DOCSLIB.ORG

The Oktoikh 1629 Text and Commentary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Oktoikh 1629 Text and Commentary Irena Marijanović Thesis submitted in partial fulfilment for the degree of Master of Philosophy Department of Literature, Area Studies and European Languages University of Oslo Autumn 2007 CONTENTS TRANSLITERATION OF THE CYRILLIC ALPHABET VII ABBREVIATIONS USED VIII ACKNOWLEDGEMENTS XI PREFACE 1 CHAPTER I: PRELIMINARY REMARKS 3 1.0 THE OKTOIKH: ITS HISTORY AND SIGNIFICANCE IN THE ORTHODOX LITURGY 3 1.0.1 Divine services of the Orthodox Church 3 1.0.2 The Greek and Slavonic Oktoikh 6 1.1 CONTENTS AND PHYSICAL CHARACTERISTICS OF THE TEXT 7 1.1.1 Contents of the Kievan Oktoikh 7 1.1.2 Physical characteristics of the text 13 CHAPTER II: ORTHOGRAPHY AND PRONUNCIATION 21 2.0 SPACING, PUNCTUATION AND CAPITALISATION 21 2.0.1 Spacing 21 2.0.2 Spacing: beginning and end of the line 21 2.0.3 Punctuation marks 24 2.0.4 Capitalisation 24 2.1 DIACRITICAL MARKS AND SUPERSCRIPT LETTERS 25 2.1.1 Oksia [ ’ ] 25 2.1.2 Varia [ ‘ ] 26 2.1.3 Kendema and superscript i [ “ ] 27 2.1.4 Iso [ ² ], [ Ê ], [ · ’ ] 28 2.1.5 Velikij apostrof [ '¾ ] 28 2.1.6 Titlo [ 8 ] 29 2.1.7 Pokrytie [ ˆ ] 31 2.1.8 Kratkaja, slitnaja, brevis [ º ] 36 2.1.9 Horizontal spiritus [ ¨ ] 36 2.1.10 Trema [ ¢ ] 37 2.1.11 Psili, spiritus lenis, tonkaja [ ' ] 37 2.1.12 Kamora, circumfelx, oblečenaja [ ¯ ] 38 2.1.13 Paerok [ 6 ], [ 7 ] 39 2.1.14 Point [ · ] 39 2.1.15 Absence of accentuation 40 2.2 DESCRIPTION OF ALPHABETICAL INVENTORY AND DISTRIBUTION OF LETTERS 40 2.2.1 Vowel and consonant letters 40 2.2.2 Orthography: distribution of letters 40 2.2.3 Spelling of Greek words: distribution of ÷, ø, ƒ, œ, þ 42 2.2.4 Distribution of a-letters 43 2.2.5 Distribution of e-letters 44 2.2.6 Distribution of z-letters 46 iii 2.2.7 Distribution of i-letters 48 2.2.8 Distribution of o-letters 50 2.2.9 Distribution of u-letters 52 2.2.10 Distribution of jers 53 2.3 ORTHOGRAPHY AND PRONUNCIATION 53 2.3.1 Reflexes of diphthongs in liquid sonants 54 2.3.2 Presence/absence of second (progressive) palatalisation of velar consonants 56 2.3.3 Yodisation 58 2.3.4 Treatment of ê and ö 60 2.3.5 Dispalatalisation of consonants 64 2.3.6 Loss of word-initial j before rounded vowels 68 2.3.7 Loss of jers and attendant consequences 69 2.3.8 Rise of the “new a”/akan’e 73 2.3.9 Palatalisation of velar consonants and further developments 74 2.3.10 Assimilation in and simplification of consonant clusters 75 2.3.11 Mutation ´a > ´e 77 2.3.12 Treatment of ì, ß, ý, i in different environments after j 77 2.3.13 Development of the sequence an + n 79 CHAPTER III: NOMINAL MORPHOLOGY 81 3.0 DECLENSION OF NOUNS IN SINGULAR AND PLURAL 81 3.0.1 Singular declension 81 3.0.2 Plural declension 89 3.1 DECLENSION OF ADJECTIVES IN SINGULAR AND PLURAL 95 3.1.1 Singular and plural declension of short adjectives 95 3.1.2 Singular declension of long adjectives 98 3.1.3 Plural declension of long adjectives 99 3.2 COMPARATIVE FORMS AND SUPERLATIVES 101 3.3 A NOTE ON THE DUAL 101 3.4 NUMERALS: CARDINAL AND ORDINAL NUMBERS 102 3.5 PRONOUNS 103 3.5.1 Personal and reflexive pronouns 104 3.5.2 Demonstrative pronouns 105 3.5.3 Possessive pronouns 106 3.5.4 Miscellaneous 107 3.6 ADVERBS 108 CHAPTER IV: VERBAL MORPHOLOGY 111 4.0 THE INFINITIVE 111 4.1 THE PRESENT/FUTURE TENSE 111 4.2 THE IMPERATIVE 114 4.3 THE THREE PAST TENSES: IMPERFECT, AORIST AND PERFECT 116 4.3.1 Imperfect 117 4.3.2 Aorist 117 4.3.3 Perfect 119 4.4 PAST AND PRESENT PARTICIPLES 119 4.4.1 Past and Present Passive Participles 119 4.4.2 Present and Past Active Participles 122 CHAPTER V: SYNTAX 127 5.0 SINGLE VS. DOUBLE NEGATION 127 iv 5.1 GENITIVE OF EXCLAMATION 128 5.2 DATIVE ABSOLUTE 129 5.3 NOUN IN NOMINATIVE CASE AS OBJECT OF INFINITIVE 129 5.4 VERB IMETI VS. NOMINAL SENTENCE 130 5.5 FUNCTION OF KOTORYJ 131 5.6 EXPRESSION OF POSSESSION 132 5.7 NEUTER PLURAL EXPRESSING ABSTRACT NOUNS 134 5.8 PASSIVE CONSTRUCTIONS WITH OT 134 5.9 SUBSTANTIVISED PARTICIPLES 135 5.10 BALKANISM DA + INDICATIVE 135 5.11 CONSTRUCTION Ö<Ö + INFINITIVE 136 5.12 PREDICATIVE INSTRUMENTAL VS. PREDICATIVE NOMINATIVE 137 5.13 GENITIVE OF NEGATION 139 5.14 WORD ORDER 140 5.14.1 Position of copula 140 5.14.2 Position of attributive adjectives 141 5.15 FORMS OF VERB ‘BYTI’ WITH PRESENT ACTIVE PARTICIPLE 142 5.16 RELATIVE VS. DEMONSTRATIVE PRONOUNS 142 CHAPTER VI: CONCLUSION 143 6.0 PHONOLOGY, MORPHOLOGY AND SYNTAX 143 6.1 GREAT RUSSIAN OR SOUTH-WESTERN REDACTION OF CHURCH SLAVONIC? 