Saint George

The cult of St George in the Eastern Mediterranean is one of the most extraordinary
examples of cohabitation among different religious communities. For a long time, Greek Orthodox,
Latins, and Muslims shared shrines dedicated to the Cappadocian warrior in very different places.
This phenomenon touches on two aspects of the cult—the intercultural and the transcultural—that
should be considered separately. My paper mainly focuses on the cross‐cultural value of the cult
and the iconography of St George in continental and insular Greece during the Latinokratia (13th–
14th centuries). In this area, we face the same phenomenon with similar contradictions to those
found in Turkey or Palestine, where George was shared by different communities, but could also
serve to strengthen the identity of a particular ethnic group. Venetians, Franks, Genoese, Catalans,
and Greeks (Ῥωμαῖοι) sought the protection of St George, and in this process, they tried to
physically or figuratively appropriate his image. However, in order to gain a better understanding
of the peculiar situation in Frankish‐Palaiologian Greece, it is necessary first to analyze the use of
images of St George by the Palaiologian dynasty (1261–1453). Later, we will consider this in relation
to the cult and the depiction of the saint on a series of artworks and monuments in Frankish and
Catalan Greece. The latter enables us to more precisely interrogate the significance of the former
cult of St George in the Crown of Aragon and assess the consequences of the rulership of Greece for
the flourishing of his iconography in Late Gothic art.

The thesis deals with a little known, albeit particular and unique Central European object group from the fifteenth-century. A great number of wood saddles covered with bone panels survived from the first part of the fifteenth century and are dispersed in museums all over the world. Despite their particularity, these special parade objects have not gained enough attention in scholarship which can be explained by the main issue related to them: the lack of written sources. Therefore we cannot assert when and where exactly they were made, or their original purpose.
The aim of the thesis is to examine a recent idea connected to the purpose of the saddles, namely that they were used during marriage processions. In order to find an answer to this question, in my thesis I examine the topic from different angles: their decoration and their possible cultural context. Accordingly, my thesis is divided into four main chapters. In the first chapter, I give an overview of the most important issues about the object group. In the second chapter, I reveal the dominating iconography, which is connected to love. The third chapter examines the inscriptions which usually have some love content and the initials which may refer to concrete couples. Finally, I place these special objects in their probable cultural context: in late medieval marriage rituals.

This is the first instalment of a study of the oldest attestation of the miracle of St George, the princess and the dragon, in the 11th-c. Old Georgian manuscript Jer Geo 2, and the ecclesiastical, courtly and vernacular sources which contributed to the representations of the principal figures. This paper includes the earliest Old Georgian text of the miracle of the princess and the dragon, as well as that of the demon, which follows it.

Estudio de la evolución heráldica de las armas del rey y del reino de Aragon (las llamadas "barras de Aragón") y de sus repercusiones histórico-sociales. Se estudian también los otros elementos que hoy componen el escudo de Aragón (la encina de Sobrarbe, la cruz de Íñigo Arista y la cruz de Alcoraz), así como la integración del emblema colectivo de la Corona de Aragón en el escudo nacional de España.

Comunicação apresentada na VI Semana de Estudos Medievais do Programa de Estudos Medievais da Universidade Federal do Rio de Janeiro (PEM-UFRJ), realizado entre os dias 25 e 27 de outubro de 2005, cujas comunicações foram lançadas impressas e online em 2006.

