DOCSLIB.ORG

Rthecharioteer a Review of Modern Greek Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rthecharioteer a Review of Modern Greek Culture rTheCHARIOTEER A Review of Modern Greek Culture NUMBERS 7 AND 8 1965 A DOUBLE ISSUE ... ¥. • ~· t• . "'~.. • •. ____ CYPRUS ITS POETRY, PROSE, AND ART from ancient times to the present ' Published by · Parnassos, Greek Cultural Sodety of New York $2.50 THE CHARIOTEER A REVIEW OF MODERN GREEK CULTURE Published by Parnassos, Greek Cultural Society of New York NUMBERS 7 AND 8 EDITORIAL STAFF Executive Editors Andonis Decavalles Bebe Spanos Managing Editor Katherine Hortis Art Editor Milton Marx Consulting Editor on Cyprus Issue Costas Proussis Copy Editors Howard and Penelope Black Representative in Greece Dr. Mortimer R. Proctor (Athens College) HONORARY BOARD C. MAURICE BowRA Warden ofWadham College, Oxford LAWRENCE DuRRELL poet, author of The Alexandria Quartet MosEs HADAS Jay Professor of Greek, Columbia University RicHMOND LATTIMORE Profossor of Classics, Bryn Mawr College JoHN MAVROGORDATO Retired Profossor ofByzantine and Modern Greek, Exeter College, Oxford THE CHARIOTEER is published by PARNASSOS, GREEK CULTURAL SOCIETY OF NEW YORK, a non-profit organization under the laws of the State of New York, Box 2928, Grand Central Station, New York 17, N.Y. 4-Number Subscription $6.oo; 8-Number Subscription $n.so; foreign countries, including Canada: 4-Number Subscription $7.00; 8-Number Subscription $IJ.so, U. S. currency. Distributor: H. DeBoer, 188 High Street, Nutley, N. ]. Copyright© 1965, by Pamassos. All rights reserved. Printed at The Thistle Press, New York. PARNASSOS EXECUTWE COUNCIL Honorary President Andonis Decavalles President Katherine Hartis Vice President Constantine Kollitus Secretary Penelope Vassilaros Treasurer Katherine Karayiannides Cultural Chairman Frances Dickinson Social Chairman Lola Gounaris Membership Chairman Tak:is Ganiaris Public Relations Fotine Nicholas Library Chairman Helene Pandelak:is Board of Directors Steve Aldi Nicholas Herzegovitch Babis Meliaressis .. ACKNOWLEDGMENTS To Phrixos Vrachas, Director of the Publica­ ber, Cyprus, for the poems by Demetrios Li­ tions Department of the Greek Communal pertis; to Andreas Ioannou, Editor of Antho­ Chamber of Cyprus, for his invaluable as­ logia Kyprion Pezogrqfon (' Av6oi\oyicx KV"TT­ sistance and advice, and for providing us with pioov Tle~oyp6:cpoov) published by Ikaros, for information and material; to Oxford Uni­ the stories by Loukis Akritas, Nikos Krani­ versity Press for permission to reprint Sir diotis, Melis Nikolaides, and Maria Roussia; Cecil Maurice Bowra' s translation of the to Kypriaka ChronikaMagazine, for the stories "Flowery Garments" of Stasinos, from the by Christakis Georghiou, Panos loannides, Oxford Book of Greek Verse in Translation; and Hebe Meleagrou; to Philologike Kypros to Andreas Ioannou, Editor of Anthologia Review, for the story by Spyros Papageor­ KyprionPoieton (' Av6oi\oyicx KV"TTpioov Tlon"}­ ghiou; to Athena Tarsouli, for the illustrations T&v), for all the poetry except that by Yian­ from her book Kypros, published by "Alpha" nis K. Papadopoulos and Petros Sop has; to I. M. Skaziki, Athens 1963; and to the Cyprus Cyprus To-Day, published by the Publications Folk Art Museum, for photographs of folk Department ofthe Greek Communal Cham- art taken by Andreas Malekos. TABLE OF CONTENTS PREFACE BEBE SPANOs,Jor the Staff and Parnassos 5 THE LITERATURE AND ART OF CYPRUS: An Introductory Note COSTAS PROUSSIS 9 AN ANTHOLOGY OF CYPRIOT VERSE from Cypria STASINOS 15 Three Cypriot Medieval Lyrics 15 The Nereid VASSILIS MICHAELIDES 16 Three Poems DEMETRIOS LIPERTIS The Black Eyes 18 Phanee 19 Sunset 19 from The Book ofthe Monk NIKOS NIKOLAIDES 21 Two Poems GLAFKOS ALITHERSIS To My Father 23 Family Scene 24 Two Poems PAVLOS