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    16 views7 pages

    ΠΛΟΚΗ PDF

    Uploaded by

    theoritiki

    Copyright:

    © All Rights Reserved
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    386 TAOKH Baéne to Zyundotoy xan to Paldpo tov Mdéreovar, xatOedg xu thy ma povoiaan mg Thoravoeis Oewpiag ya tov Epwra, ty onota o Théov emépuote 1690 atov OLO@LAPLALKG 60 Xa TOV ETEpO@LADPIAKG EpwTa, oto G. M. A. Grube, Plato’s Thought (1935), xep. 3. BAéne J. S. Harrison, Platonism in English Poetry of the Sixteenth and Seventeenth Centuries (1903) Paul Shorey, Platonism Ancient and Modern (1938) George Santayana, «Platonic Love in Some Italian Poets», oto Selected Critical Writings, emu. Norman Henfrey (2 tyot, 1968), I, a0. 41-59. NAoKA (Plot). H zAoxh (tny onoia 0 Apiatotédng ovéyate 2600 [mythos]) clvot 0 Tpdn0¢ UE TOV OnoIo opyaMdvoytan xaL aMOBiBovra. ta yeyovora xau 9 Sedan ota Spauorriné h apnynuatixé pyar, we ayo var exrrevyOei Eva. avyxexomévo xodArtexvixd xa avyxINOLAxd anotéheaua.. O opLoyds arb ivan raparhavatixé omhds, xabdrt 1 Sodan (oTHY onoia avuTEpL- AapBévovra. t600 0 ENLaTIXds Adyos 6o0 xaL OL GwaTIKEs evépyetec) emireAcitar and avyxexpiuévous yapaxripes o& Eva. Epyo, xou, usw ctv- Tis, ot yapaxrhpes emiBerxvbovy to 70s xat Ty Stévord tovg. TTAoxH xa yopaxripas exoperas elvan addnrévBetes Ewores tys xprtUaAc — dnus ef- ne o Henry James, «Tt dAA0 eiva 0 yapaxtipas av 6x. 0 xabopioyds evdc Replatatix00; Te lve TO RepiotaTixd ay dy n Sixcdupnon evdc yapaxti- oa;» (Bhéne yapaxnipas xa xaraoxeny xapaxthow.) Na oqueuabet emi- ang 6tt y mAoxh Siapéper and tyy totopia — Indadh ty andi advoryn TNS yoowvels aewpds tov yeyovotwy. Otay xdvovue thy replant tg votopiag ae éva Aoyoreywixd Epyo, Aéue tt npcta ovuBaiver to a, per to B, énetta to Y... Owws udvo Grav ecEeWixetovpe to mid oyetitovrat to Lev uc ta Be, ya TOL A6yO xaL WE TOLO GKOTS, xa TiS aaRapLOTEVTOL, Broréooovrar xan opyaveovovrat Sha avt& to Uyrhwara ye vor acode- covy ta ovyxexpyséva anorehopora, apyiter 1 abvon va avtanoxpive- au army éwoun tg Thoxis. (Pia ty Stéxpray uetaks toropiag xan TAO- wig, Bhéne agrynon xat apnynuatodoyia.) Yrépyovy népa TOA efdn Thowis. Tia napsdetyua, opropéves Tho- xée Eyoov ws otdyo eva tpayixd anotéAeaua, eve dAhes anooxonoby omy xouwdia, at ULPLatOpIA, oT™H GétIpA 7 Ge xémO10 AAO hoyotexyt- x6 yévos. Kaévas and avtobs tovg tixovs we ty aes tov napovats- Yer Bidqpa oypuata Thowiic, Tov uRopel va éxovy cite tm poppy Spa- uaros cite ™m Lop a@rynons. EuuEtENs 4 TeLfic. Or axdrov#or 6001, ov YonooROLbytaL evpews ATHY Tapadoataxh xpLTUM, Uas Bonboby vo Btoywpicovpe ta ovotatixé otoryeia xdHe TAorjg xou vo diaxpivovpe tous trovg TIS Towig xu tov avtiatoNy yapaxTHPwV ToD RPODDLE- TMIAOKH Lovy otny xaBeu& tog, téa0 atHY a~nynuctuch 600 xat oty Spay} doyoreyvice. 