146 6.2 SMOTRYC’KYJ’S GRAMMATIKI AND THE 1629 OKTOIKH 147 APPENDIX: THE KIEVAN OKTOIKH (TRANSCRIBED TEXT) 149 REFERENCES 205 v Transliteration of the Cyrillic Alphabet Cyrillic OCS CES Br R U а a a a a a б b b b b b в v v v v v г g g h g h ґ g д d d d d d е e e e e e є je ж ž ž ž ž ž з z z z z z и i i i y i i i i i й j j j к k k k k k л l l l l l м m m m m m н n n n n n о o o o o o п p p p p p р r r r r r с s s s s s т t t t t t у u u u u u ў w ф f f f f f х x x x x x ц c c c c c ч č č č č č ш š š š š š щ št šč šč šč šč ъ ъ ъ ’’ ы y y y y ь ь ь ’ ’ ’ ê ě ě ю ju ju ju ju ju я ja ja ja ja ja è je je э ė ė ã ę ja à ję ja õ o˛ u ò jo˛ ju œ ks ks þ ps ps ƒ th th ø o o ÷ i i vii Abbreviations used A, acc. accusative act. active adj. adjective B Bulgarian Br Belarusian C consonant Ca Cassubian CES Common East Slavonic* Cz Czech ChSl Church Slavonic** CSBr Contemporary Standard Belarusian CSR Contemporary Standard Russian CSU Contemporary Standard Ukrainian Dan. Daniel D, dat. dative Deut. Deuteronomy dial. dialectical du. dual ed. edition ESl East Slavonic Exod. Exodus fem. feminine fol.r recto side of the folio fol.v verso side of the folio G, gen. genitive Gk Greek*** Hab. Habakkuk I, instr. instrumental imperf. imperfective inf. infinitive * Following Pugh (1996: 2–9), the terms ‘Ruthenian’ and ‘CES’ (Common East Slavonic) are used in this thesis. The former refers to the uncodified written language used in the Ukrainian and Belarusian territories from the 14th to the 17th century. This term may be further qualified by either ‘Ukrainian’ or ‘Belarusian’ when a particular linguistic feature is characteristic of only one of the languages. The latter term is used to denote the period of linguistic development common to the three East Slavonic languages – Belarusian, Ukrainian and Russian – spanning approximately the middle of the 9th to the beginning of the 14th century. It should be borne in mind that the nomenclature of East Slavonic languages both in relation to the earliest period of their development and their subsequent individual histories (especially with regard to Ukrainian and Belarusian), is a complex issue, a detailed examination of which lies beyond the remit of this dissertation. For a detailed discussion and references see, Danylenko (2006: 89–141) and Pugh (1996: 2–9). ** The term ‘OCS’ refers to the first written Slavonic language as attested in the manuscripts written in the Cyrillo-Methodian literary tradition in the period spanning the 10th until the end of the 11th century. The term ‘Church Slavonic’ (ChSl) is used to refer to the language in which manuscripts and texts, after the end of the 11th century, were written (Schenker 1995: 186–190). This term may be further qualified by the words ‘Moscow or (Great) Russian’, ‘South-Western’ (i.e. Ukrainian/Belarusian), ‘Bulgarian’, ‘Macedonian’ or ‘Serbian’ to refer to a particular local redaction of Church Slavonic (for further details see, Schenker (1995: 190–193) and Uspenskij (2002: 355–364). The term ‘Synodal Church Slavonic’ is used to denote the present- day form of Church Slavonic that is used in the Russian, Bulgarian, Serbian and other Orthodox churches (Mathiesen 1972: 70). *** Accentual marks are not used in this thesis when rendering Greek words. viii Isa. Isaiah L, loc. locative M Macedonian Mar. Codex Marianus masc. masculine Mk. Mark neut. neuter N, nom. nominative OCS Old Church Slavonic** Ostro. ev. Ostromir’s Evangeliary P Polish part. participle pass. passive per. person perf. perfective PIE Proto-Indo-European pl. plural Po Polabian p.p.p. past passive participle PS Proto-Slavonic rev. revised R Russian; sonant Ru Ruthenian* S Slovene Sam. Samuel Sav. Savvina kniga SC Serbo-Croatian sg. singular Sl Slovak Sr Sorbian (Upper and Lower) SSl South Slavonic s.v. sub verbo U Ukrainian V vowel V, voc.
Recommended publications
  • +1. Introduction 2. Cyrillic Letter Rumanian Yn

