Πρόσφατα άρθρα

«Examine how homoerotic love is expressed in Cavafy’s erotic poetry» By Yousuf Danawi, Reading University

This essay aims to examine the manner in which homoerotic love is expressed in Constantine Peter Cavafy’s erotic poetry.Initially, it will provide a brief introduction entailing contextual information. Subsequently, this essay will bestow an intricate analysis of his erotic poems, with a particular focus on elucidating recurrent themes pertaining tohomoerotic love. The analysis will explore both the formal and thematic constituents of Cavafy’s erotic poetry, accompanied by a pervading extraction of deeper meaning.This examination will be enhanced utilising relevant secondary literature. The primary source that consists of the poems to be discussed in this essay derives from a digital anthology that comprises Cavafy’s ‘Recognised’, ‘Denounced’, and ‘Hidden’ poems

 «Examine how homoerotic love is expressed in Cavafy’s erotic poetry» By Yousuf Danawi, Reading University

Hyperion or the hermit in Greece

Concept, dramaturgy and performance by Dimitra Kreps

Hyperion or the hermit in Greece

In Ritsos’ Moonlight Sonata what sentiments does the woman’s confession provoke/inspire to you and how these compare to the ones felt by the young man who remains silent throughout her long monologue.

Yannis Ritsos' "Moonlight Sonata" is a poignant and emotionally charged poem that presents a deeply intimate monologue of a woman speaking to a silent young man. The setting is night, with the moonlight casting a dreamlike atmosphere over the scene. The woman's confession, filled with personal revelations, memories, and emotions, evokes a variety of sentiments in the reader and provokes a complex response.

In Ritsos’ Moonlight Sonata what sentiments does the woman’s confession provoke/inspire to you and how these compare to the ones felt by the young man who remains silent throughout her long monologue.

The form of Dramatic Monologue as perfected by Ritsos’ poetry.

Yannis Ritsos is widely regarded as one of the most significant figures in contemporary Greek poetry. He managed to revolutionise the idea of a dramatic monologue and create not just beautiful poetry, but also a multifaceted art form that has depth on psychological, social, and philosophical levels throughout all of his publications. The dramatic monologue form was popularised by Victorian poets such as Robert Browning, but Ritsos revitalised it and many poets to this day still use his style as inspiration. His ability to construct identities and characters that the reader can genuinely sense and almost experience is skilful.

The form of Dramatic Monologue as perfected by Ritsos’ poetry.

Poetics and Histories: To What Extent Did C. P. Cavafy Alter Historical Narratives, and for What Artistic Purposes?

stuident Name: Joseph Watson Module Lecturer: Dr Dimitra Tzanidaki-Kreps Date of Submission: 11/01/2016

Poetics and Histories: To What Extent Did C. P. Cavafy Alter Historical Narratives, and for What Artistic Purposes?

Discuss the portrayal and effects of loss in the poetry of Cavafy

My Mother's Sin and Other Stories A series of lectures on Modern Greek literature taught by Dr Dimitra Tzanidaki-Kreps This is a first class essay of one of my students, Jenny Wight, who took my course this year writing beautifully on the effects of loss in Cavafy's poetry.

Discuss the portrayal and effects of loss in the poetry of Cavafy

ἐξ ἐρίων δὴ καὶ κλωστήρων καὶ ἀτράκτων

This essay examines that metaphor in the context of the political and war situation at the time Lysistrata was first performed. It considers traditional gender roles in the fifth-century Greek polis and Lysistrata’s inversion of those roles in her weaving analogy. Aristophanes’ comedic purpose in the weaving speech, in Lysistrata as a whole, and more generally across his corpus is examined. In addition, some observations are made about the sound pattern of Lysistrata’s speech and, in a personal argument, a speculative suggestion is advanced that the audience might have associated her cadences with the familiar rhythms of a domestic weaving loom.

ἐξ ἐρίων δὴ καὶ κλωστήρων καὶ ἀτράκτων

How does Seferis’ mythical method interact with Greece’s lasting socio-political issues?

Seferis uses the mythical method in his poetry to allude to and comment upon social and political issues in Greece in his lifetime. Before discussing his poetry, it is important to define what is meant by Seferis’ mythical method. This method can be described as allusive, as although Seferis does make direct references to myth he does so in inventive ways, for example by using narrative space, symbols and characters to evoke Greek myths.

