Octoechos Tone 1 Sunday Vespers "Lord I Call..."
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
November 1: Registration and Welcome Reception at the Hilton Hotel Boston Downtown Financial District
November 1: Registration and Welcome Reception at the Hilton Hotel Boston Downtown Financial District November 2 - 4: Panels, Registration and Book Exhibits will take place at Hellenic College Holy Cross campus November 2 - 3: Coaches to Hellenic College Holy Cross campus depart each morning at 8:00 a.m. from the Hilton Downtown Financial District only. Coaches for the return trip to the Hilton Downtown Financial District will depart in front of the Archbishop Iakovos Library Building after the end of the receptions. On Saturday, coaches to take participants to the Cathedral Center will depart at 1:00 p.m., also from the Archbishop Iakovos Library Building. November 2 - 4: A small exhibition of Greek, Roman and Byzantine objects from the Archbishop Iakovos Collection, curated by the Very Reverend Dr. Joachim (John) Cotsonis and Dr. Maria Kouroumali, will be on display in the Archbishop Iakovos Museum, Third Floor, Archbishop Iakovos Library Building. Opening hours of exhibition: 10:00 a.m. - 6:00 p.m. (Fri - Sat.); 10:00 a.m. - 4:00 p.m. (Sun) Thursday, November 1, 2012 Hilton Hotel Boston Downtown Financial District 5:00 p.m. - 8.00 p.m. Registration Hilton Lobby 6:30 p.m. - 7:30 p.m. The Mary Jaharis Center for Byzantine Art and Culture Informal Welcome Reception Kellogg Ballroom 8:00 - 10:00 p.m. BSANA Governing Board Meeting William Fly Room Friday, November 2, 2012 Hellenic College Holy Cross campus Continental Breakfast: 8:00 a.m. - 9.00 a.m. Maliotis Cultural Center Lobby Registration and Book Exhibits (all day) Maliotis Cultural Center Upper Wing 9:00 a.m. -
OCTOECHOS – DAY of the WEEK Tone 1 – 1St Canon – Ode 3
OCTOECHOS – DAY OF THE WEEK Tone 1 – 1st Canon – Ode 3 – Hymn to the Theotokos You conceived God in your womb through the Holy Spirit, and yet remained unconsumed, O Virgin. The bush unconsumed by the fire clearly foretold you to the lawgiver Moses for you received the Fire that cannot be endured. Monday – Vespers / Tuesday - Matins: Aposticha – Tone 1 O VIRGIN, WORTHY OF ALL PRAISE: MOSES, WITH PROPHETIC EYES, BEHELD THE MYSTERY THAT WAS TO TAKE PLACE IN YOU, AS HE SAW THE BUSH THAT BURNED, YET WAS NOT CONSUMED; FOR, THE FIRE OF DIVINITY DID NOT CONSUME YOUR WOMB, O PURE ONE. THEREFORE, WE PRAY TO YOU AS THE MOTHER OF GOD, // TO ASK PEACE, AND GREAT MERCY FOR THE WORLD. Tone 2 – Saturday Vespers & Friday Vespers (repeated) – Dogmaticon Dogmatic THE SHADOW OF THE LAW PASSED WHEN GRACE CAME. AS THE BUSH BURNED, YET WAS NOT CONSUMED, SO THE VIRGIN GAVE BIRTH, YET REMAINED A VIRGIN. THE RIGHTEOUS SUN HAS RISEN INSTEAD OF A PILLAR OF FLAME.// INSTEAD OF MOSES, CHRIST, THE SALVATION OF OUR SOULS. Tone 3 – Wed Matins – 2nd Aposticha ON THE MOUNTAIN IN THE FORM OF A CROSS, MOSES STRETCHED OUT HIS HANDS TO THE HEIGHTS AND DEFEATED AMALEK. BUT WHEN YOU SPREAD OUT YOUR PALMS ON THE PRECIOUS CROSS, O SAVIOUR, YOU TOOK ME IN YOUR EMBRACE, SAVING ME FROM ENSLAVEMENT TO THE FOE. YOU GAVE ME THE SIGN OF LIFE, TO FLEE FROM THE BOW OF MY ENEMIES. THEREFORE, O WORD, // I BOW DOWN IN WORSHIP TO YOUR PRECIOUS CROSS. Tone 4 – Irmos of the First Canon – for the Resurrection (Sat Night/Sun Morn) ODE ONE: FIRST CANON IRMOS: IN ANCIENT TIMES ISRAEL WALKED DRY-SHOD ACROSS THE RED SEA, AND MOSES, LIFTING HIS HAND IN THE FORM OF THE CROSS, PUT THE POWER OF AMALEK TO FLIGHT IN THE DESERT. -
BYZANTINE CAMEOS and the AESTHETICS of the ICON By
BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production. -
The Apocryphal Bulgarian Sermon of Saint John Chrysostom on the Оrigin of Paulicians and Manichean Dimensions of Medieval Paulician Identity
