Journal articles: 'Archanges'

1

Chasseguet-Smirgel, Janine. "“ Les archanges d'Attila ”." Revue française de psychanalyse 66, no. 4 (2002): 1055. http://dx.doi.org/10.3917/rfp.664.1055.

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sadek, sherin. "FIGURES DES ARCHANGES DANS L’ART COPTE." Conference Book of the General Union of Arab Archeologists 17, no. 17 (December 1, 2014): 84–122. http://dx.doi.org/10.21608/cguaa.2014.44442.

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Zaganas, Dimitrios. "Le De Trinitate du Pseudo-Didyme et le culte des archanges : un élément méconnu de datation." Vigiliae Christianae 76, no. 5 (September 19, 2022): 559–67. http://dx.doi.org/10.1163/15700720-bja10054.

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Abstract Pseudo-Didymus’ De Trinitate mentions many sanctuaries of the archangels Michael and Gabriel, finely adorned, some of which were quite famous to attract people from very far in the hope of a miracle. Although this testimony was usually considered as an ancient evidence because of its purported attribution to Didymus the Blind, it does not actually reflect the state of the archangels’ cult in the fourth century. However, it proves to be an important element for the dating of the De Trinitate itself, since it refers to a time when the cult of the archangels was developed in the East. The documentary and literary evidence shows that the churches dedicated to them, especially to Saint Michael, significantly multiply in the sixth century, and that their cult is being established under the reign of Justinian (527-565). It is from this period that the composition of Pseudo-Didymus’ De Trinitate is likely to date.

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Gabelic, Smiljka. "From the painted programme of Saint John (Ayvali Kilise), Cssappadocia." Zograf, no. 33 (2009): 33–41. http://dx.doi.org/10.2298/zog0933033g.

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In the Church of St. John in Cappadocia, also known as Ayvali Kilise or Gulu dere 4, on the frescoes which were painted between 913 and 920, particular devotion was shown for the cult of the archangels. The two archangels Michael and Gabriel, were painted in very large dimensions, with inscriptions describing them as 'great', besides giving their names. In addition to that a unique group of two figures was presented. It depicted the monk Archippos turned toward a colossal figure of the archangel Michael, painted strictly frontally. The iconographical relationship of these two figures, unrecorded in scholarly literature, indicates that this was definitely Archippos, the custodian of the important shrine of the Archangel Michael at Chonai, which still existed in those times. This would not only be a very early, but the only preserved presentation of Archippos, other than his appearance in the well-known composition of the Miracle of the Archangel Michael at Chonai.

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Angheben, Marcello. "La théophanie absidale de Gallia no,Les archanges-avocats transmettant les prières du Pater et l’Église céleste célébrant le sacrifice eucharistique." Hortus Artium Medievalium 20, no. 2 (May 2014): 738–52. http://dx.doi.org/10.1484/j.ham.5.102689.

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Rothenberg, David J. "Angels, Archangels, and a Woman in Distress: The Meaning of Isaac's Angeli archangeli." Journal of Musicology 21, no. 4 (2004): 514–78. http://dx.doi.org/10.1525/jm.2004.21.4.514.

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Henricus Isaac's grand six-voice motet Angeli archangeli (Angels, archangels) sets a text from the liturgy of the Feast of All Saints (November 1), but its only preexistent musical material is a cantus firmus in the tenor voice, drawn from the tenor of the mid 15th-century chanson Comme femme desconfortéée (As a woman in distress), attributed to Binchois. Scholars have assumed that Angeli archangeli is a motet for All Saints but have been at a loss to explain why Isaac chose the cantus firmus he did. This study attempts to explain Isaac's puzzling juxtaposition of Latin text and secular cantus firmus by suggesting that Angeli archangeli is not a motet for All Saints, but rather for the Assumption of the Virgin. Liturgical analysis of the motet text reveals that its connection to the Feast of All Saints (November 1) is weaker than has previously been assumed. Additionally, examination of numerous other sacred works that incorporate the Comme femme desconfortéée tenor demonstrates that it was widely understood as a Marian cantus firmus ca. 1500. The Marian associations of the cantus firmus help to explain why one manuscript source (VatS 46) groups the work with other Marian motets, and why another (LeipU 1494) transmits it with a Marian contrafact text (O regina nobilissima). Finally, by relating the musical construction of Angeli archangeli to the Assumption of the Virgin as depicted in late medieval liturgy, iconography, and in Jacobus de Voragine's widely read Legenda aurea, it is suggested that the text of Angeli archangeli, though drawn from the All Saints liturgy, actually describes Mary's assumption into heaven. Sacred text and secular cantus firmus thus collaborate in communicating a complex but clear theological/devotional meaning.

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Афиногенова, Ольга Николаевна. "“The Nattation of the Miracles of Archangel Michael” by Pantoleon Deacon as the cultural point of the shapoing of the cult of Archangel Michael in Byzantium." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 12–27. http://dx.doi.org/10.31802/2658-5111-2019-1-12-26.

