7

&

16-18 2013
'

Proceedings

7th Athens Postgraduate Conference

of the Faculty of Philology

National and Kapodistrian University

of Athens
16-18 May 2013
Volume B
 7 &
,
, 16-18 2013.

7th Athens Postgraduate Conference of the Faculty of Philology,

National and Kapodistrian University of Athens, 16-18 May 2013.

ISSN: 2407-943

ISBN: 978-960-466-139-8 (SET)

ISBN: 978-960-466-141-1

Copyright @2014 /
NATIONAL AND KAPODISTRIAN UNIVERSITY OF ATHENS

/ Cover design by: http://pixgood.com/four-seasons-tree-tattoo.html

EDITORIAL COMMITTEE
George Vlachos
Nassia Gkouma
- Popi Eldachan-Apergi
Doukissa Kamini
Frantzeska Katsari
Ilias Kolokouris
- Kassiani-Maria Kontaxi
Ageliki Logotheti
. Athina N. Malapani
Vassilis Nastos
Popi Xanthakou
Florentia Riga
Paraskevi Savvidou
Sofia Samoreli
Thodoris Stamatis

xiii
 ORGANIZING COMMITTEE
BYZANTINE PHILOLOGY
Evgenia Kontaxi
Sofia Samoreli

LINGUISTICS
Nassia Gkouma
- Popi Eldachan-Apergi
Thanasis Kalogeropoulos
Ilias Kolokouris
Ageliki Logotheti
Paraskevi Savvidou
Nick Tseres

CLASSICAL PHILOLOGY
Vasilis Boutsis
Vassilis Nastos
Eleni Ntanou
Sofia Panagiotou

FOLKLORISTICS
Artemis Konstantideli
- Kassiani -Maria Kontaksi
Popi Xanthakou

& MEDIEVAL & MODERN GREEK

PHILOLOGY
George Vlachos
Florentia Riga

xiv

'

FOLKLORISTICS

: .......................................................474

.
(1947-1974)...................................................................................................................481

...............................487

.
.......................................................................................................494

. . (
)............................................................................................................499

:

...........................................................................................................................509

Dimitrios Kassis
Womanhood in Alec Tweedies travelogue Through Finland in Carts.........................517

-
....................524

Nibelungenlied. -
.......................................................................................................................534

.................................................545

.....................................................553

xv

:
.............................................................................................................562

......................................569

:
..............................................................................................579

....................................................................................................................589

Olga Toskhoporan
(, ,
) ..................................597

..............................................606

:
..................................................................615

:
,
....................................................................................................................622

.
.........................................628

: . ...............................638

xvi
 &
MEDIEVAL & MODERN GREEK PHILOLOGY

. - ( 1878- 1964):

..........................................................................................................................649

.
.......................................................................................................................................659

.. :
............................................................................................................670

-.
. ..............................................................................676

. . .....................683

............................................................................................687

( ...)
. , . , ..
.. 1850-1980..................................................................698

(1843)
...............................................................................................707

:

..................................................................................................................717

:
....................................................................................................................724

:
.......................................................................................................................734

xvii

:
....................................................................741

.
.
...................................751

:
Caravaggio . .......................................................................................762

...........................771

: .................................................................................778

Guernica Picasso
.. ....................................................................788

. . ...........................797

........................................................................................................................806

......................................................814

, :
...........................................................................................824

.................................................................................835

,
19 .......................................................................................................843

,
...........................................................................................................................853

xviii


..............................................................................863

: ;
,
0.....................................................................................................................................873

-
: ,

...........................................................................................................................883

-

....................................................................................................................898

.
..........................................................................................................................908

[] :
.........................................................................................................................914

( ...)
. . ,
............................................................................................................922

Julian Gore Vidal -
Gore Vidal
. . .........................................................................................................928

.

........................................................................................................................938

:
.....................................................................................................................946

..............................................................................................953
...............................................................................960

xix


FOLKLORISTICS
 :

Intercultural influences on clothing and fashion lead to a multicultural fashion and link it to folklore and
traditional costumes. The last ones inspire fashion designers around the world; they have a role in the
development of local fashion industries and interact dynamically with fashion centers such as Paris,
London, Milan, New York etc. The history and the politics of each country in the field of fashion lead
their culture on the catwalk, building bridges between contemporary and traditional elements. In all
developing countries, fashion weeks have a bright future. For Western fashion designers, traditional
costumes of non-Western cultures constitute an important source of inspiration. Fashion promotes cultural
diversity as well as its clothes and materials reflect the influence of many cultures and promote their
appreciation. In our days people are willing to wear clothes that are influenced by foreign cultures'
groups.

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/ Christian Lacroix, Dries Van Noten, John Galliano,
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478
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.

Barthes, R. 1967. The Fashion System. Ewing: University of California Press.

Benstock, S., & Ferriss, S. 1994. On Fashion. New Jersey: Rutgers University Press.
Craik, J. 2003. The Face of Fashion: Cultural Studies in Fashion. London: Taylor & Francis.
Cunningham, P., & Voso, S. 1991. Dress and Popular Culture. Madison: Popular Press.
Dwyer, C., & Crang, P. 2002. Fashioning Ethnicities. Ethnicities, 2 (3), . 410 - 430.
Eicher, J., Evenson, S., & Lutz, H. 2008. The Visible Self: Global Perspectives of Dress, Culture, and
Society. New York: Fairchild Publications.
Geoffrey-Schneiter, B. 2001. Ethnic Style: History and Fashion. Paris: Assouline.
Hebdige, D. 1979. Subculture: The Meaning of Style. London: Routledge.
Knox, K. 2012. Culture to Catwalk: How World Cultures Influence Fashion. London: A&C Black Trade.
MacKrell, A. 1990. Paul Poiret. Boulder: Holmes & Meier Pub.
Puri, S. 2001. Ethnic Fashion Obscures Cultural Identity. The Yale Herald, 1 (2), . 1 - 3.
Simmel, G. 1905. Fashion. International Quarterley (10), . 130 - 155.
Steele, V., & Major, J. 1999. China Chic: East Meets West. Yale : Yale University Press.
Thorstein, V. 1894. The Economic Theory of Womans Dress. The Popular Science (46), . 198 - 205.
Vivienne, T., & Huang, M. 2009. China Chic. New York: Regan Books.
, . 2009. . : .
, . 1989. . : - .

480
 .
(1947-1974)

By this report, we attempt to show that Greek cinema of the period indicated by the
title, not only has the characteristics of popularity/commercialism at the stage of
consumption and a plethora of folklore elements in its content, but that it is truly
popular from an aesthetic and class point of view, as the people has affected
decisively the issues it treats and the cosmic theory it expresses, even if this didnt
happen directly but through a crooked course.

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486


The book Vasilikos (=basil), is actually a play, and one of the greatest works of the Modern Greek
theater. It is written in 1830, by Antonios Matesis, who was born and lived in Greek Island, Zakinthos.
The writer himself, says that through this work, tries to bring forward the view of his age, along with the
customs which prevailed on this island.
Based on this, this paper will try to highlight the folklore elements (attitudes, styles, thematic, morals and
values), that lie in-between the lines that Matesis wrote in this play.
The first part is a reference on the life and the work of the writer, while the second part constitutes a
synopsis of his writings and acts as an introduction to the main subject of this paper. Finally, a number of
the performances are presented, in order to highlight the deep appreciation of the theatrical world on this
play (Vasilikos).

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493
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The present statement aims to approach the phenomenon of transformations that societies experience over
the years. Space and time are phenomena created in social terms. Historical changes and social
transformations lead communities to a change in their orientation. This is what happened in the hellenic
space. Through the process of urbanization, the communities have changed form. People gradually
encountered the urban nostalgia and the exoticism of rural life and its relevant traditions. In the light of
these transformations, the notion that mainly interests us is the historicity, to wit, the perception of the
past time as a result of the awareness of its distance from the present.

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498
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An one hundred years old folk house of the 20th century has been the focus of this essay which was
intended, first to demonstrate the general principles of traditional and modern architecture on Andros, an
Aegean island, second the influence of the cultural identity to the formation of the architecture one. It is
studied whether the social economic and moral base of a society can form the functionality and aesthetics
of an architectural structure, As it is proved the era signs have an effect upon peoples works which are
transformed into witnesses of the cultural context of a particular group, time and space. Except for their
constant interaction between them, that means influence and reflection in each other, it is also emphasized
their variation into different social realities in due time as, deterministically, communities are in a
continual process of change.

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cultural archives and folk collections, c) to investigate the role of social media (Web 2.0) in promoting
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516
Womanhood in Alec Tweedies travelogue Through Finland in Carts

Dimitrios Kassis
National and Kapodistrian University of Athens

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One of the few British travel writers who devoted extensive part of her literary work to
Finland as a separate cultural and geographical entity, was Ethel Brilliana Tweedie, a
prominent woman born to a wealthy middle-class family, who signed her work as Mrs.
Alec Tweedie. In spite of her limited recognition by the literary world as a significant
travel writer and novelist of the Victorian era, Tweedie was a prolific writer and a keen
traveller. Some of her main travel narratives, well-known to the Victorian reader, were
The Winter Jaunt to Norway (1894), A Girls Ride in Iceland (1895), Mexico from Diaz
to the Kaiser (1906) and Mainly East (1922). However, her most illustrious book did
not belong to the genre of travel literature: Women and Soldiers (1918) refers to the
issue of New Womanhood, as manifested during the First World War in Britain. The
New Woman movement was a feminist ideal that flourished in the late nineteenth
century, based on images of womanhood in Henrik Ibsens work, that subverted gender
limits set by male-dominated society.
Being a suffragette and a strong advocate of British womens participation in the
public sphere, Tweedie saw the potential of womens sociopolitical emancipation not
only through their active involvement in the Red Cross, but also through the provision
of various services in the army. According to Doan (2006:517), Tweedie repeatedly
alludes to the Era of New Womanhood during which role redistribution should occur
between men and women so as to overturn the well-established gender system in early
twentieth-century Britain. Owing to her strong belief in womens liberation, a major
part of her narratives might be interpreted in the light of contemporary feminist theories.
Therefore, it is inevitable that this paper would set the focus on the issue of
womanhood, as well.
With regard to her travel narrative Through Finland in Carts, there are several
instances suggesting that Tweedie is extremely interested in the issue of womanhood, as
she frequently draws a comparison between British women and their Finnish
counterparts. Despite being raised in a patriarchal society, in which women were closely
attached to their spouse and could only achieve a higher social status through the
position of their male partner in society, Tweedie seems to admire sincerely the
independence as well as the liberation of Finnish women in a number of fields.
Before embarking on the writers stance towards Finnish womens womanhood, it
is essential to stress her own capacity as a traveller. Making a journey to the Grand

517
Principality of Finland, unescorted by a man, accompanied only by her sister and a
Finnish upper-class friend, Frau von Lilly, Tweedie is not a conventional middle-class
woman of her time. Her very decision to travel alone, without the presence of a male
escort-guide, subverts a commonly seen pattern in Victorian literature; Tweedie
challenges the well-established belief that journeys in the North constitute an adventure,
in which only men can engage due to the perilous character of these travels. Tweedies
status as a travel writer implies an open questioning of Victorian gender barriers: as
maintained by Fjgesund & Symes (2003:63), the travel accounts of adventure, in
which category the Scandinavian travelogues most naturally belong, challenged
assumptions about the female need for protection. Since Tweedie succeeds in
completing her journey without any serious obstacles in her way, she puts into question
other gender attributes ascribed to Victorian women, such as passivity and limited
participation in the sociopolitical scene in Britain.
When touching upon the issue of womanhood, she clearly transgresses from her
socio-cultural background and, in many instances throughout her travelogue, she
marvels at the extraordinary liberty that Finnish women enjoy by contrasting the
English womens lack of progress in the field of social liberation. A sign of this
admiration can be noticed when the writer mentions the issue of Finnish womens easy
access to higher education while discussing about university life with one of her Finnish
male companions: This was all very well so long as men only took the degree, but great jokes have
arisen since women have stepped in, because ladies naturally think it is only right that men should weave
their laurel-wreaths.
And do they?
I believe they do. If not actually with their own hands, they superintend the making of such wreaths for
their lady friends, whom we welcome to our University with open arms.
Being a very thorny problem of late nineteenth century England, the issue of
womens education had led to a serious debate about the necessity of admitting women
to higher education institutions, given the general concern that education could unsex
women. However, it was deemed necessary by the British state to incorporate women
into institutionalised education and encourage their increasing participation in the public
affairs of England because their educational improvement was linked for the first time
to the promotion of the British Empire. Even though Finland is presented by Tweedie as
the epitome of backwardness, being dependent on the Russian Empire and having a
culture which was not akin to Western manners and mores, the unquestionable gender
equality, which existed at the time of Tweedies residence in Finland, proves the
seriousness of gender segregation in Britain as well as the open-minded mentality of
Finns on the same subject. In that way, the values of the dominant culture sound more
primitive than the actual social system of the northern periphery that Finland embodied.
In the Women and Education chapter, the writer seems to put aside the portrayal of
Finland as a primitive, northern periphery. She dwells extensively upon the remarkable
progress of Finnish women in the field of letters: We must pause and reflect on two of the most
important factors in Finnish life- the position of women, and the excellence of education. For it is the
present advancement on both that will make a future for Suomi and even today can teach us much (194).
The writers concern over the issue of womanhood is not paradoxical, given
Tweedies own status as a travel writer and journalist during a period in which British
womens sole possibility to ascend socially was in the most indirect way, through a
successful marriage with a man of significant social position. Being an ardent advocate
of feminist rights, Tweedie condemns the gender stereotypes of her own society by
employing the prevailing sexual equality in Finland as a desired goal to attain for her

518
own compatriots: There has been a preponderance of the female sex, and though in the last twenty
years this surplus has diminished by one half, it may perhaps in some measure account for the wonderful
way in which women have pushed themselves to the front and ceased to look upon matrimony as the only
profession open to the sex (195).
Interestingly enough, she was one of the female writers who supported the use of
uniformed women in industrial and war expeditions by the British army during the First
World War; her own statement that the world has discovered women, and women have
found themselves, and a new world has been created summarises her liberal views on
the subject of womanhood and her sympathy for female struggle for sexual and
professional independence. Therefore, the subversion of Victorian prudery on several
occasions in Through Finland in Carts is not coincidental, considering her later
activism on womens independence: According to Doan (2006:517), with hyperbolic
flourish Tweedie cheerfully welcomed the new world order, declaring it a state of
topsy-turvydom wherein every man is a soldier, and every woman is a man.
Articulated by Tweedie during the First World War, these statements indicate the
writers faith in womens active role in every possible field of human activity. Social
inversion both at a spiritual and a physical level seems to constitute one of the writers
key aims.
Overlooking the Victorian attitude towards her own sex, Tweedie employs the
example of Finnish female independence in order to reflect upon a potential
independent status of English women, who are not entitled to transgress socially by
delving into male occupations. The strength and perseverance of Finnish women is
strongly opposed to the reduced state of Victorian women as passive human beings,
who are deprived of any form of subjectivity and are prone to submissiveness. British
womens lack of agency is an overwhelmingly frequent subject in Tweedies discourse,
given her tendency to identify with the dynamic attitude of the women in a land which
might be inferior to Britain in the Victorian terms of culture and politics but well
advanced in social change. While commenting on the remarkable emancipation of
Finnish women, the writer emphasises the strong image of this countrys women in
juxtaposition with the weak members of the same sex in Britain: we were impressed by
the force and the marvelous energy and splendid independence of the women of Suomi
who became independent workers long before their sisters in Britain (197).
In Through Finland in Carts it is clear that the writer endeavours to break away
from several Victorian conventions about female representation. In order to disseminate
her liberal views on the subject, she projects the persevering image of Finnish women as
human beings who have constructed their subjectivity through their continuous
involvement in male-dominated fields of human activity. As a consequence, unlike male
travellers, who are more interested in relating the adventures of their journey to the
unknown lands, Tweedie discovers in Finland the North Arcadia for British women who
pursue further emancipation and refuse to comply with the Victorian standards. These
standards do not favour the stern and obdurate strength of women and emphasise
female weakness as their most lovable trait.
Another breach in Victorian prudery is the subversion of the fallen womans
concept. Victorian society was renowned for its lack of sympathy and growing interest
for women who had sinned and consequently violated the Victorian moral norms of
purity. Yet in a conservative society, every possible expression of female sexuality was
deemed morally reproachful. Based on that assumption, Tweedie juxtaposes the
Victorian image of morally transgressive women (usually linked to prostitution) with
the images of Finnish womens nudity; despite their lack of reservations when it comes

519
to the exposure of their body, Finnish women are equally virtuous, devoted mothers and
housewives: In spite of advanced education, in spite of the emancipation of women (which is
erroneously supposed to work otherwise), Finland is noted for its morality, and, indeed, stands among the
nations of Europe as one of the most virtues (197).
Thus Finnish women, who have subverted the Victorian conception of female
decorum through their total emancipation in aspects of human life that were
predominantly male, have acquired their social independence without being considered
unsexed or corrupt. This point is extremely important since the writer attempts to
dissociate moral corruption from womens struggle for wider emancipation. What is
more, the problematic nature of her role as a female writer in imperial England does not
prevent her from foregrounding Finnish liberal thinking; it should not be underestimated
that Tweedie manages to illustrate the advanced state of womanhood in an unknown
land and emphasise the poor progress in her home country on the same topic.
Notwithstanding Tweedies sincere interest in various manifestations of
womanhood through her narrative, always accompanied by signs of admiration for the
successful emancipation of Finnish women, such as their occupation in the countrys
industry, their access to higher education and their recognised right to vote as early as
1863, the writer cannot fully overcome the stereotypical conventions of female decorum
of her society, owing to the gender reality of Victorian England that does not allow her
to accept scandalous scenes of nudity. The writers use of the Finnish primitive Other
is inevitable when she, a Victorian middle-class woman, is confronted with her own
sexuality and her bodys exposure to the public.
As argued by Granqvist (1995), her distancing from the Finnish Other occurs
during the sauna chapter, in which she coalesces with the Victorian conventions about
her own sex and denounces the sauna bath for instigating a whole repertoire of
violations against Victorian social and moral norms. Through the writers eyes, the
Finnish bathing process is an objectionable practice as such, bringing people together
regardless of their sex and social position: Every Saturday, year in year outthe whole family
have a bath- not singly, oh dear, no, but altogether, men, women, and children; farmer, wife, brothers,
sisters, labourers, friends, and the dogs too, if they have a mind; so that once a week the entire
population of Finland is clean, although few of them know what daily ablutions, even of the most
primitive kind, while hot water is almost as difficult to provide in Suomi as a great auks egg in England.
Apparently, the steam bath culture appears to scandalise the writer, who has been
brought up on totally different cultural values. If Tweedie appears to hold a liberal
stance towards the emancipation of women in Finland, she cannot go beyond the
stereotypes ascribed to her sex and social position. The exposure of the female body
triggers the Victorian norms about nudity and morality; Tweedies strong objection to
female nudity could be associated with Beauvoirs claim that the female body
constitutes a situation rather than part of ones physical appearance.
There is another episode in which the reluctance of the author and her sister to
adapt to the sauna culture of Finnish society mirrors the negative connotations with
which body is associated in Victorian society. My sister had hardly taken a plunge from the
spring-board into the water below, before every man, woman, and child in the neighbourhood began
exclaiming one to the other, "The English lady has tumbled in," and, absolutely, before the bather's head
could appear again from the depths of the water they had all run to the bank to have a look at the
phenomenon, more prepared to rescue her from drowning than to see her swimming far out into the lake
with clothes on (60).
The different cultural experience between the English women and the natives is
more than obvious: the condition of nudity is misinterpreted by the writers sister, who
is not accustomed to being viewed by strangers during her swimming in a lake. This is

520
why she prefers to swim in her bathing suit, a fact which seems incomprehensible to the
Finns, who believe that she is about to get drowned. In other words, they cannot
understand her prudish behaviour, since they are used to swimming completely nude,
regardless of sex, given the absence of negative connotations attached to the female
body. Needless to say that in the Finnish sauna swimsuits, towels, or any other garments
were (and are) rarely worn. The woman travellers treatment as the centre of attention
by the local people challenges the womans perception of her body as evidence of guilt.
In particular, the female body is regarded as an essential component of female
subjectivity. Being seriously affected by the notion of female decorum in Victorian
society, Tweedie fails to see the connection between nudity and social emancipation.
Despite her exaltation of Finnish womens independence, she does not recognise that
the prevalent gender equality in Finland stems exactly from social equality on a larger
scale, overlooking concepts like social hierarchy and stereotypically gendered attitudes.
Also, the writer does not become aware of the saunas intrinsic connection to
Finnish identity and overall mentality; commenting on the significance of steam bathing
culture in Finland, Bird (1: 2002) affirms that, connected with birth and health and life-
affirming water, the sauna was as sacred as a church (1). Taking this definition of
sauna into consideration, it might be deduced that the sauna suggests a highly esteemed
ritual which does not only have religious associations, being linked to the purgatorial
process advocated by the Church, but also seeks to unite people from different
backgrounds. The coexistence of different, conflicting elements leads to the effective
understanding of the Other, in terms of gender or social status, and increases solidarity
for the creation of patriotism and national identity. Yet Tweedie is oblivious to all these
important factors and continues to treat elements, which do not belong to the prescribed
moral code of Victorian England, as contemptible characteristics of the primitive
Other, embodied by Finnish people.
In addition to the gendered version of a simple Finnish ritual, Tweedie attributes
an element of eroticism to the cleansing process of sauna in the following incident
during which Tweedie is treated as a spectacle by Finns, when trying to have a sauna
bath. A spectacle, verily! But who could be angry with such innocent people? I had come to try a strange
Finnish bath which interested me- why should they not come to see a queer Englishwoman if it amused
them. Flinging shyness to the winds, therefore, I smiled and grinned at the next woman who entered as
though I liked being on view and she went away happy (64).
Discussing the issue of the writers nudity in public, Granqvist (1995:202)
comments on the writers swimming in a lake in front of some Finnish boys: male
gazing has been reversed into two contradictory aspects. It has been rendered socially
insignificant but acceptable as part of a transgressive cultural experience, what is clearly
outside the feminine idea of respectability; secondly, its erotic motivation and content
provide the women protagonists with a sense of power and centrality. It is true that
Tweedie, previously scandalised by the explicit nudity in Finnish bathing customs,
allows herself to transgress in terms of Victorian decorum by letting some young Finns
peep into her naked body while swimming. As suggested by Granqvists above
statement, she experiences contradictory feelings, an amalgam of guilt and pride; owing
to the strict Victorian principles, the scene increases the writers own insecurity about
her sexuality and contemplation of her body by members of a different gender. At the
same time, she experiences an increasing feeling of empowerment over the male gaze; it
is quite probable that the writer tends to diminish the seriousness of this situation
believing that the men who gaze at her body are not her equals since they belong to
another, primitive culture. Therefore their indiscrete attitude as part of their general

521
primitive manners is partly justified. The author also treats this incident as of minor
importance because she associates sexuality with acquisition of subjectivity. In that
way, the male gaze reassures her femininity because she is rendered the centre of
attention, a fact which reflects the writers inability to function outside the familiar
gender norms of Victorian England.
Further on, she refers to Finnish bathing customs en masse in a depreciating
manner when she relates the story of a British male traveller who had a close experience
of sauna customs: some hours afterwards he went for a ride, and on returning to the
village he passed a Sauna, where the folk were enjoying their primitive kind of Turkish
bath (58). Clearly, sauna is severely criticised by the author as an ugly version of a
Turkish bath, during which people, regardless of sex, age or social status, enjoy bathing
together. Tweedies negative attitude towards sauna might be attributed to the
Victorians general concern about the degenerate habits of the Oriental world; the
bathing culture of the East appears to challenge the moral norms of nineteenth century
British society because of its perceived erotic nature, thus contaminating Victorian
culture through the introduction of Levantine influences deemed incompatible with
Western values (Aravamudan 1995). Although Tweedie does not wish to dwell
extensively upon the subject, she is certainly aware of the moral implications that the
sauna custom might have for the average European woman attempting to enjoy a bath
which can provoke the conventional manners and mores. Regarding this rather
prudish attitude, which is often encountered in womens travelogues, Foster & Mills
(2002:8) raise a quite important issue suggesting that even outside of colonised
countries, British women often manifested a great concern about the necessity of
dressing and behaving correctly. In that way, they fail to identify with whatever they
consider unrelated to their own cultural experience and tend to reiterate the prejudiced
discourse of the dominant male gaze. Besides its sexually challenging dimension,
Finnish steam bath culture alludes to the nineteenth-century opposition between the
sturdy North and the corrupt South, as the embodiment of the sensual and indolent
Orient (Mitsi 2005:53). Comparing the sauna custom to the Turkish hammams,
Tweedie does not only speak as a Victorian woman but also places hersef as a Western
woman who supports the view of the Germanic cultures as morally superior to the
corrupt Orient and South, a recurrent pattern in British travel literature since the early
nineteenth century; as S. Isleifsson (2009:151) points out, the majority of Germanic
nations, previously accused of barbarism because they do not fit in with the cultural
criteria of the Greco-Roman aestheticism, seized the opportunity to make their own
claim to the cultural significance of the North. Apparently, despite its geographical
location, Finland is culturally displaced to the East.
In short, it could be argued that, if the writers views of Finnish identity and
people are ambivalent in various instances, Tweedies attitude towards the issue of
gender seems to be quite unclear: strongly influenced by the stereotypical depictions of
her gender, she tends to sexualise Finnish culture, a fact which certainly reveals her own
suppressed sexuality and, at the same time, contradicts her general statement that
Finnish people, and especially women, are very virtuous compared to other nations with
less liberal customs. What is more, the writer fails to see sexuality as part of social
equality in Finland. In conclusion, the author is often carried away, engaging with a
discourse which is reminiscent of the principles of Victorian prudery and the imperial
gaze.

