Liturgy and the Emotions in Byzantium

  title={Liturgy and the Emotions in Byzantium},
  author={Andrew Mellas},
This book explores the liturgical experience of emotions in Byzantium through the hymns of Romanos the Melodist, Andrew of Crete and Kassia. It reimagines the performance of their hymns during Great Lent and Holy Week in Constantinople. In doing so, it understands compunction as a liturgical emotion, intertwined with paradisal nostalgia, a desire for repentance and a wellspring of tears. For the faithful, liturgical emotions were embodied experiences that were enacted through sacred song and… 
11 Citations
The Gendered Body in Verse: Jacob of Serugh and Romanos Melodos on the Woman with a Flow of Blood
  • E. Walsh
  • History
    Journal of the Bible and its Reception
  • 2022
Abstract This article examines the reception history of the story of the woman with a flow of blood as recounted in Mark 5:25–34, Matthew 9:20–22, and Luke 8:43–48 within the writings of two late
Books Received
  • J. Kenney
  • History
    The Journal of Ecclesiastical History
  • 2021
General Allan, Arlene, Eva Anagnostou-Laoutides and Emma Stafford (eds), Herakles inside and outside the Church. From the first apologists to the end of the Quattrocento. (Metaforms, .) Pp. xx +
From Theotokos to Intercessor: The Early Homiletic Witness (c. 400–600)
  • The Virgin Mary in Byzantium, c.400-1000
  • 2021
Theology in Verse: Middle Byzantine Hymnography
  • The Virgin Mary in Byzantium, c.400-1000
  • 2021
  • The Virgin Mary in Byzantium, c.400-1000
  • 2021
Panegyrics and Supplication: Homilies from c. 600 to 1000
  • The Virgin Mary in Byzantium, c.400-1000
  • 2021
  • The Virgin Mary in Byzantium, c.400-1000
  • 2021
Narratives about the Panagia
  • The Virgin Mary in Byzantium, c.400-1000
  • 2021
  • The Virgin Mary in Byzantium, c.400-1000
  • 2021


Sunday Matins in the Byzantine Cathedral Rite: Music and Liturgy
This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byzantine cathedral Rite of the Great Church from its origins in the popular psalmodic assemblies of the
Hagia Sophia and Multisensory Aesthetics
Focusing on the sixth-century interior of the church of Hagia Sophia in Constantinople, this article explores the way marble and gold appear and their psychological effect on the spectator as
The Literariness of Literature and the History of Emotion
  • Sarah McNamer
  • Art
    PMLA/Publications of the Modern Language Association of America
  • 2015
The middle english pearl is one of the most moving and beautiful poems ever composed. occasioned, it seems, by the death of a two-year-old daughter, whose identity has never been determined, it casts
Greek liturgy in crusader Jerusalem: witnesses of liturgical life at the Holy Sepulchre and St Sabas Lavra
ABSTRACT Although the arrival of the crusaders in Jerusalem in 1099 displaced the clergy, monks and faithful of the Orthodox Patriarchate of Jerusalem from the holy sites that had been in their care
The Ecclesiology of Saint Maximos the Confessor
Abstract Maximos wrote no work expressly on the Church, the nearest being his work, the Mystagogia, on the Divine Liturgy. This article explores the notion of the Church presented in the Mystagogia,
The Icons before Iconoclasm
  • N. Baynes
  • History
    Harvard Theological Review
  • 1951
“The feeling against ikon-worship suddenly burst out in the earlier part of the eighth century when the iconoclastic (ikon-smashing) emperors of Constantinople tried to suppress the practice by
The occasion of Paul the Silentiary's Ekphrasis of S. Sophia
The ‘turgid archaisms’ of Paul the Silentiary's style have ensured that his two hexameter Ekphrases, describing the Emperor Justinian's sixth-century church of S. Sophia in Constantinople and its
The Tears of the Sinful Woman: a Theology of Redemption in the Homilies of St. Ephraim and His Followers
[1] Ephraim’s Homily on the Sinful Woman,1 which gives an exegesis of Luke’s account of the sinful woman who bathes the feet of Jesus with her penitent tears,2 is a remarkable piece of poetic
Performance Practice and the Politics of Transcribing Byzantine Chant
Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been generating controversy ever since the first Western European attempts to apprehend the intervallic and
Performing the Sacred in Byzantium: Image, breath and sound
A twenty-first century audience approaches the concept of ‘image’ as ‘representation’ and as such it sustains the continuity of the term’s meaning from the ancient Greco-Roman tradition to the