The church of St. George the Victorious in Mlado Nagorichane was built in the second half of the 16th century, and the wall painting, which had long been covered by limestone coatings, was created toward the end of the same century. It has long been noted by the scholars that the dedication, but also the architectural conception of the church, represents a kind of imitation of the church of St. George in Staro Nagorichane. With the removal of the limestone coatings, it was concluded that the painting program was created under the influence of the church in Staro Nagorichane, which is indicated by the numerous conceptual-thematic relations and similarities. Among the rich thematic units and cycles represented in the two churches in Nagorichane, is the hagiographic cycle of the patron, Saint George. The hagiographic cycle of the Cappadocian Great Martyr from the church in Mlado Nagoricane is visualized in the second zone under the Christological cycles, and above the representations of saints from the first zone. According to the preserved scenes, but also according to the fragments of several compositions, the cycle in the church in Mlado Nagorichane probably was consisted of eighteen scenes.
The first three scenes in Mlado Nagorichane, St. George before Emperor Diocletian, The Piercing of St. George with spears and The Martyrdom of St. George in prison with the stone, depicted on the south wall, are not divided by a borderline but are merged into one story. The fourth scene on the south wall depicts one of the most often illustrated tortures of St. George on the Wheel. The scene is followed by the composition in which St. George is brought again before the Emperor Diocletian, and in continuation is The Murder of the Christians, which are less frequently represented in the painted cycles of the saint. The following scene is also one of the most frequently included legends of The Martyrdom of St. George in the lime pit. The next scene on the south wall is The Poisoning of St. George in the presence of the Emperor. The next scene, although very damaged, but in comparison with the one from Staro Nagorichane, actually depicts The Torture of St. George by nailing his feet. The last scene on the south wall is St. George beaten with ox sinews. On the west wall are depicted The Resurrection of the Dead and The Scraping of St. George. On the north wall, the scenes are damaged almost to the level of the inscriptions. However, some of them can be identified by certain preserved elements, especially compared to the scenes in Staro Nagorichane. Perhaps the following scenes were depicted: The Resurrection of the Ox, Destruction of the Idols, St. George slaying the dragon, Diocletian condemns to death St. George and Alexandra, the Beheading of St. George, The Burial of St. George and The Death of Other Christians with St. George.
The selection and the iconography of the scenes in Mlado Nagorichane are to a large extent influenced by the hagiographic cycle in King Milutin's church. However, they are not just a simple copy or imitation, while the inspiration for different schemes can be found in The Painter's Manual of Dionysius of Fourna and in some of the given examples, but they are also due to the capability and the creativity of the painters.

Our Lady Goddess & The Femicide of the Heroes is a time travel illuminating our society. The tale is told by an old man of average culture, exclaiming in surprise at each step, and laughing, or getting angry, like a child.

The back cover announces « A vast “deconstruction” of archaeological beliefs along Ariadne's Thread: from Malta’s Neolithic temples to Bronze Age and classical Greece. An essay & a travel log & an educative, smiling, off-road pamphlet. Small doses every evening can help solve old problems.»

The newsboy makes a long story short:
«Archaeological find unveils origin of machismo, gang-rape and femicide!»
He is right, but there is much more to it, and he did not read the 13 bonus tracks, nor answered the quiz.

After a distribution ad personam that caused great pain or exultation in many fields, we publish here, as an exclusivity for Academia.edu, this full, uncensored version of Our Lady Goddess & The Femicide of the Heroes. We advise the reader to download it before it is too late. Sooner or later, some greedy publisher will ask the author to remove it from Academia.edu where it is available in three languages, for free. The author will bow down because he, too, loves money.

Öz Halk inançları arasında yerini alan Hızır, özellikle yolcuların nazarında oldukça itibarlı bir yere sahiptir. Onun yolculuğa çıkanları koruyacağına dair büyük bir inanç söz konusudur. Bu inancın da etkisiyle olsa gerek, Anadolu'nun muhtelif pek çok yerinde Hızır-İlyas ismini taşıyan zaviyeler inşa edilmiştir. Bu itibarla, çalışmada öncelikle Selçuklu ve Osmanlı dönemlerinde herhangi bir tarikata mensup dervişlerin birlikte yaşamak ve kendi dinî görüşlerini yaymak maksadıyla inşa ettikleri, aynı zamanda buradan gelip geçen yolcuların rahat ve güvenli yolculuk yapmalarını sağlamayı amaçlayan Hızır-İlyas isimli zaviyeler üzerinde durulmuştur. Yine burada zaviyelerin kurulduğu yerlerdeki Hızır-İlyas makamları, Hızır-İlyas isimli mahalle, köy, cami ve mescidlerden de bahsedilmiştir. Makalenin ilerleyen sayfalarında ise tespit edilen bu zaviyelerden hareketle, Türklerin Anadolu'ya geldikleri sırada, Anadolu'da karşılaştıkları yerel kültlerin Hızır-İlyas inancı üzerindeki rolü tartışılmıştır. Ayrıca tespit edilen zaviyelerde yaşayan dervişlerin bağlı oldukları tarikatların bu kültün Türk inançları arasına girmesindeki etkisi de makalenin konuları arasındadır. Bu bağlamda Kalenderî, Haydarî, Vefaî, Babaî ve Bektaşî dervişlerinin rolü üzerinde durulmuştur. Diğer taraftan Hızır-İlyas inancının Anadolu'daki gayrimüslimler üzerindeki etkisi de arşiv belgeleri, seyyahların gözlemleri ve modern çalışmalar ışığında değerlendirilmiştir. Abstract Al-Khidr, which took place among folk beliefs, has a reputable position, espacially among passengers. There is a strong belief that he will protect those whoare on the journey. Probably because of this belief a lot of zawiyas had been established in the name of Khidr-Ilyas. In this respect our study primarily focuses on zawiyas built by Saldjukian and Ottoman derwishes to live together while spreading the irreligious view sand also serve passengers as a comfortable and safe place while they are on the road. Here; Khidr-Ilyas maqaams, Khidr-Ilyas named neighborhoods, villages, mosques and masjidsare also mentioned. Based on the listed zawiyas, further pages of the paper discusses the role of local cults on the Khidr-Ilyas beliefs at the time of Turks' arrival to Anatolia. In addition to affects of the tariqats of the derwishes whom areliving in the mentioned zawiyas, toinfil tration of Khidr-Ilyas beliefs among Turks is also a subtopic of the article. At this context, roles of Qalandariyya, Haidariyya, Babaiyya and Bektashi derwishes are argued. On the other hand, the influence of Khidr-Ilyas beliefs above the non-muslim habitants of Anatolia is also evaluated under the light of state papers, travel boks and modern researches.

