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Identities in The Greek World Granada 2010 Congress Vol 2 2011 Isbn 978 960 99699 4 9
Identities in The Greek World Granada 2010 Congress Vol 2 2011 Isbn 978 960 99699 4 9
( 1204 )
:
.
2011
( 1204 )
Identities in the Greek world (from 1204 to the present day)
E-mail: dimadis@zedat.fu-berlin.de
ISBN (vol.) 978-960-99699-4-9
ISBN (set) 978-960-99699-0-1
:
(pezanos@otenet.gr)
Copyright 2011:
()
European Society of Modern Greek Studies
www.eens.org
, 9-12 2010
( 1204 )
:
.
2011
Vol. 2
Edited by
Konstantinos A. Dimadis
()
, 9-12 2010
( 1204 )
,
,
Comit Cientfico
/ Presidente y coordinador:
Konstantinos A. Dimadis (Freie Universitt Berlin)
/ Miembros:
( )
Asterios Argyriou (Universit de Strasbourg)
Vangelis Calotychos (Columbia University)
Philip Carabott (Kings College London)
Lia Brad Chisacof (Academiei Romne)
Isabel Garca Glvez (Universidad de La Laguna, Canarias)
. . ( )
David Holton (University of Cambridge)
-Ferrari ( )
. ( )
. ( )
Olga Omatos Senz (Universidad del Pas Vasco)
(Walter Puchner) ( )
- ( )
Henri Tonnet (Universit de Paris IV-Sorbonne)
Dimitris Tziovas (University of Birmingham)
Comit Organizador
/ Presidente:
Moschos Morfakidis Filactos (Universidad de Granada)
/ Coordinador:
Konstantinos A. Dimadis (Freie Universitt Berlin)
/ Miembros:
Javier Alonso Aldama (Universidad del Pas Vasco)
Jos Antonio Costa Ideias (Universidad Nova de Lisboa)
Isabel Garca Glvez (Universidad de La Laguna, Canarias)
Ernest Marcos Hierro (Universidad de Barcelona)
Antonio Melero Vellido (Universidad de Valencia)
Alicia Morales Ortiz (Universidad de Murcia)
Encarnacin Motos Guirao (Universidad de Granada)
Penlope Stavrianopulu (Universidad Complutense de Madrid)
/ Secretaria Tcnica
,
Centro de Estudios Bizantinos, Neogriegos y Chipriotas de Granada
Maria Salud Baldrich Lpez
Isabel Cabrera Ramos
Paraskev Gatsiofa
Panagiota Papadopoulou
(2006-2010)
Konstantinos A. Dimadis,
Lucia Marcheselli,
Maria A. Stassinopoulou,
Ann Chikovani,
Isabel Garca Glvez,
Marjolijne C. Janssen,
Ekkehard Wolfgang Borntrger,
Lia Brad Chisacof,
(2010 )
Konstantinos A. Dimadis, ()
Marjolijne C. Janssen, ()
Javier Alonso Aldama, ()
Ann Chikovani, ()
Tudor Dinu, ()
:
Stphane Sawas,
Anna Maria Zimbone,
,
,
(),
,
,
,
().
www.eens.org
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56
(Mariya Hristova)
, ,
. ,
.
Kerenyi -,
, (Jung, Kerenyi 1989: 164).
.
2006
20103. ,
. , , ()
,
. , -
- , , , . ,
, ,
,
.
,
.
-
.
,
,
, ,
3
Emilia Dvorianova. Les jardins interdits, (trad. Marie Vrinat-Nikolov), Aden France,
Paris, 2010.
57
, . , ,
. , , ,
,
. ,
- .
, .
;
.
,
.
( )
,
. -
: , -
- ( ) ( ).
4 /
.
4
... ( 2:4),
/ / ( 33:15),
/ / ( 23:31), /
( 3:17) ..
(Mariya Hristova)
58
.
, ... ,
: , /
,
. ,
() ( - - )
,
.
, , .
, . -
: ... ...5
, , -- ,
- .
,
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( )
.
,
,
(Jung 1999:
25). Mircea Eliade fons et origo
.
-,
5
2:4.
59
.
, Eliade,
,
.
, , , , ,
.
. ,
.
:
, ,
- . -
.
.
(Lotman 1977: 24). (
)
. ,
,
(Lotman 1977: 25).
(Mariya Hristova)
60
. B. Bogdanov,
:
( , , ).
, .
, .
(
) (Bogdanov 2004: 193). ,
,
/ .
Kalospyros 2005.
(, 9-12 . 2010):
( 1 2 0 4 ) , (ISBN
978-960-99699-4-9) 2011 (www.eens.org)
64
Nicholas A. E. Kalospyros
norms which we use to form our concept of other peoples cultural identities2, we may trace the understanding of any individual writer as a coherent
whole subject to a collection of various cultural identifiers from a variety of
aspects including: place, race, history, nationality and ethnicity, language,
gender and sexual parameters, religious beliefs and aesthetics. Even as a
historical reservoir, yet a social process in which individuals participate
in the context of changing historical conditions, culture forms an important factor in shaping identity; such identity politics prepared by nationalist and romanticist movements engraved the Greek past since the European
Enlightenment, bursting in the nineteenth-century horizon like a deliberative age of transition3. If Greek history had to be continuously reinterpreted, which one of the following ethnonyms was tenuous enough to be
relinquished: Romans, Greeks, or Hellenes4? To adopt any of these could
prove more perplexed than reliable both in the context of nationalism and
in the appreciation of positive elements of identity such as those familiar to Papadiamantis himself: close family ties, adherence to the perceived
political and cultural essence of ancient Hellenism, and the combination of
humane personalist values and liturgical life in corpus Christi. It is known
that the political imperial identity foundered, giving place to a religious
identity that was essentially distinct from the imperial tradition, and to
an ethnic identity that emerged into and gained weight within the public
consciousness of the Romans as a result of the enforced encounter with the
Latins of the west5. Papadiamantis choice, the growth of Orthodox identity6 and his refusal to conflate Greek nationalism and the Orthodox faith,
is historically attained; therefore, his disavowal of Graeculism7, a generating symptom of national inferiority or of collective identity under crisis.
Thus, R. Shannan Peckham focused on Papadiamantis novel The Gypsy
Girl (1884) to show how his narrative dramatizes contending versions of
Hellenism and inquires into Byzantiums relations to nineteenth-ventury
2
3
5
6
7
On the importance of cultural identities see Hall & Du Gay 1996 and Alcoff & Mendieta
2003.
See Tziovas 2003 and Beaton & Ricks 2009 on relevant perceptions and cultural encounters of the modern Greek state; for the respective evaluation in modern times Robyn
2005 and Demossier 2007 on the political structuring of European cultural identities.
There is an extensive bibliography on the historical use of these three ethnonyms;
among others see mainly Mantouvalou 1983, Dimaras 1985: 82-86, Christou 1993,
Beaton 2007, Page 2008: 27-71. Hokwerda 2003 on identity and historical consciousness
of the Greek past (see also Carras 1983 and Hall 1997).
Page 2008: 281.
Makrides 1993 discusses Orthodoxys role in Greek anti-Occidentalism. For an account
of Papadiamantis religious journalism see Ricks 2009.
See Dimitrakopoulos 2000.
65
Greece8, arguing that in The Gypsy Girl we may explore the incoherences of
an ideology that vigorously promoted an archaeological model of culture in
late nineteenth-century Greece. So far we can realize Papadiamantis standards of the most sorely Hellenism of the last centuries supported by Lord
Byrons awareness: !
,
;
, !
!
,
. ,
[5.260.4-12]9.
There is a constant danger that approaches to identity are reducible to
the search for diversity, a matter of cultural fictions and cultural identity,
as if competing myths explaining the origin of polis could be used again
to support overriding of otherness; e.g. like military dominant Rome that
chose Aeneas to incorporate Greek, or like Jews, a depending minority,
who asserted primacy by inventing Greek descent for Abraam. Papadiamantis complaint, however, is nourished in his identified classical scholarship as literary identity. His classical allusions are like a sort of infusive
memory, a kind of inherited identity realized through linguistic expectations. His attitude towards modern Greeks and Franks, his relations with
Athens and Skiathos, his narratives of identity are not metaphors awaiting their interpretation by critics or a modern transcription of Pausanias text; a text that has long been regarded as a pedantic and antiquarian
tourist guide, still showing how Greeks of the 2nd cent. A.D. coped with a
burden of a distinguished past weighing on their political identity, with the
contemporary politics of Greeces status as a Roman province, and with the
profound sense of the sacred with which so much of antique culture was
imbued10. The happenings and scheming of everydays world are temperately infiltrated in his classical scholarship and reduced to their classical
image in the case-history of the human subject suffering grief. The classical
authors logos reveals temporal aspects of human personality, all of which
could be regarded as a precursory (in the sense of pre-Christian theology)
8
9
66
Nicholas A. E. Kalospyros
67
,
.
...
. .
[5.247.26-35]13. Like many
scholars of the Byzantine era Papadiamantis perceived ancient literature in
the notion of anima antiqua naturaliter Christiana not paganistic rituals
and customs, as long as he prefers ancient poetic heathenism rather than
secularized and ostensible Christianity: .
.
. [4.608.5-9]. Besides, he wonders with pleasantry testing his readers:
; [2.329.25-26]. His stylistic scholarship implies
not simply an aesthetic encounter, another issue of literary reception of a
common philological identity, but his specific mediation between historical contemplation and successive canonization of forms of experience.
Having undergone the justification of ancient inheritance through his classical scholarship embedded in mythographic and anthropological conditions, he aspires to entertain and accommodate Orthodox faith. Nothing is
left estranged, then, even the goddess of love, though censured by moralizers: , . ,
. ,
. ,
. ,
, , ,
. , ,
!
, . , ,
, [1.650.30-651.8].
In the same novel (The Gypsy Girl) he confesses his cultural politics if I
13 Cf. 5.158.6-16.
68
Nicholas A. E. Kalospyros
69
, .
.
,
; , ! . , ,
. , , .
, : ...; ,
, ,
, .
,
, .
, .
(
) .
, :
, , , . , , ,
, ,
, ! . ,
. , !
. ,. ,
. ,
, .
, ,
. , ,
,
. , ,
, ,
,
.
70
Nicholas A. E. Kalospyros
, , ,
, [2.515.16-517.6]. Actually, it is his
literary protest and advocacy of attitude more consciousness than identity report. Alexandros Papadiamantis, just like every great artist, confines
himself modestly in certain specifications of his idiomorphous asceticism
in writing. He warns us about the possible inclinations towards an ideological treatment of his work either as religious or ethographic both terms
would restrict and obscure his understanding of writing. Of course, he
shared a profound distaste for preachers and propagandists of mundane
greed; with his awakening of the functional sensibility of his unaffected
readers and along with his overwhelming lyricism and accurate meditation
he sought to stimulate his readers critical character. This is a matter of
identity, one intertwined with kaleidoscopic literary elements, stylistic classical allusions and veritable Orthodox grains; all things considered, he
appears like a modern Pindaric voice which incorporates sentences
() of wisdom in articles of religious hymns15, or like the Greek
philosophers who articulated their doctrines with lyric delicacy and sensitiveness16. His gnomological passages are not ideological projections. They
are rather fundamental elements of his literary creation in victorial-like
odes confronting the norms of gravity. They are an active discussion of the
multivariated phenomena of being, since he knows how to master his literary sources and inspirations. His trenchant observations under the perspectives of the Greek spiritual tradition in the course of centuries, yet in a sinister seasonality ( ,
[2.335.1-3]), look like a necessary evil
when correlated to the deadlocks produced by existing political and social
corruption, ,
, (
,
) [2.418.24-28], as if he was giving, too,
[4.72.2-3] so as to exorcise the inhibitions of fear from his readers:
,
.
, [2.572.27-30]. It seems impossible for him to tolerate
dabbling in politics with nationalistic effusions, the unscrupulous trading
15 See Stuligrocz 2000.
16 See Demos 1999.
71
of patriotism, social wretchedness and injustice, voluptuous and plutocratic tensions, the urbanized temptations and the urge to contribute in the
ethnographic story-writing in the bustle of Athens. He resists in the tempest
of modernization by escaping from morbid social conventions, which are
nothing else but a degradation conformed by atheists and Europeanizating
ignorants of authentic Greek tradition. As he confesses imagination rather
than ethnicity, devout in the model of early Christian communities whereby
affection has been the unifying element among their members, Greek
national identity within this context has an anti-Western character since
the latter favours individualism and social estrangement. When a swarm of
-isms invades his homeland, their devastating indolence affects the longestablished educational tradition and imposes a menacing compliance on
colloquial Greek: e.g. , ,
, ,
, , ,
, ,
, [4.188.27-33]. Papadiamantis
cannot abstain from social problems or ardent problematics. In his famous
realist novel The Murderess (1903) that reflects on the constructions of
personhood and the social economy of female bodies, gender forms identity, whereas the notions of gender and identity often collide and give birth
to problematization eschewing pre-ordained social practices and structurally engendered roles. The messianic image of Greek women fortifying
national viability and the cult of motherhood preserving the ethnic identity
fall behind Hadoula, the serial killer of infant girls and the sufferer of many
financial difficulties due to her worthless dowry, as if she had been a modern
porter and bearer of an immense tradition which she had no presuppositions to realize but those of a death angel. We should not forget that Papadiamantis did not hesitate to encounter anti-Semitic prejudice (in his story
he asks: ;
[4.380.3-4]) and social matters like prostitution
( 17), contraception and abortion ( 18). In other words, Papadiamantis is in search of our (collective) lost
sensitiveness and sensibility, trying to relieve them of fraudulent identities.
After all, his fight desinit in theologiam I cite three more examples of his
multilateral scanning of collective identitys aspects: (a) ,
17 4.569-572.
18 4.605-608.
