Byzantine Liturgy

Taft R. F. The Great Entrance. A History of the Transfer of Gifts and other Preanaphoral Rites of the Liturgy of St. John Chrysostom. [A History of the Liturgy of St. John Chrysostom, vol. II]. Roma, 1975. (Orientalia Christiana Analecta; 200).

In this paper I propose a new narrative of the history and milieu of the Jerusalem (Hagiopolitan) Daily Office in Constantinople. I show that this Office was monastic neither typologically nor sociologically, but practiced at the Great Palace and in public churches at an early date - in addition to monasteries such as Stoudios. I also suggest an earlier date for the adoption in Constantinople of the Jerusalem Office than what has been previously thought.

In tutto il mondo dove ci sono i cristiani, ci sono anche chiese e luoghi, in cui le comunità cristiane s'incontrano per lodare Dio. Si può dire che per ogni comunità cristiana avere una chiesa propria significa avere un segno visibile della propria identità. La teologia del luogo del culto viene espressa nell'arco dei secoli in diversi modi ma nel massimo grado la peculiarità dell'edificio sacro cristiano si esprime durante le liturgie ivi celebrate. Proprio esse, sin dall'inizio – con la fondazione e con la dedicazione, rendono l'edificio un luogo d’incontro vivace e il vero cielo sulla terra. I riti prescritti per le celebrazioni legate all'inaugurazione di una chiesa, con drammaturgia e profondità, formano il vero tesoro simbolico del tempio cristiano.

Il nucleo del presente lavoro è l'analisi dei riti presenti nelle tradizioni bizantina e latina. Per raggiungere dei risultati soddisfacenti sono stati adattati due metodi: l'analisi storico-critica (dominante nella parte storica) e l'analisi comparativa (dominante nella parte liturgico-teologica).

Nella prima parte, ci si è concentrati sullo sviluppo storico delle fondazioni e delle dedicazioni di una chiesa. Il primo capitolo presenta la concezione dei luoghi sacri nelle varie comunità umane e religiose. Partendo dalle idee bibliche dei luoghi sacri ed attraversando le testimonianze dei Padri della Chiesa (fino alla pubblicazione dell'editto di Milano), viene spiegata la comune concezione cristiana del senso dell'esistenza dei luoghi sacri e delle relative dedicazioni. Nel secondo capitolo, l'oggetto della ricerca è l'analisi storico-critica dei testi che pian piano, influenzandosi a vicenda, vennero a formare i libri liturgici, arrivando fino alle loro ultime redazioni, che costituiscono il rito. Grazie alla breve presentazione dello svolgimento della fondazione e della dedicazione in ognuno di questi documenti, si possono specificare i punti principali delle celebrazioni. La prima parte del lavoro pone un solido fondamento per poter passare alla seconda, cioè all'analisi comparativa degli odierni rituali della fondazione e della dedicazione di una chiesa in ambedue le tradizioni. Nel terzo capitolo inizia l'analisi dal punto di vista liturgico. Vengono così presentate e paragonate sia le strutture dei riti sia lo svolgimento delle azioni liturgiche (le somiglianze e le differenze nelle celebrazioni sono riportate in tabelle comparative per facilitare la comprensione). Nel quarto capitolo si prosegue con l'analisi comparativa dei testi eucologici nei rituali, chiamati le “preghiere comuni”, perché si riferiscono alle stesse azioni in ambedue le tradizioni. In seguito viene sottolineato il carico teologico presente nei rituali e espresso nella teologia biblica, nei temi trinitari, nella cristologia, nella soteriologia, nell'ecclesiologia e nell'escatologia.

