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Holy Family Catholic Church South Pasadena, California
Presents: An 11-Day Pilgrimage through the Aegean Walking in the Footsteps of St. Paul including a 3-Night Cruise with Fr. Marlon Mateo and Cambria Tortorelli October 20 - 30, 2017 Holy Family Catholic Church South Pasadena, California Fr. Marlon Mateo Cambria Tortorelli For more Information please contact: Nancy Bevins at 626-403-6107 ([email protected]) or Faith Journeys at 1-877-732-4845 REGISTER by January 5, 2017 and SAVE $100! Following in the Footsteps of St. Paul with a 3-night Cruise 11 days / 9 nights Therefore, comfort and upbuild one another…esteem them with the greatest love…remain at peace with one another. (I Thess 5: 11, 13). On our pilgrimage through Greece, we will follow the footsteps of Paul to discover firsthand the sights, sounds, and feelings that he may have had as he established the Church in this enchanting, ancient land. As we behold the timeless holy places and contemplate the exemplary life of Paul who came not in word only, and not in affliction only, but also in power and with much assurance and great joy to admonish those he served, to join them in giving thanks to God and to remember without ceasing… great works of faith, labours of love and patience of hope in Jesus Christ (I Thess 1), we will renew our commitment to the roots of our Catholic faith. The masses and meditations we celebrate along the way will draw us together as a community, and will remind us of our blessings and the call to stewardship as followers of Jesus Christ. -
200Th Anniversary of the Greek War of Independence 1821-2021 18 1821-2021
Special Edition: 200th Anniversary of the Greek War of Independence 1821-2021 18 1821-2021 A publication of the Dean C. and Zoë S. Pappas Interdisciplinary March 2021 VOLUME 1 ISSUE NO. 3 Center for Hellenic Studies and the Friends of Hellenic Studies From the Director Dear Friends, On March 25, 1821, in the city of Kalamata in the southern Peloponnesos, the chieftains from the region of Mani convened the Messinian Senate of Kalamata to issue a revolutionary proclamation for “Liberty.” The commander Petrobey Mavromichalis then wrote the following appeal to the Americans: “Citizens of the United States of America!…Having formed the resolution to live or die for freedom, we are drawn toward you by a just sympathy; since it is in your land that Liberty has fixed her abode, and by you that she is prized as by our fathers.” He added, “It is for you, citizens of America, to crown this glory, in aiding us to purge Greece from the barbarians, who for four hundred years have polluted the soil.” The Greek revolutionaries understood themselves as part of a universal struggle for freedom. It is this universal struggle for freedom that the Pappas Center for Hellenic Studies and Stockton University raises up and celebrates on the occasion of the 200th anniversary of the beginning of the Greek Revolution in 1821. The Pappas Center IN THIS ISSUE for Hellenic Studies and the Friends of Hellenic Studies have prepared this Special Edition of the Hellenic Voice for you to enjoy. In this Special Edition, we feature the Pappas Center exhibition, The Greek Pg. -
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The Philhellenic Horizon: Homeric Prolegomena to the Greek War of Independence Constanze Güthenke Based on what Armstrong and Dué, in the invitation to this conference, have termed the Wolfian paradigm of Homeric research and its intersection with the preoccupations of the Romantic period (ballads; nature; language; nation; nostalgia; modernity), this paper examines the role of Homer within the horizon of European Philhellenism (in the sense of a partisan position favorable towards Modern Greece), as much as the impetus of this Philhellenism on approaches to Homer. I will first focus on the case of Wilhelm Müller, who achieved prominence in his own time mainly for his several volumes of Griechenlieder, written in support of the Greek War of Independence. In a second part, I want to speculate about the fate of Homeric knowledge