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Lesser Feasts and Fasts 2018
Lesser Feasts and Fasts 2018 Conforming to General Convention 2018 1 Preface Christians have since ancient times honored men and women whose lives represent heroic commitment to Christ and who have borne witness to their faith even at the cost of their lives. Such witnesses, by the grace of God, live in every age. The criteria used in the selection of those to be commemorated in the Episcopal Church are set out below and represent a growing consensus among provinces of the Anglican Communion also engaged in enriching their calendars. What we celebrate in the lives of the saints is the presence of Christ expressing itself in and through particular lives lived in the midst of specific historical circumstances. In the saints we are not dealing primarily with absolutes of perfection but human lives, in all their diversity, open to the motions of the Holy Spirit. Many a holy life, when carefully examined, will reveal flaws or the bias of a particular moment in history or ecclesial perspective. It should encourage us to realize that the saints, like us, are first and foremost redeemed sinners in whom the risen Christ’s words to St. Paul come to fulfillment, “My grace is sufficient for you, for my power is made perfect in weakness.” The “lesser feasts” provide opportunities for optional observance. They are not intended to replace the fundamental celebration of Sunday and major Holy Days. As the Standing Liturgical Commission and the General Convention add or delete names from the calendar, successive editions of this volume will be published, each edition bearing in the title the date of the General Convention to which it is a response. -
Ccs Chatterbox June 2012 Welcome Canberra International Music Festival
CCS CHATTERBOX JUNE 2012 WELCOME two regrets – that I hadn’t brought my daughter to listen, and that we weren’t going to be singing it again! This term sees a number of new things for the CCSthe And who could forget the real star of the night, Gabriel innovative Albert Hall Festival, a new conductor for our Cole? first three rehearsals (welcome, Sarah), and a new newsletterCCS Chatterbox! This edition includes the fascinating introduction which Francis Merson, editor of Limelight magazine, gave at our performance of Rodion Shchedrin’s The Sealed Angel. Don Aitkin, Roland Peelman, Virginia Taylor and of course, Tobias Cole, also share their thoughts on the performance. I hope these help to bring back memories of this wonderful experience. Looking ahead, Rachael Thoms and Tobias give us some thoughts about the Albert Hall Festival, which should inspire us for the coming rehearsal period. Finally, some current and future developments for you If it was all mellifluous lines from Virginia’s flute and to keep an ear out for… Clive’s eloquent narration on Wednesday night, by Friday the choir had gathered forces again for some Yours in music serious intensity in the Pärt Credo. The free-form improvisations by instrumentalists and choir alike Kelly Corner & Rachael Eddowes brought back (for Rachael) memories of a high school CCS Publicity Team music camp with Matthew Hindson. No doubt Andrew Mogrelia was a little terrified to work with us for the CANBERRA INTERNATIONAL MUSIC FESTIVAL first time in the dress rehearsal, but after some Reflections from your intrepid reporters, Kelly & Rachael incognito warm-ups with Roland in the gallery, the choir was another hit with the CIMF crowd. -
Great Cloud of Witnesses.Indd
A Great Cloud of Witnesses i ii A Great Cloud of Witnesses A Calendar of Commemorations iii Copyright © 2016 by The Domestic and Foreign Missionary Society of The Protestant Episcopal Church in the United States of America Portions of this book may be reproduced by a congregation for its own use. Commercial or large-scale reproduction for sale of any portion of this book or of the book as a whole, without the written permission of Church Publishing Incorporated, is prohibited. Cover design and typesetting by Linda Brooks ISBN-13: 978-0-89869-962-3 (binder) ISBN-13: 978-0-89869-966-1 (pbk.) ISBN-13: 978-0-89869-963-0 (ebook) Church Publishing, Incorporated. 