0 Baorxds yapaxtijpas, otov onolo emtxevtpdverat to evdiapépov pas GF Ue TOK, OvoudLeTa KPwTaYoaTAS 7} TPETayeviotpLa (protago- nist) (4, evoaraxtixd, peas % npwtda [hero/heroine]) xa, av n Thor} clvat této1a Tov o xevTpIXds YapaxTIpAs EpyetaL oe avtImapdOeon UE Eva oquowtixd avtinado, 0 Sevtepog avd Yapaxthoas ovoudilera: avea- yevorig (antagonist). Lt0 Yreonpavera xan mooxardinin (Pride and Prejudice, 1813) ty¢ Jane Austen, EXfaune® Mréwer elvor 1 npwtaye- viotpia % nowiSa: otov Audet tov Shakespeare, 0 AuAet elvan 0 nowta- Yonorig xan 0 Baorrieg KAabdtos 0 avtaywnarys, xa 1 wetaEs tovg oygon aviner omy tain tg obyxpoveNg (conflict). Av 0 avtaywvoths civat B6xtog H ixavds yia andvOpwnes xan eyxdnuarixés npéEerg, tote ovousterar xaxdg (villain). ToAAgs TAoxés (OANA otyoupa by: Aes) me- prayBévovy pu abyxpoven’ Aéyou yaplv, oto Beatprxd Epyo tov Thornton Wilder H yuxp} was 64n (Our Town, 1938), 8¢ ovvavréue xd séro1o. Extég and ™ abyxpoven uetakd ardyav, evdéyerar va undpyer [a a6yxpovay tov TPWrayoVoTH UE TM Uoipa HUE TIS TEpLOTHaEL, TOD otéxovy eunddio avéyeoa atov (8t0 xat ato atéyo mov éyet Oécer xan o¢ optopéva épya (ones ot0 Hoptpéro wtac xuptas [Portrait of a Lady] tov Henry James) 1 xevzpueh obyxpovon evtonilera petakd tov avtimpovd- Levey embvurdy 4 akudv ory Wioovyxpacia ts Rpwrayoviorpiac. Pia TY TedapaTn aELonOfnN Tov UN TapadocLaxod npwraywnoth, AEE avruipoas. 0 yapaxrhipag 0 onolos oF éva épyo, Siaéoov ts avribeons, toviter xo TpOBEAR|L tH YapaxTHOLOTIA} iooLYxpaia tov TPwrayoaTh Eivat Sug yapaxtipas xar’ avtiortEy (foil). ‘Exot, 0 Aagotns ws évOpwros amg Bpdong npoBHAREL avtIoTIXTIXd to vwHPS AUAeT, Oo expnxtiXds Hotspur®* npoBdidAe: tov (Poypao xou mpovontix6 Tptyxina Xa ato ép- Yo tov Shakespeare Eppixos 0 A’ (mpiéro uépos), evo 1 evyevuxd xou vT0- wont Tew Mnéwer oto Yrepnpdvera xou xpoxarcanyn hevrovpyet xav’ ovtiotiEn mos THY LoxLpoyveyova adep@r ts EALaured. («Foil» apYXe howe «pbARO», xoL y AEN EptaE va yonoWoroLEtTaL YI 70 Rent otPdya avoryrdyowpov ETaAROV Tov tonoHeretrar xéTw and yLE TOATTIUN TEtPA Ya va evioybaet TH Adm TNS.) Ay évac yopaxtiipas ueBodeer évor ayg510 tov onolov y exttuyiac Eap- 88. Hotspur: «Kaoompovvng», xor& ty an6800y tov Baathy Pesta xa ms Boshas Aauravéxor (Ovduop Lair, O Baordidéc Eppixos 0 A’, npiito wépos, 6.n.). an ae 387 TAOKH xdran and TY evo. % Thy evmotia 70d 4 ToY at6"OV evaveioy TOV