72
Nicholas A. E. Kalospyros
, ;
, ,
, !
[4.427.22-26]. (b) ,
, , . , , ,
.
[5.300.19-24]. (c) .
;
;
,
,
; ,
,
.
, , ,
, , .
; , ; .
[5.253.21-254.9].
The misinterpretations or, eventually, misapprehensions of Papadiamantis fiction applied on ideological exploitation followed that of his lyricism. As abovementioned, he was accused of expressing a nave form of
lyricism though grounded in the authenticity of experience, as getting lost
in the transition from ancient paganism and historical Greek ethnicity to
contemporary cosmopolitanism and confessional literature, i.e. in a strange
way of applying situatedness19 as an important motif. Although they are
an assertion of self, instilled in his stories whatever the connection to the
lived life, lyric images could project the sense that identity is continuous
but also highly precarious, since lyric impulse also projects alternative
senses of identity to different, sometimes overlapping readerships. Here we
may emphasize on a crucial point of his lyric identity. His writing does
not originate in the you of interpellation but in the I of recollection.
Another way to genuine relationships is the return to Greek nature mirroring divine eros. Therefore, ancient Amadryads can stand by Christ: in his
story - he visualizes [...]
19 On the term see Simpson 2001: 195.
73
, , ,
,
[2.350.22-23, 25-28], who, although they were giving way in front of the
light of the torches of Easter, they started to watch amazed [2.350.32-34]. It is also
important for Papadiamantis literary attitude and cultural conception to
interrelate once more his alleged latent paganism/syncretism with historical understanding, e.g. if in The Gypsy Girl we should explore how Amas
orphanhood and mysterious ancestry, and Plethons polytheism and ardent
nationalism become allegorical representations of the intra-Greek past,
struggling between ancient romantic revival, Western dominion love, and
Orthodox resistance20. If syncretism in Greece became an entrenched
national discourse in the nineteenth century21, Papadiamantiss narratives
critically engage with it22. It has been supported that through Papadiamantis textualization parva religio was revived; that a flirtation with paganism
through the medium of a diachronic Greek idiom that is not merely ornamental reinforced the sancity of place and pagan survivals23. Undoubtedly,
Papadiamantis integrated the world of ancient myth into his portrayal of
contemporary reality, but I do not regard this aspect of literature irrelevant to notions of identity. I will persist in the apprehension of lyricism as
memory even concerning cultural identity and lyric representations.
Dire reality and struggle for living tortured Papadiamantis and turned
him to the shrines of his childhood, engaging the subordination of time
(character in action) to place (setting) as Peter Mackridge remarked; Papadiamantis Skiathos is transcribed by him in memory, which ignores
temporal connections and prefers metonymic associations24. R. Terdiman
suggests that memory is essential to human functioning as a source of many
social conflicts. In his book he examined a series of texts by Freud, Proust,
Baudelaire, and Musset that give voice to the theme of memory, which was
institutionalized as a discipline that decisively shaped an influential tradition in European culture25. In a similar application to Papadiamantis case,
20 See Ricks & Magdalino 1998 on Byzantium and modern Greek identity (esp. the modern
state usurping or consenting to the nations genuine heritage).
21 See Stewart 1994.
22 Shannan Peckham 1998: 95.
23 See Ricks 1992.
24 Mackridge 1992: 165.
25 Terdiman 1993.
74
Nicholas A. E. Kalospyros
memory functions as an identity trope, for no other art or science of antiquity has been legitimized through such a detailed legend of its origin as that
of the ars memoriae reflecting the various ways in which collective life has
been organized. Since the epic tradition to which Papadiamantis expressive power could also be ascribed narration has always been a form of
memorizing and recording26. Terdiman is right to stress that the memory
of the text is formed by the intertextuality of its references and that the
mnemonic space which new texts will traverse, is enriched in the same way.
Either in visualized or abstracted form, one of the largest complications
of memorializing our past is the inevitable fact that it is absent or endangered. Every memory we try to reproduce becomes as Terdiman states27 a
present past. Papadiamantis ecphrasis could be arising out of this impractical desire for recalling what is gone by that brings to surface a feeling of
nostalgia, noticeable in many aspects of daily life but most specifically in
cultural products by inferring the illusions of a momentary returning to a
lost past Paradise. Papadiamantis orientated himself towards the primordials of his own people, a nation possessing and witnessing an immemorial
tradition, many centuries before the cracks caused upon it in its mutation
in an urbanized estate28. This estate of nostalgia reached by his own sight
inclined to a Skiathitic vision of existence reminds me of the ecstatic gaze of
a child; that identity of innocence towards creation is the sublimation of his
fiction. Ecphrasis forms his own identity key to the structure29.
Furthermore, on literary description Mackridge quotes from Philippe
Hamon, who has pointed out that description is a site for displaying rhetorical virtuosity, where the generative power of language shows itself to be at
its obvious and uncontrolled30, and this rhetorical virtuosity goes together
with a display of taxonomic competence, encyclopedic erudition31 and
textual knowledge32. In Papadiamantis case it is tempting to seek in these
last factors his references to ancient Greek literature and myth. He shares
26 Nalbantian 2004 is the first book (a comparative study of writers from Jean-Jacques
Rousseau to Faulkner and others) to discover memory phenomena captured in literary
works. Mudford 1996 discusses the ways twelve novellas (from English, French, German
and Russian writers) represent memories of passion and sexual obsession. Lachmann
2005 discusses in depth cultural memory and the role of literature.
27 Terdiman 1993: 3-32.
28 See also King 2000 on memory, narrative and images of identity that memory can create.
29 At present I am preparing a major treatise on Papadiamantis ecphrasis, deriving from
ancient literary theory.
30 Hamon 1981: 30.
31 Hamon 1981: 54.
32 Hamon 1981: 119.
75
his view of the world in the dazzling and variegated images conceived in
the ancient theory of literature: he borrows the expressive language of
ecphrasis and its effusion to express the invisible and articulate his sense
of it33. We know that the defining quality of ecphrasis is the situation of an
eyewitness, making the readers share the viewers experience, involving the
listeners imaginatively and emotionally in the events at issue. In epideictic contexts, the effects of ecphrasis could be particularly subtle, involving an interaction between the audiences knowledge of an actual sight
and the verbally induced mental image34. Papadiamantis descriptio is his
literary identity confined to his own idiosyncratic conception of worship
and faith. G. Farinou-Malamatari has studied in her dissertation the techniques of narration (and description as well) in Papadiamantis fiction
and has arrived to useful conclusions about the ways his descriptive mind
transforms locus amoenus into actions of nostalgic viewing35. By means of
construction through adjectives, details, metaphors and other figures of
speech he upgrades conventional images and he embraces the grammar
of common vision to heights of inexpectable cohesions among beings. He
inspires his text as literary dwelling with intertextual, classical mainly, allusions and latent quotations, and simultaneously he removes himself from
certain naturalistic topics which could be easily judged as primordial and
profane remnants. Consequently, his ecphrasis entails not a pagan manifestation but a rhetoric approbation of adjunctions between ancient words
and natural deeds under oblivion on the one hand and modern longing
experienced through demotic forms on the other. At the same time, his
ecphrasis overruns post-Byzantine rhetoric models in that he expresses
emotional distraction caused by facing universe in the bosom of Church;
art and adoration enter into faith via his linguistic masterpiece of Longinian inspiration.
The arrangement of Papadiamantis text to a number of micro-narrative
strategies is strongly constructed on a language acculturating its speaker
into a hectic nationhood that endeavours to orchestrate Greek collective
memory and fabulous traditions from antiquity36. In some of Papadiamantis finest and moving stories too, the narrator relates his experiences as a
child in a confusing and hostile world, and their effects on his adult self.
33 On Papadiamantis ecphrasis for church art see Triantaphyllopoulos 1996 and 2002; also
Farinou-Malamatari 2000: 110.
34 Webb 2009: 193.
35 See Farinou-Malamatari 2000: 105-167.
36 See Livanios 2008 on the conflict between Hellenes and Romans under a common liguistic roof, still retaining pagan connotations.
76
Nicholas A. E. Kalospyros
Again the adult narrator uses katharvousa, albeit subtly infiltrated and
infused with features of the spoken language as well as pre-Christian and
ecclesiastical texts, while the child speaks in the vernacular, although the
discrepancy in never referred to explicitly. In some stories Papadiamntis
even uses local dialect in the dialogue; such texts thus display three different linguistic varieties: katharvousa, common demotic, and dialect.
Papadiamantis Orthodox Christian piety and his respect for that of his
characters led him to use numerous words and phrases from religious
texts, namely the Septuagint and the New Testament, and liturgical texts
dating from the early Byzantine period. His unique brand of katharvousa,
which in its morphology differed little from liturgical Greek, is perhaps an
indication of his insistence on the timeless continuity of traditional Greek
culture and his resistance to certain aspects of modernity37. Since language
is a prime consideration of life itself and Papadiamantis wanted to eschew
the alienation of experience of identity, he expressed his lyric confession of
it by cherishing the vivid tradition of Mount Athos and by incorporating
in morphological, typological and syntactical features the previous generations of literary devoutness: an almost Homeric katharvousa (with several
meaningful allusions to the classics and the Homeric models to which
it may aspire), hieratic, biblical and, above all, anagogical, which would
express perfectly every nostalgic whispering of lyric feelings38. Then, he
could also address antiquity as a heir: ,
, , , ,
,
, , ,
, ,
,
,
, ,
, [5.158.6-16].
In this short extract of ecphrasis he did not only declare his admiration
for the style of hymnography but he also warned us that his language had
to override any mundane barrier, in order to testify verbal conducts from
another sphere:
,
, .
37 Mackridge 2009: 206-207.
38 See Kalospyros 2007.
77
, ,
[5.220. 9-14]. Again his linguistic conception means more
of an identity. With a language that knows no simple opposition between
archaism and innovation, since the innovative tendencies extend mainly
to the manipulation of archaisms for literary effect, as a modus loquendi
he could form a suggestive symbolism to integrate mutually the world
of ancient myth into his portrayal of contemporary reality. He had overriden every suspicion of diglossia even in identity matters39 and, accordingly, refuted the trash doctrines from alien winds:
.
, , , , [5.290.610], as , ,
,
, ,
[5.296.10-12].
Unless his language is considered as his identity and destiny, each
attempt to define Papadiamantis identity is bound to be dilemmatic and
ineffective.
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14
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101
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19 Ibid., . 24, 62, 65.
20 . ibid. . 41.
104
.21
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: ,27
23 . , . 70.
24 Ibid., . 71.
25 Martin Heidegger, , . 254-257. . Hans George Gadamer,
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26 Bruno Snell
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27 Bruno Snell, , . 27.
106
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,
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A Oktawiusz
Jurewicz,
Jzef Dunin Borkowski.
Jzef Dunin
Borkowski:Pisma Jzefa Hrabiego Dunina
Borkowskiego. Dziea znakomitych pisarzy
krajowych, T.1, Lww 1856. M. Jasiska,
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wydania A. Wayka), Prace Polonistyczne
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recepcji kultury nowogreckiej i klasycznej
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Eos LIV, 1964, z. 2 . 329-348. W. Tyszkowski, Nieznane przekady z poezji nowogreckiej Jzefa Dunina Borkowskiego, Eos LXVI, 1966, z. 2, . 361-365. A. Opacka,
Liryki nowogreckie, A. Opacka, I. Opacki, Ruch Konwencji. Szkice o poezji
romantycznej, Katowice 1975, . 169-208. A. Opacka, Imitowanie oralnej pieni kleftw
w nowogreckich Hymnach Jzefa Dunina Borkowskiego, J.Z. Lichaski, P.
Dbek, Retoryka i badania literackie: rekonesans, Warszawa 1998, . 105-117. .
W. Amarantidou, Jzef hrabia Dunin Borkowski poeta panhelleskiego powstania 1821
r. (Jzef Dunin Borkowski le pote de linsurrection grecque de 1821), Bizancjum Prawosawie Romantyzm. Tradycja wschodnia w kulturze XIX wieku,
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Jzef Dunin Borkowski . T. Sinko, Jzef Borkowski, Polski Sownik Biograficzny, T.2, Krakw 1936, . 333-334. . B. Czarnik, List Jzefa
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II mikrofilm N. 1068).
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112
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Czerniowce Borkowski 18 20 , , . ,
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beja)4, . O Borkowski .
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Wanda Amarantidou
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, .
,
1821, .
,
,
. o Borkowski piew
( ):
Z kwiatw mam piro, perami ez pisz;
Myl moja w morskiej podry
Na archipelskich wyspach si koysze
Jak zoty motyl na ry.
Poezje moje jak wieczorne cisze
Czaruj drzymice floty
I palikarom ory w gowie budz
Poezje moje jak ptaki, jak strzay
Puciem w okrg po wiecie,
Byy w Atenach, w Koryncie zabrzmiay
I na Pindu biaym grzbiecie;
Zwiedziy Hydry bohaterskie skay,
Epir jak wielbd z garbami
I miasta zote jak blaski poudnia
Z tysicznymi meczetami;
I wszdzie dla nich i stoy, i studnia,
I kwiat, i owoc, i oczu wzrok bogi,
Otwarte serca i gocinne progi.*
,
.
,
,
,
,
,
, ,
, , ,
.
. 19 Borkowski,
. :
, , . O Borkowski
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*
115
O .