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Основная цель статьи - проследить историю отождествления Ангела Господня с архангелом Михаилом и выявить основной этап формирования культа архистратига. Методом сопоставления текста Священного Писания, апокрифов и византийских агиографических текстов выявляется чёткая картина влияния апокрифической традиции на византийский культ архангела Михаила. В Ветхом Завете Михаил упомянут по имени всего три раза - в Книге пророка Даниила; в Новом Завете - только однажды в Откровении ап. Иоанна Богослова. Вместе с тем в Священном Писании есть многочисленные упоминания безымянного Ангела Господня. Ориген впервые отождествил князя Михаила из Книги пророка Даниила с архангелом Михаилом, что было воспринято поледующей традицией. В апокрифах, однако, почитание Михаила не всегда наделено теми аспектами, которые будут фигурировать в более позднее время. Возможно, то, что почитание Михаила вобрало в себя функции других архангелов, связано с популярной агиографической традицией, посвящённой архистратигу. Первый текст этой традиции, ставший широко распространённым в Византии, - «Чудо в Хонах» (VIII в.). Но наиболее исчерпывающе традиция почитания архангела отражена в «Повести» Пантолеона Диакона (IX в.). Текст демонстрирует окончательное закрепление отождествления безымянного Ангела Господня из Ветхого и Нового Заветов с Михаилом, а также приводит наиболее полное изложение аспектов почитания архангела в Византии. The main purpose of the paper is to trace the history of the identification of the Angel of the Lord with the Archangel Michael and to identify the main stage in the formation of the cult of the Archangel. By comparing the text of Holy Scripture, apocrypha and Byzantine hagiographic texts, a clear picture of the influence of the apocryphal tradition on the Byzantine cult of Michael the Archangel is revealed. In the Old Testament, Michael is mentioned by name only three times - in the book of Prophet Daniel; in the New Testament - only twice in the Revelation of John the Divine and in Epistle of Jude. However, in the Bible there are numerous references to the nameless Angel of the Lord. For the first time Origen identified Prince Michael from the book of the Prophet Daniel with the archangel Michael, which was accepted by the following tradition. In the apocrypha, however, the worship of Michael is not always endowed with those aspects that will appear later. Perhaps the fact that the worship of Michael has absorbed the functions of other archangels relates to the popular hagiographic tradition devoted to the archestrategos. The first text of this tradition, which became widespread in Byzantium, was the “Miracle in the Chonae” (8th century). But the most exhaustively tradition of worship the archangel is reflected in consolidation of the identification of the nameless Angel of the Lord from the Old and New Testaments with Michael and provides the most complete exposition of the aspects of veneration of the archangel in Byzantium.

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8

Danciu, Liliana. "„La Țigănci”, nuvela-parabolă a profetismului eliadesc / "La Țigănci" – The Parable of the Eliadesc Prophetism." Swedish Journal of Romanian Studies 1, no. 1 (February 26, 2018): 69–86. http://dx.doi.org/10.35824/sjrs.v1i1.16804.

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The unprecedented experience of Gavrilescu, the main character in the La Țigănci short story, continues to arise various interpretations, proving the viability of this eliadesc writing. For some literary critics, he is the anti-hero by definition, which lives what Eliade understands by "level break", but without understanding anything of it. The ordinary man, with a banal existence, routinely in the profane becomes the Chosen One uselessly claimed by sacred, for ignorance prevents him from seeing beyond the Illusion. In the hut of the gypsies, he crosses a rite of passage, from life to death, proof being the shrouded curtain that will wrap his naked body, the terrible thirst for unpopularity, and the surprising encounter with the always young Hildegard, the beloved of his youth.In this article, I try to reveal another dimension of this eliadesc short story, linked to the name of the main character, which, in my opinion, refers to the name of the archangel Gabriel, the "pair" of the other, Michael. As it is known, the name of the archangel Michael is directly related to the Romanian legionary movement in the inter-warperiod, a nationalistic, violent and criminal political-ideological movement that has successfully manipulated local religious and cultural elements to gain followers and become strong. Up to a point, the Romanian legionary movement stood under the sign of both archangels, synthesizing both the intellectual and the political dimensions.In time, the two directions have broken apart, and the legion has remained exclusively under the warlike sign of the warrior archangel. The Romanian intellectuals, who originally sympathized with the nationalist ideals of the legionary movement, distanced themselves from it and remained under the soteriological mark of Archangel Gabriel. This is, in my opinion, the message hidden by Eliade in this unusual short story. Also, using allegory and symbol, the Romanian author turns out to be a man of vision and prophesies the future of Romania, which has been culturally and historically marked, in time, by Germany. The present does not contradict Eliade, because Germany is the engine of the European Union, of which Romania wants to be part.

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9

Updike, John. "Archangel." Business Ethics: The Magazine of Corporate Responsibility 1, no. 6 (1987): 12. http://dx.doi.org/10.5840/bemag19871636.