    +1. Introduction 2. Cyrillic Letter Rumanian Yn

    MAIN.HTM 10/13/2006 06:42 PM +1. INTRODUCTION These are comments to "Additional Cyrillic Characters In Unicode: A Preliminary Proposal". I'm examining each section of that document, as well as adding some extra notes (marked "+" in titles). Below I use standard Russian Cyrillic characters; please be sure that you have appropriate fonts installed. If everything is OK, the following two lines must look similarly (encoding CP-1251): (sample Cyrillic letters) АабВЕеЗКкМНОопРрСсТуХхЧЬ (Latin letters and digits) Aa6BEe3KkMHOonPpCcTyXx4b 2. CYRILLIC LETTER RUMANIAN YN In the late Cyrillic semi-uncial Rumanian/Moldavian editions, the shape of YN was very similar to inverted PSI, see the following sample from the Ноул Тестамент (New Testament) of 1818, Neamt/Нямец, folio 542 v.: file:///Users/everson/Documents/Eudora%20Folder/Attachments%20Folder/Addons/MAIN.HTM Page 1 of 28 MAIN.HTM 10/13/2006 06:42 PM Here you can see YN and PSI in both upper- and lowercase forms. Note that the upper part of YN is not a sharp arrowhead, but something horizontally cut even with kind of serif (in the uppercase form). Thus, the shape of the letter in modern-style fonts (like Times or Arial) may look somewhat similar to Cyrillic "Л"/"л" with the central vertical stem looking like in lowercase "ф" drawn from the middle of upper horizontal line downwards, with regular serif at the bottom (horizontal, not slanted): Compare also with the proposed shape of PSI (Section 36). 3. CYRILLIC LETTER IOTIFIED A file:///Users/everson/Documents/Eudora%20Folder/Attachments%20Folder/Addons/MAIN.HTM Page 2 of 28 MAIN.HTM 10/13/2006 06:42 PM I support the idea that "IA" must be separated from "Я".
  • Images of Devotion