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6, o o
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**
. Dithyrambe sur la Libert par Dionisios Salomos de Zante, traduit du grec modern
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C. Fauriel, Chants populaires de la Grce moderne, .., T. 2, Paris 1825, Supplment,
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147
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1975, , 1977, : Gustavo Adolfo Bequr, Antonio Machado, Vicente Aleixandre,
Rafael Alberti, Luis Cernuda, Jos Luis Hidalgo, Marcos Ana, Enrique de Mesa, Manuel
Machado, Pedro Salinas, Jos Maria Remn, F.G. Lorca, Miguel Hernndez, Blas de
Otero ,
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XII - XX , , , 1983, , ,
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Gelaya, Juan Eduardo Cirlot, Blas de Otero, Ricardo Molina, Jos Luis Hidalgo, Jos
Hierro, Manuel Alvarez Ortega, Carlos Bousoo, Alfonso Canales, Pablo Garca Baena,
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Brines, Juan Ramn Jimnez. ,
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40 , ,
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49 , ( ), . ,
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50 , - - , .
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51 , , ,
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52 ( ), , 1963.
53 , , , , . ,
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72 . . , : . ,
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Manuel Vzquez Montalbn (1939-2003) 11 ,
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20
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Pedro Caldern de la Barca
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) ,
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12-13, 17.
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77 , : , , .. (. 62), . 12.
78 . . : Federico Garca Lorca, , .. (. 56), . 23.
79 : Happy End, .
, , , [1991], , . ,
, , 1993, , , , 1993,
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, , , 1996, , .
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81 . . 81.
82 , ,
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83 , , . , , , 1903, . 1912.
84 , , . , 1939, 1967, 1975.
155
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87.
Lope de Vega
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. ,
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,
,
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85 . . , Caldern, , ..
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86 . . , Caldern, , 1912, ..
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87 . , .. (. 84), . .
88 Lope de Vega, , ---,
. , , 1874.
89 Lope de Vega, , . , , , , 1976.
90 Lope de Vega, , -
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91 .
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93 . , , , ,
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94 , : ,
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Vicente Blasco Ibez :
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Jos Camillo Cela :
107,
108 Raquel Asun,
, .. (. 93), . 11 . : ,
.. (. 91), . 18.
95 , , 1975.
96 , 1981 1991.
97 , . . , 1986.
98 , , 1988, 2000.
99 , , 1990.
100 1991.
101 . , , .. (. 99), . 7-11.
102 , (Sangre y arena),
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103 . : , Mare nostrum ( ), . ., , , 1928.
104 . . 103.
105 , Mare nostrum, .. (. 105), . 5.
106 . , , .
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107 , , , :
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108 , , , Raquel
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157
,
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, ,
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109 . Raquel Asun, , .. (.108), . 7.
110 , , , , . . , 1991.
111 , , ,
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114 , , . ,
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118 , . 10.
119 , , ,
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120 . , , .. (. 119), .
158
,
.
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, Benavente Caldern de la Barca
132, ,
133, , 134 ,
135 . 136
,
125
126
127
128
129
. . 5-9.
. . 82, 83, 145.
1900 1902.
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1919
. .9.
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.
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, : , , .. (. 23), . 9-40.
161
140.
19 ,
141.
. ,
19 , ,
Florian142, Manuel
Fernndez y Gonzlez, .
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.. ( 1836)
, ( 1860), . 20
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Gaspar y Rimbao, 1870145,
Agustn Gmez Arcos, 146
147.
,
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141 , , .. (. 1), . .
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143 6
Andr Balamich (Gallimard 1953) . , , 1970.
144 . , : Agustn Gmez Arcos, .. (. 99), . 8.
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153. , , ,
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148 . , :
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149 . , : . ,
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150 . : , -
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151 . : Juan Goytisolo, , .
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154 .. , : , , ..
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163
() 155.
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, ,
156, picaresca
Salabert157 Eduardo
Mendoza158.
, . .. ,
159, Lope de Vega, , ,
, , , ..160 Ibez ,
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Galds , : ,
, , 162.
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156 , : ,
, , , [1970], . 51.
157 . : ,
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158 . : , , - , , ,
1984, . 8.
159 . , : . , ,
, , 1944, . 19.
160 , : , ,
.. (. 90), . 7-19.
161 . :
, Mare nostrum, .. (. 103), . 5.
162 , : , , , , , 1984, . 15.
164
: , ,
( ), , (),
, (). ,
, , ()
,
163. Juan Valera
164 , , Miguel de
Unamuno,
165.
,
. -
, / . 60
166.
80. 213 , 52 12 .
Jorge Luis Borges 38 , Gabriel Garca Mrquez 22 Pablo Neruda 20.
- ,
, :
.., .
, : ,
163 . . , : , , ,
/ , 1983, . 11.
164 , , , .. (. 128), . 5.
165 . . 8-9.
166 . , , , : Julio
Ramn Ribeyro, , , , 1981, . 10.
165
, , , , 1974, .
, , 1980,
, 16 , , . , 1980,
.. , , , , ,
, 1978, , , , 1983.
: Abelard Arias: 2, Jorge Luis Borges: 38, Jorge Luis Borges
- Adolfo Bioy Casares: 2, Jorge Luis Borges - Margarita Querero:
1, Adolfo Bioy Casares: 3, Nicolas Cocaro: 1, Julio Cortzar: 10,
Ernesto Sabato: 3, Osvaldo Soriano: 1, Alfredo Varela: 1.
. . , , , ,
1967.
, , , . .. , , , 1983.
: Miguel Otero Silva: 1.
: Jorge Amado: 15, J.M. Machado de Assis: 1.
: Miguel Angel Asturias: 4.
: Jorge Icaza: 1.
: David Snchez Juliao: 1, Gabriel Garca Mrquez: 22, Gabriel
Garca Mrquez & Carme Sol Vendrell: 1, Jorge Zalamea: 2.
: Reynaldo Arenas: 2, Manuel Cofio: 2, Luis Rojelio Nogeras: 1,
Jos Soler Puig: 2, Jos Triana: 1, Armando Valladares: 1, Raul Valdes
Vivo: 1.
: Mariano Azuela: 1, Carlos Fuentes: 8, Jorge Ibargenguoitia
Antilln: 1, Octavio Paz: 7, Juan Rulfo: 2, Hugo Gutirrez Vega: 2.
: Eduardo Galeano: 2, Fernado Veramenti: 1.
: Augusto Roa Bastos: 1.
: Edgardo de Habich:1, Mario Vargas Llosa: 12, Julio Ramn
Ribeyro: 1, Manuel Scorza: 3, Csar Vallejo: 2.
: Isabel Allende: 8, Carmen Castillo: 1, Jos Danoso: 5, Pablo Neruda:
20, Jorge Montes: 1, Nicanor Parra: 1, Eulogio Surez: 1.
- Pedro Lastra, , ,
, 1989.
:
, , . , , , .. , , , , , ,
, . . , , ,
166
, , .. , ,
-, , - ,
, , ..,
, , , . , .. .
: , , , .
167
.
167
.
168
. Lorca
30.
Lorca
, . 3 :
[] , .
Barriochino4 .
.
.
. , ,
.
,
5.
30,
,
. ,
( ,
), , ,
.
30.
Lorca. (vanguardia) 3
4
5
3, 1933, . 238-244.
. 10
1945 14.
Barriochino ,
.
. , , , , 1996, . 53-54:
, ,
.
169
,
. Lorca
, , , , .
: H ( Lorca), ,
,
. ,
,
.6
,
,
7.
.
,
.
.
.
.
.
.
6
7
10
. , , , , 31987, . 398.
. , Preciosa/ Preciosa (
), 16
, . 42.
, , , , 101997, . 27-28.
170
.
, , .
, ;
.
.
15
20
.
,
.
, , .
.
.
25
19 1945,
3 . .
, .
().
, ,
, , . Lorca
.
.
Lorca,
171
.
, 9. ,
, ,
, .
Lorca
, , , ,
.
( ).
Lorca,
,
Lorca:
Pasaron tres torecillos
delgaditos de cintura,
,
con trajes color naranja
y espadas de plata antigua.10
.11
, , , Lorca 19 1936. , ,
1934, 13 ,
Lorca, Ignacio Snchez Mejas,
, Llanto por Ignacio Snchez Mejas (.
). Lorca :
El veinticinco de junio
le dijeron a Amargo:
:
[...]Aprende a cruzar las manos, [] ,
9 . .. , . 36-37.
10 [Arbol, arbol...], Canciones, : F.G. Lorca, Poesa, vol. 1-2,
AKAL (edicin: Miguel Garca Posada), Madrid, 21989, . 1, . 529.
11 Lorca : F.G.Lorca,
, . 1-2, , ,
, 1997, . 1, . 232.
172
.
. []
,
.13
4-6
.
,
14.
,
.15
Guernica Picasso,
. ,
( Franco ),
. , , ,
.
,
, , . ,
.
Lorca :
El toro ya muga por su frente
a las cinco de la tarde...16
17
12
13
14
15
173
,
18,
,
,
!20
,
. ,
21 . Lorca
:
(As la miel del hombre es la posa
(
Que mana de su pecho dolorido,
,
De un panal con la cera del recuerdo
22
Formado por la abeja del ntimo).
).23
Poesa es amargura,
Miel celeste que mana
De un panal invisible
Que fabrican las almas.24
,
.25
18 : 2 . ..
.
19 La sangre derramada, Llanto por Ignacio Snchez Mejas, .. . 11, . 2, .
385/387.
20 .. . 12, . 2, . 109/111.
21 . , .., . 48 (. 44).
lorquiano.
22 El canto de la miel, Libro de Poemas, .. . 11, . 1, . 193.
23 .. . 12, . 1, . 72.
24 [A las poesas completas de Antonio Machado], Varios Poemas, .. . 11, . 2, .
460.
25 .. . 12, . 2, . 146.
174
,
( ).
. Lorca:
El campo
de olivos
se abre y se cierra
como un abanico...
Los olivos,
estn cargados
26
.27
de gritos.
Lorca. ,
.
(.17) 28
, Romancero Gitano.
.
( ;) .
. ,
Lorca,
(711-1493, ). Lorca
( gacelas casidas29).
19-21 . 1944
, 10
. Lorca
, ,
, .
. 18
(. 20)
.
26 Paisaje, Poema del Cante Jondo, .. . 11, . 1, . 298.
27 .. . 2, . 1, . 158.
28 ..
.
29 Poemas de Tamarit.
175
, Lorca,
30.
. , (
) , .
22-23 ,
, ,
. El Cid, . Cid31 11
Reconquista, .
(romancero),
, .
Cid ,
Lorca.
Lorca La cancin de jinete, :
Crdoba
.
Lejana y sola.
.
Jaca negra, luna grande,
y aceitunas en mi alforja.
Aunque sepa los caminos
yo nunca llegar a Cordoba.
,
.
.
, ,
, .
30 , ..
.
31 El Cid ( , ,
Rodrigo Daz di Bivar)
. ( ), ,
. (
Cantar de Mo Cid), (..
, . /).
176
, !
, !
, , ,
!
Crdoba
Lejana y sola.32
,
.33
Lorca
, .
. , , , El Cid,
Cervantes, Don
Quijote. Lorca :
Cien jinetes enlutados,
dnde irn,
,
por el cielo yacente
del naranjal?
;
Ni a Crdoba ni a Sevilla
llegarn.
.
Ni a Granada la que suspira
por el mar.
.
Esos caballos soolentos
los llevarn,
al laberinto de las cruces
,
donde tiembla el cantar.34
.35
Cien jacas caracolean.
Sus jinetes estn muertos.36
32
33
34
35
36
37
.
.37
177
Caballito negro.
,
Dnde llevas tu jinete muerto?38
;39
40
.
, ,
, ,
,
, , .
Lorca : , 16 1945, , , 19 1945. , 10
1945, ,
41,
:
, .
,
, .
,
( )
1821.
;
38 Cancin de jinete (1860), Canciones, .. . 11, . 1, . 522.
39 .. . 12, . 1, . 228.
40 .
. (, 11-2-2006)
.
Jorge Luis Borges ( :
. , 19-2-2006).
, :
.
41 . .. . 4.
178
, ,
,
Lorca, .
, Lorca Guevara42:
,
.
,
43,
. , , .
, ,
,
.
,
. , , .
, , ,
. ,
,
. ,
. , , .
Lorca, ,
. 26
44 ,
42 1972 (1975).
43 . . , , . ,
, 1988, . 126-127.
44 Sacromonte.
179
(
.)
El gitano evoca
pases remotos...
Y la cueva encalada
tiembla en el oro.45
.46
, ,
,
. 47
: , ,
; ; : , ;
, Lorca
:
Cantan las siete
doncellas.
.
(Sobre el cielo un arco
de ejemplos de ocaso.)
(
.)
(
.)
180
;
;49
, ,
,
.51
Siete corazones
tengo.
.
En el alto monte, madre,
, ,
tropezbamos yo y el viento.
.
Siete nias de largas manos
me llevaron en sus espejos.
.
He cantado por el mundo
con mi boca de siete ptalos...
Siete corazones
tengo.
.
52
Pero el mo no lo encuentro! !53
Sin luz de plata en sus copas
los rboles han crecido
y un horizonte de perros
ladra muy lejos del ro.54
,
.55
181
polvorienta, mordida por los perros...58 ,
59
Amigo:
,
Levntate para que oigas aullar
al perro asirio...
El aullido
es una larga lengua morada que deja
60
hormigas de espanto y licor de lirios.
.61
.
Lorca ,
.
.
(Paisaje con dos tumbas y un perro asirio)
Salvador Dal,
62.
, .
Federico
Garca Lorca ,
. , , 58 El nio Stanton, Poeta en Nueva York, .. . 11, . 2, . 271.
59 .. . 12, . 2, . 74.
60 Paisaje con dos tumbas y un perro asirio, Poeta en Nueva York, .. . 11, . 2, .
329.
61 .. . 12, . 2, . 81-82.
62 Lorca Poeta en Nueva York, , .
Dal,
Perro Andaluz (= )
Luis Buuel.
.
182
:
, , , , 101997.
Federico Garca Lorca, Poesa 1-2, edicin Miguel Garca Posada, AKAL,
Madrid, 21989.
Federico Garca Lorca, , . 1-2,
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, . , , .