and its use in post-independence Greece, whose writers were very highly aware of the Homeric features of the Western philhellenic endeavor. The overarching research framework behind this paper is the triangle between antiquity, the modern West and modern Greece, and its resulting tensions. The representation of modern Greece by way of a nature discourse is one example; the position of Greece vis-à-vis Europe, trying to reformulate conceptually the refractions and (mis-)representations arising from mutual perception, is another. This is also a question of comparativism, which is currently strongly exercising the Humanities again. Comparative literature is discussing again the notion of “world literature” and its imbalanced axes (see, e.g., Prendergast 2004), while history and the social sciences are continuously looking for new concepts of exchange and interplay as a heuristic method. -
The Case of Dionysios Solomos/Dionisio Salamon
Being a Bilingual “National” Poet: The Case of Dionysios Solomos/Dionisio Salamon ATHANASOPOULOU Afroditi (1) University of Cyprus, Cyprus (1) Abstract The aim of this paper is to highlight the case of the national poet of Modern Greece, Dionysios Solomos, whose Italian-Greek expression constitutes a case of bilingualism, which is probably unique in Modern Greek studies, if not in bilingual studies in general. Count Dionysios Solomos (1798-1857), a native of the Ionian island of Zakynthos, grew up in the environment in which diglossia was a fact of life, since the Ionian islands had been under Venetian rule for more than four centuries (1386-1797). In the case of Solomos, this state of diglossia coupled with the fact that he studied in Italy for ten years, from the age of ten to the age of twenty (1818-1828). In fact, Solomos’s manuscripts reveal unambiguously the interference between the two languages, Italian being the “dominant language” of his culture and Greek being a “mother tongue”, which was, however, acquired as a second language. This interference can be traced in a wide range of code-switched and code-mixed productions, a sample of which will be presented in the paper. Evidently, the depth of Solomos’s bilingualism goes beyond a merely linguistic approach to his idiom. It reaches all the way down, from the very conception of the poetic idea to the constitution of the poem (composition, diction, style). This is what makes Solomos’s bilingualism such a complex, yet critical issue. Solomos’s case constitutes an ideal case study, especially in the context of the multilingual and multicultural societies of our time. -
Transplanting Surrealism in Greece- a Scandal Or Not?
International Journal of Social and Educational Innovation (IJSEIro) Volume 2 / Issue 3/ 2015 Transplanting Surrealism in Greece- a Scandal or Not? NIKA Maklena University of Tirana, Albania E-mail: [email protected] Received 26.01.2015; Accepted 10.02. 2015 Abstract Transplanting the surrealist movement and literature in Greece and feedback from the critics and philological and journalistic circles of the time is of special importance in the history of Modern Greek Literature. The Greek critics and readers who were used to a traditional, patriotic and strictly rule-conforming literature would find it hard to accept such a kind of literature. The modern Greek surrealist writers, in close cooperation mainly with French surrealist writers, would be subject to harsh criticism for their surrealist, absurd, weird and abstract productivity. All this reaction against the transplanting of surrealism in Greece caused the so called “surrealist scandal”, one of the biggest scandals in Greek letters. Keywords: Surrealism, Modern Greek Literature, criticism, surrealist scandal, transplanting, Greek letters 1. Introduction When Andre Breton published the First Surrealist Manifest in 1924, Greece had started to produce the first modern works of its literature. Everything modern arrives late in Greece due to a number of internal factors (poetic collection of Giorgios Seferis “Mythistorima” (1935) is considered as the first modern work in Greek literature according to Αlexandros Argyriou, History of Greek Literature and its perception over years between two World Wars (1918-1940), volume Α, Kastanioti Publications, Athens 2002, pp. 534-535). Yet, on the other hand Greek writers continued to strongly embrace the new modern spirit prevailing all over Europe. -