    Images of Devotion

    IMAGES OF DEVOTION Russian Icons from the DePauw University Art Collection INTRODUCTION Initially conceived in the first century, religious icons have a long history throughout the Christian world.1 The icon was not simply created to mirror the physical appearance of a biblical figure, but to idealize him or her, both physically and spiritually.2 Unlike Western Christianity where religious art can be appreciated solely for its beauty and skill alone, in the Orthodox tradition, the icon becomes more than just a reflection – it is a vehicle for the divine essence contained within.3 Due to the sacred nature of the icon, depictions of biblical figures became not only desirable in the Orthodox tradition, but an absolute necessity. Religious icons were introduced to Russia during the official Christianization of the country under Vladimir, the Great Prince of Kiev, in 988. After this period, many regional schools developed their own indigenous styles of icon painting, such as: Pokov, Novgorod, Moscow, Suzdal, and Jaroslavl.4 Upon Moscow’s emergence as Christ with Twelve Apostles the religious and political capital of Russia in the Russian Artist, Date Unknown Tempura Paint on Panel sixteenth century, it cemented its reputation as DePauw Art Collection: 1976.31.1 the great center for icon painting. Gift of Earl Bowman Marlatt, Class of 1912 The benefactor of this collection of Russian This painting, Christ with Twelve Apostles, portrays Jesus Christ iconography, Earl Bowman Marlatt (1892-1976), reading a passage from the Gospel of Matthew to his Apostles.7 was a member of the DePauw University class Written in Old Church Slavonic, which is generally reserved of 1912.
  • Median Modes in the Light of the Greek Manuscript No. 9 from the National Archives in Drobeta Turnu Severin

    Median Modes in the Light of the Greek Manuscript No. 9 from the National Archives in Drobeta Turnu Severin

    122 International Journal of Orthodox Theology 6:3 (2015) urn:nbn:de:0276-2015-3081 Adrian-Cristian Maziliţa Median Modes in the Light of the Greek Manuscript No. 9 from the National Archives in Drobeta Turnu Severin Abstract The Greek manuscript no. 9 from 1751 – a unique manuscript in Romania tells us more about the musical tradition of the Eastern Church, tradition which provided the unmodified safekeeping until today of the music and repertory that is an integral part of the cult of the Ortho- dox Church. Taking into account the importance of this manuscript for the musicological research of the ecclesi- astical chant before the hrisantic Rev. PhD Associate reform, this study deals with different Lecturer Adrian-Cristian aspects from the old theory of Maziliţa, Faculty of Byzantine music, as: metrophony, Orthodox Theology at the solfeggio, median modes and trohos University from Craiova, system. Romania Median Modes in the Light of the Greek Manuscript No. 9 from the 123 National Archives in Drobeta Turnu Severin Keywords Greek manuscript, Byzantine chant, old notation, median modes, trohos system, Saint Ioannes Koukouzeles, Ioannes Plousiadinos 1 Median Modes A particularly important element presented in the Greek manuscript no. 9 at the National Archives in Drobeta Turnu - Severin1, is the median modes about which, until now, we have few accounts. 1 The Greek manuscript no. 9 at the National Archives in Drobeta Turnu- Severin, includes excerpts from the theoretical work of Saint Ioannes Koukouzeles, hermeneia of St. Ioan Damaschin, hermeneia of Manuel Chrysaphes about requirements of psaltic music and about phtorals, of the monk Pahomie and hermeneia about trills, together with musical- theological explanation written by Nikolaos Malaxos.
  • National Inventory of Intangible Cultural Heritage of Greece

