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Konstantinos Hadzopulos is one of the most famous representatives of the Greek symbolism. He is an author of poetry, prose, theater translation and literary criticism. His work is still almost unknown in Bulgaria. The poems presented here are translated by me from his collections „Songs of the Desert“, „Elegies and idylls“, „Simple ways“ and „Evening legends“.
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The analysis of eleven films, which return to the story about Orpheus and Eurydice, proves universality of the myth and depicts its new cultural and symbolic contexts in different stages of development of cinematography. Adaptations, inspirations, and references to the tragedy of the ancient heroes reflect variable fashions and social realities in which their namesakes live, as well as form the starting point to reflection on the theme of love and death, meeting and loss, power of poetry, and widely understood artistic creativity. The author focuses on the range of styles, diversity of film conventions and interesting influences of the other works of an Orphic.
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The paper discusses the types of heroes and anti-heroes established in literature by ancient Greek culture. In order to provide a full treatment of the subject, which in its diachronic aspect is very broad, the field of research has been limited. As a result, the present paper analyzes examples of mythological figures in the epic poems of Homer in juxtaposition with those found in Euripidean drama. The two authors have been chosen in view of the fact that their works are model representations of the values of their times as well as of the noticeable differences between them in evaluating the same mythological figures.
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The aim of this article is to present the changes which took place in Greek drama and theatre in the 1980s. These changes constituted a great challenge for playwrights from the 1950s, and for this reason the article discusses Iakovos Kambanellis's play The Invisible Procession as one of the main lateral tendencies of the period. The reviews which the play received in the Greek press after its premiere in 1988 are also discussed.
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Dziesięciolecia dzielą nas od dnia, kiedy wybitny tłumacz i koneserliteratury klasycznej, Jan Parandowski, dał wyraz opinii, że najznakomitszanawet znajomość gramatyki nie daje człowiekowi kompetencjiniezbędnych do przekładu literatury pięknej, że lata spędzonena studiowaniu fl eksji nie dają uczonemu fi lologowi „kluczado sezamu poezji”. Ale to właśnie ta opinia wydaje się szczególnieadekwatna, kiedy próbujemy ocenić powstałe w ostatnich latach wydaniaw cenionej przecież serii Biblioteki Antycznej, wydania przygotowaneprzez uznanych specjalistów, nierzadko uczonych klasymiędzynarodowej. By lepiej zegzemplifi kować problem, jaki stanowiseria, w poniższym eseju więcej uwagi poświęcić zamierzam dwutylko z nich, a dokładnie dwóm tomom „greckim”, KsenofontowemuWychowaniu Cyrusa i Fragmentom Eurypidesa; merytoryczną ocenętomów łacińskich (Bajek Fedrusa i Księgi widowisk Marcjalisa) pozostawiamkolegom latynistom.
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In this paper I set out to provide a close reading of Carroll’s “The Mouse’s Tale” with special focus on parts of the Greek mythologico-dramatic tradition. I argue that Carroll’s poem about a trial involving Fury and a Mouse can be traced to two ancient counterparts who partook in the most famous trial in the Greek mythological tradition: the Furies and Apollo.
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This paper presents a diachronic overview of narrative theory in antique Greece. In introduction is related the origin of narrative and the first narrative theories. In the middle are two major theories of ancient Greece, Plato’s and Aristotle’s, and Horatio’s theory as one of the most important of the antique Roman’s period. The narrative theories are observed through the key elements of narrative in the works of the above authors. There are similarities and differences between these narrative theories. The final part of the paper emphasize the importance of the ancient narrative theories in terms of the present.
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Searching for the reasons of sophists’ enmity towards Socrates, we found out that this kind of relation was the only possible relation between them. In other words, it was the result of the sofists’ atitude towards being itsel. While Sokrates function was to witness and help the being to be born through logos as dia-logos, sophists wanted to create the being by the measure of a man, so using logos as a delusion and hence, creating an illusion of being.
