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Florin Leonte, Imperial Visions of Late Byzantium: Manuel II Palaiologos and Rhetoric in Purple. Edinburgh: Edinburgh University Press, 2020. Pp. 344 弗洛林·莱昂特,《拜占庭晚期的帝国幻象:曼努埃尔二世的Palaiologos和紫色修辞学》。爱丁堡:爱丁堡大学出版社,2020。344页。
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1017/byz.2022.15
Chris Deliso
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引用次数: 0
BYZ volume 46 issue 2 Cover and Front matter BYZ第46卷第2期封面和封面问题
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1017/byz.2022.19
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引用次数: 0
Antioch's Last Heirs: The Hatay Greek Orthodox Community between Greece, Syria and Turkey 安条克的最后继承人:希腊、叙利亚和土耳其之间的哈泰希腊东正教社区
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1017/byz.2022.7
I. N. Grigoriadis
This study explores the identity dynamics of the Arabic-speaking Greek Orthodox community of the Hatay province of Turkey. Citizens of Turkey, members of the Greek Orthodox church and Arabic speakers, members of this small but historic community stood at the crossroads of three nationalisms: Greek, Syrian and Turkish. Following the urbanization waves that swept through the Turkish countryside since the 1950s, thousands of Hatay Greek Orthodox moved to Istanbul and were given the chance to integrate with the Greek minority there. The case of the Hatay Greek Orthodox community points to the resilience of millet-based identities, more than a century after the demise of the Ottoman Empire.
本研究探讨了土耳其哈塔伊省讲阿拉伯语的希腊东正教社区的身份动态。土耳其公民、希腊东正教会成员和讲阿拉伯语的人,这个小而历史悠久的社区的成员站在三种民族主义的十字路口:希腊、叙利亚和土耳其。自20世纪50年代以来,城市化浪潮席卷土耳其农村,数千名哈泰希腊东正教教徒搬到伊斯坦布尔,并有机会与那里的希腊少数民族融合。哈泰希腊东正教社区的案例表明,在奥斯曼帝国灭亡一个多世纪后,以小米为基础的身份具有韧性。
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引用次数: 0
BYZ volume 46 issue 2 Cover and Back matter BYZ第46卷第2期封面和封底
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1017/byz.2022.20
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引用次数: 0
Katerina Krikos-Davis (ed.), George Seferis, Μέρες Η (2 Γενάρη 1961–16 Δεκέμβρη 1963) and Μέρες Θ (1 Φεβρουαρίου 1964–11 Μάη 1971). Pp. 384 + 352 Athens: Ikaros 2018, 2019. Katerina Krikos Davis(编辑)、George Seferis、Days H(196年12月2日至16日)和Days Th(1969年2月1日至1987年5月11日)。第384352页雅典:Ikaros 20182019。
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1017/byz.2022.17
Liana Giannakopoulou
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引用次数: 0
Some remarks on Elytis’ Crinagoras 对埃利蒂斯的《克里纳戈拉斯》的一些评论
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1017/byz.2022.18
Cristiano Luciani
Ancient Greek poets such as Alcaeus and Sappho, and later Crinagoras, took on through Elytis’ poetry a new literary significance, thanks to his personal reconstruction of fragments and the epigram respectively. The technique of reconstruction from fragments or restoring epigrams is not unconnected with the type of so-called ‘prismatic expression’ used by Elytis in the creation of his own poetry: a prism's polyhedral and crystalline form allows for the coexistence of facets significant in themselves, but which, when arranged in a new composition, create a new and harmonious entity.
古希腊诗人,如阿尔凯乌斯和萨福,以及后来的克里纳哥拉斯,通过埃利蒂斯的诗歌赋予了新的文学意义,这要归功于他对片段和警句的个人重构。从碎片中重建或恢复警句的技术与Elytis在创作自己的诗歌时使用的所谓的“棱镜表达”类型并不是没有联系的:棱镜的多面体和晶体形式允许自身重要的方面共存,但是,当它们被安排在一个新的组成部分时,创造了一个新的和谐的实体。
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引用次数: 0
Marc D. Lauxtermann, Byzantine Poetry from Pisides to Geometres: Texts and Contexts. Volume Two. Vienna: Austrian Academy of Sciences Press, 2019. Pp. 431.
