St. Tikhon’s University Review . Series III: Philology

Examining various poetic works by Eustache Deschamps (D’un beau dit de ceuls qui contreuvent nouvelles bourdes et mensonges, as well as some ballads), we come to a conclusion that he was aware of ternary and binary oppostions of styles. His familiarity with a system of the first type is evidenced by the term “restrained voice” (voix moyenne) which is used in poem D’un beau dit de ceuls qui contreuvent nouvelles bourdes et mensonges. The paper shows that this term goes back to one of liturgical books, Pontifi cale romanum by Guillaume Durand. In this case Deschamps apparently mixes up diff erent notions and applies the term used in this books to the gradation of types of declamation and styles developed in the Middle Ages within one of rhetorical traditions. In the second half of the 14th century the term the term “restrained voice” begins to be associated with the neutral style and didactic content. In other cases, Deschamps’s conception of the neutral style goes back to those medieval versions of rhetoric (artes dictaminis, artes praedicandi) where style was dependent on the situation in which communication takes place, namely the social status of speakers and their education level. Deschamps suggests that one should address people of the middle class in a “mixed manner” (maniere entremelee). This term implies the combination of higher and lower elocutionary means and topoï. Apart from the ternary gradations of style, poetic works by Deschamps refl ect the binary opposition of the high and the low styles, traditional for the literature of the 13th and the first half of the 14th century.

binary and ternary oppositions of styles, medieval poetics in its connection to classical traditions, vox media, vox mediocris in Pontificale romanum by Guillaume Durand and Deschamps’s voix moyenne, neutral style, declamation and style, loudness o

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Evdokimova Liudmila

The article presents a review of the Sicilian written inheritance of the XIV–XV сс. It was that period when a great deal of ancient Sicilian texts appeared, just before the spread and maintenance of Tuscan in Italy and Sicily. It was time of trying to form literary styles in prose, to generalize several dialects and to lay the foundation on which, for certain reasons, no unified literary language would be created. The XIV и XV centuries were also the beginning of translation and lexicographic tradition, the documents of the period showed a great variety of genres, instability of the written language. There have been analyzed about 30 big and medium texts in prose, 154 small practical texts and 25 poetical texts which can serve for studying of the Sicilian language history and literature. All texts are being classified according to their genre and linguistic characteristics. For analysis the critical editions published by the Centre for Sicilian philological and linguistic studies were used. Most of the original texts were written for practical purposes while the majority of the translated texts (from Latin, Tuscan, Aramaic, French) belong to the religious literature. The translation favored much the elaboration of the literary style, many authors tried to generalize some written models and create a sort of the literary koine. One of the most particular characteristics of the period is the continuous contact between two or more languages (Sicilian included) and therefore, bi- or threelinguism of the text’s authors. As a result of the interference and the linguistic competence of the author there were produced many hybrid forms in the written language. Thus, the Latin infl uence in many documents can be noticed in graphics, in numerous calques of syntactic constructions, lexical borrowings, insertions of Latin words and expressions in the Sicilian text. The Tuscan elements are felt in phonetics and vocabulary. As far as defining of dialect types is concerned, the problem doesn’t seem easy to resolve. In some cases the dialect is obvious as it is mentioned in the title of the text. Messinese is one of the most important dialects of the ancient literary tradition because of the special position which took Messina being a sort of a cultural bridge between Italy and Sicily and a place of strait contacts between Tuscan and Sicilian.

Volgare, Latin, Sicilian, Tuscan, literary written tradition, translations, translation techniques, interference, dialects, dialectal, linguistic competence, theological tractates, ancient Sicilian texts in prose, instability, variability

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9. Rapisarda S. (ed.) Il «Caternu» dell’abbate Angelo Senisio: l’amministrazione del Monastero di San Martino delle Il «Thesaurus pauperum» in volgare siciliano, Palermo, 2001.
11. Palumbo P. (ed.) La versione di alcuni capitoli del TRESOR di Brunetto Latini in un manoscritto siciliano, Palermo, 1989.
16. Marzo di G. Di un Codice in volgare della Storia di Troia di anonimo siciliano del secolo XIV esistente nella Comunale di Palermo: saggio di illustrazione, Palermo, 1863.
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21. Branciforti F. (ed.) Regole, Costituzioni, Confessionali e Rituali, Palermo, 1953.