Studia Ceranea 10, 2020, p. 425–444 ISSN: 2084-140X DOI: 10.18778/2084-140X.10.21 e-ISSN: 2449-8378 Hristo Saldzhiev (Stara Zagora) https://orcid.org/0000-0002-4116-6600 The Apocryphal Bulgarian Sermon of Saint John Chrysostom on the Оrigin of Paulicians and Manichean Dimensions of Medieval Paulician Identity ne of the most interesting documents concerning the early history of Pau- O licianism in Bulgarian lands is the apocryphal Saint John Chrysostom’s ser- mon on how the Paulicians came to be1. Its text is known entirely or partly from eight copies; the earliest ones are dated back to the 16th century2. The best-known variant is the copy from the Adžar collection N326 (17th century), preserved at the Bulgarian National Library3. It was found and published for the first time by Jor- dan Ivanov, the discoverer of the sermon, in 1922. Since then the Adžar and other copies have been published or quoted in different studies and research works4. The meaningful differences between the different copies are insignificant, except for the final passage. According to the Adžar copy, St. John Chrysostom from Petrič went to the Bulgarian land to search for the two “disciples of the devil”, but accord- ing to the others, he sent to the Bulgarian land delegates who brought “disciples of the devil” to Petrič5. That gives a reason to think that the copies transmitted the text of the initial original relatively correctly. According to Anisava Miltenova 1 Below in the text I will refer to it as “the sermon”. 2 А. МИЛТЕНОВА, Разобличението на дявола-граматик. -
Course Listing Hellenic College, Inc
jostrosky Course Listing Hellenic College, Inc. Academic Year 2020-2021 Spring Credit Course Course Title/Description Professor Days Dates Time Building-Room Hours Capacity Enrollment ANGK 3100 Athletics&Society in Ancient Greece Dr. Stamatia G. Dova 01/19/2105/14/21 TBA - 3.00 15 0 This course offers a comprehensive overview of athletic competitions in Ancient Greece, from the archaic to the hellenistic period. Through close readings of ancient sources and contemporary theoretical literature on sports and society, the course will explore the significance of athletics for ancient Greek civilization. Special emphasis will be placed on the Olympics as a Panhellenic cultural institution and on their reception in modern times. ARBC 6201 Intermediate Arabic I Rev. Edward W. Hughes R 01/19/2105/14/21 10:40 AM 12:00 PM TBA - 1.50 8 0 A focus on the vocabulary as found in Vespers and Orthros, and the Divine Liturgy. Prereq: Beginning Arabic I and II. ARTS 1115 The Museums of Boston TO BE ANNOUNCED 01/19/2105/14/21 TBA - 3.00 15 0 This course presents a survey of Western art and architecture from ancient civilizations through the Dutch Renaissance, including some of the major architectural and artistic works of Byzantium. The course will meet 3 hours per week in the classroom and will also include an additional four instructor-led visits to relevant area museums. ARTS 2163 Iconography I Mr. Albert Qose W 01/19/2105/14/21 06:30 PM 09:00 PM TBA - 3.00 10 0 This course will begin with the preparation of the board and continue with the basic technique of egg tempera painting and the varnishing of an icon. -
Pna 35/2020 109 Artiklar
“THE GREAT INITIATE OF GOD’S GRACE”: A KONTAKION ON ST NICHOLAS BY PSEUDO-ROMANOS Uffe Holmsgaard Eriksen ([email protected]) University of Southern Denmark Abstract: During the ninth and tenth centuries, St Nicholas of Myra became increasingly popular as a saint, eventually rising to rank of the apostles in veneration. This article presents an investigation into the monastic piety which brought St Nich- olas onto the stage of the Byzantine liturgical storyworld as one of the most im- portant saints. Through a closer examination of how he was presented from the ninth century onwards in hagiography in general, the main focus of the article