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-08-17 DOI: 10.1017/byz.2022.11
E. Jeffreys
It is with great pleasure, and a certain amount of relief, that one welcomes the appearance of the second volume of Marc Lauxtermann’s masterly study of the Byzantine poetry written between the seventh and tenth centuries: relief because the first volume appeared quite some time ago, in 2003 with its follow-up promised for 2006 (by which time life – as L puts it – had intervened), and pleasure because this second instalment lives up to the insights of the first. It must be stressed, however, that the two volumes were devised as a unit from the outset and that practicalities of size had led to the split. So the rationale behind this second volume must be sought in the first. Here L’s reasoning is set out in the three chapters that make up the first Part of the three that form the complete work: Parts One (Texts and Contexts) and Two (Epigrams in Context) are in vol. 1 and Part Three (Poems in Context) in vol. 2. L’s intentions are to examine all Byzantine poetry composed within his chosen period, apart from hymnography which makes specialist musical demands on commentators. His starting and ending points are confessedly arbitrary but delimit an ill-examined period that comes before an era of great poets, such as Mauropous, Christopher Mytilenaios or Theodore Prodromos, and the more studied Komnenian and Palaiologan ages. L covers poetry written in Greek both in Constantinople and beyond the city (e.g. in Sicily and South Italy) but excludes anything using the vernacular (admittedly scanty in these centuries). The modern reader, L argues, has to accept that Byzantine poetry works by rules unfamiliar to today’s audiences; but, if discussion of texts operates with due consideration for the historical context from which they emerge, the results can be productive: a modern reader has a much better chance of understanding what a medieval author was getting at if that reader has a sense of what rules are being respected or subverted: ‘Grammar, vocabulary, metrics and genre are just tools’ which open up Byzantine literary productions for further exploration.
我们非常高兴,也有一定程度的宽慰,欢迎马克·劳克斯特曼(Marc Lauxtermann)对七世纪至十世纪之间拜占庭诗歌的大师级研究第二卷的出现:宽慰是因为第一卷出现在很久以前,2003年,并承诺在2006年进行后续研究(正如L所说,到那时生活已经介入),和快乐,因为这第二部没有辜负第一部的真知灼见。然而,必须强调的是,这两卷书从一开始就被设计成一个单元,规模的实际性导致了分裂。因此,必须在第一卷中寻找第二卷背后的理由。在这里,L的推理在三章中阐述,这三章构成了构成完整作品的三个部分的第一部分:第一部分(文本和上下文)和第二部分(上下文中的Epigrams)在第一卷,第三部分(语境中的诗歌)在第二卷。L的意图是研究在他选择的时期创作的所有拜占庭诗歌,除了赞美诗,赞美诗对评论家提出了专业的音乐要求。他的起点和终点显然是武断的,但却划定了一个未经审查的时期,这个时期发生在伟大诗人的时代之前,比如毛罗波斯、克里斯托弗·米蒂莱奈奥斯或西奥多·普罗德罗莫斯,以及更受研究的科姆尼亚和帕拉伊奥洛甘时代。L涵盖了在君士坦丁堡和城外(如西西里岛和意大利南部)用希腊语创作的诗歌,但不包括任何使用当地语言的诗歌(诚然,在这些世纪里很少使用)。L认为,现代读者必须接受拜占庭诗歌是按照当今观众不熟悉的规则创作的;但是,如果对文本的讨论充分考虑到它们产生的历史背景,结果可能是富有成效的:如果现代读者知道什么规则正在被尊重或颠覆,那么他就有更好的机会理解中世纪作家的意思:“语法、词汇、,度量和体裁只是打开拜占庭文学作品进一步探索的工具。
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引用次数: 0
Stories of emperors, sultans, and cities: comparing protagonists in the histories of Doukas and Leonardo Bruni 皇帝、苏丹和城市的故事:比较杜卡斯和莱昂纳多·布鲁尼历史上的主人公
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-07-27 DOI: 10.1017/byz.2022.4
Matthew Kinloch
One of the defining features of the Byzantine historiographical tradition is the dominant narrative roles played by emperors and, in the later period, by Ottoman sultans. This article explores this characteristic feature of the tradition through comparative analysis of the structuring roles occupied by such characters in the fifteenth-century History of Doukas and the protagonistic role of the Florentine people in the contemporary History of the Florentine People by Leonardo Bruni. Transhistorical comparison, organized around two case studies, serves to denaturalize the roles played by emperors and sultans in both Byzantine and modern historiography.