    National Inventory of Intangible Cultural Heritage of Greece

    NATIONAL INVENTORY OF INTANGIBLE CULTURAL HERITAGE OF GREECE I. BRIEF PRESENTATION OF THE ELEMENT OF INTANGIBLE CULTURAL HERITAGE (ICH) 1. Name : Chant. Other names : Byzantine Music, Eastern Orthodox Church Music, Art of Chanting, Chant of Constantinople, Psaltic Art, Psalmody, Hymnody 2. Identification : The mnemotechnics of the rendering of chants in Church services (practitioners, Liturgical Typikon, planning of concerts, resources, manuals, training and its characteristic cultural constitutive elements and idioms). 3. Domain represented by the element • Oral traditions and expressions. The fundamental subject of chanting is bound by specific techniques and theoretical knowledge on many levels provided exclusively in church staged rites. These components require long studies and systematic exercise in church choirs, where trainees specialize in specific levels and areas of expertise (rising from the lower roles of Anagnostis [Reader], Canonarch [who intones the verses of the hymns], Isokratis [who holds the fundamental note of a given melodic section] or Melodist, to the higher offices of Domestikos B and Domestikos A [Assistants to the Leaders of the Left and Right Choirs, respectively], Lampadarios [Leader of the Left Choir] or Protopsaltis [First Cantor, Leader of the Right Choir]). In this manner, the knowledge of chanting is transmitted orally from the older masters to the younger. Moreover, mnemonic, practical methods and insignificant phrases or words or even mnemonic verses capture and summarize the basic practical knowledge (interpretations, “ananes” for an intonation, or “neanes”, “nana”, “agia” etc.). • Liturgical arts as cultural means of self-determination. In conjunction with church poetry (psalms, hymns), chant is the liturgical art par excellence within the framework of Holy Services in Orthodox churches.
  • Download Download

    Download Download

    Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 83-97 ISSN 2342-1258 https://journal.fi/jisocm Stifling Creativity: Problems Born out of the Promulgation of the 1906 Tserkovnoje Prostopinije Fr Silouan Sloan Rolando [email protected] At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukačevo in what is now Ukraine promulgated an anthology of Carpatho- Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant. While this book follows in the tradition of printed Heirmologia found throughout the Orthodox and Greek Catholic churches of Belarus, Ukraine, and Russia starting in the sixteenth century, this book presents us with a number of issues that affect the quality and usability of this chant in both its homeland and abroad as well as in the original language, Old Church Slavonic, and in modern languages such as Ukrainian, Hungarian and English. Assuming that creativity is more than just producing new music out of thin air, the problems revealed in the Prostopinije can be a starting point the better to understand how creativity can be unintentionally stifled and what can be done to overcome these particular obstacles. A Brief History Heirmologia in this tradition are anthologies of traditional chant that developed in the emergence of the Kievan five-line notation in place of the older Znamenny neums. With the emergence of patterned chant systems variously called Kievan, Galician, Greek and Bulharski, each touting unique melodies for each tone and each element of liturgy, the Heirmologia would be augmented with these chants often replacing the older Znamenny, especially for the troparia, stichera and prokeimena of the Octoechos.
  • Old Cyrillic in Unicode*

    Old Cyrillic in Unicode*

    Old Cyrillic in Unicode* Ivan A Derzhanski Institute for Mathematics and Computer Science, Bulgarian Academy of Sciences [email protected] The current version of the Unicode Standard acknowledges the existence of a pre- modern version of the Cyrillic script, but its support thereof is limited to assigning code points to several obsolete letters. Meanwhile mediæval Cyrillic manuscripts and some early printed books feature a plethora of letter shapes, ligatures, diacritic and punctuation marks that want proper representation. (In addition, contemporary editions of mediæval texts employ a variety of annotation signs.) As generally with scripts that predate printing, an obvious problem is the abundance of functional, chronological, regional and decorative variant shapes, the precise details of whose distribution are often unknown. The present contents of the block will need to be interpreted with Old Cyrillic in mind, and decisions to be made as to which remaining characters should be implemented via Unicode’s mechanism of variation selection, as ligatures in the typeface, or as code points in the Private space or the standard Cyrillic block. I discuss the initial stage of this work. The Unicode Standard (Unicode 4.0.1) makes a controversial statement: The historical form of the Cyrillic alphabet is treated as a font style variation of modern Cyrillic because the historical forms are relatively close to the modern appearance, and because some of them are still in modern use in languages other than Russian (for example, U+0406 “I” CYRILLIC CAPITAL LETTER I is used in modern Ukrainian and Byelorussian). Some of the letters in this range were used in modern typefaces in Russian and Bulgarian.
  • 5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721

