scholarly journals За следите от Методиевия превод на Книгата на пророк Йеремия

2016 ◽  
Vol 16 ◽  
pp. 3-19
Author(s):  
Татяна [Tatiana] Мострова [Mostrova]
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Old Testament ◽  
Book Of Jeremiah ◽  
Made In

On traces of the Methodian translation of the Book of JeremiahThe article presents preliminary observations concerning the excerpts from the Book of Jeremiah in the Archival Chronograph (fifteenth century) and Vilno Chronograph (sixteenth century). According to their content, localization and linguistic characteristics, they fall into two main groups. Some of the excerpts are identified as chapters from the Slavic Prophetolo­gion and are connected with the translation made by Cyril and Methodius. Other chapters, which are not included in the Cyrillic and Glagolitic liturgical books, belong to the first, probably untranslated or now lost, part of the Book of Jeremiah. The excerpts that cannot be found in the Prophetologion also have archaic linguistic bases, connected to the translational techniques characteristic of the Cyrillo-Methodian translations, and differ considerably from the translation with commentaries that was made in Preslav. Whether these excerpts belong to an independent earlier translation, made by Methodius and his co-workers, or they are extracts from encyclopedic miscellany, they provide valuable material for the study of this biblical book and of the Old Bulgarian translation of the Old Testament. O śladach przekładu Księgi Jeremiasza autorstwa św. MetodegoArtykuł prezentuje wstępne obserwacje na temat fragmentów Księgi Jeremiasza, znaj­dujących się w zbiorach Archival Chronograph (XV wiek) i Vilno Chronograph (XVI wiek). Zgodnie z ich zawartością, miejscem powstania i cechami językowymi wchodzą one w skład dwóch głównych grup. Niektóre fragmenty są rozpoznane jako rozdziały słowiańskiego parimejnika i są związane z przekładem autorstwa śś. Cyryla i Metodego. Inne rozdziały, które nie weszły w skład cyrylickich i głagolickich ksiąg liturgicznych, należą do pierwszej, prawdopodobnie nieprzetłumaczonej lub zaginionej, części Księgi Jeremiasza. Fragmenty, które nie znajdują się w parimejniku, także mają archaiczną podstawę językową, związaną z technikami translatorskimi, charakterystycznymi dla przekładów cyrylometodejskich i znacznie różnią się od przekładu z komentarzami, powstałego w Presławiu. Bez względu na to, czy fragmenty te są częścią wcześniejszego, niezależnego tłumaczenia wykonanego przez Metodego i jego współpracowników, czy są fragmentami z encyklopedycznego miscellaneum, stanowią ważny punkt odniesienia do badania tej biblijnej księgi, a także starobułgarskiego przekładu Starego Testamentu.

scholarly journals Композитите като маркери за святост в „Похвална беседа за софийските мъченици“ от XVI в.

2016 ◽  
Vol 16 ◽  
pp. 369-383 ◽  
Author(s):  
Марияна [Mariiana] Цибранска-Костова [TSibranska-Kostova]
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Old Testament ◽  
Book Of Jeremiah ◽  
Made In

