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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

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

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.

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

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

«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.

Η ΔΙΔΑΣΚΑΛΙΑ ΤΗΣ ΝΕΑΣ ΕΛΛΗΝΙΚΗΣ ΣΤΟ ΠΑΝΕΠΙΣΤΗΜΙΟ ΤΟΥ ΕΛΣΙΝΚΙ



Πιερέττα Διαμαντοπούλου

Το Τμήμα Νεοελληνικών Σπουδών του Πανεπιστημίου του Ελσίνκι υπάγεται στην Έδρα Αρχαίων Ελληνικών Σπουδών του Ινστιτούτου Κλασικής Φιλολογίας και Αρχαιολογίας.

24 Φεβρουαρίου 2005

Οι διδάσκοντες είναι τρεις:



Α. Ο κ. Γιούσι Κόρχονεν, στον οποίο

οφείλεται και η ίδρυση του Τμήματος Νεοελληνικών Σπουδών, το 1967



Β. Ο κ. Κίμμο Γκράνκβιστ, υφηγητής των Νέων Ελληνικών



Γ. Η κ. Πιερέττα Διαμαντοπούλου, φιλόλογος αποσπασμένη από το ΥΠ.Ε.Π.Θ.

Τα μαθήματα που διδάσκονται είναι τόσο γλωσσικής όσο και πολιτισμικής κατεύθυνσης. Πιο συγκεκριμένα αυτά είναι:

ΝΕ Γλώσσα, Γραμματική, Γλωσσολογία, Ιστορία της Γλώσσας, Μετάφραση, Προφορά-Εκφορά του Λόγου, Επιστημονική Γραφή, ΝΕ Ιστορία, Λαογραφία, Επιβιώσεις του Αρχαίου Κόσμου, ΝΕ Θέατρο, Ελληνικός Κινηματογράφος, ΝΕ Ζωγραφική, Χωρογνωσία και, κυρίως, ΝΕ Λογοτεχνία.

Οι εξετάσεις γίνονται με ένα από τους δύο παρακάτω τρόπους κατ' επιλογή του φοιτητή:



Α.Με γραπτές απαντήσεις σε ερωτήσεις - δύο δοκιμιακές και δύο γνώσης -

Β. Με εκπόνηση γραπτών εργασιών, απλών ή

προπτυχιακών.

Το πτυχίο που χορηγείται από το Τμήμα Νεοελληνικών Σπουδών είναι το Β.Α. Από το φθινόπωρο του 2005 θα υπάρχει η δυνατότητα χορήγησης του Ανώτερου Πτυχίου Αρχαίων Ελληνικών Νεοελληνικής Κατεύθυνσης.



Οι ενδιαφερόμενοι για τις νεοελληνικές

σπουδές είναι συνήθως σπουδαστές κλασικών σπουδών ή ιστορίας ή θρησκειολογίας ή διαφόρων άλλων γλωσσών και φιλολογιών. Το ενδιαφέρον τους είναι δυνατόν να πηγάζει τόσο από την επαφή τους, μέσω των σπουδών τους, με την αρχαία Ελλάδα ως σύμβολο του δυτικού

πολιτισμού όσο και από τη σύγχρονη Ελλάδα ως χώρα τουριστικού προορισμού.

Ο αριθμός των σπουδαστών είναι είκοσι οκτώ.




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