CONCLUSIONI GENERALI
1. L'analisi fatta nel lavoro ha mostrato che le feste delle inaugurazioni delle chiese bizantine e latine affondano le radici nella tradizione veterotestamentaria e non possono distaccarsi da essa. Quantunque la teologia cristiana del tempio sia diversa da quella giudaica, il legame con l'opera di Salomone conferma la continuità della tradizione che dal tempio terrestre conduce i credenti all'escatologico tempio celeste.
2. Gli odierni rituali bizantini e latini, insieme con le azioni specifiche dei riti, non sono stati codificati in uno scriptorium, ma sono il frutto di un lungo percorso liturgico, che spesso si influenzava a vicenda (nei rituali bizantini troviamo influssi latini e gallicani e viceversa). Proprio per questo, nel corso della ricerca si evidenziano numerose somiglianze, la prima delle quali è il tema dominante dei riti: l'implorazione della benedizione divina per il nuovo edificio cultuale.
3. Benché ambedue le tradizioni abbiano interagito tra loro, i riti delle fondazioni e delle dedicazioni delle chiese presentano anche molte differenze. Per esempio i testi bizantini presentano il tempio sopratutto come il “cielo sulla terra”, l'abitazione metafisica dove Dio viene ad incontrare il suo popolo; i testi latini, vedono la chiesa-edificio anzitutto come il luogo dove l'assemblea si raduna per svolgere il culto.
4. L'analisi teologica dei testi eucologici mostra che, trasmettendo sostanzialmente uguali temi teologici, nelle diverse tradizioni si mettono in risalto aspetti diversi degli stessi. Mentre nelle preghiere bizantine dominano i temi veterotestamentari, trinitari ed escatologici, nei testi eucologici latini il primo posto è occupato da temi neotestamentari, cristologici ed ecclesiologici.
5. L'elenco delle diverse domande epicletiche presenti nei testi eucologici e i titolo descriventi il luogo sacro bizantini e latini, considerati insieme, possono creare una definizione comune della chiesa-edificio: “L'edificio del culto cristiano (ἐκκλησία, ecclesia) è una casa (οἶκος) edificata (opus) in onore di Dio, come sua dimora (κατοικία, locus sanctus), per la celebrazione della sua gloria (σκήνωμα δόξης); tale celebrazione si svolge tramite i misteri divini (ναός, templum, ædes) compiuti dalla comunità credente (orationis domum), dalla quale, alla fine, quell'edificio prende anche il nome (ἐκκλησία, ecclesia)”.
6. L'analisi comparativa storico-liturgica che è oggetto del lavoro può avvicinare il lettore alla tematica liturgico-teologica della fondazione e della dedicazione di una chiesa nella tradizione bizantina e latina. Il tema scelto per la ricerca permette di dare uno sguardo abbastanza ampio alla problematica.
7. Il paragone tra le diverse tradizioni liturgiche ha anche scopo ecumenico: in un’epoca di secolarizzazione come la nostra il compito più importante di ogni Chiesa cristiana deve essere quello di insistere nel cercare un dialogo con gli altri per poter dare un'unica testimonianza davanti al mondo contemporaneo. L'analisi comparativa del tesoro liturgico presente in ogni tradizione cristiana, tramite la reciproca comprensione, può aiutare a creare una diversitas reconciliata che porti in futuro ad un vero avvicinamento, necessario per la piena comunione delle Chiese.

This essay presents a critical review of Schmemann's liturgical legacy and outlines a proposal for renewing his liturgical theology. Following a brief introduction, the essay examines the state of the Eucharistic revival attributed to Schmemann by looking at the state of liturgical practice in the Orthodox Church, with special emphasis on America. The essay then looks develops the core of Schmemann's legacy and asserts that his application of Eucharistic revival was aimed to renew ordinary parish life, a pastoral project related to his efforts in establishing an autocephalous Church in America. The penultimate section of the essay addresses a crucial problem: the tendency to evaluate liturgical reform by observing the forms of ritual practice. This component of the essay's argument states that limiting evaluation to observation of ritual forms promotes the proliferation of subjective views that privilege one or another liturgical style on the basis of aesthetical preference. Here, we will explore the complexities of liturgy as the bearer of multiple ecclesial identities as a problem interrupting the process of renewing Church life, with attention to Schmemann's liturgical eschatology. The agenda for renewing Schmemann's liturgical legacy concludes the essay. In this section, we will outline an agenda for restoring liturgical renewal by outlining the steps required and obstacles that need to be confronted in the twenty-first century milieu. Outline of the essay:

La presentazione avverrà all'interno dell'iniziativa: «Musica all’Università», ricerche sviluppate nell’ambito del Corso di dottorato in «Storia, critica e conservazione dei beni culturali» dell’Università di Padova, il 17 aprile 2017, dalle 15.30 alle 17.00 presso Palazzo Liviano - Aula Diano, Padova. Presentano: Sandra Martani (Università di Pavia); Anna Meschini Pontani (Università di Padova).