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10

Eoin McNamee. "Archangel." Princeton University Library Chronicle 72, no. 1 (2010): 275. http://dx.doi.org/10.25290/prinunivlibrchro.72.1.0275.

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11

Kercheval, Jesse Lee. "Archangel." Iowa Review 37, no. 1 (April 2007): 117. http://dx.doi.org/10.17077/0021-065x.6575.

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12

Bomko, Liliia. "The image of Paradise in «The Sermon on the Annunciation to the Holy Virgin» by Ioanikii Galiatovskii." Text and Image: Essential Problems in Art History, no. 2 (2019): 44–50. http://dx.doi.org/10.17721/2519-4801.2019.2.03.

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The article attempts to analyse the image of paradise in “The Sermon on the Annunciation of the Holy Virgin" from the collection "The Key of Understanding" (1659) by Ioanikii Galiatovskii. Paradise in his sermon is depicted as a hierarchical structure of the nine Angelic Choirs: the Angels, the Archangels, the Principality, the Authority, the Mastery, the Parish, the Throne, the Cherubim, and the Seraphim. Comparing the angelic choirs of Galiatovskii and the depiction of celestial choirs in «The Mirror of Theology» (1618) by Cyryl Trankvylion Stavrovetskyi, one can see some differences, including a change in the sequence of arrangement of angelic choirs and in the semantics of names, which Galiatovskii supplements with explanations of the saints' presence on all choirs. The theme of the Annunciation that becomes the beginning of the salvation of the human soul is brought closer to the understanding of paradise. If one compares the preaching on Gospel with a painting one can easily grasp substantial differences in the interpretation. Galiatovskii does not follow the biblical story of the Annunciation, which tells how did the Archangel Gabriel appear to the Holy Virgin and inform her of the birth of Christ. Instead, he interprets this event in anagogical (spiritual sense), describing paradise and the Blessed Virgin in a similar way. Visual art closely follows the biblical text when depicting the Annunciation – the Holy Virgin and the Archangel, who holds a white lily that means god news, are surrounded by several tiny angels that are holding a white lily flower (like in the painting by the French artist Philip de Champaign "Annunciation", 1644). Interestingly, the interpretation of the Annunciation in Ioanikii Galiatovskii’s writing is close to the theme of the Assumption. One might mention the painting "Assumption of the Virgin" (1475 - 1476) by the Italian artist Francesco Botticini, who depicted the Holy Virgin standing next to the hierarchical structure of the nine Angelic Choirs.

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Korac, Vojislav. "Smisao gradjenja po uzoru - primeri u srpskoj arhitekturi XIV veka." Zbornik radova Vizantoloskog instituta, no. 41 (2004): 205–12. http://dx.doi.org/10.2298/zrvi0441205k.

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(francuski) Ce travail a pour objet les monuments du XIVe si?cle dont l'?rection s'inscrit dans un courant ind?pendant de la tendance alors dominante dans l'architecture serbe. Par construction sur un mod?le donn? on entend le ph?nom?ne enregistr? dans l'architecture serbe du XIIIe si?cle et connu sous le nom d'?cole de Rascie. Se tournant vers l'architecture byzantine la construction sacr?e a alors produit en Serbie une s?rie d'ouvrages se distinguant par leurs conceptions reprenant celles de l'architecture de la renaissance des Pal?ologue. Cette innovation ?tait une cons?quence d'un changement g?n?ral survenu dans l'orientation culturelle et politique du milieu serbe. Le XIVe si?cle voit ainsi l'?rection de deux importants monuments qui, par leurs conceptions, s'inscrivent dans la tradition de l'architecture du XIIIe si?cle, Banjska et Decani. S'agissant de l'?glise Saint-Etienne ? Banjska nous poss?dons une source ?crite rapportant qu'elle a ?t? ?rig?e sur le mod?le de Studenica. Pour sa part, outre la poursuite de la tradition de l'architecture du XIIIe si?cle, on rel?ve ? Decani une ?vidente influence de l'architecture romano-gothique inspir?e des ouvrages ?rig?s sur les contr?es serbes de la c?t? adriatique. Par ailleurs, on note aussi le caract?re particulier de la principale fondation de l'empereur Dusan, en l'occurrence son ?glise mausol?e des Saints-Archanges pr?s de Prizren. Cette ?glise a en effet eu pour mod?le direct l'?glise sud du monast?re constantinopolitain du Pantocrator, alors que son aspect ext?rieur d?note certaines solutions ? travers lesquelles se poursuit l'architecture serbe du XIIIe si?cle. En conclusion ce travail constate qu'ind?pendamment des tendances dominant dans l'architecture serbe du XIVe si?cle, la construction traduit une recherche de prestige de la part des souverains fondateurs, aspiration principalement dict?e dans ses choix par des crit?res de nature id?ologique. Ce travail fait ?tat d'un autre cas o? l'on constate la reprise d'un ancien mod?le sur une nouvelle oeuvre, reprise ayant, elle aussi, n?glig? les principes en vigueur de l'architecture contemporaine.

