Academic literature on the topic 'Quotations, Serbian'

This article deals with the orchestral opus of Petar Bergamo, a Croat composer whose most productive period was linked to Beograd, Serbia where he lived and worked at the time. In four works: First Symphony overture-phantasy Navigare necesse est, Musica Concertante and Second Symphony, all conceived in just four consecutive years (1960 - 1963), the matter being treated through author?s technical tools includes authentic materials, autoquotations, quasiquotations, quotations, and the ?fund? mode (fundus). Fragments of musical history embedded in the newly established structure, void of tonal components and orchestrated in great detail to achieve the coloration which may prevail the actual form, introduced to Serbian practice a new respect for the old. Since it was new, Bergamo?s contribution could not have been determined at that time in all of its significance. Laying his agenda on the dead-end street of what was considered modern art, Bergamo earned an attribute of post, regarding his respect for the past. The reception of Bergamo?s opus is viewed here through various articles and critiques from the time of its inception as well as thirty years later. From the viewpoint of the 1990s it appears that his language or at least some of its elements had become the impetus for one particular stream of local compositional teaching. As such, this strengthens his position as a fundamental innovator, and labels him as the one who imposed the post in modern Serbian music.

The interest in the Collection of Hagiographies of Serbian Kings and Archbishops by Archbishop Danilo II (1324-1337) increased sharply in the 18th century, when it began to be used as a historical source, as well. Thus, at the beginning of the 18th century, it was used for the first time by Count Djordje Brankovic in the Slavo-Serbian Chronicles, while the first attempts to print it appeared in the second half of that century. The initiator was Timotej Jovanovic, prohegumen of the Chilandar Monastery, and it was a part of his ambitious plan to publish the old liturgical texts of Serbian saints, primarily of Chilandar founders. In 1780, he and his monk brother, hieromonk Teodosije, copied and edited Danilo?s Collection according to an older manuscript from 1553. Their copy (the Library of the Serbian Patriarchate, MS 45) is formed as a ?spiegel?, i.e. a prepared version for a printed book. In relation to the earlier copies of the Collection, the composition and content of the text were considerably changed. It was undoubtedly expected that the printed version of the book would be available to the diverse readership, who needed the text to be closer to them considering its language, style, and even its changed content. The printing of Danilo?s Collection was delayed due to the financial troubles in Chilandar and the death of Timotej Jovanovic in March 1781. The prepared manuscript was therefore handed over to Aleksa Kojic, a merchant from Osijek, so that he could try to find money for its publication. It is not known how hard Kojic worked on that. In the meantime, the History of Jovan Rajic was published (1794), in which there were many quotations from Danilo?s Collection that aroused great interest among the European scolars of that time and actualized the need to publish the integral work of Archbishop Danilo. Metropolitan Stefan Stratimirovic (1790-1836), a lover of philology and history, took on the publication of Danilo?s Collection, but when he received the manuscript of Timotej and Teodosije from Kojic in 1803 and compared it with an older copy, he found that it deviated much from the original. Therefore, he asked for a copy from 1553 to be sent to him from Chilandar, which the Chilandarians promised him as early as the beginning of 1804. That year, however, the Serbian uprising began, which completely occupied Metropolitan Stratimirovic, and put his literary and historical preoccu?pations on the back burner.

