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The study shows the reception of the views of Pseudo-Dionysius Areopagite by Gregory Palamas. The author presents the doctrinal context of Palamas' dispute with Barlaam from Calabria on the possibility of knowing God, the most important issue in 14th-century Byzantium. The author distances herself from many previous interpretations of this problem. She proves that, considering how much Palamas succumbed or did not succumb to the Areopagite or “corrected” his position, he has a very weak doctrinal basis. The author notices that over-emphasizing Dionysius' dependence on the Neoplatonic tradition does not lead to a solution to the problem. Palamas' teachings are placed in the context of the traditions of the Christian East and their relation to the thoughts of the Areopagite himself.

This volume critically investigates how art historians writing about Central and Eastern Europe in the late nineteenth and early twentieth centuries engaged with periodization. At the heart of much of their writing lay the ideological project of nation-building. Hence discourses around periodization – such as the mythicizing of certain periods, the invention of historical continuity and the assertion of national specificity – contributed strongly to identity construction. Central to the book’s approach is a transnational exploration of how the art histories of the region not only interacted with established Western periodizations but also resonated and ‘entangled’ with each other. In their efforts to develop more sympathetic frameworks that refined, ignored or hybridized Western models, they sought to overcome the centre–periphery paradigm which equated distance from the centre with temporal belatedness and artistic backwardness. The book thus demonstrates that the concept of periodization is far from neutral or strictly descriptive, and that its use in art history needs to be reconsidered. Bringing together a broad range of scholars from different European institutions, the volume offers a unique new perspective on Central and Eastern European art historiography. It will be of interest to scholars working in art history, historiography and European studies.

Among our most cherished modern assumptions is our distance from the material world we claim to love or, alternately, to dominate and own. As both devotional tool and art object, the Byzantine icon is rendered complicit in this distancing. According to well-established theological and scholarly explanations, the icon is a window onto the divine: it focuses and directs our minds to a higher understanding of God and saints. Despite their material richness, icons are understood to efface their own materiality, thereby enabling us to do the same. That the privileged relation of image to God is based on its capacity for material self-effacement is the basis for all theology of the icon and all art-historical description. It gets more complicated than this definition, to be sure, but the icon is positioned in this way in most straightforward accounts, whether devotional or scholarly. My position is to undermine the transcendentalizing determination of modern theology and aesthetics, and to lean very heavily on the materiality of these things to the point of allowing them, to the degree I can, a voice and life of their own.

The open access publication of this book has been published with the support of the Swiss National Science Foundation. From pilgrimage sites in the far west of Europe to the Persian court; from mystic visions to a gruesome contemporary “dance”; from a mundane poem on wine to staggering religious art: thus far in space and time extends the world of the Armenians. A glimpse of the vast and still largely unexplored threads that connect it to the wider world is offered by the papers assembled here in homage to one of the most versatile contemporary armenologists, Theo Maarten van Lint. This collection offers original insights through a multifaceted lens, showing how much Armenology can offer to Art History, History, Linguistics, Philology, Literature, and Religious Studies. Scholars will find new inspirations and connections, while the general reader will open a window to a world that is just as wide as it is often unseen.

This book offers new insights into a largely understudied group of Greek texts preserved in selected manuscripts from the Library at Wellcome Collection, London. The content of these manuscripts ranges from medicine, including theories on diagnosis and treatment of disease, to astronomy, philosophy, and poetry. With texts dating from the ancient era to the Byzantine and Ottoman worlds, each manuscript provides its own unique story, opening a window onto different social and cultural milieus. All chapters are illustrated with black and white and colour figures, highlighting some of the most significant codices in the collection.

This work offers a detailed analysis of the Slavic translation of a sixth-century Greek liturgical poem that is representative of the poetic genius of the best of the Byzantine melodes. The immediate goal has been to discover to what degree the poetic elements of the original text were reproduced in the translation. The analysis illuminates the question of the quality of the Slavic translations of Byzantine liturgical hymns.

Il volume raccoglie gli studi presentati in occasione della XII Giornata di studi bizantini dedicata al Fortleben di Bisanzio nell’arte, nella letteratura e nelle istituzioni, in un intreccio di prospettive interdisciplinari che, attraverso la mise au point di problemi specifici, testimonia la documentata vitalità della tradizione bizantina nella cultura moderna, valorizzando anche il ruolo che l’Università degli studi di Milano ha avuto nella bizantinistica in tale ambito di ricerche. A questo hanno contribuito pure i molteplici interessi di Gianfranco Fiaccadori, al quale il volume è dedicato: per oltre un decennio ha profuso nell’Ateneo milanese entusiasmo e competenze, stimolando gli studi dei giovani e avviando ricerche tuttora in atto. Il ricordo vuole essere il segno di gratitudine per un evento voluto e organizzato con il consueto rigore, del quale purtroppo Gianfranco non ha potuto vedere concretamente i frutti.