This article examines the celebration of Lazarus Saturday in Hagiopolite liturgical practice between the late fourth and early tenth centuries. Lazarus Saturday occupied a significant place within the liturgical year in ancient Jerusalem, signaling the end of Lent and the beginning of Holy Week. Building on several previous studies concerning the structural development of the Lazarus Saturday rites, this work offers a consideration of the broader themes and beliefs celebrated in these liturgies. It concludes by noting that Lazarus Saturday served as an encapsulation of the community’s Paschal celebration of salvation through Christ and a thematic hinge that connected the events of Holy Week to the lives of worshippers.

Scholars have traditionally read John Chrysostom's baptismal instructions, preached in Antioch, as examples of a new, post-Constantinian paradigm in liturgical theology: the Romans 6 notion of baptism as death and resurrection with Christ. This article argues that the metaphor of "putting on Christ" from Galatians 3:27 is the more dominant metaphor for Chrysostom. He connected the "putting on" of Christ in baptism to the martyrs' imitation of Christ in death. To reinforce this connection, he brought the newly-baptized to the tombs of martyrs on the outskirts of Antioch, where he preached some of the baptismal instructions. He kept their memory of martyrdom alive by allowing martyred bodies to "speak" to a new generation of Christians.

In his article the author presents an overview of the entire corpus of Byzantine multistrophic ecclesiastical hymns — canons and kontakia — dedicated to Saint Nicholas.
Without any doubt, for the Byzantine hymnographers Nicholas of Myra was a very important person — they wrote more hymnographic canons in his honour than in honour of any other certain saint. One can count 55 canons of Byzantine authors in honour of Saint Nicholas — not taking into account the canons, where Saint Nicholas is mentioned along with the other saints and the mixed canons from some Parakletika, where Saint Nicholas has just a troparion in each ode. Many of these 55 canons are still unedited. It is worth noting that there are three so-called garlands of canons, i. e. sets consisting of 8 canons each — one for each of the 8 musical tones (and only one of these garlands has been published, the editions of two others are in preparation, one of them — by the author of this paper).
The author analyzes the texts of the canons already edited, as well as all the accessible information about the unedited. He begins with the 9 canons (a garland plus an additional canon) by Saint Joseph the Hymnographer,
showing that their traditional attribution is correct indeed (the same cannot be said about a canon recently published by V. Vasilik, which was falsely attributed to Saint Joseph by the editor) and drawing the parallels between these canons and the Constantinopolitan hagiographic tradition concerning Saint Nicholas in the times of Saint Joseph (about 816 — about 886).
Then the author proceeds with the other canons, discussing the questions of their attributions, datings and interrelationships with the changing hagiographic tradition. After the canons, he analyzes the remaining multistrophic Byzantine kontakia in honour of Saint Nicholas. There are three such multistrophic (i. e., with more than one oikos) kontakia, as well as two akathistoi.
The article is followed by a complete list of the Byzantine canons and kontakia dedicated to Saint Nicholas, a proposed timeline of their composition and, finally, by an edition of the Greek text and a Slavonic translation (made by the author of the article) of the previously unedited parakletikos canon for Saint Nicholas in 8th tone from the codex Vatic. Palat. gr. 138, 1299 (?) A.D. Fol. 303–304.

The author of this article discusses the question of the necessity of the renewal of the liturgical tradition of the UGCC, pointing at the importance of the liturgical prayers of the priest. Nowadays, in the tradition of most Byzantine Churches, the priest prays "his" prayers parallel to the congregational chant or other activities of the liturgical gath-ering. The importance of those prayers to be recited aloud is treated in three différent theological-liturgical perspectives: tjhe iconicity of the person of the priest, the dialogical character of the Byzantine liturgy, and the integrity of the liturgical célébration. As a concrète example, the author uses the prayers before and after communion in the Divine Liturgy of St. Basil, which, as known, was placed as the theological basis for the text of the new Catechism of the UGCC, "Christ - our Pascha".