St. Simeon – the eternal ruler of the SerbsThe article discusses the development of the cult of St. Simeon (Stefan Nemanja, ca. 1113–1199) in the thirteenth century as a core of the ruler’s ideology and a mirror of the political changes in Serbia. The main task is to discover when, how and why the founder of the Nemanidi dynasty became the first and eternal ruler of the Serbs, analyzing the choice of the biblical motifs and quotations in the introductions and in a number of other selected places in the main ideological texts of the period: two Hilandar Monastery charters, one written from the Grand Zhupan Stefan Nemanja himself in 1198, the other – written in 1207/8 by his son, Stefan the First-Crowned as well as three Vitae of St. Simeon, written by his sons St. Sava and St. Stefan and by the Hilandar’s hegumenos Domentian. The study applies the approach of biblical thematic clues, proposed by Ricardo Picchio, hitherto unused for these sources, and takes into consideration also some results obtained through the investigation of early Slavic Orthodox texts from the point of view of the same concept.One conclusion which was arrived at is that the same tradition of biblical exegesis con­cerning the concepts of the Unfailing Mercy and Continuity of the Apostleship and the motifs of Conversion/New Nations and the Blessed Generation of the Upright, is consistently used in Serbian text for the same purpose – the affirmation of one’s own saints and, through their cults, confirmation of own “institutions of salvation” (ruling dynasty, church organization, liturgical language) as proceeding directly from God. In the three Vitae of St. Simeon different inherited models and patterns are adopted, corresponding to different versions of Ideal Ruler and of legitimization in changing political circumstances in Serbia and in European South-East in the thirteenth century. The last version, long lasting in Serbian political ideology, can be found in Domentian’s Vita (1265), commissioned by the grandson of St. Simeon, Urosh I (1243–1276) to re-confirm the legitimacy of his reign and the independence of the Serbian state after the reconquest of Constantinople in 1261. In this Vita, St. Simeon is presented as the First and Eternal Ruler of the Serbs through development of apostolic connotations in his cult, based on the concept of Unfailing Mercy, with an addition of the motifs of the Conversion/New Nations and the Blessed Generation of the Upright. As a result, St. Simeon becomes the True Baptizer of the Serbs and the First Subject of the Covenant made between God and Serbs ensuring their Salvation through the Christian Rule. Św. Symeon – wieczny władca SerbówTematem artykułu jest rozwój kultu św. Symeona w XIII wieku jako jądra ideologii władzy i lustra przemian politycznych w Serbii. Głównym zadaniem jest odpowiedź na pytanie, kiedy, jak i dlaczego założyciel dynastii Nemanjiciów stał się pierwszym i wiecznym władcą Serbów. Analizie poddane zostały wybrane motywy i cytaty biblijne, zawarte we wstępach do głównych tekstów ideologicznych pochodzących z omawianego okresu – Karty Chilandarskie opubliko­wane przez wielkiego żupana Stefana Nemanję (św. Symeona) w 1198 roku i jego syna Stefana Pierwszego Koronowanego w 1207/1208, a także trzy Żywoty św. Symeona napisane przez jego synów: Sawę i Stefana oraz chilandarskiego mnicha Domentiana. W artykule zastosowano nieużywane dotąd w badaniu takich źródeł podejście zaproponowane przez Ricardo Picchio, a także uwzględniono wyniki badań nad wczesnymi tekstami pochodzącymi z obszaru Slavia Orthodoxa, a prezentującymi podobny punkt widzenia.Z przeprowadzonej analizy wynika, że serbskie teksty mówiące o Nieustającym Miłosier­dziu, Continuum Apostolstwa, a także Konwersji/Nowym Narodzie i Błogosławionym rodzie sprawiedliwych odwołują się do tej samej tradycji biblijnej egzegezy i stosują ją w podobnym celu, a mianowicie afirmacji własnych świętych i legitymizacji – za pomocą ich kultu – wła­snych „instytucji zbawczych” (rządzącej dynastii, organizacji kościelnej, języka liturgii) jako danych bezpośrednio od Boga. W trzech żywotach św. Symeona zaadaptowano trzy różne modele i wzory korespondujące z różnymi modelami Idealnego Władcy i strategiami legity­mizacji w zmieniających się okolicznościach politycznych w XIII wieku w Serbii oraz Europie południowo-wschodniej. Ostatni wariant, żywotny w serbskiej ideologii politycznej, można odnaleźć w żywocie napisanym przez Dometiana (1265), a zamówionym przez wnuka św. Symeona, Uroša I (1243–1276), w celu ponownego potwierdzenia zasadności jego panowania oraz niezależności państwa serbskiego po podboju Konstantynopola w 1261 roku. Św. Symeon został w nim zaprezentowany jako Pierwszy i Wieczny Władca Serbów dzięki rozwinięciu konotacji apostolskich w jego kulcie, opartym na koncepcji Nieustającego Miłosierdzia. Dodano tu także motywy Konwersji/Nowego Narodu i Błogosławionego Rodzaju Sprawie­dliwych. W rezultacie św. Symeon staje się Prawdziwym Chrzcicielem Serbów i Pierwszym Wykonawcą Przymierza ustanowionego między Bogiem a Serbami dla ich zbawienia przez regułę chrześcijańską.