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Phillips, Rowan Ricardo. "The Difficult Archangel." CLR James Journal 7, no. 1 (1999): 14–19. http://dx.doi.org/10.5840/clrjames1999/2000713.

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ALSTON, EDWARD R., and JOHN A. HARVIE BROWN. "Notes from Archangel." Ibis 15, no. 1 (June 28, 2008): 54–73. http://dx.doi.org/10.1111/j.1474-919x.1873.tb05873.x.

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Miller, Timothy W., Alison D. Halpern, Frances Lucero, and Sasha H. Shaw. "Efficacy of Several Herbicides on Yellow Archangel (Lamiastrum galeobdolon)." Invasive Plant Science and Management 7, no. 2 (June 2014): 269–77. http://dx.doi.org/10.1614/ipsm-d-13-00067.1.

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AbstractYellow archangel is a twining perennial species that produces a dense evergreen canopy and may negatively affect forest floor vegetation. Because it is spreading rapidly in the Pacific Northwest (PNW), greenhouse and field trials were conducted on yellow archangel to determine its relative sensitivity to several herbicides. Products that slowed or prevented yellow archangel regrowth at 9 mo after treatment (MAT) in one or both iterations of the greenhouse trial were aminopyralid, diclobenil, glufosinate, imazapyr, isoxaben, metsulfuron, sulfometuron, triclopyr amine, and triclopyr ester + 2,4-D ester. In the field trial at 10 MAT, triclopyr and imazapyr were controlling 81 and 78% of treated yellow archangel, respectively, similar to aminopyralid, glyphosate, and metsulfuron (61 to 65%). Two applications of 20% acetic acid or 20% clove oil were controlling 53% at the same timing. At 13 MAT, only imazapyr and glyphosate were still providing good control of yellow archangel (81 and 80%, respectively), while all other products were controlling the weed at 53% or less. By 7 or 8 MAT after a second application, only imazapyr and glyphosate provided effective control of yellow archangel (86 to 94%).

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McWilliam, G. H., and John Woodhouse. "Gabriele D'Annunzio: Defiant Archangel." Modern Language Review 94, no. 2 (April 1999): 570. http://dx.doi.org/10.2307/3737198.

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Abel, Sam, Dario Fo, and Bertolt Brecht. "Archangels Don't Play Pinball." Theatre Journal 39, no. 4 (December 1987): 503. http://dx.doi.org/10.2307/3208253.

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Wilken, Robert Louis, and William R. Kenan. "With Angels and Archangels." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 10, no. 4 (November 2001): 460–74. http://dx.doi.org/10.1177/106385120101000405.

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Keanie, Andrew. "Coleridge, the Damaged Archangel." Essays in Criticism 56, no. 1 (January 1, 2006): 72–93. http://dx.doi.org/10.1093/escrit/cgh004.

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Łaptaś, Magdalena. "Byzantine influence on Nubian painting: the loroi and the gender of the Archangels." Byzantinische Zeitschrift 114, no. 1 (February 1, 2021): 239–54. http://dx.doi.org/10.1515/bz-2021-9011.

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Abstract The conversion of the Nubian Kingdoms, by the missions sent from Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia, not for the images of Nubian kings. At the end of the 10th century, the lower end of the loroi was expanded to a broader segment resembling the Byzantine thorakion, typical of female images. This could have added splendor to their garments, but could it have also highlighted the vague gender of the archangels?

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Frangulian, L. R., and A. V. Vinichenko. "Exegesis on the feast day of Archangel Michael ascribed to Macarius of Tkow (М. 592 f. 27v–37r). Translation from Coptic into Russian, comments and introduction." Orientalistica 5, no. 5 (December 25, 2022): 1223–38. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1223-1238.

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The Archangel Michael is the angel in charge of all the heavenly powers. He is mentioned by name only in the Book of Daniel (Old Testament), the Epistle of Jude (New Testament) and the Revelation written by John the Apostle (New Testament). The Archistratigus is highly revered in various Christian traditions. This article presents the first literary translation into Russian of a Coptic text known as ‘Exegesis on the feast day of Archangel Michael ascribed to Macarius of Tkow’. The Coptic text, published by G. Lafontaine with a Latin translation in 1979, was used for translation. The analysis of the ‘Exegesis’ in question is relevant from the point of view of Coptic peculiarities both in the veneration of the Archangel and in the construction of the sermon. All the more so because there is no serious reason to doubt the authenticity of the authorship. The Coptic tradition, through the translation of the ‘Exegesis’, offers opportunities for comparative studies of the image of the Archangel Michael.

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Khairedinova, Elzara. "Finger Rings with the Image of Archangel Michael of the Late 6th – 7th Centuries from Crimea." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 32–46. http://dx.doi.org/10.15688/jvolsu4.2019.6.3.