Pour aborder la question de l'historicité de saint Georges, il faut impérativement remonter aux plus anciennes sources le concernant. Quelles sont-elles et que relatentelles ? Le problème majeur, disons-le d'emblée, c'est que le plus ancien texte sur Georges -une Passion composée en grec vers les années 400 -s'apparente à un véritable « tissu d'inepties », digne « des contes des Mille et une nuits » 2 , pour citer Hippolyte Delehaye, l'un des meilleurs spécialistes du dossier. Cette légende initiale nous est parvenue par un fragment écrit sur un palimpseste du v e siècle, conservé à Vienne, et par des traductions latines ultérieures.

LOCATION DU DRAPEAU DE GÊNES PAR LA PERFIDE ALBION OU BUFFALA À L'ITALIENNE. "Your Majesty, I regret to inform you that from my books it looks like you didn't pay for the last 247 years". Dioclétien devait élever au rang d'officier un jeune homme provenant de Cappadoce. Militaire grec servant dans l'armée romaine comme son père avant lui, Georges, élevé dans la ville de Lydda en Judée, était chrétien.

Realizzazione editoriale e informatica a cura di ARUN MALTESE ([email protected]) Grafica della copertina a cura di PAOLO FERRERO ([email protected]) È vietata la riproduzione, anche parziale, non autorizzata, con qualsiasi mezzo effettuata, compresa la fotocopia, anche a uso interno e didattico. L'illecito sarà penalmente perseguibile a norma dell'art. 171 della Legge n. 633 del 22.04.41 ISBN 978-88-6274-745-5 Volume pubblicato con un contributo del Dipartimento di Studi Umanistici dell'Università degli Studi di Torino. FRANCESCO MOSETTI CASARETTO Medioevo letterario e possesso di Dio p. IX MICHAEL RYZHIK Il favore di Dio: un confronto semantico tra la terminologia ebraica, latina e italiana 1 PETER STOTZ «Vestigia Trinitatis» -der dreieinige Gott in der Lebenswelt. Zu einer Konstante mittelalterlichen Denkens 11 FRANCESCO MOSETTI CASARETTO Si Deus pro nobis, quis contra nos? 41 EDOARDO D'ANGELO La battaglia del Campo del Sangue (1119): «Dieu non volt?» 95 CLARA FOSSATI Il favore di Dio nel «De victoria» di Ursone da Sestri 111 VERONICA ORAZI Provvidenzialismo e strategia politica nella storiografia catalana medievale 125 ATTILIO GRISAFI Il favore di Dio nell'«Historia Baetica» e nel «Fernandus servatus» di Carlo e Marcellino Verardi 153 STEFANO PITTALUGA Predestinazione e libero arbitrio nel «Mathematicus» di Bernardo Silvestre 173 MARIA ADELE CIPOLLA La benedizione del re nelle fonti continentali e islandesi sul «Sakralkönigtum» 193 INDICE VI RITA CAPRINI Odino sul campo di battaglia 217 TOMMASO BRACCINI L'imperatore e il drago: una leggenda di Trebisonda 225 ALESSANDRA BARTOLOMEI ROMAGNOLI «Quae stulta sunt mundi elegit Deus, ut confundat sapientes»: profezia ed elezione nella letteratura medievale 251 GIOACHINO CHIARINI Il favore di Dio, di Gesù e della Madonna in santa Caterina 281 CARLO DONÀ L'angelo e l'eremita: o il lato oscuro del favore divino 295 SILVIA ARGURIO Volontà divina e libero arbitrio nella retorica del mondo capovolto 313 FRANCESCA ROBUSTO La prospettiva di Dio nell'epistolario di Abelardo ed Eloisa 335 WALTER MELIGA Amore e «favore di Dio» nei trovatori 381 JEFF RIDER e BRÎNDUŞA GRIGORIU «Dix… les amans ainme»: The Incarnation of Love in France 1150-1250 399 ALESSIO MONCIATTI La luce nell'arte dei secoli XII-XIV. Fra simbolo e strumento figurativo 437 GIANFELICE PERON La volontà e la promessa degli dèi: dall'«Eneide» al «Roman d'Eneas» 473 ENRICO ARTIFONI Dal Dio del linguaggio al Dio dei buoni costumi. Ausilio divino e gruppi intellettuali nella cultura retorica e didattica del Duecento italiano 511 Indice VII DONATO PIROVANO «Questa è una maraviglia; che benedetto sia lo Segnore, che sì mirabilemente sa operare!». Dio, Beatrice, una vita nuova 529 LUDOVICA RADIF A Dio o a Lorenzo? Pluto, Iustitia, metafore d'elezione 549 Indice 1 Cfr. Macrides 1979. 2 Cfr. Bryer 1980, n. V, p. 121.

