Phanariotes

În primăvara și vara anului 1717, trupele austriece care pătrunseseră în Moldova au fost spulberate sau alungate peste graniță de către armata moldoveană comandată de domnul Mihail Racoviță, având pe tătari și unități otomane ca aliați. Moldova era deocamdată salvată de la o soartă asemănătoare Munteniei, cu toate că se plătise un preț mare pentru aceasta atât în distrugeri, cât și în pierderi umane, majoritatea din cauza aliaților tătari. Domnul își făcuse datoria, iar trupele sale se comportaseră exemplar în campanie, luptaseră bine și eficient și dăduseră dovadă de disciplină. Aceasta era un mare atu pentru otomani în planurile lor de război. Pentru a încerca să reducă presiunea austriacă asupra Belgradului, după pierderea bătăliilor de la Petrovaradin și Timișoara și ocuparea Banatului de către imperiali, sultanul pregătea pentru același an o diversiune transilvăneană, un front secundar în provincia imperială, pe care urmau a-l deschide trupele lui Racoviță și cele tătare. Era și o bună ocazie pentru moldoveni de a se răzbuna pe austrieci, pentru otomani de a încerca să reaprindă revoluția maghiară a lui Francisc Rákóczi, iar pentru tătari de a jefui cu frenezie.

In this thesis we have studied the reasons why each book of the literature’s History (1780-1880) was written, the date which marks the beginning of the rupture with the ancien Greek past, the division into literary periods, literary notions presented (utility, love of the homeland, imagination, originality), the criteria of choice of writers who are listed in these books, the bibliographic sources used, the reciprocal influence of the historians, their agreements and their rivalry. We also have studied the references to popular songs, the role of Cretan literature, of the Ionian Islands literature, the preponderance of Phanariot literature and its role in the evolution of neo-Hellenic literature, finally the influence of the translated books on the production of original ones.
The books of the neo-Hellenic literature History were based on two pillars: The Mémoire sur l’État actuel de la Civilisation dans la Grèce of Coray in 1803 and the Cours de littérature grecque moderne of Neroulos in 1827, both written in French. Around them a crowd of writers, editors, translators, merchants or just scholars, as well as their books, would identify or compete with each other : E. Philandros (1810) G. A. Manos (1825), C. Coumas (1832), Al. Soutsos (1833), Al. Négris (1829/1835), W. Brunet de Presle (1837), D. Vikélas (1871) and A. Rizos Rangavis (1877).

There are many studies on the relations of the Phanariot community of Istanbul with West European culture, especially French and Italian; on the other hand, one cannot ignore that this community was an integral part of the Ottoman society and culture and thus must also be studied in this prospect. This paper examines the influences of the Ottoman Turkish culture on Phanariots, focusing in the links between Phanariot scholars and Ottoman ones, their knowledge of Ottoman Turkish literary and scholarly literature, as well as common elements of the two cultures in fields like music, historiography or art. The underlying working hypothesis is that it may prove useful to conceive a wider notion of “Ottoman culture” encompassing all national and religious groups of the Ottoman Empire.

This monographic essay is dedicated to one of the most mysterious protagonists of the patriarchal style (hyphos) Petros Peloponnesios. Despite the many colourful anecdotes, we only know very few facts about Petros Peloponnesios’ life before he came to Constantinople in 1764. Analysing Petros’ contribution to the hyphos, this essay does not rely on the well-known transcriptions as they were distributed by the print editions in different languages. Recent research has already proved that many ascriptions to Petros are not trustworthy. On the other hand, readers might discover less known compositions by Petros, like his second week cycle and the long oktoechos cycle of cherouvika, which have rarely been printed. They will also be surprised that his composition of the idiomela for the «Doxastarion syntomon» are quite different from the official transcriptions according to the New Method. Another mystery is Petros’ close relationship to the Mevlevi dervishes of Pera (Beyoğlu), where he was adored as Hoca and Hırsız (“teacher and thief”), and his exceptional contribution to Ottoman music by numerous transcriptions of historical makam compositions and more than 100 original makam compositions, sometimes made over a Greek text. The article proves that Petros did not invent the exegetic use of notation nor the transcription of makam music into Greek neume notation. It also proves that many of the works and innovations were officially wrongly attributed to him. Nevertheless, he must be regarded as one of the most remarkable and most gifted Greek Ottoman musicians who did wonders during his short life span between 1764 and his early death during the disastrous plague of 1778.