Monastyczne Wspólnoty Jerozolimskie to dwa katolickie instytuty życia konsekrowanego – sióstr i braci – założone we Francji w latach 70. XX w. przez Pierre’a-Marie Delfieux. W swoich założeniach są realizacją odnowy, jaka nastąpiła po Soborze Watykańskim II. Choć w świetle prawa kanonicznego siostry i bracia funkcjonują jako niezależne od siebie zgromadzenia, swój charyzmat – modlitwę w sercu miasta za miasto – realizują poprzez organizowanie przy każdym powierzonym sobie kościele zawsze obu klasztorów i wspólne sprawowanie liturgii. Sprawowana jest ona w ten sam sposób we wszystkich kościołach Wspólnot i, co najistotniejsze z ekumenicznego punktu widzenia, jest mocno inspirowana liturgią Wschodu. To „uwschodnienie” poprzez chęć poznania i przyswojenia licznych elementów innej niż zachodnia tradycji liturgicznej, stanowi oryginalne pole dla dialogu ekumenicznego, szczególnie katolicko-prawosławnego.

Studie byla publikována roku 1935 v knize ,,Sbornik statej po archeologii i vizantinovedeniju izdavajemyj Seminarijem imeni N.P. Kondakova" (Díl 7) / The study was published in 1935 in the book ,,Sbornik statj po archeologii i vizantinovedeniju izdavajemyj Seminarijem imeni N.P. Kondakova" (Volume 7).

For centuries, Christian theology has understood the Eucharist in terms of metaphysics or in protest against it. Today an opening has been made to imagine the sacrament through the method of phenomenology, bringing about new theological life and meaning. In Dialectical Anatomy of the Eucharist, Donald Wallenfang conducts a sustained analysis of the Eucharist through the aperture of phenomenology, yet concludes the study with poetic and metaphysical twists. Engaging the work of Jean-Luc Marion, Paul Ricoeur, and Emmanuel Levinas, Wallenfang proposes pioneering ideas for contemporary sacramental theology that have vast implications for interfaith and interreligious dialogue. By tapping into the various currents within the Judeo-Christian tradition--Jewish, Catholic, Orthodox, and Protestant--a radical argument is developed that leverages the tension among them all. Several new frontiers are explored: dialectical theology, a fourth phenomenological reduction, the phenomenology of human personhood, the poetics of the Eucharist, and a reinterpretation of the concept of gift as conversation. On the whole, Wallenfang advances recent debates surrounding the relationship between phenomenology and theology by claiming an uncanny way out of emerging dead ends in philosophical theology: return to the fray.

Here is the second letter sent by Bishop Leo of Ochrid to the bishops of southern Italy. This and the third letter were lost until the 19th century. In this letter, Leo further expounds his typological and symbolic argument against the fittingness of unleavened bread in the eucharistic liturgy.

Cím / Title:
Egy tanúságtevő hitvalló, szolgáló, tudományos és papi pálya lezárult: Petrasevics Nikefor
József eperjesi görög katolikus kanonok és tudományos kutató (1915–2013)
Passed a Wittness of the Faith, Scientist, a Servant of The Lord, True Priest: Nicefor
Petrashevich (1915–2013), canon of the Preshov Greek Catholic Eparchy


