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https://hdl.handle.net/1959.11/18487| Title: | Kassia la melode e il suo uso delle Scritture | English Title: | Kassia the Melodist and her use of Scripture | Contributor(s): | Silvas, Anna M (editor) |
Publication Date: | 2015 | Handle Link: | https://hdl.handle.net/1959.11/18487 | Publication Type: | Book Chapter | Source of Publication: | Fra Oriente e Occidente: donne e Bibbia nell'alto Medioevo (Secoli VI-XI) greci, latini, ebrei, arabi, p. 53-68 | Publisher: | Il Pozzo di Giacobbe | Place of Publication: | Trapani, Italy | ISBN: | 9788861245747 | Fields of Research (FoR) 2008: | 220401 Christian Studies (incl. Biblical Studies and Church History) 200205 Culture, Gender, Sexuality 200305 Latin and Classical Greek Languages |
Fields of Research (FoR) 2020: | 500401 Christian studies 440504 Gender relations 470316 Latin and classical Greek languages |
Socio-Economic Objective (SEO) 2008: | 950404 Religion and Society 950504 Understanding Europe's Past 950203 Languages and Literature |
Socio-Economic Objective (SEO) 2020: | 130501 Religion and society 130704 Understanding Europe’s past 130203 Literature |
HERDC Category Description: | B1 Chapter in a Scholarly Book | Series Name: | La Bibbia e le Donne | Series Number : | 290 | English Abstract: | This essay is a study of Kassia, a well educated woman of the aristocracy in 9th century Constantinople, spirited in character, in girlhood an iconophile disciple of Theodore the Studite, later a nun and the foundress and superior of a woman's monastery in close relation to the Studite monks. She was the outstanding female poet and composer of music in the Middle Byzantine period. Of the hundreds of hymnographers in the Eastern Church, only four women are positively identified: Theodosia, Thekla, Kassia and Palaiologina. Of these, Kassia is only one who has had some of her compositions admitted into the liturgical books: She is that unique. After some sketch of her background and historical context, this essay focuses on her use of the Scriptures. She operates entirely in the ancient ecclesial, patristic modality. In the Liturgy all the narratives, prophecies, symbols, commandments, parallels and antitheses of scripture are sung - and theologised in the singing. Usually too they have a highly dramatic and dialogical approach. The singers and hearers are drawn into an intimate engagement with the episode of Scripture being rendered into liturgical song. Several examples from her liturgical poetry are translated from the Greek and examined, especially her hymn for the forefeast of Theophany at Vespers, her Troparion to St Barbara, and her most famous work, the Troparion for Orthros in Wednesday of Holy Week, 'O Lord, she who had fallen into many sins'. | Editor: | Editor(s): Franca Ela Consolino, Judith Herrin |
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| Appears in Collections: | Book Chapter School of Humanities, Arts and Social Sciences |
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