The paper presents an icon from Slavonia (Croatia) dating from the first half of the 18 th century and featuring the most popular miracle of Saint George-the slaying of the dragon and saving the princess. 1 The icon is interesting in several aspects considering its iconography, stylistic characteristics and possible origins of the painter. Starting with the latter, the analysis of the painter's style suggests that he could have been a close disciple or an associate of the famous Hristofor Žefarović who migrated to the Metropolitanate of Karlovci from Macedonia in the 1730s. His distinct figurative style belonged to the so called zograf painting in Serbian 18 th century art, standing at the touching point of the post-Byzantine tradition and European baroque and forming a specific format of popular art. The icon in case also provides evidence for the migratory reaches of painters from the south of the Balkans in the early and mid-18 th century and their influence on the creation of a specific brand of popular visual culture in the Orthodox communities in Slavonia and Croatia. The subject depicting the triumphal figure of the Saint on horseback defeating the beast was well established in Byzantine and post-Byzantine tradition, but in later centuries it was treated with increasing decorativeness and imaginative details characteristic of popular imagination. The status of Saint George as a hero, protector, miracle worker and a martyr was reinforced among the Balkan Orthodox during the Turkish reign and transferred to the Metropolitanate of Karlovci in the 18 th century.

Toplum karakteristiklerini, toplumların bakış açılarını yansıtan ve büyük ölçüde bir toplumu diğerinden ayıran bir yapı taşı olarak bilinen kültür kavramı, aynı dili konuşan, aynı dine inanan ve aynı yakın coğrafyada yaşayan topluluklarda bile belirgin değişiklikler göstermektedir. Dünyada, baharın başladığı gün olarak anılan ve nesilden nesile günümüze aktarılan bir kültür miras geleneği olan hıdrellez, farklı halk kültürleri tarafından, farklı inanışlar çerçevesinde kutlanmaktadır. Bu çalışmada, dünyada farklı ülkelerdeki hıdrellez algılanışına ışık tutulmuş, özellikle Balkan-Avrupa-Ortadoğu ülkelerindeki hıdrellez ritüelleri, karşılaştırmalı olarak incelenmiştir.

On 13 December 1408, Sigismund and Queen Barbara, as well as the league of the loyal barons of the realm, founded the Order of the Dragon (Societas Draconistarum), its patron saints were St. George and St. Margaret of Antioch. Although there seems to be a European tendency behind the election of patrons of the order, according to the sources, the choice of patron saints by the ruler proved to be a conscious decision in all respects. Behind this awareness his years as a duke, and – especially – his time at the princely residence in Tangermünde were to be found. The purpose of this study is to examine the episodes of the Sigismund's youthful years, which had a huge effect on the foundation of the Order of the Dragon.