A Scholar of Yesteryear: Constantin Erbiceanu (1838–1913)
A theologian by his education and teaching activity, a historian by his
preoccupations and methods, Constantin Erbiceanu was not an ordinary intellectual in Romania at the turn of the nineteenth and the twentieth centuries. His name is associated with the professionalization of the studies related to the 18th century and to the Phanariot regime, a period that he aimed and managed to reintegrate in Romanians’ history, in spite of the accusation of blasphemy by his contemporaries. He also recovered and published many Greek documents concerning Romania’s history, deserving thus the gratitude of medievalists and
modernists even nowadays. It is true that life rewarded him for his steady effort, with positions at the top of social hierarchy at the time, a natural thing on the other hand in a meritocratic society: a professor at the University of Bucharest, director of the Church Books Printing House, member, and vice-president of the Romanian Academy, a corresponding member of different foreign learned societies, member of the most famous Romanian orders.

If the history of Patriarchal Chant at Istanbul was based on the medium of sound recordings, it would have to start with the Arhon Protopsaltes Iakovos Nafpliotis. He was the first Orthodox chanter, whose art was documented systematically, when the idea of creating a sound record by a needle writing on wax was quite new.

Playlist:

1) Divine Liturgy
1. Ton despotin, Echos Varys (IN)
2. Kyrie eleison, Echos Devteros (IN)
3. Georgios of Crete: DynamisTrisagion, "Holy God, Holy Strong, Holy Immortal" Echos Devteros (IN)
4. Gospel, Echos Tetartos (phthora nisabur) (IN)
5. Cherouvikon Οἱ τὰ χερουβὶμ μυστικῶς εἰκονίζοντες ("We who represent mystically the cherubim"), Echos Protos (KP)
6. Σε ὑμνούμεν ("With hymns"), Echos Plagios Tetartos (KP)
7. Ἄξιον ἐστίν ("Truly, it is right"), Echos Devteros (IN)

2) Stichera
8. Iakovos the Protopsaltes (transcr. by Georgios of Crete, Late Byzantine Notation & Chourmouzios the Archivist, Neobyzantine Notation): Long Doxastikon (Sticheron with Doxa) Ἀτενίσαι τὸ ὄμμα ("Looking in the eyes of heaven") (3rd Lenten Sunday, Triodion), Echos Plagios Tetartos (IN)
9. Doxastikon Ἀναστάσεως ἡμέρα ("On the day of resurrection") (Easter), Echos Plagios Protos (IN)
10. Doxastikon Σήμερον προέρχεται ("Today comes") (14 September, Exaltation of the Cross), Echos Plagios Devteros (KP)

3) Heirmoi
11. Χριστός γεννάται ("Christ is born") Slow Heirmos for the 1st Ode (Christmas Canon), Echos Protos (IN)
12. Konstantinos Pringos: Ἄξιον ἐστίν, Echos Plagios Protos (phthora atzem kiourdi) (Kostas Charalampopoulos)
15. Πάσαν τὴν ἐλπίδα μοῦ ("All my hope"), Slow Heirmos, 1st Ode (Akrostichon Theotokos), Echos Devteros (IN)
16. Petros Bereketes: Heirmos kalophonikos about the same ode, Echos Varys (KP)
[15. Troparion of Kassia (Doxastikon, Maundy Thursday), Echos Plagios Tetartos (KP)]

A Tatar revolt occurred in the winter of 1727-1728 in the Bugeac, the southern part of the former Romanian province known as Bessarabia. Although without major military events, the revolt is important for Romanian military history of the 18th century, because it was a perfect occasion for Romanian chroniclers of the era to describe the Phanariote armies prepared for this war, a vital piece of evidence on this subject.