How does Seferis’ mythical method interact with Greece’s lasting socio-political issues?

Discuss the portrayal and effects of loss in the poetry of Cavafy

My Mother's Sin and Other Stories A series of lectures on Modern Greek literature taught by Dr Dimitra Tzanidaki-Kreps This is a first class essay of one of my students, Jenny Wight, who took my course this year writing beautifully on the effects of loss in Cavafy's poetry.

Discuss the portrayal and effects of loss in the poetry of Cavafy

Theatricality, didacticism, prosaic verse, use of persons as symbols, contemplative mood, flashbacks are some of Cavafy’s recurring ‘tropes’. Discuss.

Within the vast poetry collection of Constantine Cavafy, arguably, a pattern of recurring tropes emerges, offering the readers an in depth understanding of what defines his artistry. The poems that I have chosen for this essay being Young Men of Sidon, Alexandrian Kings and Kaisarion, from his book The Collected poems. One might say that they serve as an example of Cavafy’s gravitation towards an array of literary devices such as theatricality, didacticism, prosaic verse, use of persons as symbols, contemplative mood and flashbacks, one might say that they create a narrative that extends beyond the individual poems, inviting us to explore the timeless themes captured by Cavafy.

Theatricality, didacticism, prosaic verse, use of persons as symbols, contemplative mood, flashbacks are some of Cavafy’s recurring ‘tropes’. Discuss.

Πρόγραμμα Σπουδών για τη διδασκαλία της ελληνικής σε ομογενείς των Η.Π.Α.

Με χαρά σάς ανακοινώνουμε ότι το Ινστιτούτο Νεοελληνικών Σπουδών (Ίδρυμα Μανόλη Τριανταφυλλίδη) του Α.Π.Θ., στο πλαίσιο της συνεργασίας του με το Γραφείο Παιδείας Αμέσου Αρχειπισκοπικής Περιφέρειας της Ιεράς Αρχιεπισκοπής Αμερικής, ετοίμασε έναΠρόγραμμα Σπουδών για τη διδασκαλία της ελληνικής ως ξένης γλώσσας που αφορά το Α΄ Επίπεδο (για αρχάριους).

Εναρμονισμένο με τις προδιαγραφές των εκπαιδευτικών αρχών της Πολιτείας της Νέας Υόρκης για την εκμάθηση ξένων γλωσσών, το Πρόγραμμα αυτό είναι διαθέσιμο στον ιστότοπο της Ιεράς Αρχιεπισκοπής Αμερικής (http://www.goarch.org/). Ήδη το Ίδρυμά μας έχει ξεκινήσει την εκπόνηση του αντίστοιχου Προγράμματος Σπουδών για το Β΄ Επίπεδο.

Με τον τρόπο αυτό το Ινστιτούτο μας αποδεικνύει ότι δεν βρίσκεται κοντά μόνο στους εκπαιδευτικούς και μαθητές/φοιτητές της πατρίδας μας, αλλά αγκαλιάζει τον απανταχού ελληνισμό, πιστό στις αρχές του ιδρυτή του, Μανόλη Τριανταφυλλίδη.

The message in English:

The Institute of Modern Greek Studies (Manolis Triandaphyllidis Foundation) of the Aristotle University of Thessaloniki is pleased to announce the publication of a Curriculum for the teaching of Modern Greek as a foreign language (Checkpoint A) for beginners. This is the latest product of the Institute's collaboration with the Direct Archdiocesan District Office of Education of the Greek Orthodox Archdiocese of America.

This Curriculum is in adherence to the standards of the New York State Education Department for the teaching of foreign languages, and is available on the website of the Greek Orthodox Archdiocese of America (http://www.goarch.org/). The preparation of the Checkpoint B Curriculum by our Institute is already in progress.

The new and the forthcoming publications prove that our Institute not only remains close to the teachers and students of our country, but it also embraces the Greek Diaspora, loyal to the principles of its founder, Manolis Triandaphyllidis.


© 2012 Κέντρο Ελληνικής Γλώσσας - Πύλη για την Ελληνική Γλώσσα