    5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721

    Internet Engineering Task Force (IETF) P. Faltstrom, Ed. Request for Comments: 5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721 The Unicode Code Points and Internationalized Domain Names for Applications (IDNA) Abstract This document specifies rules for deciding whether a code point, considered in isolation or in context, is a candidate for inclusion in an Internationalized Domain Name (IDN). It is part of the specification of Internationalizing Domain Names in Applications 2008 (IDNA2008). Status of This Memo This is an Internet Standards Track document. This document is a product of the Internet Engineering Task Force (IETF). It represents the consensus of the IETF community. It has received public review and has been approved for publication by the Internet Engineering Steering Group (IESG). Further information on Internet Standards is available in Section 2 of RFC 5741. Information about the current status of this document, any errata, and how to provide feedback on it may be obtained at http://www.rfc-editor.org/info/rfc5892. Copyright Notice Copyright (c) 2010 IETF Trust and the persons identified as the document authors. All rights reserved. This document is subject to BCP 78 and the IETF Trust's Legal Provisions Relating to IETF Documents (http://trustee.ietf.org/license-info) in effect on the date of publication of this document. Please review these documents carefully, as they describe your rights and restrictions with respect to this document. Code Components extracted from this document must include Simplified BSD License text as described in Section 4.e of the Trust Legal Provisions and are provided without warranty as described in the Simplified BSD License.
  • Russian Copper Icons Crosses Kunz Collection: Castings Faith

    Russian Copper Icons Crosses Kunz Collection: Castings Faith

    Russian Copper Icons 1 Crosses r ^ .1 _ Kunz Collection: Castings Faith Richard Eighme Ahlborn and Vera Beaver-Bricken Espinola Editors SMITHSONIAN INSTITUTION PRESS SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the Institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through the years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Stnithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsoniar) Contributions to Anthropology Smithsonian Contributions to Astrophysics Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Smithsonian Contributions to the Marine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Folklife Studies Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the worid of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the worid. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where tfie manuscripts are given substantive review.
  • For the Annotation of Titlo Diacritic

    For the Annotation of Titlo Diacritic

    Irina LOBJANIDZE Associate Professor Ilia State University Tbilisi, Georgia For the annotation of Titlo Diacritic Abstract: The paper describes different levels of annotation used in the Corpus of Modern, Middle and Old Georgian Texts. Aiming at building a new, extensive and representative tool for Georgian language the Corpus was compiled under the financial support of the Shota Rustaveli National Science Foundation and the Ilia State University (AR/266/1-31/13). In particular, the Corpus of Georgian language is envisaged as collecting a substantial amount of data needed for research. The scope and representativeness of texts included as well as free accessibility to it makes the corpus one of the most necessary tools for the study of different texts in Modern, Middle and Old Georgian (see, http://corpora.iliauni.edu.ge/). The corpus consists of different kind of texts, mainly: a) Manuscript- based publications; b) Reprints; c) Previously unpublished manuscripts and; d) Previously published manuscripts and covers Modern, Middle and Old Georgian. The paper presents the research area, the design and structure and applications related to the compilation of the corpus, in particular, different levels of annotation as meta-data, structural mark-up and linguistic annotation at word-level, especially, from the viewpoint of Titlo Diacritic. This paper is structured as follows: Section 1 includes background and research questions; Section 2 presents a methodological approach and briefly summarizes its theoretical prerequisites; Section 3 includes the findings and hypothesis, which refers generally to the differences between the annotation of Modern and Old Georgian texts; and Section 4 presents the answers to the research questions.
  • The Slavic Akathistos Hymn

    The Slavic Akathistos Hymn

    Slavistische Beiträge ∙ Band 224 (eBook - Digi20-Retro) Antonina F. Gove The Slavic Akathistos Hymn Poetic Elements of the Byzantine Text and Its Old Church Slavonic Translation Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Antonina F. Gove - 9783954792160 Downloaded from PubFactory at 01/10/2019 04:06:36AM via free access 00060849 Sl a v is t ic h e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON HEINRICH KUNSTMANN PETER REHDER• JOSEF SCHRENK REDAKTION PETER REHDER Band 224 VERLAG OTTO SAGNER MÜNCHEN Antonina F. Gove - 9783954792160 Downloaded from PubFactory at 01/10/2019 04:06:36AM via free access 00060849 ANTONINA FILONOV GOVE THE SLAVIC AKATHISTOS HYMN Poetic Elements of the Byzantine Text and Its Old Church Slavonic Translation VERLAG OTTO SAGNER • MÜNCHEN 1988 Antonina F. Gove - 9783954792160 Downloaded from PubFactory at 01/10/2019 04:06:36AM via free access Ваувгіз^в Staatsbibliothek Mönchen ISBN 3-87690-393-9 ©Verlag Otto Sagner, München 1988 Abteilung der Firma Kubon & Sagner, München Antonina F. Gove - 9783954792160 Downloaded from PubFactory at 01/10/2019 04:06:36AM via free access 00060849 Dedicated to the memory of my parents Aleksandr Filonov (1901-1975) and Klavdija Andreeva Filonova (1913-1964) Antonina F.
  • The Embodied Spirituality of Church Slavonic