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Based on the unquestionable fact with diachronic domain according to which the ancient Greek myth as a vector of original and simultaneously intertextual parameters has functioned as a trustworthy source for incomparable inspirations this paper aims at an extensive research of Cassandra’s enigmatic and tragic personality. More specifically is performed a search of the adventurous course concerning that controversial female figure in the unique poetic works of leading tragedians, Aeschylus and Euripides, in which the theoretic mythological background is interwoven with the multifaceted manifestations of the ecstatic prophetess. Through a combination approach to the way of accepting the myth we emphasize the continued development, the permanent enrichment and the successful transformation of the mythical hypertext that is rich in concepts and symbols. In addition we point the interactive presentation between the poets who by their own inspired point of view exploit the dynamic set consisted of the allegoric feedback and the palindromic archetypes in a temporally nonclassified, excellent work.
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İ.Ö.VI. yüzyılda İlyada ve Odysseia destanlarının metni son biçimini almış ve bunlar hem Atina’da kutlanan büyük Panathenaia şenliklerinde hem de gezgin ozanlar tarafından özel gösteri ya da yerel şenliklerde okunmuşlardır. Ama Homeros yalnızca insanları eğlendirmeye hizmet etmemiş, en önemlisi klasik dönem boyunca eğitimin temeli olmuştur. Aslında epik gelenek Yunan tarihinin çok daha gerilerine dek uzanır ve Homeros’tan sonra da devam eder. Özellikle, Yunanistan’ın şanını yücelten Homeros’un İlyada destanı, yok olmuş savaşçı ve feodal bir toplumun zaferini ve yaşam ülküsünü yansıtmıştı. Epik şiire can veren bu kahramanlık dünyası Homeros ile sona ermiş olmakla birlikte, epik gelenek bir edebiyat etkinliği olarak varlığını sürdürmeyi devam edecek ve Yunanistan’da uzun süre bu büyük ozanın çizgisinde yaratılan epik eserlerin Homeros’a bağlanmasına yol açacaktı.
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In this article we try to make a short reference in portraying the Muslim minority of Western Thrace in terms of Modern Greek Fiction and we speak about one of the most important works of this small group of literature texts, the novel of the professor of Folklore Vaggelis Avdikos Ο δικός μου Θεός (My own God). In this analysis we focus on the cultural exclusion in Western Thrace, using as interpretative tools the concept of border and alterity. The literary work is related to the tradition of the western-like “campus novel” and is considered as a pioneering case of “anthropological” or “ethnographic novel” in contemporary Greek Fiction.
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Proučavanjem homerskog pitanja, čini mi se, treba usmjeriti pažnju na srdžbu, gnjev, bijes, ljutnju, kako kod Homera i Avda, tako i u cjelokupnoj bošnjačkoj epici jer je gnjev jedan od osnovnih elemenata, polazište, zamršeni čvor oko kojeg se začinje epska radnja, koju junak mora slijediti do kraja da bi dokazao sebe, odbranio pravdu i čast junaštvom i plemenitošću, opravdao svrhu postojanja i življenja ne samo njega nego i cjelokupnoga staleža i poretka. To je u stvari formula preko koje se izlaže priča u stihu. Ovo pravilo važi za sve epske pjesme bez obzira u kojem su vremenu nastale i u kojem narodu. Osnova ovih pjesama je ista kao što su isti opisi junaka, konja, pa čak i ženskih likova.
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The cosmopolitan travelling of Greek poetry begins with the emblematic work of Cavafy Ithaka (1910). However ‘travelling’ will vary its meaning in the following decades and will become the turning point for realizing the despair and the irreversible loss of the ideal by the so-called generation of the 1930s whose sense of tragic doom will cement the topos of the ‘lost native land’ in Greek literature. In its wanderings during the interwar period Greek poesy shows us ‘travelling’ (act equal to separation from/acquisition of new space and time) as sadness, but also as an adventure and infinity (N. Kavvadias); as an action, that is pointless (The City, C. Cavafy), and yet obtains absolute dimensions as a bearer of knowledge and wisdom (Ithaka, C. Cavafy), while in the end in G. Seferis’s verses the voyage reaches its total disembodiment, but also its transformation into something new – into an individual/ ancestral memory (obviously the only possible island of salvation), into a transcendent immortality of a universal human consciousness.
