Модели построения канонов древнейшей службы свт. Савве Сербскому:  канон «Пастыря христовых овец…»

SERGEJUS TEMČINAS

doi:10.31648/fso.3041

Модели построения канонов древнейшей службы свт. Савве Сербскому: канон «Пастыря христовых овец…»

Fontes Slaviae Orthodoxae ◽

10.31648/fso.3041 ◽

2019 ◽

Vol 1 (1) ◽

pp. 57-70

Author(s):

SERGEJUS TEMČINAS

Keyword(s):

Original Composition ◽

Greek Hymns

The author argues that the canon “The Shepherd of Christ’s sheep…” which is attested in three Cyrillic manuscript copies (13th–14th c.) of the earliest hymnographic office for St Sava the Serb (†14 January 1235 or 1236), is not an original composition, but rather a compilation of Byzantine Greek hymns used in their Old Church Slavonic translation. The hymns were mostly taken from the canon (with the identical incipit) which had been originally compiled for commemoration of St Nicolas with addition of some hymns for St Ambrose (December 7), St Patapios of Thebes (December 8), Sunday of the Holy Fathers, and St Ignatios of Antioch (December 20).

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‘If this is Shakespeare, then I’m Virginia Woolf’

Voprosy literatury ◽

10.31425/0042-8795-2018-5-271-281 ◽

2018 ◽

pp. 271-281

Author(s):

L. V. Egorova

Keyword(s):

Original Composition ◽

Virginia Woolf

A review of the bilingual edition of the play Double Falsehood, or, The Distressed Lovers, prepared by ‘Book Centre Rudomino’. The play is supplied with three presentations: a translator’s introduction by Andrey Korchevsky, a foreword by the most renowned scholar of this highly mysterious play, Brean Hammond (he edited the play for the Arden series in 2010), and an afterword by Dmitry Ivanov, a Russian scholar of the period and translation. Is there much left of Shakespeare and Fletcher in Double Falsehood, and what exactly is it? Can one single out the earliest language stratum stemming from Cardenio? Stylistic and metric similarities aside, can one indeed recognize Shakespeare and Fletcher on the higher level of the whole work: its plot, composition, mise en scfnes, images and ideas? Does Double Falsehood preserve traces of the original composition and plotline of Cardenio? The paper is published on the eve of this extensively commented edition of Double Falsehood becoming available to Russian reading audiences and theatre practitioners.

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Duetto a tre: Franco Alfano's completion of Turandot

Cambridge Opera Journal ◽

10.1017/s0954586704001831 ◽

2004 ◽

Vol 16 (2) ◽

pp. 163-185 ◽

Cited By ~ 1

Author(s):

LINDA B. FAIRTILE

Keyword(s):

Original Composition ◽

Ideal Solution ◽

The Press ◽

Final Scene ◽

New Perspective ◽

Musical Character

This study of the ending customarily appended to Giacomo Puccini's unfinished Turandot offers a new perspective on its genesis: that of its principal creator, Franco Alfano. Following Puccini's death in November 1924, the press overstated the amount of music that he had completed for the opera's climactic duet and final scene. In fact, Puccini's manuscripts were so disjointed that Arturo Toscanini, the conductor chosen to lead the première, drafted the reluctant Alfano to fashion them into a viable conclusion. While occupied with this assignment, Alfano spoke with the writer Raymond Roussel about his plans for the opera's completion. This long-forgotten interview, absent from previous studies of Turandot's conclusion, reveals a strategy that would inevitably fall foul of Toscanini's expectations. Rejecting Alfano's first attempt for its extensive original composition, Toscanini forced changes on the conclusion that undermine both its musical coherence and dramatic logic. I assess Alfano's original ending in light of his frustration with Puccini's sketches, as well as the generally deleterious result of Toscanini's interventions. While neither conclusion represents an ideal solution, a judicious conflation of the two versions offers the best chance of reconciling a suitable denouement with the musical character of Puccini's finished score.

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The Four Greek Hymns of Isidorus and the Cult of Isis

The Journal of Egyptian Archaeology ◽

10.2307/3856223 ◽

1974 ◽

Vol 60 ◽

pp. 284

Author(s):

J. Gwyn Griffiths ◽

Vera Frederika Vanderlip

Keyword(s):

Greek Hymns

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Original composition and formation process of slab-derived deep brine from Kashio mineral spring in central Japan

Earth Planets and Space ◽

10.1186/s40623-020-01225-y ◽

2020 ◽

Vol 72 (1) ◽

Author(s):

Fumitake Kusuhara ◽

Kohei Kazahaya ◽

Noritoshi Morikawa ◽

Masaya Yasuhara ◽

Hidemi Tanaka ◽

...