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, , . 4,
. , , .
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1974 ,
, .
,
.
20 . 30 , ,
.1
, 1940,
,
.
, . , ,
,
, ,
, :
1
186
[...]
.
:
[...] . .
.2
,
,
30.
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! .
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1946. ,
, . ,
,
2
3
- , 1947-1955, ,
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.4
,
,
, ,
:
! . !
! ! !
! ! !
! [...]
! , . ,
, , , !
! ! ! !5
, ,
, . ,
, , ,
. :
. .6
:
. . .
. .
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,
4
5
6
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. ,
,
, ,
, ,
.8
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,
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, .
, :
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.
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. .
, ,
, , .
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. . , , ,
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3/03/2010 : <http://www.giannena-e.gr/%CE%A0%CE%BF%CE
%BB%CE%B9%CF%84%CE%B9%CF%83%CE%BC%CF%8C%CF%82/ekdiloseis/
288
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:37
37 H. Millas, The Exchange of Populations in Turkish Literature: The Undertone of Texts,
R. Hirschon (.), Crossing the Aegean. An Appraisal of the 1923 Compulsory
Population Exchange between Greece and Turkey, Berghahn Books, New York Oxford
297
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38 Y.K. Karaosmanolu, Panorama. Roman, letiim, stanbul 62010, . 62-63 ( Ferhat Tosun).
Exil et nostalgie :
la matire de lcriture autobiographique chypriote.
Le cas de Rina Katselli
Maria Koumarianou
300
Maria Koumarianou
Il faut noter que la thmatique de la posie aprs 1974 diffre considrablement de celle
du roman, comme le prouve la remarquable tude de Yiannis Ioannou The Poets of
Dissent: The 1974 Generationin Cyprus, University of Minesota, September 1993.
Dans ces pages, Ioannou montre que les sentiments prdominants des potes aprs 1974
sont le malaise intrieur, la qute dun esthtisme et lexpression dun individualisme
abstrait.
301
Dimitris Dolapsakis, Introduction, Krynia, De la bouche des vieillards, Chryssopolitissa, Nicosie 2009, p.xi-xxvii.
302
Maria Koumarianou
303
Ces gens sont galement lis par des rfrences morales et des pratiques
culturelles communes. La relation sociale implique aussi une exigence de
la pratique de la mmoire, acte de vie. Katselli fait une large part llment
biographique et aux descriptions de la vie quotidienne. Pour elle, les activits de recherche sont des vnements sociaux et limportance des informations obtenues au cours de lenqute ne peut tre apprcie sans rfrence
des activits sociales existantes5.
Images de lexil
travers ses crits, Katselli traduit les sentiments des rfugisqui sont
3
4
5
Il sagit des conflits sanglants entre les deux communauts qui ont fait de nombreuses
victimes et donn lieu des atrocits et qui ont abouti la premire partition de lle et
linstallation dune ligne de dmarcation, ligne verte, dans toutes les villes et les villages
mixtes.
lexception du roman, Baleine Bleue, dj traduit en franais par les ditions Praxandre
Besanon, les autres extraits sont traduits par lauteur de cette communication.
Voir aussi M. Kohli, Biography: Account, text, method, in D. Bertaux (ed.), Biography and society. The life history approach in the social sciences, Sage Studies in international Sociology, 1981, p.61-75.
304
Maria Koumarianou
aussi les siens. Dans la misre et lavilissement collectifs, ils sont seuls
capables de faire face: en un mot, sils peuvent assumer ce destin si amrement ressenti, cest grce leur force intrieure incoercible.
Le milieu naturel dcrit est trs diffrent de celui quils ont laiss derrire
eux. Les maisons abandonnes des Turcs et les terres tatiques concdes
aux dplacs constituent un nouveau paysage. Un paysage demeur identique mais o les rapports humains sont diffrents.
la dualit qui oppose les tres correspond une dualit des comportements. Lcrivain est sensible la diffrence relle entre deux modes de
vie, deux styles de rapports entre les gens. Pour une rfugie comme elle
parmi ses compatriotes, le sud lui apparat comme un territoire trangement alin. Ce territoire fraternel, mais aussi tellement loign, devrait
apporter lexile la fraternit et le rconfort. Ces deux thmes vont hanter
la dsillusion de Katselli: dabord, linvasion est une trahison organise par
les grandes puissances et, ensuite, plane le soupon inexprim que le retour
nest pas imminent.
Cette prise de conscience du fait que la guerre na eu aucun impact sur
la vie de quelques-uns de ses compatriotes, rests indiffrents au drame qui
se droule sous leurs yeux, peut susciter chez elle des sentiments contradictoires et violents, la colre, par exemple, anime par la ferveur, mais assez
distancie toutefois pour laisser place au sourire. Cest ainsi que, tout en
dnonant occupation et souffrance, sa voix fait entendre des paroles de
pardon.
Il ne ma jamais travers lesprit que ma compagne ne supporte plus
dentrer dans une maison dcore de lustres, de tableaux qui sharmonisent
avec les coloris du salon- salle manger, de vitrines remplies dargenterie
bien astique, et dautres bibelots de valeur. [] Cest injuste. Cest
injuste que ma cousine ait pu tout garder alors que moi je nai absolument
plus rien. En quoi suis-je plus coupable que ma cousine, quest-ce que jai
fait pour perdre tout ce que je possdais? Jai soupir. Ce qui me console,
cest quon ma laiss dployer assez dinitiative personnelle pour que je me
remette solidement debout
(La Baleine Bleue, p. 203 et 205)
305
Pour elle, la situation est claire: le Mal a pris un visage, do la signification et limportance symbolique de la Baleine Bleue. Mais si la perte de la
baleine est dplore et dj rpertorie par des zoologues, qui pleurera lextermination des rfugis et qui osera raconter leur histoire sans rien cacher
de leur disparition?
Les sujets mmes de ses uvres, autobiographiques ou non, oniriques
ou rels, ne sont que prtexte poser linterrogation multiple et toujours
semblable, une sorte de Que faire?.
B) Lcriture de la reconstruction et de sa justification : tmoignage
dune ncessit de retrouver des racines et de sancrer dans lhistoire
(1981-1989)
Il arrive que des jeunes me demandent des renseignements sur ce que
jai crit, une sorte de dposition []. lheure actuelle, approchant
de la cinquantaine, je ressens le besoin de codifier mes crits dans cette
consignation o la prsence de Krynia se fait sentir, non pour leur
valeur littraire mais pour les gnrations de Kryniotes qui vivent loin
de leur pays, pour le cas o ils auraient envie ou besoin dapprendre
quelque chose sur leur ville
(Consignation, p.3)
306
Maria Koumarianou
307
Exil (thtre- 1988) prsente lhistoire relle de la vie dun ermite qui a
vcu vers 1878 dans la rgion de Krynia.
Rayias Lhomme et le journal (tude 1989) retrace la vie et luvre de
Georgios Stavridis Rayias, diteur du journal satirique Rayias.
Dieu ne plaise (1989) exprime la terreur dune nouvelle avance des
troupes ennemies. Le hros du livre est un Chypriote qui mne ltranger
une vie aise et paisible. Mais, au moment o le Mal frappe encore une fois
son le, il entend lappel au fond de son me et il rentre avec sa fille Chypre
pour lutter contre Lui.
Dans Krynia- Recherche historique et folklorique, le titre sonne comme
la revendication dun pass glorieux, qui se manifeste dans la profusion des
images et des ides.
Comme elle lavoue elle-mme au cours de notre entretien : Ces
trois dernires annes, alors que je travaille intensivement, collectant, classifiant et enregistrant tout ce qui concerne ma ville natale, plusieurs amis
me demandent pourquoi je perds ainsi mon temps puisque Krynia est dj
perdue. Je leur rponds que, depuis mon plus jeune ge, jai t mle lhistoire de Krynia, que ce soit travers mes promenades dans les fouilles et au
chteau ou travers mes lectures historiques. De cette faon, ayant vcu dans
cette ville jusqu lge de 36 ans, jai eu une connaissance profonde de son
histoire. Je savais qui jtais et o jtais. Mme depuis 1974, quand le chauvinisme turc et les intrts internationaux ont expuls violemment les Grecs de
la ville. lheure actuelle, sur le march des discussions politiques qui vendent
Krynia, nombreux sont ceux qui considrent ce dsir de retour comme un
pch.
Personnellement, je ne crois pas perdre mon temps en crivant sur le pass
historique de Krynia avant 1974. Il y a les gnrations futures, qui, jen suis
sre, auront la chance de vivre Krynia. Elles voudront des informations
sur les gens des gnrations prcdentes, du XIXe et du XXe sicles, sur nos
sentiments quand on nous a dracins. Elles voudront savoir comment nous
avons pu survivre pendant notre exil. Et, ce moment-l, ils se pencheront
sur nos crits, ces morceaux pars que lAssociation Folklorique de la Mairie
de Krynia avaient publis, pour chercher leurs racines, pour couter les voixmles de sanglots des dports dans les enregistrements des Archives de la
Tradition Orale.
Les ressortissants de Krynia ne perdent jamais courage. Ils puisent dans
le pass et fixent leur regard sur lavenir.
Pour Katselli, crire nest pas un mtier. Cest une ncessit intrieure,
surtout quand elle se sent membre dune collectivit, dune communaut,
308
Maria Koumarianou
quand elle est lcoute de la pense dautrui et exprime la voix des victimes.
Je ncris pas pour transmettre un message ou pour montrer lattitude
des rfugis mais pour contribuer notre lutte pour rentrer chez nous. Et
plus loin: Ma place est prs de ma famille Mais quelle est ma famille?
Parfois, il sagit de mon mari et de mes petits enfants Plus tard, au cours
dune runion de rfugis, je me dis que ce sont eux ma famille Mais
les limites de ma ville ne sont pas tellement claires Et si je rencontre de
vieilles connaissances, des gens du pays qui ont crit, lutt, je me dis, voici
ma famille et je dois exhumer leurs luttes, leurs vies Que puis-je dire?
(Lolivier non asservi, p.41).
C) Lcriture identitaire et politique: lachvement dune reconstruction identitaire, dune runification de la personne qui se projette dans la
runification de lle (1989-2001).
La troisime priode de Katselli va de 1989 2002, anne qui marque
le dbut des dlibrations sur le plan Annan pour une ventuelle solution
au problme de Chypre. Le ton et le style de ces crits ont considrablement chang. notre sens, le roman Les Ailes de lAigle (1989) marque
ce nouveau commencement. On ny rencontre plus ce lyrisme plaintif des
rves rtrospectifs. Lcriture lui permettra de rsoudre ces contradictions
en choisissant son rle: tre la bouche de ces gens-l.
ltre politique de demain quest Katselli, Chypre rappelle tous les tourments quon lui a infligs. Le choix est fait et Katselli, comme elle lavoue,
a choisi de lutter pour son peuple. Il sagit des annes daction pendant
lesquelles lcrivain se consacre totalement la politique. En mme temps,
elle jette un regard critique sur la socit chypriote contemporaine. Ce
premier roman constitue donc une sorte de kalidoscope et, travers les
yeux de deux jeunes, expose quelques aspects de leur monde sentimental, de leurs problmes et de leurs relations avec la premire gnration des
rfugis.
La critique quelle porte sur la socit est en mme temps le refus dun
mode de vie et de pense, le refus dune condition sociale intolrable.
Paralllement, lexile met en lumire le rle nfaste de la politique
trangre, contre laquelle elle dresse son premier rquisitoire, en utilisant
pour la premire fois, un procd quelle affectionnera: elle est convaincue
que la menace ne provient pas dune ventuelle avance des Turcs, mais de
lindiffrence et de lavidit des No-chypriotes qui, ayant atteint un niveau
de vie lev et une certaine scurit financire, ne se soucient pas de lavenir
de leur pays. Ainsi, la pice Tout va bien (1995) est une satire de lpoque
309
310
Maria Koumarianou
311
Maria Koumarianou
312
En tant que chercheur, Kastelli cherche dcrire des gens comme des
personnes ancres dans lhistoire dont il faut connatre la biographie pour
comprendre leur action sociale. Cest la raison pour laquelle elle collecte des
rcits de vie, centrs avant tout sur lexprience de la socit et de la vie politique davant-guerre, qui crent une matrice culturelle, une sorte dhabitus
qui ont un impact dterminant sur la priode de laprs-guerre et faonnent
les comportements des sujets. Le moi autobiographique met laccent sur le
parcours personnel et la formation de lidentit.
Les biographies puisent leur matriau dans lanalyse de lhistoire sociale
et remontenent le fil du temps, en enregistrant le progrs et les mutations
sociales.
Katselli nest pas un crivain purement politique mais plutt un crivain
qui prend part la vie quotidienne de son pays. Elle rejette une certaine
image emblmatique du leader . La mission quelle revendique est de
faire entendre la voix de Chypre, la voix des faibles contre les forts. Mais la
pratique de telles fonctions risque de poser un problme moral et affectif.
Comme elle lavoue: Il sagit dun chemin plein dembches o beaucoup de
gens perdent courage. Quant moi, jessaie dtre en paix avec ma conscience,
et je le suis, car je sais que mme travers mes crits, je lutte pour la cause de
mon pays, pour mes enfants et les futures gnrations.
Sans doute ce cheminement est-il trs long. Tout en effet, prsent, futur,
esprance et dsillusions, sassocie, se dissocie, chez elle, au gr de cette
interrogation sur soi-mme qui est le propre de tout crivain.
Conclusion
Luvre construite sur lexil obit une dynamique chronologique lie
la mmoire, la poursuite du souvenir, mais aussi au besoin de se situer
dans un nouveau contexte et (de se forger) une nouvelle identit. Ce sont
quelques-uns des sujets qui interpellent notre crivain la dception politique, la nostalgie, mais aussi une vision prometteuse de lavenir.