is a kontakion on the saint attributed to the great poet Romanos the Melodist (ca. 485–560) in particular. The question of authorship, time and place of origin of the kontakion is discussed. The article finally brings a new translation of the kontakion into English. Key words: Keywords: pseudo-Romanos, Romanos the Melodist, kontakion, kanon, Byzan- tine hymnography, St Nicholas of Myra, St Nicholas of Sion, hagiography PNA 35/2020 109 ARTIKLAR Hagiographical Hymns in General Scholarly work on Byzantine hymns devoted to saints is still a desider- atum. This goes not only for a large amount of unedited hagiographical kanons,1 but also for the kontakia2 on saints’ lives. Most of these hagio- graphical kontakia, several hundred,3 remain unedited, but because of the high esteem and popularity of Romanos the Melodist among Byz- antinists we have 20 kontakia devoted to apostles or saints attributed to him in a critical edition. The edition was originally prepared by Paul Maas but it was his collaborator, Constantine Trypanis, who finished the volume after Maas’ death based on his notes and personal commu- nication.4 Maas and Trypanis regarded all the kontakia in this edition spurious, and Trypanis’ verdict on the quality of the hymns could easily scare away interested scholars (see below). -
Sunday, January 12, 2020 – 30 Th Sunday After Pentecost, Afterfeast of the Theopany
SAINT NICHOLAS RUSSIAN ORTHODOX CHURCH 980 Bridle Path Road | Bethlehem, PA 18017-3120 | T: 610-867-0402 stnicholasoca.org Reverend Matthew Joyner, Rector Cell: 570-468-2261 Email: [email protected] Very Reverend James Mason, Attached Deacon Geoffrey LoBalbo Ms. Patty Felix, Council Chair Reader Nicholas Lezinsky, Choir Director Jennifer Bzik, Administrative Assistant Email: [email protected] Note to our Guests and Friends Visiting St. Nicholas: We offer a most sincere and heart-felt welcome to St. Nicholas Church! Please be advised that according to the ancient traditions of the Orthodox Church, the Sacrament of Holy Communion is to be administered only to Orthodox Christians who have prepared themselves to receive the Holy Sacrament. (Please note – Information to be included in next week’s bulletin must be submitted by noon on Thursday. Thank you! ~ Jennifer N. Bzik) Schedule for the Week of January 12, 2020 30th SUNDAY AFTER PENTECOST — Tone 5. Afterfeast of the Theophany. Sunday after Theophany. Martyr Tatiana of Rome and those who suffered with her (226-235). Ven. Martinian, Abbot of Belozersk (1483). Martyr Mertius of Mauretania (284-305). Martyr Peter Apselamus of Palestine (309-310). Ven. Eupraxia of Tabenna, in Egypt (393). The “AKATHIST” and “THE MILKGIVER” Icons of the Most-holy Theotokos. Icon of the Mother of God, the “Priestly”. Coffee Hour Hosted By: The Lungu Family In Honor of Mom & Dad Father Matthew’s Office Hours This Week Office Hours during house blessing season will be irregular. Please call if -
1 the Beginning of the Church
Excerpts from the “The Historical Road of Eastern Orthodoxy” By Alexander Schmemann Translated by Lynda W. Kesich (Please get the full version of this book at your bookstore) Content: 1. The Beginning of the Church. Acts of the Apostles. Community in Jerusalem — The First Church. Early Church Organization. Life of Christians. Break with Judaism. The Apostle Paul. The Church and the Greco-Roman World. People of the Early Church. Basis of Persecution by Rome. Blood of Martyrs. Struggle of Christianity to Keep its Own Meaning. The New Testament. Sin and Repentance in the Church. Beginnings of Theology. The Last Great Persecutions. 2. The Triumph Of Christianity. Conversion of Constantine. Relations between Church and State. The Arian Disturbance. Council of Nicaea — First Ecumenical Council. After Constantine. The Roman Position. Countermeasures in the East. End of Arianism. New Relation of Christianity to the World. The Visible Church. Rise of Monasticism. State Religion — Second Ecumenical Council. St. John Chrysostom. 