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This book represents a study of the textology, typology, sources and literary peculiarities of the so-called ’miscellanies of mixed content' in the South Slavonic tradition (from the end of 13th – the beginning of 18th c.) – less known or unknown in the Humanities. The problem is closely related to the apocryphal collections in the Balkan Cyrillic manuscripts, as the Apocrypha are a significant part of this type of manuscripts. The scope of the study is to popularize the series and texts that fill the gap in the translation and perception of the Slavonic Apocrypha. New information is presented over the sources of translations, as well as the compilation approach of Slavonic writers, which reproduces a new version of the texts. The copies of the Slavonic texts are published in the supplement. The typology of manuscripts is supported by plectograms produced in the Repertory of Old Bulgarian Literature and Letters (http://repertorium.obdurodon.org/).
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Volume II of the monograph of Oświęcim contains the history of the city. It has been divided into two parts devoted to the systemic changes, spatial and economic development and religious life. The authors discuss the meaning of the name of the city, its districts and streets, and the history of the city’s coat of arms. They present the results of archaeological research and the history of the city from the earliest times until the early years of the People’s Republic of Poland. A separate chapter is devoted to the history of the Oświęcim Jews. The second part discusses, among other things, locations of church buildings, religious orders operating in Oświęcim, as well as outstanding figures of religious life, which contributed to the development of the city.
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Volume II of the monograph of Oświęcim contains the history of the city. It has been divided into two parts devoted to the systemic changes, spatial and economic development and religious life. The authors discuss the meaning of the name of the city, its districts and streets, and the history of the city’s coat of arms. They present the results of archaeological research and the history of the city from the earliest times until the early years of the People’s Republic of Poland. A separate chapter is devoted to the history of the Oświęcim Jews. The second part discusses, among other things, locations of church buildings, religious orders operating in Oświęcim, as well as outstanding figures of religious life, which contributed to the development of the city.
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𝑆𝑜𝑐𝑖𝑒𝑡𝑎𝑠 𝐶𝑙𝑎𝑠𝑠𝑖𝑐𝑎 is a multilingual collection of papers presented at the international scientific conference that has been organized by the Department of Classical and Eastern Languages and Cultures of St. Cyril and St. Methodius University of Veliko Tarnovo (Bulgaria) since 2002. Until 2015, the conference was held annually. Since 2018, it is held once every two years. St Cyril and St Methodius University Press issues the collection within the Dr. Nicola Piccolo series. The wide range of topics and the opportunity for authors to submit their academic publications in the original language attracts researchers from all over the world.
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𝑆𝑜𝑐𝑖𝑒𝑡𝑎𝑠 𝐶𝑙𝑎𝑠𝑠𝑖𝑐𝑎 is a multilingual collection of papers presented at the international scientific conference that has been organized by the Department of Classical and Eastern Languages and Cultures of St. Cyril and St. Methodius University of Veliko Tarnovo (Bulgaria) since 2002. Until 2015, the conference was held annually. Since 2018, it is held once every two years. St Cyril and St Methodius University Press issues the collection within the Dr. Nicola Piccolo series. The wide range of topics and the opportunity for authors to submit their academic publications in the original language attracts researchers from all over the world.
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The article summarises the author’s work on the excerpt of Letter N from the Glossary of Patriarch Euthymius. It presents a preliminary observation of part of the vocabulary in the writings of this 14th-century Bulgarian man of letters. The statistical structure of the Glossary is presented in summary – the letter N and the dissemination of the words beginning with N on the micro- and macro-level both in the works by this author and in the Medieval literature with a view to following the continuity of the language and influence of the Cyrillo-Methodian tradition on the writers associated with the Literary School of Tarnovo. A general characteristic of the Glossary is made in relation to the grammatical and semantic category of the constituent lexemes in comparison with the word-forming tendencies in the Old Bulgarian as well as with regard to the origin and functional delimitation of words. Special attention is paid to the vocabulary which has not been lexicographically described so far, as well as to the lexis which is considered diagnostic when ascribing this precise author to a particular literary tradition.