522
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Fjgesund, P. & R. A. Symes 2003. The Northern Utopia: British Perceptions of Norway in the 19th
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Foster, S. & S. Mills 2002. An Anthology of Womens Travelling. New York: Manchester University
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523


Speech involving proverbs holds a dominant place in mans daily life. By means of two chief features, its
visually-oriented expression and metaphor, it is capable of condensing concepts and feelings that can be
easily understood, whatever the level of education of the listener.
In the present paper, we present the manner in which the female gender is depicted in proverbial
expressions from Epirus. Over the course of the centuries woman has undoubtedly been undervalued by
the male, so-called stronger sex, something that is apparent in traditional communities throughout Greece,
as is also the case in Epirus, which we deal with here. Our research is archive - and bibliographically-
based and we examine the categories of woman as daughter, spouse, daughter-in-law, mother-in-law and
mother.

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528

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531

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.

533

Nibelungenlied.
-.

Das Nibelungenlied gehrt sich zu der langen oralen Tradition der Heldendichtung. Die mndlichen
Ausfhrungen, die keine Charakteristika einer umfangreichen Rede vorfhren, umfassen stereotype
Adjektive und Phrasen und ihre Variationen, die die allgemeine Verwendung von blichen Wrtern und
stndigen Wiederholungen besttigen. Der Grund davon ist, da die Formtechniken die Erhaltung des
Reims und der Strophen erfordern. Der volkskundliche Hintergrund des mittelalterlichen Epos von
Nibelungen bezieht sich auf die deutsche Mythologie, die Sage, das Mrchen und im Allgemeinen die
oralen Traditionen ber die dmonischen und bernatrlichen Wesen. Das Nibelungenlied steht sich als
ein reprsentatives Beispiel der Zeit der massiven Emigrationen, der groen Dichtung des epischen Ethos,
der epischen Abenteuer und Kmpfe und der Hofliebe, die dennoch nicht so idealistisch ist. Die
Antriebskraft des menschlichen Schicksals sind die Liebe (Siegfried-Kriemhild), der Ruhm und die Rache
(Kriemhild-Hagen). Diese Liebe -eine Errungenschaft des 11. Jahrhunderts- triff auf jeden Fall als ein
Vorbild der reinen Liebe und des Rittertums auf. Der andauernde Stand der ungelsten Konflikte
erscheint als eine notwendige Bedingung der Gesellschaft, die die Volksmenschen unter einer
gemeinsamen Form bindet. Die Liebe und das Hass verbinden sich mit dem Tod, der sich aus den
Feindseligkeiten hervorgeht. Die Angriffsrache ffnet den Kreis der Gewalt. Die Liebe ist Gewalt, die
Grenze setzt und annimmt.

(Nibelungenlied)
(Heldendichtung)
. ( 2009: 22-28)

.
, -
-
.
,
( 2010: 15).
.
1200,
, 1.
, ,
,
1
Waltharius manufortis
Ekkehard.
.
, ,
( 1972-1973: 138). ,
Einhard (Vita Karoli Magni)
,

. Waltharius manufortis ( )
Hildebrandslied,
( 20092: 7-8).
. Grgoire (1935) Panzer (1955).

534
 (Borst 1973), ,
(),
,
2,
aides-mmoire,

. (/ ,
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( 2004: 88).
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3 (Ong 2010: 49).
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535

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and Barbagli 2001: XXIX Donahue 2007 Boockmann 1981).
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536
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538
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(Minnesnger)
13 (Nef 1960: 103). .
, Heinrich von Ofterdingen,
1207.
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539
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29. courtly love Gaston Paris
19 , ,
1960 (Sadie-Tyrrell 2001: 799).
30
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(Sadie 2001: 799).
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) ( 2010: 91).

. curialitas
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( 2010: 92).
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.
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M. Bloch,
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( 2007: 177).
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(Duby 1988: 71).
, 5 13 ,
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(Braudel 2003: 433).
30
(hohe Minne) , Minnesang,
(finamors),
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540
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542
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. ordo
Respublica Christiana , ,
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Karten, Frankfurt/M-Berlin: Ullstein Sachbuch.
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in Five Courts, New York: Cambridge University Press.
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Haven and London: Yale University Press.
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and New York: Longman.
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Routledge.
Nef . 1960. , --: , :
( ), : .

/ . 821: -
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edition, New York: Oxford University Press.
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(16&17 2007), , :
& , : , 89-96.
. 2003. , : . , : .
. () 2006. , (15-
18 2005), : & ,
: .
. 2010. .
. . (.) (16& 17
2007), , : &
, : , 15-25.
. 1996. . ,
, : .
. 1992. . 210 ,
: : .
. 2007. .
, : .
. 2004. . , , :
, : .
. . 1973. - - .
1973, - ,
1972-1973, 132-153.
. 2006. - (
). . (.) 2006.
, (15-18 2005),
: & , :
, 303-326.
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( ).
. . (--) 20092. , :
( ).
. . 1995.
, , : .
- . 2000. . . (. .
) .. : ,
, : , 24-25 2002 & 16 2004/
, 7 2004/ , 10 2004/ , 4 2004/
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: .
. 2012. , ,
: , .
. . 2004. (5-15 .), : .
. 2006. . . . (.) 2006.
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: & , :
, 47-60 .

544


It is a common knowledge that beauty as well as theories about what is socially considered as beautiful or
not depend on society and time. Taking into account that it is not an objectively defined structure, it is
always subject different views, formed by various social, religious, political, symbolical etc. factors.
This paper consists an attempt to approach the ideal of feminine beauty as a social construction through
the example of traditional Lesbos society of the years around 1900-1970. Using original manuscripts
which are located in the Folklore Studies Library of Athens University (Philosophical School) and are
related either to beautification or to the island of Lesbos itself, we aim to reveal the particular
socioeconomic and pagan-religious symbolisms of the parts of the female head as a result of a specific
context.

,
,
,
,
, ,
, , , ..
.

,
1900-1970 ().



.


(context).
, ,

.


, ,
, .
- ,

, 70.
,
, ,
.

,
, ,

545


. 1.
,

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20
.

3.
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) .
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1

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).
, ,

,
mass culture,
, .
Herman Bausinger, , O
, : .
, ,
.
-
.
,


.. (Herman Bausinger,
, 2009, , . xxv-xxvi , ,
).
2
, 1975, , , , .48.
3
., 2005, (1700-1950), , . 34.
4
, , 1980, ,.

546
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,

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8
5

., . Vander, Sherman, Luciano,
., 2001, - , , 8,
. . , , . 873, .
6
,
,
, , ,
, , (, , ). -
- ,
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, , 1998, :
, , .
7
2.734, . 29- 32.
8
2.449, . 17.

547
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10.
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11. , ,

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13,
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.

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) 19 20,
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9
724, . 40- 42.
10
726, . 17.
11
724, . 40- 42.
12
1531,
, .
.(
).
13
2.449, ..
14
3.386,. 50- 51 3.247, . 31.
15
724, . 40- 42.
16
3.386, . ..
17
726, ..
18
3.387, . 34.
19
726, ..
20
3.386, ..

548
2.
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21
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:

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1.529, :

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() , ,
21
Arnold van Gennep, 1909, Les Rites de Passage, Paris:Emile Nourry.
22
, , (), 2008,
, , , R. Hirschon, . 176,
1, Ortner , ,

..
23
724, .. 1.529 ( ).
24
- ., .., . 50.
25
- ., ., . 51.

549
. . ( )
() .
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.

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,

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26
115, . 25- 26.
27
, 1980, , , , .
- , . 167

550
3.

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551

, , (), 2008
, , .
, 2001, V. a, , .
, 1980, ,
, , .
, 1978, ,
.
- , 2005, (1700- 1950), .
, 1975, , , .
- (), 1992,
- , , .
Bausinger Herman, 2009, ,
. , , .
Vander, Sherman, Luciano, ., 2001,
, II, 8, . . , .
Arnold van Gennep, 1909, Les Rites de Passage, Emile Nourry : Paris.

115, , , 1967- 1968, . 25- 26.

724, , , 1968- 1969, . 40- 42.
726, , , 1968-1969, . 17.
1.529, , , 1971- 1972, ( ).
1.531, , , 1971- 1972, . 32.
2.449, , , 1975, . 17.
2.733, , , 1976, . 22.
2.734, - , , 1975- 1976, . 29-
32.
3.247, , , 1977- 1978, . 31.
3.385, , , 1978- 1979, . 35.
3.386, , , 1978- 1979, . 50- 51.
3.387, , , 1978- 1979, . 34.

552


Folklore teaching and folklore awareness in secondary education is regarded as inadequate today and it
can be realized only thanks to notion diffusion through the curriculum of language subjects. This is due to
the fact that there is no provision for a school subject on Folklore Studies. However, Folklore teaching
could be incorporated into the subject of Music Education. Greek Folk Songs constitute a significant
element of folklore. Research which concerned high school pupils from 2008 to 2010 indicated the best
methodology which would lead to the design of a music educational curriculum program. Suitable
selected songs, folk, popular and modern, are used to carry us to the corresponding folklore notion.

,
.

,
.
,

.


.


, .

, ,
.

.
1.
.
,
, ,
. 19 ,
,
.
2,

3.

1
, , . , 1977,
.13.
2
. , , : , , ..,
. , 1999, .55.
3
, .., . 62.

553
 Tocqueville, Arnold, Nietzsche,
Eliot, .
,

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.

4.

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-
.
- H
5.
- ,

.

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.
, .
6.
,
, , ,
, ,
.
17 19 ,

.
, 7. ,
( ) Herder 1773

,
, .

4
. ,., 2006 , 1
. : .
5
,

.
,
. ( ,
, 2012,
, ).
6
.
, ., 1998. ,
(1836-1922), 1998, .43 ..
7
, , .

554
 , ,
, .
Grimm, Afanasiev Fauriel.
,
.

. ,
.
Alan Dundes Folklore as a Mirror of
Culture, Richard Dorson Folklore and Folklife, Jan Brunvand On the teaching of
American Folklore, Paddy Bowman Standing at the Crossroads of Folklore and
Education Barbara Morgan-Fleming, Teaching as Performance: Connections
between Folklore and Education.

,
. Importance of Music
Folklore as Educational Practice Azahara Arvalo Galn.

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But nearness to death no nearer to God.
Where is the Life we have lost in living?
Where is the wisdom we have lost in knowledge?
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Azahara Arvalo Galn, The importance of music folklore as educational practice,

http://musica.rediris.es/leeme/sum2009eng.html.
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561
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The purpose of this paper is to research the natural site where the Shadow Theatre takes places; and by
this term we refer to the site where the shadow player chooses to give his performance. On the one hand,
we will attempt to present the transition from the open and permanent sites to the closed and temporary
ones. On the other hand, we will attempt to answer a series of queries concerning the relation between the
site and the intrinsic function a performance serves. Can the site become a deciding factor when it comes
to the performances success? How is the site related to the time when the performance takes place and
how does it affect the turnout of people? To what extent does the site affect the shadow players choice of
performance? To what extent does it determine the configuration of the contemporary repertoire?
Through the abovementioned questions we will aim to designate the distinguished qualities of the site, an
aspect which has not been sufficiently studied by the various researchers so far.

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Folegandros is a small Greek island in the Aegean sea, which has only 600 inhabitants. Nevertheless, the
tradition of the island is very rich and includes a lot of customs related to the celebration of Easter,
Christmas, New Years Day and Carnival. Especially, during the period of Carnival the Folegandrians
masquerade with different types of costumes, which all together have been called kamiles(=camels).
We dont know the exact origin of name, but we are sure that there are a lot of places in Greece and
generally in the Southeast Europe, in which we find carnival customs with the name kamiles.
Distinctive features of the Folegandrian Carnival are also the multi-day festivities with violins, lutes and
bagpipes and the local foods for this period, such as the homemade pasta called matsata and a very
special recipe with pork intestines stuffed with rice and raisins.

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This paper concerns research conducted for the seminar in Material Culture (instructor: Vassiliki
Chryssanthopoulou) as part of the postgraduate course in Folklore, Department of Philology,
University of Athens. It deals with the collection, study and interpretation of folklore material relating
to the internal decoration of a small sample of taxis in Athens today. Therefore, this study belongs to
the field of Modern Greek Folklore. It investigates objects that we find nowadays in an Athenian taxi
and interprets them considering the specific needs of taxi-drivers and of their profession, as well as the
symbolism of these items for their owners and for the group of urban taxi drivers in general.

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Blum R.& E., Health and Healing in Rural Greece. A study of Three Communities, Stanford U.P.,
Stanford, California, 1965
Dundes Alan, Preface in International Folkloristics. Classic Contributions by the Founders of
Folklore, USA, 1999, .viii.
Lippman D, Colin P., . , ,
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588


he traditions of death is a feature field where humans relationship with the transcendent and beyond,
as well as the customs transformations rates into a new urban environment can be traced. The
transformations of the customs and the creation of new custom forms, but also the factors that led to the
gradual dominance of these forms constitute the contemporary folk answer to the age old question
about the supernatural status and the possible after death fate of man. Death is placed almost
exclusively among womans cultural ground.. Women, creators and healers of life, although
marginalized in a male dominant social space, possessing as mothers lifes mysteries, are dominant at
all rituals connected with its stages. Deal with informal or secret cults, magical and healing practices,
women take on a mediating role between the inside the social and the outside the metaphysical
space with which they can communicate. These competences make their life loaded and responsible
and bring them increasingly up against the physical and mental pain that is key component of their
lives. During the ritual of death, a symbolic relation is formed between the women and the dead and a
symbolic holy place (home / cemetery) is created , where they cohabit and from which men are absent
or pushed at the periphery.

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2
Danforth L., The death rituals of rural Greece, Princeton University Press, Princeton 1982, . 31.
3
., Danforth L., The death rituals of rural Greece, 33 [1982-
1984], . 512.
4
., , , .
.24, 2008, .17.

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Danforth, L. 1982, The death rituals of rural Greece, Princeton : Princeton University Press.
, . 2002. : .
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., 2002. .
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Hirscon R., , . , 2004.
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510-517.
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596

(, , )

Olga Toskhoporan

The main objective of this Masters thesis is a presentation of customs and popular beliefs, as
components of ethnic identity, surrounding such events as birth, marriage and death in Ukrainian
village Maloyanisol with Greek (so-called Rumeian) population. In local dialect the term Rumeians
means the habitants of some villages in Eastern Ukraine that were founded at 1780 by the Greek
settlers of Crimea (also part of Modern Ukraine). Ethnographic and folklore material for this study was
collected during the fieldwork that formed the bases for drawing conclusions and was carried out in
two stages: at 2010 and 2011. By this work tried to present a coherent picture of the beliefs, practices,
rituals and discourse, whereby the Rumeians organize their ethnic identity and retain their ethnic
memory.

1.
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(The Polish Peasant in Europe and America, 1918-1920), W.S. Thomas
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Thomas, W., Znaniecki F. 1958, The Polish Peasant in Europe and America. A Classic Work in
Immigration History. New York: Dover.
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Van Gennep, A. 1960, The Rites of Passage, Monika B. Vizedom and Gabrielle L. Caffee. Chicago:
University of Chicago Press.

605

.

One of the research interests of Folklore is the material culture and folk art represents an integral part
of this. Folk artists in contrast to trained artists are usually self-taught and use their work to express not
only their personal feelings, but also the cultural background of their society. A typical example can be
folk painting by artists with no particular insights into techniques. They create spontaneously having by
their side only their natural talent. Folk painters are inspired by nature, feelings, people and the culture
of their society. Nikolaos Tsirikos is a modern folk painter. The representation of this folk artist comes
to point out how the folk aesthetic, although it doesnt follow certain artistic movements, manages to
combine the creative imagination and the desire of expression of folk craftsman creating a perfect
aesthetic result, which is part of a broader cultural superstructure.

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-

In the island of Kalymnos, Greece, one can still hear stories being told about strange creatures,
ethereal apparitions and haunted places. Such legends are proliferated under the general title of
guliasmena. This essay, based on field research conducted between 2008-2012, attempts to examine
the historical and social process that gave rise to a key-element of guliasmena, namely its symbolic
persistence on a universal order that consists of two inseparable and yet opposing realms, a visible and
an invisible one.

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1998: 61-92)
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(Meschonnic 1988: 32)
. .
(2003: 87)
.

Geertz, C. 1973. The Interpretation of Cultures. New York : asic.

Goffman, E. 1974. Frame Analysis. An Essay on the Organisation of Experience. London : N.E.
University Press.
, . 2004. . , ,
. : Gutenberg.
Brunvard, J.H.1981. The Vanishing Hitchhiker. New York : Norton.
, .. 1913. , :
.
. 1930. , . . : .
. 2013. , , , . :
.
, . 1980. , .
, . 2003. . : .
.. 2007. , . : .
Stewart C. 2008. . : .
Sutton E. D. 1998. Memories Cast in Stone. The Relevance of the Past in Everyday Life. Oxford : Berg.
Halbwachs . (Coser A.C. ed.). 1992 On Collective Memory. Chicago & London : Chicago University
Press.
Meschonnic . 1988. Modernit, Modernit. Paris : Gallimard. . 2002.
, , .
. : .
Connerton P. 1989. How Societies Remember. Cambridge : Cambridge University Press.
Rappaport R. 1999. Ritual and Religion in the Making of Humanity. Cambridge : Cambridge
University Press.
Degh L. 2001. Legend and Belief : Dialectics of a Folklore Genre. Indiana : Indiana University Press.
Finnegan R. 1992. Oral Traditions and the Verbal Arts, A Guide to Research Practises, ASA Research.
London & New York : Routledge.
. . 1995. , : .
.. 1999. (1819-1844)
, . , ( ),
: ,.
. . 2000. , , , ,
. A : - .

621
 :
,

Most researchers in modern literature not merely contradict the views that technology tends to
eliminate popular culture and its manifestations (Roush 1997) (Dorst 1990:188), but argue that Internet
mainly, and New Technologies in a broader view, constitute a breeding ground for the production,
development and spreading of popular culture. With the present thesis the preceding view is further
documented and the relationship between folklore and internet is clarified more widely. The Folklore
research is conducted in situ with the innovative ethnographic research (cyberethnography) in a
selected virtual community with participatory observation and interviews.

1.

,
(Jones 1995, 1997a, 1999, Kiesler 1997, Potter 1996).
1990 cyberculture (Benedikts 1991), o
, ,
(Penny 1994:234)

(Ardevol 2005:4).

1.1.

,

.
/ /
.

2.
, , ,
, , (
2004) .
"online ethnography" (Paccagnella 1997), "virtual ethnography" (Hine, 2000),
(Markham 1998, 2005), 'network ethnography' (Howard, 2002), "netnography" (Fox
Roberts, 1999, Vrooman, 2001, Kozinets, 2002 Bakardjieva, 2003),
"cyberethnography (Dominguez, Beaulieu, Estalella, Gmez, Read, & Schnettler
2007, Blank 2009, James & Busher 2009:34-35 ) digital ethnography (Dominguez
et al., 2009) (Murthy 2008) "webnography" (Puri, 2007), cyberanthropology
(Kozinets, 2002).

(Kozinets, 2002:65).
Sage Dictionary of Social Research Methods
,
, -
,

622
 (Jupp 2006).