O- notiov oxpéperat, tore Exoupe uta BoromAoxiat (intrigue). O Téyos elvan o xaxds Rov BohoTAoxet evaytioy tov OBEAAOD xa tov Kéao10v oTHV tPA- ‘ywSia, tov Shakespeare O6ENos (Othello). De nodAEs xapwdiec, 6mws O70 Bokndve (Volpone, 1607) tov Ben Jonson, xo. o¢ ToAR& éoya ts Maat- vépbaans (1... t0 The Way of the World tov William Congreve xo to The Country Wife tov William Wycherley), o1 maoxés Baoitovtar ev noAAoic otny exttuyia } oTmy aotuyia was SodomAoxiac. H cEEMEN pic mhowig Sqwovpye! opraéves Tpoddoxies oto xoWvd % orov avaysaty yin TH [EAROvtUd nopeia Tov YeyovbtoV xox Tg 3eé- ong, xaids Kau ya THY avTi8eaON twY yopaxTIpwV oe avré. H aBeBard- TyTa TOV avayvdaty Rov evdiapeperas yux to wi TPdxertar ver avuBet ot™H ovvéyeia, iattepa atovg yapaxtHIpes Kp tovg onoloug Eyer avarrrWEEt ia ovurdbera, civor ywoorh «ws caomévs (suspense). Av avt6 Tov TeAt~ x6 oouBaiver umepBatver tig 6noiec nooddoxies ciyaue oyuarice,, tte Aéyerou ExdnEy (surprise). O avvBvacuss oaonéye xa éxrdnEng ovate 1 Baove, Sovayud o€ ura napadoorcxh nhoxh. H m0 anoteheouatud éxrknén, Wiaitepa otis peakotixés apny hoes, eivar avi TOV ex tov vorépov anodexwerar 6m Baoilera: o¢ 60x éxovy Hdn Sixdpapariatet, axxdun xt av epeig ws avoryveoares Byélaye Ueyor tol8e eoparyéva cv- urepdouora and ta SeBoueva tov xataaréGEWY xaL TOV yopaxTHPCV. ‘Ons to eae o E. M. Forster, to a0x tov avandoteyov, «Rov 0 Bia- Béyeran to alofua “a, usdiore”, civor pre EvBevEN Ov: Gra Teyor nod omy Thox}>. Eva «tédoc-exninenn, we TV apyetud éwoun, eiven avr 6rov 7 Adoq Tov dive 0 avyypa@eac atHY Thoxh Se BaciLerar exaprcds ora Sedouévar tov yapaxriipwv H Tov Yeyovdtey, xa avrs auviBus avu- Baiver we ™ xoron ules dxpws anions obuRtwons: URdpYOLY TOALé- piua napadetynara avr08 tov THrov ota Smyhuata tov O. Henry. (Tia évay ténO yerpaxyeoynuévon tédovs, Bréme and unyavis Beds.) H cpocyue} cipavela elvan éva wiatrepo eidos axywud8ovg npodSoxiac, drov to KoL- v6 # ot onaryvibares StaREnovy tov emtxeivevo 6heBp0 7 SiauBo, evs o yapoxripas advvaret va. xpdiéer 70 (310. Adyeton ovjye Ou TAoxh StaiBérer evormra Spéong (unity of action) (i Ou omotehet Eva «xaddtexyixd 6dov»), egdd0v 0 avaywarns Ho axpoaris Thy ovtAayBéveron cs wo Aion xu Bactetoryuévn Buy} eveo- yeudy nov anoBénovy oe éva emduaxduevo anoréheoux xan Snov xavé- var ond to Baoxd avarorixé ween H Replotarinc (incidents) de orepetron Aetroupyiac. Ons to EBeae 0 Aprotoréng (Iomrueh, 80 BiBAio), Ghar to uéen «ovvdgovrar té00 orev uetaks tous, dote, av peta0éoovue % TAOKH agawpéooupe onood¥inote and avr, téte Oa Sinoarev0el xan Oa xarap- petaet to dbvodko». O Aptatorédng