Το Πρόγραμμα Μεταπτυχιακών Σπουδών «Ελληνορωμαϊκές-Ελληνοϊταλικές
Σπουδές» του Τμήματος Ιταλικής Γλώσσας και Φιλολογίας του ΕΚΠΑ και το Σεμινάριο
Ιταλικής Ιστορίας και Ιστοριογραφίας, σας προσκαλούν στη σεμιναριακή διάλεξη του
κ. Χαράλαμπου Μηνάογλου, Διδάκτορος του Τμήματος Ιστορίας-Αρχαιολογίας του
Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών με θέμα: Πρώιμη νεώτερη
ελληνική ιστοριογραφία: θεματική, συγγραφείς, προβλήματα.
Η διάλεξη θα πραγματοποιηθεί την Τρίτη 25 Απριλίου 2017 στην Φιλοσοφική
Σχολή του ΕΚΠΑ (16:30, αίθουσα 812).
Πρώιμη νεώτερη ελληνική ιστοριογραφία: θεματική, συγγραφείς, προβλήματα
Παρότι ἡ ἱστοριογραφία τοῦ 19ου αἰώνα ἔχει μελετηθεῖ ἀρκετά, ἡ ἱστοριογραφικὴ
παραγωγὴ τῶν τριῶν προηγούμενων αἰώνων δὲν ἔχει προσελκύσει τὸ ἐνδιαφερὸν
τῶν εἰδικῶν. Ἡ πρώιμη ἑλληνικὴ ἱστοριογραφία ἀκολουθεῖ σὲ γενικὲς γραμμὲς τὴν
βυζαντινὴ παράδοση τῆς χρονογραφίας, ἀλλὰ συχνὰ παρακολουθεῖ καὶ τὴν σύγχρονή
της εὐρωπαϊκὴ ἱστοριογραφία. Ἔτσι, μαζὶ μὲ τὶς ἱστορίες ἀπὸ κτίσεως κόσμου
ἐμφανίζονται καὶ ἔργα ποὺ ἑστιάζονται στὰ σύγχρονα τῶν ἱστορικῶν γεγονότα, ἐνῶ
κατὰ τὸν 18ο αἰώνα κυρίως συντάσσονται καὶ ἔργα γιὰ ἐπιμέρους ἱστορικὲς
περιόδους καὶ ἰδιαίτερα συμβάντα. Παρότι, βέβαια, κανεὶς ἀπὸ τοὺς συγγραφεῖς δὲν
ἀσχολεῖται ἀποκλειστικὰ μὲ τὴν ἱστοριογραφία καὶ οἱ περισσότεροι εἶναι λόγιοι μὲ
πολὺ μεγάλο εὖρος ἐνδιαφερόντων, ἐντούτοις ἀπαντοῦν καὶ ὁρισμένοι ποὺ
καλλιεργοῦν κατὰ κύριο λόγο τὴν ἱστορικὴ γραφή. Παρὰ τὴν πολὺ διαφορετικὴ
προέλευση καὶ στοχοθεσία τῶν διαφόρων ἱστοριογράφων τῆς περιόδου μεταξύ τους
διαμορφώνεται καὶ ἕνας τρόπον τινὰ κοινός/κυρίαρχος ἱστοριογραφικὸς λόγος ποὺ
ἑδράζεται στὶς ἑξῆς κατηγορίες ἱστορικῆς σκέψης: Χρόνος, Χῶρος, Μύθος,
θρησκευτικὴ καὶ ἐθνικὴ συνέχεια (Ἑβραῖοι, Ρωμαῖοι, Ἕλληνες).