The article continues the authors’ study series of a group of long-edged weapons from the collection of the State Hermitage museum, which decorative schemes include Christian images.
The article deals with a saber ornamented with an image of St. George. The saber entered the Imperial Hermitage museum in 1885-1886 as a part of the Arse-nal of Tsarskoye Selo collection. The saber used to belong to the Grand Duke Mi-khail Pavlovitch, who bought it in the city of Brailov (the nowaday Brail city in Romania) during the Russo-Turkish war of 1828-1829.
The saber blade was made of high quality crucible steel and represents the type of Ottoman kilij, dating back to the middle of the 18th century. This dating is supported by the ornamentation of the blade. The further analysis of the saber brought the authors to the conclusion that some of its elements, inscriptions and figures were made in different periods of time and, probably, in different regions.
On the one side of the blade an Arabic inscription “There is no hero like Ali. There is no sword like Zhu-l-Fakar” was inlayed. The technique the inscription was worked in differs from the decorations of the opposite side of the blade that testifies these decorative schemes to have been made in various time spans.
The manner the image of “St George the dragonslayer” was executed in and the latinized variant of the inscription also point that these elements were add-ed later on demand of a new owner of the saber. The scene of St. George’s slaying the dragon, most probably, was inspired not only by the Christian church tradition of this Saint veneration, but the folk ballads, legends and fairy tales about George the hero, which were very popular on the Balkans, especially in Romania.
All these data and the provenance of the saber from the Romania fortress of Brailov suggest this very region to be the place where the image of St. George was made in.

Shakespeare was born on (or near) Saint George's Day in 1564 according to the then current Julian Calendar. By the same token this date falls on May the sixth this year. Let us examine such an oddity among others that result from the difference of more than ten days that separates the same date according to the Julian and Gregorian calendars. I apolgize for an error or oversight that I am unable to rectify until I have the technical means to edit this document. Rommel committed suicide on the 14th of October 1944.

This essay is focused on the analysis of the Catalan artistic patronage in the Eastern Mediterranean during the 14th century. The expansion of the Kingdom of Aragon in Greece –Duchess of Athens and Neopatras- and the developing of its commercial trade in Levant were accompanied by an extraordinary interest of the House of Barcelona in becoming the protectors of the pilgrimage to the Holy Sites and appropriating of prestigious relics (Saint George) and symbolic monuments (Acropolis of Athens). The architecture (Hagios Giorgios Katholikos, Hagios Ioannis Theologos), painting (Hagios Nikolaos Mavrika) and urban plan of the city of Paliochora (Aigina) are an outstanding example of the cultural fusion between Greek and Latin population under the Catalan rule of the family of the count Alfons Frederic. This particular context allows us a better understanding of other Catalan artistic commissions in the Eastern Mediterranean as the celebrated panel of Saint Catherine offered in 1387 by the Catalan consul in Damascus to the St. Catherine’s monastery in the Sinai.

k u l t u r a Po zmajevih sledeh: ribniško pripovedno izročilo o zmajih Narava je mogočna prasila, ki ji ljudje kljubujemo, a se nam vedno znova upira z naravnimi nesrečami. Takšni so zakoni narave. Naši prednamci so pojasnila za to našli v duhovni kulturi. Bitja narave so urejala vsakdan.

In Western tradition, St. George is known as the dragon slayer. In the Middle East, he is called Khidr (“Green One”), and in addition to being a dragon slayer, he is also somehow the prophet Elijah. In this book, Robert D. Miller II untangles these complicated connections and reveals how, especially in his Middle Eastern guise, St. George is a reincarnation of the Canaanite storm god Baal, another “Green One” who in Ugaritic texts slays dragons.

This article examines visits to local pilgrimage sites in Hatay, Turkey for the purpose of understanding forms of saint veneration in a context of interreligious culture. Visits to pilgrimage sites are shared by different religions and they extend and challenge the margins of religious traditions held by site visitors or administrators. Therefore, it is important to study the dynamics of interreligious exchange and encounter from the local perspective of religious practitioners. The aim of this article is to study these visits as an exchange of indexes of agency, which means that the visits to these sites can transform the way that visitors interact. These exchanges of indexes of agencies are analyzed in terms of seduction, the act of being led astray. This will create a better understanding for why members of differing religious traditions are drawn to visit these sites. In order to address the practitioner’s experience of the interaction with the saint, the term indexicality is employed to emphasize the unique spatial and temporal dimensions of these visits. In conjunction, the concepts of seduction and indexicality are utilized to explicate the dynamics in the transformation of agency established by ritual acts. Analyzing these dynamics as a ‘ritual transformation of agency’ further helps to facilitate conceptualizing of the impact that ritual acts of worship have on visitors’ experiences of these sites. A cross-examination of saints such Hızır and Mar Corcus will be conducted to explain the seductive nature of ritual saint veneration for practitioners at local pilgrimage sites. It will also indicate the ritual transformation of agency that occurs within and between religious groups to contextualize the culture of interreligious coexistence in Hatay.

