La réception de F. G. Lorca à l’école littéraire de Thessalonique

Author(s): Georges Fréris / Language(s): French Issue: 1/2016

The poetry school of Thessaloniki, considered as a simple trend by the modern Greek critics, influenced significantly the reception of modernism by the modern Greek literature. The Greek translations of modernist writers, mostly prose writers (V. Woolf, M. Proust, J. Joyce), appeared in the literature reviews of Thessaloniki. Few studies have focused on the field of poetry, where the work of F. G. Lorca had a major impact on various poetic tendencies defined by the left-wing or idealist poets of Thessaloniki. This article aims to study the influence on the poetic existence of certain of poets of Thessaloniki.

Гърция, България, Европа. Културно-исторически връзки в Ново време. Сборник в памет на проф. Марин Жечев

Author(s): Vladimir Vladov / Language(s): Bulgarian Issue: 25/2012

ПРИСУСТВО ПЛАТОНОВОГ ФЕДРА У МАНОВОЈ НОВЕЛИ СМРТ У ВЕНЕЦИЈИ

Author(s): Marija M. Kostić / Language(s): Serbian Issue: 50/2013

Djepi dhe varrezat

Author(s): Muharem Bazdulj / Language(s): Albanian Issue: 3/2014

Ismail Kadare (i lindur më 1936 në Gjirokastër, në jug të Shqipërisë), pa dyshim është shkrimtari më i rëndësishëm bashkëkohor ballkanas. Saktësisht para pesëdhjetë vitesh, Kadare e kishte botuar “Gjeneralin e ushtrisë së vdekur”, romanin e tij më të njohur.

„Árpád a világító Nap” – Ungvárnémeti Tóth László nemzetfelfogása

Author(s): Krisztián Benkő / Language(s): Hungarian Issue: 2/2012

Formalistic Markers of the ‘Modern’ in Greek Poetry: a Retrospective from the Point of View of Literary History

Author(s): Fotiny Christakoudy-Konstantinidou / Language(s): English Issue: 1/2018

Defining Greek Modernism proves to be a difficult task. It can be said that trying to outline its boundaries raises more questions than provides us with answers, because it somehow resists homogeneous and pure categorisations. Through analysis of verse building we shall try to give a formal answer to the question of what is ‘modern’ for Neo-Greek literature and how, in fact, poetry becomes ‘modern’. As far as the measured speech is concerned, this argument can be easily solved by opting to examine the verse building techniques (versification, rhythmic steps, rhymes, tropes, etc.) and especially the presence of the free verse as a marker of emancipation from the iambic verse of fifteen syllables, emblematic for the Greek folk-song tradition and known also as decapentasyllabic verse. The occurring changes in metric structures are both a complex and a long process that gave its most mature fruit in the works of the 1930s generation (G. Seferis, O. Elytis, I. Ritsos, etc.). However, it turns out that these changes could not possibly be considered as the only leading indicator of modernity, perhaps once again because Greek poetry remained firmly rooted in the local tradition of artistic conventions (which can be seen as a general projection of the spiritual impulses dominating the Balkan peninsula) and metamorphoses encompassed the literary body at a somewhat conservative pace.

„Великият Левантинец“ или за границите на безграничното

Author(s): Malamir Spasov / Language(s): Bulgarian Issue: 2/2018

On September 2, 1901, in Brăila, Romania, was born Andreas Embirikos (1901-1975), one of the most significant Greek poets who, along with Seferis, belonged to the so-called Generation of the ‘30s – an important representative of Greek modernism who introduced surrealism in Greek context, confirmed revolutionary of the word, great visionary, and heretic from his first poetry collection. In addition, professional psychoanalyst, enthusiastic photographer, and literary critic. The Great Eastern (Ό Μέγας Ἀνατολικός) is his magnum opus – the mega-novel of Embirikos, he has been working on for more than two decades, and was published only after his death. The Great Eastern contains 100 chapters, unfolding upon more than 2000 pages. The novel was released in 8 volumes only in the 1990s. There has been no comprehensive translation of the novel so far. The Great Eastern was on the verge to become the great unpublished of Embirikos and, unfortunately, remains the great untranslated of Embirikos. The Great Eastern is actually the name of a giant transatlantic steamship, a veritable Titanic‘s predecessor, which made several courses from Liverpool to New York and back in the second half of the nineteenth century. In a nutshell, in The Great Eastern Embirikos reveals a ten-day voyage of the giant steamship in May 1867 as a journey through hedonism and beyond, during which her passengers devote their selves to love without boundaries and generally to all kinds of crossing the boundaries. The Great Eastern is a transgressive novel. It represents literature that many would call dangerous. This is a good reason for speculating over the concept of transgressive. Boundaries and boundlessness are a matter of perspective. The real question is what goes beyond the boundaries of boundlessness.