LIASIDES Not Too Long 25 The Fountain 25 Cyprian Rhapsody TEFCROS ANTHIAS 26 The Sleep ofthe Little Courtesan PAVLOS KRINAIOS 27 Four Poems NIKOS KRANIDIOTIS The Poem of Our Life 28 Little Town of Cyprus 29 The Brigands' Den 29 The Ships 30 Three Poems KOSTAS MONTIS First Little Shame 30 The Last Fear 31 A Lyric 32 Four Poems MANOS KRAUS Sea Monument 32 My Brothers 33 Odysseus' Companions 33 The Barbarians 35 The House ofRock NIKOS VRAHIMIS 35 Two Poems KYPROS CHRYSANTHIS Leukosia Lefk:osia (Nicosia) A Sonnet Let's Say YIANNIS K. PAPADOPOULOS Resolution PETROS SOPHAS THE BITCH NIKOS NIKOLAIDES 40 THE COUNTRY CHAPEL MELIS NIKOLAIDES 6o THE SON OF MAN MARIA RoussiA So from THE WARRIORS LOUKIS AKRITAS A novel about the 1940 invasion of Greece 95 CAPTAIN PANAGOS NIKOS KRANIDIOTIS IIO ASPECTS OF CYPRIOT ART facing page I 12 THE HANGMAN TASSOS PSAROPOULOS 125 WITHOUT LUGGAGE CHRISTAKIS GEORGHIOU MONUMENT HEBE MELEAGROU 144 DOURAS THE TURKOMERITE SPYROS PAPAGEORGHIOU I64 GREGORY PANOS IOANNIDES LETTER FROM CYPRUS THEO STAVROU 188 THE CONTRIBUTORS 191 ILLUSTRATIONS: ATHENA TARSOULI 14, 59. 94. 109, 124, 143. I83 PREFACE BY BEBE SPANOS, for the Staff and Parnassos THE EYE of the critic is always bigger than his stomach. There are always more things for him to see than he can assimilate or, sometimes, even grasp. Soft subjects within easy reach cannot sustain him long. On a constantly mild diet, the critical faculty soon starves to death. The nature of criticism, its very reason for being, is that it responds to a need for its services. The critic never fulfills himself more than when that need is fraught with dif­ ficulties and, perhaps, dangers. Criticism is an art like any other. The qualities that make the artist also make the critic. Though some may call him an artiste manque, the critic, like the artist, is born to his calling. His role in society is as elemental as the artist's. His purpose may resemble the artist's, but he works in a different way. Like the artist, he is involved in enlarging or enhancing human a ware­ ness. Art can be a form of criticism. But the artist as artist is a natural force, responsible only to his sensibilities, speaking a private language that the rest of mankind is obliged to learn. He is the nomadic fugitive from the com­ monplace, a Ulyssean adventurer hungry for the unknown. He juggles shapes and meanings, old and new, so that they may be seen in another way, his way. He comes up with answers to questions that nobody else ever dreams of asking. The critic asks questions that lie unasked in many minds. He is a student ofthe way life is being lived. He may sometimes be a vision­ ary; he is never a dreamer. He is driven by a passion for truth, not for its own sake but to help the truth prevail in everyday experiences. For the critic serves life more than art. Whereas the artist is a maker, the critic is a remaker. He studies the general taste and works to refme it. He participates far more directly than the artist in the process that changes the habits of his generation into those of the next. There are, of course, as many kinds of critics as artists. Some critics spend all their days in Grub Street. Others are martyrs because, like Soc­ rates, they will not b'+ silent in a society that forbids them to speak. Indeed, Socrates is the archetypal critic. He invited death because he knew that no words could say what he meant more clearly than his dying. He knew the terrible importance ofhis task when he urged his listeners to know them­ selves and to improve their souls, but he did not presume to be a high priest of the good and true and beautiful. He simply called himself agadfly that irritates the public conscience by telling unwelcome truths. In short, the more the critic dares to say how life ought to be lived, the more he attracts the difficulties