19 East 34th Street New York, New York 10016 www.churchpublishing.org iv Contents Introduction vii On Commemorations and the Book of Common Prayer viii On the Making of Saints x How to Use These Materials xiii Commemorations Calendar of Commemorations Commemorations Appendix a1 Commons of Saints and Propers for Various Occasions a5 Commons of Saints a7 Various Occasions from the Book of Common Prayer a37 New Propers for Various Occasions a63 Guidelines for Continuing Alteration of the Calendar a71 Criteria for Additions to A Great Cloud of Witnesses a73 Procedures for Local Calendars and Memorials a75 Procedures for Churchwide Recognition a76 Procedures to Remove Commemorations a77 v vi Introduction This volume, A Great Cloud of Witnesses, is a further step in the development of liturgical commemorations within the life of The Episcopal Church. These developments fall under three categories. First, this volume presents a wide array of possible commemorations for individuals and congregations to observe. -
The Imperial Russian Revision Lists of the 18Th and 19Th Century
Brigham Young University BYU ScholarsArchive Faculty Publications 2018-05-16 The Imperial Russian Revision Lists of the 18th and 19th Century Joseph B. Everett Brigham Young University - Provo, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/facpub Part of the Genealogy Commons BYU ScholarsArchive Citation Everett, Joseph B., "The Imperial Russian Revision Lists of the 18th and 19th Century" (2018). Faculty Publications. 4308. https://scholarsarchive.byu.edu/facpub/4308 This Peer-Reviewed Article is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Faculty Publications by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. The Imperial Russian Revision Lists of the 18th and 19th Century JOSEPH B. EVERETT* Family History Library, Salt Lake City, Utah, USA One of the most important resources for social and family historians researching in the former Russian Empire are the revision lists, a series of ten enumerations of the population conducted between 1719 and 1858. Listing the members of each household among taxable classes of people across the Russian Empire, the revisions lists are useful for studying historical population demographics and reconstructing family relationships. An awareness of these records and where to access them can be useful for Slavic librarians to facilitate the research of Russian historians and genealogists. This article provides an overview of the history and content of the revision lists with a survey of available collections online and offline. KEYWORDS: Russian Empire, revision lists, census, social history, genealogy, family history, demographics, archives, microfilming, digitization, online databases The Imperial Russian revision lists will be familiar to those acquainted with Nikolai Gogol’s 1842 satirical novel Dead Souls. -
Szemet Nelkiil Jobban Fest! EDITOR MARK D
Interdisciplinary Quarterly of Russian, Eurasian, and East European Studies Szemet nelkiil jobban fest! EDITOR MARK D. STEINBERG MANAGING EDITOR, JANE T. HEDGES EDITORIAL ASSISTANTS NADJA BERKOVITCH ANDY BRUNO FEDJA BURIC EDITORIAL BOARD History John Connelly, University of California, Berkeley • Yaroslav Hrytsak, L'viv National University and Central European University, Budapest • Adeeb Khalid, Carleton College • William Rosenberg, University of Michigan • Maria Todorova, University of Illinois • Stefan Troebst, University of Leipzig • Lynne Viola, University of Toronto • Mark von Hagen, Arizona State University • Sergei Zhuravlev, Institute of Russian History of the Rus sian Academy of Sciences, Moscow Literature, Film, and the Arts Clare Cavanagh, Northwestern University • Gregory Freidin, Stanford University • Catriona Kelly, Oxford University • Christina Kiaer, Northwestern University • Judith Kornblatt, University ofWisconsin, Madison • Michal Pawel Maxkcwski, Jagellonian Univer sity, Krakow • Eric Naiman, University of California, Berkeley • Catharine Nepomnyashchy, Columbia University • Andrei Zorin, Oxford University Social Sciences Judit Bodnar, Central European University, Budapest • M. Steven Fish, University of Cali fornia, Berkeley • Susan Gal, University of Chicago • Elena Gapova, European Humanities University, Vilnius-Minsk and Western Michigan University • Grigorii Golosov, European University, St. Petersburg • Bruce Grant, New York University • Jan Kubik, Rutgers University • Pauline Jones Luong, Brown University -