(Androutsopoulos 2008, & 2014),


( digital folk groups) o
(Escobar 1994, Hakken, 1999, Jones, 1999, Kozinets, 1999, Miller &
Slater, 2000).
,
Seconde Life. Seconde Life,
3D,
/ , , /
. , ,
, ,
. ,
,
.
K :
) (Participant Observation), (Boellstorff, 2006,1: 29-35).
,
(Steinkuehler 2007, Horn 1998, Rheingold 1994, Turkle 1995,
Hakken 1999).
, , ,
, , ,
, . Hammersley Atkinson
(1983:2) / , ,
,
, .

. ,
(in
context)
(Patton 1990).
, ( 2003).
,
,
(Paterson, Bottorff, & Hewat, 2003:4).

,
, .
(Delamont&Hamilton 1993:34), ,
.
& (2013): Netnography
,
.


.
) -, .

623

,
, (Seidman, 2006, Darlington
& Scott, 2002, Have, 2004). ,
,
. ,
.
( 2012:87-88).
,
/ /, /
,
,
(Bortz &Doring 2003).
)
(Kozinets
2002) ,
,
.
(research diary),
,
. (2004:105)
, , ,
, , .
)
.
.

2.2
.

.
( 2004:104).

(Waskul & Douglass, 1996),
/ (Hair&Clark 2007),
( 2010),
.
,

.

/ / (Waskul & Douglass, 1996, King 1996, Kozinets 2002)

.

Kozinets (2000:63) Carter (2005:152),
Paccagnella (1997),
,
.

624
3.

(& 2012),
online (digital folk
groups) . (2009: 297)


. , vita nuova.
internecticus. Z .

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, 115, 49-74.
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15 2013).
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Society, 25, 3, 291-313.
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vol. 1, no. 1, pp. 29-35.
Bortz J., &Doring, N. (2003) Foeschungsmethoden und Evaluation fur Human- und
Sozialwisssenschaftler. Berlin: Spinger.
Carter, D. 2005. Living in Virtual Communities: An Ethnography of Human Relationships in
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., & . (2012) -
, , , , :
., & . (2014) :
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: H
, 7&8 2012 : TE.
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M. Hammersley (Ed.), Controversies in Classroom Research. London: Open University Press
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University of Toronto
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Folklore Research 27:179-190.
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626
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( 12 2000).

627
 .

.

According to Plato, human is a composer of fiction, he creates myths and is fascinated by them. The
multisensory environment of the museum constitutes a fertile field of expression for the fictional mood
of human, since, through the museums objects and their interconnection with the rest of the elements
of the exhibition environment, multiple stimuli are being triggered for the motivation of thought and
the reinforcement of creative inspiration and fantasy of visitors. In the present study, a proposal
concerning the design of an educational program will be presented, concerning students of the first
class of the Secondary School in the Folklore Museum of Milea in Metsovo. The central thematic core
of the program will be the active participation of students in combined fictional educational activities in
order to reinforce their inventive, expressive and narrative ability and also develop their knowledge and
love for folk tradition.

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, . 1897. . , 5
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, .. 2010. : .
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. : , 407-416.
, . 1997. . . : .
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der Brueder Grimm. Hamburg.
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(.) . ,
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, : .
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... : , 25-43.
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: , 75-92.
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. .
: , 67-83.

633
Paris, S. & Hapgood, S. 2002. Children Learning with Objects in Informal Learning Environments. In
S. Paris (ed.) Perspectives on Object-Centered Learning in Museums. Mahwah: Lawrence
Erlbaum Associates, 37-54.
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. . : .
, . 2009. : ,
-
. . (.) , ,
. . : , 459-467.
Psarra, S. 2009. Architecture and Narrative. The formation of space and cultural meaning. London and
New York: Routledge.
Rhrich, L. 2008. And they are still living happily ever after. Anthropology, Cultural History and
Interpretation of Fairy Tales. Burlington, Vermont: The University of Vermont. Department of
German and Russian.
, . 2001. , (..
). : .
Searle, J.R. 1975. The Logical Status of Fictional Discourse. New Literary History, vol. VI, no. 2.
-, . 1994. , :
.
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. . : , 49-
70.
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. : .
, . 1999. (. . ). : .
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Institution Press.
, . 2001. :
. 1 -.
. . . ,
, 27-32.
, . 2007. NOI MERANLJI .
-. : ICC.
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637
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This paper seeks to identify the clothing and dressing choices of adolescents, placing the clothing in its
social contexts. For this reason our fieldwork focused on schoolchildren in the area of Alimos, aged 16-
17 years old. Through the descriptions of our informants, some key features of the external appearance
of teenagers and the way they construct their social role were highlighted, defining their own youth
culture. In addition, linguistic and non linguistic factors (verbal and non verbal) acquire major
importance in the study of this particular group.

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1952 Kroeber
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1974).
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, . ,
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Williams ,
, , (Williams 1958:xvi).
Thompson E.P.,
,
. (Thompson E.P., 1995, Review of Raymond Williams' The Long
Revolution, Munns Jessica & Ragan Gita (ed.), A cultural studies reader,
London/New York, Longman . 176-185),

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culture,
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644
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645
 , Fabietti Ugo,
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. To
, ' ,
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Ugo,1986).
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, . 1991. , : .
Barthes, R. 2002. . & , 85, . 8-16.
Bausinger ,H..2009. , . . &.
, . . . : .
, . 1985. 1864-1910, :
.
- , . (.).2006. : ,
:Gutenberg.
, . 1974. .
Cohen ,Stanley. 1972, Sub-cultural conflict and working class community. Working Papers in
Cultural Studies.
, .2001, . : .
Dan, Ben Amos.1971. Toward a Definition of Folklore in Context, JAF, v.84, ..3-15.
Dalton, Russell. 1977.Was there a revolution? A Note on generational versus life cycleexplanations
of value differences, Comparative Political Studies, 9/4. . 459-474.
,. 1988. . . 2. . 87-103.
Dundes, Alan. Preface,in International Folkloristics. Classic Contributions by the Founders of
Folklore, Rowman & Littlefield Publishers, Inc., .VII-X.
Entwistle, J.2000. The fashioned Body, Fashion.Dress and Modern Polity Press.
Hendry, J. 2011. .
, . ., . . , .
Jenkins, R..2007, , : .
Kroeber Alfred Luis & Kluckhohn Clyde, 1952. Culture: A critical review of concepts and definitions,
New York:Vintage Books.
,.1992. , , :
.
Mattera, Jean- Paul. 2002. / . & .85. .71-73.
, .. 2007, , : .
, .1993. -
, .
, . 2008. . : .
, 2002, . & , 85.
31-36.
, .2002. . & . 85. . 6-7.
,. 1991. . : .

646
Thompson E.P., 1995. Review of Raymond Williams' The Long Revolution, Munns Jessica &
Ragan Gita (ed.), A cultural studies reader, London/New York: Longman . 176-185.
Tylor Edward, 1974, Primitive culture, New York:Gordon Press.
http://www.iaen.gr/praktika_tou_diethnous_simposiou_istorikotita_tis_paidikis_ilikias_kai_tis_neotita
s- b-2*101.html) ( 28-9-2013).

647
 &

MEDIEVAL &
MODERN GREEK
PHILOLOGY
 . - ( 1878-
1964):



The poetry and nonfiction in the curriculum of Greek-speaking women's magazines published at the turn
of the 19th to the 20th century in Istanbul, is a strong representation of the literary pages in the print era.
Magazines and almanacs have begun to publish literary works, tales, essays, articles and studies written
by women scholars. This effort to go beyond the conventional limits and reach a resolutely blocked for
the same male-dominated circle of intellectuals shows their determination to overcome the criticism and
declare their presence. One of those voices belongs to Cornelia L. Preveziotou-Tavaniotou, the editor of
women's magazine The Vosporis (Istanbul 1899-1906). A prolific poet, columnist and journalist,
novelist and play-writer, is the subject of this notice, during which attempt to emerge as a female author
with respect to her characteristics and her contribution to the access of the female readership
"contemporary Greek and foreign literature and poetry lightly."

, 1899,
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%

1.
) 36 37 56 43 73 85 53 383 17,31

) 4 4 21 0 1 3 33 1,5


) 5 19 23 11 41 54 31 184 8,32


) ( 27 30 9 10 15 10 0 101 4,57
)

) 2 4 20 2 23 23 14 88 3,98

-
) 0 5 10 4 8 7 4 38 1,72


) 0 8 0 2 8 3 21 0,94

74 107 139 70 163 187 108 848 38,34

2:

(%)
( )
1. 848 38,34
2 371 16,77

3 249 11,26

4 230 10,39

5 182 8,23

6 134 6,06
7 113 5,11
8 85 3,84
2212 100

658

.

Der vorliegende Aufsatz behandelt Kostas Varnalis Jugendgedicht Wie Sapphos Mdchen fr sie
klagten, als sie sich in Alkaios verliebte, das Juli 1911 in der griechischen Zeitschrift Grammata von
Alexandria erschienen ist, in der die ersten von griechischen Autoren verfassten Texte lesbisch-
homoerotischer Thematik publiziert wurden. In diesem Aufsatz wird der Versuch unternommen,
Varnalis sapphisches Gedicht mit der antiken Sappho in Verbindung zu bringen und darber hinaus den
sthetischen Vorstellungen des neugriechischen Dichters nachzugehen. Die Dichtung des jungen
Varnalis, die als eine der khnsten literarischen Leistungen des griechischen Modernismus anzusehen ist,
bertrifft die traditionelleren Sappho-Lektren zeitgenssischer griechischer Dichter und Philologen, wie
etwa die von Kostes Palamas und Georgios Mistriotes, um schlielich dem subversiven Geist von Pierre
Lous und Gabrielle DAnnunzio zu begegnen, die zu den radikalsten Autoren seiner Zeit gehrten.

1911
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1893 DAnnunzio Poema paradisiaco, 102-105.

668

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.

Benjamin, W. 1994. . , (.
), : .
Campbell, D. A. 1994. Greek lyric. Sappho and Alcaeus, . London: Harvard University Press.
DAnnunzio, G.1893. Poema paradisiaco. Milano: Fratelli Treves.
DAnnunzio, G. 1908. Primo vere. Milano: Antonio Bietti.
DAnnunzio, G. 1914. Pamphila, (. . ), 2 (21) 457-458.
DAnnunzio, G. 1915. ( Odi Barbare), (.
), 3 (25), 56-57.
Lous, P. 1911. , (. [] . []), 1 (2), 55.
Mller, K. 1867. , ., (. ), : .
Swinburne, A. C. 1866. Notes on poems and reviews. London: John Camden Hotten.
Swinburne, A. C. 1868. Poems and ballads. London: John Camden Hotten.
Voigt, E.-M. 1971. Sappho et Alcaeus. Amsterdam: Polak & Van Gennep.
Welcker, F. 1845. Sappho von einem herrschenden Vorurtheil befreit. : F. Welcker, Kleine Schriften
zur griechischen Literaturgeschichte, II. Bonn: Eduard Weber, 80-128.
Whidden, S. 2007. Leaving Parnassus. The lyric subject in Verlaine and Rimbaud. New York: Rodopi.
, . 1927. . 14 (2), 60-70.
, . 2006. .
1930. : .
, . 1975. . 1163, 125-154.
, K. 1909. . 4-5, 145-146.
, . 1911. .
1 (6), 177-178.
, . 1912. . 69, 8-9.
, . 1975. (1904-1915, 1928). 1 (13), 97-98.
, K. 1980. . : .
, . 1905. . 3 (130), 7.
, E. 2012. 1880-1930.
(). : .
, . 1988. . :
. http://phdtheses.ekt.gr/eadd/handle/10442/0828 ( 29
2013).
, . 1911. . 1 (11), 375-376.
, . . 1997. : . 9, 3-7.
, . 1894. , .. : .
, . <1963>. , .. : .
, . <1965>. , .. : .
, . <1967>. , .. : .

669
 .. :

The following paper attempts to complete the initial findings of an earlier work of mine, which examined
the hypothesis that the famous poem of G.M. Vizyenos To Fasma mou, the best known of what he
wrote while he was institutionalized in the mental hospital, is not entirely his own creation, but it has
undergone several changes due to the initiative of his close friend, doctor Nikolaos Vassiliadis, the one
who first presented the poem in a newspaper of that time. It seems however that the same hypothesis
applies to some more poems that were dictated by Vizyenos and recorded by Vassiliadis, during the
poets accommodation in the psychiatric unit. Additionally, because of his interventions, Vassiliadis
received great accusations to which he had to answer publicly. This announcement, therefore, presents
those testimonies, which were forgotten with the passage of time, and also seeks linguistic and stylistic
evidence in those poems in order to confirm Vassiliadiss interventions.

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),
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) [

670
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, . 1963 . (1873-1962), .

675
 -.
. *

The present announcement has the beliefs of Mikhail Bakhtin, as its theoretical starting point. Bakhtin
considers the nature of the novel as primarily polyphonic, while he condemns the original poetry to
be monophonic by clearly attributing a marginal role to it. Using his fundamental notions regarding
dialogue and word's double-voiced discourse, I attempt a re-evaluation of the poetry from another
perspective that Bakhtin either did not notice or disregarded, in order to show that these notions can be
used for the interpretation of poetic species. Like any other kind of art, poetry is highlighted through these
notions exposing its capability to be emancipated from the inflexibility of ideology. In other words,
poetry is able to un-ideologize itself. The above idea is applied to the opus of Manolis
Anagnostakis;specifically, the [.] from the 2 and the [ ...] from
the 3. The reason is that these poems both have, besides the speaking voice, a second latent
voice, which acts on a second level and undermines the first one, revealing their double-voiced nature.

1.
, Mikhail Bakhtin
. ,
, ,
.
,
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- (Bakthin 1980: 156).
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152). ,
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126 [ ]).
2
. : Bakhtin 1980:187-196 Bakhtin 2000: 290-328.

676
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.: 1995: 225-229.
5
: . 42000. 1941-
1971. : .
6
(2001: 140-141).

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1998: 27-31. (. 30)
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1996: 102-103.
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2011: 13).

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( 1982: 54).
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681

Bakhtin M. 1980. , (.: Aucouturier Michel. .
.: ). : .
Bakhtin M. 1995. , (.-. . .:
). : .
Bakhtin M. 1997, , (. . .:
). : . , .
. : , 241-265.
Bakhtin M. 2000. , (.: , .:
, : ], : .
Holquist M. 1990. Dialogism. Bakhtin and his World. London: Routledge.
Orsina V. 1995. O . . , (.: .
), : .
. 1997. :
(M.M. Bakhtin). : . , .
. : , 157-180.
. 1997. .
. 32, 35-38.
. 1982. .
, 11, 54-59.
. 42000. 1941-1971. : .
. 52002. 68-69. : .
. 32000. . : .
. 2011. . , (.:
, .-: ). : .
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. 21988. .
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A. 2009. . . :
.
. 1995. . -
-, - 7, 12-30.
. 2011. . .
. : .
. 2001. .
1732, 372-380.
. 1996. . . : . ().
. . : , 95-104.
. 41995. . . -
-. : .
. 1995, . , : .
. 1996. .
. (). . . : , 279-292.
. 2005. . 71, 135-144.
. 1998. . : .
. 1982. - . .
: .

682
 . .

In our presentation we shall examine the reception of the poetic as well as the poetical work of D.P.
Papaditsas, by focusing on some typical cases of critique exercised upon them. By taking such instances
of critical texts into account, we shall try to constitute the logical topos of reception around what one
might call the mega-subjects of Papaditsas poetry, such as hermetism, the poetry of the verb, or the
effect of surrealism in the construction of the poem. By examining different cases of critiques, such as
Stefanos Rozanis and his philosophical lecture, Andreas Karantonis and his reservations in the reception
of Papaditsas poetry, or Vangelis Athanasopoulos and his exhaustive linguistic analysis, we shall try to
show how Papaditsas work is conversing with its critique not only in being judged by it, but also by
transforming the very terms of the way this critique functions.

. , 1924 , ,
, . .
.
.
. , , ,
, , ,
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.
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( 1965: 366-371),
( 1981)
( 1995)

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683
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.

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, . . 1997. -. , : /, 305-306.
, . 1965. . 124-125, 366-371.

686


Les uvres relevant du corpus de la littrature concentrationnaire se distinguent par la mise en rcit des
expriences de la dportation et de la dtention dans les camps de concentration et extermination nazis
que lauteur a vcues durant la Deuxime Guerre mondiale. Cet article porte sur le processus de
littrarisation de lexprience extrme des camps dans le cas de luvre Mauthausen dIakovos
Kampanellis. Larticle vise mettre en lumire la place particulire occupe par Mauthausen dans le
corpus de la littrature concentrationnaire internationale au niveau tant de son esthtique que de la morale
qui linspire. La spcificit de cette uvre repose sur le choix de lauteur dincorporer le rcit des
expriences de la dtention dans le cadre du rcit des premiers jours au camp libr travers la technique
narrative de lanalepse se posant comme but de sa dmarche littraire de montrer les signes de la division
du monde de laprs-guerre dj lisibles dans le camp libr par les forces allies.

1. :


,

.
corpus
1.
(littrature concentrationnaire)

,
(-, 2002: 43)2.

,
, 3.

,
.
,
Tzvetan Todorov
. Todorov,
,
:
(Todorov, 2002:244) , , ,
.

1


-, , .
.
2
- (2012). . - (2011:180).
3
. Marie Bornand (2004:8).

687

, , ,
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(indicible).
,
,
4.
(littrarit)

,
. Georges Perec
(1992), Robert Antelme,
,
,

.
1995
(, 1995:9). ,

,
(, 2007:67),

(, 2010:67).
1963 ,
, ,
.

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1943
5 1945. ,

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688
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( 1995:11).
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1995: 317-8),
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9
Primo Levi
Robert Antelme. . - (2002: 45).
10
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689
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Bornand Marie 2004. Tmoignage et fiction: les rcits des rescaps dans la littrature de langue
franaise (1945-2000), Genve: Droz.
Genette Grard 2006. . : , .
M , : .
Muecke D.C. 1986. , . . : .
Perec Georges 1992. L.G. Une aventure des annes soixante. Paris: Seuil.
Rinn Michael 1998. Les rcits du gnocide. Smiotique de lindicible. : Delachaux et Niestl.
Todorov Tzvetan 2002. , . . : .
- 1998. . :
, 67, - 1998, 155-
159.
- 2002. : -
, :
, 81, 2002, 43-49.
- 2011.
. . , . (.) .
. : ,
, 179-201.
- 2012. . .
: .
1995. . , 14,
59-84.
2007. :
. 124, - 2007.
1987. . .
. : .
1989. , , . . : .
1995 (1965). , : .
1988. .
, . , 1988, 4-11.
: , , , 2005 ( ).
1998. . T
I K. E 16, 197-207.
2000. K. A .
: .
2001. .
. , ,
, 2001, 40-62.
2003. .
, , - 2003,
16-31.
2005. .
. . :
6, : Ergo, 141-196.
2010. : .
: .

697
 . , . , ..
.. 1850-1980

, ...

The subject of my study is the poems written about or that refer directly to the poets D. Solomos, A.
Calvos, C.G. Karyotakis and C.P. Cavafy during the period 1850-1980. Its purpose is to examine the
functions the poems have and interpret their role in literature. The basic methodology used was the theory
of intertextuality as it was formulated by G. Genette in his books Palimpsests Literature in the Second
Degree (1997) and Paratexts: thresholds of interpretation (1997). The study also examines how the
work of Solomos, Calvos, Karyotakis and Cavafy was received by the subsequent generations in which
later poets belong. Due to the fact that the four poets who were studied were pioneers in the creation of
new tendencies in literature they received recognition and acceptance in the literary world. This
recognition was expressed by the dedicatory poems written about them.

Gerard Genette, Palimpsests (Genette, 1997) Paratexts (Genette,
1997), .
Palimpsests o G. Genette
( ) 1 , ,
, , .
Genette .
,
, ( ,
), , -
.
,
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,
. Genette
(Genette, 1997:4-5).
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(, , ..).
Genette ,
.
,
, ,
.
Genette
- , -

1
.
. Judith Still Michael Worton
ntertextuality. Theories and Practices, Manchester University Press, 1990,
. , 1996, . 21-68: 45. Genette
11 Palimpsests Literature in the Second
Degree, 1997, . 430, ,
, .

698
,
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, - - ,
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Genette, .
pastiche
.
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Riffaterre (Riffaterre, 1980). , ,
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1)

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19282,
(1959) 12 (1963),
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(1857) (1857)
.
2)
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[
1974]
(1942).
3)

.
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(1857).
4) ( ) (
) .
2
2/7 (. 1928) 284.
, . (--) 2003. (1909-2001)-
. : . , 43.

699

.


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(1885), ,
(1902).

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1935),
audelaire Rimbaud. ,
.. (1833) . ,
(1915) ,
(1960),
(1987).

700
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(1980),
(2003)
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704

4.
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, pastiche
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2000:52)
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1968, 1969, 1970 [ .1970]
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(1927).
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(1959),
1968, 1969, 1970 (1970).
,
, , ,
,

.

Bakhtin, M. 2006. The Problem of Speech Genres. Caryl Emerson, Michael Holquist (.), Vern
W. McGee (.), .. Bakhtin, Speech Genres and Other Late Essays. University of Texas
Press, 60-102 (first published 1986).
Genette, G. 1997. Palimpsests Literature in the Second Degree, Channa Newman and Claude
Doubinsky (.), Gerald Prince (.), University of Nebraska Press (first published in French
by Editions du Seuil 1982).
Genette, G. 1997. Paratexts: thresholds of interpretation, Jane E. Lewin (.), Richard Macksey
(.), Cambridge:Cambridge University Press (first published in French by Editions du Seuil
1987).
Hutcheon, L. 2000. heory of Parody-The Teachings of Twentieth-Century Art Forms, University of
Illinois Press (first published 1985).
Riffaterre, M. Summer 1980. Syllepsis. Critical Inquiry, 6, No 4. 625-638.

4
. . ,
. 1983. .. . 78, 130-136, . , . 19864.
,
(.-.), : ( . 1976), . , . 1983. .. .
20 . : , . , . 1987.
. . : , .
, .. (.) 2002. ,
, . 6, : , . , . (2007).
. (1930-2006). : , 212-226.