The theme of this article is the ancient Orient as imagined by the Serbian composer Rudolf Bruci (1917-2002). The finale of his monumental opera Gilgamesh (1986; libretto by Arsa Milosevic), makes display of heterogeneous musical material based on different oriental scales. The modernity of the opera is affirmed through the usage of varied techniques of 20th century composition. It is hard to explain why Bruci introduced the well-known medieval church melody "Ninja sili nebesniye" ("Now the celestial powers") into the finale of his opera. The melody was signed by kir Stephan the Serb and has been preserved in a 15th century manuscript. The quotation of "Ninja sili" in the finale of Gilgamesh could be interpreted as an attempt at bridging the many centuries that divide the ancient times that gave birth to the Assyrian myth and our contemporary world, by making reference to the heritage of medieval Serbia when that state was a part of the Byzantine world stretching from the middle East to the Balkans. That compositional gesture of Rudolf Bruci seems to have the meaning of questioning the historical and cultural place and identity of the Serbs through the centuries. If that is correctly interpreted, the composer thus gave his own contribution to the often discussed question of the Serbian belonging to both the East and the West. The "two Orients" in the title of the article are an allusion to the pagan and the Christian Orients, but they can also provoke a discussion of the contemporary divisions between the East and the West.

Observations on the theological terminology in the biblical quotations in John the Exarch’s translation of De Fide OrthodoxaThe paper presented here aims at comparing the theological terms as used, on the one hand, in the biblical quotations in John the Exarch’s translation of De fide orthodoxa and, on the other, in the Old Bulgarian (Grigirovich Prophetologion, Codex Marianus, Codex Zographiensis, Sinai Psalter, Enina Apostolos) as well as in some Middle Bulgarian (Bologna Psalter, Karpinski Apostolos, Ohridski Apostolos) Old Russian (Mstislav Gospels, Yurievski Gospels, Pogodinov Psalter, Chudov Psalter, Tolstoev Apostolos, Hristinopol Apostolos) and Old Serbia (Shishatovatski Apostolos, Matich Apostolos) monuments. Also taken in consideration are the respective parts in certain theological writings associated with the Preslav Literary Centre. Uwagi o terminologii teologicznej w cytatach z Biblii w przekładzie De Fide Orthodoxa Jana EgzarchyCelem artykułu jest porównanie terminologii teologicznej w cytatach biblijnych w przekładzie De fide othodoxa Jana Egzarchy, w starobułgarskich zabytkach językowych (Lekcjonarz Grigorowizca, Kodeks Mariański, Kodeks Zografski, Psałterz Synajski, Apostoł Eniński), w wybranych zabytkach średniobułgarskich (Psałterz Boloński, Apostoł Karpinski, Apostoł Ohrydzki), staroruskich (Ewangeliarz Mścisława, Ewangeliarz Jurjewski, Psałterz Pogodina, Psałterz Chłudowa, Apostoł Tołstoja, Apostoł Krystynopolski) i staroserbskich (Apostoł Sziszatowacki, Apostoł Maticia). Analizie poddano także poszczególne części wybranych pism teologicznych powstałych w presławskiej szkole piśmienniczej.

