Images of Sculptures in Poetry of Giorgis Manousakis, Classica Cracoviensia XIX (2016), 5-14. (original) (raw)

The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks' relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900Seferis ( -1971, as well as Yannis Ritsos (1909Ritsos ( -1990 frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis from his collection "Broken Sculptures and Bitter Plants" (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis' metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet's attitude to the classical legacy.

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Mapping the symbol of the statue in Ritsos' short poems

Byzantine and Modern Greek Studies, Volume 36, no. 1, 2012

A fi rst attempt is made here to map the presence of the symbol of the statue in Ritsos' short poems. Starting from his early work and reaching the years of the military dictatorship, the main line of the argument is that references to sculpture become signifi cant in Ritsos' poetry after the 1960s and culminate in the period of the Junta. This is attributed to Ritsos' subtle reaction to the regime and its use and abuse of the cultural heritage of ancient Greece in a context of propaganda and oppression. This response makes Ritsos' use of the symbol of the statue utterly distinctive.

SMEARED RELIEFS: Things and images in ancient Greek culture [BOOK ABSTRACT]

The book deals with an extremely important fragment of ancient Greek culture (9 th-4 th centuries BCE) in which not only things were transformed into images, images into ideas, but iconicity, hitherto a form of interactivity, became visuality. The analysis of this complex process which occurs at the intersection of research areas such as anthropology of things and anthropology of images is the main objective undertaken in this study. The relationship between things, iconicity, imagery and visuality is a specific, yet paradoxically little recognized feature of ancient Greek culture that determines the entire Euro-Atlantic world that followed. The research I am undertaking is positioned in the specific area of tangency of things, images, and meanings; it is oriented not so much towards monument but rather their cultural habitats. They are analyzed above all from the perspective of philosophy of culture and anthropological history, which tells the story of how much human thinking and perception change, and how little the very production and visual forms of things themselves change. I treat iconicity as a non-obvious phenomenon that is not permanently associated with imagery and visuality, acts of representation, or making things visible. In Smeared reliefs the name of Fidias is mentioned only once. His totemic works were left out. In the case of Polyclet, the figure of Dorifors becomes not so much an object of analysis in the field of art history, iconography or aesthetics, but a pretext for discussing the entanglement of the iconic dimension of the canon in social games of exchange. I avoid approaching iconic production as a special type of activity such as art. For issues related to iconicity, imagery, and visuality, a small statue of Mantiklos, a scene on an amphora from Eleusis by an unknown painter, or anonymous relief pitos from Mykonos turn out to be much more important than monumental chryselephantines. Thus, it is a kind of cultural history without names, or at least one that tries to avoid the attributionism typical for classical archaeology. This book is also an attempt to "step out of the museum", out of the cultural space perceived as an apothēkēa "repository" of monuments. I try to bring the ancient Greek culture closer not so much through physical objects, but rather through processes involved in their production and use. This is mainly the result of the concept of culture that I have adopted, i.e. that it is not a collection of things but rather a set of competencies and skills formed under the influence of various social interactions as well as a way of processing information maintained and transmitted within a specific community. Conceptual Apparatus Iconic facts or artefacts I use the term iconic fact (artefact), thus avoiding the notion of an image, plastic object, or work of art that is a product of metaphysical thinking. Unlike archaeological artefacts (most often interpreted as finished objects having measurable physical properties and a practicaltechnical function or purpose), artefacts (e.g. agalmata, anathēmata, andriantes, korai) are not only objects, but also activities, practices, and social games associated with them, as well as their worldview motivations. Such an understanding of iconic facts as complex entities is related to the notion of transduction by Gilbert Simondon, affordances by James J. Gibson, assemblages by Manuel DeLanda, image-objet by Jérôme Baschet, or image-act by Horst Bredekamp. Eikotopias Eikotopias are dynamic "artefact places" and their cultural habitats. The place in this case, however, is not a space, a capacity, but rather a mode of production and use of the iconic. Eikotopias are a concept related to Theodor Adorno constellations, in which learning about objects always involves learning the processes these objects have accumulated in themselves. Their status is thus constantly (re)constructed by the variability of human thinking. Eikonomy Eikonomy is a cultural space of exchange that encompasses those games and social practices whose essential element is iconicity; thus, it is not the modality of artefacts as such, but rather their cultural configurations that are being studied. Heidegger's handiness (Zuhandenheit), the state of being an object for something (Um-zu) is also a part of the space of culture understood actionally. Therein iconic facts are perceived agentively, as tools, things at hand or at one's disposal. The culture of chōros Chōros culture is the culture of bonding and making something common, that is achieved through spontaneous and practical thinking. An element of that kind of thinking is, first of all, measuring that is construed as merging and likening, admiringit is the Telemachian attitude and orientation to states of things and actions (the verbness of culture). The culture of diakrisis Diakrisis culture is the culture of separation that develops within the framework of metaphysical and theoretical thinking. It is associated with Socrates' discursive attitude, the orientation toward instrumentalization of the world, and reification (the nounness of culture). Visual reduction Visual reduction is a state in which iconic elements are subordinate with regard to other elements, non-iconic factors and aims. Such reduction is based on the manipulation of iconicity: displaying and concealing, acting and affecting.

Between tradition and appropriation: mythical method and politics in the poetry of George Seferis and Yannis Ritsos

Venerating the past in the form of tradition and adapting or appropriating it for modern purposes could be seen as two modes of engagement with antiquity, involving a certain hierarchy, either privileging the authority of the past or assigning priority to the present in radically recasting the ancient material. This article will explore whether in the interstices between tradition and appropriation it is possible to position/locate a third approach which would not involve a reverence for the past or radical revisioning of the classical material but could generate a dialogue between source and adaptation, with the aim of encouraging their mutual illumination. It will consider the extent to which this dialogic or interactive mode of classical reception has proved more appealing to modern Greek poets dealing with conceptions of history, time and politics and explore its epistemological implications by focusing on 'mythological' poems by George Seferis and Yannis Ritsos that allude to the political developments of the period in which they were written and engage with the past in different ways.

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