Dentro de la literatura bizantina tanto la himnografía como la hagiografía encuentran una posición de cierta relevancia, que se ve subrayada por el hecho de la interrelación existente entre ambos géneros. Por un lado, el himno en su forma definida, conocido con el término de «kontákion», puede considerarse uno de los centros de la poesía religiosa griega cristiana. Por otro, el culto a los santos se sitúa como el foco de la religión popular del Imperio. El periodo de máximo apogeo de los poemas hímnicos coincide con la cronología del autor más reconocido en caso de los kontákia: Romano Melodo, quien cuenta en su haber con un amplio número poemas dedicados a celebrar la memoria de santos, muchos de ellos mártires.
Teniendo como objeto de investigación precisamente la interrelación ya mencionada, se estudiarán aquellos himnos en honor de santos militares pertenecientes al corpus atribuido a Romano Melodo. Dichos himnos serán cotejados con los distintos textos de los respectivos dossieres hagiográficos que pudieron haber servido al poeta como relato inspirador, a fin de rastrear la fuente principal que hubo de motivar la composición de los variados pasajes hímnicos.
Los resultados esperables de este estudio son dos. El primero ofrece la posibilidad de reflexión sobre la estructura narratológica de las diferentes leyendas y su grado de integración en el género hímnico con respecto de las fuentes hagiográficas. El segundo atiende a la detección del tipo de relato preferido a la hora de la composición de kontákia, teniendo en cuenta la tipología de episodio predilecto en estos poemas, así como la técnica compositiva seguida en cada himno.

XIX Jornadas de Bizancio, Universidad Complutense de Madrid, 24-27 de enero de 2022

This work aims to study the origins of St. George’s feast on
November 10 and peculiarity of its celebration in Georgia.
It is known that St. George occupies a special place in the
Georgian Christian culture and generally, in the consciousness of the
Georgian people. The feast day of November 10 or «the torture on
the wheel», as it turns out, is one of the interesting manifestations
of it in such canonical branch of Georgian ecclesiastical writing as
the liturgy.
Based on the study of the 5th-10th-century Georgian liturgical
collections, the paper proves that the origin and ground for marking
the feast of St. George’s torture on the wheel is the day of De4dicate
(Renovation) of St. George’s church which must have been established
in the 4th century within Palestinian-Jerusalem Christian bosom. The
work confi rms Acad. K. Kekelidze’s viewpoint regarding this feast.
Besides St. George’s feasts (Giorgoba) on April 23, 3 and 10
November, the work also attests other commemorations of St. George
the most part of which has been preserved in «Ioane-Zosime’s
Calendar». The mentioned «Calendar» keeps the data interesting in
many ways, which represent rare sources for studying the ancient
Palestinian liturgical traditions. One of them refers to the fast
dedicated to St. George. The mentioned fast is of particular interest,
as it concerns not St. George’s feast on April 23, but the feast on
November 10. The fast indicated in the «Calendar» is of Palestinian
origin, as well as St. George’s feast on November 10.
The paper considers and evaluates St. G. Peradze’s opinion in
connection with the feast on November 10.
On the basis of study the liturgical collections («Great Synaxarion»
and «Menology») under St. George the Athonite’s redaction the novelty relating to this Holy Father to mark St. George’s feast on
November 10 in Georgian church is shown.
The paper studies those monuments of Georgian hagiography,
which deal with the mentioned feast day of St. George. Based on
the study of «The Life of St. Gregory Khandzteli» from liturgical
viewpoint it is shown that there existed the special fast dedicated
to St. George’s feast on November 10 at the Khandzta monastery.
The research has shown that this fast mentioned in «The Life of
St. Gregory Khandzteli» and St. George’s fast mentioned in»Ioane
\ Zosime’s Calendar» are different, but dedicated to the same fast.
The paper deals with one of the hymnographic Canons included
in November «Menology» under George the Athonite’s redaction
which is termed as «Georgian» by him. On the basis of the study
of this hymn content it can be presumed that its author must be a
Byzantine hymnographer who lived and labored in the 7th century.
Based on the study of Old Georgian liturgical, hagiographic,
homiletic and apocryphal sources it is shown that the feast day of St.
George on November 10 came to Georgia from Palestine and unlike
other Orthodox churches, it is commemorated unchanged from the
day of its entry. The role of St. George the Athonite, the legislator
of the Georgian church, in the establishment of this feast day is of
great importance. Thanks to him it becomes known today, what the
situation was like in connection with the mentioned commemoration
in the Greek church in the second quarter of the 11th century. It also
belongs to him the new, liturgical name of the feast of St. George on
November 10, which closely linked this date with the saint’s torture
and showed it in a new way in the Georgian liturgical tradition.