705
, . 1993. (1818-1988). :
.
, . 1983. (). 78,
114-121.
, . 1998. . ..
1970. (31 . 1 . 1997).
: , : ,
195-258.
, . 1999.
1970. :
; (30 . 1 . 1997), :
, : , 171-202.
, . 2005.
, : .
, . 1994. ,
.
, . (, , ) 2003. (1909-2001)-
. : . .
, . 1974. 1934-1965, : .
, . 20042. . : (. 2003).
, . 1991. . .
, . 2002. . : ( . 1980).
, . 1980. . .
, . (.), , . (.) 2001. 70: ,
, , , : .
,. 1993. (). 64-65, 363-
364.
, . , . (.) 1996. . H , 21-68.
.. 1985. (1918-1924). : University Studio
Press.
, .. 19953. , . . . : , (. 1972).
, . 1956. 1928-1942. : .
, . 1965. . .
, . 1988. . : .
, . (.-.-.) 1982. , . .
, . 1987. - , . & . .
: . .
, . 20012. .. . . : K ( .
2000).
, . , . , , , , , .
, 1959. , . . , : . .
, . 1978. .
, . 1964. 1930-1960, . . : .
, . 1958-1967, . . : .
, . 1993. . 64-65, 259-270.
, . 2001. (1980-1998). : .
, . (.-.-.), , . () 1998.
. : -.
, . 2000. . . : . .
, . (.-.) 2001. , 1 1933 1942.
: .
, . (.-.) 2006. , 2 1932-1940.
: .
, . 1963. , (- . ), : -.
, . 1990. . : .
, . 1990. H . .
(.) .. , 11-14 . 1986, : .
411-423.

706

(1843) .

In 1843, Gregorios Palaiologos, best known for his novels O Polypathes (Athens 1839) and O Zografos
(Constantinople 1842), publishes in Constantinople the Epistolarion, a letter-writing manual, containing
several models of letters to be used on any occasion. The manual becomes a best seller during the
second half of the 19th century. This paper presents, comments and analyzes the list of the subscribers
printed at the end of the first edition of Palaiologos manual. More than 500 subscribers are the first
buyers, the first audience to appreciate the manual. Through this list can be deduced the geographical
distribution of the 1843 edition, the kind of people that first bought and possibly read and used the
manual, the relation between the real and intended audience, in regard with the actual content, and
hopefully some of the reasons that made the Epistolarion so popular.

1843 ,
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http://www.benaki.gr/bibliology/19.htm ( 2013).
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-Hering, . 1986. (1751-1830). :
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52.
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716
 :
-

Part of a dissertation in progress entitled Dream Discourse and Female Identity in Modern Greek
Literature (from 1980 onwards), the present essay aims to present both the complexity and ambivalence
of mother-daughter relationship as reflected in literary dreams of contemporary Greek women writers
(Rhea Galanaki, Maro Douka, Zyranna Zateli, Margarita Karapanou, Ioanna Karystiani, Amanda
Michalopoulou, Fotini Tsalikoglou, etc.). Combining psychoanalysis, narratology and feminism criticism,
we will attempt to explore the inner bonds of motherhood and daughterhood as revealed in dreams of
female characters. Within the framework of a textual analysis and taking into account the narrative
structure and the multi-leveled significance of dream discourse incorporated in the plot, we will discuss
vital aspects of mothering and daughtering as the (re)construction of female identity and sexuality, the
archaic heritage of mother-daughter bond, archetypes, stereotypes and symbols, the intergenerational
memory, the sexual antagonism, the loss and mourning process.

, ,
1
(, 2004),
,
: ,
(motherhood) (daughterhood).

,
,
( ,
, , , ,
, , ..). ,
,
,

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1
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2

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... , , , ,
,
. ( 2003, 139-163)

717
 ,
3
.
(Luce
Irigaray): (Et l'une ne bouge pas sans l'autre,
ditions de Minuit, 1979). , ravage,
,
L Etourdit4 .
, 5
6.




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90). ,
(, 2009)
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, . 209). (, 2010),

(
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. . ;
;, . 35).

3
Agha-Jaffar 2010.
4
Lacan, J. 1973. Scilicet, 4, Paris: Seuil.
5
()
.
. (
, La Repubblica, 28 / 2/ 2005.)
6
Cournut 2008: 177.

718

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8,
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[ 2000: 120]
8
Hlne Cixous
,
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. : , ,
. (Cixous 2006: 225-234)
9

, . , Bachelard 1985: 120-138.
, . , : , 120-138.
10
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2008: . .
: , ,
.
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11
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12
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(25/8/2010) :
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719
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720
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721


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722
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,


.

Agha-Jaffar,T. 2010. & . , . . :

. .
Andr, S. 2010. ; , .
. : .
Bachelard, G. 1985. , . . : .
Cixous, H. 2006. ; : . (.)
, . . : , 225-234.
Cournut, J. 2008. , . . : .
Irigaray, L. 1979. Et l'une ne bouge pas sans l'autre. Paris: ditions de Minuit.
Lacan, J. 1973. L'Etourdit. Scilicet, 4. Paris: Seuil, 552.
, . 1984. , . . : .
, . 2003. :
. : . & L. Kain Hart (.)
. : , 139-163.
, . 2009. , . : .
, . 2008. . : .
, . 2009. . : .
, . 2001. . : .
, . 1995. . : .
, . 1993. . : .
, . 2008. . 1959 1979. : .
, . 2004. . : .
, . 2010. . : .
, . 2010. . : .
, . 2007. . : .
, . 2003. . , 17 . http://kathimerini.gr
( 25 2010).
, ., , ., , . 2003. :
. ,
14, 19-27.
, . 2008. . .
. : .
, . 2004. . : .
, . 1996. . : .
, . 2000. (1915), . , : .

723
 :

K
Centre for Byzantine, Ottoman and Modern Greek Studies, University of Birmingham

The aim of this paper is to present To Ekkremes, the only published collection of short stories of
Leivaditis, which has been undervalued compared to his poetic collections. In the paper I examine the
collections components which illustrate a transition, suggesting Leivaditis' influence by the philosophical
movement of existentialism. However, such a hypothesis constitutes a proposal for the prospective
scholars rather than a statement, since its proof on one hand exceeds the goals of this paper and on the
other hand requires a solid philosophical background. Due to space limitations, the narratology approach
is not applied to all short stories; the paper aims to indicate the transitional role of the collection and to
put it into the wider historical and literary context of the first post-war generation instead. By no means
questioning the value of To Ekkremes, such an approach highlights the need for further study so that the
literary, societal and philosophical significance of To Ekkremes is aknowledged.

1.
1,

2 .

1
. 1966.
2
1966 ,
,
(.
(1991) (2003), (2009) (2008).
(. ,
. , , 2012)
- , , ,
.
,
.
(13.12.1989: 52-58), ,
1989, 1960-1970 .
,

1960-1970 .
,
,
.

, ,
(. .., 1989: 67-78).
, 1990,
.
(.., .. 30, -
1995).
, (.., .. 140,
- 2008), (2008), , ,
(.., .. 171- 172, 2009).

724
 3
ab ovo,
.


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,

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3
(1991),
.
: ) ( :
(1952), (1952), (1953),
(1956), ) (
: . (1957), (1958), (1960), 25
(1963), (1966) (1966), )
( (1972), (1974), (1975),
(1975), (1977), (1978), (1979),
(1983), (1985)
1987),
(1990).
4
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5
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, , , ( )
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),
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( 1963: 520-524 1983) (.
1986e: 105-134).
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14

11
. 2003: 477 .., 480. , . 1995.
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(50-51)
.

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(1958-1964).
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.
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20

(1958-1964)

, , .

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 .
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. ( 2003: 385)
, (..: 387)
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, (..: 393)

(..: 400)

, (..: 429).
(..: 402-403), (..:
424) ..

731
 ,
, .


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, , ,
, ,
, ,
.
23,
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.
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alter ego ,
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.
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22
. , (1958-1964) : 388.
23
. (: 414)
(: 432-433) : (1958-1964).
24
. . 46-47: , ,
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, , : , , ,
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. : , . ..
50-51: , , ; , ,
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732
 .
, 25,

,

, - (
)26. ,
(1960) (1965) ,
, , ,
.
,
,
. , ,
, (

),
60 - ,

, .

, . 2003, . : .
, . (.) 2008. , . -
- - . : .
, . 13.12.1989. 1960-1970: - .
228.
, . 2003.
(1972- 1988). .
, . 1986e. ,
. : .
, . 2008. ,
. : .
, . 1966. . : .
, . 2003. . : .
, . 2008. , , , , .
: . : . . : .
, . 2008. . , .
: . . : , .:
.
, . 1963. . 106- 107.
B. 1983. . : .
, . 2009. . : .
, . 1995. , . : .
, . 1991, , : .
, . 13.12.1989. . , 67-78.

25
. , , ,
, , .
26
. 43,

, .

, , .. , ,
, , , .

733
 :

he name of a literary character is in most cases a rather significant aspect of its identity. In the prose
works of Yannis Skarimbas (1893-1984), the choice of names for the female characters appears to be
related not only to the part of the text they first appear in but also to the overall narrative structure. The
repetition of female names and the alterations of them (in the same or in another work) serve to signify
the reappearance of one or more characters of the same or of the different sex. In all cases, the female
name indicates the dialectic opposition between female presence and female absence in the work of the
writer.

;

; ,
,

.
,
,
, .
,
. 1 ,
,
: ) , ) , )
, )
, ) , ) .


.

.

,
1936.2 ,
, ,
.

1

. . . .
(1994) .
2
, (
) - ,
Edgar-Allan Poe. ,
, ,
, . .
(2007: 249) (2006: 314-5, 359-360).

734

.3 ,
,
: - ,
. ( )
. .
; - ; ! .
. 4
,
. , ,
. . ,
ululo, ,
. u -
ululo -
. ,
, ( +
) , ,
. 5
,
. ,
.
,
.

. ,


.
,
. ,
,
, ,
.
. : ;
. - .
, , , .
. . ,
- , . 6
() , ,
,

. ,

,

3
(2010: 20).
4
(1992: 75).
5
(2007: 308).
6
(1993: 97).

735
. , ,
, .
,
.
,
, , ,
, , 7

.
,
, . 8
; ;
. .
; , , ;9 .
,
,
.
,
,
. .
.10
. 11
,12
( ).13
-,
.

,
,
. Mackridge -
lie ()

7
(2012: 903-906).
8
(2012: 906).
9
(1992: 109).
10

, (
) , . .
(1994: 254).
11
(1992: 112-3).
12
,
, .

: , (--- - ). . (2001:
37).
13
,
,
() .

736
Miriam Hopkins. 14


. , ,
.15 (
)

.16
Mackridge
, .
.17

. 18

,
.

.
, ,
.

.
19 ,20 ,
.
( ) 21
, ,
, .22
,
. 23 24

14
Mackridge ,
Vivien Leigh
1935 . . Mackridge (1999: 77).
15
. Mackridge (1999: 71).
16
. Mackridge (1999: 70-1).
17
. (2006: 238).
18
. (2006: 238).
19
. (1992: 155-6).
20
. (1992: 147).
21
. (1992: 157).
22
, , ,
. --
, .
,
, .
, , (
1992: 85, 161). ,
,
(). . (2001: 105-111, 138) (2006: 250-252).
23
. (2009: 315, 320).
24

, . . (2007: 293). ,

737

,
, , . 25

(, , , , , , ,
, ).

,


. ,
, -
.
, ,
.
,
.
,
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.26
,
27
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, .
,
, ,
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.
,

(
).
,
, 28

.

, - ,
, .
25
.
(2001: 127-138).
26

, ,
. . (1992: 30) (1994: 241-2).
. (2001: 29).
Dali
.
27

6 .
28
.
(2007: 101-115) (2007: 117-126).

738

.29
, (
)
, ,

.

.

, . , .
. . (
) . , -
, , , , , ,
, ,
, 30
, ,
,
(
).31 ,

, ;32

.

Mackridge, P. 1999. , , Eroica

. 48, 66-78.
, . 2007. :
. . (.)
. : , 117-126.
, . . 2001. : . : University
Studio Press.
, . 1987. . 68, 771-779.
, . (.) 1994. . : .
, . 2007. . . . . (.)
. : , 241-254.
, . 2009. . : .
, . 1992. . . (.). : .
, . 1992. . . (.). : .
, . 1993. , . (.). : .
, . 1994. . . (.). : .
, . 1994. . . (.). : .
, . 1996. . . . (.). : .
, . 1996. . . (.). : .
, . 1997. . . (.). : .

29
. (1987: 771-779).
30
(1996: 363).
31
. (1987: 771-779)
(2006: 410-416).
. (2009: 64-71).
32
. (1994: 292).

739
, . 1998. . . (.). : .
, . 2010. (1936-1970). . (.). : .
, . . 2006. . :
.
, . . 2007. . .
. (.) . :
, 291-299.
, . . 2012.
. 12, 893-1020.
, . . (.) 1996. .
. 1997 ( ). : , 363.
, . 2009. . . : .
. 2007. . . (.)
. : , 301-313.
, . 2007. . . (.)
. : , 101-115.

33
(1930)
(1933)
(1935)
(1936)
(1939)
(1950)
(1957)
(1959)
(1961)
(1968)
1936-1970 (1970)
(1973)
(1973)
(1975)
(1976)

33

(1973),
. .
( 1996: 83-4).

740
:
.

Auguste Corteau has been writing since 1999. A regular leit-motif in his work has been that of the
metamorphosis. His novels include the bipolar Love-Transformation. Love has the ability to change the
elements of the loved and the lover, be it a successful or unsuccessful one. Almost all of Corteau's
characters change throughout his work, only to find themselves in a totally different mental or physical
shape at the end of each plot. This resembles to the writer of this paper the changing of shapes that takes
place in Ovid's Metamorphoses. Love does change humans to gods or vice versa, or even to animals,
plants and trees. Aim of this paper is to compare the leit-motif between the classic poet and the popular
novelist whose work hasn't been a subject of research yet.

1.

.
.
,
.
.
;
, ,
, .
,
, .

,
. ,
,
(Amor) , /
.

1.
-
.
,

,

.

1
Fantham (2004: 74).

741
2.

:
: , / .
: ,
. .
: ,

.

2.1.
, 1999,
,
,
. ,
. 2 .
, .
( ),
,
.
, ,
.
, .
, .
, . ,


2
(1999: 262). ,
V.S.K.

742
 -
.
.

7
, .
,
, .
, ,
, , .
,
.

, , .
,
,
.
-
,
, ,
.
, .
,
,

, ,
,
,
,
,
. ,
,
,
,
,
.

, ,
,
. ,
,
.
, , ,
,
.
-, -
.

743
 ,
. ,
,
,
,
,
,
.
,
, 3.

,
, :

,
, .

,
.
, ,
, .
,
,
,
,
4.

.

, ,
.
. 5 . ,
. .
6 ,
. , ,
, . 7
, ,
.
. ,
, .
, .
- - . ,
, , ! ! ,

3
(1999: 198-202).
4
(1999: 225-226).
5
Fantham (2004: 47).
6
(2009: 224).
7
Fantham (2004: 47).

744
 : !
( , 2009: 225).
.
, ,
, , .
, ,
,
. .. ,
,
, 8.
.

. , ,
.

2.2.
: .
: , .
,
, ,
. ,
.
,
, .
; ,
.
, .
,
: , , .
,
. ,
. ( ):

2
,
. ,
,
,
9.

:
, .
,
,
, .

8
(2009: 226).
9
(2003: 35).

745
 ,
.
,
,
10.
, .
, , ,

,
,
,
. , ,
!11.
,
,
. ,
, .
,
. ,
,
.
.
Picus
. .
.
. , Canens.
, ,
Picus . ,
. ,
,
12: .
. ,
,
.
,
.

2.3.
: .
: -
. : -
.
, ,
. :

10
(2003: 120).
11
(2003: 129).
12
Fantham (2004: 12).

746
 ,
,

13.
.
,
:
,
,
14.
,
,
.
: ,
15.
;
,
.
,
. ,
.
, , ,

. ,
(
) .
,
.
. ,
, ,
: ,
. ,
,
, .
: , ,
!16.
, -
.
, .

17. ,
.

13
(2007: 9).
14
(2007: 9).
15
(2007: 10).
16
(2007: 53).
17
(2007: 99).

747
 , . ,
, : . .
, . .
, ,
,
, 18.
, ,
. mnage
trois . , , . ,
, .
,
- homo homini lupus19.
,
(crudelia gaudia), .
, ,
! .

./ ,
/ ,
( VI, 670- 673, . .. ).
, ,
.
,
.
, . , ,
,
, . ,
, ,
,

.
; ,
,
, . ,
.

2.4.
, ,
. ,
.
, , .
, ,
,
,
. , ,

18
(2007: 114).
19
(2009: 178).

748

. :
.
. , .
, ,
, .
.
. ,
. :
, 20.
. ,
.
, .
, .

, .
, ,
,
.
, , . ,

,
, . ,
, ,
, ,
,

.
, ,

. , ,

,
,
:
, , (
;)

.
, ,
,
,
, . :
.

20
, .
, 2013.
.

749
 , . ,
, ,
.
, .
. . , ,
. , . .
( ; ,
,
, , ).
; ,
:
./
. / ,
,/
21.
, Andrew Feldherr22, ,
,
.
.
(formas)
corpora,
. ,
,
.

3.
,
,
.
,
, ,
.

Fantham, E. 2004. Ovid's Metamorphoses. New York: Oxford University Press.

Feldherr, A. 2002. Metamorphosis in the Metamorphoses. : P. Hardie (.) The Cambridge
Companion To Ovid. Cambridge: Cambridge University Press, 163- 179.
, . 1999. . : .
, . 2003. . : .
, . 2007. . : .
, . 2013. . ( ).
, .. 2009. Ovidius Poplius Nasonis - . :
Gutenberg- & .

21
(2009).
22
Feldherr (2002: 164-165).

750
 .
.
.

The extensive poetic composition Moral Verses (Ethiki Stichourgia) (1794) by the poet Alexandros
Kalfoglou from Fanari, hasnt been particularly studied in the current Greek bibliography, whereas few
foreign scholars have stated contradictory opinions in the past about the work and its creator. This study,
taking into consideration the previous ones, formulates a novel interpretation of the poetic work in
question in the light of the role Kalfoglou played in the courts of the Romanian Principalities, focusing in
the strong rhetorical character of the text. Specifically, here it is supported that the poet successfully
incorporates a variety of genres -especially the rhetorical speech- in order to halt the ideology and the
effects of the Enlightenment, therefore putting himself in the service of the Conservative political
coalitions. The genre variety of the text and the fact that it constitutes an important presumption of the
historical and sociopolitical context of the period it was written, renders it an interesting poetic
composition.

1.
, 18 ,

,
.
, , ,

. ,
,

, ,
( 2007: 23-120 2009: 85-93,
2008: 151-174).

, ,
,

( 1992: 115-
129), ,
. ,
( 1998: 29-32, 2001)
,
/ .

, ,

,

, . .

751
 1
2. ,
,
, ,
, .
,
,
18
( 2007: 157),
,
.

2.

- -
3. ,

, . ,


,
1
. , 1789
,
( 1976: 215 Legrand 1928: 499-502).
2
.
1974, (Camariano
1974), ,
,
.
, ,
. , , ,
,
. ,
,

. , ,
, , ,
1796.
. ,
,
, , , 10 1796,
. ,
,
,
. , , 1813,
, Tzuki , , ,
. , ,
1804, 1806, (1870),
(1955) (1967).
3
,
, , Cornelia Papacostea-
Danielopolu (1986)
. (1957: 22-23).

752
 ,
. , ,
-
, ,

,
.
. ,
,
,
, .

2.1.
, 1794, ,
, (1870) 4 (1967).
1492 ,
(. 9-10, 1105-1106), .
, ,
,
, ,
.
,
,
, ,


(1719).

,

, ,
, . ,
-
,

. , , , ,
, , ,
,
,
(.
- 1989).
,

5.

4
.
5
,

,

753
 ,
,

(Lesky 1985e: 496-497). ,
,
[] (Beck 1965: 103).
(Hunger 2008d: 121-299),
.
,
, ,
.
.
, Beck (1965: 102),
,
, , ,
, , (1992: 191),
, ,
, ,
.
, - -
,
, ,
( 2001: 341).

, , ,
,
. , []
( 2000: 8)
( 1992: 200), ,
,
(. 1419-1422). ,

,
,
,
. ,
, .
- (1989: 75-76)
,
, , ,
, .
,
, ,
,
. , .

(- 1998: 155-217 536-539).
,
, ,
,
.

754
 (. 543-
544), , , .
, .
, ,
(. 1467-1468, 1485-1488), ,
,
. ,
, ,
, ,
(1766).
,
,

. ,
(. 17-28)
, . ,
,
6. ,
, ,
(. 11),
. 7
, Hunger (2008d: 135),
.

, .
(2009: 39),

,
.
, ,
,
Ambrosio Marliano (1631)

6
, , ..,
.
, ,
, ,
, : []

, ,
, ,
( [1813]: 165). (. [2007]: 396-397
441).
7
,
. (1999: 69): []
(, , , .) (,
, ). , . .
, , ([1813]: 219-220) :
,
[]. , ,
. []. (. [2007]: 410-415).

755
( 2009: 38),
, .
,
,
,
. 8, ,

,
, . ,
, ,
,
,
( 2009: 39). ,
,

9.
,
,

. ,
, ,
,
: , ,
, , , ,
, ,

, ,
.
,
, .

. ,
( [1813]: 105-106),
( [2007]: 389-391), .

8
Hunger (2008d: 245-246)
,
, .
(1989: 36-37)
. ,
, ,
.
,
, ,
.
9
Hunger (2008d: 251),
.
,
, [].
[] [].

756
 10 , (2009: 91-92),
,

.
.
(. 813-814)
,
. ,
,
. ,

( ) .
, . , , ,
, ,
, ,

. , ,
.

. ,

,
.
, , ,

.

, (. 617-618, 669-670)
(. 629-630, 831-832), -
-
(. 509-510, 553-558)
(. 483-484, 1487-1488). , ,
(. 539-540, 1487-1488),
(. 511-514)
(. 515-518, 551)
(. 548, 1133-1134),
,
( 2004). , ,
,
,
.

, ,
(. 287-346). , ,
, ,
(1719: -
10
,
(1766).

757
2009: 38). , , ,
,
.
.
, ,
(1815: 92-93) ([1813]: 144-163),
,
(. [2007]: 394-395). , ,
,

,
.
,
, , ,
. ,
.
(. 1385-1390),
(. 1391-1394).

,
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Beck, H.G. 1965. .