General Convention 2015 the 78Th General Convention of the Episcopal Church
General Convention 2015 The 78th General Convention of the Episcopal Church FRIDAY, JUNE 26 | ISABEL FLORENCE HAPGOOD General Convention 2015 The 77th General Convention of the Episcopal Church O God of peace, you have Oh Dios de paz, tú nos taught us that in returning has enseñado que en la and rest we shall be saved, conversión y entrega in quietness and confidence seremos salvos, y en la shall be our strength: tranquilidad y confianza By the might of your Spirit estará nuestra fortaleza: lift us, we pray, Por el poder de tu Espíritu, into your presence, te suplicamos nos eleves where we may be still a tu presencia, en donde and know that you are God; podamos estar quietos y through Jesus Christ saber que tú eres Dios; por our Lord. Jesucristo nuestro Señor. Amen. Amén. ABOUT ISABEL FLORENCE HAPGOOD sabel Hapgood, a lifelong and faithful Episcopalian, sabel Hapgood, una fiel episcopal durante toda su was a force behind ecumenical relations between vida, fue una fuerza propulsora de las relaciones Episcopalians and Russian Orthodoxy in the ecuménicas entre episcopales y la ortodoxia rusa IUnited States around the turn of the twentieth Ien los Estados Unidos a inicios del siglo veinte. Nacida century. Born in Massachusetts of a wealthy family, en Massachusetts dentro de una familia adinerada, Hapgood was educated in private schools. She was a Hapgood fue educada en escuelas privadas. Ella fue superior student with a particular talent for the study una estudiante destacada por su talento especial para of languages. In addition to the standard fare of the el estudio de los idiomas. -
Taizé a Time of Prayer
Taizé A Time of Prayer The Feast of Isabel Florence Hapgood (June 16, transposed) Opening Meditation: Leader: Be still and know that I am God People: Be still and know that I am God Leader: Be still and know that I am People: Be still and know that I am Leader: Be still and know People: Be still and know Leader: Be still People: Be still Leader: Be People: Be Silence Laudate Omnes Gentes (to be sung in Latin) Psalm 24, Domini est terra 1 The earth is the Lord's and all that is in it, * the world and all who dwell therein. 2 For it is he who founded it upon the seas * and made it firm upon the rivers of the deep. The kingdom of heaven in the soul grows up from nothing but gives everything. 3 "Who can ascend the hill of the Lord? " * and who can stand in his holy place?" 4 "Those who have clean hands and a pure heart, * who have not pledged themselves to falsehood, nor sworn by what is a fraud. The kingdom of heaven in the soul grows up from nothing but gives everything. 5 They shall receive a blessing from the Lord * and a just reward from the God of their salvation." 6 Such is the generation of those who seek him, * of those who seek your face, O God of Jacob. The kingdom of heaven in the soul grows up from nothing but gives everything. 7 Lift up your heads, O gates; lift them high, O everlasting doors; * and the King of glory shall come in. -
Natalia Bakhareva – Women Film Pioneers Project
3/23/2021 Natalia Bakhareva – Women Film Pioneers Project Natalia Bakhareva Also Known As: Natalia Noga, Natalia Poliushkina Lived: 1887? - 1958 Worked as: journalist, playwright, producer, screenwriter, writer Worked In: Russia by Anna Kovalova Natalia Bakhareva was the first self-sufficient female film producer in Russia. Unlike Antonina Khanzhonkova and Elizaveta Thiemann, who produced films for studios officially owned by their husbands, Bakhareva opened her own film company and became its official head. In the 1916 reference guide Vsia Kinematographia/All the Cinematography, there are two titles for her company: “The Artistic Film” [“Khudozhestvennaia lenta”] and “N. D. Bakhareva and K” (31). In the