Composita as marks of holiness in the sixteenth‑century Eulogy for the Sofia MartyrsThe article presents preliminary observations concerning the excerpts from the Book of Jeremiah in the Archival Chronograph (fifteenth century) and Vilno Chronograph (sixteenth century). According to their content, localization and linguistic characteristics, they fall into two main groups. Some of the excerpts are identified as chapters from the Slavic Prophetologion and are connected with the translation made by Cyril and Methodius. Other chapters, which are not included in the Cyrillic and Glagolitic liturgical books, belong to the first, probably untranslated or now lost, part of the Book of Jeremiah. The excerpts that cannot be found in the Prophetologion also have archaic linguistic bases, connected to the translational techniques characteristic of the Cyrillo-Methodian translations, and differ considerably from the translation with commentaries that was made in Preslav. Whether these excerpts belong to an independent earlier translation, made by Methodius and his co-workers, or they are extracts from encyclopaedic miscellany, they provide valuable material for the study of this biblical book and of the Old Bulgarian translation of the Old Testament. Złożenia jako znaki świętości w szesnastowiecznej Eulogii męczenników SofiiArtykuł prezentuje wstępne obserwacje na temat fragmentów Księgi Jeremiasza, znajdujących się w zbiorach Archival Chronograph (XV wiek) i Vilno Chronograph (XVI wiek). Zgodnie z ich zawartością, miejscem powstania i cechami językowymi wchodzą one w skład dwóch głównych grup. Niektóre fragmenty są rozpoznane jako rozdziały słowiańskiego parimejnika i są związane z przekładem autorstwa śś. Cyryla i Metodego. Inne rozdziały, które nie weszły w skład cyrylickich i głagolickich ksiąg liturgicznych, należą do pierwszej, prawdopodobnie nieprzetłumaczonej lub zaginionej, części Księgi Jeremiasza. Fragmenty, które nie znajdują się w parimejniku także mają archaiczną podstawę językową, związaną z technikami translatorskimi, charakterystycznymi dla przekładów cyrylometodejskich i znacznie różnią się od przekładu z komentarzami, powstałego w Presławiu. Bez względu na to, czy fragmenty te są cześcią wcześniejszego, niezależnego tłumaczenia wykonanego przez Metodego i jego współpracowników, czy są fragmentami z encyklopedycznego miscellaneum, stanowią ważny punkt odniesienia do badania tej biblijnej księgi, a także starobułgarskiego przekładu Starego Testamentu.

III. Abbot Berkyng's Tapestries and Matthew Paris's Life of St Edward the Confessor

Archaeologia ◽  
1991 ◽  
Vol 109 ◽  
pp. 85-100 ◽  
Author(s):  
Paul Binski
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Fifteenth Century ◽  
Old Testament ◽  
House Of Commons ◽  
Early Nineteenth Century ◽  
Textile Production ◽  
Cologne Cathedral ◽  
Edward The Confessor ◽  
The Church

According to John Flete, the fifteenth-century historian of Westminster Abbey, Abbot Richard de Berkyng (d. 1246) bequeathed to the Abbey two curtains or dorsalia which he had procured for the choir, depicting the story of the Saviour and St Edward. Nothing is known about the appearance of these textiles; but they were presumably of fine quality, befitting the patronage of a Treasurer of England, and were evidently intended to hang in the choir stalls. There they remained until after the Dissolution. According to a sixteenth-century commentary with transcriptions of the original texts in the hangings by Robert Hare, discovered by M. R. James (Gonville and Caius College, Cambridge, MS 391 [611], they were of ‘faire arras worke’, and so were tapestries rather than embroideries; they were also described as ‘wrought in the cloth of Arras’ by Weever in 1631. They hung in the church until 1644, whence they were removed to the chamber of the House of Commons in the Palace; according to Brayley ‘a large remnant’ of the scene of the Circumcision was still preserved in the Jerusalem Chamber at the Abbey in the early nineteenth century. The tapestries were one of the most extensive recorded instances of English thirteenth-century textile production. They provide evidence too for a genre of monastic choir decoration analogous to the lost Old Testament narratives in the choir at Bury St Edmund's and the typological pictures formerly adorning the choir-stalls of Peterborough Abbey. Moreover, they anticipate the mixture of purely narrative material in the surviving fourteenth-century paintings above the dossals of the choir stalls of Cologne Cathedral, and especially the tapestries depicting the lives of St Piat and St Eleutherius from the choir of Tournai Cathedral, Arras work dated 1402.

scholarly journals Les edicions catalanes del Pierres de Provença: Estat de la qüestió

2016 ◽  
Vol 7 (7) ◽  
pp. 52
Author(s):  
Vicent Pastor Briones
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Fifteenth Century ◽  
Critical Edition ◽  
Modern Period ◽  
French Original ◽  
Made In