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Introduction. In the Early Middle Ages, Crimea was in the sphere of influence of the Eastern Roman Empire. In the material culture of the Early Medieval population of Crimea imprinted with archaeological monuments “Byzantine components” are quite clearly visible. The group of jewellery that clearly demonstrates the Byzantine influence includes bronze finger rings with the image of Archangel Michael originating from the GothoAlanian burial grounds of the South-Western Crimea and from the necropoleis of the Kerch Peninsula. The article substantiates the attribution and dating of the finger rings, reveals a circle of analogies, interprets the meaning of the images, and also considers the peculiarities of wearing this type of jewellery. Methods. The author determines dating of the Crimean findings by the accompanying inventory in the graves. The paper reveals a circle of analogies for the attribution of the finger rings, analyzes findings from the territory of the Eastern Roman Empire and from areas with political and economic ties. Analysis. In the late 6th – 7th centuries bronze finger rings with the image of Archangel Michael imported from Byzantium and produced in local workshops on imported samples were popular in Crimea. The signet ring of variant A of the late 6th – the first quarter of the 7th cc. with a profile portrait of the Archangel and the monogram of his name, undoubtedly, refers to Byzantine products brought from Asia Minor. The two finger rings of variant B engraved with the face and the almost full-length figure of the Archangel were made by Bosporan artisans in the 7th century on the Byzantine samples. The finger rings from Crimea depicting the Archangel belonged to young women who had a high social status. They were worn on hands, as a rule, on the right forefinger and in breast necklaces that connected fibulae. Christian symbols and plots placed on signet rings, in the view of the ancient Christians, should have given the jewellery the properties of an amulet which protected the person wearing it from all sorts of troubles. Results. The presented finger rings depicting Archangel Michael are an important source for studying the early stage of the history of Christianity in the South-Western Crimea and the Bosporus. Findings of this kind testify to the unity of culture in the Christian world and are a good example of close economic and cultural ties between the region and the Byzantine Empire in the Early Middle Ages. Key words: South-Western Crimea, Bosporus, Crimean Goths, Byzantine jewellery, finger rings, amulets, Archangel Michael.

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Bucur, Bogdan. "The Other Clement of Alexandria: Cosmic Hierarchy and Interiorized Apocalypticism." Vigiliae Christianae 60, no. 3 (2006): 251–68. http://dx.doi.org/10.1163/157007206778149510.

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AbstractClement of Alexandria's Excerpta ex Theodoto, Eclogae Propheticae, and Adumbrationes depict a cosmic hierarchy featuring, in descending order, the divine Face, the seven beings first created, the archangels, and the angels. This account is problematic in that it seems to incorporate a contradiction: one set of texts presents a fix cosmic hierarchy populated by different types having at its top the seven protoctists. A second set of texts, however, interprets this process of initiation as a continuous ascent on the cosmic ladder, marked by an ongoing cyclical transformation of humans into angels, of angels into archangels, and of archangels into protoctists.This article sets forth the principles governing Clement's hierarchical cosmos, and proposes a solution to the apparent contradiction between the two accounts. In essence, Clement of Alexandria internalizes the cosmic ladder and the associated experience of ascent and transformation, offering an early example of what scholars have termed "interiorized apocalypticism."

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Torno Ginnasi, Andrea. "Guardian of Eden, Guardian of the City: The Lost Mosaic of the Archangel Michael in Hagia Sophia of Constantinople." Eurasian Studies 19, no. 1 (December 7, 2021): 79–105. http://dx.doi.org/10.1163/24685623-12340110.

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Abstract This contribution aims to shed light on the lost mosaic of the Archangel Michael with a drawn sword once set, according to Niketas Choniates, in a πρόναος of the Hagia Sophia in Constantinople. After an overview of previous hypotheses, I will argue for a position just outside of the south-west vestibule of the church in the 10th century. Such a location and dating would be in line with the connotation of the Archangel as defender of a sacred space, perceived as a sort of Eden in Byzantine textual and visual sources. The spread of similar representations confirms the role of a reference point that the mosaic soon acquired by virtue of its position at the ceremonial entrance of the most important church of the Empire, not to mention its political importance. The ideological character of the Archangel went a step further during the last centuries of the Empire. A unique use of the First Arab Siege of Constantinople as a stage for St. Michael’s role as sword-wielding guardian in a 14th century Serbian painting is more broadly reflective of a theme throughout Byzantine artistic tradition in varied media. This representation reflected the duty of the Archangel not just as guardian of Hagia Sophia, but also of the emperor, Constantinople and the Empire in a broader sense.

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Łaptaś, Magdalena. "“Eternal Bodies”: images of archangels in the upper parts of Nubian buildings." Polish Archaeology in the Mediterranean, no. 29/2 (December 31, 2020): 713–36. http://dx.doi.org/10.31338/uw.2083-537x.pam29.2.30.