and, perhaps, the dangers that most inspire him. 6 PREFACE Any attempt to defme the role of the critic obviously requires many more explanations than we have time or space for here. What must fmally be said is that whether his gift for criticism is slight or remarkable, the success ofany critic depends on his ability to see the truth in itselfand in its relation­ ship to other truths. His comprehension must be simultane<:msly micro­ scopic and telescopic. Woe to the critic who does not know which end of the glass is which. A greater woe falls upon his victims, for his confusion can do almost irreparable harm. During the last century, the means by which truth is identified have greatly increased. Because of the explosion of learning, the boundaries between one department of knowledge and another have vanished. The critic, even as the artist, can be like a scientist or a historian or, say, a scien­ tific historian, who revalues information that would otherwise be lost or forgotten in darkness. One aim of The Charioteer is to serve criticism as well as art. We are trying to bring as much light as possible to a region loosely called "modem Greek culture." Darkness has not, of course, entirely obscured the efforts of modem Greek writers and artists, but because of the language barrier and the geographic fact that Greece is at the edge ofthe western world, they have labored in a kind of half-light. The results of their labors have often been but dimly visible, if at all, to the world at large. The task of The Charioteer has so far been mostly historical. We have not limited its contents to only the best of Greek writing and art today; we have tried to give our readers some perspective on modem Greek culture as a whole. We have, of course, selected the works that have appeared, and our choice has been guided by a desire to make The Charioteer not selective, but representative. (If the language oflceland were the most widely known today, these pages would be printed, not in English, but Icelandic.) Some readers would, perhaps, prefer to have the cream separated before we went to press.
Load more

Recommended publications
  • An Interpretation of Some Unpublished in Situ and Recorded Rum Seljuk 13Th C. External and Internal Figural Relief Work on the Belkıs (Aspendos) Palace, Antalya
    GEPHYRA 8 2011 143–184 Terrance Michael Patrick DUGGAN An interpretation of some unpublished in situ and recorded Rum Seljuk 13th c. external and internal figural relief work on the Belkıs (Aspendos) Palace, Antalya Abstract: This article is divided into four parts. Firstly, it notes the precedent provided by the conversion of the Roman theatre at Bosra in Syria into an Ayyubid Palace, for the conversion of the Roman theater into the Rum Seljuk palace at Belkis–Aspendos and the known extensive use made of Syrian trained architects for important architectural projects by Rum Seljuk Sul- tans in the first half of the 13th c. Secondly, the two bands of Seljuk low relief depictions of fe- lines and a deer on a series of re–carved Roman limestone blocks on the exterior wall by the door leading to the southern köşk–pavilion erected above the parados and upon the lintel over this door, discovered by the author in 2007, extending over a length of nearly 10 m are de- scribed and the deliberate pecking of the surface of these low relief depictions it is suggested, was to provide bonding for applied painted stucco carved relief–work that completed this relief work on the exterior palace facade. The third section describes the painted Seljuk tympanum relief sculpture made of stucco plaster that concealed the Roman relief carving of Dionysus in the pediment of the sceanae frons in the 13th c. A sculptural relief depiction of a nude female figure which was fortunately recorded by Charles Texier early in the 19th c.
