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.

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

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?

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.

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

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.

«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

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

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

Hyperion or the hermit in Greece

Concept, dramaturgy and performance by Dimitra Kreps

Hyperion or the hermit in Greece

Ασκήσεις για προοχωρημένο επίπεδο - Δ.Αντωνακοπούλου

Το παρακάτω σχέδιο μαθήματος είναι ένα αντιπροσωπευτικό δείγμα του υλικού που χρησιμοποίησα σε τάξη ενηλίκων προχωρημένου επιπέδου. Η διδασκαλία αφορούσε σχεδόν αποκλειστικά την παραγωγή προφορικού λόγου, με κάποιες «παρεκκλίσεις» για διασαφήνιση γραμματικών φαινομένων. Όπως φαίνεται και στο σχέδιο μαθήματος, εκτός από το θέμα για συζήτηση, δίνονται και ασκήσεις, το περιεχόμενο των οποίων βασίστηκε στις ανάγκες και τις απαιτήσεις της τάξης.
Αντωνακοπούλου Δώρα

ΚΕΙΜΕΝΟ 1: ΕΛΕΥΣΙΝΑ Πήγα στην Ελευσίνα το 1950, κατά το δεύτερο ταξίδι μου στην Ελλάδα. Τα Μυστήρια*-ή μάλλον η σκιά τους- με προσέλκυαν ακόμη. Δεν είχα αδειάσει την ψυχή μου απ' τους νεκρούς θεούς που κατοικούσαν το χώρο..... Το 1982 ξαναγύρισα στην Ελευσίνα. Τριάντα δύο χρόνια για να γυμνώσουν ένα τόπο από τη μνήμη του. Τα εργοστάσια. Η Ελευσίνα, σήμερα, είναι οι πανταχού παρούσες επιγραφές που λένε: ΑΠΑΓΟΡΕΥΕΤΑΙ Η ΚΟΛΥΜΒΗΣΗ, ΝΕΡΑ ΜΟΛΥΣΜΕΝΑ. Η Ελευσίνα σήμερα είναι: τάνκερ, σωληνώσεις, παλιοσίδερα, Αλλά είναι επίσης: η ελπίδα εκείνων που θέλουν να ζήσουν εδώ με όποιο κόστος, ο καινούργιος αγώνας απέναντι στα τέρατα της θάλασσας, η πεισματάρικη αντίσταση των άοπλων ενάντια στους εφοπλιστές. Στην Ελευσίνα είδα μια γυναίκα να ποτίζει στο μπαλκόνι της
[Jacques Lacarriere: Ερωτικό Λεξικό της Ελλάδας, εκδόσεις Χατζηνικολή, 2001]

ΛΕΞΙΛΟΓΙΟ-VOCABULARY
προσέλκυαν [προσελκύω]= to attract
να γυμνώσουν [γυμνώνω]= to undress, to strip
μνήμη, η= memory
διϋλιστήρια,τα= oil refineries
εργοστάσια, τα= factories, industry
ναυπηγεία, τα= shipyards
καπνοί, οι[ο καπνός]= smoke, fume, smog
απόβλητα, τα= waste, sewage
επιγραφές, οι [η επιγραφή]= sign
Η ΚΟΛΥΜΒΗΣΗ= swimming
ΜΟΛΥΣΜΕΝΑ= polluted
τάνκερ, το = oil-tanker[ type of ship]
σωληνώσεις, oι[ η σωλήνωση]= piping, tubing
παλιοσίδερα, τα= old, rotten pieces of iron
που ψυχομαχάνε [ψυχομαχώ]= be in the agony of death, be at one's last gasp
κοιμητήριο, το= cemetery
(για) σφαγμένες= slaughtered
γοργόνες,οι= mermaids
κηδεία, η = funeral
Νηρηίδων, οι [οι Νηρηίδες]= imaginary female beautiful creatures of the Greek mythology, nymphs that lived near rivers, lakes or the sea
πνιγμένων [οι πνιγμένοι]= the drowned, suffocated
μαζούτ, το= crude oil
μόλυνση, η= pollution
σήψη, η= decay, rottenness, degradation
αποσύνθεση, η= decomposition
σαπίλα, η= putridity, decay
με όποιο κόστος= at any price
τέρατα, τα [το τέρας]= monsters
πεισματάρικη αντίσταση, η= stubborn/obstinate resistance
των άοπλων [οι άοπλοι]= unarmed, defenseless
ενάντια =against
εφοπλιστές, οι [ο εφοπλιστής] = ship owners
να ξορκίζει= to exorcise, to lay
το στοιχειωμένο= the haunted
κόντρα= against
άγονες, οι= barren, infertile, fruitless, unproductive

