Á. ÐÅÑÉÏÄÉÊÏ ÓÕÃÊÑÉÓÇ
Ôåý÷ïò 1, Áðñßëéïò 1989
Ôåý÷ç 2-3, ÍïÝìâñçò 1991
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Ôåý÷ïò 4, Éïýíéïò 1992, ÌíÞìç Ê.È. ÄçìáñÜ
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Ôåý÷ïò áñ. 5, ÄåêÝìâñéïò 1993
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Ôåý÷ïò áñ. 6, Éïýíéïò 1995
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Ôåý÷ïò áñ. 7, Éïýíéïò 1996
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Ôåý÷ïò áñ. 8, ÍïÝìâñéïò 1997
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- ×ÁÑÏÕËÁ ÍÉÖÔÁÍÉÄÏÕ
Óôïé÷åßá ãéá ìéá ÐïéçôéêÞ ôïõ ÅëÜ÷éóôïõ: Íßêïò ÃáâñéÞë Ðåíôæßêçò
êáé Georges Perec
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Ôåý÷ïò áñ. 9, Ïêôþâñéïò 1998
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Ôåý÷ïò áñ. 10, ÍïÝìâñéïò 1999
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Æ.É. ÓÉÁÖËÅÊÇÓ
Hans Bertens and Douwe Fokkema (eds.), International Postmodernism. Theory and Literary Practice. Amsterdam / Philadelphia, 1997
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140 |
Z.I. SIAFLEKIS
Beate Muller, Parody: Dimensions and Perspectives, Amsterdam - Atlanta, GA 1997
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WILLI BENNING
Karl Heinz Bohrer, Die Grenzen des Asthetischen, Munchen - Wien, 1998
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ÃÉÙÑÃÏÓ ÖÑÅÑÇÓ
Gilbert Durand, Introduction a la mythodologie. Mythes et societes, Paris, 1996
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ÓÏÖÉÁ ÍÔÅÍÉÓÇ
ÊõñéÜêïò Íôåëüðïõëïò, ÐáéäéêÜ êáé ÍåáíéêÜ Âéâëßá ôïõ 19ïõ áéþíá, ÁèÞíá, 1995
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Ôåý÷ïò áñ. 11, ÍïÝìâñéïò 2000
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Æ. É. ÓÉÁÖËÅÊÇÓ
Franz K. Stanzel, Èåùñßá ôçò áöÞãçóçò Theorie des Erzahlens, ìåôÜöñáóç: ÊõñéáêÞ ×ñõóïìÜëëç-Henrich, Èåóóáëïíßêç, University Studio Press 1999
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ÁÍÍÁ ÊÁÔÓÉÃÉÁÍÍÇ
×Üñçò Ðëïõìßäçò, ÏñåóôåéÜäá, Komal, Êùíóôáíôéíïýðïëç, 1999
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Ôåý÷ïò áñ. 12, Ïêôþâñéïò 2001
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ÅËÅÍÁ ÊÏÕÔÑÉÁÍÏÕ
ÄçìÞôñçò Ôóáôóïýëçò, Ç ãëþóóá ôçò åéêüíáò, ÓïõññåáëéóôéêÜ ðáßãíéá êáé êïéíùíéïóçìåéùôéêÝò áíáãíþóåéò ìå áöïñìÞ ôç öùôï-ãñáöÞ ôïõ Raoul Ubac, ÅëëçíéêÜ ÃñÜììáôá, ÁèÞíá 2000
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ÉÙÁÍÍÁ ÏÉÊÏÍÏÌÏÕ-ÁÃÏÑÁÓÔÏÕ
Anastasia Daskarolis, Die Wiedergeburt des Sophokles aus dem Geist des Humanismus. Studien zur Sophokles-Rezeption in Deutschland von Beginn des 16. bis zur Mitte des 17. Jahrhunderts, Tubingen (Niemeyer) 2000 (Fruhe Neuzeit, ôüì. 55)
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ÌÁÉÇ ÓÅ×ÁÌÐ
ÃéÜííçò Ç. ÉùÜííïõ, ×ùñï÷ñïíéêÜ óôçí ðïßçóç, Åêäüóåéò Êáóôáíéþôç, Äïêßìéï, ÁèÞíá 2000
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Ôåý÷ïò áñ. 13, Ïêôþâñéïò 2002
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ÁÍÍÁ ÔÁÌÐÁÊÇ