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The study is an essay to draw a classification of the lexemes with foreign origin, mostly Greek and Latin, according to the 13th original works of Patriarch Eythymius. Those lexical strata englobe multifunctional and nonhomogeneous unities, dispersed in different textual contexts. They are just a nuance, not the base of the vocabulary, but perform important historical, cognitive, and stylistic functions, rising the prestige of the lexical richness, and crediting it with international dimensions in basic conceptual spheres of Christianity.
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The survey hereby focuses on the peculiarities of the participles in a hitherto linguistically unexplored text, namely the Middle Bulgarian translation of Contra Anomoeos („On the Incomprehensible Nature of God“) by John Chrysostom. It consists of six sermons, comprising the first part of the book Margarit (Pearl), a crucial component of the Slavic handwritten tradition. The study of the Slavonic translation of Margarit is very important for outlining the translation practice of the scholars of the literary circle around Theodosius of Tarnovo. The survey is based on the earliest Bulgarian transcript – manuscript F.I.197, kept in The National Library of Russia, Saint Petersburg – written in the middle of the fourteenth century. The manuscript is considered to have been composed during the lifetime of his translator – the scholar Dionisiy Divniy. The article highlights a high degree of similarity between the linguistic devices used by Dionisiy Divniy and by the other representatives of the Turnovo Literary School from the fourteenth century.
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The prelatic sceptre is a symbol of strength and spiritual power. It imposes the obligation and responsibility to care for the integrity and preservation of the spiritual flock. The sceptre provides the bishop the power to judge and make decisions. The find from Trapezitsa is discovered in the big duplex building, in the civil complex near church № 3, in the Southeastern sector of the stronghold. The find has a biconical shape, with an almost flat upper surface. It’s quite possible that the workmanship is linked to a metropolitan studio. The entire surface features a “bird eye” ornament, applied circumferentially and also radially. Eight relief sheets are placed on the side surface. They are crafted in tall relief. From below the item ends with a bush for the attachment of the wooden stick. It remains an open question as to what kind of a representative of the metropolitan aristocracy was the complex in question meant for – a high-ranking layman or a clerical individual? The bone end of the prelatic sceptre is an important find, which links the new-found civil complex of Trapezitsa with a high-ranking representative of the metropolitan ecclesiastical hierarchy.
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The article treats the means of expression of hesychastic apophaticism, used by Old Bulgarian writers of the 14th – 15th centuries, and the author tries to show that these means are very old, and were characteristic even for the mind of primitive people. He pays attention to the synonymy of ‘aphophatic’ negative pronouns and ‘cataphatic’ summative pronouns; to the pleonastic use of the negative particle не; to the syntactic but- constructions; and to necessative constructions.
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The semantic realizations of the concept of will in the history of Bulgarian literary language are examined in this paper. The linguistic facts of Old Bulgarian manuscripts, original works of Patriarch Euthimius, New Bulgarian damascenes and modern language are used. The system of phrases and sentences with “will” and its distribution in different contexts are analyzed in a relation with cultural situation in the ХIV c., Christian ideas and strategy of the author.