Abstract
Decease of the witness of the Faith, a servant of the Lord and a famous researcher of the religious folklore: Nicefor Joseph Petrashevich (1915–2013) distinguished member of the Capitol of Preshov Greek Catholic Eparchy Born in Čukalovce, East-Slovakia (then Csukalóc, Upper-Hungary) in 1915 as the sixth of the eleven children in the family of a Greek Catholic bishop, he was inspired by his father and elder brother who served the Lord. He studied in the high school (gymnasium) of the Cistercian Order in Eger (Northern Hungary) which provided its pupils with knowledge and deep faith. He became a choir-minister of the Uzhgorod Bishopric Basilica where he turned to the examination of folklore traditions reflected in the liturgical chants. Apparently, it was his calling and his findings on the Byzantine chants contributed significantly to the understanding of religious folklore. He was known as a gifted composer and singer, too. The Greek Catholic Church was banned in the Soviet Union which obtained Subcarpathia after the World War II, and this church was oppressed in Slovakia as well, so he faced a dilemma: to convert to the Ortodox (Pravoslav) Christianity and live free, or to remain faithful to the Catholic Church and be persecuted. Moreover, he was a coelebs, a priest who did not have a wife (despite the fact that Greek Catholic priests are allowed to have families). Consequently, he could have been elected as bishop, as the higher ranks in the Byzantine Churches are open for monks. The communist authorities offered Pope Nicefor the episcopate of the Slovak Orthodox Church, if he converted to the Orthodoxy. He refused it: “my head does not accept the mithra (bishops’ crone) by leaving my Catholic faith” –he said. As a result, he was imprisoned for more than two years in Slovakia. Later he came to Hungary where the Greek Catholic Church was not banned, although he could not serve as a parochial priest, but worked as cantor or occasionally helping pope (nor as a chaplain) in various places and in centres of pilgrimage where performed the liturgy in Church Slavonic which he sang excellently. Continuing his researches in the folk sings in the liturgy and the local traditions of the liturgical chants, he gained a small grant of the Soros Foundation in 1986 and delivered lectures, too, for two semesters at the Department of the Folklore at the Eötvös University in Budapest in 1988–89. His papers have been partially published, but most of them are still preserved as manuscripts in the Institute of Musicology at the Hungarian Academy of Sciences, or even in unknown places worldwide, as he sent his works to his brothers-in-faith to the United States. In his eighties, instead of enjoying the golden days of ageing, he moved to Slovakia in order to serve as a pastor who spoke both Slovakian and Hungarian as mother tongues. He was buried in Szikszó, Hungary where the Greek Catholic Bishop of Preshov and approximately forty popes from Ukraine, Hungary and Slovakia commemorated him on 20 July 2013. Church historians and folklorists honoured his memory as a researcher with a conference on 4 October 2013 in Szikszó. Proceedings are to be published next year. A memorial website about him is open for bloggers: https://www.facebook.com/groups/Petrasevic.Nikefor.spomienky/

Cikkre való hivatkozás / How to cite this article:
Földvári, Sándor (2014): Egy tanúságtevő hitvalló, szolgáló, tudományos és papi pálya
lezárult: Petrasevics Nikefor József eperjesi görög katolikus kanonok és tudományos kutató
(1915–2013). Belvedere Meridionale XXVI. 1. 118-125. pp

В работе рассматривается вопрос о об особенностях восприятия в Древней Руси христианской идеи райского сада и отождествлении различных растений с растениями Эдема. Единственное сколь-нибудь подробное известие о монастырском саде содержит Киево-Печерский патерик в «Слове» о монахе киевского печерского монастыря Григории Чудотворце, который разводил яблони. Данные переводных и местных памятники литературы Древней Руси не позволяют заключить, что в домонгольское время вполне закрепилось, уже сложившееся в Византии, отождествление яблони с растением райского сада, а яблока – с райским или запретным плодом. Усвоение этой традиции относится к более позднему времени. Рассказ Патерика о «древах плодовитых» Григория Чудотворца не содержит прямых аллюзий к теме райского сада и истории грехопадения. Тем не менее, косвенные данные позволяют предположить, что истории о яблоневом саде печерского монаха создавались под влиянием этой традиции.