    [Show full text]
  • Studies in Honour of Éva Kincses-Nagy
    ALTAIC AND CHAGATAY LECTURES Studies in Honour of Éva Kincses-Nagy Altaic and Chagatay Lectures Studies in Honour of Éva Kincses-Nagy Edited by István Zimonyi Szeged – 2021 This publication was supported by the ELTE-SZTE Silk Road Research Group, ELKH Cover illustration: Everyone acts according to his own disposition (Q 17,84, written in nasta’liq) Calligraphy of Mustafa Khudair Letters and Words. Exhibtion of Arabic Calligraphy. Cairo 2011, 35. © University of Szeged, Department of Altaic Studies, Printed in 2021 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by other means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission in writing of the author or the publisher. Printed by: Innovariant Ltd., H-6750 Algyő, Ipartelep 4. ISBN: 978 963 306 793 2 (printed) ISBN: 978 963 306 794 9 (pdf) Contents Preface ................................................................................................................. 11 ŞÜKRÜ HALÛK AKALIN On the Etymology and Word Formation of Arıbeyi ‘Queen Bee’: How did the Female Bee Become Bey ‘Male Ruler’ in Turkish? ....................... 15 KUTSE ALTIN The Reconstruction of the Motives and Activities of the Last Campaign of Kanuni Sultan Süleyman ........................................................ 21 TATIANA A. ANIKEEVA The Tale of the Epic Cycle of “Kitab-i Dedem Korkut” in Turkish Folklore of the 20th Century ................................................................... 43 İBRAHIM AHMET AYDEMIR Zur Typologie von „Small Clauses” in modernen Türksprachen ........................ 51 LÁSZLÓ BALOGH Notes on the Ethnic and Political Conditions of the Carpathian Basin in the Early 9th Century ........................................................... 61 JÚLIA BARTHA Turkish Heritage of Hungarian Dietary Culture .................................................. 71 BÜLENT BAYRAM An Epic about Attila in Chuvash Literature: Attilpa Krimkilte .........................
    [Show full text]
  • Step-Mothertongue: from Nationalism to Multiculturalism the Literatures of Cyprus, Greece and Turkey
    Step-Mothertongue: From Nationalism to Multiculturalism the Literatures of Cyprus, Greece and Turkey Edited by Mehmet Yasın Middlesex University Press, (London,’ 2000) 207 pp. This is a most important publication examining the national and cultural identities of Greeks, Turks, and Cypriots through their literatures. Step-Mothertongue aims to draw attention to the cross-cultural and multicultural traditions through a comparative analysis of the literature and literary traditions of Greece, Turkey and particularly of Cyprus. Step-Mothertongue is timely because it approaches nationalism from a socio-cultural and literary-historical framework, rather than a traditional ethnic identity agenda. The articles in this publication were originally presented at a conference at Middlesex University on 12-13 December 1997, which aimed to build a body of work around the critique of nationalisms in the literature of Greece, Turkey and Cyprus. There are eight articles, an interview of Vamik Volkan by Yael Navaro-Yasın, and an after word by Djemal Kadir. Seven of the eight articles are separated’ into two sections, and a section of Cypriot poetry divides them. The first section titled “National Literatures in a Global Era” comprises four articles. The first article, by Gregory Jusdanis, Ohio State University, questions the absence of contemporary Greek literature from the branch of Western European literature. Twenty years ago critics considered it highly, but the supremacy of Western literary discourses within global literature and the dominance of the English language, have made contemporary Greek literature (and others written in the non- English tongue) a “stranger at the feast”. Jusdanis also argues that the lack of a contemporary Greek literary intelligentsia sophisticated enough to reorient Greek society and deconstruct the mainstream nationalist identity is also to blame, but he fails to answer why such an intelligentsia does not exist.
    [Show full text]
  • The Case of Writers of Greek Cypriot Descent in Australia
    Études helléniques I Hellenic Studies Self-Identification in Literature: The case of Wr iters of Greek Cypriot Descent in Australia Maria Herodotou * RÉSUMÉ Les Chypriotes Grecs en Australie constituent un sous-ensemble de la diaspora hellénique. La migration des Chypriotes en Australie est relativement récente en comparaison avec celle des autres Grecs. Leur plus grand nombre a émigré pendant les années 1960 et surtout après l'invasion turque en 1974. La plupart des écrivains Greco-Chypriotes sont, donc, nés à Chypre et leurs liens avec leur pays natal sont très forts. Le problème politique non résolu renforce ces liens.Cet article examine la façon par laquelle les écrivains Greco-Chypriotes s'identifientavec la Grèce, Chypre et l'Australie en tant que lieux et cultures. Les écrivains se distinguent ainsi en trois larges catégories à partir de la langue qu'ils utilisent (anglais, grec ou grec et anglais). rusage de la langue est une indication du degré de leur liaison à un certain lieu. Cela ne veut pas dire que la langue est le facteur le plus important de leur identification. Les écrivains anglophones (et quelques-uns des écrivains bilingues), par exemple, sont attachés aux deux cultures et cela crée une tension ou même un conflit qui est évident dans leur travail, quoique les hellénophones sont plus à l'aise avec leur iden­ tité hellénique. Ils éprouvent une nostalgie pour Chypre et ils essaient, d'une façon pénible, de recréer ou de reconstruire le lieu et sa culture. Pour tous les écrivains, la Grèce et l'hellénisme deviennent un monde conceptuel.
