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This paper examines the possibility of a correlation between orthodoxy and brick burials, also investigating burials with brick and stone. Among the peoples inhabiting the Carpathian Basin the custom of brick burials had no direct antecedent. Based on our research brick burials seem to have been taken over from the Balkan, while concerning burials with stone the former Upper Hungary played an important role as well. The tradition can be traced back to an antique custom, persistent in orthodoxy, with the purpose of preserving the ephemeral and perishable body for eternity and assuring the deceased’s peace.

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During most of the Soviet era, it was considered ideologically suspect — and anti-nationalistic — to perform, compose, or study any kind of sacred music. How some composers who identified with Orthodoxy conveyed their spirituality through their art in spite of official prohibitions illuminates an interesting way of expressing Russian identity through heritage revival. This paper explores a unique compositional technique that bridged liturgical experience and the concert stage by means of a rather calculated but inspired methodology that expanded the znamenny chant structure into a 12-tone row. Starting with his Polyphonic Concerto (1969), composer Yuriy Butsko (1938–2015) successfully adapted the old chant to modern times while preserving its religious meaning. “Butsko’s row” indigenized a transnational compositional technique (dodecaphony) by kneading principles of Russian chant scale into its core. In the midst of the Cold War a Russian composer reached out to the world by globalizing an inherent pre-Soviet musical element. At the time (though seemingly without any explicit intent on the part of the composer) this could be considered a non-conformist gesture against the regime. Paradoxically, however, Butsko’s system marked his desire to validate his music as a legitimate means of the Russian national representation. Butsko’s utilization of the znamenny chant could have supported the state, had the state patronized the Orthodoxy.

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Abstract

The history of the works composed by Jesuits Fulvio Androzzi (1523–1575) and Marcin Śmiglecki (1563/1564–1618) and their translations into Church Slavonic as well as the so-called “prostaâ mova” are considered as an interesting example of the spread of Catholic works among adherents of Orthodoxy in the Polish–Lithuanian Commonwealth. Androzzi’s Della frequenza della communione (1579) was originally an essay on the preparation for frequent communion. Its two Polish-language editions by Stanisław Grochowski (Scieszka poboznego chrześcianina, 1600) and Szymon Wysocki (Skarbnica duchowna, 1600) served as a source for a concise funerary sample-sermon written in “prostaâ mova” which is found in the Vilna’s Orthodox Ritual (1621). An essay on theological and legal aspects of money-lending (usury) by Marcin Śmiglecki (O lichwie i trzech przedniejszych kontraktach, 1596) was partly used for drawing up a treatise on moral theology Mir s Bogom čeloveku (1669) published in the Kiev Monastery of the Caves. Both sample-sermons and treatises on moral theology were new literary genres for Orthodox tradition; their origin in the 17th century can be associated with Catholic influences. In both cases, the question of a translator from Polish into Church Slavonic and “prostaâ mova” remains open.

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The history of the ascetic works composed by the Flemish Jesuit Franz Coster (1531–1619) and their translations into Polish and “prosta mova” are considered as an interesting example of the 17th-century literary contacts in Europe and an example of the spread of Catholic works among adherents of Orthodoxy. Coster’s Bulla super forma iuramenti professionis fidei (1576) was originally intended to members of the Catholic Sodality of the Blessed Virgin Mary in Cologne. Two Polish-language reversed editions entitled Skarb duszny (1582 and 1594) served as a source of a concise text of admonition written in “prosta mova” to the confession Nauka i priklady, which can be found in two editions of the 17th-century Orthodox Vilna’s Poluustav: ca. 1637–1640 and ca. 1643–1644. The Polish translation later was taken as a basis for drawing up a manual of confession Nauka o tainie svyatogo pokayaniya (1671) published in the Kiev Monastery of the Caves. The question of the translator from Latin into Polish as well as the translator from Polish into “prosta mova” remains open.

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Islamic control for barely 40 years and the demographic imprint of the invaders would have been relatively light. Scholars who downplay the Islamic linguistic influence, and that is the current orthodoxy, also question why Quintana is only preserved in

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uniform, as bridging German or German-oriented culture, Pan-Slavism/Greek Orthodoxy, and Ottoman/Muslim realms. Nonetheless, there is also an explanation for the “otherness” in Mahler’s music found in the composer’s “Jewishnes”. To critics subscribing to

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description of the rituals and the participating clerics, touching on the role of exorcism in contemporary popular orthodoxy. The third part of the volume focuses on the gods and saints who can restore health or punish the violation of norms with illness

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-social transformation that took place in the Jewish community at large. See Haym SOLOVEITCHIK, “Rupture and Reconstruction: The Transformation of Contemporary Orthodoxy,” Tradition 28/4 (Summer 1994), 64–130. 4. From among the many examples, it is worth mentioning the

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When seen or presumed in the actions of gods rather than of men, phthonos (‘spite’) has traditionally been regarded as a disturbingly “primitive” form of behaviour, punishing those who have done nothing to deserve punishment (but are simply too successful or prosperous for the deity’s liking), and chiefly manifesting itself in such authors as Herodotus and such genres as Attic tragedy. After the fifth century BC, orthodoxy holds, this gives way to a more enlightened world-view; now spite is confined to humans, and the gods treat humankind more justly. But K. J. Dover once voiced his suspicion that belief in divine phthonos lingered on, and here I try to show that he was right. In the fourth century, divine phthonos itself is still spoken of (by such disparate authors as Aristophanes and Xenophon); and in later writers, from Polybius to Pausanias, the idea of tyche (‘chance’) takes on both the vocabulary and. more important, the substantive role of supernatural phthonos .

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Cult or spirit?

Integration strategies and history of memory in Jewish groups in Hungary at the turn of the 19th–20th century

Acta Ethnographica Hungarica
Author: András Zima

[Fatal rupture. The breakaway of Orthodoxy from the Jewish religious communities in Hungary and Germany]. Budapest, Múlt és Jövő. Katz J. Végzetes szakadás. Az orthodoxia kiválása a zsidó hitközségekből Magyarországon

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