Citons pour conclure les mots mmes de Rina Katselli: Notre vie est un
combat perptuel, et notre bonheur consiste en notre capacit de puiser de la
satisfaction dans ce combat, chacun comme il le peut et autant quil le peut.
,
Volume D: ,
Volume E: , ,
y Lord
Volume F: , ,
, ,
Volume G:
Bibliographie.
Luvre complte de Rina Katselli
1958
(posie)
1959
(thtre)
1962
(rcit historique)
(thtre)
(thtre)
1964
thtre)
1967
(roman)
1969
(posie)
1970
(manuel)
1970-71
,
1959-69 (thtre)
(Sept volumes)
Volume A:
, , ,
Volume B: ,
,
Volume C:
,
,
313
1973
-,
(tude
historique)
(roman
historique)
1974
(roman
historique)
KYRENIA A HISTORICAL
STUDY(etude folklorique)
1975
(chronique-tmoignage)
(roman
historique)
1977
(roman
historique)
(roman
historique)
1978
(roman)
1979
,
(tude
historique et folklorique)
(roman)
Maria Koumarianou
314
1980
1997
() (thtre)
(posie)
(roman)
2000
- (tude)
(tude)
1981
(thtre)
(essai)
2001
1985
(thtre)
B (roman
historique)
(thtre)
2002
(biographie)
(tude
historique)
1986
(thtre)
(thtre)
(essai)
2004
1987
:
(biographie)
:
(biographie)
50
(biographie)
1988
(thtre)
1989
(tude
critique)
(roman)
(roman)
2005
:
(essai)
(thtre)
2006
1991
-
(tude historique-biographie)
-
(roman)
1994
2007
-/
(biographie)
.
(biographie)
1995
. (satire)
,
/ (biographie)
1995
H (entrevue)
2008
(posie)
(tude
historique)
2009
315
2010
,
(tude historique)
,
(tude historique)
(biographie)
.
1
2
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Introduccin
Las novelas policiacas de Petros Mrkaris dibujan una Atenas que poco
o nada tiene que ver con la imagen tpica ms extendida del pas heleno y
de su capital. En ellas no se baila el sirtaki, no hay monumentos ni soleadas
playas de aguas cristalinas; tampoco aparece el imponente legado cultural clsico. Como corresponde en general al tipo de novela policiaca que
cultiva, el autor griego describe en sus obras una Atenas alejada de los estereotipos ms conocidos, una Atenas distinta que muestra al lector otro
lado de la capital griega, ms oscuro e inquietante, pero complementario
de aqul, donde el crimen forma parte de la vida cotidiana y se desarrollan
las investigaciones del comisario Kostas Jaritos, el protagonista de la serie
de novelas policiacas creado por Mrkaris. Slo en una de las obras, ,
, publicada en espaol con el ttulo de Muerte en Estambul, la
accin se desplaza a Constantinopla. Las novelas restantes se sitan en la
capital griega aunque parte de la accin puede transcurrir ocasionalmente
en otros lugares distintos de Atenas, como sucede, por ejemplo, en el caso
de Defensa cerrada ( es el ttulo original), que comienza en la
isla de Creta.
seala el propio Mrkaris refirindose a sus
novelas policiacas ,
,
Describo una Atenas que no es ni turstica ni pintoresca, pero que tiene
muchos puntos en comn con todas las grandes ciudades de Europa1. Otro
principio relacionado con ste que rige tambin su escritura, y al que ya me
he referido, queda igualmente apuntado en la misma entrevista: Mrkaris
practica lo que l denomina , es decir,
1
344
Esta nueva entrevista, concedida a Efe el 6 de febrero de 2008, durante una visita del
escritor griego a Barcelona, se halla disponible en Pblico.es: <http://www.publico.es/
agencias/efe/45669> (fecha de consulta 01/11/2010).
Una buena visin de conjunto del gnero policiaco se encuentra en J. R. Valles Calatrava, La novela criminal, Almera, Instituto de Estudios Almerienses, 1990, e I. Martn
Cerezo, Potica del relato policiaco (de Edgar Allan Poe a Raymond Chandler), Murcia,
Servicio de Publicaciones de la Universidad de Murcia, 2006, esp. los captulos 1-3.
Asimismo, me ha sido de gran ayuda para elaborar este apartado la Tesis doctoral de
A. Casadess, Novela policaca contempornea. Una aproximacin terica a travs de la
obra de Jakob Arjouni, Andrea Camilleri, Henning Mankell e Ingrid Noll, Universitat de
Barcelona, Barcelona, 2007; de este mismo autor puede verse su reciente monografa
Sobre Wallander y Montalbano. La novela policaca de Henning Mankell y Andrea
Camilleri, Palma de Mallorca, Lleonard Muntaner, 2010. Aprovecho la ocasin para
agradecer a Alejandro Casadess su generosa ayuda a la hora de iniciarme en los
entresijos del gnero.
345
lidad y dentro de la cual se inscribe Mrkaris, la atencin se centra fundamentalmente en el retrato de la sociedad en la que se produce el delito. Los
autores modernos utilizan el crimen4 para examinar las nuevas realidades
sociales hoy existentes, aunque la novela negra no es un documento sociolgico, antes que nada es literatura y el placer de la intriga sigue constituyendo un ingrediente bsico para atraer la atencin del lector. Sin crimen,
sin misterio y sin investigacin, no hay novela policiaca. Pondr un ejemplo. En la primera entrega de la serie del comisario Jaritos, Noticias de la
noche, Mrkaris hace un excelente retrato social del poder de la televisin y
de las relaciones complejas de Grecia con los pases del Este; sin embargo,
es claro que seguimos leyendo la novela movidos tambin por el deseo de
saber quin mat a la pareja de albaneses y a las dos periodistas, y cules
fueron los motivos de esos crmenes, as como el del albans acusado de
haber asesinado a sus compatriotas.
Esta combinacin de lo policiaco con lo social es algo a lo que se refiere
expresamente el propio Mrkaris, cuando afirma que los autores contemporneos del gnero escriben principalmente novelas sociales con una
trama policiaca:
5.
Los autores de novela negra aaden, pues, al crimen la dimensin social,
que era prcticamente inexistente en las historias de detectives clsicas, y
la llevan adems a un primer plano. Para Mrkaris, los investigadores de la
novela policiaca contempornea estn mucho ms apegados a la sociedad
en la que viven que al departamento de polica mismo, y pone como
ejemplo a algunos de los representantes actuales ms famosos del gnero en
Europa, desde Salvo Montalbano, el inspector creado por Camilleri, a Pepe
Carvalho, el creado por Vzquez Montalbn, Kurt Wallander, el personaje
de Mankell, o el propio Jaritos6.
Desde sus inicios, en los aos 20 del siglo pasado en Estados Unidos,
la novela negra ha ofrecido el retrato de una sociedad corrupta donde el
crimen no es ya un hecho aislado que interrumpe momentneamente la
tranquilidad de la vida cotidiana, como suceda en las novelas de detectives
clsicas, al estilo de las de Conan Doyle el padre del gnero, con su clebre
personaje de Sherlock Holmes o, ms tarde, las conocidsimas de Agatha
Christie. El crimen es ahora un sntoma de la violencia y de la corrupcin
4
5
6
La palabra se emplea aqu en sentido tcnico para designar no slo un asesinato, sino
cualquier tipo de delito grave punible por la ley; vase I. Martn Cerezo, op. cit., pp.
40-41.
. , , , , 2007, p. 106.
. , , op. cit., p. 109.
346
347
. , , , E , 2000 (4 .), p.
19; otra referencia interna se encuentra, por ejemplo, en la p. 76. Para la traduccin
espaola, se ha utilizado P. Mrkaris, Noticias de la noche, Barcelona, Ediciones B, 2000;
vanse, respectivamente, pp. 16 y 63.
Vase C. Kasimis-C. Kassimi, Greece: A History of Migration, Migration Policy Institute. June 2004: <http://www.migrationinformation.org/Profiles/display.cfm?ID=228>
(fecha de consulta 01/10/2010).
348
349
350
351
352
353
Consideraciones finales
He querido dar una idea de la representacin de los extranjeros fundamentalmente albaneses que aparecen en la primera novela de Mrkaris
354
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Selecta de Literatura Espaola, o modelos de Eloquencia y Poesia, tomados de los escritores
mas clebres desde el siglo XIV hasta nuestros dias y que se dedican al conocimiento y
estudio de esta lengua, Burdeos [=] 1819.
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fantasma] tan terrible, que toda la novela anda escapando de un hroe que
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, , 4 (1966) 201-214.
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, , 10 (1972-1973) 241-256. . . ,
, 1974 [=
, 93 (1973) 49-50, 93-98]. . . , , .., 35-38
487-488. . . , (, 9-12 . 2010):
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408
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( blank verse).
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.
1. Introduction
The topic of this paper is the relation between antigypsyism2 and the
Greek nation. In order to examine the function of antigypsyism in the
construction of the nation, I will analyse two literary texts, Alexandros
Kalfoglous Ithiki Stichourgia, completed in 1794, and the 6th Logos from
Kostis Palamass Dodekalogos tou Gyftou, published in 1907. The analysis
will be put into practice by using a version of critical theory which has been
developed out of thoughts of the Frankfurt School by the so-called Wertund Fetischkritik. This branch of marxist theory has not yet been employed
within the context of antigypsyism.
The term antigypsyism is conceived in this paper as the specific form
of ideology in the sense employed by the critique of ideology which
turns against those it calls gypsies, Zigeuner, gyftoi, katsiveloi, tsigganoi,
athinganoi etc., constructing at the same time the identities it hates. Using
the words gypsy, gyftos, katsivelos, tsigganos in this paper, I do not refer to
Romani people, nor to actual people threatened by antigypsyism. By using
these words I solely quote the discourse of antigypsyism.3
1
2
3
The analysis given in this paper is part of my M.A. thesis on the relation between antigypsyism and the Greek nation.
For a synopsis of the studies of antigypsyism until the year 1997 cf. Wippermann 1997:
8-18.
By using italic characters for these quotations of the discourse of antigypsyism I wish
to denote their particular construction and place them at a distance from the main
narrative.
I consider the use of gender-aware language to be very important. At first view this
would imply to talk about gyftoi/-isses. However quoting a discourse I have to quote it in
total: to talk about gyftoi/-isses would mean to postulate visibility of women where their
exclusion from visibility is constitutive of the discourse quoted (cf. Eulberg 2009: 43,
note 7).
(, 9-12 . 2010):
( 1 2 0 4 ) , (ISBN
978-960-99699-4-9) 2011 (www.eens.org)
426
Benedikt Wolf
In the following paper I will first try to sketch a critical theory of antigypsyism; I will, then, anlayse the function of the katziveloi/tzigganoi in
Kalfoglous Ithiki Stichourgia and the figure of the Gyftos in Palamass 6th
Logos; lastly, I will try to draw some conclusions regarding the relationship
between antigypsyism and the construction of Greek identity.
2. Critical Theory of Antigypsyism
From the perspective of the materialist Wert- und Fetischkritik, the
nation is seen as a fetish which originates from the processes of exchange
employed by capitalism.4 The moment things enter the sphere of circulation, they acquire an abstract quality: value. Value establishes the possibility of the exchange of things as commodities. Under the conditions of
capitalist exploitation of value this abstract quality presents itself as nature,
being in fact nothing more than a fetish. In exactly the same way the nation
presents itself as nature.5 Capitalism as a system of exchanges needs the
framework of civil liberties, so that nominally equal owners of commodities
are able to interact. To ensure these conditions of interaction the capitalist
state needs the fetish of nation as its original ideology. Thus nationalism
can be understood as a result of the development of capitalism on the level
of Bewusstsein.
The fetish of nation is constituted by means of exclusion of specific
Others. Following the classical text about these processes of othering,
Elemente des Antisemitismus. Grenzen der Aufklrung by Theodor W. Adorno and Max Horkheimer,6 two qualitatively different forms of othering have
to be distinguished: racism and antisemitism. Whereas racism perceives
others as inferiors, who are to be exploited, antisemitism perceives others
as superiors, who in the view of fetishist consciousness know more,
have more power, aspire to world domination and therefore existentially
threaten the we of the nation. The objects of antisemitism are, in contrast
to those of racism, threatened by fantasies of elimination, which have
been put into practice through the Shoa. Adorno and Horkheimer put it
as follows: [D]ie Neger will man dort halten, wo sie hingehren, von den
Juden aber soll die Erde gereinigt werden [...].7
Antigypsyism seems to be a hybrid of the two basic forms of national
othering.8 Gypsies are seen by the hegemonic discourse on the one hand as
4
5
6
7
8
For the following very short account of Marxs critique of value and fetish I have
consulted the first chapter of the Kapital (Marx 2005: 49-98) and Grigat 2007: 41-64.
For the critique of the fetish nation: ibid., 239-258.
Adorno/Horkheimer 2006a.
Ibid., 177.
Grigat 2007: 312.
427
filthy, poor etc., as people who do not want to work, i. e. as inferior people;
on the other hand, they are viewed as border crossers who do not need
to work, who have some kind of special knowledge at their disposal. This
knowledge makes them, from the perspective of fetishist consciousness,
superior. As a consequence they are threatened by fantasies of elimination,
put into practice through the Porajmos.9
By means of the historical analysis Franz Maciejewski gives in Elemente
des Antiziganismus10 we can detect a second dimension of the hybrid character of antigypsyism. On its way from the Middle Ages to modernity, the
western subject splits off an old element of its own. The element split off
contains everything related to the world as it was before the early modern
age, not yet organised by territorial states. This old element of European
culture is projected onto an identity which is constructed exactly for this
purpose: the identity of gypsies. Gypsies are said to be non-sedentary and
not to work.
The aggression of antigypsyism is thus directed against a constitutive
Other which concurrently represents an element of the self which has been
split off.