9, 101-112.
http://anemi.lib.uoc.gr/metadata/2/b/c/metadata-1364983562-937398-23060.tkl (
30 2013).
Camariano, . 1974. Nouvelles donnes sur Alexandre Calfoglou de Byzance et ses Vers Moraux. :
Symposium Lpoque Phanariote. : , 93-125.
Hunger, H. 2008d. . . , ,
, , . (. .. , .. , .. ),
: .
Legrand, . 1928. Bibliographie Hellnique ou description raisonne des ouvrages publis par des Grecs
au dix-Huitime sicle. 2. 1701-1790. Paris: Les Belles Lettres.

760
Lesky, . 1985e. . (. . ),
: .
Papacostea-Danielopolu, C. 1986. Critique de moeurs et mentalit chez Alexandru Calphoglou. Cahiers
Roumains d tudes littraires 3, 124-135.
, . 2001. . (1822/33-1862).
51 (2), 359-361.
, . 1976. (1000-1930). : .
, .. 1955. . 11. : . .
, .. 1957. . 10. : . .
, . 1815. .
: . . . http://anemi.lib.uoc.gr/metadata/d/2/1/metadata-39-
0000375.tkl ( 30 2013).
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anemi.lib.uoc.gr/metadata/4/c/8/metadata-155-0000140.tkl ( 30
2013).
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lib.uoc.gr/metadata/4/4/e/metadata-22-0000157.tkl ( 30 2013).
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: [..].
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2-3, 7- 40.
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. : .
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uoc.gr/metadata/c/3/6/metadata-22-0000221.tkl ( 30 2013).
-, . 1989. .
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. : [..].
, . 2004. .
. : ERGO.

761

: Caravaggio .

The current study focuses on the parallel examination of two artistic expressions, poetry
and painting. The subject refers to the horrific ferocity of tortures as well as the human
terror revealed in Baroque, based on two Caravaggios' paintings, Judith Beheading
Holofernes and The martyrdom of Saint Matthew, and on the first scene of the fifth act
of the tragedy Erophile written by George Chortatses. The co-examination of poetry and
painting is a part of the inter-artistic orientation of modern comparative research and its
potential applications, known as Comparative Poetics. The above comparison and the
detection of common ideas and differences related to Baroque aim at a close
interpretation of several aspects of both the literary text and the painting. Indeed, the
visual concept of human pain, defined by Caravaggio through the martyrdom of the
body and spread among the witnesses of violent scenes, corresponds to the concept of
the horrendous death of the Cretan tragedys hero and to the atrocities of king
Philogonos, while, at the same time the setting of Chortatses' most important scene
illuminates aspects hidden in the "narration" of the painting.

1.
, ,

,
Caravaggio, (1599)1 (1599-
1600)2 (1600)3
.

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,
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4
. : E. Miner (1990)
( 2004: 45-54) (2009: 15-23) (2011: 281-284) . .
(1995: 53-58) - (1989: 29-38).

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. Mario Vitti (1978: 90), [
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Lambert (2005: 11),
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7
Gombrich (2006: 393), Caravaggio
, . ,
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, Caravaggio .
Fillide Melandroni,
. John T.
Spike (2010: 85) Melandroni

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Gombrich, E. H. 2006. . . (.). : ....

Lambert, G. 2005. (1571- 1610). G. Neret (.). . (.). : .
Miner, E. 1990. Comparative Poetics. An Intercultural Essay on Theories of Literature. Princeton
University Press.
Puchner, W. 2010. . D. Holton (.)
. : , 157-181.
Spike, J. 2010. Caravaggio. London: Abbeville Press.
Vitti, . 1978. . : .
Zuffi, St. 2010. Discovering Caravaggio. New York: Rizzoli.
, . 2004. .
/Comparaison 15, 223-235.
, . 2009. .
. .
(31 & 1 2006). :
/ : , 15- 23.
, . 2011. .
. : Gutenberg.
, . 1984. . . (.). 1, 55-90.
, . 1995. . . (.). : .
-, . 1989. . /Comparaison 1, 29-38.
, B. 2006. .
1821 ( ). : ....
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, 21-24/11/1991). - (.-.).
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(-
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770


Ayant comme point de dpart les deux reprsentations les plus caractristiques de la scne grecque (fin du
20me-dbut du 21me siecle), la reprsentation mise en scne par Hatzakis en 1998 et celle de Livathinos
en 2011, nous essayerons de plonger dans lunivers de Papadiamantis et de prciser comment la matire
littraire sest transforme en thtrale, en examinant la relation et le contingentement de Fonissa, dont
linfluence dans la littrature et lart est indniable. Nous chercherons comment une hrone en papier qui
stait leve en symbole par une criture mystique et religieuse, est devenue un tre vivant par les deux
metteurs en scne. On correspondra entre eux des donns sociaux, juridiques et moraux que
Papadiamantis rveille et on rvla des affinits lectives avec lunivers de Dostoevski et luvre de
Chehof. Finalement, on observa comment la langue de Papadiamantis se transforme en deux vnements
thtrales significatives, en dsignant leur style, leur structure et leur forme.

1.
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Pavis, P. 2006. . : Gutenberg.

Read, H. 1986. . : .
Saunier, G. . 2011. & . : .
, . 2012. . : ,
. , 12-02-2012.
, . 1998. . , 22-03-1998.
, . . 1988. "" . : .
, . 2012. .http://www.mixtape.gr/i-fonissa-sto-
theatro-tis-odou-kefallinias/ (1-02-2012).
, . 2011. . : . ,29-10-11.
, . 2011. . .
, 10-12-2011.
, . 2011. . , 4-10-2011.
, . . 2006. . : Gutenberg.
, . 2011. . , 31-12-2011.
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2011.
, . 2012. & : & . , 11-03-2012.
, . 2011. . . , 10-11-2011.
, . 2011. . , 27-03-2011.
, . 2011. .: & . 23-10-2011.
, . 2011. . http://www.clickatlife.gr/story.aspx?id=2113911
(27-12-2011).
, . . . http://www.mytheatro.gr/stathis-livathinos-fonissa/
, . 2011. . : . http://www.
clickatlife.gr/story.aspx?id=2086998 (8-11-2011).
. 2000. .. ,
, 1998. : .
, . (.) 2005. . :
.
, . 2004. , :
.

777
:
., . .

Filiati or Filiates is situated in the northwestern part of the country, on the Greek-Albanian border.
Filiates is a tiny little town, almost invisible, on the map. Ever since 19th c., at least fifteen well-known
modern Greek writers have mentioned it in more than twenty literary works. Most of these writers come
from the wider Filiati province (like M. Ganas and S. Dimitriou) as well as the entire region of Epirus
(like D. Chatzis and Ch. Milionis). This article seeks to outline the literary representation of the town by
focusing both on the local history and geography, i.e. borders and mountains.

1, 19
.
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30 60
. ( 1991:
58-59) , /,

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).

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( 2003: 171-182),

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1940-1949), ,
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( 1979: 37). 5)
, - -
Times
, 1991,
( 2003: 265-308).
:
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.

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( 2013: 61)
.
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. . ( 1998: 15).

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2013: 253).

( 2012: 169-174).
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( 2010: 32-33).
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2006: 160-161).
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783

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, ( 1990: 57-61).
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13 :
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785
 ( 2013: 81).
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( ) ( ) ( 2013: 223-224). ,

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,
( . 2005: 5-7). 14
( 2009: 149-153),
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( 1960,
2007: 51, 2002: 10, 1993: 9, . 2005: 5,
119, 1985: 27-28). , . . ,
- 1923 ,
, 1927
1986 ,
( 1986: 252), ( 2011:
111).

,
, ,
(2004: 16).

Heubeck, A.- Hoeckstra, A. 2009. . , (.:

). : .
, . 1986. . : , (.:
. , . , . . ), :
, 249-255.
, . 1991. . : .
, . 1988. , , (.: ). :
.
, . 1947. . : . .
, . 2007. . : .
, . 2013. 1978-2012. : .
, . 2012. , , 53,
17-40.
, . 1992. . : .
, . 1978. : : .
, . 2005. . : .
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, . 1998. . : .
, . 2002. . : .
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14
21 2000 ( 2011: 150-151).

786
, . 2004. , (.: ). : .
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, . 1990. . : .
, . 1994. . : , :
, 55-64.
, . 1999. . : .
, . 2008. . : .
, . 2009. , , 42, 291-
294.
, . 2011. , , 47-48, 9-11.
, . 1985. . : .
, . 1990. . : .
, . 2003. , (. ). : .
, . 2003. . : ,
(.), . : , 265-324.
, . 1976. . : .
, . 1979. . : .
, . 1994. , , (.: . ). : .
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, . , . 2002. (1931-1945), (. ).
: .
, . () . (1936-1940), (. . . ). :
.
, . 1998. 21, ( -: ),
, 1, 14-15.
, . 1991. , . : .
, . 2010. . : -.
, . 1979. ( 1940-1950). : .

787
 Guernica Picasso
..

Half a century is the approximate time difference between the painting of "Guernica" and the poem of
K.P. Kavafis known as "Achille's horses". Even if these pieces of art are distant in terms of time and
place, as the poem was published in 1986, while "Guernica" was created in 1937, they still demonstrate
notional convergence, which allows the consideration between them. Therefore in this essay, the
comparison of these two art pieces becomes real, and through subsequent discussion and analysis of their
similarities as well as differences, the horse is concluded to be the protagonist feature. The horse of
"Guernica", reveals unknown aspects of the poem's horses, which do not become obvious by reading only
once. The aim of this study, is to prove that the paint constitutes a narration, which could impart new
means of interpretation and illuminate grey areas to an already known piece of literature, like Kavafi's
poem is.

1.
, Guernica
. ,
1896, Guernica
1937,
.
Guernica
Picasso, 1937 .
27 1937,
Franco
. Picasso ,
, .1
,
,2 ,
, :
, . 3
/,
.
. ,
. ,
, ,
,

, .
, ,
. Guernica
,
.

1
http://en.wikipedia.org/wiki/Guernica_(painting)
2
--: 167.
3
: 191-193.

788
 ,
, ,
Guernica ,
. ,

. -
Picasso,
.4
: , , , ,
, ,
, .
,

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, , :
, corrida, , , ,
, Franco
.6 ,
. , Picasso
, , .
,
, . ,
Guernica , ,
.
,
, ,
.
,
.7 ,
, .
17
, .8
,
19 , ,
.9

2.
,
. ,
.
Guernica .
,

4
(1988: 58)..
5
(1988: 57).
6
(1988: 90-91).
7
(2007: 44).
8
(2007: 49).
9
(2003).

789
 . ,
Picasso ,
. K
.
,
, Picasso, .
,

. ,
- . Guernica
, .
,

, ,
. ,
Guernica :
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.
.
,
. ,
.
,
2 .
,
.10 , ,
, .
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,
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,
. Guernica
: ,
,
, , .

, .12

, . ,
, ,
. Guernica,
. ,
, . ,

10
Blunt (1969: 30-31).
11
http://en.wikipedia.org/wiki/Guernica_(painting)
12
, .
. . (2007: 96).

790

,
, . ,
,
,
.13
, ,
.
.14 16-17

, 8-11 /
/ /
.
/ ,
, .15 Picasso

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4 1937.
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,
, 16 ,
.
, .

3.

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. ,

.17 Guernica
,
. , ,

.18
,
,

. ,
,

13
http://en.wikipedia.org/wiki/Guernica_(painting)
14
Yourcenar (1981).
15
(2007: 96-96).
16
Picasso (1999: 43).
17
(2007: 92).
18
: 191-193.

791
. ,
Prudhon H , 19
,
, .
,
. ,
: ,
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). ,
2 , ,
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; Picasso ,
.
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Guernica.

4.

,
.
.
. Guernica ,
: ,
, ,
, 22 .
Rubin, ,
Guernica,
Picasso,
1932. ,
.
, ,

.

19
(1988: 81).
20
Blunt (1965: 31).
21
http://web.org.uk/picasso/secret_guernica.html
22
(1988: 52).

792
 ,
Guernica. Masson ,
Picasso
. ,
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.

,
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( ),
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20-22:
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23
(1988: 47).
24
(2007: 96-98).

793
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,

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(2007: 97-98).
26
(2007: 100-101).

794
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,

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,

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,
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27
(2007: 102-103).
28
(2007: 103).
29
(2007: 103).

795
 . ,
,
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.
, ,
.
,
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..
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, .
,
.
,
,
.

Becraft, M. E. 2000. Picassos Guernica-Images within images. 3rd ed. [s.l.]: Mel Becraft: http://
community.novacaster.com/attach.pl/341/387/Images_within_images_3rd_Ed.pdf.
Blunt, A. 1965. Picassos Guernica. New York: Oxford University Press.
Gombrich, E. H. 1998. (.: ). : ....
Johnson, R. V. 2004. (.: ). : .
Lorando, G. Marcheshelli, L. Gentlini, A. 1970. Lessico di Kavafis. Padova: Liviana.
Picasso, P. 1999. (.: Paloma Esteban Leal . ).
: . . - .
Yourcenar, . 1981. (.: . ). :
.
, . 2003. . , 4/5/2003: http://www.tovima.gr/opinions/
article/?aid=150978.
, . 1986. : . : .
--, 1981-2000. : .
, 1983. : .
, . 1970. : . : .
, .. 2002. (.: , ,
). : .
, . 1988. . : .
, . . 2007, . : . : .
, . 1984. . : .
http://en.wikipedia.org/wiki/Guernica_(painting)
http://web.org.uk/picasso/secret_guernica.html

796
 . .

Poets and literary critics of the so-called Generation of the 30s appraised the work of poet K.G.
Karyotakis but while they spoke of its uniqueness, they also dismissed the possibility of any future
success. Seferis on the other hand, pointed out Karyotakis important contribution to Greek literature but
failed to study his work in depth, as he did with the work of others for whom he had a similar admiration.
The purpose of this presentation is to show that Seferis considered Karyotakis a great poet since his work
fulfilled the criteria of good poetry that Seferis discussed in his essays. The starting point is Seferis
numerous individual references to the work of Karyotakis. H. R. Jausss Reception Theory will be applied
to the study of the sources for this research.

1.


, .

. .
H. R. Jau.

2. . .
30
. .
,
, (.
, . . , T. S. Eliot).
: )

1918-1928 ) J. Laforgue -
- ) ( )
)
)
.
41

1 , ,
1918-1928.
, .
"" 2
,
3.
,

1
(6/1941: 167).
2
..
3
..

797
 , 4,
- -
,
5.

6 .
,
- -


. ,

.
. .
J. Laforgue:
[. Laforgue ] 7

Laforgue,
[] [] []8,
, , Laforgue
.

9
C. Baudelaire, V. Mayakovsky . . ,
10,

. ,
,
,
,
.
11 ,
. , . . , .
12 . 13,
.
4
(12/1946: 341).
5
(2/1946: 289), , -

.
6
. : (6/1941: 167).
7
(5/1936: 21).
8
(4/1948: 13).
9
(1941-1946: 437).
10
Baudelaire
(15.12.1931): & (1988: 59).
: (12/1946: 324-363) : (1941-
1946: 364-457). Mayakovsky : (5/1939: 157).
-Baudelaire, . : (2005: 100-107 150-163).
11
(8/1938: 476) 84, .1.
12
- . : (6/1951: 94-100).

798
 , -
- ,
(,
29.12.1941)14.
,
/ / ,

,
- 15-
.

.
,

16 ( : 23-24
: /
! .9:
, ,
17 ).

3. . .

,
.
18,
.

19 ,
.
,
.

. ,
,
. ,
,
(, , ,
) (, )
, ( )

13
. : (1986: 11) , Fermor & Rayner (2007: 173).
14
(1977: 173).
15
Jau (1970: 55).
16
. : (5/1936: 17).
17
. : (6/1941: 167).
18
(5/1939: 123).
19
.., 152.

799
20 ([ ],
Spleen).
,
:
[] []21,
22.
, ""
,
.
,
.
,
.
[ ]
( 2 9 ): ,
, ,
9 -
- ,
15 14 .


.
, ,
23

[] 24-
, -,
25 , , .
26
,
, , ,
(.. )
, .
,

20
. :
(1986). : (.) (1990: 7-11).
21
(1988: 154).
22
. : (1996) Peri (1986). : (.) (1990: 100),
,
. , ,
.
23
(1/1937: 66).
24
. : (5/1936: 44).
. . Richards . : (1980: 41-45).
25
(4/1964: 167). .: (1989: 100), ""
.
26
.: (1977: 106),
.
.

800
, 27
"" . ( ) -
- , ( )
,
,
.

. , ,
,
, , 28.

,
,

, ( ) ,
29.
30
, (
, Jules Laforgue) (fantaisistes,
19 20 ) ,

31, .
,
, .
- , -
.

4. 30

,
30
: ) .
[] [] []32
- 33-,
) .
34 -
,

27
(2/1971: 340).
28
(8/1945: 264-267). .: (3/1934). : (.) (1981: 190):
, , ,
,
. [ ].
29
(3/1934: 186).
30
(1951: 26).
31
Vitti (1973).
32
(9/1935: 479).
33
. . . . :
(1997). : (.) (1998: 15-26). .: (2011: 17-40).
34
(1931). : & (1981: 180).

801
35 ,
) . .
36,
[...] 37,
) .
,
38.
,

30,
.
39 ,
""- /
[...] 40 , 41 , 42
( ) , [...] 43 -,
44

45.
, -
- ,
() 46
.

5.

30,
47.
, [][]
[] [] 48 []
49 ,
: ) ,
50)
51 ) 52

35
..
36
(1938). : (1993: 220).
37
..
38
(1944). : (2004: 320-342).
39
. : (5/1939: 132).
40
(9/1935: 481).
41
(1938). : (1993: 224).
42
(1938: 222).
43
(1944). : (2004: 511).
44
. : .11.
45
Jau (1987). : Jau (1995: 119).
46
. : (5/1939: 106).
47
. : (2009: 19, 45, 47-8, 68) (1962). (1932).
48
(12 /1941: 180).
49
.., 203.
50
. : (5/1936: 34). [ ].
51
. : (5/1939: 159).

802
) - "" 1888-
) (
T. S. Eliot))
() ) 53.
,

.
,
,

.
, ,
"" ,
.

, , ,

,
[]54 ,
.


.

.
, ""
55 .

6.

""-
,
. , . . . 56-,
,
,

52
. : (12/ 1941: 189).
53
. : (): (5/1936: 34) .: (1906). : (1967: 420)
(): (5/1939: 159) .: (1916). : (1967: 549),
(): (12/1941: 189) .: (1903). :
(1964: 12) (): (12/1936). : (2003: 56-63) (12/1941:
189) (1/1937: 74) .: (1901). : (1964: 27-78) (1902).
: (1964: 79-94) (): (4/1964: 180) .: (1890). :
(1969: 102-109) (): (5/1939: 152) (1903: 20) (): (5/1936:
30) .: (1916: 549).
54
(1906: 417).
55
.[=] (1/1935: 3).
56
. : (12/1936: 63).
. . ..
: (1979: 87-88) (4-5/1938: 419) (1971: 153).

803
 30
.

Jau, H. R. 1970. . : Jau,

H. R. 1995. . (.-.-.: ).
: , 25-91.
Jau, H. R. 1987. : . : Jau, H. R.
1995. . (.-.-.: ).
: , 109-136.
Peri, M. 1986. - . :
(.) 1990. . . , . .
(, 11-14 1986). : , 93-107.
Vitti, M. 1973. , . , 7
.
, . 1994. . ... :
.
, . 1997. "" "" :
. (.) 1998. .
. :
(: ), 15-26.
, . (3/1934). . : , . (.) 1981 .. .
,. : .
, . 1980 [2]. . .
: .
, . 1996. . , 15 .
, . 2005. . : .
, . 2011. . 8, 17-40.
, . 1979 [2]. ( ). : .
, . 1989. . . : .
, . . 1938. . . . , 21 . : , . .
1993 [1: 1972]. (.: ). :
, 220-223.
, . . 1962. . . : .
, . 1944. . : , . 2004 [6]. . :
, 319-347.
, . 1944. . : . :
, 490-514.
, . 1929 [2009]. (: . . ). : .
, . 1931. . , 16 . : , . & , . 1981.
(1930-1966) (.: . . ). : , 175-180.
, . 1938. . . . , 19 . : , . .
1993 [1: 1972]. (. ). : , 223-226.
, . 1932. . : .
, . (9/1935). . 1, .9, 478-486.
, . (4-5/1938). : . -
: (). 4, .4-5, 417-419.
, . 1971. . : .
, (4/3/1997). :
30. 34, 33-40.
, . 1988. . : .
, . 1951. . . .
, . (12/1963). . 8, 10-14.
, . 1890. . : , . 1969 .. . :
-, 102-109.
, . 1901. : . : , . 1964 .. . :
-, 27-78.

804
, . 1902: ( ). : , . 1964 ..
. : -, 79-94
, . 1903. . : , . 1964 .. . : -, 11-26.
, . 1906. . : , . 1967 .. . : -, 415-
423.
, . 1916. . : , . 1967 .. . :
-, 543-549.
.[=], . (1/1935). . 1, .1, 1-15.
, . 1988. . . : .
, . . 1993 [1:1972]. ;
. . , (.: ). : ,
-.
, . (5/1936). . .. : , . 2003 [8] .. . :
,17-46.
, . (12/1936). (12/1936). : , . 2003 [8] .
(:1936-1947). . : , 56-63.
, . (27/1/1937). . : , . 2003 [8] . (:1936-1947). .
: , 64-76.
, . (8/1938). . : , . 2003 [8] . (:1936-1947).
. : , 82-104.
, . (10/6/1941). . : , . 2003 [8] . (:1936-
1947). , (1936-1947). : , 166-178.
, . (12-21/12/1941). . : , . 2003 [8] .
(:1936-1947). . : , 179-210.
, . (1/8/1945). . : , . 2003 [8] . (:1936-1947). .
: , 264-267.
, . (24/2/1946). . : , . 2003 [8] .. . : , 268-
319.
, . (17/12/1946). . . , . . . : , . 2003 [8] .
(:1936-1947). . : , 324-363.
, . (1941-1946). . : , . 2003 [8] . (:1936-
1947). . : , 364-457.
, . (15/4/1948). . : , . 2003 [8] . (:1948-1971).
. : , 9-24.
, . (6/1951). . : , . 2003 [8] . (:1948-1971). .
: , 94-100.
, . (16/4/1964). . : , . 2003 [8] .(:1948-1971).
. : ,162-181.
, . (7/2/1971). . : , . 2003 [8] . (:1948-1971). .
: , 339-348.
, . 1977. (1 1941-31 1944). : .
, . 1986. (1 1945-19 1951). : .
, . & , . 1988. 1931-1960 (.: ).
: .
, ., Fermor, P.L. & Rayner, J. 2007. (1948-1971) (.: .
- . ). : .
, . 1986. . :
(.) 1990. . . (, 11-14 1986). :
, 1-19.
2002. "", " " "Raven": --
. 52, 117-128.