The article is devoted to the peculiarities of perception of the Christian idea of the Garden of Eden in Early Medieval Russia and the identification of various plants with the plants of Eden. The only one detailed information about the monastery garden is contained in the Kiev Caves Patericon in the part devoted to the monk of the Kiev Caves monastery Gregory the Wonderworker, who bred apple trees. The evidences of translated and local texts do not allow us to conclude that in pre-Mongol times, the identification of an apple tree with a tree of the Garden of Eden, and an apple with a heavenly or forbidden fruit, already established by this time in Byzantium, was fully established. The assimilation of this tradition belongs to a later time. The Patericon's story about the "fruitful trees" by Gregory the Wonderworker does not contain direct allusions to the theme of the Garden of Eden and the history of the Fall. Nevertheless, indirect signs suggest that the stories about the apple orchard of the Kiev Caves monk were created under the influence of this tradition.

Georges Florovsky (1893-1979) was one of the most prominent Orthodox theologians and ecumenists of the twentieth century. His call for a return to patristic writings as a source of modern theological reflection had a powerful impact not only on Orthodox theology in the second half of the twentieth century, but on Christian theology in general. Florovsky was also a major Orthodox voice in the ecumenical movement for four decades and he is one of the founders of the World Council of Churches. This book is a collection of major theological writings by George Florovsky. It includes representative and widely influential but now largely inaccessible texts, many newly translated for this book, divided into four thematic sections: Creation, Incarnation and Redemption, The Nature of Theology, Ecclesiology and Ecumenism, and Scripture, Worship and Eschatology. A foreword by Metropolitan Kallistos Ware presents the theological vision of Georges Florovsky and discusses the continuing relevance of his work both for Orthodox theology and for modern theology in general. The introduction by the Editors provides a theological and historical overview of Florovsky theology in teh context of his biography. The book includes explanatory notes, translation of patrisitc citations and an index. Georges Florovsky was a major 20th-century theologian, historian, ecumenist and patristic scholar.

Table of Contents

Preface xi

Editorial Introduction xv

Introduction 1

Part 1 Creation, Incarnation and Redemption 31
1 Creation and Createdness 33
2 Preface to In Ligno Crucis 65
3 In Ligno Crucis : Th e Church Fathers’ Doctrine of Redemption 71
4 Th e Lamb of God 81
5 The Ever-Virgin Mother of God 95
6 The Stumbling-Block 107

Part 2 The Nature of Theology 113
7 Revelation, Philosophy and Theology 115
8 Western Influences in Russian Theology 1 29
9 Patristics and Modern Theology 153
10 Breaks and Links 159
11 The Legacy and the Task of Orthodox Theology 185
12 The Predicament of the Christian Historian 193
13 Saint Gregory Palamas and the Tradition of the Fathers 221
14 The Christian Hellenism 233
15 ‘On the Authority of the Fathers’ 237
16 ‘Theological Will’ 241

Part 3 Ecclesiology and Ecumenism 245
17 The Limits of the Church 247
18 Sobornost: Th e Catholicity of the Church 257
19 The Body of the Living Christ 273
20 Confessional Loyalty in the Ecumenical Movement 279x
21 The Ethos of the Orthodox Church 289
22 The Ecumenical Dialogue 303

Part 4 Scripture, Worship and Eschatology 309
23 Eschatology in the Patristic Age 311
24 Starets Silouan 325
25 Scripture and Tradition 329
26 The Worshipping Church 335

Epilogue: ‘Let Us Choose Life’ 347

Index 353

This book proposes an interpretation of the Pseudo-Dionysian corpus in light of the liturgical and ascetic tradition that defined the author and his audience. Characterized by both striking originality and remarkable fidelity to the patristic and late neoplatonic traditions, the Dionysian corpus is a coherent and unified structure, whose core and pivot is the treatise known as the Ecclesiastical Hierarchy. Given Pseudo-Dionysius fundamental continuity with earlier Christian theology and spirituality, it is not surprising that the church, and in particular the ascetic community, recognized that this theological synthesis articulated its own fundamental experience and aspirations.

