Sisältö

1. Introduction

1.1. Aim of the research

1.2. Methodological approaches and earlier studies
1.2.1. Philological and palaeographical research
1.2.2. Musicological research
1.2.3. Theological research

1.3. Current methodological approaches
1.3.1. Intertextuality
1.3.2. Intermedial approaches
1.3.3. Metaesthetics – towards a “theology of hymnography”

1.4. Entrance of the Theotokos
1.4.1. Narratives and sources
1.4.2. History of the feast
1.4.3. Liturgical context

1.5. Primary hymnographic sources
1.5.1. Published hymnography
1.5.2. Unpublished hymnography

2. Hymnography and the Homiletic Tradition in Interaction

2.1. An introduction to the homiletic tradition of the Feast

2.2. Typological, allegorical, metaphorical, and symbolic images of the Entrance through hymnography and homiletics: an intertextual analysis
2.2.1. The dwelling-place of God: Temple and Tabernacle
2.2.2. The living ark
2.2.3. The spiritual gate
2.2.4. Mary as sacrifice
2.2.5. The monastic bride of God
2.2.6. Light in the feast of the Entrance
2.2.7. Eucharistic typology
2.2.8. Forefeast of the Annunciation
2.2.9. The end of the Old Covenant

2.3. Approaches to the overlap between hymnography and homiletics
2.3.1. The problem of authorship
2.3.2. The stream of influences
2.3.3. The Entrance as a source of patristic exegetical thought

3. Byzantine Music as a Source for the Interpretation of Hymnography

3.1. Words and melodies in co-operation
3.1.1. Patristic ideals for church singing and its perception
3.1.2. Liturgical singing as exegetical activity

3.2. Musical intertextuality in the hymnography of the Entrance: the selection of echoi and automela
3.2.1. Prosomoia and kathismata
3.2.2. Heirmoi and idiomela

3.3. Musical analysis as a tool for understanding Byzantine hymnography
3.3.1. Methodology of analysis
3.3.2. Doxastikon of the kekragaria of Great Vespers
3.3.3. Doxastikon of the aposticha of Great Vespers

4. Hymnography as Iconic Narration

4.1. Byzantine worship as an iconotext

4.2. An iconographic reading of the hymnography of the Entrance
4.2.1. Pictorial rhetoric
4.2.2. Ekphrastic dimensions in the stichera
4.2.3. Kanon of the forefeast in Sinait. gr. 570: a mosaic of images
4.2.4. Pictorial dialogues in the kanons

4.3. A hymnographic reading of the iconography of the Entrance
4.3.1. Iconography of the feast of the Entrance
4.3.2. Thematic and intertextual parallels
4.3.3. Rhetoricity of Byzantine iconography

4.4. Theology of the icon as a source for the “theology of hymnography”
4.4.1. Seventh Ecumenical Council
4.4.2. A theology of hymnography?

5. Conclusion

Appendix I:
Unpublished Hymnography for the Feast of the Entrance

Appendix II:
Transnotation of Μετὰ τὸ τεχθῆναι σε

Appendix III:
Transnotation of Σήμερον τὰ στίφη τῶν πιστῶν