The work of Pseudo-Methodius, whose creation (in the original Syrian version) dates back to ca. 690, enjoyed considerable popularity in Medieval Slavic literatures. It was translated into Church Slavic thrice. In all likelihood, these translations arose independently of each other in Bulgaria, based on the Greek translation, the so-called ‘first Byzantine redaction’ (from the beginning of the 8th century). From Bulgaria, the Slavic version of the Apocalypse of Pseudo-Methodius spread to other Slavic lands – Serbia and Rus’. In the latter, the work of Pseudo-Methodius must have been known already at the beginning of the 12th century, given that quotations from it appear in the Russian Primary Chronicle (from the second decade of the 12th century). In the 15th century, an original, expanded with inserts taken from other works, Slavic version also came into being, known as the ‘interpolated redaction’. All of the Slavic translations display clear marks of the events that preceded them and the circumstances of the period in which they arose. Above all, the Saracens – present in the original version of the prophecy – were replaced by other nations: in the Novgorod First Chronicle we find the Mongols/Tatars (who conquered Rus’ in the first half of the 13th century).

In her discussion of Melanholični snovi grofa Save Vladislavića (The Melancholy Dreams of Count Sava Vladislavić), an opera by Serbian composer Svetislav Božić, the author begins by discussing the composer's operatic allusion to anamorphosis, an architecture and painting technique, in both of its application modes (the perspectival and the catoptric). The trans-media and temporal conversion of this visual tool into the aspect of staged drama is notable in the theatrical procedure of reflective doublings of roles/ characters and production of visual syntactic parallelisms, which deepen semantic relations between otherwise unrelated personages and events from various but important layers of Serbian cultural and intellectual history (Nemanjić, Nikola Tesla, Count Sava Vladislavić). The logic of unclose similarity and borderline contact relates anamorphosis to a special way of ordering the imagery of dreams, whereby the symbolic interiority of a hidden image, the mysterious pattern of sense, may be penetrated only by finding the correct viewing angle. In its longing for the obscure, anamorphosic focalization counts on the ex-centred spectator's capacity to approximate the remote and relate the unrelated. In that sense, shaping the Count's great dreaming by means of a polyphony of oneiric subjects and states and a heteroglossia of remote contexts and other people's stories and lyrical contemplations suggests Sumatraism as a chronotope, as the idea that there is universal connectedness and harmony in the world. The idea of Sumatraist connections informs both the understanding of the opera libretto's inter-textuality (along the lines of the quotation-collage form of the cento, the literary genre) and the arc of association that the composer draws in harmonic-motivic terms as well, in order to produce a special nexus of music-dramatic narration and presentation. In that Sumatraist inter-textual nexus, other people's stories and lyrical contemplations, qua manifestations of a collective consciousness, are deepened by means of a collectively unconscious (archetypal) perspective of a mythical, allegorical, and phantasmagorical dance-pantomime procession, as yet another oneiric form, whose typical Dionysian sequence, intoxicatio-phalophoria-sparagmos, affirms not only the theatrical model of anamorphosic doubling and Sumatraist connections, but also a unique theme in this operatic narrative - transcending sacrifice, tribulation, and death in a foreign land by means of the regenerative power of collective (historical and cultural) memory.

Based on the fact that journal ENGRAMI is indexed in Serbian citation index SCIndeks, which provides journal a check of the manuscript, we are informed that based on subsequent, retroactive manuscript checking on the presence of plagiarism by means of CrossRef/iThenticate service, a violation of academic ethical principles was found. The paper entitled: State of the art and new frontiers in sleep research: New qualitative and quantitative approaches by authors Ilanković N. and Ilanko vić A. (https://scindeks.ceon.rs/article. aspx?artid=0351-26650202062I) which is published in the journal ENGRAMI (2002): 24(2) (pp. 62-73) presents the (auto)plagiate (extensive Editorial board use of the text published in the previous papers without quoting the original) of the articles: Ilanković N, Draganić S and Ilanko vić A. EEG and the sleep disorders. in: Ilanković N, Ilanković V. i Jašović-Gašić M. (eds). Bolesti spavanja dijagnostika i lečenje (Cibif, 1995): 79-96. Ilanković N and Ilanković AN. EEG and the Sleep Disorders: a new quantitative approach. In: Brain and Consciousness. Proceedings of the First Annual ECPD International Workshop on Scientific Bases of Consciousness. (Belgrade, 1997, Čigoja štampa), pp. 117-128. Moreover, paper "State of the art and new frontiers in sleep research: New qualitative and quantitative approaches" published in Engrami, 2002 was almost identical with the later publication: Ilanković N, Ilanković A, Ilanković V. New Hypothesis and Theory about Functions of Sleep and Dreams. Macedonian Journal of Medical Sciences. 2014 Mar 15; 7(1):78-82. The authors approached inadequately the quotation and citation of sources and thus acted contrary to the ethical code of scientific research, grossly violating the editorial policy of the journal ENGRAMI and Committee for Ethics of Publication principles. Bearing in mind a violation of ethical principles relating to a multiple submissions from 1995 to 2014, the editorial board of the journal EN GRAMI made a retraction of the paper.