    The Embodied Spirituality of Church Slavonic

    Stephen Pax Leonard THE WORD AS AN ICON: THE EMBODIED SPIRitUALitY OF CHURCH SLAVONIC abstract How do Russian Orthodox Christians frame their understanding of semiotic ideologies of worship? That is to say, how do worshippers interpret liturgical language ‘signs’ and how do these interpretations colour their views as to which language is ‘right’ for the Church? There are to be found two semiotic ideologies of worship in Moscow. There are traditionalists for whom the liturgical language is embodied; it becomes the language of God through its vocalisation and enactment. Then, there are those who believe that Church Slavonic is not an indelible part of Russian Orthodox life and that in terms of its semiotic status its relation to the world it represents is an arbitrary one. Those who invoke the former, folk understandings of semiotic praxis perceive the Holy language as an icon or experiential portal that makes the presence of God more presupposable. Conceptions of language and linguistic register vary intra-culturally. Fieldwork showed how different perceptions of form map onto consciousness, raising questions of intentionality as assumptions about who is speaking (God or the priest) are bound up with the form that is used. Keywords: liturgical language, embodiment, semiotic ideology, worship, icon ‘I am interested in the power of words from an interlocutor can set the ethnographer and images over their beholders. I am off on a long journey of epistemological interested in the voice of the word, not the discovery. For this interlocutor, Church Slavonic meaning of the word’ (Husserl 1958: 242). (what he called старый русский ‘old Russian’) words spoken by a priest during a church service INTRODUCTION were experiential portals for they facilitated a closer relationship with the divinity.
  • 20. Yüzyılın İlk Yarısında Modalite

    20. Yüzyılın İlk Yarısında Modalite

    T.C İstanbul Üniversitesi Sosyal Bilimler Enstitüsü Müzik Anasanat Dalı Kompozisyon Sanat Dalı Kompozisyon Programı Yüksek Lisans Tezi 20. YÜZYILIN İLK YARISINDA MODALİTE Dilara Gözde Araz 2501050672 Tez Danışmanı Begüm Çelebioğlu İstanbul Mayıs 2008 ÖZ Bu tezin ana konusu ilkçağlardan beri var olan ve 20. yüzyıl müziğinin özellikle ilk 50 yılının önemli bir kısmını oluşturan ses dizileri mod’ların, tarihsel oluşumunu, coğrafya ve kültürlere göre farklılıklarını ve bu farklılıklardan doğan birikimle yeniden gündeme geldikleri 20. yüzyıl müziğindeki kullanım biçimini incelemektir. Birinci bölüm kapsamlı olarak mod kavramını tasvir ederken, tarih boyunca var olan gelişimini de konu edinmiştir. İkinci bölümde ise mod’ların 20. yüzyıldaki kullanımı müzik akımlarına göre incelenmiş ve örneklenmiştir. Üçüncü ve son bölüm ise 20. Yüzyıl müziğindeki modal eserlere örnekler ve bu örneklerin analizlerini içerir. Bu araştırma projesinde, örnekleme, sınıflandırma ve analiz gibi bilimsel araştırma metodları kullanılmıştır. ABSTRACT The main theme of this research project is modal scales that had existed from the ancient ages until the first 50 years of 20th century. I have examined the historical formation of modal scales, their historical, geographical and cultural differantiation, the aggregation which these differantations brought to 20th century music when the modal scales had been current again. The first part defines the mode concept and the historical development in second part, the usage of modes in 20th century reffering to musical currencies are explained. The third and the last part gives examples of modal pieces from 20th century and their analysis. Scientific methods like examplication, classification, analysis are used in this research project. iii ÖNSÖZ Müzik Tarihi’nin çok büyük bir kısmında kullanılmış temel müzikal malzeme olan mod’lar, bir başka deyişle Antik Yunan uygarlığından günümüze kadar gelen eski ses dizileri, ne yazık ki 17.