Resum: La novel·la anònima Pierres de Provença ens arriba des d’un original francès escrit a mitjan segle XV passant per algunes traduccions castellanes i catalanes que van fer-se des de principis del segle XVI. Malgrat la poca atenció que li ha dedicat la crítica literària en general, les aventures del cavaller Pierres i la gentil Magalona han comptat amb lectors de forma continuada fins al segle XIX. Aquest relat cavalleresc és un dels pocs títols que conformen el catàleg de la prosa impresa en català en l’època moderna, i és, per tant, força convenient fer una adequada catalogació de les edicions per tal de confegir un cens acurat que permeta estudiar l’obra i bastir-ne una edició crítica. Hem pogut establir un llistat d’onze edicions verificades pels bibliògrafs, de les quals només se’n conserven nou. La cronologia de les edicions és, a hores d’ara, aproximada, exceptuant-ne les que fan constar la data d’impressió a la portada: 1650, 1683 i 1908. Paraules clau: Pierres de Provença, edicions, català, segles XVII-XVIII   Abstract: The anonymous novel Pierres de Provença has come to us from a French original written in the mid-fifteenth century through some of the Spanish and Catalan translations carried out since the beginning of the sixteenth century. Despite the little attention that it has received from most  historians of literature, the adventures of the knight Pierres and the beautiful Magalona have had readers uninterruptedly up to the nineteenth century. This short chivalric story is one of the few works that make up the catalog of the Catalan prose of the modern period, and therefore it is quite convenient to make a thorough cataloguing of the editions made in order to establish an accurate census that allows to study the work and build up a critical edition. We have been able to establish a list of eleven editions verified by the bibliographers, of which only nine have been preserved. The chronology of most of the editions is, by now, just approximate, except those that have a specified date print on the cover: 1650, 1683 and 1908.   Keywords: Pierres de Provença, editions, Catalan, XVII-XVIIIth centuries    

The hortus siccus (1566) of Petrus Cadé: a description of the oldest known collection of dried plants made in the Low Countries

2004 ◽  
Vol 31 (1) ◽  
pp. 30-43
Author(s):  
Maarten J. M. Christenhusz
Keyword(s):  
Sixteenth Century ◽  
Low Countries ◽  
Made In

ABSTRACT: A sixteenth century Dutch hortus siccus of Brabantian origin has been rediscovered and is described here. The plants preserved in it are identified and most of its history is revealed.

Islamic Monuments as Christian Trophies

2017 ◽  
Author(s):  
Antonio Urquízar-Herrera
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Thirteenth Century ◽  
Medieval Chronicles ◽  
Late Fifteenth ◽  
Historical Accounts ◽  
Rodrigo Jimenez De Rada ◽  
The Way

Chapter 3 approaches the notion of trophy through historical accounts of the Christianization of the Córdoba and Seville Islamic temples in the thirteenth-century and the late-fifteenth-century conquest of Granada. The first two examples on Córdoba and Seville are relevant to explore the way in which medieval chronicles (mainly Rodrigo Jiménez de Rada and his entourage) turned the narrative of the Christianization of mosques into one of the central topics of the restoration myth. The sixteenth-century narratives about the taking of the Alhambra in Granada explain the continuity of this triumphal reading within the humanist model of chorography and urban eulogy (Lucius Marineus Siculus, Luis de Mármol Carvajal, and Francisco Bermúdez de Pedraza).

The Man in the Background: The Search for Maecenas

Antichthon ◽  
2020 ◽  
Vol 54 ◽  
pp. 54-79
Author(s):  
Ronald T. Ridley
Keyword(s):  
Sixteenth Century ◽  
Current Understanding ◽  
List Type ◽  
Type Number ◽  
Large Role ◽  
Mistaken Identity ◽  
Augustan Era ◽  
Ara Pacis ◽  
Made In

AbstractSince the late sixteenth century parts of the ‘imperial frieze’ of the Ara Pacis have been known. The most striking figure in the background of the southern frieze is that long thought to be a portrait of Maecenas, the Etruscan prince and literary patron of the Augustan era. This article attempts three things: to discover 1.Where and how this identification originated,2.What evidence there now is for that identification, and3.What alternative identifications can be offered.The bibliography is substantial, the trail is complicated and highly paradoxical, and fantasy has often played a large role. The ‘evidence’ in play for centuries has sometimes evaporated into thin air. The identities proposed are, in fact, numerous. Not of least interest is the hidden or mistaken identity, in turn, of crucial modern scholars. A method is proposed at last for evaluating the identifications of this background portrait, including obvious comparison with other background figures. This analysis emphasizes how much is still not known about the most famous piece of Augustan art. An attempt is nevertheless made in the last analysis, to support what can be offered, in the light of current understanding, as the most plausible identification.

