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ROMANOS MELODOS: ESSAY ON THE POETICS OF HIS KONTAKION "RESURRECTION OF CHRIST” (MAAS-TRYPANIS 24) / PART II

ROMANOS MELODOS: ESSAY ON THE POETICS OF HIS KONTAKION "RESURRECTION OF CHRIST” (MAAS-TRYPANIS... J. H. BARKHUIZEN/PRETORIA A. The Prooimion III. PartTwo: Commentary Within a narratological framework what is of importance concerning the prooimion is its functional aspect. Maas remarks that the prooimion "den Gegenstand kurz andeutet und den Refrain bekannt gab".41 D lger adds another functional aspect: the prooimion "(umschreibt) den Festgedanken".42 Topping remarks that it contains the purpose of the kontakion, sets the stage, introduces the characters and the refrain43, and, commenting on Romanos' "Song for Simeon", states that the prooimion outlines the plot of that particular kontakion.44 However, in his book on Romanos45, Grosdidier de Matons argues contrary to such a function. According to him the themes developed in the oikoi are too varied and complex to be referred to in advance in the few cola of the prooimion. With this I am in agreement, but his Statement "la destination primitive du prooimion nous parait devoir se deduire la fois du fait que son seule element commun avec le rest de l'hymne est le refrain"46 is too restricted to be valid in the case of the hymns of Romanos. As indicated at the beginning, these various functional aspects mentioned above can be more conveniently reduced to two basic functions: http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Byzantinische Zeitschrift de Gruyter

ROMANOS MELODOS: ESSAY ON THE POETICS OF HIS KONTAKION "RESURRECTION OF CHRIST” (MAAS-TRYPANIS 24) / PART II

Byzantinische Zeitschrift , Volume 79 (2) – Jan 1, 1986

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Publisher
de Gruyter
Copyright
Copyright © 2009 Walter de Gruyter
ISSN
0007-7704
eISSN
1864-449X
DOI
10.1515/byzs.1986.79.2.268
Publisher site
See Article on Publisher Site

Abstract

J. H. BARKHUIZEN/PRETORIA A. The Prooimion III. PartTwo: Commentary Within a narratological framework what is of importance concerning the prooimion is its functional aspect. Maas remarks that the prooimion "den Gegenstand kurz andeutet und den Refrain bekannt gab".41 D lger adds another functional aspect: the prooimion "(umschreibt) den Festgedanken".42 Topping remarks that it contains the purpose of the kontakion, sets the stage, introduces the characters and the refrain43, and, commenting on Romanos' "Song for Simeon", states that the prooimion outlines the plot of that particular kontakion.44 However, in his book on Romanos45, Grosdidier de Matons argues contrary to such a function. According to him the themes developed in the oikoi are too varied and complex to be referred to in advance in the few cola of the prooimion. With this I am in agreement, but his Statement "la destination primitive du prooimion nous parait devoir se deduire la fois du fait que son seule element commun avec le rest de l'hymne est le refrain"46 is too restricted to be valid in the case of the hymns of Romanos. As indicated at the beginning, these various functional aspects mentioned above can be more conveniently reduced to two basic functions:

Journal

Byzantinische Zeitschriftde Gruyter

Published: Jan 1, 1986

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