    [Show full text]
  • Hollywood Films Have Inspiration for Hindi Film Industry
    PRLog - Global Press Release Distribution Hollywood Films Have Inspiration For Hindi Film Industry The Hollywood influence is evident in some of the forthcoming biggies like Paa, Action Replay, Agyaat and Pyaar Impossible. June 23, 2009 - PRLog -- Right from cult classics like Baazi (1951) to Sholay (1975) and Baazigar (1993) - and even Ghajini (2008) - all have some western movie as the stimulus. The Hollywood influence is evident in some of the forthcoming biggies like Paa, Action Replay, Agyaat and Pyaar Impossible. Guru Dutt's debut Baazi was inspired by the Rita Hayworth starrer Gilda (1946), while Sholay is widely called an 'Indian curry Western film', with inspiration from seven Hollywood films including - Once Upon A Time In The West (1968), Spaghetti Westerns, The Wild Bunch (1969), Pat Garrett & Billy the Kid (1973) and Butch Cassidy and the Sundance Kid (1969). Baazigar and Ghajini are said to be Indianised versions of A Kiss Before Dying (1991) Memento (2000) respectively. Paa supposedly draws its plot from the 1996 comedy-drama Jack, about a boy who ages faster than normal due to a disease, while Akshay Kumar-starrer Action Replay is an alleged take-off on the reverse-ageing drama The Curious Case of Benjamin Button. Promos of Ram Gopal Varma's horror thriller Agyaat suggest sequences from sci-fi horror Predator (1987). Pyaar Impossible is apparently sketched around reality TV series Beauty and the Geek and 1999s Notting Hill - on a relationship between a film actress and her fan. David Dhawan, Karan Johar and Abbas-Mustan are working on remakes of The Wedding Crashers (2005), Stepmom (1998) and The Italian Job (1969 and 2003).
    [Show full text]
  • The Case of Cyprus*
    Perceptions of difference in the Greek sphere The case of Cyprus* Marina Terkourafi University of Illinois at Urbana-Champaign Cypriot Greek has been cited as “the last surviving Modern Greek dialect” (Con- tossopoulos 1969:92, 2000:21), and differences between it and Standard Modern Greek are often seen as seriously disruptive of communication by Mainland and Cypriot Greeks alike. This paper attempts an anatomy of the linguistic ‘differ- ence’ of the Cypriot variety of Greek. By placing this in the wider context of the history of Cypriot Greek, the study and current state of other Modern Greek dia- lects, and state and national ideology in the two countries, Greece and Cyprus, it is possible to identify both diachronic and synchronic, as well as structural and ideological factors as constitutive of this difference. Keywords: Modern Greek dialects, language attitudes, ideology, identity, Cypriot Greek 1. Introduction: Gauging the difference A question frequently asked of the linguist who studies the Cypriot variety of Greek is “Why is Cypriot Greek so different?”1 The sheer phrasing of this question betrays some of its implicit assumptions: ‘different’ being a two-place predicate, the designation of Cypriot Greek as ‘different’ points to the existence of a second term to which Cypriot Greek is being implicitly compared. This second term is, of course, Standard Modern Greek (henceforth SMG), which, nevertheless, being ‘Standard,’ also represents the norm — or, if you prefer, the yardstick — by which divergences are measured. As Matsuda (1991, cited in Lippi Green 1997:59) points out, “[w]hen the parties are in a relationship of domination and subordination, we tend to say that the dominant is normal, and the subordinate is different from normal” (emphasis added).