3. The Function of the Tzigganoi/Katziveloi in Alexandros Kalfoglous
Ithiki Stichourgia
Little is known about Alexandros Kalfoglou, the author of the Ithiki
Stichourgia.11 From the Stichourgias title we know that he was from
Constantinople. A note given after the last verse in the two most important manuscripts gives the date of its completion, 7 January 1794.12 Apart
from the Stichourgia only three other poems can be confidently identified
as Kalfoglous works.13
9
10
11
12
13
For the term Por(r)ajmos cf. Leichsenring 2009. My formulation which seems to parallelize Shoa and Porajmos should not be mistaken as an equalisation. The singularity of
Shoa can not be denied. The eliminative element of the Porajmos is fundamentally antisemitic. For the discussion about the question of the singularity of Shoa and/or Porajmos cf. Wippermann 1997: 135-172, Bauer 1998 and Rose 1998.
Maciejewski 1996. Maciejewski is not to be seen as part of the Wert- und Fetischkritik.
He belongs, however, to the tradition of the Frankfurt School (see his reference to the
title of Adorno/Horkheimer 2006a), above all to its psychoanalytic traits.
Kalfoglou 1967. There is only one more edition of the Ithiki Stichourgia, the editio princeps by G. P. Kremos, Leipzig 1870 (Kalfoglou 1870). This edition is collated from one
manuscript, which contains only a part of the text (Bouboulidis 1967: 6, cf. Kremos
1870: VIII-X).
Kalfoglou 1967: 54, cf. Bouboulidiss apparatus.
Bouboulidis 1967: 5 seq. For Kalfoglous life and work cf. Kremos 1870: VIII f. and
Bouboulidis 1967. For bibliography cf. Meraklis/Paradeisi 2008: 1004.
428
Benedikt Wolf
429
be exploited. The interactors in the framework of this state are not classified
according to nationalities but by means of their position towards the state.
This pre-national tendency can be retraced at a textual level. The Greek of
the Ithiki Stichourgia is virtually riddled with borrowings from Turkish and
from Romanic and Slavic languages.
In this setting a last group of actors can be distinguished, the so called
zigganoi or atziveloi. We have to keep in mind that the objects of antigypsyism in the two Danubian Principalities are held as slaves from the
early 15th century until the year 1855 in Moldavia and 1856 in Wallachia.26
They were the possession of either the state itself or a monastry or a private
person. They could be sold, bought and donated like commodities. This
does not mean, however, that they were all bound to the land like serfs.
Most of the slaves belonging to the state and part of the slaves belonging to
the monastries were nomads liable to taxation. The Ithiki Stichourgia now
ascribes to this people a certain and specific ability.
To have Tzigganoi/Katziveloi as a property means to have a luxury lifestyle. In the context of a description of a kokona27 who dreams about a
future husband who is able to provide such a luxury lifestyle for her, the
things she desires are listed as follows:
, , ,
,
.28
(Kalfoglou 1967: 697-700)
However, the zigganoi here are not merely a luxury good. The kokona
wants to have Tzigganoi in order to become independent from her future
husband. The impact of Tzigganoi on the gender relations becomes clearer
when the speaker compares women in Wallachia to those of Constantinople:
[sc. ] ,
[sc. ] .
[...]/[...]
26 For the following: Soulis 1961: 162, Marushiakova/Popov 2004, Reemtsma 2004: 578 f.
and Petcut n. d.
27 noble lady (cf. Bouboulidis 1967a s. v. ).
28 She wants elegance, fashion, charm, beauty and prettiness / and noble, fashionable boys
everyday as her company / and maids and nurses and 17 gypsies, / so she can go wherever she wants and does never ask you for it.
Benedikt Wolf
430
.29
(Kalfoglou 1967: 879-884)
The gypsies words tend to result in the reversal of gender relations.
Both luxury and this reversal of gender relations are a consequence of
the impact of western European ideas, more specially those of the French
Enlightenment:
, ,
.
,
.30
(Kalfoglou 1967: 499-502)
.
,
!31
(ibid., 513-516)
Here the duty of transferring the bad influence of French Enlightenment from the adults to the children is attributed to the douloi. The picture
becomes transparent when we learn what is going on in the background of
the luxury table which is 32 for all xenoi:
,
, , .
[.]
[...]/[...]/[...]
,
29 There [sc. in Wallachia] they always hear the gypsies words and idle works / and here
[sc. in Constantinople] they sit at home and do hand work. / [...] / [...] / And they obey
their husbands in Constantinople as their masters; / there the ladies always have fights
with their husbands.
30 All the conversations are just blasphemies and gossip / they are nourished by hypocrisy.
/ This becomes an example for their innocent children / which are raised in the companionship of bad slaves.
31 They say: We have got French books and romances; / all the other books are melancholic. / We are enlightened, disciples of philosophers / and the writers of yesterday, they
were all hypocrites.
32 Kalfoglou 1967: 270 (open).
431
, .
- , ,
.
,
, .33
(Kalfoglou 1967: 265-276)
The Tzigganoi work in a place which has to be distant from the table.
The result of the work of the Tzigganoi is, at first view, the opulence of
food. Thus, they create the space for the interaction of the Politai and the
xenoi. Their place of work as well as the work itself is described in terms of
the well-known stereotypes of antigypsyism: They are said to be dirty and
to stink. At the same time, they are compared to pigs. The pig is one of the
oldest pictures of anti-Judaism for the Jews. Lastly, they are presented as
wizards (there is a wordplay with , 34 and ,
35) with a special relationship to the dark powers of night.
A few verses after the quoted comparision of women in Wallachia and
Constantinople, the tendency of reversal, which is attributed to the gypsies,
is radicalized:
, ,
.
[...]/[...]/[...]/[...]
, ,
.36
(Kalfoglou 1967: 887-894)
Wallachia appears to be a carnevalist region in the sense Bakhtin has given
to the concept of carnival.37 Wallachia appears as a carnivalist feast, as an
exceptional situation in which the social roles are exchanged.
33 They love to have a Frank, a German at their entertainments / and an enlightened
Frenchmen, a libtertine, a godless man. / They generously invite every foreigner to their
table[.] / [...] / [...] / [...] / At every table you can see an opulence of food, / but when you
have a look at the kitchen you think it is a pigsty. / Two or three gypsy cooks, black
demons of the night, / when you see them in the kitchen, you have to vomit. / That is
why the kitchen is distant from the house like something annoying, / because it stinks
from afar, it turns the stomach.
34 cooks, kitchen.
35 wizard, magic.
36 Noble men run on the streets, destitute they go around, / for something to eat they
cheat everybody. / [...] / [...] / [...] / [...] / Whoever was once living in Wallachia with
merriments and honour, / is now in Constantinople eating pumpkin with bread.
37 Cf. Bakhtin 1984, 1984a and Lachmann 2006.
432
Benedikt Wolf
433
, !46
(Palamas [1962]: 211-216)
The result of this Dionysian propitiation is the ideal people that the
Gyftos sees in a kind of vision:
[.]
[...] / [...]
, ,
,
,
, ,
,
.47
(Palamas [1962]: 256-264)
The picture of this Dionysian people can be painted by the Gyftos
because he is not part of it:
, , ,
,
,
.48
(Palamas [1962]: 247-252)
gessenheit hinschwindet. (Nietzsche 1972: 24 seq.; emphasis in original).
46 From out the East a ray of luminiscence / Has pierced the fog-banks of the Western
shore, / On every side joy, madness and desire!
47 [And I found] [a] nascent and still undeveloped people[.] / [...] / [...] // A self-reliant folk that knows no books, / That has no idols of the polytheists, / And whose high
strongholds are its only schools; / It has a mind, a power and a will; / Its men look like
the statues of the gods / And live by their own ballads valiant rules.
48 Sad, dejected and discouraged, / Like a lost and shipwrecked sailor, / I went to live
among the wild-beast packs; / I drove my mule towards the topmost crests / And I
pitched my tent high up / Amid the gorges and the forest tracks.
Benedikt Wolf
434
Here, for the first time in the 6th Logos the Gyftos is portraited as a gypsy.
He appears as a nomad, who is in contact with nature and animals, as a
hermit, who seems to have a lot of common traits with Nietzsches Zarathustra, as he is introduced at the beginning of Also sprach Zarathustra.49
The similarity of Palamass Gyftos and Nietzsches Zarathustra becomes
even more lucid in the course of the last two stanzas of the Gyftoss rhesis:
: , !
. .
,
[.]50
(Palamas [1962]: 299-303)
The Gyftoss isolation originates from a rejection. The truth, whose glossa
the Gyftos is, presupposes the absence of revenge. This peculiar conjunction
of truth and revenge becomes clear against the background of the chapter
Von den Taranteln51 from Also sprach Zarathustra:
[...] [D]ie ihr die Seelen drehend macht, ihr Prediger der Gleichheit!
Taranteln seid ihr mir und versteckte Rachschtige! / [...] / Darum
reisse ich an eurem Netze, dass eure Wuth euch aus eurer LgenHhle locke, und eure Rache hervorspringe hinter eurem Wort
Gerechtigkeit. / Denn dass der Mensch erlst werde von der
Rache: das ist mir die Brcke zur hchsten Hoffnung [...].
(Nietzsche 1968: 124)
Nietzsche in his short text on revenge Elemente der Rache in Menschliches, allzu Menschliches52 defines revenge as self-defence with the purpose
of self-preservation and as re-establishment of a disturbed equilibrium
between the subject and the object of revenge. With this definition revenge
becomes the core of law. With their rejection of ekdikisi/Rache both, the
Gyftos and Zarathustra reject law. In the passage of Also sprach Zarathustra
quoted above Zarathustra establishes a relationship between revenge and
49 Nietzsche 1968: 5 seq.
50 And I dreamed that I would also join these men . . . / But they, too, shouted at me:
Gypsy, go! // Though they rejected me, I praise them still. / I am the tongue of radiant
Truth in which / No self-absorbed vindictiveness can dwell.
51 Nietzsche 1968: 124-127.
52 Nietzsche 1967: 202-205.
435
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to by sdy utrwalone w gramatyce, sownictwie, w kliszowych tekstach np. przysowiach, ale take sdy presupowane, tj. implikowane przez formy jzykowe utrwalonej
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. 965.
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., 2008, . , .
Lorsque au XVIIIe sicle, les intellectuels commencent rflchir sur lidentit particulire chaque peuple, lune des premires questions qui a attir
leur attention a t la question de la langue; une langue dont ils sont alls
chercher les origines non pas dans la langue employe dans les milieux
intellectuels mais dans celle qui tait employe par le peuple. Nous devons
J. G. Herder (1744-1803) sa thorie daprs laquelle le peuple est le dpositaire du gnie de la nation. Ce gnie, cette me du peuple se manifeste dans la littrature orale et par voie de consquence, les chansons et
les posies deviennent lun des premiers lments tre considrs dans le
dbat identitaire.
Partant de contextes diffrentes, des intellectuels grecs et japonais vont
commencer leur propre rflexion sur leur identit qui, dans un premier
moment, celui qui nous intresse ici (le XVIIIe sicle et la premire moiti
du XIXe sicle), est decline sous la forme didentit culturelle. Dans ce
dbat, eux aussi vont employer, parmi dautres lments, la langue et, en
rapport avec celle-ci, le rle jou par les chansons-posies dans lexpresion
de la vritable essence du peuple. Dans cette communication, en partant
des thories de Herder, nous allons mettre en parallle ces deux contextes
afin de dgager les diffrences et les ressemblances dans lemploi de cet
lment qui semble tre plus universaliste que lon ne le croit.
La posie: lme du peuple
En 1773 J. G. Herder, intellectuel autrichien, publia un essai trs
important pour les dveloppements postrieurs de la question national. Il
sagit de Extrait dune correspondance littraire sur Ossian et les chants des
anciens peuples. Dans cet ouvrage, Herder affirme que : [] Lme de la
nation rside dans le gnie de la langue [].
Et un peu plus loin, en parlant des chants des peuples, il continue: []
Cette posie nest pas un art mort des lettrs cest la langue du cur et lesprit
de la nature chante en elle [].
(, 9-12 . 2010):
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978-960-99699-4-9) 2011 (www.eens.org)
456
Herder publie en 1778-9 son recueil de chansons: Volkslieder. Dans ce contexte quil
faut comprendre aussi la publication en 1800 du Chant de la chevauche dIgor en Russie,
du premier recueil de chansons sudoises publi en 1817 par Erik Gustaf Geiger ou du
recueil des chansons populaires serbes compil par Vuk Karadzic et publi en serbe en
1812. James MacPherson avait fait du mme avec les pomes cossais entre 1760 et 1762.
En 1834, Moustaxidis publie deux chansons; en 1835 se publie la traduction grecque
du recueil de Cl. Fauriel et en 1843 T. Eulampio publie celui qui est le premier recueil
grec de chansons. Pour ce dernier: PETROPOULOS, D. Elliniki dimotiki tragoudia A,
Athnes, 1958, introduction 11.
La premire est une ide de Solomos, la deuxime de Coras: KNS, B. Histoire de la
457
cette ide que A. Coras (1748-1803) tablit une collection qui servira de
basse au recueil de Claude Fauriel (1772-1844) publi en 18244. Or, si lon
tient compte des paroles de Fauriel dans la prface de son recueil, Coras
nest pas seul Grec stre intress aux chansons dans cette optique. Ainsi,
en 1820, A. Moustaxidis aurait adress une lettre D. Schinas qui devait
servir dabord de prambule un choix de chansons grecques et un
discours sur la posie moderne des Grecs5. En outre, mme si les premiers
recueils des chansons grecques sont dits par des non Grecs, presque
tous leurs informateurs et, parfois leurs inspirateurs, taient des Grecs qui
connaissaient (directement ou indirectement) les ides herderiennes sur la
langue vernaculaire.