trade press, Bakhareva’s studio was later called “The Russian Film Business” [“Rossiiskoe Kino-delo”] and “The Film Business” [“Kino-delo”] (“Novye lenty” [1917]; “Khronika” [1916]). Sometimes films produced by her studio were associated with a company called Prodalent, which distributed them. In her studio, Bakhareva worked not only as a producer but also as a screenwriter. She wrote scripts for six films, but none of her screenplays have been preserved. Moreover, all the films released by The Artistic Film (and later The Russian Film Business) are lost, and it is hard to judge their aesthetic value. We are fortunate to have Bakhareva’s memoirs today, which are held at the Bakhmeteff Archive of Russian and East European Culture at Columbia University, but these papers are dedicated to the writer Nikolai Leskov, Bakhareva’s famous grandfather, and, unfortunately, provide very little information about her work in cinema and the films she made. In fact, Bakhareva’s grandfather was a presence throughout much of her career. -
Lady Macbeth of the Mtsensk District: About Leskov's Literariness1
Maya Kucherskaya Lady Macbeth of the Mtsensk district: About Leskov's Literariness1 The viper pours poison, with a pipette, right into the ear Radiating with spiritual beauty 2. 1. Introduction In 1921, in „Novejshaia russkaia poeziia” [Recent Russian Poetry], one of his early works, Roman Jakobson wrote, „The sub ject of literary scholarship is not literature in its totality but liter ariness, i. e., that which makes a given work a work of literature /.../ If literary scholarship wants to be scholarly, it must recognize ‘the [literary] device’ as its only ‘protagonist.’ The next main question is how the device is applied and motivated.” 3 © Maya Kucherskaya, 2010 © TSQ 33. Summer 2010 (http://www.utoronto.ca/tsq/) 1 I am most grateful to Mila Nazyrova, Olga Meerson and Ekaterina Schnit ke for providing their valuable feedback. 2 Льет стерва яд с пипетки прямо в ухо, Душевною блистая красотой. The oral variant of the song „Khodit Gamlet s pistoletom” (by Alexei Okhri menko, Sergei Kristi and Vladimir Shreiberg, 1950), published in: Антология бардовской песни. Сост. Р. Шипов — М.: Эксмо, 2006. The present variant is provided by Alexander Lifshits (The Library of MSU). 3 «Предметом науки о литературе является не литература, а литератур ность, т. е. то, что делает данное произведение литературным произведе нием. (…) Если наука о литературе хочет стать наукой, она принуждается признать „прием” своим единственным «героем». Далее основной во прос — вопрос о применении, оправдании приема.» (Якобсон Р., «Новей шая русская поэзия», Якобсон Р. Работы по поэтике: Переводы. М.: Про гресс, 1987. P. 275.) 261 The obvious polemical rigorism of the quoted passage, and the historical and cultural biases of Jakobson's essay, hardly compromise the role of the artistic device in a literary text. -
An Eastern Heritage in a Western Rite: a Study of Source and Method for Archbishop Cranmer’S Inclusion of ‘A Prayer of Chrysostome’ in the English Litany of 1544*
[RRR 7.2-3 (2005) 249-267] RRR (print) ISSN 1462-2459 doi:10.1558/rrr.v7i2-3.249 RRR (online) ISSN 1743-1727 AN EASTERN HERITAGE IN A WESTERN RITE: A STUDY OF SOURCE AND METHOD FOR ARCHBISHOP CRANMER’S INCLUSION OF ‘A PRAYER OF CHRYSOSTOME’ IN THE ENGLISH LITANY OF 1544* George Soroka Centre for European Studies, Harvard University Cambridge, MA 02138, USA [email protected] Abstract Representing the first officially authorized printing of an English-language text, Thomas Cranmer’s Litany (1544)—a direct precursor of the 1549 Book of Common Prayer—is an important historical document. It also has linguistic significance, since ‘in setting forth certain godly prayers and suffrages in our native English tongue’, Cranmer went beyond simple translation of the Latin. Among his innovations was the insertion of ‘A Prayer of Chrysostome’, taken directly from an Eastern Orthodox source. The English rendering of the prayer has long been considered a masterly translation. However, while beautifully executed, Cran- mer’s version (compared with earlier Greek and Latin texts) is peculiar at points and raises theological questions. This study reviews and critiques scholarship on the matter while offering new insights into Cranmer’s connections to Christian Orthodox thought and practice. 