    [Show full text]
  • A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise En Scene Analysis of Selected Movies
    Annals of R.S.C.B., ISSN:1583-6258, Vol. 25, Issue 6, 2021, Pages. 9599 - 9606 Received 25 April 2021; Accepted 08 May 2021. A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise en scene Analysis of Selected Movies 1 2 Mena M, Varun Prabha T 1Post Graduate Student, MA JMC,Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India 2Assistant Professor, Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India Abstract Visually representing a story is an art. Mastering that art and capturing human minds into the soul of the characters of the film and mirroring the very own society was part of Mani Ratnam’s life for the past three decades. This research paper points towards some of the techniques employed and experiments conducted in visual storytellingin his various projects by using Miseen scene elements and cinematography in beautiful ways. In Roja what he Sasnthosh Sivan and Mani Ratnam experimented was painting the reflectors green, to look the grass greener than it actually is. In Thapalathy, Mani ratnam projected a yellowish light, like an aura into the protagonist which symbolizes his history and background. In Bombay, he throughout kept a blue tone in order to gives an element of mystery in the film. In Raavanan, he played with shades and light and that too in two different ways at the beginning and at the end of the films. In Alaipayuthe he presented the story more through the movements of camera and through micro expressions and symbolizations.Theglobalization and evolution of Indian Cinematography can be traced out through the works of Mani Ratnam.
    [Show full text]
  • Cypriot English Literature: a Stranger at the Feast Locally and Globally
    Kunapipi Volume 33 Issue 1 Article 9 2011 Cypriot english literature: A stranger at the feast locally and globally Marios Vasiliou Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Vasiliou, Marios, Cypriot english literature: A stranger at the feast locally and globally, Kunapipi, 33(1), 2011. Available at:https://ro.uow.edu.au/kunapipi/vol33/iss1/9 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Cypriot english literature: A stranger at the feast locally and globally Abstract My focus in this essay revolves around a corpus of literature written by Cypriots in English that has yet to define itself either as a hyphened branch of a national literature or as a minor independent category. So from the outset, my paper has a twofold task: firstly, to draw attention to the paradoxical position of Cypriot English writers who remain outside the literary feast both at home and abroad; and secondly, to explore the literary vicissitudes of some works of this corpus, and to examine how their minor position locally in relation to the dominant literatures in Greek and Turkish, and internationally in relation to global English — a position that Deleuze and Guattari (1986) describe as ‘minor literature’— has engendered syncretic aesthetics. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol33/iss1/9 83 MARIoS VASILIou cypriot English Literature: A Stranger at the Feast Locally and Globally My focus in this essay revolves around a corpus of literature written by Cypriots in English that has yet to define itself either as a hyphened branch of a national literature or as a minor independent category.
    [Show full text]
  • Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
    Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil.