Premio Nobel Per La Letteratura
Premio Nobel per la letteratura Bibliografia A cura della Biblioteca Cantonale di Bellinzona Novembre 2017 Il 5 ottobre 2017 Kazuo Ishiguro ha vinto il Premio Nobel per la letteratura. E’ stata l’occasione per scoprire o ri-scoprire questo importante scrittore inglese di origine giapponese. Ma quali sono gli scrittori premiati in questi anni? Dal 1901 ogni anno un autore viene onorato con questo significativo premio. Proponiamo con questa bibliografia le opere di scrittori vincitori del Premio Nobel, presenti nel fondo della Biblioteca cantonale di Bellinzona, e nel caso in cui la biblioteca non possedesse alcun titolo di un autore, le opere presenti nel catalogo del Sistema bibliotecario ticinese. Gli autori sono elencati cronologicamente decrescente a partire dall’anno in cui hanno vinto il premio. Per ogni autore è indicato il link che rinvia al catalogo del Sistema bibliotecario ticinese. 2017 Kazuo Ishiguro 2016 Bob Dylan 2015 Svjatlana Aleksievič 2014 Patrick Modiano 2013 Alice Munro 2012 Mo Yan 2011 Tomas Tranströmer 2010 Mario Vargas Llosa 2009 Herta Müller 2008 Jean-Marie Gustave Le Clézio 2007 Doris Lessing 2006 Orhan Pamuk 2005 Harold Pinter 2004 Elfriede Jelinek 2003 John Maxwell Coetzee 2002 Imre Kertész 2001 Vidiadhar Surajprasad Naipaul 2000 Gao Xingjian 1999 Günter Grass 1998 José Saramago 1997 Dario Fo 1996 Wisława Szymborska 1995 Séamus Heaney 1994 Kenzaburō Ōe 1993 Toni Morrison 1992 Derek Walcott 1991 Nadine Gordimer 1990 Octavio Paz 1989 Camilo José Cela 1988 Naguib Mahfouz 1987 Iosif Aleksandrovič Brodskij 1986 Wole -
Time, Elements and the Phoenix Hour in Lives and Poetry of Nobel Laureates and Their Celestial Twins
Time, Elements and the Phoenix Hour in Lives and Poetry of Nobel Laureates and their Celestial Twins. Elizabetha Levin Haifa, Israel E-mail: [email protected] We see that human creativity and innovation can be understood as the amplification of laws of nature… Ilya Prigogine {NL, Air} Abstract. In our times both the works and the biographies of the Nobel laureates {NL} are accessible to empirical study. Their biographic materials portray distinguished personalities as real people with their faults and weaknesses. Such biographic studies become available mainly because in our epoch the quality and quantity of psychological observation have increased dramatically. By opening the books of their own life stories, the Nobel laureates invite us to witness the circumstances of their growth and to gain a better understanding of the limits of free will and of "Zeitgeist" dynamics. Assuming that poetry is an even more valuable source of authors' attitudes towards life than their respective autobiographies, the Nobel laureates in Literature who were awarded their prizes explicitly for poetry, constitute the most informative group for biographical research. Furthermore, according to Alfred Nobel's will (1895), the poetry of the laureates should be also "the most outstanding work in an ideal direction." The ability of such laureates to inspire entire societies makes them attractive for historical research. This paper is a pioneer venture into temporology. It seamlessly blends three different types of time: calendar times, the primordial cycles of the elements and the factor of birth-time (the Theta-factor). To make this fusion possible, this essay opens with a brief Introduction written in four parts, each part being a thumbnail sketch of one of the following basic temporal aspects: definitions of time, the four elements, the Effect of the Celestial Twins (ECT) and the model of the Phoenix Clock. -
Liste Des Prix Nobel De Littérature