vRoatMPLet bz: wa GEIS erero0diov Ov 0 U6v0 vvextix6 oro1Xe!0 TOUS Elva bz. GUEBaivovy oroV {B10 ya- paxryipa de ovmoté evaia mAox}. MoAhés muxapixés agnyjaetc, wor600, 6rwe 1 Mod @idyreps (Moll Flanders, 1722) tov Daniel Defoe, eaxorov- Goby 286 xat audvec va TCGEAOLY tO avaryvactix6 evdiapEpOV UE [10 réroun axpibcds eneroodi00) roxy: axdun xou ura r600 Toxvé opyarveo- uévn mAoxh nw avr} tov Tou Tedovve (Tom Jones, 1749) tov Henry Fielding apepBéaret, ya Adyous nomAias, THY extevi totopia Ya Tov AyOpwno tov Aégov, 7 oroia. oyeriferan we THY xevtpUdh Thoxh weow Ta podiydroudy xou avéaewv. Mua exirvyquévn uetaryevéotepy e&éhtkn, thy omoia: dev ctye mpopAéiper 0 Aptotoréng, elven n Souue evdeyta nov enivyydveran ye tig dimes mhoxés (double plots), nov ovvnfifovtat oto ehoaferiavs Spéya. Ze av- 26 70 elB0c, erocryeran ot0 Epyo pa vrORAow} (subplot) — ure Sedte—R wot0pia. Tov and wdvy TIS Elva OhoxAnP~uéyn xan evdiagépovaa" brav maaBetaL xar opyavaoveran SeEorexind, N UROTAONM eivar Buvertdy vor Bt- evpiver THY ToOORTHA WAS YA THY KEI TOXA xaL va enoyseL ave! vo arodvvaydver 70 avvonnd anoréheouc. OAdxANON 1 UROTAOK) UTOpE! va éyeu ue oy€on avodoyiag ye ty xdpie Thoxh (q woropia cov TxAdotep oto Baowtc Ano) * va. Rercovpyet avtWetuxck (q xapve} vmoAOr} We TOV PéAotap oto Todt UépOg tov Eopixov tov A). To The Faerie Queene (1590-1596) tov Edmund Spenser civar Setywor pias axpnyquartveis wv0.- otopiag nov ovvopaiver Ty xdpia Thor Ue Eva TAADOS UROMAOKDY aE wa noxvf 600 xox obvOeTy Souy xan Ue tEtOL tPSTO Gate o xpITIX6s C. S. Lewis va t0 ovyxpiver us ty RoAvPavuch (polyphonic) povove} TS uae enoyi, Srov 3b0 % xou nepraddtepes Siagoperixés wehwdies eEe- Nooovrat tavtdypover. 0 Apiororédng tonite nas n réEn wras ening nhowiig Baoieron ory adiioraotn axohovbia. apis, uéons xa téovs. H apyh (beginning) <1- otyer thy xbpra Bpdon Exot Hote va adnLovobue yia xée TepaTépw" 7 uéon (middle) Oewpet Se3opéva tax box ToonyHOnxay xar amoutel 0. eEEAEN’ xo x0 téhog (end) npoxdrrer amd 6.1 Eyer mpONyNOE! aAAG Sev anourel tinote Aho" vedPoUUE txavoromusvor and THY OrOXArPwON tS mhoxig. To 3ouxd Eexivnua. (nov eviote ovouditerar «evaaywyve Spdon» i vpaptda tov Freytag (Freytag’s Pyramid). Teprypcpet THY tun Thom) evds Tevtdnpaxtov Epyov ynotonoudvtas éva. oye Rupapidac, nov anoteheltar and Thy cvodue} Topeta tg Spdons, THY xO- edpaon xa TY xaBOBuE} nopela THs Becons. Mohovér: 10 covOAX6 oY- a Tov reprypd@et o Freytag Sev uropel va cpapyoorel naps udvo oF évav meproptopévo apioud épyav, or xprtiol tg meLoypagiag xa: tov Spduatog ovyve extxarobvrar ROAO’S and tovg povg tov. Ac