In “‘The Most Obscure and Most Angelic of All the English Lyrical Poets,’” my essay for The Reception of William Blake in Europe, I dealt with the works of one contemporary artist from Croatia—​Zdenka Pozaić—​and two from Serbia—​Simonida Rajčević and Aleksandra M. Jovanić—​who were influenced by Blake. Pozaić (b. 1940) is a graphic artist who in 2003 created The Crystal Cabinet, an artist’s book based on a Croatian translation of Blake’s poem of the same name. Rajčević (b. 1974) is an artist specializing in drawings who in 2010 used two works by Blake—​“The Ancient of Daysˮ and Nebuchadnezzar—​as part of an atmospheric installation titled Tamna zvezda (Dark Star), which also included quotations from Blake and other artists. Finally, Jovanić (b. 1976), a digital artist, in 2011 created an internet-based form centered upon a Serbian translation of “A Poison Tree.ˮ Each project, although different, reflected Blake’s practice of combining text and image. While my previous essay describes the works, relates their characteristics, and explains which of Blake’s works these artists were influenced by, this article approaches the subject from another perspective; it tries to answer how the artists first perceived Blake, how each of them understood him, and in what way the figure of Blake guided them.

“Per me reges regnant...” (Prov. 8:15): Wisdom in the First Vita of St. Simeon of SerbiaThis article aims to trace the interpretation of the theme of Wisdom in the Vita of St. Simeon by St. Sava, and its connections with other biblical themes and motifs, with references to various literary sources, models, and patterns employed by the earliest Slavic literary tradition. By analyzing the biblical quotations in the text, the study tries to show why Wisdom occupies such an important place in the first Vita of St. Simeon and what this reveals about the message of the text in its historical and cultural context. “Per me reges regnant...” (Prz 8, 15). Temat Mądrości w pierwszym Żywocie św. Symeona SerbskiegoArtykuł ma na celu prześledzenie interpretacji tematu Mądrości w Żywocie św. Symeona autorstwa św. Sawy, jego powiązań z innymi biblijnymi tematami i motywami, z odniesieniem do różnych źródeł literackich, modeli i wzorów wykorzystywanych przez najwcześniejszą słowiańską tradycję piśmienniczą. Analiza cytatów biblijnych w tekście służy odpowiedzi na pytanie, dlaczego temat Mądrości zajmuje tak ważne miejsce w pierwszym Żywocie św. Symeona i jak ten fakt nawiązuje do przesłania tekstu w jego kontekście historycznym i kulturowym.

The section presents an analysis of the newly found Church Slavonic versions of the so-called Prayer of St. Gregory. The prayer was translated from Latin and its complete text was preserved in six manuscripts in Russia and Serbia. The oldest part of the prayer – precisely the last third of the prayer – was written in the manuscript of Dimitri’s Psalter, which was discovered in 1975 in the monastery of St. Catherine on Mount Sinai. The analysis confirms that all the versions were derived from the same archetype whilst the two basic branches of the textual tradition split no later than in the 11th century. According to the presented research, West Slavonic origin of the translation is still the most probable; a short quotation of the prayer documented in Prayer to the Holy Trinity (another Church Slavonic paraliturgical text of Czech origin) serves as the evidence that the observed literary monument was well known and used in Bohemia in the 11th century.