeo-Christian tradition--Jewish, Catholic, Orthodox, and Protestant--a radical argument is developed that leverages the tension among them all. Several new frontiers are explored: dialectical theology, a fourth phenomenological reduction, the phenomenology of human personhood, the poetics of the Eucharist, and a reinterpretation of the concept of gift as conversation. On the whole, Wallenfang advances recent debates surrounding the relationship between phenomenology and theology by claiming an uncanny way out of emerging dead ends in philosophical theology: return to the fray.

- by Donald Wallenfang, OCDS, PhD
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- Religion, Comparative Religion, Sociology of Religion, Philosophy
- by Mariusz Burdajewicz and +1
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- Late Antique and Byzantine Studies, Pottery (Archaeology), Palestine, Byzantine Liturgy
- by Jopi Harri
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- Music History, Musicology, Eastern Christianity, Byzantine Liturgy
- by Ivan Dutka
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- Byzantine Liturgy, Pentecost, Great Lent

Delivered at St Macrina Orthodox Institute (OCA-DOM) August 10, 2018.

- by Nicholas Denysenko
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- Orthodox Theology, Byzantine Liturgy, Pastoral Theology, Pastoral Ministry

Here is the second letter sent by Bishop Leo of Ochrid to the bishops of southern Italy. This and the third letter were lost until the 19th century. In this letter, Leo further expounds his typological and symbolic argument against the... more

- by Joseph Ahmad
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- Liturgy, Medieval Studies, Eastern Christianity, Greek colonies in Magna Graecia
- by Roland Betancourt
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- Media Sociology, Queer Studies, Iconography, Media Studies

On the question of using musical instruments in the environment of the Byzantine Catholic Church in Slovakia

Georges Florovsky (1893-1979) was one of the most prominent Orthodox theologians and ecumenists of the twentieth century. His call for a return to patristic writings as a source of modern theological reflection had a powerful impact not... more

- by Brandon Gallaher
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- Russian Studies, Theology, Patristics, Liturgy
- by Job Getcha
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- Liturgy, Byzantine Studies, Byzantine Liturgy, Byzantine Slavic Liturgy

This book proposes an interpretation of the Pseudo-Dionysian corpus in light of the liturgical and ascetic tradition that defined the author and his audience. Characterized by both striking originality and remarkable fidelity to the patristic and late neoplatonic traditions, the Dionysian corpus is a coherent and unified structure, whose core and pivot is the treatise known as the Ecclesiastical Hierarchy. Given Pseudo-Dionysius fundamental continuity with earlier Christian theology and spirituality, it is not surprising that the church, and in particular the ascetic community, recognized that this theological synthesis articulated its own fundamental experience and aspirations.

Cântarea bizantină este adesea numită și veșmântul imnologiei sacre în liturghia ortodoxă. De-a lungul timpului, cuvântul și muzica au mers mână în mână, drept canale de comunicare între comunitatea care se roagă și divinitate. Înțelesurile conferite de materialul biblic și imnografic sunt deslușite, potențate și, în cele din urmă, transformate prin melodii, croite cu atenție conform țelului fundamental al simbiozei dintre comprehensibilitatea textului și idealul estetic. Acest act de echilibrare, vechi de secole, a dus la dezvoltarea unor tipuri de tratare muzicală a textului ce se extind de la simple recitative pentru „Cuvântul lui Dumnezeu”, la prelucrări meditative, intens ornamentate, ale „Cuvintelor lui Dumnezeu.” Balanța a început să se încline în timpul secolelor XIII-XIV, când extensia melismelor psalților virtuozi a dus la crearea unor melodii extatice, fără text, cunoscute sub numele de cratime. În ciuda corelației evidente a acestor cratime cu metode ascetice de rugăciune intensă ce implică un text minimal sau lipsa totală a acestuia, comentatori postbizantini le-au denunțat drept producții iraționale de influență otomană. Apărătorii, însă, au recurs la speculații teologice, numindu-le cântece de leagăn ale Fecioarei Maria sau cântece ale îngerilor. În tumultul nesfârșitelor dispute cu privire la cât de adecvate sunt prelucrările melismatice și cratimele pentru rugăciune, compozitori și psalți au continuat să le creeze și să le cânte, avansând cu putere ideea că muzica religioasă nu este un simplu servitor, ci mai degrabă un partener egal al textului, ce transmite straturi de înțelesuri non-verbale ce pot contribui la o relație mai directă și mai intimă cu Dumnezeu, mai mult decât ar putea-o face textul fără muzică.

