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The Peresopnitsia Gospel (PG) is manuscript created in the second half of the 16th century in the contact zone of two traditions, the West and the East. The manuscript was made in a way that allowed it to be used by representatives of both the Roman and the Byzantine rites, which is evidenced by several type of textual breakups: liturgical, one approaching Byzantine lectionaries in the large chapters also continues the Latin tradition reflected in Gennady's Bible (GB) and other manuscripts related to it.
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The paper describes the main peculiarities of the Stanimaka (Asenovgrad) subdialect in the first half of the 20th century based on a literary text written by Hristo Daskalov. A comparison with some neighbouring sub-dialects has also been made.
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Četiri stotine godina prve tiskane knjige na narodnom jeziku iz Bosne i Hercegovine jedna je od stožernih činjenica kulturne povijesti na ovim prostorima. Matija Divković (1563-1631) objavljivanjem Nauka krstjanskoga i Sto čudesa 1611. godine otvara prvu stranicu povijesti knjige na narodnom jeziku u Bosni i Hercegovini, stoljeće i pol nakon izuma tiskarskog stroja. Od epohalnog otkrića tiska, s pomičnim lijevanim slovima, Johanna Gutenberga (o. 1397–1468) u Mainzu, sredinom XV. stoljeća – po nekima najvažnijeg događaja drugog tisućljeća poslije Krista – i tiskanja prve Biblije od 42 retka (1455), najblistavijeg izdanja ranog tiskarstva, prošlo je više od pet i pol stoljeća. Kroz to su se vrijeme dogodile ogromne promjene na kulturnom i civilizacijskom planu zahvaljujući tom događaju. Samo pedeset godina nakon otkrića tiskarskog stroja, u Europi je bilo otisnuto već oko 35.000 izdanja knjiga u 10 milijuna primjeraka, a prema nekim procjenama možda čak u 15 do 20 milijuna. Sve se te knjige – tiskane do 1500. godine – nazivaju inkunabule ili prvotisci. Sačuvano ih je oko 450.000 primjeraka tiskanih u više od 1.100 tiskara. Prvotisci su danas najdragocjeniji sadržaj i ures velikih svjetskih knjižnica.
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This text и an analysis of the photo of Vasil Levski in a hussar uniform from 1869, which was taken in Bucharest in the photo studio of Carol Popp de Szathmari, who was a famous Hungarian painter and photographer working in Romania. The text includes the rich biography of Szathmari, as a painter, traveler and the first photographer in Bucharest and the first military photographer in the world. There и also a brief summary of the specifics of the portrait photography in the XIX century. The text also concentrates on the fact that the uniform and the weapon did not belong to Levski himself, but were a property of the photo studio. The Analysis of the photo includes the position of the model – a standing man, the uniform, the accessories and the interior. Another main topic of the text и the message of the photo, and the way it would had been seen in the XIX century. There и also an analogy with other portraits taken from the same photographer and in the same studio, one of which и the photo of the Romanian king, Alexandru Ion Cuza, who also has a portrait of himself in a hussar uniform.
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The text describes the use of Vassil Levski‘s portrait in the first episode “Guests” of the comic “The Unexplained” by the magazine “Rainbow” (1979).
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This paper proposes a semantical, anthropological and semiological approach to the iconostasis of the Orthodox churches, defined as a threshold between the nave and the sanctuary, between the visible world of the worshippers and the invisible world of the heavenly powers and God. The paper considers a lexical-semantic study of two nouns used in French to refer to this dividing wall, as well as other words (and phrases) which designate other elements of the architectural ensemble which compose the iconostasis; this semantical study will be accompanied by a semiological analysis of the symbolism of the iconostasis (based on the works of liturgical hermeneutics) and of the the liturgical gestures which the iconostasis determines and guides from a semiological point of view, supported by a corpus of notes recorded in France and in Romania (during the liturgical practice) and by a few theological works.
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For religious and cultural reasons, from the 2nd Millennium onwards, lexicographic activity has experienced very significant development. If the first dictionaries in the West were the threshold for the understanding of religious texts, later, with the more and more frequent exchanges between East and West, bilingual dictionaries appeared, this time as a cultural threshold, with a modern language as the main language and emphasizing technical terminology rather than religious terminology. In our paper we will briefly present the evolution of dictionaries and then identify some specialty papers on religious terminology in Romanian and French. We will focus on the issue of translations from Romanian into French in the manner presented by Felicia Dumas in her papers, as well as the threshold represented by specialty dictionaries in religious translations, when talking about the representation of the Orthodox Christian religion in the French language. We will also present a comparative analysis between two French-Romanian bilingual dictionaries published in different centuries, to feature the threshold between the past and the present and the way in which the religious terms of an old dictionary are still taken up in another more recent one, despite developments and trends to remove them throughout history.
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The practice, connected to the transferring of relics, imported to the Bulgarian tradition from Byzantium, can be treated as a part of Bulgarian rulers’ “Empire idea”, which has changed at the beginning of 13th century. The formation of an independent pantheon of saints helps to successfully Trinova’s competition with Constantinople and striving for the Bulgarian capital to become “Third Rome”. After the conquest of Constantinople by the Latins in 1204, Bulgarian empire has claimed to be new Christian centre in the Balkans. The construction of its own pantheon of saints’ relics is a necessity for realization of the Bulgarian tsar’s imperial claims. The creation and following of this tradition led its beginning of the military actions and become a part of the ideological platform of the Bulgarian tsars.
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