Relationships between St. George’s abbey and the Court express the term “bipolar” very well. First relationship was created in the time of a foundation, i. e. in the second half of the 10th century. The foundation was controlled by the politics of the Bohemian prince (Boleslav I). and his son (Boleslav II.). The first abbess, the Přemyslid Mlada (Marie), daughter of Boleslav I., played an important role and formed positions of St. George’s abbesses during whole Middle Ages. Other important factor was the St. George’s abbey position in the heart of the Prague Castle, the centre of Bohemian Princedom and Kingdom. At least, it is necessary to have in mind a primary function of this monastery as an early burial ground of Pře¬myslid house. The author studies various types of historical documents and defines three main of them. First, necrological notices in some manuscripts of St. George’s library contain in some cases Přemyslid names, also names of persons with con-nections to the monastery or abbesses. Second, the collection of St. George’s abbey manuscripts reflects fashionable and modem impacts of Bohemian court very often (for example the so called Passionale of the Abbess Cunigunde from the 20'h of 14. C.) Third, a collection of St. George’s abbey charters emphasizes the sovereign and self-confident situation of the presented Monastery. At the end, the author presents some examples of the St. George’s abbey treasure (for example a pre-gothic frontispiece, a bust of St. Ludmila from the 14th C. etc.) The St. George’s abbey figured as the advanced cultural institution with many links and reflects to the Court of Bohemian Princedom and Kingdom.

Los textos hagiográficos son uno de los máximos representantes de la literatura en Bizancio. A pesar de que aportan la mayoría de la información acerca de la tradición y del culto a los diferentes santos de la Iglesia, no deben caer en el olvido otras tipologías textuales mediante las cuales no puede sino enriquecerse el estudio sobre la figura de un santo concreto, como es el caso de la himnografía. Así, en este trabajo se presenta un breve análisis comparativo entre el primer himno a san Jorge atribuido al himnógrafo Romano Melodo y sus posibles fuentes literarias, y se pone de manifiesto el procedimiento de acomodación del elemento hagiográfico a la tradición hímnica cristiana primitiva.

The cult of Saint George is a global phenomenon, and
not only Mediterranean. His figure and motifs flowed from East
to West and vice-versa in a double-way journey. In this process,
especially after the First Crusade, his image embodied new contents
and features, which made him the patron saint of the Crusaders,
the ideal of knighthood as well as a symbol to strengthen cultural
or national identities in struggle. To his extent, the study of the use
and function of his iconography in the second half of the 14th century
is particularly appealing, from Greece during the Latinokratia
to some Western kingdoms, such as Aragon, England and Portugal.

This book came after informing sources and books were published in Arabic and foreign languages pertinent to history, and biography of saint George for exhibiting academic and reporting survey concerning saint George biography, and certificating this biography through several manuscripts in different languages.

Among the broad religious spectrum of the Levant, the figure of Saint George/Al-Khader stands out. As the patron saint of Palestine, Saint George is one of the most popular saints among Palestinian Christians. Traditionally, the popular Saint George veneration has been associated with phenomena such as Canaanite rituals, shared shrines, blood sacrifices, and rural culture. This centuries-old practice survived and is still widely alive among local Palestinian Christians. Based on a critical study of textual sources and twelve months of ethnographic fieldwork in the West Bank, this article provides an ethnographic-theological account on the Palestinian Saint George veneration, focusing on the controversial political uses and the spiritual meaning of this figure in the Palestinian context. I argue that this popular faith expression has transformed from a cult focused on human flourishing to a platform for grassroots theological ideas, mainly concerning themes like martyrdom, liberation, and belonging to the land.