Les Affinités De La Poésie Populaire Serbe Et Néo-Grecque

Author(s): Miodrag Ibrovac / Language(s): French Issue: 1/1956

Ces pages forment le chapitre X — le dernier — d’une étude comparée d’histoire romantique sur Claude Fauriel interprète de la poésie populaire serbe et néo-grecque, dont on trouvera ici un rapide résumé. Parmi les différents chants exotiques qui ont ému ou simplement amusé le public en France, et en Europe, entre 1820 et 1840, ceux des Serbes et des Grecs occupent une des premières places. Ils ont eu des parrains illustres, une vogue intermittente mais durable, soutenue par un vif intérêt politique. En effet, même plus tard, jusqu’à nos jours, toutes les fois que les événements attiraient sur les Balkans l’attention de la France, de l’Europe, le souvenir de ces chants émergeait d’un oubli provisoire pour apporter au conflit la voix du passé, celle des héros qui l’incarnent, d’un Marko Kraljević ou d’un Botsaris, des haïdouques ou des kleftes. Souvent aussi une de ces poésies ranimait l’intérêt pour l’autre: ne s’agissait-il pas de deux peuples voisins également opprimés et avides de liberté? [...]

Epski jezik Homerovih pesama i »ahajski« dijalekat mikenske epohe

Author(s): Mihailo D. Petruševski / Language(s): Serbian Issue: 19/1981

Il est depuis longtemps connu que la langue des poèmes homériques, ainsi que des autres chansons épiques de l'ancienne Grèce, est un mélange de dialectes. Les Grecs eux-mêmes ont posé le problème des rapports entre la langue épique et les différents dialectes et parlers helléniques. La division tripartite des dialectes grecs en éolien, ionien et dorien était déjà connue à l'époque classique et elle était valable jusqu’ à la deuxième moitié du XIXe siècle. C’était la première étape des recherches sur la langue homérique. La deuxième étape commence après la publication des inscriptions arcadiennes et cypriotes (en 1884 parut le Ier tome de la »Sammlung der griechischen Dialekt-Inschriften« contenant les inscriptions cypriotes publiées par W. Decckeetles inscriptions arcadiennes publiées par F. Bechtel). A. Fick était le premier qui avait observé la présence de certains mots cypriotes dans l'épopée, comme Cette deuxième étape durait jusqu’ au déchiffrement du linéaire B en 1952—1953. La troisième étape des recherches et des études homériques commença par la publication de la célèbre »Evidence ...« de M. Ventriset J. Chadwick. Elle dure jusqu’ à nos jours. La langue des poèmes homériques et le dialecte grec de l’époque mycénienne avaient pendant la formation de l’Iliade et de l’Odyssée beaucoup plus de traits communs en appartenant à une communauté archaïque qui pouvait être nommée achéenne et qui était rompue par l’invasion et la pénétration doriennes au début du XIIe siècle av. n. è. Il faut pourtant avouer qu’il y ait, même, de différences évidentes dans le texte d’Homère provenant non seulement de l'intervention des aèdes et rapsodes, c'-à-d, des adaptations du texte d’Homère, le soi-disant »métacharacterismos« et les »rédactions « — éolienne, ionienne et attique, mais aussi du fait qu’à partir de la fin de l’époque mycénienne jusqu’ à l’apparition des chansons d’Homère ont pu passer deux ou trois siècles. Pendant cette période pouvaient apparaître certaines différences phonétiques, morphologiques et lexicales dans le développement intérieur du dialecte achéen, c’.-à-d. sans influence extérieure. Le développement de la langue a provoqué la disparition de plusieurs traits archaïques du grec mycénien; les labio-vélaires ont, p. ex., complètement disparu, c’.-à-d. elles étaient transformées en labiales, et, partiellement, en dentales. M’est-il pas tout à fait naturel d'attendre que les palatales, anciennes et nouvelles, disparaissent, c’.-à-d. qu'elles se transforment tout d'abord en affriquées et plus tard en sifflantes »fortes«. Le même processus s’est probablement passé dans le développent et les différences dans la morphologie et le cadre du dictionnaire. La plupart de ces changements dans la langue des anciens Achéens et des autres Grecs se sont passés très souvent parallèlement avec le développement des rapports économiques et sociaux des anciens Hellènes.