LISTE DES PRIX NOBEL DE LITTÉRATURE SAISON 2017 ---------------- SAISONS PRÉCÉDENTES ---------------- ECOUTER LES SOIRÉES ---------------- Le Projet Presse Alfred Nobel Liste des Prix Nobel de Littérature Partenaires L'équipe Contact Depuis sa création en 1901, de nombreux auteurs de tous pays ont reçu le Prix Nobel de Littérature... 2014 Patrick Modiano, France 1945 2013 Alice Munro, Canada 1931 2012 Mo Yan, Chine 1931 2011 Tomas Tranströmer, Suède 1931-2015 2010 Mario Vargas Llosa, Pérou 1936 2009 Herta Muller, Allemagne 1953 2008 Jean-Marie Le Clézio, France 1940 2007 Doris Lessing, Grande Bretagne 1919 2006 Orhan Pamuk, Turquie 1952 2005 Harold Pinter, Angleterre 1930 2004 Elfriede Jelinek, Autriche 1946 2003 J.M. Coetzee, Afrique du Sud 1940 2002 Imre Kertész, Hongrie 1929 2001 V.S. Naipaul Sir, Angleterre 1932 2000 Gao Xingjian, France 1940 1999 Günter Grass, Allemagne 1927 1998 José Saramago, Portugal 1922 1997 Dario Fo, Italie 1926 1996 Wislawa Szymborska, Pologne 1923-2012 1995 Seamus Heaney, Irlande 1939-2013 1994 Kenzaburo Oe, Japon 1935 1993 Toni Morrison, Etats-Unis 1931 1992 Derek Walcott, Sainte Lucie 1930 1991 Nadine Gordimer, Afrique du sud 1923 1990 Octavio Paz, Mexique 1914-1998 1989 Camilo José Cela, Espagne 1916-2002 1988 Naguib Mahfouz, Egypte 1911 1987 Joseph Brodsky, Etats-Unis 1940-1996 1986 Wole Soyinka, Nigeria 1934 Premier africain à obtenir le prix 1985 Claude Simon France 1913-2005 1984 Jaroslav Seifert, Tchécoslovaquie 1901-1986 1983 William Golding Sir, Angleterre 1911-1993 1982 Gabriel García Márquez, -
Dionysios Solomos
By Evangelia Makridi Dionysios Solomos Dionysios Solomos was born on April 8, 1798 in Zakynthos. He was the illegitimate child of a wealthy count, Nikolaos Solomos, and his housekeeper, Angeliki Nikli. His father married his mother just a day before his death to make Dionysios and his brother Dimitrios his legitimate children. The poet spent his childhood years on Zakynthos until 1808, under the supervision of his Italian tutor, Abbot Santo Rossi. In 1808, young Solomos was sent to Italy to study. He finished High School in Cremona and in 1817 he graduated from the Faculty of Law of Pavia University. Solomos started writing poetry in Italian, as he was a fluent speaker of the language and had great knowledge of Italian literature. Soon he was welcome in Italian literary circles as a brilliant poet of the Italian language. After 10 years of studies Solomos returned to Zakynthos in 1818 with a solid background in literature. In Zakynthos, which at that time was well known for its flourishing literary culture, the poet acquainted himself with people interested in literature. Antonios Matesis, Georgios Tertsetis, Dionysios Tagiapieras and Nikolaos Lountzis were some of Solomos' most well-known friends. They used to gather in each other's homes and entertained themselves by making up poems. They frequently satirized a Zakynthian doctor, Roidis. They also liked to improvise poems on a given rhyme and topic. His improvised Italian poems during that period of time were published in 1822, under the title Rime Improvisate. Along with the Italian poems, Solomos made his first attempts to write in Greek. -
Reply to Council Question
CORE Metadata, citation and similar papers at core.ac.uk Provided by Central Archive at the University of Reading The destinies of literary manuscripts: past present and future Article Accepted Version Sutton, D. C. (2014) The destinies of literary manuscripts: past present and future. Archives and Manuscripts, 42 (3). pp. 295- 300. ISSN 0157-6895 doi: https://doi.org/10.1080/01576895.2014.948559 Available at http://centaur.reading.ac.uk/37251/ It is advisable to refer to the publisher's version if you intend to cite from the work. To link to this article DOI: http://dx.doi.org/10.1080/01576895.2014.948559 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading's research outputs online THE DESTINIES OF LITERARY MANUSCRIPTS: PAST PRESENT AND FUTURE David C. Sutton The following essay is abridged and updated from a longer keynote address given on the occasion of the fiftieth birthday of the Beinecke Library, Yale University, in April 2013. The nature of literary manuscripts This esssay reviews the ways in which literary manuscripts may be considered to be archivally unique, as well as valuable in all senses of the word, and gives a cautious appraisal of their future in the next ten to twenty years. Literary manuscripts are not like other archives. -
