Πρόσφατα άρθρα

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.

Συνέχεια

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

«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

Συνέχεια

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

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.

Συνέχεια

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

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

Συνέχεια

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.

Συνέχεια

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

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.

Συνέχεια

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

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.

Συνέχεια

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

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.

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ἐξ ἐρίων δὴ καὶ κλωστήρων καὶ ἀτράκτων

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.

Συνέχεια

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.

Hyperion or the hermit in Greece

Concept, dramaturgy and performance by Dimitra Kreps

Συνέχεια

Hyperion or the hermit in Greece
Υποβλήθηκε από joanna την Τετ, 2009-11-11 13:34.

Άγιος Σέργιος: εξετάσεις για τη γλώσσα, Ιούνιος 2008, Μαρία Πουρνάρα

Εξετάσεις Ιουνίου στον ΄Αγιο Σέργιο

Παρίσι 13 /6/ 2008

Διδάσκουσα: Πουρνάρα Μαρία

Να διαβάσετε το παρακάτω κείμενο και να απαντήσετε στις ερωτήσεις:

Ο Νίκος και η Γιάννα είναι από την Ελλάδα αλλά τώρα είναι φοιτητές στο Παρίσι. Ο Νίκος σπουδάζει ιατρική και η Γιάννα μηχανικός. Μένουν κοντά στο κέντρο και πηγαίνουν στο πανεπιστήμιο με τα πόδια ή με το μετρό. 'Εχουν πολλούς φίλους, Γάλλους, Έλληνες και ξένους. Τους αρέσει πολύ το Παρίσι και θα μείνουν εκεί τέσσερα χρόνια. Διαβάζουν πολύ, το βράδυ δουλεύουν σε ένα εστιατόριο και το Σαββατοκύριακο βλέπουν τους φίλους τους. Συχνά πηγαίνουν σινεμά και θέατρο. Ο Νίκος παίζει επίσης κιθάρα και η Γιάννα μαθαίνει Ισπανικά. Όταν έχουν διακοπές ταξιδεύουν. Φέτος θα πάνε δεκαπέντε μέρες στην Ιταλία και μία εβδομάδα στο ΄Αμστερνταμ.

1)Από που είναι η Γιάννα και τι σπουδάζει;

2)Πόσο καιρό θα μείνει ο Νίκος στο Παρίσι;

3)Ο Νίκος και η Γιάννα δουλεύουν το βράδυ ή το πρωί;

4)Ποιος παίζει κιθάρα;

5)Τι κάνουν στις διακοπές;

6)Πόσες μέρες θα μείνουν στο ΄Αμστερνταμ;

Ασκήσεις:

1) Να βάλετε το σωστό άρθρο:

Ποιον θέλετε; ---------------- φίλους μας,_________ Κώστα και _________Σοφία.

Δεν έχω εγώ ________ εφημερίδες της.

Θα πάμε στην Ελλάδα ___________ Οκτώβριο.

Λοιπόν, ραντεβού _______ Δευτέρα.

2) Να βάλετε τις φράσεις στον πληθυντικό:

'Εχεις το βιβλίο και την τσάντα σου;

Τηλεφωνώ στη μητέρα μου κάθε μέρα.

Αγαπάει πολύ το παιδί της.

Που ζουν τώρα οι αδελφές σου;

Θα αγοράσει έναν ακριβό υπολογιστή.

Κοιτάζει το μεγάλο άγαλμα στον κήπο.

3) Συμπληρώστε τις καταλήξεις:

Ο Αντουάν είναι Γάλλ______ και μιλάει Γερμαν_______, Ιταλ_______ και Γιαπων_______.

Η Κατερίνα αγοράζει μόνο ισπαν_____ ρούχα.

Του αρέσει πολύ ο ελληνικ__________ καφές.

Η Σαμπίνε είναι Ολλανδ_________, αλλά ακούει μόνο αμερικάν___________ μουσική.

4) Βάλτε τα ρήματα στον απλό μέλλοντα:

Το πρωί ο Ορέστης _____________(αρχίζω) τη δουλειά του στις 7.30. ____________(δουλεύω) πέντε ώρες και μετά _____________ (πάω) στο εστιατόριο. Το απόγευμα στο σπίτι του ___________ (γράφω) ένα γράμμα στη φίλη του και __________________ (μαγειρεύω) για το βράδυ.

5) Να κλίνετε στον ενεστώτα τα ρήματα:

οδηγώ, τρώω, κοιμάμαι

και στον μέλλοντα τα ρήματα:

γυρίζω, παίζω, χορεύω.

6) Μεταφράστε στα Ελληνικά:

Le restaurant est à côté de la pharmacie.

Le jardin est derrière la maison.

La banque est en face de la boulangerie.

Le parking est loin de l' école.

© 2012 Κέντρο Ελληνικής Γλώσσας - Πύλη για την Ελληνική Γλώσσα