拜占庭史学传统的一个决定性特征是皇帝以及后期奥斯曼苏丹所扮演的主导叙事角色。本文通过对15世纪《杜卡斯史》中这些人物所扮演的结构角色和莱昂纳多·布鲁尼的《佛罗伦萨人史》中佛罗伦萨人的主人公角色的比较分析,探讨了这一传统的特征。围绕两个案例研究组织的跨历史比较,有助于改变皇帝和苏丹在拜占庭和现代史学中所扮演的角色。
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引用次数: 0
A repentant sinner: representing the self in Nikephoros Ouranos’ catanyctic alphabet 悔过自新的罪人:用Nikephoros Ouranos的catanyotic字母表代表自我
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-07-26 DOI: 10.1017/byz.2022.9
Cristina Cocola
For Byzantines, catanyctic poetry offered a rich source of models for self-representation. In this paper I analyse the poetic strategies and literary motifs through which Nikephoros Ouranos (tenth–eleventh century) shaped the self in his catanyctic alphabet. In particular, I will focus on the intertextual strategies employed by Ouranos in order to model the catanyctic self, such as the identification with scriptural sinners, and the presence of biblical metaphors.
对于拜占庭人来说,祈福诗为自我表现提供了丰富的模式来源。在本文中,我分析了尼科弗罗斯·乌拉诺斯(Nikephoros Ouranos)(10 - 11世纪)在他的catanytic字母表中塑造自我的诗歌策略和文学母旨。特别地,我将聚焦于乌拉诺斯为了塑造隐喻自我而采用的互文策略,比如对圣经罪人的认同,以及圣经隐喻的存在。
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引用次数: 0
A taste for all things Byzantine: Byzantium in the collections of Antonis Benakis 对所有拜占庭事物的品味:安东尼斯·贝纳基斯收藏的拜占庭
IF 0.1 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-07-11 DOI: 10.1017/byz.2022.10
Anastasia Drandaki
‘His pockets were always full of treasures. What marvellous things you could find in them! Nails, marbles, pebbles, sponges, twine, maybe a chewed piece of gum, and always that crystal triangle piece from the church chandelier that would shine brilliantly when held up to the sun.’ With these words, Penelope Delta, the famous children's writer and sister of Antonis Benakis, painted a portrait of her brother as a child in her much-loved book Trelantonis (Crazy Antonis). In this book, dedicated to the childhood adventures of the Benaki family siblings, and set in the cosmopolitan yet conservative colonial environment of the upper middle-class Greeks of late nineteenth-century Alexandria, Antonis was always the protagonist. (Fig. 1)
他的口袋里总是装满了财宝。你能在他们身上发现多么奇妙的东西啊!钉子、弹珠、鹅卵石、海绵、麻绳,也许还有嚼过的口香糖,还有教堂吊灯上那块在阳光下闪闪发光的三角水晶。著名儿童作家、安东尼斯·贝纳基斯的妹妹佩内洛普·德尔塔(Penelope Delta)在她备受喜爱的书《疯狂的安东尼斯》(《疯狂的安东尼斯》)中,用这句话描绘了她弟弟小时候的肖像。这本书讲述了贝纳基(Benaki)家族兄弟姐妹的童年历险,背景设定在19世纪晚期的亚历山大港(Alexandria),一个既国际化又保守的殖民环境,居住着希腊中上层阶级,安东尼斯一直是主角。(图1)
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BYZANTINE AND MODERN GREEK STUDIES
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