A ct de Coras, il faut souligner aussi le travail de D. Solomos (17981857). En effet, celui-ci, une fois de retour dans son le natale (Zante) aprs
sa priode de formation en Italie, va lui aussi sintresser aux chansons et
la posie en langue populaire car daprs lui: [...] le matre des mots est le
peuple [...]6. Ainsi, il fera un recueil aussi avec les chansons de son le.
Dune faon parallle lintrt pour la langue vernaculaire en tant
quexpression du caractre du peuple, les intellectuels essaient dtablir la
continuit entre la Antiquit et le moment contemporain en soulignant
les lments communs qui ont survcu travers lhistoire (que ce soient
thmatiques et morfologiques) et qui sont prsents dans les chansons7.
Cette ide est dj prsente dans le recueil de Fauriel qui la manifeste
4
458
459
que les auteurs appellent le magokoro13. Cest donc, vers la posie que lon va
se tourner pour essayer de trouver une culture spcifiquement japonaise,
oppose aux idaux chinois. Cest surtout dans le courant de pense
Kokugaku (tudes Nationales) cre au dbut du XVIIIe sicle, que cette ide
va tre dveloppe.
Peu aprs sa cration, quelques intellectuels, parmi lesquels se trouve
Kamo no Mabuchi (1697-1769) considr lun des premiers grands
reprsentants des Nativistes, vont participer au dbat de Kokka Hachiron,
qui a eu lieu en 1740. Celui-ci montre dj les ides cls des Kokugaku en
ce qui concerne la posie. Les oppinions exprimes au cours de ce dbat
(concernant les rapports entre la posie, lEtat et les hommes) taient
fondamentalement deux. La premire, suivant les postulats confucens
(reprsente dans le dbat par T. Munetaka), faisait de la posie un outil
du gouvernement grce auquel il pouvait repandre des principes moraux.
La seconde, appuye par les reprsentants de lcole Kokugaku (ide
dfendue par K. Azimaro), ne reconnaissait pas cette valeure normative
et voyait en elle un moyen dexpresion artistique des sentiments humains.
La posture de Kamo no Mabuchi semble tre un chemin intermediaire
car, tout en reconnaisant quelle est lexpresion de la vraie motion, il
affirme aussi son importance dans le gouvernement, prcisement grce
linfluence bnfique quelle pouvait avoir dans le coeur des sujets14.
Grce tout cela, la posie est considre comme un lment naturel,
non inventappartenant lhomme. Elle est cre de faon spontane
(onazukara).
Ainsi, dans son ouvrage Kokuik publi en 1765, Kamo no Mabuchi,
affirme que la posie est [] quelque chose qui exprime lme humaine [...]15
Il est donc, prs des paroles et des ides que Herder publie vers les mmes
anns.
Un peu plus tard, Motoori Norinaga (1730-1801), qui est considr
lun des membres les plus importants du mouvement Kokugaku, exprime
une pense semblable dans louvrage quil consagre ltude de la posiechanson. Ainsi pour lui lessence de la posie ntait [...] autre chose que
lexpression des sentiments du propre coeur 16. En partant du rle de la
13 Cette expresin on la trouve chez Mabuchi mais aussi chez Motoori.
14 NOSCO, P. Nature, Invention, and National Learning: The Kokka hachiron Controversy, 1742-46, Harvard Journal of Asiatic Studies, vol. 41, n 1 (Jun. 1981), pp. 75-91,
specialement p. 86.
15 FLUECKIGER, P. Reflections on the Meaning of Our Country, Kamo no Mabuchis
Kokuik, Monumenta Nipponica, vol. 63, n 2, 2008, pp. 211-63, p. 244.
16 NOSCO, p. 80.
460
461
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14 J.A. Buchon, La Grce continentale et la More, 1843, 85-87
: Le premier travail des Grecs a t le travail sur leurs propre langue. Ils
nont pas plutt t affranchis du joug turc quils ont affranchi leur langue des mots turcs
qui la gtaient, et, par la mme occasion des mots francs qui en altraient lunit. La
langue grecque tait autrefois une sorte darche de No dans laquelle venaient chercher
asile les mots de toutes les autres langues. Lpuration sest opre de la manire la plus
rapide. Le savant patriarche Coray avait commenc, ds avant laffranchissement
de la Grce, la rforme de la langue. A leur rentre dans leur pays, les jeunes Grecs ses
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le got gnral pour la philologie; car la philologie est la passion des tous les tudiants
grecs, non seulement des ceux qui se vouent au professorat, mais des ceux qui veulent se
consacrer aux lois, la mdecine, lglise et ladministration publique: le beau parler
grec est souvent l ce que cest la faconde de la tribune chez nous; et tel mdecin, avocat,
professeur, est devenu ministre parce quil maniait bien sa langue. La grammaire
grecque sige en matresse la base et au fate de tout enseignement.
15 Edmond About, .., 284 ( 186 , ..).
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-,
6.
( , 1889):
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,
, Quorum pars magna fui,
. []
, ,
, ,
.
(, 345).
7 6
Il suo occhio armato del microscopio, la sua mano del bisturino dellanatomista e
del disseccatore. : Restar arte, cio infondere la vita alle sue creature
nello stesso tempo che le disarticola e le scompone con spietata e serena freddezza, ecco
larduo problema che deve risolvere ad ogni momento la vera arte moderna (Capuana,
1880, 87). Capuana Francesco
de Sanctis: [] lo stile di Zola, un vero stile che penetra nella carne e fa spicciare
il sangue (De Sanctis, 1877, 387), Zola [] ha lo stile reciso, rapido, sicuro, come
coltello di chirurgo (.., 391). , , ,
delle cose in se stesse, nella loro esteriorit, nella loro natura, nella
loro vita (De Sanctis, 1883, 460), ,
De Sanctis : on vogliamo studiare le cose nei libri;
vogliamo guardarle nel libro vivo della natura (..), Saggiatore (1623): La filosofia, Galilei, scritta nel libro grandissimo della natura.
De Sanctis
, , :
Allantico motto: le idee governano il mondo succeduto questaltro: Dove non
forza non vita n reale n ideale, e siamo tanto trasformati che abbiamo sentito senza
ribellarci la frase [ Bismarck, 1863] La forza vince il diritto (.., 461).
., .., , B, 9-10 ( ), 28-52 (
604
Anna Zimbone
/8 (, 238),
, ( -, ,
),
9 : Boerhaave10, von Linn11,
Trousseau12, Bouchardat13, Sperino14.
15
- 16 1869 1893,
Carl Vogt17 Jakob Moleschott18,
Paul-Pierre Broca19,
Franz Joseph Gall20, .
10
11
12
13
14
15
16
17
18
19
20
), 279 ( ), , 123-24 (
, 1882), 189 ().
,
, , 391:
,
, , ,
,
,
, , 219: [...] . [...]
.
Franois-Joseph-Victor Broussais, 1772-1838 (),
,
(, 181).
Hermann Boerhaave (1668-1738)
.
Carl von Linn (1707-1778), .
Armand Trousseau (1801-1867)
Trait de thrapeutique et de matire mdicale, Paris 1836.
Apollinaire Bouchardat (1806-1886),
.
Casimiro Sperino (1859-1894), .
, 1987 1996.
: a, 1871, ,
1885, ( ), 1893.
(1817-1895).
, (1822-1893).
(1824-1880),
.
(1758-1828), ,
Spurzheim .
605
1885 21.
, ,
, , ,
.
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trance mdianique, ,
,
:
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-
, , , ,
Thomas Laycock22,
21 , , 206-218. ,
,
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,
( 27 1885),
: [] []
[], , (,
1985, 69). , ,
,
,
: []
(216), .
,
, (.
Zimbone, 2010, 407-408), :
,
(218).
Spenser
, The Principles of Psychology (1855).
,
, ,
(, 2003, 84: []
).
22 Thomas Laycock (1812-1876), .
606
Anna Zimbone
607
29,
,
, , 30 ,
, 31.
, ,
,
Asylum dubiae vitae.
, ,
.
, ,
, 32: [Jean-Franois]
29 . , . . . (,
287-295), ,
,
(292-295).
30 , ,
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31 . , 1995.
32 , Bichat, Bouchardat,
, , ,
608
Anna Zimbone
2.
3.
4.
5.
6.
(, 343).
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609
, ,
,
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,
,
.
, ,
(sic) 33 ,
,
, Bruhier, 24-27,
,
34.
610
Anna Zimbone
,
, . , 348.
Bichat,
, 344:
,
.
,
, .
, Josat, 1:
Lindividu, dit Bichat, vit encore quelquefois plusieurs jours au
dedans, tandis quil cesse tout coup dexister au dehors. Linterruption
des phnomnes externes de la vie tant un signe presque constamment
infidle de la ralit de la mort, on ne peut se prononcer sur lexistence
de celle-ci quaprs la cessation des phnomnes de la vie intrieure.
Gustave Le Bon, 186638
( : Le Bon, 73-74, . , 347 Le
Bon, 64-69, . , 346 Le Bon, 161-198 Le Bon, 14, . ,
346-347).
, Le Bon, 101, dynamoscope,
,
, , . , 351:
[],
, ,
, ,
.
38 Le Bon Aviola, Lamia,Tubron (22), Vsale, Espinosa, Prevost (23), Civille (38-45),
(26-27) Bichat (124).
611
612
Anna Zimbone
, Baudelaire,
47,
191448.
,
Morte vivante ,
14 16 .,
, (
).
(..
, 2 .)
(Chrtien de Troyes,
13 .).
,
( , ,
), vivante ensevelie,
, , ,
. Filocolo,
IV 67 Gentile e Catalina (Decameron X 4),
,
, (
,
Historia Apollonii, . Romano, 1993, I, 40).
. , Ginevra degli Almieri,
(, 15 ), Nicol e Lucina Ortensio Lando (,
1508/12 1553 ) ,
: , ,
, ,
,
, .
Bruhier Le Bon , .
Bruhier, 1759, , 74: Cette curieuse histoire [], II, 5: conte puerile, Le Bon,
1866, 26-27: Cette histoire se trouve avec beaucoup de variantes dans une foule dauteurs []. Nous ne croyons pas cependant quelle mrite beaucoup plus de croyance que
la prcdente. Nous ne la mentionnons qu cause de son originalit.
47 LEnterrement Prmatur, 1877, Linhumation prmature, 1882, Enterr vif, 1885,
Lensevelissement prmatur, 1887 [. <http://www.eapoe.org/works/info/pt048.
htm>, (. 2 2010)].
48 , The Premature
Burial, ( , , , 217-222)
. (, 1996, 25),
(. , 2008, 71, 111,
).
613
49
,
( , 04/7/1896).
( The Oval Portrait)50.
. -
.
,
, , ,
.
,
, .
,
51,
,
Baudelaire (, 1985, 39),
The Premature Burial. ,
, , 2003, passim.
49 . , 1859, 4, 12.
50
(., .., , 1985, 40,
).
51 Umberto Eco,
, Fourberies de Scapin
Le pedant jou Savinien de Cyrano de Bergerac (1619-1655).
, ,
, ,
.
:
;
,
Cyrano. , ,
:
que diable alloit-il faire dans cette galre?
Cyrano que diable aller faire aussi dans la galre dun Turc?, Argante
,
, Granger Cyrano ,
. , Eco, 2001, :
, .
;.
614
Anna Zimbone
.
: ,
, 52,
,
53. ,
,
asylum dubiae vitae (341),
(), ,
, ,
(343).
,
, ,
,
. ,
52 Byron, Heine, Murger,
Musset, ( , Pulci Berni,
humoristes 18 ., Casti),
Richter , 1994, 279,
,
.
, De Sanctis, 1879, 320
: Dico forme, e non forma. [] le forme sono lespressione, lo stile, il colore. Non veggo altre forme dellarte che queste: semplicit, eleganza,
spirito. , :
Ma quando lartista, in ci che si presenta, trova un che di contrario a questideale
delle forme, quando invece della semplicit trova il cinismo, quando invece delleleganza trova il plebeo, la contraddizione tra quello che trova e quello che sente produce
quel fenomeno irresistibile che il riso; non il riso sciocco che vede contraddizione
dove non , ma il riso dello spirito che la sente e la gitta fuori in un motto, in un frizzo
che comunica il riso. Questa la fonte dello spirito, caricatura, ironia, sarcasmo,
umorismo.
, , 2008, 363-364,
.
, , ,
[],
( 1880, , 79): T
, .
(368).
53 , 2008, 111,
, .
615
,
, ,
[] 54.
, 2003 : . , I.
(1857-1901), , .
, 1988 : . , , .
, , , 275-279.
, 2008 : . , .
<>. - , .
165, . 1819, 343-368.
, 2007 : E. ,
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_____. 2009 : E. ,
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In the given paper we examine how particularly the Platonic issues served
a source of inspiration and reflected in the texts of modern Greek poetess
Katerina Anghelaki-Rooke. Through the cross-cultural search and interdisciplinary approach we come to a complex and problematic relationship between the classical Greek philosophical notions, myth, tradition
and subjective female mythmaking without rooting deeply into historical
circumstances accurately examined by Karen Van Dyck in Kassandra and
the Censors published in 1988.
We are going to follow three main philosophical axis points that
construct the article: the soul, the mimesis and the cave. But first of all, a
small introductory note about the writer.
Born in 1939 Katerina Anghelaki-Rooke started to be published at
an early age, produced three complete chronological volumes of texts,
passed through the fall of the military regime in 1967-1974, witnessed first
women right to vote, to divorce and to work in the army or police along
with the subsequent changes within the women society. Except from the
gender question, there can be seen platonic traces that mark some texts
of Rooke that would not be so peculiar if not the conjunction with multiple literary tends such as Greek surrealism, romanticism, modernism,
Russian acmeism and postmodernism.1 Karen Van Dyck places in one line
1
We would like to add to the list one more poetic dialogue with Anna Akhmatova, an
acmeist writer at the beginning of her fame. Wed rather not speak here of the influence
but the atmosphere of the circulation of the ideas.