    [Show full text]
  • The Umbrella Academy Tells the Same Story As the Comics in Broad Strokes, but Makes Subtle Changes to Take Advantage of the New Medium
    Community Community Dishaa Qatar Mahe Creative Sauhrida P6Dance Group P16 Sangamam, an from India performs ICC aff iliated socio-cultural at DPS-Modern Indian organisation, organises School auditorium as ‘Inter School Patriotic Song part of ‘Festival of India’. Singing Competition’. Monday, February 25, 2019 Jumada II 20, 1440 AH Doha today: 160 - 260 Super family COVER STORY The Umbrella Academy tells the same story as the comics in broad strokes, but makes subtle changes to take advantage of the new medium. P4-5 BOLLYWOOD HOLLYWOOD Sonakshi faces fraud Oscars: Most memorable TV allegations. moments of the last 50 years. Page 14 Page 15 2 GULF TIMES Monday, February 25, 2019 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 4.45am Shorooq (sunrise) 6.01am Zuhr (noon) 11.47am Asr (afternoon) 3.06pm Maghreb (sunset) 5.35pm Isha (night) 7.05pm A Star Is Born coaxes her into the spotlight. But even as Ally’s career takes USEFUL NUMBERS DIRECTION: Bradley Cooper off , the personal side of their relationship is breaking down, CAST: Lady Gaga, Bradley Cooper, Sam Elliott as Jackson fi ghts an ongoing battle with his own internal SYNOPSIS: Seasoned musician Jackson Maine discovers demons. and falls in love with struggling artiste Ally. She has just about given up on her dream to make it big as a singer until Jackson THEATRE: Royal Plaza Emergency 999 Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat
    [Show full text]
  • Teuxos 2 2007
    2_2007_ EXOFYLLO.qxd 30-11-07 09:55 ™ÂÏ›‰·1 2 ETUDES HELLENIQUES HELLENIC STUDIES A Tribute to Cypriot Literature Hommage à la littérature chypriote Edited by / Sous la direction de Lefteris Papaleontiou With associate editor / Avec la collaboration de Stephanos Constantinides Contributors / Contributions de Louiza Christodoulidou Yiannis Katsouris Stephanos Constantinides Yiorgos Lyssiotis Andri H. Constantinou Elsi Mathiopoulou Leonidas Galazis Yiorgos Moleskis Evripides Garantoudes George K. Myaris Christos Hadjiathanasiou Costas Nicolaides Maria Herodotou Lefteris Papaleontiou Yiannis E. Ioannou George Papantonakis ETUDES HELLENIQUES / HELLENIC STUDIES Kyriakos Ioannou Savvas Pavlou Maria Kallousia Elli Philokyprou George Kanarakis Theodosis Pylarinos Tassos A. Kaplanis Costas Vassileiou Matthias Kappler Lefkios Zafeiriou Alexis Ziras Volume 15, No. 2, Autumn / Automne 2007 2 2007 ÉTUDES HELLÉNIQUES / HELLENIC STUDIES Études Helléniques / Hellenic Studies DIRECTEURS / EDITORS Stephanos CONSTANTINIDES Centre for Hellenic Studies and Research Canada-KEEK Michael DAMANAKIS University of Crete - Greece Panayotis TSAKONAS University of the Aegean - Greece ÉDITEUR EXTERNE / EXTERNAL EDITOR Kathryn RADFORD McGill University - Canada COMITÉ DE RÉDACTION / EDITORIAL BOARD Paris ARNOPOULOS Concordia University (Canada) Jacques BOUCHARD Université de Montréal (Canada) Jean CATSIAPIS Université de Paris X (France) Georgia CATSIMALI University of Crete (Greece) Peter CHIMBOS University of Western Ontario (Canada) Dimitri CONSTAS Panteion University
    [Show full text]
  • Vicious Aid for Vicious Times
    Vicious Aid for Vicious Times PERIN GÜREL, University of Notre Dame “History’s unfinished business will recycle itself,” the exiled Iranian narrator of Call Me Zebra reminds herself and her readers.1 Like the heritage of violence messing up our progressive visions of what the present should be, the current era’s viciousness keeps interfering with my research – my attempts to access the past in the form of old texts and far-flung archives. I want to hide in History, but history grips me. Not only is this era’s viciousness inescapable, ignoring it with whatever privilege I can muster is itself a form of violence. I work on the cultural history of US–Southwest Asia relations. Focusing on Turkey and Iran, my research foregrounds clashing nationalisms as well as transna- tional flows. My studies depend heavily on Persian and Turkish texts, archives, and interviewees I can only access in Turkey or Iran. In the last few years, my access to these two countries (and beloved family and friends) has been repeatedly restricted by travel bans, visa disputes, and fears of war breaking out. While no one administra- tion has ever held a monopoly over US imperialism, the types of war waged on the region seemed to multiply and overlap with the Trump administration, with economic warfare, trade wars, armed violence, structural violence, and cultural violence over- laying each other at a dizzying rate. Local authoritarianisms, too, intensified in this period, often justified as a response to imperialist meddling or as a well-warranted turn against the ravages of a neoliberal system constructed by and for “the West.” More- over, the symbolic burden of being an immigrant from “the Middle East” has somehow increased since the immediate post-9/11 period.
    [Show full text]