HOMEROS’UN ODESA’SINDA GEÇEN GASTRONOMİ ÖGELERİ ÜZERİNDEN ANTİK YUNAN YEMEK KÜLTÜRÜNE GENEL BAKIŞ

Author(s): Samuray Hakan Bulut / Language(s): Turkish Issue: 5/2019

Legends are among the leading elements of cultural heritage for any civilization. They offer valuable insights into the daily outlook and beliefs of the people, politics and much more in the domains of sociological analysis of human societies. Legends also often contain references to elements of gastronomy, and thus provide clues about the food and beverages habits of the nation. This study focuses on the gastronomic identity of Ancient Greece, with reference to three major elements: the history of some of the leading characteristics of the first class restaurants of today, with a perspective dating back to ancient Greece with specific references to Homer‟s Odyssey; the relationship between civilization and gastronomy; and the examples of gastronomic activities of the era, such as ceremonies and feasts.

Antigona i problem slobode

Author(s): Milena Stefanović / Language(s): Serbian Issue: 18/2012

The paper discusses the interpretation of the conflict between Antigone’s and Creon’s principles in Sophocles’ tragedy Antigone, considering philosophical-political context of antiquity and contemporary feminist interpretations. Principal idea is to emphasize interpretation of Hegel’s understanding of the tragic in tragedy Antigone, as described in Phenomenology of Spirit, as well as interpretation of feminists conceptualizing Antigone as “female” principle in which they search for their ontological foundation for own political activism. However, following Hegel’s interpretation of Antigone and critique of nature and idea of natural law, we will attempt to explain that Creon himself represents a political, democratic principle, the evolving seed from which modern state and its guarantee of freedoms and rights would be born through historical process of Spirit. On the other hand, Antigone, whose principle is equally legitimate as Creon’s, symbolizes a pre-state principle, an unconscious substance of natural law that protects the household gods, law of blood, tribal patriarchal relations and, as such, has to perish and be overcome. The second dimension of analysis focuses on Creon’s ambivalent selfness, tormented by tragic conflict of two sides of the Spirit - conscious and unconscious substance. Although Creon’s action represents conscious substance embodied in universality of the law of polis, the aim is to highlight those sentences of Antigone which indicate a schism of Creon’s inner selfness, which is literally tragedy, but tragedy within himself.

Razumevanje pravde u Solonovim elegijama

Author(s): Željko Kaluđerović / Language(s): Serbian Issue: 10/2008

This paper investigates the understanding of justice in the known verses of Solon elegies. These elegies, according to the author, imply, so called legal justice, which is a consequence of Solon’s determination to understand the laws and justice primarily as a human creation; however at the same time he recognizes the legitimacy of the traditional order being established within the divine order of the world. Athenians actually gave to Solon all authorities of a law-maker in order to enable him to implement a broad range of social, political and economic reforms with the purpose to achieve the unity of the polis which, at that time, was in a deep crisis. While saving the Athens, Solon made a series of radical cuts in all spheres of its life, but that, however, did not mean equating the property related and other differences between the aristocracy and demos. Solon, eventually, did not understand the justice as the right of every citizen to have or receive the same amount of honor and goods at distribution, i.e. arithmetic equality, but more as a distributive or geometric proportion which was taking into account somebody’s rank and merits belonging to him accordingly.