3. The Age Of The Ecumenical Councils. Development of Church Regional Structure. The Byzantine Idea of Church and State Constantinople vs. Alexandria The Christological Controversy — Nestorius and Cyril. Third Ecumenical Council. The Monophysite Heresy. Council of Chalcedon (Fourth Ecumenical Council). Reaction to Chalcedon — the Road to Division. Last Dream of Rome. Justinian and the Church. Two Communities. Symphony. Reconciliation with Rome — Break with the East. Recurrence of Origenism. Fifth Ecumenical Council. Underlying Gains. Breakup of the Empire — Rise of Islam. Decay of the Universal Church Last Efforts: Monothelitism. Sixth Ecumenical Council. Changing Church Structure. Byzantine Theology. Quality of Life in the New Age. Development of the Liturgy. -
The Plainchant of the Byzantine Catholic Church
The Plainchant of the Byzantine Catholic Church Week 1: Liturgical background for this course Byzantine Catholic Seminary, Pittsburgh, Pennsylvania Instructor: Deacon Jeffrey Mierzejewski Spring 2017 What is the Byzantine Rite? • Liturgy: the organized, public liturgy of the Christian Church • Rite – a particular arrangement of the divine services, consisting of the texts and actions used in worship, and the chant that accompanies them – Roman Rite: the liturgical order of the city of Rome, used in much of the Catholic Church – Byzantine Rite: the liturgical order of the city of Constantinople, used in the Orthodox churches and most (not all) Eastern Catholic churches – Antiochene (Syrian) Rite: the liturgical order of the city of Antioch, used by Maronite, Syriac, Malabar, Malankar, and Chaldean Catholics, and well as some Oriental Orthodox churches – Alexandrian (Coptic) Rite: the liturgical order of the city of Alexandria, used by Coptic and Ethiopian Catholics and Orthodox – Jerusalem Rite: the liturgical order of the city of Jerusalem, now largely absorbed into the other Eastern Rites • Each of these rites has changed over time, and has been adapted locally by the various churches that use them. The Byzantine Catholic Church follows the Byzantine Rite, and this lecture will focus on this tradition. The Divine Praises In the Byzantine Rite, the day begins at sundown. “Thus evening came, and morning followed - the first day.” (Genesis 1:5) – At sunset: Vespers - praise for creation, and intercession for the world –Before sleep: Compline -
Icons and Saints of the Eastern Orthodox Church Pdf, Epub, Ebook
ICONS AND SAINTS OF THE EASTERN ORTHODOX CHURCH PDF, EPUB, EBOOK Alfredo Tradigo | 384 pages | 01 Sep 2006 | Getty Trust Publications | 9780892368457 | English | Santa Monica CA, United States Icons and Saints of the Eastern Orthodox Church PDF Book In the Orthodox Church "icons have always been understood as a visible gospel, as a testimony to the great things given man by God the incarnate Logos". Many religious homes in Russia have icons hanging on the wall in the krasny ugol —the "red" corner see Icon corner. Guide to Imagery Series. Samuel rated it really liked it Jun 21, It did not disappoint on this detail. Later communion will be available so that one can even utilize the sense of taste during worship. Statues in the round were avoided as being too close to the principal artistic focus of pagan cult practices, as they have continued to be with some small-scale exceptions throughout the history of Eastern Christianity. The Art of the Byzantine Empire — A Guide to Imagery 10 , Bildlexikon der Kunst 9. Parishioners do not sit primly in the pews but may walk throughout the church lighting candles, venerating icons. Modern academic art history considers that, while images may have existed earlier, the tradition can be traced back only as far as the 3rd century, and that the images which survive from Early Christian art often differ greatly from later ones. Aldershot: Ashgate. In the Orthodox Church an icon is a sacred image, a window into heaven. Purple reveals wealth, power and authority. Vladimir's Seminary Press, The stillness of the icon draws us into the quiet so that we can lay aside the cares of this world and meditate on the splendor of the next. