Mirela Ivanova – författare

Few alphabets in the world are actively celebrated, and none more so than the Slavonic. Annually across Eastern Europe, the alphabet and its inventors, Cyril and Methodios, are celebrated with parades, concerts, liturgical services, and public addresses by presidents, ministers, and mayors. Inventing Slavonic: Cultures of Writing Between Rome and Constantinople offers a new reading of the invention of the Slavonic alphabet and its implications. Its premise is simple: namely, that the alphabet was not invented once, but that it continued to be contested and redefined in the century after its creation. However, Inventing Slavonic goes against the grain of modern scholarship and popular common sense, where a stable and fossilized story about Cyril, his brother and companion Methodios, and the alphabet still persists. Mirela Ivanova shows that this well-known story is, in fact, a Frankenstein's monster, bolted together from texts which originally attributed quite different and often conflicting meanings to the elements which make up this supposedly unified narrative. In this narrative's place, the book offers a series of new readings of our earliest sources for the alphabet's appearance. In doing so, it constructs a new social history of the early script's fragility, and the ways in which its existence was conditioned by changes in socio-political life between Rome and Constantinople.

Few alphabets in the world are actively celebrated, and none more so than the Slavonic. Annually across Eastern Europe, the alphabet and its inventors, Cyril and Methodios, are celebrated with parades, concerts, liturgical services, and public addresses by presidents, ministers, and mayors. Inventing Slavonic: Cultures of Writing Between Rome and Constantinople offers a new reading of the invention of the Slavonic alphabet and its implications. Its premise is simple: namely, that the alphabet was not invented once, but that it continued to be contested and redefined in the century after its creation. However, Inventing Slavonic goes against the grain of modern scholarship and popular common sense, where a stable and fossilized story about Cyril, his brother and companion Methodios, and the alphabet still persists. Mirela Ivanova shows that this well-known story is, in fact, a Frankenstein''s monster, bolted together from texts which originally attributed quite different and often conflicting meanings to the elements which make up this supposedly unified narrative. In this narrative''s place, the book offers a series of new readings of our earliest sources for the alphabet''s appearance. In doing so, it constructs a new social history of the early script''s fragility, and the ways in which its existence was conditioned by changes in socio-political life between Rome and Constantinople.

Few alphabets in the world are actively celebrated, and none more so than the Slavonic. Annually across Eastern Europe, the alphabet and its inventors, Cyril and Methodios, are celebrated with parades, concerts, liturgical services, and public addresses by presidents, ministers, and mayors. Inventing Slavonic: Cultures of Writing Between Rome and Constantinople offers a new reading of the invention of the Slavonic alphabet and its implications. Its premise is simple: namely, that the alphabet was not invented once, but that it continued to be contested and redefined in the century after its creation. However, Inventing Slavonic goes against the grain of modern scholarship and popular common sense, where a stable and fossilized story about Cyril, his brother and companion Methodios, and the alphabet still persists. Mirela Ivanova shows that this well-known story is, in fact, a Frankenstein''s monster, bolted together from texts which originally attributed quite different and often conflicting meanings to the elements which make up this supposedly unified narrative. In this narrative''s place, the book offers a series of new readings of our earliest sources for the alphabet''s appearance. In doing so, it constructs a new social history of the early script''s fragility, and the ways in which its existence was conditioned by changes in socio-political life between Rome and Constantinople.

Is Byzantine Studies a colonialist discipline? Rather than provide a definitive answer to this question, this book defines the parameters of the debate and proposes ways of thinking about what it would mean to engage seriously with the field’s political and intellectual genealogies, hierarchies, and forms of exclusion.In this volume, scholars of art, history, and literature address the entanglements, past and present, among the academic discipline of Byzantine Studies and the practice and legacies of European colonialism. Starting with the premise that Byzantium and the field of Byzantine studies are simultaneously colonial and colonized, the chapters address topics ranging from the material basis of philological scholarship and its uses in modern politics to the colonial plunder of art and its consequences for curatorial practice in the present. The book concludes with a bibliography that serves as a foundation for a coherent and systematic critical historiography. Bringing together insights from scholars working in different disciplines, regions, and institutions, Is Byzantine Studies a Colonialist Discipline? urges practitioners to reckon with the discipline’s colonialist, imperialist, and white supremacist history.In addition to the editors, the contributors to this volume include Andrea Myers Achi, Nathanael Aschenbrenner, Bahattin Bayram, Averil Cameron, Stephanie R. Caruso, Şebnem Dönbekci, Hugh G. Jeffery, Anthony Kaldellis, Matthew Kinloch, Nicholas S. M. Matheou, Maria Mavroudi, Zeynep Olgun, Arietta Papaconstantinou, Jake Ransohoff, Alexandra Vukovich, Elizabeth Dospěl Williams, and Arielle Winnik.