Efterpi Mitsi. Greece in Early English Travel Writing, 1596–1682. Palgrave Macmillan, 2017. 206. ISBN 978-3-319-62611-6. ISBN 978-3-319-62612-3 (e-Book)

Author(s): Ludmilla Kostova / Language(s): English Issue: 1/2019

BEDEN SOSYOLOJİSİNE KARŞILAŞTIRMALI BİR BAKIŞ: ARİSTOFANES’İN LİSİSTRATA ESERİ VE ŞALVAR DAVASI FİLMİ

Author(s): Özlem Özen,Nuray Tuğçe TOKSOY / Language(s): Turkish Issue: 56/2022

It is seen that the social, historical, and sociological place of the woman is subject to many different disciplines. Especially the studies about women in sociology highlight the situation of women both in private and public spaces. Sociology of the body which is seen as a subbranch of sociology, is subject to various research both within the borders of Turkey and in outer geographies, particularly in the West. Sociology of the body, which has been systematically started to be researched since the end of the twentieth century, studies the formation of the body in historical and social processes and it is also employed in different fields such as sports, medicine, and literature. The method of this study is the sociology of the body which is evaluated under sociological criticism that is frequently applied in order to analyse the fictional worlds and characters in literary works. The subjects of this research are Aristophanes’ Lysistrata, written in the 5th century BC, and Şalvar Davası which was adapted from this work and directed by Kartal Tibet, in 1983. This essay aims to analyse the situation and the motivations of the female characters that are fictionalized in the works. In both works, the struggle of the female characters over their bodies in order to get involved in the political and public spaces is going to be studied. This study aims to determine the similarities between two different dominions by carrying on a comparative study and to reflect how the female characters in the works reinforce the patriarchal culture that they push its limits at the end of their struggle.

Szarańcza z Apokalipsy św. Jana – owad zwykły czy niezwykły? Eksperyment filologiczny: od natury do nanotechnologii

Author(s): Grzegorz Ojcewicz / Language(s): Polish Issue: 11/2023

In the author’s opinion, locusts mentioned in the Book of Revelation by no means represent the species of common insects classified in the family Acrididae, also known from the Book of Exodus and its description of the plagues of Egypt. As far as the locusts in the Old Testament are concerned, they were a destructive force completely in line with their biological nature; however, the “locusts” in Saint John’s vision are depicted rather as smart micro-robots created by wielders of highly advanced technologies – most probably by extraterrestrials. The author claims that Saint John, limited by the then state of knowledge about the universe, was unable to express his thoughts in the categories of advanced technologies; therefore, he found names and images for his visions, which were understandable primarily to himself. Hence, the comparison of nanotechnological “insects” to locusts and scorpions the apostle was familiar with, as these animals are native to the area where he lived, and he must have been well aware of their natural habits.

ИЗОБРЕТАЯ ВАРВАРСТВО: ПЕРЕВОДЫ, КОММЕНТАРИИ И ТРАКТОВКИ EUR. IT 74–75

Author(s): Yana Leonidovna Zabudskaya / Language(s): Russian Issue: 7/2023

The goal of the paper is to clarify the meaning of lines 74 and 75 in Euripides’ tragedy Iphigenia in Tauris. The novelty of the work lies in the comparison of commentaries and translations of the fragment and the comprehensive analysis of materials and “extratextual” factors, while the relevance is due to the appearance of new translations of Euripides. The word “heads” present in the translated description of the altar of the Temple of Artemis in IT 74–5, which appears in a number of editions, does not stem directly from the text (the dictionary meaning of σκῦλα is “armor”, while ἀκροθίνια means “the best part”). But it is supported by the reports of Herodotus and Ammianus Marcellinus, as well as by some visual evidence. Herodotus’ narrative, however, differs from Euripides’ version and is not suffi cient for unambiguous interpretation. Considering the Italian localization of the visual evidence (a vase from Campania and a Roman sarcophagus), we can assume that the heads on the walls of the temple appeared in one of the South Italian stagings or became part of the visual realization of the plot of Iphigenia and Orestes’ rescue under the infl uence of the Etruscans. Thus, the word “heads” is not a translation, but a culturological interpretation, one of the elements of the reception of Euripides’ dramas in Italy, forming an image of a barbarian country opposed to Hellas. So, there are two solutions here: we either allow σκῦλα or ἀκροθίνια to have an explicit meaning of “head” – and then we need the corresponding specification in the dictionaries; or we consider this meaning as a late interpretation formed under the influence of several factors, but nevertheless not an integral part of the content and acceptable not in translation, but only in commentary.

