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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?

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

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

Hyperion or the hermit in Greece

Concept, dramaturgy and performance by Dimitra Kreps

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Hyperion or the hermit in Greece

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.

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.

«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

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

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.
Υποβλήθηκε από joanna την Τετ, 2009-11-11 14:34.

Ποίηση της δικτατορίας (1967 - 1974)

Από «τα Τραγούδια του Αγώνα»

Στίχοι Μάνου Ελευθερίου, Αλέκου Παναγούλη, Μάνου Ελευθερίου και Μίκη Θεοδωράκη

1. Ποιος τη ζωή μου ποιος την κυνηγά
να την ξεμοναχιάσει μες στη νύχτα;
Ουρλιάζουν και σφυρίζουν φορτηγά
σαν ψάρι μ’ έχουν πιάσει μες στα δίχτυα.

Για κάποιον μες στο κόσμο είν’αργά
Ποιος τη ζωή μου, ποιος την κυνηγά;

Ποιος τη ζωή μου ποιος παραφυλά
στου κόσμου τα στενά ποιος σημαδεύει;
Πού πήγε αυτός που ξέρει να μιλά
που ξέρει πιο πολύ και να πιστεύει;

2.
(στο Νικηφόρο Μανδηλαρά)
Μαθαίνοντας το θάνατό σου δεν μπόρεσα να κλάψω.
Στριφογύριζα στο κρεβάτι του νοσοκομείου
Θυμόμουνα την τελευταία μας συνάντηση.
«Δεν θα τολμήσουν» έλεγες.
«Δεν έχουν άλλο δρόμο » σ’ απαντούσα.
«Αυτός ο δρόμος θα’ναι ο τάφος τους» φώναζες με πίστη.

Ναι, Νικηφόρε, θα’ναι ο τάφος τους.
Ναι Νικηφόρε.

Αυτή την υπόσχεση σου δίνουμε
αντί για μνημόσυνο.

3.

(Η αυλή /Οδός Μπουμπουλίνας)
Σφυρίζει στην ταράτσα η ζωστήρα
σε παίρνουν και σε πάνε στην αυλή
ξωκλήσια και νησιά χωρίς αρμύρα
δε θα θυμάσαι πια μες στη ζωή.

Κλειστό και χαμηλό το καμαράκι
πριν από χρόνια θα΄ταν πλυσταριό
Μα εσύ μικρό παιδί παλληκαράκι
φαρμάκωσες ετούτο τον καιρό
μ΄ενα καρφί και μ’ένα καθρεφτάκι
τις φλέβες σου όταν έκοψες θαρρώ

Μιλώ στην Παναγιά και στο Χριστό
τα χρόνια σου μετρώ με τον καημό
μα πες μου αν έχει ο βασανιστής σου
αν έχει μάτια, στόμα και λαιμό.

4.

Διότι δεν συνεμορφώθην προς τας υποδείξεις.

Πέρα από το γαλάζιο κύμα, το γαλάζιο ουρανό
μια μανούλα περιμένει χρόνια τώρα να τη δω.

Διότι δεν συνεμορφώθην προς τας υποδείξεις.

Χρόνος μπαίνει, χρόνος βγαίνει, μες στο σύρμα περπατώ
θα περάσουν μαύρες μέρες δίχως να σε ξαναδώ.

Διότι δεν συνεμορφώθην προς τας υποδείξεις.

Αλικαρνασσός, Παρθένι, Ωρωπός, Κορυδαλλός
ο λεβέντης περιμένει της ελευθεριάς το φως.

Διότι δεν συνεμορφώθην προς τας υποδείξεις.

Η καταχώριση έγινε από το υλικό που έστειλε στις 17 Νοεμβρίου 2004 η Κυριακή Φραντζή και μπορεί να θεωρηθεί συνέχεια του υλικού που έστειλε η Αρετή Πότσιου. Αν υπάρχουν ιδέες και προτάσεις για την γλωσσική αξιοποίηση αυτού του υλικού, μπορείτε να τις στείλετε στις Φρυκτωρίες.

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