Πρόκειται για ένα σπάνιο μουσικό χειρόγραφο κώδικα της εποχής του "Νεοελληνικού Διαφωτισμού" (1770-1820) που περιέχει μεγάλο αριθμό αστικών ασμάτων της εποχής στην εκκλησιαστική σημειογραφία. Ο κώδικας αποτελείται από δύο διαφορετικά σώματα (γραφείς), ο ένας από τους οποίους φαίνεται να είναι ο Νικηφόρος Καντουνιάρης (συντάκτης της λίγο μεταγενέστερης ομοειδούς ανθολογίας "Μελπομένη"). Ο συγγραφέας του παρόντος επαναφέρει την αρχική σειρά των ασμάτων, με βάση παλαιότερους κώδικες.
This article concerns one of the rare musical codices from the period of the so-called "Neo-Hellenic Enlightenment" (1770-1820) held today in the Centre of Asia Minor Studies, Athens. The codex includes a large number of Greek urban songs written in the Church notation of the time. It consists of two different parts (scribes), one of which is revealed to have been compiled by the Archdeacon, Nikiphoros Kantouniaris of Chios, author of a later musical anthology (Melpomene). The author of the article attempts to reconstruct the original order of the songs, in comparison with older anthologies of this genre.

Η μονωδία του Λάμπρου Φωτιάδη (1752-1805) εκτείνεται σε 400 ιαμβικούς στίχους και έχει διασωθεί σε χειρόγραφο της Εθνικής Βιβλιοθήκης της Αθήνας (ΕΒΕ 2390, σ. 1112-1123) μαζί με άλλα, επίσης ανέκδοτα επί το πλείστον, πονήματά του. Η συλλογή αυτή χαρακτηρίζεται από την εφήμερη θεματική της καθώς συμπεριλαμβάνει (επιτύμβια κυρίως) επιγράμματα, εγκωμιαστικούς λόγους και ιδιωτικές επιστολές.
          Τη μονωδία αναφέρει ο Ιάκωβος Ρίζος Ραγκαβής στη Συλλογή διαφόρων τραγωδιών, όσαι παρεστάθησαν εις το θέατρον του Βουκουρεστίου (1820: τόμ. 1, ΧΙΙ) και φαίνεται ότι άρεσε τόσο στους ομογενείς όσο και στους ξένους Ελληνιστές. Το αν η μονωδία όντως παραστάθηκε στο θέατρο ή αν απλώς προοριζόταν για ανάγνωση σε μικρό κύκλο δεν αποσαφηνίζεται από τον Ραγκαβή. Το ποίημα παρουσιάζει ιδιαίτερο ιστορικοκοινωνικό ενδιαφέρον, καθώς περιέχει πολλές (επί το πλείστον άγνωστες) βιογραφικές πληροφορίες για την οικογένεια των Βραγκοβάνων και αναφορές στον ρωσοτουρκικό πόλεμο (1787-1792).
Η παρούσα ανακοίνωση έχει σκοπό να παρουσιάσει το περιεχόμενο της μονωδίας, τοποθετώντας το στο κοινωνικό πλαίσιο των ευγενών του Βουκουρεστίου γύρω στο 1790. Πως θρηνούσαν τους πεθαμένους τους και ποιό ρόλο παίζει η μορφή του κειμένου (μονωδία, επίγραμμα) σε σχέση με την αρχαία γραμματεία; Ποιό ρόλο έπαιζαν οι Έλληνες διδάσκαλοι και ποιά η σχέση τους με τους Ρουμάνους ευγενείς; Ποιές είναι οι μορφές κοινωνικότητας και ποιοί οι χώροι συνάντησης πριν από την επίσημη ίδρυση του θεάτρου του Βουκουρεστίου (1817); Τέλος, θα προσπαθήσω να εξιχνιάσω μέσα από άλλες πηγές τη γενικότερη λειτουργία της εφήμερης ποίησης και της απαγγελίας λόγων ή ποίησης σε κλειστούς κύκλους (Ακαδημία Βουκουρεστίου, ιδιωτικά λογοτεχνικά σαλόνια, κήποι).