Notu .ti Daníele Jeragzolr. Nell'uhimo quano di secolo è radicaÌ' mente mutato l'approccio storiografico generate a1 probÌcma delle cor te e della civiÌtà rinascimentrli. Decisive innovazioni metodoÌogiche e "rorioer, 'h"prore:qnr'.L'roprio'lu rr ' ,rrrr.arepod,gli .ruJi ,,,r',ir,e l',.-".,p"ro.oe "" in naner,^ . n,nre la n"lcpL cità dclle cutuLe unianistico-rinascincntali nel loro divenire, nei loro intichi e in quelf impalpabile humus chc demolisce le visioni tolaliz zJnri ee"b-itolre.hed-'.Lrlrza rIde a"-... eJel e 'p"crrlizza-ionr.l .era-"r,. L"...t -citr,,, Jel e corrr" d,i .ent nre'r g.r iJi-\enra pe.in lrc.li-.ir. c.rropnor, reJ punrr d vi'ranon" r"'o'" r,, L un-no,i"n" 're,: Ji qarro con,.,ne-o.ia.,i.o. i ao,e d.za intellenuale e tcndcnza progettual.: uDd coe.ente <multimedialità> che si costruisce nel1'ecosistemr de11aÉJrr, corne è stato a lungo soao L. corte di Ferrxrx è per eccc enza luogo di sperimentazione c di invcnzione del reatro del lùnascimento. lppure la civiltà dello spettacolo estcnse è fenomcno fino a oggi solo parzialmente studiato, rnche sc abbonclantenente citato. A scoiiere la storia degli srudi dalla fine dell'Otrocento si scopre che i titoli utili sono mcno di una ventina concentrati nelìa "'"ggio. pane a crvallo dei due sccoli e accentrati sulla dilatazione di eventi macroscopici, {ino a omologarli come immagine rotaiizzantc (ma in verità ormai srereotipata e obsoleta) dello "specifi coo tearrale ferrareser le rappresentazioni pÌautine, la drammaturgia arro"rc., r, lc p,'.o-,1.. po,^.lro. Rccenren enr" ': Irra'a e R a'' ne ro ,on" ipp,,'' nrr","s: .o rnou.i.r ro 'u ol" I pi' e.e'e l'anpio saggio iubblicato ncÌ n. 16 di "Teatro e Storia", 1994, a firma testimonia l'apiLodo degÌi srud; sullo speaacolo ferrarese sJdando ri -erche socclli.he e risiorc eloL.ie Jel re"rro n,l Rin-..ine " I i-jaer e dr q"r;io co"rolc .ullo 'perr".o o .4. ro 'cll .ra di Frco le I origùata da unà tesi di laurea discussa al DAMS di Bolognaha non rantò il prcsio di riscoprire e studiare una pagina poco nota del t.ut.o .rt""'è rÌl'interno di probrbile catesoria di <sacra rappresentezione>, ma pone in evidenza la <stranczza> comples siva della iorte e <lella cultura fernresi proprio anraverso la pluralità "'learro e Sroria" -^nnlliI X111996)

The Church of the East in fifteenth-century Iraq may appear to modern scholars as a community without a past.  No textual narrative of East Syrian history has survived from the fifteenth century, or for several centuries thereafter.  New hagiographical poems were composed in the fifteenth century, but the saints whom they commemorated were without exception pre-Islamic.  Even the succession of catholicos-patriarchs of the East only re-emerges into historians’ awareness after 1477, following almost a century of obscurity.  Fifteenth-century East Syrian sources show no interest in their recent communal past, or in reconstructing the order of events in their older history. 
Yet the Church of the East thought of itself as a community with a past.  Although the long “Poem on the Economy of God from ‘In the Beginning’ until Eternity” by the fifteenth-century priest Isḥāq Šbadnāyā is primarily a synthesis of theology and exegesis, it also provides a tightly sequenced and dated discussion of the foundation of the Church by Jesus and the apostles, as well as unordered appeals to previous authors (late antique and medieval) as authorities in exegetical and doctrinal discussions.  Šbadnāyā and his contemporary Īšōʿyahb bar Mqaddam, the Metropolitan of Erbil, also composed liturgical poetry for various occasions.  These texts show that, in contrast to modern Western views of history, the fifteenth-century Church of the East regarded its recent past as less important than its ancient past.

San Jorge es uno de los retratos de mayor relevancia en el campo de los santos denominados militares. Además, cuenta con una larga tradición detrás que converge en una importante pervivencia que se puede rastrear a lo largo de los siglos en Oriente y Occidente. Su figura ha sido muy estudiada, pero no por ello carece de interés la revisión de aquellos textos que, aun gozando de un carácter distinto al de las hagiografías, aportan datos a su figura y culto.
Este el caso de la himnografía griega, que constituye uno de los máximos representantes de la literatura en Bizancio junto con los textos hagiográficos, a partir de los cuales se toman los diferentes elementos que sirven de base temática y narratológica para conformar las piezas hímnicas, que resultaban muy del gusto popular y que hallaban su justificación en la celebración de la liturgia del día correspondiente.
En la presente comunicación se tomará como referencia el primero de los himnos dedicados a san Jorge, atribuido a la figura del poeta bizantino Romano Melodo, para así poder ejemplificar poniendo de manifiesto los procedimientos de acomodación del elemento hagiográfico a la tradición hímnica, ya existente desde etapa temprana en Bizancio.
Comunicación en las XV Jornadas sobre Grecia: La religiosidad popular en el mundo griego: de la Antigüedad a la Grecia contemporánea (C.E.B.N.Ch.). Granada, 2 de diciembre de 2020.