Desiatova Mariia

This article presents the Summary List of the saints’ ethnonymic cognomens based on the complete Orthodox Synaxarium (edited by hieromonk Macarius of Simonopetra in French and translated into Russian in 2011) and earlier Byzantine and Slavonic Synaxaria. On the whole the List contains 69 commemorations with such cognomens, including 20 ethnic names. The most frequent ethnic group noted in the List is Persian saints (17 commemorations), followed by the Georgian (10), Syrian (6), Bulgarian (6), Egyptian (5), Goth (4), Russian (4), Greek (3), and Arab (3); the other 11 ethnonyms and detoponymic or deethnonymic adjectives (Albanian, Aleutian, Ethiopian, Galatian, Hungarian, Isaurian, Samaritan, Serbian, Thracian, Vlach, Yakut) occur in one commemoration each. The number of ethnonyms in the saints’ cognomens increases in the Menologia of the Post-Byzantine epoch, especially in the early modern period when the ethnicity begins to acquire forms similar to the contemporary ones, and when European nations emerge. Thus, in the Menaion Reader by St. Dimitry of Rostov and in the New Synaxarium by Venerable Nicodemus the Hagiorite, ethnonymic cognomens were added to the saints that had been mentioned without them in earlier sources. The latter two sources also include new saints whose descent is specifically noted in their full nomination.

proper names, onomastics, ethnonyms, inhabitants names, Orthodox Church, hagiography, Synaxarium, ethnicity, Greek language, Church-Slavonic language, Russian language

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Grishchenko Aleksandr

The article deals with J. von Eichendorff’s concept of art and its difference from the views of Jena romantics. Special attention is given to the transformation of the religious world view peculiar to the Jena period, where the divine was typically understood as immanent. As Jena romantics discovered J. Boehme, they adopted his monistic approach, understanding the entire world as a manifestation of the Absolute. Art was therefore conceived as the appearance of the spiritual, i.e. of the divine. Thus the hero of L. Tiecks novellas «Der getreue Eckart und Der Tannenhäuser» (1799) and «Runenberg» (1804), even losing himself in the phantastic, always remains faithful to his artistic calling. Still seeing the world as a «hieroglyph», a symbol of the invisible, Eichendorff does not share these metaphysic ideas. His works represent another vision of the world, diff erentiating between transcendent God and immanent spiritual reality. The article suggests that this new notion of the spiritual is one of the reasons causing the emerging distinction between art and religion. Eichendorff’s early novel «Ahnung und Gegenwart» (1815) as well as his novellas «Die Zauberei im Herbste» (1808/1809) and «Das Marmorbild» (1818) are read in this context, showing a transformation of the romantic thought: for Eichendorff, too, poetry grants access to the spiritual world, making the artist sensible to the hidden beauty of nature. Transformed through poetic vision, nature indicates the existence of the transcendent, and may thus lead to God; but it also may fascinate the artist, captivating him in the realm of immanent. «Die Zauberei im Herbste» depicts an artist who is separated from the transcendent by «earthly images» («der Erde Bilder»); «Das Marmorbild» threats the danger of deifying spiritualized nature. A comparison with A. von Arnim’s novel «Armut, Reichtum, Schuld und Buße der Gräfi n Dolores» (1810), which had a strong influence on Eichendorff, further demonstrates the originality of the latter’s notion of art.

Romanticism, art, transcendent, God, Eichendorff, Boehme, Novalis, Tieck, Arnim.

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Cherepanov Daniil