- by Peter Galadza
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- Liturgical Studies, Orthodox Theology, Greek-Catholic Churches, Byzantine Liturgy

HRİSTİYAN SANATININ SOSYOLOJİK OLARAK İNCELENMESİ 19. yüzyıl Rum-Ortodoks kiliselerinde yer alan EPİTAFYON bezleri üzerinden bir değerlendirme AMAÇ Bu çalışmada Bizans toplumu ve sanatı genel çerçevesi içinde Hristiyanlık Sanatının ortaya çıkışı, onu oluşturan tarihi ve sosyal zemin, bu sanatı öne çıkaran özellikler, tarihi gelişimi içerisinde bu sanatın Rum-Ortodoks cemaatine yansımaları ve kilise de törenlerde kullanılan litürjik ve sembolik objelerden biri olan EPİTAFYON ele alınarak Hristiyan sanatının sanat sosyolojisi açısından incelenmesi gerçekleştireceğim.

- by Özlem Osmanoğlu and +1
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- Christianity, Iconography, Art History, Byzantine Literature

DOBRUDJA IN OTTOMAN TIMES:
THE KAZA OF HÂRȘOVA (16TH C)
Abstract
The Ottoman chancery documents, such as defters, orders, regulations, are a key source for studying Dobrudja under Ottoman rule, revealing its administrative, military and economic structures. This paper draws on toponymical, topographical and administrative information taken from eight Ottoman registers, all dating from the sixteenth century. The toponymy and the rural habitat are interpreted from a long-time perspective, assessing the continuity between the Ottoman and the pre-Ottoman structures. The Dobrudja case is also placed in the larger image of the dynamics of the Ottoman rural landscape. This article identifies both military and non-military Ottoman institutions in Dobrudja, such a vozar, derbendci, ellici, gümrükçi, müsellem, akıncı. Consequently, it proposes a comparative analysis between the Ottoman power structures and the previous, imperial, Byzantine ones. A chronological and cartographic inventory of the human settlements in Ottoman Dobrudja argues for a reconsideration of their synchronic and diachronic evolution.

- by Anca POPESCU
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- Ottoman History, Ottoman Studies, Byzantine Studies, Ottoman Turkish
- by Alexandru Ioniță
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- Performance Studies, Byzantine Liturgy, Byzantine Music
- by Marek Ławreszuk
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- Philosophy, Liturgy, Byzantine Liturgy, John Chrysostom
- by Charbel Nassif
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- Baptism, Byzantine Liturgy, Marriage, Initiation Rituals

Von einem nationalen Standpunkt betrachtet wurde die Kultur der Italoalbaner und Italogriechen als ,,linguistische Minderheit“ marginalisiert und aufgegeben – mit dem Ergebnis, dass ihre Sprachen nicht mehr an den Schulen unterrichtet werden. Musik hatte immer eine Schlüsselrolle in den Gemeinden gespielt und die besondere Verbindung aus Musik und dem Klang dieser Sprache verfehlt niemals seine Wirkung, unabhängig davon, ob sie verstanden wird. Sie begleitet die Italogriechen und Italoalbaner durch den Zyklus des Lebens, zu bedeutenden Festen, während des Karneval, zu Hochzeiten und Beerdigungen. In dieser Einführung möchte ich die reiche Kultur der ländlichen Musiktraditionen Süditaliens von einer anderen Seite betrachten, indem ich sie mit denen der Nachbargemeinden vergleiche, wo es auch Tarantelle und Kalimere gibt, obwohl der Dialekt nicht mit Balkansprachen vermischt ist und ihre Gemeinden keinen orthodoxen Hintergrund haben, die den mysteriösen ,,Süden“ (in der anthropologischen Schule Italiens kurz “Il Sud” genannt) einst dominiert haben. Auf diese Weise lassen sich die Formen entdecken, die die Gemeinden der Arbëresh gegenüber anderen auszeichnen, die vallje und ajrët und eine besondere Form des mehrstimmingen Musizierens, die von Musikethnologen als Weltkulturerbe des Balkan und Italiens anerkannt wird.

- by Oliver Gerlach
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- Music History, Anthropology, Anthropology of Music, Ethnomusicology