Fons Sapientiae Verbum Dei, Сборник научных статей в честь 80-летия профессора Анатолия Алексеевича Алексеева, отв. ред. А. В. Сизиков, Санкт-Петербург: Российская академия наук, Институт лингвистических исследований, 2022
Manuscript No. 28, the Ascetic Miscellany written in Serbian Church
Slavonic in 1364 and kept at... more Manuscript No. 28, the Ascetic Miscellany written in Serbian Church
Slavonic in 1364 and kept at the St. Panteleimon Monastery on Mount
Athos, contains excerpts from patristic writings, works of the Orthodox
Church holy fathers (John Chrysostom, Isaac the Syrian, Maximus the
Confessor, Simeon the New Theologian, Gregory of Sinai, Simeon
of Mesopotamia, and Athanasius of Alexandria). Within this context,
the codex also contains a text written in the middle of the 14th century
by a Serbian author, Monk Siluan. Apart from revealing the previously
unknown work by an old Serbian writer, the manuscript testifies to
an important fact: one Slavic monk from Mount Athos found himself
in the company of the renowned Orthodox Church writers and
thinkers whose texts are read in the solitude of monastic cells and
whose advice and recommendations help ascetics, establishing them
in the faith and their hesychast way of life. The paper presents an
edition of Siluan’s text.
Uploads
Talks by Irena Spadijer
Books by Irena Spadijer
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
Papers by Irena Spadijer
Despite the fact that Tanja Popović later focused her scientific interests on more recent literature – first on Serbian romanticism, and later on the 19th century Russian literature, as well as on broader theoretical studies – her medievalist beginnings remained, both in methodological and thematic perspectives, an important foundation of her later research.
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
Despite the fact that Tanja Popović later focused her scientific interests on more recent literature – first on Serbian romanticism, and later on the 19th century Russian literature, as well as on broader theoretical studies – her medievalist beginnings remained, both in methodological and thematic perspectives, an important foundation of her later research.
Slavonic in 1364 and kept at the St. Panteleimon Monastery on Mount
Athos, contains excerpts from patristic writings, works of the Orthodox
Church holy fathers (John Chrysostom, Isaac the Syrian, Maximus the
Confessor, Simeon the New Theologian, Gregory of Sinai, Simeon
of Mesopotamia, and Athanasius of Alexandria). Within this context,
the codex also contains a text written in the middle of the 14th century
by a Serbian author, Monk Siluan. Apart from revealing the previously
unknown work by an old Serbian writer, the manuscript testifies to
an important fact: one Slavic monk from Mount Athos found himself
in the company of the renowned Orthodox Church writers and
thinkers whose texts are read in the solitude of monastic cells and
whose advice and recommendations help ascetics, establishing them
in the faith and their hesychast way of life. The paper presents an
edition of Siluan’s text.
The paper does not look in detail into the differences in the structure of the menaion of the pre-Jerusalem and Jerusalem types. These differences are analysed by relying on the surviving 13th- and 14th-century menaia and some manuscripts written much later, but from antigraphs of great antiquity. These later-date copies of an archaic structure were created, as a rule, in the peripheral parts of specific communities, on the edges of the main trends, and they belong to the secondary, lateral sides of the copying tradition that preserved the traces of the long-lost liturgical practice.
However, regarding the structural diversity of the services in the Menaion No. 11 from the St. Panteleimon monastery (RPMA 11), it is necessary to draw attention to two marginalia in this codex (f. 136b and f. 232а), that reveal possible reasons for the specific composition of this particular manuscript. The Menaion No. 11 belongs to the transitional type, containing some features of the Jerusalem type, whereas the compositional diversity of the religious services in it may be the feature of this “transience”, the disordered and unharmonised liturgical practice. On the other hand, such diversity is the consequence of the different templates used by the scribe/editor. Furthermore, the marginalia analysed in this paper are indicative of something else as well: the factor of coincidence is sometimes present in the solutions observed in the manuscript codices. This fact not only shows that our conclusions may not be set in stone and that the results obtained may be misleading, but also that we should be very careful when drawing conclusions about the types and the structure of these liturgical miscellanies.
The portray of Lenny/Pius XIII is created on the principles of a medieval hero ‒ a saint, and the story of his life contains the features of a hagiographic narrative, such as: exceptional personality demonstrated since childhood, exposure to various temptations, the ability to perform miracles, the holiness. The Pope's ability to perform miracles, along with his faith ‒ which is relentessly and inexplicably tormented by doubts, and yet remains unswerving ‒ make him not only a saint, but a real medieval saint, a fully devout anchorite. He is a monk who does not deprive himself of the 21st century comfort of the papal lifestyle, while his self-deprivations are essentially of spiritual nature. It may seem at first glance that this type of a hero exists in the art of different epochs, but in fact it is typical of the medieval literature in which a strong faith and a complete, unquestionable loyalty to God are above all other human virtues and are key features of a hero in the medieval, hagiographic narrative.