KEIMENO 2: Ο ΕΦΙΑΛΤΗΣ ΤΗΣ ΠΕΡΣΕΦΟΝΗΣ
Εκεί που φύτρωνε φλησκούνι κι άγρια μέντα κι έβγαζε η γη το πρώτο της κυκλάμινο τώρα χωριάτες παζαρεύουν τα τσιμέντα και τα πουλιά πέφτουν νεκρά στην υψικάμινο. Εκεί που σμίγανε τα χέρια τους οι μύστες ευλαβικά πριν μπουν στο θυσιαστήριο τώρα πετάνε τ' αποτσίγαρα οι τουρίστες και το καινούργιο παν να δουν διυλιστήριο. Εκεί που η θάλασσα γινόταν ευλογία κι ήταν ευχή του κάμπου τα βελάσματα τώρα καμιόνια κουβαλούν στα ναυπηγεία άδεια κορμιά, σιδερικά, παιδιά κι ελάσματα. Κοιμήσου Περσεφόνη, στην αγκαλιά της γης στου κόσμου το μπαλκόνι ποτέ μην ξαναβγείς.
[Νίκος Γκάτσος (1911-1992): Σημαντικός Έλληνας ποιητής, στιχουργός και μεταφραστής]

ΛΕΞΙΛΟΓΙΟ-VOCABULARY
φλησκούνι, το= pennyroyal
παζαρεύω= to bargain
υψικάμινος, η= blast furnace
σμίγω= I join, I connect, I bring together >br>αποτσίγαρα, τα= cigarette ends
διυλιστήριο, το= oil refinery >br>ευλογία, η= blessing
βελάσματα, τα= baa - blat
καμιόνια, τα= camion - freight - lorry - rig - truck
κουβαλάω= I carry
κορμί(ά), το= body (bodies)
σιδερικά, τα [το σιδερικό]= iron tool/ thing/ object [in plural, irons, ironware, hardware] ελάσματα, τα [το έλασμα]= blade - plate

ΘΕΜΑΤΑ ΓΙΑ ΣΥΖΗΤΗΣΗ- TO DISCUSS
Ελευσίνα- το χτες και το σήμερα

ΕΞΑΣΚΗΣΗ-PRACTICE 1.
Ποιό είναι το κοινό σημείο ανάμεσα στα δύο κείμενα; Γιατί μπορεί και το ποίημα να αναφέρεται στην Ελευσίνα;[ Which is the common idea in both texts? Why might the poem refer to Elefsina, as well?]
Can you write a small paragraph in Greek, answering these questions?

ΓΡΑΜΜΑΤΙΚΗ- GRAMMAR
Σύνθετες λέξεις με πρώτο συνθετικό τα: ξανά-, από-, ξε-, προσ-
1.ξανά= again [it can be with almost any verb to show an action that is repeated]
Practice with the following verbs, or try it with any verb you can think of.
Κάνω, πλένω, κοιμάμαι, βάζω, γυρίζω, πουλάω, τρώω, πίνω, ακούω, διαβάζω, ανοίγω, θέλω, γράφω.....
2.από= the remote e.g απόμερος = deprivation αποχρωματίζω = afterwards απόβραδο, απομεσήμερο = the rest, what is left αποτσίγαρο = alteration απανθρακώνω, αποβλακώνω = completion αποτελειώνω
Try with the following words, and think of the meaning they get with από in every case.
Κάνω, γεύμα, απογειώνω, βάρος, βροχή, δείχνω, ήχος
3.προσ-(ς)= near, close to ανατολή, ( )γείωση, ήλιος, κλήση, περνάω, κεφάλι, κολλάω(ώ), δένω
4.ξε- (it can be found only as a part of other words) It can mean: out e.g ξεπορτίζω Much, plenty Completely ξεπαγιάζω Deprivation ξεβάφω Violence ξεκόβω To spent time ξενυχτάω Undo ξεκλειδώνω Χειμωνιάζω, κουρδίζω, κουφαίνω, μακραίνω, κουράζω, μπλοκάρω, παρκάρω, καρφώνω, μαθαίνω, κρεμώ, ανοίγω, σκίζω

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