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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

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

«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

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

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.

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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

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Hyperion or the hermit in Greece

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.

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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.

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

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.

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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

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.

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The form of Dramatic Monologue as perfected by Ritsos’ poetry.
Υποβλήθηκε από joanna την Τρί, 2007-12-11 12:44.

On the emergence of memory

Κυριακή Φραντζή

12 Δεκεμβρίου 2007

On the emergence of memory, μην το κλείνεις έχει κι άλλο τετράδιο, αυτό που αρχίζει μια μέρα που περπάτησες περπατάς γύρω μακριά από και χωρίς χάρτη έτσι απλώς περπατώντας και κοιτάζοντας ένα παγκάκι που θα μπορούσες να κάθεσαι μερικά πρωινά, σπίτια με κήπους ζωγραφιστούς μικρά βουδιστικά αγάλματα, γλάστρες με φυτά διαφόρων ιδίως εκείνα τα κρεμαστά άσπρα που περιέργως δε μυρίζουν καθόλου, εγκυμονούν αέρα απίστευτα λεπτά πέταλα μεγάλα λοχμωτά φύλλα κορμοί χωρίς φύλλα χοντροί και σπίτια με κουρτινάκια νάυλον αυτά τα παλιά που τόσο καλά ήξερες, αυτά εδώ όμως όχι, επειδή οι πόλεις έχουν τόσα πολλά και περνάς κάθε μέρα δίπλα τους χωρίς να τα βλέπεις επειδή στο μυαλό σου ο Chris που καθόλου δε σκέφτεσαι είναι εκεί όμως μεταξύ τραχείας και φάρυγγος μικράς και μεγάλης κοιλίας στο στήθος ψηλά στην πλάτη ενώ τριγύρω μεγαλώνουν τα φύλλα, beware warning μια ακακία σαν παρουσία με ή χωρίς ψεγάδια, κατηφοριές έξαφνες και κρυφά δρομάκια που πίστευες ότι μόνο στην Ευρώπη υπάρχουν, είναι κι εδώ όμως, κοιμούνται και ξυπνάνε και ζουν την τσιμεντένια ζωή τους κάθε μέρα ενώ εσύ δεν τα βλέπεις και nightshades day shades όπου μπορείς να καθήσεις χωρίς να σε βλέπει κανένας κοιτώντας απλώς μέσα και γύρω, μια μέσα μια γύρω, ώσπου συμβαίνει αυτό που λέγεται integration, it may have something to do with integrity who cares, ξαφνικά η αναπνοή κυλάει ελευθερώνεται, εκεί που πριν δεν ακουγόταν καθόλου, έλεγες πάει ο άνθρωπος έμεινε έμεινα στον τόπο, αλλά όχι παίρνει ανάσα βαθιά και ανοίγει τα μάτια, τα μάτια των γερόντων καθαρά σαν παιδιά μετά τον ύπνο, και σε βλέπει να κοιτάζεις έξω από το παράθυρο καθιστή με ίσια την πλάτη την κορφή ενός δέντρου

Κάπως έτσι πεθαίνουμε και ξαναζούμε, για να υποσχεθούμε ότι αύριο, μεθαύριο, τις επόμενες μέρες εξάπαντος θα βρούμε έναν τρόπο να περπατήσουμε σ' αυτό που ήταν η θέα του σπιτιού μας τόσα χρόνια, τη σχεδιάσαμε νοερά με ελιές και να οδηγεί στη θάλασσα, μπορεί ναι μπορεί όχι καράβια, ήταν καλοκαίρι και κοιμόμαστε με την ποια;-δε θυμάμαι! στο πάνω πάτωμα και η ερώτηση ήταν τι βλέπεις μπροστά;

Βλέπω έναν κάμπο με ελιές πυκνά δέντρα πράσινα να βγάζουν στη θάλασσα και τρέχω, τρέχω μέσα απ' τα δέντρα ώσπου φτάνω στην άμμο κι από κει μπαίνω στη θάλασσα αλλά κατά βάθος δεν είναι αυτό, ο ήλιος είναι και η τρεχάλα, κι είμαι παιδί, ένα μικρό αγόρι οπωσδήποτε, κορίτσι με οργαντίνα δε θυμάμαι.

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