The Exegetical Tradition of Christianity in I–V Centuries and the "Synergy-Spatial" Shift in the Exegesis of Saint John Chrysostom
In: The Bulletin of Irkutsk State University. Series Political Science and Religion Studies, Band 30, S. 95-103
In: The Bulletin of Irkutsk State University. Series Political Science and Religion Studies, Band 30, S. 95-103
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 32, Heft 3, S. 602-602
ISSN: 2325-7784
In: The journal of Belarusian studies, Band 4, Heft 3-4, S. 165
ISSN: 2052-6512
In: Transilvania, S. 9-14
This article aims to present a significant episode in the history of migrations in Europe: the passage of the Visigoths into the Roman Empire south of the Danube (376 A.D.) and their transformation from afflicted refugees into fearsome insurgents. Beyond this spectacular evolution, the author evaluates the position of the Church and the attitude of Bishop John Chrysostom towards these migrants in a context in which xenophobic feelings have reached a climax.
In: Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, Heft 6, S. 222-230
Introduction. John of Gaza is the only known grammarian poet who belongs to the cultural environment of the Gaza School. His work "Description of the Сosmic Table" is a unique extant poetic work that corresponds to the ancient literary genre. Despite the final Christianization of Gaza at the end of the 4th century, the classical elements did not outlive their usefulness. The poem by John of Gaza written in the genre of ekphrasis is a vivid example of this phenomenon. The author actively appealed to the works of ancient authors and to a lesser extent to the Christian works when he created his poem. Therefore, the main purpose of our study is to identify sources – exact quotes, expressions that can be identified in another work – paraphrased or repeated verbatim.
Methods. The author conducts his research on the basis of the historical and comparative method, which allows to compare the work of John of Gaza with the works of other authors. Thus, it allows to reveal the sources used in the poem.
Analysis. The author in his work divides conditionally cited authors into ancient and Christian, and also argues the thesis that the works of the former occupy an important place as a source of borrowings.
Results. Based on the analysis, the author identified four main characteristics that clearly indicate the echoes of the cultural heritage of antiquity. Interpretation and understanding of allegorical and Christian images in Early Byzantium with the help of Homer, Nonne of Panopolis, Aristophanes, Menander, etc. still occupied an important place in the life of the Gazans. The citation of Christian authors, first of all John Chrysostom, is explained by the historical time associated with the transformation of religious consciousness. In general, it can be noted that the poem of the Byzantine poet John of Gaza is a "fusion" of ancient heritage and Christian doctrine.
In: Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2, Jazykoznanie = Lingustics, Heft 4, S. 6-17
ISSN: 2409-1979
The paper focuses on the composition, lexical, and grammatical features of a Nativity sermon in the 13 th century Old Russian Tolstovskiy Sbornik (National Library of Russia, F.p.I.39). The author considers its Byzantine sources, principles of editorial work, and the differences from original rhetorical structures. Attributed to John Chrysostom, the sermon turns out to be a complicated compilation from various early Byzantine sermons. The compilation is based both on rearranging fragments of the same source and on combining excerpts from different sermons in a small context. Such transformations indicate the lack of cohesion in sermon texts, due to their independence from the causation and time factor. Non-attributed parts of the Old Russian text may be original since they demonstrate a certain similarity with Kirill Turovskiy orations in the same anthology. The lexical level of the sermon contains non-standard solutions that reinterpret the Greek source text, which may indicate either the missionary nature of the translation or a tendency to the poetic decoration. In some cases, the semantic mismatch of lexical units within Greek-Slavonic correlations is due to errors. At the grammatical level, there are also grammatical inconsistencies of Slavonic and Greek units; they affect the categories of time, number, gender, as well as parts-of-speech status.
In: RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Heft 9, S. 161-168
In the final lines of "Faust" the attention of researchers was primarily attracted by the image of the Eternal Feminine (Das Ewig-Weibliche) that has given rise to a lot of interpretations. However, from the point of view of "Toposforschung" as a philological method developed by Ernst Robert Curtius, the very last line ("Draws us upward" – "Zieht uns hinan") is no less important: it places the image of the Eternal Feminine in the historical sequence of variations of a topos which expresses the idea of a certain spiritual power that draws man upward. Various concepts can act as such a power: hope (John Chrysostom), wisdom (Hugo of Saint-Victor), right reasoning (anonymous medieval poem), eternity (Walter of Châtillon), anagogical sense in the system of polysemous interpretation of the Bible (Absalon of Springiersbach), Virgin Mary (Hildegard of Bingen), Jesus Christ (Anselm of Canterbury, Georgette de Montenay), poetry (Giovanni Boccaccio). Goethe updates the topos inserting in its scheme a new image of the Eternal Feminine. While the nominative part of the topos (designation of the force acting on man) was continually changing, the predicative part (designation of the action itself) remained unchanged: in all the analyzed examples, as in Goethe's Faust, there is the verb "to draw" (Latin "trahere", French "tirer", German "ziehen") which shows that the spiritual principle has material power.
In: Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, Band 26, Heft 6, S. 31-51
Introduction. Among the "cave towns" of Mountainous Southwestern Crimea, there are monuments located in the lower reaches of the Black River valley. There are no less than 9 rock-cut monastic complexes which include about 30 temples. Methods. Some churches of the 13th–15th centuries were decorated with fresco paintings. Today, frescoes have been preserved only in one church. Sources of the 18th–20th centuries indicate traces of paintings in more than five temples. Frescoes inside the "temple with baptistery", "Church of Geography (Eugraphy)", and the Monastery of St. Sophia have not survived. Archival materials that expose the plots and compositions are published in this work. Analysis. The frescoes of the "temple with baptistery" date back to the 13th century. The Deesis composition is reconstructed in the apse conch. In the "Church of Geography (Eugraphy)" (the 13th century), on each side of the throne, four figures of saints are depicted (The Holy Fathers composition). This is probably: John Chrysostom, Gregory the Theologian, Basil the Great, Cyril of Alexandria, Gregory of Nyssa, Athanasius of Alexandria and two more saints from among the Cappadocian Fathers. One of them is obviously St. Blaise. This painting in general terms repeats the traditional scheme of the lower register of the painting of the apses of the cave temples of the mountainous Crimea. The monastery of St. Sofia should be dated back to the 14th–15th centuries. During the period of the monastery's functioning, there were fresco paintings in the Main Church and Church no. 3, but all the attempts to attribute them were unsuccessful. Results. The analyzed frescoes show themes of Deesis and the Great Cappadocians. They are common for altar compositions in cave temples in South-West Crimea. In the interiors of the cave temples of Inkerman, there are: simple linear ornaments, complex plant reports, linear ornaments with complex weaving and plant elements.