Keyword(s):

Original Composition ◽

Formation Process ◽

Central Japan ◽

Mineral Spring

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Greek Hymns: Selected Cult Songs from the Archaic to the Hellenistic Period

The Classical World ◽

10.2307/4352965 ◽

2005 ◽

Vol 98 (3) ◽

pp. 356 ◽

Cited By ~ 1

Author(s):

Sarah Iles Johnston ◽

William D. Furley ◽

Jan Maarten Bremer

Keyword(s):

Hellenistic Period ◽

Greek Hymns

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ADAPTATION OF DESIGNS FOR TEXTILE PRODUCTS INSPIRED FROM MADHUBANI PAINTING

International Journal of Research -GRANTHAALAYAH ◽

10.29121/granthaalayah.v4.i5.2016.2687 ◽

2016 ◽

Vol 4 (5) ◽

pp. 115-125

Author(s):

Mohini Gupta ◽

Swati Gangwar

Keyword(s):

Original Composition ◽

Future Generations ◽

Fashion Industry ◽

Visual Evaluation ◽

Economic Changes ◽

Art Form ◽

Bihar State ◽

Selection Of ◽

Textile Products

Madhubani art of the Bihar state has been undergoing transition where its application in original composition has been declined owing to social and economic changes now-a-days. There is need to explore possibilities for the conservation of this art form viz other artistic media for future generations. The reason for using traditional motifs in textiles is to keep our designs or motifs alive. The Indian folk arts with painting play important role in creating new designs. Escalating demands of consumers requires modification in the fashion industry with respect to design, colour, style and technique. So in an effort to add another dimension in the application of Madhubani designs on textiles, the present study was planned. The effort was targeted towards finding the possibility of applying Madhubani designs on textile articles utilizing the hand painting. Madhubani motifs/designs were adapted for center design and border design. Total thirty six motifs / designs were developed keeping in mind their suitability for articles like cushion cover, folder and table cloth. Developed design sheets were subjected to visual evaluation for selection of one best design in each category by the panel of thirty respondents to find out the suitability of the developed designs for hand painting. Finally three articles were prepared by using selected designs and these prepared articles were highly appreciated by the respondents.

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Geographical vocabulary of the Shilan dialect of the Erzya-Mordovian language

Finno-Ugric World ◽

10.15507/2076-2577.012.2020.04.358-367 ◽

2020 ◽

Vol 12 (4) ◽

pp. 358-367

Author(s):

Nikolai V. Belenov

Keyword(s):

Original Composition ◽

Research Methods ◽

Field Studies ◽

The Other ◽

Volga Region ◽

The One ◽

Xix Century ◽

First Time ◽

Source Materials ◽

Made In

Introduction. The article presents the results of research of the geographical vocabulary of the Shilan dialect, one of the Erzya-Mordovian dialects of the Samara region, common among Erzya population of Shilan village in Krasnoyarsk region. The dialect belongs to rare Mordovian dialects of the Samara Volga region that were formed in the region since the middle of the XIX century, and therefore its research is of extra interest. Materials and Methods. The research methods are determined by the purpose and objectives of the study. The analysis of the geographical vocabulary of the Shilan dialect is carried out with the involvement of relevant items made in other Mordovian dialects of Samara region, adjacent territories of neighboring regions, as well as other territories of settlement of the Mordovians. Data on geographical vocabulary of the dialect introduced into research for the first time. The main source materials for the article is based on field studies in Silane village during the field seasons in 2017 and 2020, as well as in other Erzya-Mordovian and Moksha-Mordovian villages of Samara region and adjacent territories in 2015 – 2020. Results and Discussion. The study showed that the geographical vocabulary of the Shilan dialect of the Erzya-Mordovian language is significantly different from the corresponding lexical clusters in other dialects of the Mordovian region, which can be explained by natural geographical conditions surrounding Shilan village and the original composition of this lexical cluster of Erzya immigrants who founded this village. Conclusion. The analysis of the geographical vocabulary of the Shilan dialect allowed, on the one hand, to identify specific features of this cluster that distinguish it from the corresponding materials of other Mordovian dialects of the region, and, on the other hand, to identify common isoglosses between it and a number of the Erzya-Mordovian dialects of the Samara Volga region.

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