805


George Theotokas (Constantinople 1905 - Athens 1966) the most important writer and thinker of the 30s
generation, has written five novels (Argo, Daimon, Leonis, Wayfers and Invalids, The Bells). One of the
basic axes of his novels is the role of character. The characters, men and women, express themselves by
showing their ideas which are the same or different to the writers. In this paper I present characters of
women in the novels Argo, Daimon, Wayfers and Invalids who have an important role in the story. All of
them face many difficulties, they are suffering from the conditions of life, they feel unsatisfied from their
way of living and at least they die physically or mentally. In this way the heroes death symbolizes the
refutation of hopes.

1.
( 1905 1966),
,

20 , 30.
: , , , , 1.


,
.
,
.
,
2. Ph. Hamon,
(personnages) ,
, (recit)

, 3.
, ,
.
, ,
, ,
,

1
. : 17, , 2000 ( 19331
19361), 8, , 1996 (19381), 19, , 1999 (19401),
7, , 2002 ( , 1954), 2, , 1981 (19691).

, ,
.
2
R. Barthes (1972)
,
, .
3
Ph. Hamon (1983: 189).

806
 S. R. Suleiman4.
.
, , .
5
- -

,
6. ,
, ,
, .
, 20
, ,
.

2.

. , 7.
,
8
,

9.
,
10. ,
,

,
11.

, ,
,
, .

4
S. R. Suleiman (1983: 70).
5
. (1964:8).
6
. , . (2005: 120-122),

19 .
7
. (1972: 26-2): ,
, ,
.
8
. , ( 20/11/1937: 12-14).
9
. (1984:230 )
, ,

.
10
. (1995:184)
(1933) (1936). . . (1981: 64)
.

- .
11
. . (1934: 62 64).

807
 ,
,
.
, ,
,

(. )
12.

.
, , .
. .
,
, ,
.

13. (
), , ,
,
14.
(, , ),
, ,
.


-
.

: ,
15. , ,
, , .
. , ,
, . , ,
, . ,
,
,
, :
,
, 16.
, , ,
,
.

12
. . (2000: 22-23, 76) (2000:181-182).
13
. , (1933: 375-378). . . , (1989: 70),
.
14
. . (2002: 33-34, 141-145 2002: 296-302).
15
. . (2000 :22, :158-159)
16
. . (2000: 76, 85, 87, 169, 176).

808
 ,
.
,
17.
, ,
, , ,
. ,
, ,
18.
. , . ,

.
, ,
. ,
,
, ,
: , ,
. ,
, 19.
, : !
, .
. .
20.
,
: [...] [...]
, ,
[...] .
21.
,
.

. .

,
. :
. [...] , .
. [...] , []
[...] : ,
, , , .
. .

17
. (2000: 22-28, 97).
18
,
, ( 1989:
80-84).
19
. (1996: 35- 37).
20
. (1996: 57).
21
. (1996: 119).

809
 [...] .
, ;22.
:
, .
, , ,
. ,

, .

, , .


23.
, ,


: ; ; ;
,
!24. , ,

, , .
:
[...] , ,
, [...]25.
,
:
,
,
, , ,
, , , , 26.
. , ,
,
27.
,
, ,

28.
, , :
, ,

22
. (1996: 80-81).
23
. (2002: 242, 288, 301-302, 452-454).
24
. (2002: 147).
25
. (2002: 255-256).
26
. (2002: 238-239, 281).
27
. . (2005, 28/1/1945, 566) ,
, , ,
.
28
. . (2002: 143-5).

810
 29.


. ,
,
, , . ,
, : 30.

3.
Cl. Bremond,
( / / )
,
. ,
,
, ,
.
,
,

.
. ,
, .


31.
,
, ,
,
,
,
32.
33, ,
.
, . ,

29
. (2002: 243). ,
.
30
. (2002: 390).
31

, ,
: , , ,
. ; ; ; ,
,
[...] Quattrocento [...] . (. (2000:
118-119).
32
. (2000 : 23-24,27).
33
H. Tonnet (1999: 239)
, ,
.

811
 ,
34.
, . ,
, .
,

35.
,

. ,
.
. H ,
. ,
,
. ,
, ,
, .

4.

,
,
.
, ,
.
,
. ,
,
, , ,
,
. ,
,
, . ,
, , , ,
,

.

Barthes, R. 1972. Le degr zro de l ecriture, Paris: Seuil.

Bremond, Cl. 1966. La logique des possibles narratifs, Communications, 8, Paris: Seuil.
Bremond, Cl . 1981. L analyse structurale du rcit, Paris: Seuil.

34
. ,
. ,
, . [. .
(1999:45-56) DEA
EHESS .
35
. . (200017 : 167-168),
.

812
Doulis, Th. 1975. George Theotokas, USA, Portland State University: Twayne publishers.
Hamon, Ph. 1977. Pour un statut smiologique du personnage, Potique du rcit, Paris: Seuil, 115-180.
Hamon, Ph. 1983. Le personnel du roman, -le systme des personnages dans les Rougon-Macquart d
Emile Zola, Paris: DROZ.
Richer, R. 1979. L` itinraire de G. Thotokas vu dans son oeuvre litteraire, Paris:Les belles lettres.
Suleiman, S. R. 1983. Authoritarian Fictions, The Ideological Novel as a Literary Genre, New York:
Columbia University Press.
Tonnet, H. 1999. , (. ., . . . .
), : .
, . 1986. , ,
26, 56-93.
, . 1993. . (1872 1951), ( ).
, . 1933. , : , , 2, 375-378.
, . 1992. - . . : , . ,
: .
, . 1964. , , 20/12/1964, 6-12.
, . 1972. 2, : , (19311).
, . 1973. 3, : (19371).
, . 1981. . . , (1930-1966), .. . . ,
: .
, . 1989. 2, : (19391).
, . 1996. 8, : .
, . 2000. 17, : .
, . 2002. 7, : .
, . 2005. (1939-1953) 2,( .- . . , . .),
: .
, . 1995. - ,
: .
, .1986. . , ,
( . ), 26, 118-123.
, . . 1986. ( ), :
.
, . 1999. G. Theotokas, Tout va bien. ( . ).
Revue des tudes No-Helleniques VIII, Daedalus, Paris-Athnes, 45-56.
, . 2005. , 100 , (
, . . ), . -.
, . 2012. .
. ( ), : .
, . 2001. ,
. , Australia: Flinders University of South Australia.
.,20/11/1937. . . ,
, 51, 12-14.
, . 1984. , : .
, . 1934. , 1929-1933, , .
, . 1986. . , , 26, 161-
165.
, . . 1995. (
19 ), ,
, , 421-436.
, . 2005. . : , , ,
(), 1784, 856-888.

813


The purpose of the following text is to outline the main features of the literary kind of feuilleton based on
Angelos Terzakis relative work. Furthermore, it intends to touch on the basic problems of a kind-related
approach to feuilleton. For this reason, it follows the Jean-Marie Schaeffers theoretical model about
literary genres according to which every text is a complex and multi-leveled semiotic reality, so except
for its pure textual dimension (what says and how), it can be approached in its communicative dimension
too (who says what in which channel to whom with what effect).

1800
Journal des Dbats.


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. 19
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(Flugschrift), (Pamphlet), , ( ).

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1997: 29-36)

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Harvey, Sir. P. & Heseltine, J.-E. 1959. The Oxford Companion to French Literature, Oxford Clarendon
Press.
Levi, A. 2006. Feuilleton. http://www.custom-essay.net/essay-encyclopedia/Feuilleton-essay.htm
( 10 2013).
Schaeffer, .-. 2000. ;. . . . . :
.
http://en.wikipedia.org/wiki/Feuilleton.
, . 1997. . . :
.
, . 2003. : . 14, 20-46.
, . 2002. . . : .
, . 1989. . 82, 112-119.
, . 2004. . , 05/09/2004. http://news.
kathimerini.gr/4dcgi/_w_articles_columns_2_05/09/2004_115073 ( 11
2013).
. , , , . : 2007.
, . 1998. . : .
, . 1985. ( ). 117, 8-16.
, . 1985. ( ).
117, 17-20.
, A. 1963. . . : .

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822
, A. 1980. . . : .
, A. 1983. . . : .
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, A. 1987. . . : .
, A. 1989. . . : .
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, . 1993. . , : .
, A. 1994. . . : .
, A. 1995. . . : .
, A. 1995. . . : .
, . 2000. . . : .

823
 ,
:

The myth of Atreus family exerted and continues to exert a strange charm from antiquity to modern
times. In the field of Modern Greek poetry from the generation of 30 till nowadays there were many
poets charmed by the female figures of that myth, and -other more and other less- they presented them in
their poetic work either directly or indirectly. The aim of this paper is to record the appearance and the
poetic function of the two sisters Electra and Chrysothemis, to evince the intake and the utilization of
myth, the poetic transformation of the two forms, thus the perpetual communication and exchange of
masks, reflections and views between past and present; to inticate the human process in time and the
attempt to raise his stature obeying written and unwritten laws while strengthening his internal struggle,
the voice of existent and consciousness, too.

, ,

. -
-1
,
.
30
- -
. ,
, ,
,
, .

(1935)2

- -
(2010).3
,
. .
(1950)4
, (2002).5


,
. : )
,

1
. : , . (2006: 112-124) & , . ( 1981: 616), Brunel, P.(1992:
59) & , . (2008: 333-408).
2
, . (212004: 62-63).
3
, . (2010: 31-32).
4
, .. (1975: 163-164).
5
, . (2002: 31-33).

824
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.
,
,
, . 694.
(. 696-7, 716-720, 744-5).

,
,
, .
,6
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,

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, 1966,
, (212004: 287),

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, T. S. Eliot.8
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9 .
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6
, . . (22/6/2010: www.avgi.gr) & (1989: 78-79).
7
, . (1976: 51-53).
8
. : Vitti, M. (1989: 66-69) , . (1987: 113-146) = . (.)
(2009: 401-428).
9
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825
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( 1959), ( 1960), (
1962- 1966), ( 1967- 1970)
( 1966- 1970)
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826
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18
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, . (1995: 147-166) & , . (1983: 135).

827
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Andr Gide J.P.Sartre
.
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(1965)24
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1971
. 25

22
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, . (1989: 274 44).
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828
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.

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, 1968
.26
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Electra Bar
(1978).
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,27

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.
28
- (1933-1936), ,
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. 29
, .

1930-1940.
26
, .3, 1973 , . (1980: 39-40).
27
. . . 112-166, 175-189, 198-212 (1978: 98 100). .
. . , . (2000: 58).
28
, . (1977: 66) , . (1983: 117-118).
29
, . (2005: 277) = Tziovas, D. (1996: 79). , . -
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829

,
. ( 1977-1982) 1982


Duncan
.

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31
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32
, . (1998: 83-86, 90-94).

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Carmina Profana (1979-1982)

. 34 , , ,
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.36
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.38
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33
, . (1990: 120).
34
, . (1998: 168-170).
35
, . (1989: 174).
36
, . (22010: 200-202) & (1997: 58-59).
37
, . (2009: 13).
38
, . (2009: 91).

831
 - -
.
(1982)
39
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. ( , 2005)

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.

* .

Brunel, P. 1992. -. . , :
.
Vitti, M. 1989. : . ., : .
, . 1975. (
). . . : , 115-142.

39
, . (1982: 20), (2005: 25-26), (2010: 31-32), (2002: 31-33).

832
, . 1990. . . . 92, 118-127.
, . 1977. . : .
, . 1989. ( . ).
23, 171-176
, . 1998. , 1940-1993. : .
, . 2009. . 169-170, 51-53.
, . 1999. . : .
, . 1978. . : .
, . 21980. . : .
, . 1983.
. 24, 130-139.
, . 1991. . 130,
80-89.
, . 2000. . :
.
, . 1997. I. : .
, . 22010. 1943-1987. : .
, . 1977. . : .
, . 1983. . : .
, . 1975. . . : (1945-1956). 98, 1270-1271.
, . 1971. . : ...
, . 22001. (1979-1991). : .
, . 1995. .
. 4-5, 147-166.
, . 1987. . .
: , 113-146 = 2009. . . (.)
. : , 401-428.
, . 1982. . : .
, . 2002. . : .
, . 2005. . : .
, . 2010. . : .
, . 2008. . . -
. (.) . . : Gutenberg, 265-447.
, .. 1989. - . : .
, .. 22/6/2010. . : www.avgi.gr.
, . 2004. . : .
, . 2007. . : .
, . 2007. . : .
, . 2008. . : .
, . 2008. , : .
, .. 1981. . . .
(.) . : , 517-544.
, . 2009. . : .
, . 2006. . 31, 112-
124.
, . 1980. . 2,
3-11.
, . 1981. . . (.)
. : , 276-372.
, . 1989. 1958-1967- . : .
, . 1989. 1963-1972- . : .
, . 261990. (1956-1972, ). : .
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, . 212004. . : .
, . 1981. . . (.)
. : , 616-635.
, . 2009. : .
27, 12-15.

833
, . 2005. . : , 257-279 = Tziovas, D. 1996.
Ritsos Orestes: Politics of myth and anarchy of rhetoric. P. Mackridge (.). Ancient Greek
Myth in Modern Greek Poetry: Essays in memory of C. A. Trypanis. London: Frank Cass, 67-80.
, . 1976. . : .
, .. 1975. 1945-1956. : .

834


Charles Bernheimer has pointed out a relative function of the idea of Nature in literature with the themes
in the works of decadence, mainly by studying the role of Nature in Zolas La faute de l abb Mouret,
where it appears as the only way to human happiness, the denial of which leads to alienation and insanity.
In by Constantinos Christomanos, although animal instincts dont match the upbringing
and aesthetic tastes of the writer, the choice of sexuality supports the main frame of the plot, as passion
leads to death or deep sadness always in the scenery of the blooming or cloudy Nature and of the moon
posing as the sun of darkness, to imply that humans are ultimately led to decay.

1..

,
. ,
(
),
, ,
-
, 1908,
1911 19251.
,
[],
.

2.

2.
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, ,

1
. [19--]: 8.
2
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3
.., 71.

835
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:
6;
:

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,

;

4
. .., 133-136.
5
.., 130-131.
6
.., 32-36.

836
 -
7.

3.
3.1.
,
Edgar Allan Poe,

,
.

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.


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837
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839
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decadence. ,
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840
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4. decadence
Charles Bernheimer
decadence Zola La faute
de l abb Mouret ( , 1875).



13.
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13
Bernheimer 2002: 59, 70.

841

Bernheimer, Ch. 2002. Decadent Naturalism/ Naturalist Decadence. In: T. Jefferson Kline and Naomi
Schor ed. Decandent Subjects, The Idea of Decadence in Art, Literature, Philosophy, and Culture
of the Fin de Sicle in Europe. Baltimore and London: The Johns Hopkins University Press, 59,
70.
, 2012. , (. ), :
.
, . [19--]. , , (. -
), : .

842
,
19

The existing relationship between gender and nation constitutes an interdisciplinary field of study that has
been examined under different perspectives and dimensions from historians, sociologists, cultural
anthropologists and philologists. This article discusses the relationship between gender and nation in the
case of Kyra Frosini as it appears in the literary works of Alexandros Rizos Rangavis and Aristotle
Valaoritis. In particular, the article focuses on the ways in which ethnosymbolism blurs the lines between
literature, history and public discourse towards nation, turning a historical figure of the early 19 th century
into an ethnic myth in order to shape the collective sentiment around the concepts of nation and
national identity.

, 19 .



( 1837)
( 1859).

,

1773-1801 ,

11 1801
.



, 19 ,
.1 19

,
,
. ,

19

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1
19
, .
.
( ..:32).

843

.

,
,
.

,
19 .
,


,
.
,
,

( 1999).

,
( 1955:201),
,
( 1955:201).

,
,
( 1955:205).

19

( 1955:209).


,


.
,
,
,


.

. Anthony Smith,

844
 ,
(Smith 1999:57).
Smith
19


, , ,
. , ,
, ,

,
(
1955:201).

, ,
,
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-
, ,
-
:
( 2001:223).

, Smith

(Smith 1999:57). ,
,
,

,
.
,
.



(Blom 2000:9).
.
, ,

,

, ,
(Blom 2000: 9).

(Pierson 2000: 43-44).

,

845

- -
.

,

. NiraYuval-Davis

,
,
(Yuval-Davis1997:12).

,

,
( 1955: 263):

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!...

,

, , ,
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,
.

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(),
().

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( 2007: 79).


,
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,
. (
1874: 284):

846
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; ,

;2

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,


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.

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Smith


(Smith 1999:58).
,



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,

.
. ,
,
( 1991: 118).

2

, ,
. ,

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. : ,
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( 1837:74).

847
,
[...]
( 1991:118). ,
,

( 1991: 119),
19

.
,
,



.

,
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,
( 2007:23).

,

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,

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,
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,

.
,

,



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,
.

848
 3 1877:
,
[...] ,
, (
2008:159).
,


.


, , ,
( 2008:159).

,


,
( 2008:158).

,


.



. ,



( 1955:202). ,

, ,
, , ,
.

,

( 2009:408). ,

, ,
.
,
(
2009:408).
,

849
 ,
,
. ,

,

.

, .



, ,
.
,
,

.

.
,
, ,
,


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-


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850
.



,
. ,
,
, ,
, .

, ,
. ,

,
.

Anderson Benedict. 1997. .

, (. ). : .
Bhabha Homi. 1990. Nationand narration. London and New York: Routledge.
Butler Judith.32006. Gendertrouble.Feminism and the Subversion of Identity.London and New
York:Routledge.
Blom Ida, Hageman Karen, Hall Catherine (eds). 2008. Gendered Nations: Nationalisms and Gender
Order in the Long Nineteenth Century, Oxford: Berg.
Hobsbaum E. J. 21992. Nations and Nationalism since 1780. Programme, Myth, Reality. Cambridge:
Cambridge University Press.
Lippmann Walter. 1965. Public Opinion. New York: Macmillan.
Renan Ernest. 1996. What is a nation. Woolf Stuart (ed.) Nationalism in Europe 1815 to the present:
A Reader. London: Routledge. 48-60.
Smith Anthony. 1999. Myths and memories of the nation. New York: Oxford University Press.
Yuval-Davis Nira. 1997. Gender and Nation. London: Sage.
. 2008. , :
.
-. 2004. , . . . 29-45.
-. 2005. , Revuedes EtudesNeo-helleniques. 1.
85-132.
. 1955. ( . , . ).:
.
-.1859. , . :
.
. 1994. . .
127. 32-36.
. 2001. . . : .
. 2007. (). 19 . : .
- . 1991. , , . ,
: .
. 2009. . . :
.
. 1984. . ,
. : .
-. 32003. . 1830-1880. : ...
.
-. 1999. .
. . : . 163-201.
-. 1837. . : . .

851
-.1874. , . .
-.1999. ( , ). : .
. 2011. ....
. : .
. .. 1794-1944. : .

852
,

In his essay Forms of Time and of the Chronotope in the Novel (1937-1938), Mikhail Bakhtin
introduced the concept of chronotope. Chronotope is a term of literary theory that shows the fusion of
space and time in literature. In Concluding Remarks, the last chapter of his essay, Bakhtin extends the
concept of chronotope to study more general problems of literary theory. Here he distinguishes between
representing and represented chronotopes, that is to say between chronotopes of the real world and
chronotopes of the created world of a literary work. The representing chronotopes are located outside the
work, while the represented chronotopes are located inside the work. Finally, Bakhtin refers to another
chronotope, the creative chronotope. The creative chronotope is the chronotope of the author. This
chronotope is located simultaneously outside and inside the work.

,

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The Greek avant-garde poet Andreas Embeirikos in resemblance to some of the European avant-gardists
(along with Russian symbolists and futurists) turns to the construction of new mythical chronotope,
calling for the new era of cosmic pacification and reunion. This tendency of Embeirikos towards the
synthesis of different literatures, philosophies and religions aims to construct a new world of future inside
the present and to resist the historical and personal trauma. In the current paper the relation of the major
part of his literary works ( , , ..) to
the Russian literature (Tolstoy, Pushkin, Khlebnikov and others), which forms a great part of this globally
drifting construction, led to the in-depth research. The paper seeks to provide some vital examples of the
intercultural poetic dialogue which most of the times contributes to the creation of palimpsestic layering
of space and time. This intertextual approach to Embeirikos hopefully widens the way to a better
understanding of his ideology and coexistence of different crossings and encounters in the texts.

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Benjamin, W. 1999. Illuminations. (edit.- intr. H. Arendt ), (trans. H. Zorn ), UK: Pilmico.
Friedman, S. 2007. Cultural Parataxis and Transnational Landscapes of Reading. : A. Eysteinsson &
V. Liska (.), Modernism. vol. 1. Amsterdam Philadelphia: J. Benjamins Publ., 35- 52.
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, 0.

This paper focuses on the role of some common marks of polyphony such as dialogism, diphony and
heteroglossia in a novel of commitment. More particularly, in the sixth chapter of the fourth part of
Menelaos Lountemis, Odos Avyssou, Arithmos 0 (0 Abyss Street). The story takes place in Makronisos
during the Civil War; in the chapter examined, a rehearsal of Sophocles, Antigone is associated to the new
drama that follows the two prisoners escape. Applying a close reading method and a view of sociology
of literature, our analysis aims to discover the usage of dialogic elements in a monologic literary context
as well as to prove that an apparent polyphony sometimes may function as a mask for the writers
underlying ideology- just like in the case of this Lountemis novel.

1.
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1992: 236).
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1998: 111-112.
11
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. (2006: 42) (1998: 111-112).
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1920 1930 (Knellwolf / Norris 2006: 346).

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1998: 259.
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17
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. ( 2000: 324).
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2004: 106-107), , 20 , , ,
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32
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,
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(1987: 60),
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. (1987: 68).
34

, . .
Beaton 1996: 400.
35
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( 1982: 172),
. Mallet. ,


( 1987: 60).
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( 1987: 60).
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351-352)
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/ 2004: 143).

877
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40.