When giving birth to the poem Anghelaki-Rook is like having made a life-length trip
underground with Dante full of sorrow and puts inside the stanza with the intonation of
Akhmatova:
Only God knows
From what amount of tears
Comes uncontrolled
The verve of death... (Anghelaki-Rooke 1999: 73)
(, 9-12 . 2010):
( 1 2 0 4 ) , (ISBN
978-960-99699-4-9) 2011 (www.eens.org)
Ganna Prosiannykova
756
1/ the Soul
In Phaedrus 1981, probably written during one of her trips to America
the poetess draws an archaic picture framed into the modern world: high
on the rocks instead of the eagles nests the steel houses of the rich. She
depicts an America poisoned with matter using the word
probably hinting on Socrates biography (Anghelaki-Rooke 1998: 112-113):
Here in an America
Poisoned by matter
The day was adorned
With ancient beauty
And an unexpected
Representative of Plato,
Classically proportioned,
Was reciting his soul
To a lame woman who had learned
Passion from the evergreens.
The music sounds in unison with the words of Akhmatova:
If only you knew what trash gives rise
To verse, without a tinge of shame. (Akhmatova 2000: 13)
One more poem of Rooke The third summer or the catastrophe is full of the anticipation of the inevitable storm to come which she depicts in the furniture getting mad
just as it is written by Akhmatova in her Three autumns where the rain is coming as
if to bring death (Anghelaki-Rooke 1998: 154-156). Nature, myth and gender play a
big role in depicting the feelings and the inner world of the authors, as well as time and
memory theme. The inscription of memory as a connection to the past and sorrow are
common for the two writers. All these poetic interconnections can be a basis for the
further critical analysis.
757
By the end of his life Socrates was arrested as goes or pharmakeus (trans.
as charlatan, magician, wizard) that had to use pharmacon (medicine,
drug or poison) in the end. Jacques Derrida noted in his Dissemination
that Socrates in the dialogues of Plato often has the face of pharmakeus
(Derrida 1989: 117-119). This is the name Diotima gave to Eros, thus
deconstructing the role of Socrates giving him a new role of a magician of
logos with his philosophical contemplation of pure ideas through the desire
for the eternally beautiful, who is neither god nor man, neither immortal nor mortal, neither living nor dead. Also, it doesnt seem to be an accident that Rooke uses the phrase (poisoned
by the matter) in her text. Aristotle used the word for something
that underlies change of a form, receives actuality from the form, but has
no activity or actuality in itself, like Plato considered the matter to be a
substrate adversarial to the things ideas. Socrates took cicuta to change the
form, to poison his body in order to set his soul free from it and to go back
to the magical world of true ideas.
Mark Edmundson marks that Socrates systematic philosophy <>
sublimates the accidental into the essential 2. May it be the method a poetess uses while writing? Lets see closer.
This makes us think about a hidden hint inside the poem of AnghelakiRooke who continues to play with the words and to knit the intricate
intrigue around one of the most famous of Platos dialogues and classically
proportioned Socrates protagonist figure inserting the love images:
And so theres an age-old explanation
For the uncontained sorrow of love
When, frenzied and blind,
The soul labors to grow wings.
The bones oscillate,
The air cavities are filled
By a different substance; an
Image takes shape on the fibres..
The image shapes while penetrating into a different substance that
makes the wings grow in this combination of Ludos and Eros, as we would
call it. In Socrates speech on the forth type of obsession we read: When the
2
758
Ganna Prosiannykova
soul <...> is beginning to grow wings <> she admits a flood of particles
streaming therefrom that is why we speak of flood of passion whereby
she is warmed and fostered; then has she respite from her anguish, and is
filled with joy (Plato 1973: 497-498). Besides, Plato depicts in a form of a
myth the impression the subject of beauty gives to a lovers body by making
the soul grow wings, while watching:
The roots of wings grow strong,
The feathers multiply,
And the immortal monkey of infinity
Gains new heavens with every kiss.
Here we will make a small stop. The prehistory of the statement above
about the monkey of infinity goes back to Aristotles On Generation and
Corruption, Metaphysics and Ciceros De natura deorum, making it immortal through Pascal and Swift and then, after making circle, finally towards
the beginning of the 20th century, through mile Borel with the concept of
dactylographic monkeys in her book on the theory of probability (1909)
where she states that a monkey hitting keys at random on a typewriter
keyboard for an infinite amount of time will almost surely type a given
text in Bibliothque nationale de France (National Library). The latter the
English eventually replaced by all collected works of William Shakespeare
while using the phrase. By the end of the XXth century the theory resurrected in The Simpsons and The Hitchhikers Guide to the Galaxy, plays,
short-stories, monkey Java simulator and even the true experiment in the
zoo in 2003. Still, the immortality of Rookes monkey probably has to do
a lot with an essay The Total Library (1939) written by Jorge Luis Borges
where he adds in the footnote to the theorem that strictly speaking, one
immortal monkey would suffice i.e. suggesting that to insist on both infinities is excessive (Borges 2001: 215).
In this context, an age-old explanation/ for the uncontained sorrow of
love/ from Anghelaki-Rookes viewpoint can be the random combinations
of feelings, the letters typed by an immortal monkey, that for real are totally
homogeneous and their possible arrangements only differ in names and
order we endow to them. The dualistic picture opens to us: the mechanization of the soul in constant motion with all its cavities that are filled
by a different substance as the reaction on a physical beauty along with the
probability of its occasional impact on the monkey which can suddenly type
something worth. Thus, the soul being immortal because it is moving, gives
the movement to something else being moved by the latter. The monkey
759
Ganna Prosiannykova
760
The theme of body goes through the majority of the texts of Rooke.
According to Orphics and Pythagoreans the body is considered to be a
prison of soul, and the soul the immortal substance (that coincides with
the idea formulated by Plato in his Phaedo). In Phaedrus the extraterranian origin of the soul is told in a form of myth about its wingful nature
and its fall onto the earth and its following transformations inside a body.3
The poem ends with the dawning of the day and a renewed image of the
middle-aged woman, probably that very lame woman we have seen in the
beginning of the poem who had learned/ passion from the evergreens. It
can be the mirror reflection of a probable sexual affair with changing of the
sex of the protagonist from male into female one and creating the female
perception of the Platos text by putting it into conditions of modernity. The
author deconstructs the image of Phaedrus itself, turns it from a young boy
into a middle-aged woman and on the contrary makes Plato be a youngster.
Or visa versa. It is not quite clear who is who; the author vigorously destabilizes the gender:
In the cement-walled park
The impassioned day bleeds
And the middle-aged woman
With the image of the young lover
Freshly engraved on her breast
Digs a crypt in the earth
To bury herself.
In the end, Anghelaki-Rooke marries the philosophical notions with
the gender theme and the motif of sorrow and non-shared love, i.e. with
agenda themes frequently noticed in the womens poetry. In this respect,
E. Douka-Kabitoglou notes: The emotional desolation of women locked in
regrettable relations surfaces constantly in poetry where we find references
to a buried self and poetic power, both in danger of disappearing under the
multiple pressures of gender roles (Kabitoglou 1998: 19-47).
3
In this concern, Page duBoios speaks out an interesting thought of Platos positioning of
a woman in Phaedrus. The body of a woman comes out to be an unfortunate material
necessity while the real philosophy penetrates and gives birth to true ideas through the
mind and avoids the passage through the females body (Page duBoios (1993). Sewing
the bodies: metaphors of the female bodies in ancient Greece in Ritual, power and the
body: historical perspectives on the representation of Greek women, ed. C. Nadia Seremetakis, NY: Pella Company, p. 92.
761
2/ the Mimesis
The above mentioned tendency of role change has also to do with the
Aristotelian notions of imitation and representation, copy and original. It
is notable here that Karen Van Dyke, in parallel with Anghelaki-Rooke,
outlines imitation in The Cake of Rea Galanaki that also has to do with
rather unclear change of gender roles in the fist two parts of the book, so that
we cannot understand where male or female part is, besides the researcher
stresses on post-surrealistic source of Galanakis inspiration explaining this
phenomenon (Dyck 1998:153-154).
In Anghelaki-Rookes Monastic two kinds of mimesis are noticed
(Anghelaki-Rooke 2008: 74):
And as the polar bear
With her bodys fat vision
Endures the cold by imitating death
In her frozen hole,
the monks soul
In the grey sack of his mind
Imitates the absolute
In order to endure life.
Here we deal with platonic mimesis as imitative, pale image or imperfect
copy of accurately representable Being where the soul is again the prisoner
of body and Reason because it is obliged to imitate in order not to notice the
limits of life. Somewhere between art and reality, Rooke carries the image
of mimicry through the imitative character of the soul, a polar bear, who
imitates death. The author is searching for her own truth using strategic
essentialism, the concept of postcolonial and feminist theory, that articulates the ideological formation (which constructs a woman) by measuring
silences into the object of investigation.4 Creating the new language and
presenting a new imperfect image of Yanousa-bear, she undermines the
stereotype and breaks the silence. Yanousa wants to know how it is to be a
man, to be in his shoes, to imitate him in order to understand and obtain
knowledge. From the male side, Plato himself speaks to us through the voice
of Socrates, thus being reflection of the latter, imitating his thoughts and
imagining his probable reactions. Another example is Socrates speaking
4
The term was coined by Gayatri Chakravorty Spivak and later interpreted by Luce
Irigaray (Spivak 1988: 271-313).
Ganna Prosiannykova
762
from the name of Diotima in Symposium and in this aspect Pages deBois
characterization of Platos phallic position does not coincide and, moreover, surprisingly seems to be antithetic. This situation can be characterized
by the words of an Italian feminist Adriana Cavarero who reflects on the
image of Diotima in Platos dialogues: Femininity itself belongs structurally to Socrates and Platos philosophy. In other words, the works of Plato
and Socrates seem marked by mimetic desire for female experience. The
pregnant, birth-giving male, like the male who practices midwifery, stands
as an emblematic figure of true philosophy (Cavarero 1995: 92).
Now going back to the theme of the body. Adriana Cavarero through the
prism of symbolic metaphor of Penelope used in Phaedo marks the absurd
in undoing the shroud that Penelope is weaving from the philosophical
point: The soul of philosophic man will reason as follows: if it is the task
of philosophy to untie the soul from the body, then the soul itself, untied
from the body should not return to prior pleasures and pains, nor deliver
itself to their chains, thereby doing Penelopes endless task, as she weaves
and unweaves her cloth. Rather it should secure protection from these, by
following discourse [logismos] and always keeping within it, by contemplating truth, the divine and what is not in appearance, and being nurtured by
it. The soul constantly unties from the body in order to contemplate the
pure ideas and waits for the ultimate untying originated in death. Women,
however, are unaware of the untying the body from the soul (that is the true
philosophy), but weave together what philosophers have undone (Cavarero
1995: 11-31).
What we see in the cycle of the poems the Penelopes symbol is used
(Penelope says, The Suitors, the Other Penelope) is precisely the
deconstruction of these contradictory actions. Rookes Penelope of our
times decides not to weave, but to write, Writing something/ erasing and
being erased/ under the weight of the word in order to cut with words the
threads that bind (Penelope says). She feels absence from her life leaving her body to write all the sorrow, untying the soul in order to reach her
original nostalgic home full of Odysseuss love. She doesnt long for immortality, though death is not a threat to her. She is contemplating, separating
philosophy from the body only for a while, reaching the essence of (her)
self by waiting (The Suitors).
In another poem Iphigenias refusal, Anghelaki-Rooke almost like
ancient Stesichorus5 rewrites the myth of Iphigenia, who refuses to sacrifice
5
763
herself in the name of Trojan War, and thus prevents it: Iphigenia refused./
for love, she said (Anghelaki-Rooke 1997: 141). We find the three lines of
ancient Palinode in Phaedrus where Socrates changes his mind and speech
into another stream, to the poetical figures, being afraid of blindness the
god Eros can send to him for the previous words. She did it for those who
have once begun the heavenward pilgrimage may not go down again to
darkness and the journey beneath the earth, but they live in light always;
happy companions in their pilgrimage, and when the time comes at which
they receive their wings they have the same plumage because of their love
this is the way Plato is using poetry in prose to praise the divine power of
Eros in one of his best Socrates speeches.
Anghelaki-Rooke rewrites the women stereotypes but in non-aggressive
way, enduring them with strength and independent opinion, bringing them
from the supplementary to the same historical role the male always played.
These rewritings of past literary topoi in nostalgic notes seem to go hand in
contemporary feminist tendencies. (See Magdalene, the vast mammal as
well as the above mentioned Penelope poetic cycle).
3/ the Cave
In her texts Rooke dwells near the eternal. The immortality of the soul,
untouched by death, has already removed death from the dimensions of life
and leaves it to the body.
In the poem The Mystic the poetess starts observing the transformations of the cave she descends following the mystic in white clothing, a
sponsor of unanswered questions and there stands another creature the
defrayer of incomprehensible. The author tells us that she has skipped
something very important before [she] was born by time and day and to
understand why it happened so, she ought to walk all the way down the
cave which instead of a mouth had a sky-hole and to get the answer from
the creature, or an oracle, let us put it so.
We remember from Plato, that the walls of the cave are the sky and
the fire up the heads of the caves inhabitants is the symbol of the Sun, the
things outside the cave are the ideas, and the sun outside the cave is not
the mans hand-making. According to Plato, while coming out of the cave a
man is able to comprehend the incomprehensible and to change if his eyes
are ready for the sun light and the soul is strong (Plato 1992).
Ganna Prosiannykova
764
765
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Anghelaki-Rooke, Katerina (1997). 1963-1977 (Poems 1963-1977).
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