ГОМЕР В ПОЭЗИИ ПОТОМКОВ «СЛАВНЫХ СОЛИМОВ»

Author(s): Elena Vladimirovna Prikhodko / Language(s): Russian Issue: 7/2023

The inhabitants of Termessos, one of the three largest cities in Pisidia, considered themselves the descendants of the Solymoi twice mentioned by Homer. Following the conquests of Alexander the Great, Pisidia fell under the profound sway of Greek culture. Hellenization permeated every facet of the indigenous population’s existence, and by the time of the Roman Empire, there had developed a society, whose life combined the elements of local and Greek cultures. While the level of architectural Hellenization can be evaluated by the ruins of cities, it is more difficult to assess the level of literary education. There were no famous poets in Pisidia, and the literature of this region remains almost unexplored. The aim of the article is to ascertain the educational attainment of the urban elite in Termessos. This is achieved through the lexical and grammatical analysis of three randomly selected funerary inscriptions written in hexameter. The main educational texts were the poems of Homer, therefore, in the structure of each epitaph the author reveals all the elements that may indicate the acquaintance of Termessian poets with the Homeric verse: words belonging to the epic tradition, Homeric formulas, and grammatical forms characteristic of the epic. As a result, the author shows that 43.6 % of the text of these epitaphs was borrowed from the epic tradition and concludes that the educated inhabitants of Termessos knew Homer’s poems well and even used his formula for their ethnic self-expression, proudly calling themselves the “glorious Solymoi”.

HOMER: ἄσβεστος γέλως (două episoade: Iliada, I, 597; Odiseea VIII, 459)

Author(s): Anton Adămuț / Language(s): Romanian Issue: 52/2023

I have often wondered, like many others, where the expression “Homeric laughter” comes from and what is hidden behind it. The spectacular career of the expression, which naturally does not appear in the Homeric epics, can be traced right back to the Iliad and Odyssey. I have insisted on two episodes in which the expression occurs (ἄσβεστος γέλως), one at the end of book I of the Iliad, the second in the Odyssey, book VIII. The gods are involved, Hephaestus in both situations, Ares and Aphrodite in the episode of the Odyssey, and people are also involved for whom this kind of laughter is not characteristic. What is Homeric laughter? The classical expression is ἄσβεστος γέλως, it can be translated by “inextinguishable” or “irrepressible mirth”. The phrase seems to come in English from German – “Homerisches Gelächter”, “unauslöschliches Gelächter” and in German from French: “le rire homérique”, as it appears for the first time in the memoirs of Baroness d’Oberkirck: “le rire inextinguible”. Homeric laughter is, therefore, “inextinguishable”, “unquenchable”, we owe the Latin formula to Ovid, the one from Metamorphoses - superi risere. As for Homer, we know he had no good reason to laugh, Homer couldn’t laugh in a Homeric manner anyway.

Between archaic and modern: σκύθαι and πατζινάκοι in The Alexiad of Anna Komnene

Author(s): Adrian-Gabriel Mateșan / Language(s): English Issue: IX/2023

Since the emergence of Byzantine culture, the influences of Ancient Greece stood out due to the authors' desire to be inspired by the erudition of classical works. For this reason, medieval Greek literature is the product of a classicizing style that intertwines with modern tendencies. This practice had the merit of increasing the artistic quality of the chronicles but simultaneously caused numerous confusions. Frequently, authors borrow classical terminology to name contemporary ideas or concepts, but sometimes they even use ancient and modern terminology in the same phrase. The reasons behind the writers' intention to alternately use a common and a scholarly language are challenging to discern, especially since the complexity of some works such as The Alexiad makes the terminology used highly open to interpretation. The situation becomes much more complicated when, for three Eurasian nomadic peoples (Pechenegs, Uzes, and Cumans) different naming techniques are applied.

“L’amico è un altro se stesso”: amicizia, conoscenza di sé, conoscenza dell’altro in Omero e Aristotele

Author(s): Giuseppe Feola / Language(s): Italian Issue: 29/2023

The paper analyses Homer’s narrative about the friendship between Achilles and Patroklos in order to shed some light – with the aid of the tools of philosophical historiography and philology – on Aristotle’s account of friendship. Both by Homer and by Aristotle, friendship is described as an act of self-knowledge which is necessary to human beings insofar as they are unable to attain self-knowledge in a non-relational way. Some considerations are finally drawn about some themes in modern scientific thought that seem to point to a possibility of a modern reusage of Aristotle’s account of friendship.