4.
, ,
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218), 41 / intertextuality42
Julia Kristeva,
, ,
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43,
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41
Kristeva, (. Delcroix / Hallyn
2000:150-1), Bakhtin, []
, . ( 2000: 325).
42
M , Julia Kristeva,
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,


. (Abrams 2007b: 180).
43
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, (. 1998: 113).
44

, (. -
2000: 23).
45
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. (
1988:102). . (1998: 261): Bakhtin
,
.
46
. Laffont- Bompiani (1970c: 46-47): : 1)
(441 .), 2) (406 ..), 3) (410
409 .), 4) Stace (79-90 .), 5) Antigone ou la Pit Robert Garnier (1580), 6)
Jean Racine (1664), 7) Polynice Vittorio Alfieri (1783), 8) Antigone Vittorio Alfieri (1783),
9) Antigone Jean Anouilh (1944).

878
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Antigone lebt, 47.

( 2005: 263),
48.
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1997: 160). ,
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1988: 100).

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2003: 223.
48

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( 1945: 3). . (2005: 203).
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, 54,

55.

51
,
.
52
Bakhtin, , ,
,
, (Halperin 1984: 16).
53
Sir Philip Sidney Defence of Poetry
- , .
,
. (Hawkes
2003b:125).
54
,
,
, ,
(. Escarpit 1972: 10).
55
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,

880
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, 56

57.

Abrams M.H. 2007b. . , , . (.

., .), : .
Beaton R. 1996. , : .
Delcroix M. Hallyn F. 2000. . . (.-
. . . ). : Gutenberg.
Escarpit R. 1972. , : . . .
Halperin J., Ernst M., Butor M., Schover M., Wilson E., Lodge D., Barthes R., Steiner G., Holub M.
1984. . (. .). : .
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Hawkes D. 2003b. Ideology. The New Critical Idiom. London: Routledge, Taylor & Francis Group.
Knellwolf C., Norris C. 2006. The Cambridge History of Literary Criticism, Volume IX Twentieth-
Century Historical, Philosophical and Psychological Perspectives. Cambridge University Press.
Laffont R., Bompiani V. 1970c. Dictionnaire des Personnages littraires et dramatiques de tous les temps
et de tous les pays. Posie, Thtre, Roman, Musique. Paris: S.E.D.E.
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Oxford University Press.
, . 1998. . .
, : .
, . 2003. .
, 1947-1981, : .
, . 1997. . : . (.)
(1945-1995) [7 8 ],
: (:
), 59-80.
, ., . 2004. , : .
. 1945. , 21, 5-6.
, . 1997. []. : . (.)
(1945-1995) [7 8 ], :
(: ), 15-21.
, . 1997. []. : . (.)
(1945-1995) [7 8 ], :
(: ), 349-356.
, . 2005. 1940-1950. : .
, . 2005. , .
(1943-1967). : .
, . 1982. . . : .

( 1997: 69). ,
, (. 1997: 352-353).
56

, :
, ( 1997: 19).
57

, ,
, , ,
. ( 1997: 19)

881
, . 1945. . , 30-31 (7.12.1945), 3.
, . 1962. 0, : .
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. - -
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., : .) : .
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[ ] - ., . (.)
, 18 -20 ,
( 8-11 1998), 1. : .
, . 1988. . : .
, . 1997. ,
. . (.)
(1945-1995) [7 8 ]. :
(: ), 147-172.
. 1993. . .
: .
. 2006. . . : .
. 1987. . .
: .
. 1991. :
(1945-1955) . , 2 (3 , ), 113-145.
. (- ). 1992.
- (1914-1939), . , 232-252.
: .

882
 : ,


-

In this paper I will study the poetic canon as a field of cultural politics and of formation of national
identity. My main objective is to detect how the poetic canon circulates not only as a set of names, poems
and trends within the discipline of literary studies, but how it is related to institutional ideological
narratives and cultural representations within the Greek public sphere during the periods of military
dictatorship and the current economic crisis. Though these connections, the poetic canon operates both as
a place of official and selective memory and as a presumption of historical culture, of the way, that is, the
(poetic) past survives in the present.

1.
;
,
,
,
;
, ,, , ,
,

,
;1 , ,
-
-

;

, ,
2

1

,
. Herrnstein Smith, B. 1983. Contingencies of Value, Critical Inquiry, Vol.
10, No. 1, Canons, 1-35. ,
(
)

.
, . 2007. -, ,
. . . : , 125-6, .4 Lambropoulos, V. 1988. Literature as National
Institution: Studies in the Politics of Modern Greek Criticism. Princeton: Princeton University Press,
, .1, 3, 4.
2

(. Nora, P. 1984. Les
Lieux de mmoire, Paris: Gallimard) (. , . 2005. H
, , 22/05/2005).
,

883
 , ,
Halbawchs, ,3

, .


, (1967-
1974) ,

4.

2. ,


, ,
,


,
Pierre Bourdieu Michel Foucault
(discourse)
, ,
/
.5

,6

7

,
(, A. 2005. ; ,
104), , ,
,
, .
3
Halbawchs 1992: 50-87.
4
. Hutchinson 2005: 34.
5
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, . 1992. , , 85-86.
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. 2009. The Formation of the Modern Literary Canon and its Relation to Institutions, Murat Belge
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897
 -



LMU

Mit ihren literaturkritischen Texten whrend der Obristendiktatur zeigt N.Anagnostaki einerseits die
besonderen strukturellen Bedingungen auf, unter denen die literarische Produktion bestehen musste,
andererseits dokumentiert sie den Versuch, durch eine neue literarische Sprache der institutionalisierten
Zensur zu entgehen. Nicht zufllig wird ihr Aufsatz als erster Text des Bandes 18
publiziert, was ihre Vorreiterrolle unter ihren zeitgenssischen Intellektuellen bezeugt.
Ihre 1977 erschienene Aufsatzsammlung besteht aus Fragmenten, die
sich zu einem Grndungstext in der neugriechischen Literatur zusammenfgen lassen und die neue
Sprache der Mimik definieren. Laut N.Anagnostaki lsst sich die Literatur jener Jahre rckblickend aus
der dynamischen Beziehung Literatur-Politik erklren und daher ist die Rede von einem textuellen
Versteckspiel. Die Frage ist aber, ob diese Texte als ein Manifest mit bleibendem Eindruck gelten und
inwieweit sich die Zensur und die daraus herauskristallisierten Entwicklungstendenzen des Schreibens
auch nach dem 1974 grundlegenden politischen Wandel in Griechenland auswirken.

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Julia Kristeva 1969
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Le geste: pratique ou communication?. Kristeva

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.

11
Heidegger (1996: 23).
12
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. adare (1991: 12): ,
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14
H Julia Kristeva : Nous trouvons ici, face au problme essentiel que pose le geste: est-il un
systme de communication comme les autres, ou plutt une pratique o sengendre le sens qui se transmet au
cours de la communication?, risteva (1968: 48),

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Roland Barthes 1970 : Kristeva ,
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Barthes (1970:19).
16
Kristeva :
The literary [knot] it tied by which literature will be considered from various viewpoints at the same time:
language, subject-producer, history, subject of metalanguage., Kristeva (1977:94).
17
O Wittgenstein
: there is a
paradigm apart from the theme: namely, the rhythm of thinking and feeling. And the theme, moreover, is a
new part of our language; it becomes incorporated into it: we learn a new gesture. Wittgenstein (1980: 52).
18
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907
 .

The scope of this paper is to show the close morphological relevance between Constantinos Theotokis
(1921) and the sonata form. The cyclical structure of the text and its division into
three distinctive parts, the extensive use of leitmotif, the embodiment of lyrical elements and the straight
reference to a funeral sonata introduce enough evidence of the above mentioned correlation between
literature and music. Our interdisciplinary approach is trying to show that there is much more going on in
this so-called socialistic novel: the combination of the naturalistic determinism that penetrates the
whole text and the emergence of a symbolist, lyrical worldview demonstrates the neoteric aspect of this
elegiac literary sonata.

1.
,
(- 1989, Brunel- Pichois- Rousseau 1998)
( 2004),


1. -
2,
- , , ,
3.
( 2012)

,
,
,
(, -
),
-,
-
, , Leitmotif, , -

-4 -
, .

1
corpus -

: Brown 1970, Brown 1987, Scher 1982 Scher 1999, . ,
, .: Rosen 1988 Hepokoski- Warren 2006.
2
.: 1981, 1988 ( ), Patsiou
1987.
3
1988: 176-179 ( . ...)
4
, 1997,
2011: 314-347 Farnoux 2008.
. ,
,

908
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,

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,
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- Funeral march-
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.

2.
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. . (2001: 25),
, ,
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- .


,
(. .,
36).
K. Boullart (1997: 95):
, .. Rembrandt
Shakespeare Beethoven Shakespeare .

[].

/langage, - ,
(. .). , . (2009)
,
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, (. ., 20-21).

909
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108), ,
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911
4.
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Boullart, K. 1997. . : Delcroix M. - Hallyn F. (.)- .

(. .), . . :
Gutenberg, 91-107..
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Literature 22 (2), 97-107.
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England.
Brunel P. - Pichois Cl.- Rousseau A. M. (1983) 1998. . (.-.:
.), : .
Farnoux, Lucile 2008. Constantin Thotokis, romancier naturaliste. : - -
(.) , -- . :
, 167-190.
Hepokoski, J. Warren, D. 2006. Elements of Sonata Theory: Norms, Types and Deformations in the
Late-Eighteenth Century Sonata, -NY: Oxford University Press.
Patsiou, Vasiliki 1987. Realit historique et transcriptive litteraire: le cas de Constantin Theotokis,
[ ], : Universit de Paris I (Pantheon-Sorbonne).
Rosen, Ch. 1988. Sonata Forms. NY: Norton.
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of Literature. : Modern Language Association of America, 225-250.
Scher, S. P. 1999. Melopoetics Revisited: Reflections on Theorizing Word and Music Studies. :
Bernhart Walter- Scher Steven Paul - Wolf Werner (.), Word and Music Studies: Defining the
Field. Proceedings of the First International Conference on Word and Music Studies at Graz.
- : GA, 9-21.
, . 2004. .
/Comparaison 15, 45-54.
, . 2006. .
. :
(31 1 2006). :
, 15-23.
, . 2011. (1880-1920). ,
[ ], : , 314-347.
, . 2001. , 1981. .
, 1988. .
. 1988. .
. : , . 2001., .
. : , 57-70, 121-139, 141-151, 153-179.
, . 1991.
. 57-58, 428-434.
, . 1899. . 5-8, 97-107, 143-156, 175-188, 225-236.
, . (19211)1991. , : .
, 1991. . 57-58, 390-395.
, 1997. .
80, 243-250.
, . 1993. , . : .
- , 1989. . /Comparaison 1, 29-38.
, . 1997. . 80, 353-362.
, . . 2001. :
, 3, 25-38.

912
 2012. ,
[A ], : .

913
[] :

In Mythistorema, Giorgos Cheimonas abandons the early exploration of Peisistratos and Ekdromis inner
adventure to introduce his characteristic ritual, apocalyptic speech, which will culminate in visionary
Chtistes. Simultaneously, Mythistorema contains, in seminal form, the two predominant themes-
experiences or themes-meanings of Cheimonas fiction, the limit of man and the end of time. The
characters who cross the text, whose names are signified with initial capital letters (T, A, G), announce
the allegorical men-notions, who will appear later in Cheimonas thematic tetralogy. Based on
Girards theoretical works for mimetic desire and sacrificial victim, and Bachelards phenomenological
critics in The water and the dreams, this paper tries an intertextual approach of Mythistorema,
emphasizing the intense, complex dialogue with Shakespeares Hamlet, Goethes Faust, Hoffmanns
Sandmann (through Freuds influential analysis of the uncanny), the archetypal myth of Oedipus and
Kafkas Metamorphosis. Finally, will be indicated analogies and similarities with Giatros Ineotis and O
Echthros tou Poiiti.

Bildungsroman ( 2005)

( 2005),
1966 ( 2005),
,
( 2005)
( 2005).

,
, , .

, , , ,
( 2001: 23-24).
, : ,
[] [] 2005: 199),
, ,
, .
, .
, ,
, .
,
(, , ),
,
. ,
[] ,
, - ( 1984: 115),
,
- ,
( 1984: 115).

914
 : ,
. ,
, ( 2001: 42).
, , []
( 2001: 42-43). ,
( 2001: 43),
, .
, .

: []
(Girard
1991: 243). ,
, .
, , ,

, :

( 2005: 214).

,
[] , []
, []
(Artaud 1992: 93, 91).

. , ,
. , ,
.
,
.
.
: , , ,
. , ,
(Girard 1991: 172-173): ,
( , ), , ,
( , ),
(Girard 1991: 239).

. ,
, ,
. .
, , .
.
.
, , ,
[] [], ,
, ,
( 1995: 54). .

915
 :
[]
. [] []

. []
[] [] []
[] ( 2005: 208-
209).
,
:
,
:




(
2005: 215-216). ,
, .
,
,
. , ,
,
,
(Bachelard 2007: 88). ,
(Bachelard 2007: 96). ,
, (Bachelard
2007: 88-89). ,
,
, -,
, ,
.
, ,
(unheimlich) (Freud 2009: 16),
, , ,
( 2009: 10).
, , , ,
, , , ,

(Freud 2009: 59-60). O ,
,
,
,
,
, ( 1998:
151).
(Freud
2009: 32-33). augenangst, o ,

916
, ,
. ,
, , :
. .
.

.
.
. . . .

. . .
[] ( 2005: 202-
203). , ,
-, :
.
( 2005: 200). , ,
,
, [] , [] ,
, [] (Freud 2009: 38).
, doppelgnger
,
: . [] .
. !
( 2005: 201).
, , ,
: .
.

( 2005: 321).
, ,
-1 -2 (
2001: 75) , 3
4. : (
2001: 26) . :
[], , , ,
, , ( 2001:
27-28), , ,

1
. (1984: 101): []
. , []
. ,
, ,
.
2
. (1987: 59): . -
, [],
in vivo .
3
. ,
(2005: 540-541, 542-543, 577 584-585).
4
. (2005: 542-543, 578, 580-581 584-585).

917
(Salgas 1990: 7-8).5 ,
( 1987: 70), ,
,
: ,
[]
( 1983). ,
.


,
:
. []
. [] []
.
.
.
( 2005: 263). , , ,

:

[] [] .
[]
[]
[]
[]
. []
( 2005: 210-211).
,
( 1995: 137-138). [], [],
[] [] ( 1995: 138)
:
. .
.
.
( 2005: 223).


,
. , ,
( 1984: 83) ,
, [] ( 1984: 86),
,
.
:

5
(
, , ,
), . (1991:54-57).

918



( 2005: 213-214). ,
,
[] -[] ( 1995: 24),
-,
. ,
,
,


(Magris 2009: 11),
,
. , , ,
, (
1984: 89), .
, , ,
, ,
, . ,

,
. ,
, .
( 1990:
62). , , :

,
, ( 1995: 72).


. : ,
,
( 1988: 10). ,
,
( 1988: 10),
. .
,
,
, ,
. , :
[].

[]

( 2005: 213). ,
,
, , ,

919
 :
[]
[]
[]
( 2005: 214).
,
, . ,

,
(
2005: 70), , , 1112 :
, ! (Freud 2009: 39).
, ,
/, ,
,
.
,
( 2005).
, , ,
, , (
2001: 44) , :

( 2005: 218).
, ,
, , ,
: . .
( 2005: 218).
,
, ,
, ,
:
( 2005: 217).
, ,
, ,
, .
, , []
, ( 1984:
114),
, ,
, .

Artaud, A. 1992. . A. Artaud

, . . . : .
Bachelard, G. 2007. , . . . : .
Freud, S. 2009. , . . . : .
Girard, R. 1991. . , . . . : .
Hofmannsthal, H. von. 2009. , . . . : .
Magris, Cl. 2009. . H. von Hofmannsthal
, . . . : , 9-18.

920
Salgas, J-P. 1990. Georges Cheimonas: je decris des tats extrmes. La Quinzaine Littraire 548, 7-8.
, . 2009. . S. Freud , . . . :
, 9-12.
, . 2005. . .
. .-.-. . . : , 481-762.
, . 1990. , . . . . . :
.
, . 1983. . , 12 .
, . 1988. , . . . : .
, . 1984. , . . .
: / , 77-93.
, . 1984. . . . :
/, 95-109.
, . 1984. . . . : /,
111-122.
, . 1987. . . : /.
, . 1988. . . , . . . :
, 7-10.
, . 1995. . .
. . : , 21-25.
, . 1995. . . .
. : , 26-57.
, . 1995. . . .
. : , 68-75.
, . 1995. . . . .
: , 135-140.
, . 2001. . -. : .
, . 2005. . . . .-.-. .
. : , 37-110.
, . 2005. . . . .-.-. . .
: , 113-194.
. 2005. . . . .-.-. .
. : , 197-219.
, . 2005. . . . .-.-. .
. : , 221-264.
, . 2005. . . . .-.-. . .
: , 297-341.
, . 2005. . . . .-.-. . .
: , 343-394.
, . 2005. . . . .-.-. .
. : , 425-478.
, . 1991. . .
17, 54-57.
, . . . 1998. . . . . , . . .
: , 147-186.

921
 . .
,
, ...

Selon Sylvie Durrer, la conception du cadre participatif dsigne les divers locuteurs et rcepteurs dun
message donn. En plus, la tenue et le droulement dune conversation ou dun dialogue sont fortement
influencs par la situation ; la situation est principalement compose de trois types dlments: a.
interlocuteurs, b. circonstants et c. buts.
Larticle essaie de montrer comment les conceptions du cadre participatif et de la situation
dsignent et influencent le dialogue dans le pome de Constantin Cavafy Va, roi de Lacdmone!.

1.
Sylvie Durrer,1 [locuteur]
, [allocutaire]
[interlocuteur]
. ,
.
[cadre participatif]
.

1.1
2
,
( )
, .
,
, ,
.

1.2

, ,
S. Durrer.3 : .
. .

:
. ,
. S.
Durrer,
, .
, , :

1
Durrer (1999: 43).
2
Durrer (1999: 43-45).
3
Durrer (1999: 43-56).

922
 .
() ().
,
, ,
.

2.
Sylvie Durrer,4 : .
, . . .
,
.

2.1
,5
: . .
. ,

,
. Francis Berthelot,6
-
- . ,
Catherine Kerbrat-Orecchioni,7 , .
,
.
,
,
. ,
,
S. Durrer8
,
.

2.2
S. Durrer,9 .

.
,
. ,
.

.

4
Durrer (1999: 59).
5
Durrer (1999: 59-62).
6
Berthelot (2001: 10-33).
7
Kerbrat-Orecchioni (1992: 35-36).
8
Durrer (1999: 61).
9
Durrer (1999: 62-64).

923
 , 10
. ,
,
,
.
.

2.3
.
S. Durrer,11 : .
.
. ,

.
, .

,
, S. Durrer.
: .
. . ,
,
, .

3.

. .

.

.
,
,
,

, ,
, .


,
, ,
,

.
, , .

10
Durrer (1999: 64).
11
Durrer (1999: 64-66).

924
 , .

[146, 1929]

, ,
(
,
,

).12
, ,
, ,
, .

: .
(.

). ,
,

. ,
,
:
.13
:
,
,
,
. ,
( )
, .
,

: ,
,
: / .
,
,

, ,
: , / ,
.

12
S. Durrer (1999: 71 1994: 83),

,
, ,
.
13
. (1983: 91).

925
 :
, ,
,
, , .14
: .
(, ,
) .
.
: ,

( ),
.
.
, ,
:15 , /
[].16

, , (
) (
).
, ,
, ,
,
.
:
- ,
,
, .
,

,
.

Berthelot, F. 2001. Parole et dialogue dans le roman. <fac. Littrature>, sous la direction de H.
Mitterand. Paris: Nathan.
Durrer, S. 1994. Le dialogue romanesque. Style et structure. <Histoire des ides et critique littraire.
Volume 330>. Genve: Librairie Droz S.A.
Durrer, S. 1999. Le Dialogue dans le roman. Ouvrage publi sous la direction de Cl. Thomasset. Paris:
Nathan.
Genette, G. 1986. Narrative Discourse. Translated by J. E. Lewin. Foreword by J. Culler. Oxford: Basil
Blackwell.
, . 1969. . . .
: .

14
(1993: , 148-149).
15
Durrer (1999: 51-52), [apart],
,
. . (1969: 252) (1977: 101).
16
. (1983: 93).

926
, . 1970. . . .
<, 1>. : .
, . . 1993. . (1897-1918), (1919-1933). .
. . 1991. . : , 2009.
Keeley, E. 1979. . . : .
[:] .
Kerbrat-Orecchioni, C. 1992. Les interactions verbals. Tome II. <Collection Linguistique>, dirige par
Jean-Claude Chevalier et Simone Delesalle. Paris: Armand Colin.
, . 1957. . . . .
. : .
Mylne, V. G. 1994. Le Dialogue dans le roman franais de Sorel Sarraute. dit par les soins de Fr.
Tilkin. Prface de J. Sgard. Paris: Universitas.
, . . 1982. . . . . . :
.
, . 1983. . 78 (: . .
), 82-96.
, . . 1977. . .
, . 1997. E .
G. Genette. : .

927
Julian Gore Vidal -
Gore Vidal
. . .

Julian remained at history as a personality complicated and contradictory. He took the destiny at a time
for the Roman Empire, which was proved crucial for the world of the late antiquity. Emphasis is given at
a comparative analysis of Julians parts of life and work, which the authors have selected from their
personal historical readings, even though the works have been written in different times. Moreover, we
mention narrative techniques, which G. Vidal uses for the narration, Julians thoughts, feelings, in order
to combine history with fiction. Alternatively C. Cavafis choose to create a rhetorical synthesis, through
his modernism. The aim of this paper is to analyze the complex moral, social, political and religious
network, using the literary works. Furthermore to decipher the literary portrait through the character of
Julian, using hermeneutic approaches. Finally, the ways that parody and tragic irony alternated through
the dramatization of the era.

1.

.
,
, , .
(2 ),
,
,
-.
, ,
,
, .
G. Vidal .
.
. (1961)
(Vidal 2001: 154-157).
,
( ).
4 ( )
, 1
.
Dodds ,

(Dodds 1967: 116-117) .

:
2007-2008, . . ,
.
1
B. (2000: 31), 1. -
, 2. , 3. - , 4. , 5.
- .

928
 ,
.
(, ), , ,
, ,
.
,
.
2

, .
,
.

2.

, , .
,
, ,
,
.

,
,
, .

2.1. Gore Vidal Julian

G. Vidal 1964.
3,
,
4,
5,
2

4 5 ,
, (1982: 289-354),
, , PG (Migne) 48,
Sources Chretiennes, Vol. 362, 121, 3-8 (5 ) ,
PG (Migne) 67, Series Graeca ..
3
Creation (Kiernan 1982: 45).
4
G. Vidal
,
,
.
(Gibbon) The Decline and Fall of
the Roman Empire (Vidal 2003: 454).
5
(: 2004),

, , ( ),

, , Gore Vidal ,
,
.