Coping with Copyright
COLLABORATION – RBMS 2010, PHILADELPHIA © DAVID SUTTON 2010 INTERNATIONAL COLLABORATION IN LITERARY MANUSCRIPTS DAVID SUTTON Literary archives are not like other archives. Their importance lies in who made them and how they were made, the unique relationship between author and evolving text, the insights they give into the act of creation. The supreme example of this magical combination of form and content might be the manuscripts of Marcel Proust, lovingly preserved in the Bibliothèque nationale de France, 171 volumes of cross-hatched text, with later additions on small pieces of paper – the famous paperoles – glued onto almost every page: a wonderfully dreadful conservation challenge. Literary archives often have a higher financial value (or at least a higher price) than other archives. They are far more likely to be found in libraries than in archives offices. In many countries of the world literary archives are housed in private foundations (such as the Fundação Casa de Rui Barbosa in Rio de Janeiro), in literary museums (such as the Museum of Japanese Modern Literature in Meguro-ku, Tokyo), or in literary houses (such as the Maison de Balzac in Paris). In countries such as the USA, Canada and the UK, university libraries play the leading role, but this is by no means true in all countries. In contrast with most other types of archives ― business archives, medical archives, architectural archives, religious archives or municipal archives, for example ― literary archives are often scattered in diverse locations without any sense of appropriateness or “spirit of place”. In some cases the literary archives will have gone to another country and caused some controversy in the home country ― as with the Carlos Fuentes papers in Princeton University Library or the literary papers of Leopold Sédar Senghor in the Bibliothèque nationale de France (his political papers, however, remain in the Archives nationales du Sénégal). -
The Nation Between Utopia and Art: Canonizing Dionysios Solomos As The
15 The nation between utopia and art: canonizing Dionysios Solomos as the ‘national poet’ of Greece Vassiliki Dimoula Perhaps the most controversial element in the work of Dionysios Solomos, the ‘national poet’ of Greece, is his nationalism. My aim in what follows will be to discuss a contrastive relationship between the utopian element in Solomos’s national poetry and his canonization as the ‘national poet’ of Greece. The tension between Solomos’s work and its reception has recently been discussed by Giorgos Veloudis from the point of view of the appropriation of Solomos for the needs of Greek ‘national ideology’ (Veloudis 2004). By contrast, my own focus here will be on the ideologization of the aesthetic dimension of Solomos’s work in the course of his canonization as the leading figure of Greek national literature. Although I will not discuss the poet’s reception in any detail, my points of reference will be Iakovos Polylas and Kostis Palamas. The social‑imaginary institution of the nation is by definition ideological; it constitutes ‘a social reality whose very existence implies the non‑knowledge of its participants as to its essence’ (Žižek 1995, 2, cited in Gourgouris 1996, 26). In order to justify my discussion of it as a ‘utopia’ in the poetic work of Solomos, I will refer to the transcendental poetics of his time, Dimoula as well as to modern theorizations of utopia, with particular emphasis on the notion of ‘negative utopianism’ suggested by Theodor Adorno.1 Veloudis, in his recent book (2004), provides a detailed account of Solomos’s appropriation by Greek ‘national ideology’, which was based on a politically motivated distortion of his work.2 The ‘nationalization’ of Solomos in the course of his multifaceted reception obscured the initial, historically very specific grounds of his canonization as ‘the national poet’ of Greece by the Heptanesians.