Cântarea bizantină este adesea numită și veșmântul imnologiei sacre în liturghia ortodoxă. De-a lungul timpului, cuvântul și muzica au mers mână în mână, drept canale de comunicare între comunitatea care se roagă și divinitate. Înțelesurile conferite de materialul biblic și imnografic sunt deslușite, potențate și, în cele din urmă, transformate prin melodii, croite cu atenție conform țelului fundamental al simbiozei dintre comprehensibilitatea textului și idealul estetic. Acest act de echilibrare, vechi de secole, a dus la dezvoltarea unor tipuri de tratare muzicală a textului ce se extind de la simple recitative pentru „Cuvântul lui Dumnezeu”, la prelucrări meditative, intens ornamentate, ale „Cuvintelor lui Dumnezeu.” Balanța a început să se încline în timpul secolelor XIII-XIV, când extensia melismelor psalților virtuozi a dus la crearea unor melodii extatice, fără text, cunoscute sub numele de cratime. În ciuda corelației evidente a acestor cratime cu metode ascetice de rugăciune intensă ce implică un text minimal sau lipsa totală a acestuia, comentatori postbizantini le-au denunțat drept producții iraționale de influență otomană. Apărătorii, însă, au recurs la speculații teologice, numindu-le cântece de leagăn ale Fecioarei Maria sau cântece ale îngerilor. În tumultul nesfârșitelor dispute cu privire la cât de adecvate sunt prelucrările melismatice și cratimele pentru rugăciune, compozitori și psalți au continuat să le creeze și să le cânte, avansând cu putere ideea că muzica religioasă nu este un simplu servitor, ci mai degrabă un partener egal al textului, ce transmite straturi de înțelesuri non-verbale ce pot contribui la o relație mai directă și mai intimă cu Dumnezeu, mai mult decât ar putea-o face textul fără muzică.

DOBRUDJA IN OTTOMAN TIMES:
THE KAZA OF HÂRȘOVA (16TH C)
Abstract
The Ottoman chancery documents, such as defters, orders, regulations, are a key source for studying Dobrudja under Ottoman rule, revealing its administrative, military and economic structures. This paper draws on toponymical, topographical and administrative information taken from eight Ottoman registers, all dating from the sixteenth century. The toponymy and the rural habitat are interpreted from a long-time perspective, assessing the continuity between the Ottoman and the pre-Ottoman structures. The Dobrudja case is also placed in the larger image of the dynamics of the Ottoman rural landscape. This article identifies both military and non-military Ottoman institutions in Dobrudja, such a vozar, derbendci, ellici, gümrükçi, müsellem, akıncı. Consequently, it proposes a comparative analysis between the Ottoman power structures and the previous, imperial, Byzantine ones. A chronological and cartographic inventory of the human settlements in Ottoman Dobrudja argues for a reconsideration of their synchronic and diachronic evolution.

Von einem nationalen Standpunkt betrachtet wurde die Kultur der Italoalbaner und Italogriechen als ,,linguistische Minderheit“ marginalisiert und aufgegeben – mit dem Ergebnis, dass ihre Sprachen nicht mehr an den Schulen unterrichtet werden. Musik hatte immer eine Schlüsselrolle in den Gemeinden gespielt und die besondere Verbindung aus Musik und dem Klang dieser Sprache verfehlt niemals seine Wirkung, unabhängig davon, ob sie verstanden wird. Sie begleitet die Italogriechen und Italoalbaner durch den Zyklus des Lebens, zu bedeutenden Festen, während des Karneval, zu Hochzeiten und Beerdigungen. In dieser Einführung möchte ich die reiche Kultur der ländlichen Musiktraditionen Süditaliens von einer anderen Seite betrachten, indem ich sie mit denen der Nachbargemeinden vergleiche, wo es auch Tarantelle und Kalimere gibt, obwohl der Dialekt nicht mit Balkansprachen vermischt ist und ihre Gemeinden keinen orthodoxen Hintergrund haben, die den mysteriösen ,,Süden“ (in der anthropologischen Schule Italiens kurz “Il Sud” genannt) einst dominiert haben. Auf diese Weise lassen sich die Formen entdecken, die die Gemeinden der Arbëresh gegenüber anderen auszeichnen, die vallje und ajrët und eine besondere Form des mehrstimmingen Musizierens, die von Musikethnologen als Weltkulturerbe des Balkan und Italiens anerkannt wird.