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title “We’re Not Ethnic”: Ethnicity, Pluralism, and Identity in Orthodox Christian America Permalink https://escholarship.org/uc/item/9f61p9hw Author Sokoll, Aaron J Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara “We’re Not Ethnic”: Ethnicity, Pluralism, and Identity in Orthodox Christian America A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Religious Studies by Aaron Josef Sokoll Committee in charge: Professor Wade Clark Roof, Chair Professor Catherine Albanese Professor Kathleen Moore March 2018 The dissertation of Aaron Josef Sokoll is approved. ____________________________________________ Catherine Albanese ____________________________________________ Kathleen Moore ____________________________________________ Wade Clark Roof, Committee Chair March 2018 “We’re Not Ethnic”: Ethnicity, Pluralism, and Identity in Orthodox Christian America Copyright © 2018 by Aaron Josef Sokoll iii VITA OF AARON JOSEF SOKOLL March 2018 EDUCATION Present Ph.D., Religious Studies, UC Santa Barbara, (March 2018) “We're Not Ethnic”: Race, Ethnicity, and Identity in Eastern Orthodox America 2007 M.A., Religious Studies, University of Denver American Civil Religion and American Empire 1999 B.A., Philosophy, Cedarville University RESEARCH AND TEACHING INTERESTS Religion & Culture, American Religious -
The Painting of Icons * Fall Semester, 2015: R, 2:30-5:30 PM Course # SAR 4007-001 (CRN #24286), Vasey Studio, 207 Fr
The Painting of Icons * Fall Semester, 2015: R, 2:30-5:30 PM Course # SAR 4007-001 (CRN #24286), Vasey Studio, 207 Fr. Richard Cannuli, OSA and Dr. Tina Waldeier Bizzarro * satisfies Diversity 3 Requirement (non-Western cultures) ICON OF ST. AUGUSTINE OF HIPPO, WRITTEN BY FR. RICHARD CANNULI, osa Reading List: Baggley, John. Doors of Perception: Icons and Their Spiritual Significance. Crestwood, New York: St. Vladimir's Seminary Press, 1995. ISBN: 0-88141-071-3 (Required—to be distributed in class). Barasch, Moshe. Studies in the History of An Idea. New York: New York University Press, 1992 (ISBN: 0814712142, 9780814712146), Paperback. Forest, Jim. Praying with Icons. Maryknoll, NY: Orbis Books, 1997 (ISBN: 1 57075-112-9) (Required). Weekly Readings: Dr. Bizzarro will give you a series of articles to be read during the course of the semester. Bring an empty flash drive with you on the first day of class. Optional: Maguire, Henry. The Icons of Their Bodies: Saints and Their Images in Byzantium. Princeton: Princeton Univ. Press, 1996 (ISBN: 0-691-02581- 9). (May be purchased online, if desired; not in bookstore). 1 Khludov Psalter (detail), 9th century. The image represents the Iconoclast theologian, John the Grammarian, and an iconoclast bishop destroying an image of Christ (State Hist. Mus., Moscow) Course Description – Diversity 3: [Diversity 3: Courses focus on the culture, economics, politics or ecology of societies and nations other than those of Western Europe and the United States and that emphasize power, privilege, and marginalization or a critical analysis of how these cultures define and express themselves.] We will learn to write an icon in the Russo-Byzantine technique with all-natural materials--tempera paints, a gesso-covered birch board, sable brushes, gold leaf, clay, and stand oil (natural linseed oil polymerized by heating)--as tools, following early Christian painterly formulae.