| Abstract | Tema ovoga diplomskog rada paleografska je analiza pisma i notacije napjeva Exultet sadržanog u dvama 11-stoljetnim rukopisima: Vekeneginom evanđelistaru iz samostana sv. Marije u Zadru te obredniku iz samostana Monte Cassino. Uz pismo i notaciju, kao glavne dijelove ovoga istraživanja, neizbježno je bilo uklopiti i sve one popratne elemente karakteristične za prostor za ovaj rad proizvoljnog naziva – beneventanski kulturni krug. Prvi korak u tom pravcu bila je tekstna analiza napjeva. Ona je pak uključivala usporedbu beneventanske i franačko-rimske verzije napjeva, pri čemu je potonja u kontekstu crkvene reforme 11. stoljeća polagano zamjenjivala uporabu beneventanske. Paleografske analize pisma i notacije osnovni su i najvažniji dijelovi rada. Usporedba oble dalmatinske i uglate montekasinske beneventane, kao uostalom i usporedba neuma iz dvaju proučavanih rukopisa, potpomognuta je mnoštvom slikovnih priloga, a iste su imale zadatak pokazati kako su brojne razvojne promjene, posebice u drugoj reformnoj polovici 11. stoljeća, utjecale na različite pismovne i glazbene forme Zadra i Monte Cassina. Novija istraživanja pokazala su i koliko je važno uzeti u obzir rukopis i njegovu funkciju u cjelini, ne bismo li adekvatno pristupili dvjema
prethodno spomenutim analizama. Nadalje, gledano iz aspekta iluminacija, zadarski je prostor posebice zanimljiv, budući da već na samom primjeru napjeva iz Vekeneginog evanđelistara nailazimo na utjecaje s različitih prostora, koje je zbog njihove fragmentarnosti opravdanije nazivati kulturnim transferima. Grafetička analiza napjeva i beneventanska liturgija dvije su teme
koje su za zadatak imale zaokružiti sve prethodno izneseno te time uvesti istraživanje u zaključna razmatranja. Iako je mnogo toga napisano te iako su mnoge danas poznate historijske činjenice i procesi sagledani iz različitih kutova, cilj ovoga rada bio je pokazati odnos centra i periferije u kontekstu tzv. beneventanskoga kulturnog kruga, a na primjeru dvaju samostana iz Zadra i
Monte Cassina. Sve su se promjene reformne druge polovice 11. stoljeća, zbog jake crkveno-političke povezanosti s Rimom, isprva pojavile u Monte Cassinu, a od tamo disperzirale postupno po spomenutom prostoru te u jednom trenutku stigle i u Zadar. Interdisciplinarna istraživanja napjeva iz proučavanih nam dvaju rukopisa, odnosno sagledavanje brojnih elemenata iz različitih rakursa, omogućuje evaluaciju do danas već etabliranih spoznaja te iznalaženje novih adekvatnih zaključaka. |
| Abstract (english) | The subject of this master thesis is the paleographical analysis of the script and notation of the Exultet chant contained in two 11th-century manuscripts: Vekenega's Book of Gospels from the monastery of St. Mary in Zadar and the ritual from the Monte Cassino monastery. In addition to script and notation, as the main parts of this research, it was inevitable to include all those accompanying elements characteristic of the area with an, for this work, arbitrary name - the Beneventan cultural region. The first step in this direction was the textual analysis of the chant. It included a comparison of the Beneventan and the Franko-Roman versions of the chant, with the latter slowly replacing the use of the Beneventan in the context of the church reform of the 11th century. Paleographic analysis of the script and notation are the basic and most important parts of the work. The comparison of the round Dalmatian and the angular Montecassino Beneventan script, as well as the comparison of the neums from the two studied manuscripts, is supported by a large number of pictorial contributions, and these had the task of showing how numerous developmental changes, especially in the second reform half of the 11th
century, affected various written and musical forms of Zadar and Monte Cassino. Recent research has also shown how important it is to take into account the manuscript and its function as a whole, if we do not adequately approach the two previously mentioned analyses. Furthermore, viewed from the aspect of illuminations, the Zadar area is particularly interesting, since already on the very example of the song from Vekenega's Book of Gospels, we come across influences from different areas, which due to their fragmentary nature are more justified to be called cultural transfers. The graphic analysis of the chants and the Beneventan liturgy are two topics that had the task of rounding up everything previously presented and thereby introducing the research into concluding considerations. Although much has been written and although many historical facts and processes known today are seen from different angles, the aim of this work was to show the relationship between the center and the periphery in the context of the so-called of the Beneventan cultural circle, on the example of the two monasteries from Zadar and Monte Cassino. All the reform changes of the second half of the 11th century, due to the strong ecclesiastical and political connection with Rome, first appeared in Monte Cassino, and from
there gradually dispersed throughout the mentioned area and at one point reached Zadar. Interdisciplinary research of the chants from the two manuscripts we studied, that is, looking at numerous elements from different angles, enables the evaluation of historical knowledge already established and the finding of new adequate conclusions. |