The present edition brings to the daylight twenty unpublished letters of the
Walachian Prince Constantin Brâncoveanu and four of a scholar and diplomat
Constantin stolnicul (high steward) Cantacuzino from the Polish archives dispatched between 1709 and 1714. The addressee of all letters was the Grand Crown hetman Adam Mikołaj Sieniawski (1666-1726). The published correspondence sheds new light on the turbulent first quarter of the eighteenth century, dominated in East Central Europe by the presence on Ottoman soil of Charles XII of Sweden, 'the Ironhead'. It provides new information on Polish supporters of the Swedish King led by the Voivode of Kiev Józef Potocki and Dnieper Cossacks with Ivan Mazepa as a leader. All letters are  filled with valuable information on the general situation in the Ottoman Empire and the Crimean Khanate.

Studiul are în vedere evidențierea influențelor străine asupra armatelor române aflate în plin proces de modernizare în timpul Regulamentelor Organice și a modului în care acestea au fost receptate de către contemporanii lor, astfel încât se subscrie, în cea mai mare parte, domeniului istoriei militare, cuprinzând totodată și interpretări ce țin de istoria socială și a mentalităților. Cu scopul de a obține o imagine cât mai cuprinzătoare asupra perioadei, am studiat o serie de surse de epocă (memorii, corespondență, legislație), pe care le-am corelat cu lucrări generale și speciale publicate sub diferite regimuri, care tratează perioada de interes din punct de vedere politic, militar și/sau socio-cultural.

Pornind de la premisa logică a nevoii de securitate a fiecărui stat, oricât de mic, slab, sărac sau supus altei puteri ar fi el, este clar că și Țările Române, având și după instaurarea fanarioților un statut aparte altor provincii otomane, au avut armate în continuare, continuând, într-un fel, tradiția militară a instituției militare românești medievale, chiar dacă la un alt nivel, în funcție și de circumstanțele perioadei. Nu ar fi fost normal ca două popoare care luptaseră aprig în secolele precedente, împotriva mongolilor, ungurilor, cumanilor, sârbilor, turcilor, polonilor, tătarilor, și reușiseră chiar să înfrângă, în lupte defensive, forțe mult mai puternice, să decadă brusc într-un secol care tocmai oferea posibilitatea tuturor de a pune mâna pe o armă și a lupta împotriva/de partea cui ar fi vrut.

Una dintre perioadele cele mai demonizate, dar și obscure, din istoria românească, este ”secolul fanariot”, perioada dintre 1711 și 1821, când la conducerea Țărilor Române s-au aflat în cea mai mare parte a timpului domni greci, locuitori ai cartierului Fanar din Constantinopol, numiți de otomani să conducă destinele celor două Principate, într-o perioadă de grele încercări politico-militare pentru Imperiul Semilunei.

Panegyrische Gratulationen zu den verschiedensten politischen, höfischen und religiösen Anlässen begleiteten die phanariotischen Fürsten und auch noch den bayrischen Monarchen auf Schritt und Tritt. Dennoch sind diese Lobreden bisher in der Forschung als Gesamtphänomen wenig beachtet worden.
Dabei ist festzustellen, dass solcherlei Reden bereits rhetorisch stark schematisiert und reglementiert sind und sie sich (auch sprachlich) an antiken bzw. byzantinischen Vorbildern orientieren. Aufgrund dieser Formelhaftigkeit büßen sie oft an Glaubwürdigkeit ein, so dass überschwängliches Lob letztendlich nur Hülle und Schein ist.
Welche sind die konkreten Anlässe, wie sind die Reden aufgebaut und wie fügen sie sich in das höfische Zeremoniell? Welche sind die persönlichen Vorteile, die sich ein Redner erhoffen kann und was hat der Fürst/König davon? Diese und weitere Fragen sollen in dem Vortrag diskutiert und erarbeitet werden.