TobUE. otov Audet, 1 avodueh xopeta cys Bpcons (rising action) (Eva usps 70 orolo 0 Aptototéing ovuate d€on [complication]) Eexuvé, weté tyv e1oa- oyna} oxvh xou thy éxOeon tg Tdiotopiag, UE to PdvtaoLA va Aéet arov Audet bt Soropoviinxe ard tov adep@s tov tov KAaLSi0 xat ov- veyiletar we TY cEeMaoduevn obyxpOVEY avéyecn otoy AuAeT xo TOV KAasdio, 6xov o Apher, nape ta eundducr, xatopbdver va edéyEer THY nopela tay yeyovbruv. H avoduch nopeta tng Spdong grdver otyy Kopb- eon (climax) tg THs TOV Howe Stay o AyAct arodener THY evoyth tov Baoidié ue to téxvaouc tov eyxiBatiouévov épyov (III, ii). Exetra axohovbel 7 xptoy (crisis), 1 avtotpOp 4 «Xam» THE TyNs tov TEW- TayoNoTh, Gtav anotwyytiver va oxoTHaE! to Paste THY pa TOD av- TAOKH 391 x0g mpocetyxetat. Avtd eyxounidter ty xalodixy nopeia tyg Spcons (falling action), xadd¢, a6 to oqucio ard xo Ueté, 0 avtaywnoriis, 0 Kaasdtoc, ehéyyet oe ueyciho uépos ty mopela tov yeyovdtwy, Uéxor THY xataotpogh (catastrophe) % tv éxBaon, n oroia xpivetor we to Bévato tov Hpwa, tov KArabdi0v, ty Bacthaoag xat tov Aagpty. O 6p0¢ «xa- TaaTpOPH> GvvABOS YoNnTWOrOLE!TOL Udvo ATHY TAWA Evag THO YeVI- xg Opog Ya aUTHY 7 YorYoRN tehUe oxnv}, O Orolo yonooroLettaL 1600 oTHY toAywdia 600 xaL OTHY xwpwdIL, Eivox n AboN (dénouement): n dpcon 4 1 SodomAoxla tov TowTaywviorh xatahjyer ce exrtuyla } ano- cvyla, ot avyxpoboerg diev8etobvtat, To UvaTHOLO StoAcvxaivetat HN T- pckqynon diadverar. Evac ekicov ovyvds evarraxtixdg dog ya THY ExBaon tg Toxic elvan n extdvon (resolution). Le noAnég Thoxés n Adon mepthauBdver pce avatpory (reversal) —4, ObuPwva YE TOV aPLOTOTEIXd Spo, ULE mepInéreta (peripety)— otyy THN tov Tpwtayovorh, efte Tpdxerta yx THY anotuyla H THY xaTAOTPOOH tov, 6nws ovuBaiver orig tpaywdies, ete yr THY emitvxia tov, 6nws ovpBaiver orig xapimés TAoxéc. H avatpom) ovyya cEapréra and wre avaxéduin (discovery) (avaryveoproy [anagnorisis], xo& tov AptotoréAn). 0 xpwrayonoris Siamotover xét Eoaperind onuavexd, mov we exeivy 1 oT1yuh ayvoobae: ot0 téhog tg Awdéxarms Niytag (Twelfth Night) tov Shakespeare, 0 Lelép10 amoxodsntet ato Sovxa. 6tt eivar TY Roaywart- xOryta 1 Budha 0 OBEAAOS avttAaUBdveTaL to SdALO peux tov Ié&you" 0 Joseph Andrews oto oudvupo xwyixd uvdtot6pnua tov Fielding (1742) avaxodbrter x60n G70 TEXUHPLO evs Ex YEVETHIS onLadiO —«t600 givo 600 win @pdovha Tov YEYaAdver Ge XiTOr— Ort ivan atHY TPaYBaTLKXd- TIITH 0 Ylog TOV xBpLOV xox THE xvpiag ToviAdoY. Ané tm dexaetia tov 1920 xou wets, MOAROL neCoypdupor xox BeatpLxot ovyyeageis -axohovbavtas to mpdILO Tapaderyua tov Tplotpay Edvev tov Laurence Sterne a6 tyv