929
 .
, (Bennett and
Royle 2004: 113-123),
, ,
, ,
. ,
,
(Selden 1989: 104-105).
, ,
,
G. Vidal . .


(, ).


. ,

, .


, .
(
)
. ,
,
, .
,
. (Youth, Caesar, August)
,
.
( - -
), (
,
,
, ,
), - 6.
-

(, , ,
). -
,
7.

6
Robert Kiernan (Kierman 1982:
50-51) .
7
Since I am writing these notes as history as well as for my own amusement, I should perhaps set down
the reasons for my present war with Persia.//I confess that I do have some hope of being read by the
future, not because of my neglible literary art nor because of my deeds (though I hope they will be great),

930
 , ,
, 380,
,
. ,
, 363.
G. Vidal , ,
8. , ,

, .

. .
, 9.
G.
Vidal , ,

.

2.2. ,
12 .
, ,
,
.
, .
G. Vidal
,
, .
10.

,
.
,
, . .

, ,
,
, Gibbon (Haas 2000: 4 Pontani 1940: 667).
,
, : ,
Hunc deorum templis,
.
,

but because I am an emperor and I mean to be candid. Such autobiographies cannot help but be
interesting. // (Vidal 2000: 398-399).
8
Gore Vidal
,
(Baker and Gilford 1997: 35).
9

( 2003: 393), ( 2003: 392) ..
10
.

931
 ,
, 11.
,
.

, ,
.
.
,
.
, ,
. . ,
4 -
12.
()

, ()
,

,
.

3.

It is not only Julian

Who continues to fascinate
But rather the Fourth century itself
Gore Vidal, A note (2000: 7)

,
.
,
.
,
. ,
, .
4
imperium,
(Pax Romana) 13,
14. , ,

11
12 . G.W. Bowersock (2009: 139-147).
12
. ( 2003: 203).
13

, (2004) (2003).
14
,
, ,
:

932
 ,
15

.
,
(
) ,
.
G. Vidal
.

. G. Vidal
,
.
,
, .
,
( ),

.
Gore Vidal:

Money, not honor, is now the source of Roman power. When the money
goes, the state will go. That is why Hellenism must be restored: to instill
again in man that sense of his own worth which made civilization possible,
and won the day of Marathon. (Vidal 2000: 132).

,
, ,
,
.
.
. ()
.
,
.
-
.

,
, , 16.

, , ,
, ( 2007: 77).
15
, ,

Caesar, Augustus, .
16
, ,
. . .

933
 ,
//
,
//

(
)

. ,
( 2003: 173)

, G. Vidal
(mondus vivendi),
. ,
. O
, ,
17.

, ,

[ ] [, -] (Vidal 2004: 33-
34).
- ,
.

. , , ,
, , ,
, ,
.

.
,
G. Vidal ,
,
.
G. Vidal .
, ,
, ( )
, .
.

Straight line toward my destiny //. Nevertheless, the design of my life

was taking shape and each wise man I met formed yet another link in that

.
( 1999: 42-52).
17
.
, -
.

934
 chain which leads toward the ultimate revelation which Plotinus has so
beautifully described as the flight of the alone to the Alone. (Vidal 2004:
66).

,
18. O Gore Vidal ,
, (Bertonneau 2004: 1-2),
,
(,
, )19. G. Vidal
,
, .
. .
, G. Vidal
Alfred De Vigny (Bertonneau 2004: 9) Gibbon
,
()
().
,
,
,
, truth is all around us. But each must find it in its
own way /.../ truth is wherever man has glimpsed divinity (Vidal 2004: 66). Gore
Vidal
, ,
, , ,
.
. ,
.
. , ,
20
, G. Vidal

18
1926 Hunc deorum templis ( ),
,
// , ,
! ; ( 2003: 414).
19
Julian (2000: 26-28),
( : 2001).
,
- ,
Ipsen, Vidal, Alfred de Vigny (Bertonneau 2004: 1-15).
20
.
/.../

,

,
.
( 2003: 176)

935
- . .
,
( , , ,
, ) ,
- -
. , ,
,
.
, ( ()
( 2000: 69), Gore Vidal ,
.
:

// ,


/.../ ( 2003: 196).

4.
G. Vidal ,
, , ,
, ,
.
. You are Alexander born again on earth to conquer Asiayou have no
choice
, ,
.
, ,
,
. .
, ,
, .

(Syrimis 2010: 82).
, , ,
, ,
, ,
, , ,
, .
, ,
, Vidal , ,

. ,

936
 , 21
: With Julian the light went, and now
nothing remains but to let the darkness come, and hope for a new sun and another day,
born of times mystery and mans love of light. (Julian, Gore Vidal).

Susan Baker and Curtis Gilford 1997. A critical Companion to Gore Vidal, GreenWood Publishing
Group.
Bennett and Royle. 2004. Introduction to Literature, Criticism and Theory. Edinburg: Pearson Longman.
Bowersock W. Glen 1995. . :
.
Bertonneau, Thomas F. 2000. Intellectualism and the Gnostic Debacle: Julian the Apostate in the Modern
Literary Imagination. http://www.anthropoetics.ucla.edu/ap1001/julian.htm (
30/08/2013), . 1-15.
Bowersock, G. W. 2009. From Gibbon to Auden, Essays on the classical tradition, Chapter 4, The Julian
Poems of C. P. Cavafy, Oxford University Press, 136-150 . 139-147.
Dodds, R.E. 1995. . . . . :
.
Dodds, R.E., 2009. From Gibbon to Auden, Essays on the classical tradition. Oxford: Oxford University
Press.
Gibbon, Ed. 1932. The Decline and Fall of the Roman Empire. New York: The Modern Library.
Haas, D. 1983. , .
www.Kavafis.gr/kavafology/articles/content.asp?id=18. ( 30
2013).
Kiernan, R. 1982. Gore Vidal, New York: Frederick Unkar publishing.
Selden R. 1987. A readers guide to contemporary literary theory. Great Britain: Harvester Wheatsheaf.
Syrimis G., 2010. Empire, Religious Fanaticism, and Everymans Dilemma: Julian the Apostate in
Kazantzakis and Cavafy. Journal of Modern Greek Studies, Supplement to Volume 28, No1, 79-
103.
Vidal, G. 2000. Julian. Vintage.
Vidal, G. 2001. The last Empire. Essays 1992-2000. New York: Vintage International, 153-160.
, . 1996. . . : .
, 1982. , :
, 289-354.
, . 2000. . . (.)
. . :
, 67-79.
, . . 2003. . - , : .
, . . 1997. . . . , : 5.
2004. , . : .
, . 2000. . : , 39-71.
, . 2000. . .
, 1857-1866. . PG (Migne) 67,
Series Graeca.
, . 2007. . . , :
, , 2, 75-82.
, 1857-1866. , , PG (Migne) 48, Series Graeca 900.
, 1990. . Introduction, texte
Critique traduction et notes par M. A. Schatkin, Paris:Editions du Cerf, Sources Chretiennes, 362,
121, 3-8.

21
Nor should we forget that the gods deliberately give death to the greatest of men as the ultimate
reward// I am happy that I die in mid-career, victorius and I am honored that the gods have found me
worthy of so noble a departure from this world (Vidal 2000: 485).

937

.
.

The modern age presented literature with a series of challenges, not the least of which was the rise of a
new narrative art, the art of cinema. This essay explores the relation of Modern Greek prose to the cinema
during the first three decades of the twentieth century with examples from the works of Dimosthenis
Voutyras, Petros Pikros and Giannis Mperatis. All three develop an explicit or implicit, certain or
ambiguous relation to the cinema in their work. The examples cover the best part of the first three decades
of the century and in their similarities and/or differences they show the interarts relation of the Modern
Greek prose to the cinema in its first steps.

: .

.

;
:
.


,

,
.
, ,

. ,
, , . ,
,
:
,
, ,
, ..,
1.
1906
2. 1910 ,
3.
1920

1
(2009: 155).
2
1906 ,
. . (1980: 24).
3
(1999: 30).

938
 4, 5,
6.
, 1920
: (1918-1929),
(1919-1926), (
Germaine Dulac, 1928 Luis Buuel
Salvador Dal, 1929)7.

,
.
1917
Max Reinhardt:

, , , ,
, , , ,
8.
, ,
.
.

. . 9, 10.

. ,

, . :
, ,
.

. 11,

4
(2005: 84).
5
(1999: 36).
6
(2003: 391-392).
7
Bordwell & Thomson (2009: 497-504).
8
(1999: 30).
9
(2002: 108): [] , ,
. Charlie Chaplin
(. 114 147) 1933 . .
: Film documentaire (. 150),
(. 157), (. 160),
(. 162), , ,
(. 151)
10
. 1982: 179-203. :
, ,
, ,
, , ,
[] ,
, ( 1982: 179-180).
11
. (1993: 37):
. (
) .

939
 12 ,
(. ).
.
13, ,
,
(, )14, , ,

, .

, , ,
Kammerspiel.
,
, ,
, ,
.
,
: ,
, 15

,

, .
, .
,
, ,
, ..

16,


,

.
, , 17
.

.

. , ,
. , ,
12
. 1993: 232.
13
1997: 282.
14
(1997: 315-316), (1924: 128-129) (1934: 1018-1022).
15
(1997: 309) (1999: 45-46).
16
. : (2006: 73-74).
17

,
, . (. :
Rajewksy (2005: 54).

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944

Bordwell, D. & . Thomson 2009. . .
(-- ). : ....
Rajewksy, I. O. 2005. Intermediality, Intertextuality and Remediation: A Literary Perspective on
Intermediality. intermdialits (6), 43-64.
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. . (1914-1939), . .
: , 206-233.
, . 2009. (1896-1937):
. . .
.
, . 1997. . . (. .) .
, . (1900-1914). : , 280-322.
, . 1999. ,. . . (.-.). : .
, .-. 2003. 1901-1922. , . (.)
20 . 1900-1922, . , 2. : .
, .-. 1999. . . ,
, 24 .
, . 1982. . . (.-.) : .
, . . 2005. vs .
(1896-1930). ., . & . (.) .
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, . 1929. . : .
, . 1999. , . : 1900-1967. : .
. 1934. , . 190, 1018-1022.
, . 1999. . ., . . , . (.-.),
: , 21-50.
-, . 1994. . -. .
: -.

945
 :

The purpose of this paper is to examine the rhetorical descriptions of female characters in the two novels
of Gregory Palaiologos, (1839) and (1844). These descriptions are correlated
with the instructions given in two popular handbooks from the late Antiquity (that of Hermogenes and
Apthonius), the descriptions of female characters in the ancient Greek and the Byzantine learned erotic
novels, as well as with the rhetorical practice of human descriptions throughout the Byzantine period.
Within this framework and taking into consideration the authors school education and other writing
activities, Palaiologos, known for his admiration towards the ideas of Enlightenment and his influence
from the French novel, is also seen as a conscious continuer of the Byzantine rhetorical tradition.

,
(1839) (1844),
(
) .
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.
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, ,
, , . 1
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1
(2000: 60).
2
(1989: 90).

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.10 ,
11
,
,

3
. Hunger (32001: 191).
4
. Kennedy (2003: ix-xiv) Worthington (2007: 170-3).
5
Patillon 2008: 202).
6
..
7
. Hunger (32001: 286): [.: ]
. , .
: M. Hatzaki, Beauty and the male body in Byzantium. Perceptions and representations in
art and text, Hampshire-New York 2009, . 11-12,
,
, , ,
, .
8
. Ljubarskij (22004: 332-4).
9
. Hunger (32001: 286) Ljubarskij (22004: 335-6). ,
, . Head (1980).
10
, ( ,
) , Gil
Blas Lesage. , - ,
, : , ,
... (Alain-Ren Lesage, - (.: . ,
: . ) , Gutenberg, Orbis Literae, 1995: 993). ,
.
Gil Blas, . - (1991).
11
,
(. Patillon 2008: 203).

947
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. , . (21999,
9-30: 13-15).
, . .., . 10 . 25, . 5.
13
Jacobs (1821: I.4.3-4).

948
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14
Marcovich (2001: .6.1-4).
15
(1989: 90). ,
Candide , , , ,

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,
( ) (,
(.:., .:.,.:.), , , 2005: 50).
, ,
, .
Candide ,
(. Tonnet 2002: 182*-183*).
16
. Ljubarskij (22004: 341).
17
(2000: 60).
18
. Beaton (21996:. 87-88 204-6), --
.
19
Jacobs (1821: V.25.6).
20
Marcovich (2001: .9.3.9).
21
- : 1.
(11 ). , ,
,

949
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; )
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, 19
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, ,
,29 , ,

: , , ,
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.. (. (1876: 69-72). 2.
(12 ),

, (. Lampsidis (1996: 66, . 1157-1167).
22
: 28 ... ( 2000: *120).
23
- (1993: 89).
24
.., 289.
25
. (1815: 289-292).
26
. (2001: 64-73, 66 70-71).
27
, ,
. , ,
.
28
, . (2000: 25*-26* 85*-86*).
29
Gil Blas, . - (1991).
, . Tonnet (2000). ,
, Zadig

950
 .
,
- ,
. ,

.30

Beaton, R. 21996. . . . . :
. .
Hatzaki, M. 2009. Beauty and the male body in Byzantium. Perceptions and representations in art and
text. Hampshire-New York: Palgrave Macmillan.
Head, C. 1980. Physical descriptions of the emperors in byzantine historical writing. Byzantion 50, 226-
240.
Hunger, H. 32001. , . . :
.
Jacobs, F. 1821. Achillis Tatii Alexandrini, De Leucippes et Clitophontis amoribus libri octo. :
Dykiano.
Kennedy, G. 2003. Progymnasmata. Greek textbooks of prose composition and rhetoric. Atlanta: The
Society of Biblical Literature.
Lampsidis, O. 1996. Constantini Manassis, Breviarum Chronicum. : .
Alain-Ren Lesage, - (.: . ,
: . ) , Gutenberg Orbis Literae, 1995.
Ljubarskij, J. N. 22004. . . . . :
.
Marcovich, M. 2001: Eustathius Macrembolites, De Hysmines et Hysminiae Amoribus Libri XI.
: K.G. Saur.
Patillon, M. 2008. Corpus Rhetoricum, Paris: Collection des Universits de France.
Tonnet, H. 1991. propos des Premiers Romans et Nouvelles no-hellniques. Mtis IV 1-2, 89-114.
Tonnet, H. 22000. . . : , . 22000,
177*-186*.
Worthington, I. 2007. A companion to Greek rhetoric. Malden-Oxford-Carlton: Wiley-Blackwell.
, . 1989. , . : .
, . 22000. , . : .
, (.:., .:.,.:.),
, , 2005.
, . 1815. , .
, . 2001. 19 . . :
. . . , , , .
. : , 64-73.
, . 21999. .
. : . (.) .
1830-1880. : , 31-41.
-, . 1991. ; . .
( ) 1,
295-325.
, . 1876. Bibliotheca Graeca V, .
-, . . 1993.
( , , :
). : .

(Tonnet 1991: 109, . 53). ,

Ivan Vyzigin Bulgarin, (
1989: 255).
30
, . 21999.

951
, . 21999. - . :
. (.) .
1830-1880. : , 9-30.

952


/ BYZANTINE PHILOLOGY

: ,
marialis@windowslive.com

: , fvoinou@cc.uoi.gr

: ,
gegorgol@phil.uoa.g

: ,
konstangorg@phil.uoa.gr

: , l_xagorarakis@hotmail.com

: , skountakis91@gmail.com

: ,
danaepap@phil.uoa.gr

: ,
mar_spirit@yahoo.gr

: , iotz21@phil.uoa.gr

/ LINGUISTICS

An-Nashef Fawwaz: The English and Foreign Languages University, Hyderabad-India,

fawanashef@gmail.com

: ,
ireneanousaki@gmail.com

Sewoenam Chachu: University of Paris Sorbonne, sewoenam@gmail.com

Luca Cilibrasi: Department of Clinical Language Sciences, University of Reading, UK,

l.cilibrasi@pgr.reading.ac.uk

: ,
ngkouma@gmail.com

: ,
dionisiadelmad@yahoo.gr

953
 : ,
harmides@gmail.com

Lia Efstathiadi: Aristotle University of Thessaloniki, economid@enl.auth.gr

: ,
kikizenetzi@gmail.com

Panagiotis Fragkias: National and Kapodistrian University of Athens,

panfragk@enl.uoa.gr

Mariza Georgalou: Lancaster University, UK, m.georgalou@lancaster.ac.uk

Hyejin Kim: , heyjean2@naver.com

: , kiroanni@auth.gr

: ,
sioannou1987@hotmail.com

: , kalamida@upatras.gr

: ,
t_rex_red_1@hotmail.com

: ,
valentini.mellas@gmail.com

Maria Martzoukou: Aristotle University of Thessaloniki, mmartzou@lit.auth.gr

: ,
msmourou@gmail.com

Theodora Panagiotidou: Aristotle University of Thessaloniki - University of

Birmingham, dorapanagiotidou@yahoo.gr

: , dimpapachristos@yahoo.gr

: aprou@upatras.gr

: ,
dimser21@hotmail.com

: ,
elpidasklika@yahoo.gr

Tnde Szalay: Etvs Lornd University Budapest,

tnd.szalay@gmail.com

954
Efthymia Tsaroucha: Aristotle University of Thessaloniki, eftsar@enl.auth.gr

Agata Winiewska: Adam Mickiewicz University, Pozna, Poland,

awisniewska@wa.amu.edu.pl

: ,
chrifragoul@yahoo.gr

, , kchrist@upatras.gr

/ CLASSICAL PHILOLOGY

: , aarchon@helit.duth.gr

: ,
lydaki2009@hotmail.com

: , vougioukli@gmail.com

: ,
amfikis@gmail.com

: ,
diamzervas@gmail.com

: ,
mrnthm@ath.forthnet.gr

: , karampelass@yahoo.com

: , nkarelli@hotmail.com

: ,
malapani_athina@yahoo.gr

: ,
fmanolia@yahoo.gr

: ,
makis_masouras@yahoo.gr

: ,
sofianaxos7@hotmail.com

: ,
d-panagiotou@hotmail.com

955
 : ,
galinthiada@yahoo.gr

: ,
dimpetrakisw@yahoo.gr

Antonios Pontoropoulos: Lund University, platonicus8@gmail.com

: ,
pan_stam@hotmail.com

: ,
fan21n@hotmail.com

Eugnie Fournel: Universit Paris-Sorbonne, eugenie.fournel@ens.fr

: ,
fotathgr@yahoo.com

/ FOLKLORISTICS

: ,arvanitidou@aegean.gr

: ,
glaros80@yahoo.gr

: ,
n_giannari@windowslive.com

: ,
andeli1974@gmail.com

: , a.kapaniaris@aegean.gr

: ,
dikas83@gmail.com

: ,
kontaxikass@yahoo.gr

: ,
amaliakb@yahoo.gr

: ,
artemis.kon@hotmail.com

956
 : ,
stisixoros@gmail.com

: ,
eleftheriaki18@yahoo.gr

: ,
travelling-aegean@hotmail.gr

: ,
xristosmarinis@gmail.com

: ,
geostas@hotmail.gr

, ,
tosxik@rambler.ru

: ,
eleni_ntsirikou@yahoo.gr

: , tyrikos@hotmail.com

: , foulidi@aegean.gr

: ,
zoexasioti@yahoo.gr

: ,
agnixantzi@gmail.com

& /
MEDIEVAL & MODERN GREEK PHILOLOGY

: , xrys10@gmail.com

: , pantonopoulos2003@yahoo.gr

: , evaganidou@hotmail.com

: ,
alkonmil@hotmail.com

: ,
g.goratsa@gmail.com

957
 : ,
ol_glikioti@yahoo.gr

( ...):
, margni7@yahoo.gr

: ,
lila.theodosi@gmail.com

: ,
yiotaka@yahoo.gr

: University of Birmingham, Centre for Byzantine, Ottoman and Modern

Greek Studies, vagiakalfa@hotmail.com

: , elenikollia@hotmail.com

: ,
iliaskolok@gmail.com

. : ,
cptheodora@gmail.com

: ,
dora kouvari@hotmail.com

: ,
p.vonassera@gmail.com

: ,
elagos1973@yahoo.gr

: ,
kellitsa87@hotmail.com

: ,
nmissirliadi@yahoo.gr

: ,
kmoustakatou@gmail.com

: ,
dimbekiaris@gmail.com

: , dnasiou@lit.auth.gr

: , sxan53@yahoo.gr

958
 : , marthapapaspiliou@gmail.com

: ,
gpinakoulas@gmail.com

: ,
anna.prosya@gmail.com

: ,
florencerigga@yahoo.gr

- : ,
annasixani@gmail.com

: LMU- , despinaskourti@hotmail.de

: ,
joansta81@gmail.com

: ,
thodoris.stamatis@gmail.com

( ...):
, spytali@yahoo.gr

: , tsir.up@hotmail.com

: ,
nadiafrag@gmail.com

: ,
kostasxrysogelos@yahoo.gr

959

,

:

,
.
Manolis Ulbricht, Freie Universitt Berlin
(8/9o . . )
(9) (Vat. gr.
681).
,
:
.

Panagiotis Anagnostopoulos & Nicolaos Neocleous, University of Athens
Greek and Turkish language contact in Cappadocian dialects: locative and indirect
object verbal complements.
& ,

:
.
, &
, . + ;
, & , &


PROTG.
,
.
& Lena Nedvyga,

.
Mallory Matsumoto, University of Oxford
WI as a co-directional in the language of the Kaqchikel Chronicles.
, &
.. .
Pelin Valk Onar, Tilburg University
Contact-induced language change in subordination structure of Dutch-Turkish.
,
' '
.
Benedict Vassileiou, University of Potsdam
Logical and inferred meaning of quantifiers in Williams Syndrome.

960

Tom Bolton, University of Cambridge
Dialect and identity in ancient Greece: A case study of Eretrian rhotacism.
, Durham University
: .
,
: .
,

: .
,
, :
.
- ,
Quid Romae Faciam? (Iuv 3.41).
.
,
.
,
,
( 469-483).
Christina Tsaknaki, University of Cambridge
The Failure of Poetry in Ovids Tristia.

,
" "
.

&
,
, : .
, .
:
.
- ,
, , , :
Commedia dell Arte. -

.
,
:
.
,
.
.

961