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Images of archangels and angels, which were painted on the walls, in the upper parts of the buildings and, on their structural elements, were very popular in Christian Nubian painting as attested by the discoveries from Church SWN.BV on the citadel in Old Dongola. These images, which derive from pre-Christian art, depict the eternal nature of the archangels and angels. Presenting this group of representations, the author traces the origins of these images to highlight the role of these spiritual beings as intermediaries between God and humankind. As such, they move freely between the Heavens and the Earth, so the air and cosmic space are their natural surroundings. Moreover, archangels govern the forces of nature, the planets, and the seven skies. Therefore, their sanctuaries were located on hill summits, in the upper chapels, on structural elements of ecclesiastical buildings, etc. The Nubian tradition is therefore part of a broader Mediterranean tradition, the roots of which should be sought in the Near East.

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Zykova, Т. А., S. N. Zykova, D. N. Svistunov, Ye F. Yushmanova, and L. A. Zaroslikava. "Structure of causes of death caused by diabetes mellitus in the Archangelsk region." Problems of Endocrinology 42, no. 1 (February 15, 1996): 18–19. http://dx.doi.org/10.14341/probl11914.

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The direct causes of death of diabetics in the Archangelsk district in comparison with that in Russia are analyzed. Death certificates of 1991 to 1992 in the town of Archangelsk and statistical reports for the Archangelsk district are reviewed. Mortality caused by diabetes mellitus increased by 1.7 times over the period analyzed, this being paralleled by an increase of the total mortality. The peak of deaths caused by diabetes mellitus is observed in subjects aged 65 and older both in the urban and rural population of the Archangelsk district.

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28

Willink, David. "Re St Michael the Archangel, Emley." Ecclesiastical Law Journal 23, no. 2 (April 27, 2021): 247. http://dx.doi.org/10.1017/s0956618x21000260.

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29

Dean, Ann. "George Archangel Leslie, Il Cappucino Scozzese." Innes Review 49, no. 1 (June 1998): 66–76. http://dx.doi.org/10.3366/inr.1998.49.1.66.

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30

ŁAPTAŚ, Magdalena. "A Feast of the Archangel Michael?" Eastern Christian Art 5 (December 31, 2008): 75–85. http://dx.doi.org/10.2143/eca.5.0.2036220.

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31

Peers, Glenn. "Apprehending the Archangel Michael: hagiographic methods." Byzantine and Modern Greek Studies 20, no. 1 (January 1996): 100–121. http://dx.doi.org/10.1179/byz.1996.20.1.100.

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32

Arlow, Ruth. "Re St Michael the Archangel, Warfield." Ecclesiastical Law Journal 16, no. 2 (April 15, 2014): 247–48. http://dx.doi.org/10.1017/s0956618x14000271.

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33

Irving, D. R. M. "Corelli the archangel, 300 years on." Early Music 41, no. 4 (November 1, 2013): 692–94. http://dx.doi.org/10.1093/em/cat109.

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34

Larrivée, Stéphane, and Andrée Mercier. "De la voix autoritaire à la voix autorisée." Dossier 37, no. 1 (November 24, 2011): 73–86. http://dx.doi.org/10.7202/1006463ar.

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Cet article aborde la trilogie de Marie-Claire Blais, Manuscrits de Pauline Archange, sous l’angle de l’autorité narrative, c’est-à-dire des modalités de représentation et de fonctionnement de la voix narrative ainsi que des enjeux de légitimation qu’elle engage. La notion est d’autant plus intéressante que les Manuscrits de Pauline Archange déploient un vaste réseau thématique autour de l’autorité. Une telle perspective conduit à dégager les contradictions d’un récit porté par une voix autoritaire, fragilisée toutefois par le discours et le jugement de l’autre, et à montrer, dans un deuxième temps, que les tensions qui marquent la narration trouvent leur résolution dans les romans ultérieurs, tels Le sourd dans la ville, Visions d’Anna et, plus tard encore, le cycle inauguré par Soifs. Il ressort que, de la voix autoritaire à la voix autorisée, les Manuscrits de Pauline Archange mettent en scène la difficile conquête de légitimité de l’écriture, à comprendre comme l’atteinte d’une autorité positive de la voix narrative.

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35

Kanev, Nikolay. "New Byzantine Lead Seal from the Area of the Medieval Fortress of Rusokastro (South-Eastern Bulgaria)." Античная древность и средние века 49 (2021): 135–40. http://dx.doi.org/10.15826/adsv.2021.49.009.

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This paper analyses a Byzantine lead seal discovered in 2019 and now residing in the Regional Historical Museum in Burgas (Bulgaria). According to the legend, it belonged to a Byzantine official Michael by name, who held the position of (imperial) protonotarios and judge. This seal originates from the area of the medieval fortress of Rusokastro located in south-eastern Bulgaria. The obverse depicts facing bust of St. Archangel Michael, nimbate, wearing mail armour, which is encircled with the border of dots. The image is framed with a partially preserved continuous circle. Archangel Michael holds a spear in his right hand, with its top part partially worn off by mechanical damage. To the right of the spear is well legible letter M, and to the left of the image, at the worn off flattened area of the field, there is a relatively well-preserved letter X, i. e. abbreviations of the name of St. Archangel Michael. On the reverse is an inscription in four lines reading: “+ Lord help Michael, (imperial?) protonotarios and judge.” The seal dates from the tenth to the early eleventh century.

