Papers by Peter Saliba
A study on one of the papyri of Oxyrinchus that is thought of as a Christian Letter from a person... more A study on one of the papyri of Oxyrinchus that is thought of as a Christian Letter from a person to his brothers. The Commentary includes a republication of the text with corrections (mine) and a new apparatus criticus, a translation and the main commentary with a rich bibliography. This commentary was given as a graduate seminar paper under the guidance of Dr. Nikos Litinas.
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MASTERS' THESIS by Peter Saliba
UNIVERSITY OF CRETE
Recently, researchers have found Nonnus of Panopolis to be one of the loftiest poets of late anti... more Recently, researchers have found Nonnus of Panopolis to be one of the loftiest poets of late antiquity. His Dionysiaca might be assimilated with a “pagan” Old Testament, through which he presents the god Dionysus as a precursor, who symbolizes Christ, and prepares the path to the new Εὐαγγέλιον of the gentile world, the Paraphrasis of St. John’ s gospel, rendered and amplified using the dactylic hexameter. The present commentary involves the study of Nonnus’ Paraphrasis chapter 9.1-72, i.e. the first part of the miracle of the healing of the man born blind (Jn 9:1-14), where Jesus sees the man and cures him of his blindness. The poet does follow the general outline of the Johannine narrative, nevertheless, when it comes to detail, one could track profound divergence. Nonnus begins his narrative with a “late - antique” mythic proem, in which he mentions the Hours, the once personified deities of birth in the Dionysiaca and in Greek myth. They are presented in the Paraphrasis as a literary leitmotif of the vivid “present” time which was bound to face the tragic fact of the infant born sightless. Aion, on the other hand, the once Hellenistic god of eternal time, who resembles the ancient mythic Chronos, the absolute, universal and unceasing time, is introduced as the “father” who initiates to life this infant with the unique blindness. Moreover, the proem attempts to describe the blind infant, a symbol of the pagan world, and his nature-caused blindness, which, as one could infer, is supposed to be of a spiritual kind. The narrative proceeds with the debate upon the disciples, from which one concludes, with the help of The Rabbi, that this blindness’ goal is to show the glory of God, or, otherwise, the feasibility of humanity without God. This could be taken as a second proem to the narrative of the miracle. In the healing story one finds Nonnus enriching John’s version by using stylistic and rhetorical techniques so as to elaborate upon the imagery of both the new creation and the baptismal rite. Once healed, the man begins to transform and be taught by Grace the mystic knowledge of the Truth, and, thus, be gradually initiated into “seeing the light.” Last not least, the encounter with the neighbors and the people present at the site reveals the majesty of Nonnus’ account of events . As the man was asked, he attempts to provide a very detailed description of how he got healed. He describes what did Jesus exactly with the clay; how He spat, stirred it up, molded it, anointed, modeled his eyes with it and how he began to acquire sight after he went to wash off the clay at Siloam. This might be regarded as a devastating deviation from the Johannine prototype and its unique “chrysostomic” rendition. From this point on the healed man is regarded as an outcast of the jews, though a new “apostle” of the Christian church of the gentiles.
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Teaching Documents by Peter Saliba
Description: this is a beginners' level music course. It presupposes no background in byzantine m... more Description: this is a beginners' level music course. It presupposes no background in byzantine music. It is one of four major courses, and is divided into two parts, A1 and A2, each covering a trimester. After accomplishing a semester, the student will be eligible to pass to level B. Level A1 constitutes of 16 sessions (4 months approximately). It introduces the student to the Diatonic musical scale, and to most of the main characters or notes s/he will encounter in church music. The student will be taught the basic principles of rhythm, time, measure, ascending and descending notes, Parallagi (solfège) and Melos (chanting the lyrics), through small exercises that do not exceed the average of 4-5 lines.
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Papers by Peter Saliba
MASTERS' THESIS by Peter Saliba
Teaching Documents by Peter Saliba