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Diomedes, wie er uns bei Homer begegnet, ist eine echte Gestalt der Heldensage. In der Überlieferung sind jedoch Wesenszüge seiner göttlichen Natur und ihres mythischen Kontextes deutlich erkennbar. Der Vergleich mit neuentdeckten mythenerzählenden Fragmenten der mündlich überlieferten slawischen heidnischen sakralen Dichtung zeigt, dass es sich dabei um Strähnen derselben indogermanischen Überlieferung handelt, lür deren Kenntnis die Diomedessage eine nicht zu vernachlässigende Quelle ist. Dabei zeigt sich auch, auf welche Weise mythische Überlieferung aus der sakralen Dichtung, die sich auf immer wiederkehrende und das innere Gefüge der Welt bestimmende Vorgänge bezieht, in die griechische Heldensage, die den durch einmalige Heldentaten erworbenen Ruhm verkündet, eingebaut wurde und dort, unter Umständen auch erkennbar geblieben ist.
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At the time when it was written and performed on stage for the first time, Euripides’ tragedy Medea had already brought forth significant innovations in terms of the structure of the play, the character, the function of the chorus, and the appearance of the gods. In the present paper we aim to identify the changes that the play introduces, as well as to prove that it possesses a dramatic structure typical for the period in which it was written. Basing our research on an in-depth analysis of the text itself, we single out the elements which best demonstrate the structural qualities of Euripides’ play and subsequently assess those qualities in light of the relevant scholarly work on the theory of drama. Therefore, the paper aims at highlighting the authentic characteristics of Euripides’ tragedy and proving that the Greek play has a dramatic structure. Euripides’ Medea does not deviate from the structural qualities of the literary tradition to which it belongs, but it does represent distinctive innovations regarding the form of the play and the choice of the characters in relation to the works of the other Greek tragedians
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Every Pindaric ode poses the question of literary unity, which is the main issue of Pindaric scholarship. But every ode presents a specific form of unity, and so does the Sixth Olympian, one of Pindar’s most accomplished poems. I argue that unity in O. 6 comes about by dint of a metaphoric parallel between the poet (Pindar) and the prophet (Hagesias, the victor, and Iamos, the mythic protagonist). This parallel is based on two significant moments, which are typical of both prophet and poet: the moment of inspiration and that of the utterance (of the oracle viz. poem). The same moments are brought to the fore in vv. 58–70 concerning the prophet Iamos, then in vv. 82–91 (the main stumbling block in the interpretation of the ode) concerning the poet Pindar. From this core metaphors of prophetic-poetic activity permeate the whole epinician ode.
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In the present paper I intend to focus on the famous metrical scholia on Thucydides found in the manuscript Codex Palatinus Graecus 252, now kept in Heidelberg. The approximately 50 marginalia written in iambic trimeters are autographs of the poet and grammarian, John Tzetzes, according to the present state of the research. The text of Thucydides serves as a basis for Tzetzes to express his own opinion, his own taste and approach – sometimes with bitter anger and sometimes with biting irony. I intend to present some interesting scholia briefly, hoping that these examples will help us to understand the author’s way of thinking.
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The purpose of this article is to reexamine the interpretation of comics 363–6 in Marvel’s The Mighty Thor series as a retelling of the Hellenistic mock epic poem Batrachomyomachia, a view expressed by scholars such as Nicholas Newman in his paper entitled The War of Frogs and Rats. The Batrachomyomachia in Marvel’s The Mighty Thor. The article proposes an alternative approach to reading these comics outside of the antique context, interpreting the similarities between the two works through the lens of cultural universals theory.
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