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36

Smagina, E. B. "The heavenly feast in the medieval Coptic literature." Orientalistica 5, no. 3 (September 29, 2022): 660–75. http://dx.doi.org/10.31696/2618-7043-2022-5-3-660-675.

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The article deals with the heavenly feast. This is a narrative found at least in two Coptic encomia, viz. to the Archangel Michael and to Four Living Creatures (Revelation 4:6-8). The publication comprises a translation into Russian of a narrative from the encomium to the Archangel Michael. The episode follows the same pattern. Eachdinner companion or a group of them (who in this given instance are Biblical characters or just Saints) is questioned about the reason for being so joyful at the feast. They respond with a story about how the Archangel Michael or the Four Living Creatures (namely those honoured at the feast) helped them. As a rule they quote a passage from the Scriptures or the Biblical Apocrypha, including those which have been lost. In conclusion, the Author traces the description (called in the article as "scheme") of the heavenly feast back to those Biblical passages, which deal with the liturgical and/ or Messianic joyful feast. The Author suggests that this kind of a narrative could well be a simplified form of the Ancient Greek philosophical dialogue.

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37

Rzeczycka, Monika. "Biblical Symbols in the Works of Rudolf Steiner’s Followers: Initiation/Archangel Michael by Amalia Luna Drexler as an Example of an Anthroposophical Interpretation of the Spiritual Mission of the Slavs." Studia Religiologica 53, no. 1 (2020): 1–14. http://dx.doi.org/10.4467/20844077sr.20.001.12504.

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At the beginning of the 20th century, national mythologies inscribed in the Christian tradition were held in high regard within the milieu of Polish and Russian followers of esotericism. The international anthroposophical movement initiated by the Austrian philosopher Rudolf Steiner is a special case. Among his Russian and Polish devotees sprang the common idea of the Slavic spiritual mission in the service of Archangel Michael. The author of this article explores this idea using the example of a sculpture entitled Initiation/Archangel Michael made in 1927 by the Polish artist Amalia Luna Drexler, who belonged to the group of “first generation”anthroposophists.

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38

Pineda, David. "Ну Бог с има! – Несколько наблюдений над формами творительного падежа множественного числа в говоре д. Варзуги." Poljarnyj vestnik 5 (February 1, 2002): 20. http://dx.doi.org/10.7557/6.1397.

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This paper attempts to give an overview of the different case endings found in the Instrumental Plural in the Northern Russian dialect of Varzuga on the Kola Peninsula, and looks at the situation in the neigh- bouring Russian dialects of Carelia and the Archangel district. Along with the Literary Russian ending [m'i], Varzuga uses the endings [my] (in nouns) and [ma] (in nouns, adjectives and pronouns). While [my] dominates in noun declension, [ma] is dominant in adjectives, and in possessive and demonstrative pronouns. These facts link the Varzuga dialect to Carelia, whereas Northern Archangel dialects do not use [my] at all, and reserve [ma] for adjectival and pronominal declension only.

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39

Dianov, Grigory L., and Ulrich Hübscher. "Mammalian Base Excision Repair: the Forgotten Archangel." Nucleic Acids Research 41, no. 6 (February 12, 2013): 3483–90. http://dx.doi.org/10.1093/nar/gkt076.

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40

Seebohm, Henry. "XXVII.-Notes on the Birds of Archangel." Ibis 24, no. 3 (April 3, 2008): 371–86. http://dx.doi.org/10.1111/j.1474-919x.1882.tb07413.x.

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41

Wu, Hua, Bao-guang Liu, Gong-zheng Hu, Jian-hua Liu, Li Yuan, and Yu-shan Pan. "The complete mitochondrial genome of Archangel pigeon." Mitochondrial DNA 27, no. 2 (July 9, 2014): 865–66. http://dx.doi.org/10.3109/19401736.2014.919479.

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42

Robarge, David. "Archangel: CIA's Supersonic A-12 Reconnaissance Aircraft." Journal of Intelligence History 7, no. 2 (December 2007): 45–96. http://dx.doi.org/10.1080/16161262.2007.10555143.

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43

Walls, P. "Reconstructing the archangel: Corelli 'ad vivum pinxit'." Early Music 35, no. 4 (November 1, 2007): 525–38. http://dx.doi.org/10.1093/em/cam089.

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44

LEKKAS, E., G. DANAMOS, E. SKOURTSOS, and D. SAKELLARIOU. "The occurrence and geodynamic significance of the volcano-sedimentary Tyros-beds (base of the Gavrovo-Tripolis unit) on Rhodes island, Dodekanese, SE Aegean." Bulletin of the Geological Society of Greece 34, no. 1 (January 1, 2001): 83. http://dx.doi.org/10.12681/bgsg.16946.