metodo 1759-1767- emyeipnoay oxdra ora Epya tovg va Siatpedoovv tig PGdoxies epi Ypovohoytxg deLGc, ovvoyiic, akvomotns aphynons xan Abang nov Expege o avvybropévos oF Tapadooiaxés TAoxés avaywdarng H Oearyi¢ optoyévor avyyoagets ext- yelonoay axdun Kou vor xoapyhaovy evtehos TH YywatH évvown tg TAO- wig. (Bhéne, yun rapdderyya, oyotexvia tov mapaddyou, uovtepviouds xat uetauovtepviouds, avtvbatéonua, véo wvbtotdpnua.) Enions, d6- Popa vedtepa eidn xprTIA|S Pewpiag teomonoinoay 7 avUTAKPWoay TO- és rapadoovaxés évvores YOPW and THY xatHYOPLOTOfNON xaL THY ava- von mg TAoxhs. O apzeturtxds xprtixds Northrop Frye avityaye Odes 715 Thoxéc oe téavepig THmOUs, avtITpOGWRELTIXOKS Tov WKAOY ToD avTI- Soa 392 TINEYMA, XIOYMOP KA KOMIKO aororyowy ati téaaepic emoxés tov Etovs. Or Soutatés xprTIxOL, o1 oTofoL avtiauBévovran. t1¢ Sidmpopes TAXES we abvOAA evadroxtIxdy avUBiaE- ov xan xodixoy Béoet Tov onoioy xatacxevdtetar ute uvHomraoti2} aghynon, avadsovy xan taEwouoby avtés tig ovpBorixés woppéc Tox} ue Béon to povrého tg YAwaaohoyuaiis Dewpiac. (BAéme Somatixh xorTt- xh xan apnynuaronoyla, xatkos xau THY TPAYLéTEVGN THE TOKE O70 Jonathan Culler, Structuralist Poetics, 1975, 00. 205-224.) EminAgov, optoné- vot vedtepor Bewpntixo! emycipnoay va xarappitbouy ex BiOpwv ta Ta- padocraxk yvopiouata tyg Toxic, toxvetouevor nw xdBe 18éa TOV vroarmpiter Ty «evdtytan Tyg TOKE KaL THY «TEREOAOYLA}» THE TO6O- 80 mp0 pia exthvon civar napanAavytudh, H. aAAuds, étt n exidvar cv- ah xabavrh Sev civar rapd éva aparéraoua TOV ovyxadtmrer tis aye pbperES BvyKpobaEIC xan avTUPbaEIC (huyoroyiXés Y xoWwVIXEs) aNd TIC oroies ovowwotiné anotehetrar x602 hoyoteyyixd xeiuevo. BAéme to Ayju- a petadourouds. Tha tig npdapares ekediEerg oTmy Ewoun tg Thome, BAe apyynon xau agnynuatoloyia. Bhéne oyetixe ty Homtueh tov Agiototédy: E. M. Forster, Aspects of the Novel (1927): R. S. Crane, «The Concept of Plot and the Plot of Tom Jones», oto Crane, exy., Critics and Criticism (1952) Wayne C. Booth, The Rhetoric of Fiction (1961): Elder Olson, Tragedy and the Theory of Drama (1966): Robert Scholes xo. Robert Kellogg, The Nature of Narrative (1966): Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction (1967)- Eric S. Rabkin, Narrative Suspense (1974): Tzvetan Todorov, Poétique de la prose (1968, 1971) / Tout (1989): Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film (1980)- Peter Brooks, Reading for the Plot: Design and Intention in Narrative (1984). Nvebya, xioUpop Kal KwIKS (Wit, humor and the comic). Utig wép|es was 0t 6p0r «TvEKUa Kat

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