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A photograph and a color copy of the fresco, made before the earthquake in 1913 have survived as evidence of the ktitor’s portrait. The ktitor is young and has a black beard, he is clad in a splendid bishop’s vestment with Latin crosses and a black monastic koukoulion. In the image, dedicated to the apostles of the Church of Rome Peter and Paul, he is positioned next to the Virgin Mary with Child on throne, above the western entrance of the church, where there had never been other ktitor’s portrait and inscription and, in fact, that gives grounds for the monumental composition to be dated in the same way as the main painting at the time of bishop Ignatius in 1442. The ktitor is depicted to give the model of the church with both of his hands to the apostles of the Church of Rome St. Peter, who presents him before Christ and his Mother, symbolizing the Church. He seems to be smaller than the other figures and his eyes are looking upwards to the Prince of the Apostles Peter – a vision of the Roman claim for supremacy. The ktitor’s model of the church reflects the state of the building with the external gal¬lery before painting the calendar in the sixteenth century, when the big arch-like barred windows were bricked in connection with the painting of the calendar. Most likely, that earlier reconstruction was done in the mid-fifteenth century, when the town of Turnovo was undertaking major buildings – e.g. the bridge and the mosque of Feruz Bey (1435). To identify the Turnovo metropolitan Ignatius, it is the style of the ktitor’s composition that also helps and the accompanying inscription with palaeographic characteristics that are specific for the signatures of the painter Nikolas (e.g. the anagram from 1442). It is known that Ignatius and the Ecumenical Patriarch Joseph II came from the Bulgarian tsarist family and had been in one and the same kellion of the Mount Athos monastery Alipu. That explains the exceptional presence of St. Athanasius of Mount Athos in the altar near the patron of metropolitan St. Ignatius the God-bearer in the diaconicon where the order of dressing was taking place. The Tree of Jesse is contaminated with the Genealogy of Christ and covers the whole space of the church. It unifies the conceptual program by spreading its branches around the Virgin Mary with Child in the apse, the arcade of the triumphant Heavenly Church with the parents of the Mother of God, the martyr priests and warriors, and the scenes from the life of Christ. A painting by Boris Denev painted before the earthquake in 1913 shows the lying Jesse at the southern pillar of the narthex where the stem of the genealogy tree is sprouting out. The vision is related to the genealogy in the Gospels of Matthew and Luke, and also in the Hermeneia of Dionysius of Fourna. The Genealogy of Matthew according to his father’s royal line starting from Abraham, Isaac and Jacob is associated with the one of Luke, according to his maternal line from the ancestors of the |Virgin Mary, Adam, Eve, and Abel, who never occupied the throne of the Jews and in this connection there is the unique branch with the righteous women. The origin of the two genealogies was on the western wall of the narthex facing Jesse. The direction of the visual narrative from left to right is indicated by the image of the semi full-face of Tara, the father of Patriarch Abraham, depicted on the western end of the southern wall of the narthex. The genealogy of Luke on the western wall of the narthex over the entrance had been developing north-wise in the narthex and the naos. The images of their descendants are partially preserved on the northern wall of the narthex (Noah with the Ark and his sons Sim and Japheth) and the naos (Nahor, the father of Tara). The genealogy after Mat¬thew on the western wall of the narthex, south of the entrance, spread over the apse with a unique branch, dedicated to the twelve sons of Patriarch Jacob. Further on, there are the sons of Judah, the Patriarch Kings Zar on the northern pillar in the narthex, and Phares on the southern wall of the narthex next to Tara, where it continues eastward reaching Jesse. From there on, the genealogy is continuing on the northern pillar with Patriarch Ravoam and then in the central arch next to Christ. The Tree of Jesse includes also images from the Hermeneia – e.g. the righteous women, the prophet Nathan, and King Joshua in the southern arch between the narthex and the naos, Patriarch Melchizedek at the northern pillar of the narthex and the pointed by him righteous men named Tobit and Tobias with scrolls unfolded in the northern arch between the narthex and the naos. The connection between the Old Testament and the New Testament is achieved along the west-east axis, from the narthex through the naos to the altar. Depicted in the apse is a branch with the Covenant of Patriarch Jacob as a symbol of the Old Testament unity and prefiguration of the Virgin Mary with Child – cf. the ewer with heavenly manna of Levi and Christ in the hands of Judas. Depicted in the central arch between the narthex and the naos is an allegory of the New Testament unity – the Council of Jerusalem, presented by God’s brethren Jacob and Judas, and the leaders of the apostles Peter and Paul, based of the Seven Ecumenical Synods in the narthex. The tree of Jesse is an element of imperial propaganda, as it is an evidence of the power being taken over from father to son. Most kings have their hands covered for the Holy Communion, but some point to the visual text – e.g. king Zar, the first-born son of Judas, points with his right hand the younger brother Perez from whom originates the family line of Jesse, and his great-grandson, King Aminadav, points with his left hand to his son Nahshon who is called upon to lead Judah’s family line before Moses during the escape of the Jews from Sinai. In the central arch, King Jotham points out to his father Uzziah, who during his life, made him a co-ruler, whereas the kings Sadok and his son Ahim, as well as their descendant St. Joseph, point to the Child dressed in golden vestments as in a dream of the prophet Jesse.
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