Literary Conduits for ‘Consent’

2016 ◽  
Vol 19 (2) ◽  
pp. 322-350 ◽  
Author(s):  
Pankaj Kumar Jha
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
North India ◽  
Indian Society ◽  
Historical Process ◽  
The North ◽  
Literary Cultures

The making of the imperial subjects is as much a matter of historical process as the emergence of the empire. In the case of the Mughal state, this process started much before its actual establishment in the sixteenth century. The fifteenth century in North India was a period of unusual cultural ferment. The emergence of the Mughal imperial formation in the next century was intimately related to the fast congealing tendency of the north Indian society towards greater disciplining of itself. This tendency is evident in the multilingual literary cultures and diverse knowledge formations of the long fifteenth century.

Public and Private: The Late Medieval Wall Paintings of Haddon Hall Chapel, Derbyshire

2006 ◽  
Vol 86 ◽  
pp. 179-205
Author(s):  
Mellie Naydenova
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Wall Paintings ◽  
Public And Private ◽  
Late Medieval ◽  
Public Statement ◽  
The Public ◽  
Parish Church ◽  
Public Persona ◽  
Private Devotion

This paper focuses on the mural scheme executed in Haddon Hall Chapel shortly after 1427 for Sir Richard Vernon. It argues that at that time the chapel was also being used as a parish church, and that the paintings were therefore both an expression of private devotion and a public statement. This is reflected in their subject matter, which combines themes associated with popular beliefs, the public persona of the Hall's owner and the Vernon family's personal devotions. The remarkable inventiveness and complexity of the iconography is matched by the exceptionally sophisticated style of the paintings. Attention is also given to part of the decoration previously thought to be contemporary with this fifteenth-century scheme but for which an early sixteenth-century date is now proposed on the basis of stylistic and other evidence.

Notes on Three Turkish Manuscripts

1948 ◽  
Vol 12 (3-4) ◽  
pp. 533-541
Author(s):  
C. S. Mundy
Keyword(s):  
Fifteenth Century ◽  
Good Condition ◽  
Made In

I. ′ÖMER B. MEZÎD: Mecmû‘atu’n-nazdir (S.O.A.S., 27,689), ff. 309, size 7 ½ in. by 5 ½ in., thick paper in library cloth, binding. The MS. has been considerably cut down, and the first leaf is missing. An odd leaf, formerly one of the end blanks, upon which verses have been written, has been bound in separately at the beginning. The first few leaves are defective, but have been carefully repaired, and nothing of importance is missing; in the main the MS. is in extremely good condition. It is undated, but belongs to the fifteenth century. Among the chronograms there is a verse which suggests that the compilation was made in 840/1436. The hand is a bold clear early Turkish neskh, black, with titles and ruled border in red. The harekes are carefully marked throughout. There are only eleven lines to a page, the area within the ruling being about 6 ¼ in. by 4 ¼ in., sometimes slightly more.

Seven Sacraments Compositions in English Medieval Art

1929 ◽  
Vol 9 (2) ◽  
pp. 83-100 ◽  
Author(s):  
G. McN. Rushforth
Keyword(s):  
Fifteenth Century ◽  
Old Testament ◽  
Religious Art ◽  
Medieval Art ◽  
Christian Art ◽  
The Subject ◽  
Great Tradition ◽  
Speculum Humanae Salvationis ◽  
Church Art ◽  
The Church

Émile Mâle says that medieval Christian art in its last period had lost touch with the great tradition of symbolism which had been so important in the twelfth and thirteenth centuries, and still largely dominated the art of the fourteenth. But there was one great symbolical idea which survived, and that was the harmony of the Old and New Testaments; and so we find among the most popular subjects of fifteenth-century Church art the concordance of the Apostles and Prophets in the Creed, and the series of parallels between the life of Jesus and episodes of Old Testament history, which were summed up and digested in the Biblia Pauperum and the Speculum Humanae Salvationis. The reason for the popularity of these subjects was, no doubt, their didactic value, and though Mâle does not develop this side of the subject, we may say that one, though not the only, characteristic of the religious art of the fifteenth century was that, instead of being symbolical, it became didactic. We find in this period a whole series of subjects which reduced the articles of Christian faith and practice to pictorial form, and seem to have been intended to illustrate the medieval catechism by which the teaching of the Church was imparted.

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