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The Archangelos volcano-sedimentary formation is described here. It outcrops at the base of the alpine Archangelos unit of Rhodes island and displays sedimentary and lithological characteristics, which allow its correlation with the Upper Paleozoic - Upper Triassic Tyros-beds, known from the base Gavrovo-Tripolis unit in Peloponnesus, Kythira and Crete. Consequently Archangelos unit is correlated with the Gavrovo-Tripolis unit. Moreover it is suggested that Tyros-beds characterize the base of the external carbonate platform of Hellenides all along the southern Hellenic Arc, from Peloponnesus through Kythira and Crete to Rhodes Island.

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45

Pavlov, Kirill V. "Source-historiographical aspects of dating the first laying of the cathedrals of Archangel Michael and the Savior's Transfiguration in Nizhny Novgorod." Vestnik of Kostroma State University 28, no. 1 (April 20, 2022): 15–20. http://dx.doi.org/10.34216/1998-0817-2022-28-1-15-20.

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The article is devoted to a comprehensive analysis of historiography and sources concerning the early history of the most ancient temples of Nizhny Novgorod – the cathedrals of Archangel Michael and the Savior's Transfiguration – in order to date their first laying in the 13th – 14th centuries. The historiographical part of the research involves both regional Nizhny Novgorod and All-Russia scientific and popular science literature – a number of publications of various types written from the 1840s to the 2010s. The main objects of the source analysis are Nizhny Novgorod chronicle monuments of the 17th century – the Chronicler about Nizhny Novgorod and Nizhny Novgorod Chronicler, as well as the all–Russia chronicle vaults of the 14th – 16th centuries – Laurentian Codex, Simeonov Codex and other chronicles. The analysis of historiography and sources on the initial history of the oldest temples of Nizhny Novgorod allowed us to formulate the following main provisions. Firstly, the laying of the Savior's Transfiguration cathedral in 1225 is an indisputable historical fact. Secondly, the existence of the stone cathedral of Archangel Michael in the 13th century is extremely unlikely. However, thirdly, the laying of a wooden church in honour of Archangel Michael in Nizhny Novgorod in 1221 is quite acceptable, in our opinion.

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46

Veluwenkamp, J. W. "De Nederlandse Gereformeerde Gemeente Te Archangel in De Achttiende Eeuw." Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 73, no. 1 (1993): 31–67. http://dx.doi.org/10.1163/002820393x00021.

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AbstractThe Dutch Reformed Parish in Archangel in the Eighteenth Century The Dutch Reformed parish in the Northern Russian seaport of Archangel probably originated in the 1630s and apparently received some sort of formal and independent status in about 1660. In the eighteenth century, the parish was a small and shrinking community. In the 1730s, it had an estimated 240 Dutch members, and by the 1770s about 110. The parish virtually coincided with the Dutch merchant community of Archangel. Many of the Dutch merchants of that town lived there with their wives, children and servants. The parish council consisted of the minister and (probably three) elders and (probably three) deacons. The minister, who usually came from the Netherlands or Germany, was hired by the Directors of the Muscovy Trade (de Directeuren van de Moskovische Handel) in Amsterdam on behalf of the parish, examined and called by the Classis of Amsterdam, and paid by the parish. The church, of course, focussed primarily on the spiritual care of the parish members. But the parish council also performed communal services in a broader sense. It provided for the teaching of children and acted as orphan's court. The parish had a school-house and employed a Dutch schoolmaster.

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47

Cvetkovski, Saso. "The vision of Saint Peter of Alexandria, from the Church of St. Archangels in Prilep: Iconographical research." Zograf, no. 36 (2012): 83–88. http://dx.doi.org/10.2298/zog1236083c.

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This text is dealing with a rare thematic innovation that appeared in Byzantine wall painting of the thirteenth century. In particular, the author explores the iconography of the Vision of Saint Peter of Alexandria as found in the Church of St. Archangels in Prilep around 1270. He argues that this work manifests a key moment in the development of this composition over the course of the thirteenth century. This links the same motif found in Melnik from the beginning of the thirteenth century, and a composition from the Church of the Virgin Peribleptos in Ohrid from 1294/1295. In the end, place of the Vision in the painted program of the western part of the Church of St. Archangels in Prilep is analyzed.

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48

KATSUMATA, Toshio. "A critical view on ‘Xoanon’ from Archanes." Bulletin of the Society for Near Eastern Studies in Japan 31, no. 2 (1988): 34–54. http://dx.doi.org/10.5356/jorient.31.2_34.

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49

Sapouna-Sakellaraki, Éfi. "Archanès à l'époque mycénienne." Bulletin de correspondance hellénique 114, no. 1 (1990): 67–100. http://dx.doi.org/10.3406/bch.1990.1717.

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50

Duquette, Elizabeth. "‘The Tongue of an Archangel’: Poe, Baudelaire, Benjamin." Translation and Literature 12, no. 1 (March 2003): 18–40. http://dx.doi.org/10.3366/tal.2003.12.1.18.

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Journal articles on the topic 'Archanges'

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