1.1. Introduction and Background It has been suggested that the ostensible incorporation of liturgical elements from an Eastern Christian corpus of material into the nascent Anglican Rite is attributable largely if not solely to the early interest Archbishop Thomas * I am deeply grateful to Robin Leaver of Westminster Choir College (Princeton, NJ, USA) and to the anonymous journal referee for their extremely helpful comments on earlier drafts of this paper. -
Comrade Leskov: How a Russian Writer Was Integrated Into the Soviet National Myth1
ACTA SLAVICA ESTONICA VI. Studia Russica Helsingiensia et Tartuensia XIV. Russian National Myth in Transition. Tartu, 2014 COMRADE LESKOV: HOW A RUSSIAN WRITER WAS INTEGRATED INTO THE SOVIET NATIONAL MYTH1 MAYA KUCHERSKAYA 1. 21/VI–35, Stalinogorsk To Com. Leskov My fervent greetings to you and your “Toupee Artist”, which made a powerful im- pression on me despite its scant number of pages. As a Soviet writer, you have mas- tered the art, telling a tale that isn’t just about workers of the theater, but which pre- sents the history of the harsh, corrupt oppression of serfdom, which hung as a yoke over the necks of the masses for many centuries. As the centuries passed, like a black vortex, our Rus’ was sucked down and swamped by all the creatures that de- faced the Earth with their disease. It’s painful to look at the tortured faces of cultural works, to see their “toupee-ness” in the Revolution (the main revolutionary forces were not the peasants, but the working ‘proletariat’) [Отзывы: Л. 15]2. This was how Sergei Ogurtsov, an 18-year-old electrician from Stalinogorsk, in the Moskovsky Oblast’3, wrote to Leskov in 1935, in response to his story “The 1 This article was written with the support of the Academic Fund of the National Research Universi- ty The Higher School of Economics. 2 This is the original version of the text: “21/VI–35, г. Сталиногорск Тов. Лескову. Я горячо приветствую Вас и Ваш образ “Тупейный художник”, который произвел серьезное впечатление несмотря на малое число страниц, Вы, как Советский писатель овладели искус- ством, дали не историю театральных работников, а историю тяжелого, гноившего крепост- нова (права) ига, висевшее ярмом на широких массах, многие века. -
The Artist in N. S. Leskov's National Myth
ACTA SLAVICA ESTONICA VI. Studia Russica Helsingiensia et Tartuensia XIV. Russian National Myth in Transition. Tartu, 2014 THE ARTIST IN N. S. LESKOV’S NATIONAL MYTH LEA PILD In this article, we will discuss N. S. Leskov’s The Mountain [“Gora”], the sub- title of which is “An Egyptian Tale” (the original heading read “Zeno the Gold- smith”), which was based on the Old Russian Prolog (“Words on a Goldsmith Where Prayer Moved a Mountain into the Nile River”)1 and was written in 1887–18882. It is the only work by Leskov where the protagonist is an artist (in the literal, high art sense), and not a craftsman — the ‘artist’ of what- ever he does — with a marginal position in relation to the world of art. These are Leskov’s “toupee artists”, such as the protagonist of the story by the same name from 1888, the gunsmith Lefty (“Lefty”, 1882), the tailor (“The Tailor”, 1882), the icon painter Sebastian in “The Sealed Angel”, (1873) and other characters that demonstrate Leskov’s idea of art based on the medieval prin- ciple of the artist as the master of a craft. Research indicates that when Leskov was establishing his “backdrop myths”, which were taken from the Prolog, he made rather dramatic changes to the original text3, introducing allusions to contemporary life and including referen- ces to his own writing [Волынский]. Nonetheless, neither the intertextual level of “The Mountain”, nor its semantic layer, which is related to contemporary life, have been analyzed by Leskov researchers. Our objective here is to shed a modicum of light on Leskov’s allusions to contemporary artists (writers) and, 1 For more on the Prolog as a source for The Mountain see [Минеева].