Comparative Literature. Issues and Methods / La Litterature comparee. Questions et methodes. Editor: Lisa Block de Behar, Montevideo 2000, p. 272
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GABRIELLA MACRI
ÃåñÜóéìïò Æþñáò, Risonanze italiane nel Mar Ionio. Roma,Vecchiarelli, Italo-Hellenica, 2001, p. 173
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ÃÉÙÑÃÏÓ ÖÑÅÑÇÓ
Nouvelles ecritures francophones. Vers un nouveau baroque? Sous la direction de Jean Cleo Godin. Les Presses de l' Universite de Montreal. Coll. «Espace litteraire», Montreal 2001, p. 444
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Ôåý÷ïò áñ. 14, Ïêôþâñéïò 2003
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Ôåý÷ïò áñ. 15, Ïêôþâñéïò 2003
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| ÅÊÄÇËÙÓÇ ÐÑÏÓ ÔÉÌÇÍ ÔÏÕ ÅÌÌÁÍÏÕÇË ÊÑÉÁÑÁ |
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×. Ì. ÍÉÖÔÁÍÉÄÏÕ
Ðñïò ìéá ðïéçôéêÞ ôïõ óþìáôïò: Evi Voyiatzaki, The body in the Text: James Joyce's Ulysses and the Modern Greek Novel
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ÄÏÎÁ ÄÁÖÍÇ-ÌÅÔÁÎÁ
ÊñéôéêÞ ðáñïõóßáóç ôïõ Ýñãïõ ôïõ Èüäùñïõ ÃñáììáôÜ Ôï Åëëçíéêü ÈÝáôñï óôïí 20ü áéþíá. ÐïëéôéóìéêÜ ðñüôõðá êáé ðñùôïôõðßá
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ÏÕÑÁÍÉÁ ÐÏËÕÊÁÍÄÑÉÙÔÇ
Mary Roussou-Sinclair, Victorian travellers in Cyprus: A garden of their own
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Ôåý÷ïò áñ. 16, ÍïÝìâñéïò 2005
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- ×. Ì. ÍÉÖÔÁÍÉÄÏÕ
Ï ÉùÜííçò ÓõêïõôñÞò ùò èåùñçôéêüò ôçò ëïãïôå÷íßáò
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ËÇÔÙ ÉÙÁÊÅÉÌÉÄÏÕ
Z. I, Siaflekis, La Relation Comparative, Interferences et transitions dans la modenite litteraire
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ÅÕÇ ÐÅÔÑÏÐÏÕËÏÕ
Angelika Corbineau-Hoffmann, Einfuhrung in die Komparatistik
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Æ. É. ÓÉÁÖËÅÊÇÓ
Mediterranee, ruptures et continuites
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Æ. É. ÓÉÁÖËÅÊÇÓ
Âßêôùñ ÉâÜíïâéôò, ÌåôáöñáóåïëïãéêÜ
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Ôåý÷ïò áñ. 17, ÍïÝìâñéïò 2006
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GABRIELLA MACRI
Ç óõìâïëÞ ôïõ ÃåñÜóéìïõ Æþñá óôç ÓõãêñéôéêÞ Ãñáììáôïëïãßá. ÃåñÜóéìïò Æþñáò, Éôáëïß ëïãïôÝ÷íåò óôï Ýñãï ôïõ ÐáëáìÜ
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ÂÉÊÕ ÐÁÔÓÉÏÕ
Ç áíáóýíôáîç ôçò ËïãéêÞò. Ð. Íïýôóïò, Íåïåëëçíéêüò Äéáöùôéóìüò. Ôá üñéá ôçò äéáêéíäýíåõóçò
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Ôåý÷ïò áñ. 18, ÄåêÝìâñéïò 2007
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ËÇÔÙ ÉÙÁÊÅÉÌÉÄÏÕ
Pierre Brunel, Don Quichotte et le roman malgre lui, Cervantes, Lesage, Sterne, Thomas Mann, Calvino
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Ôåý÷ïò áñ. 19, ÄåêÝìâñéïò 2008 |
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ÉÖÉÃÅÍÅÉÁ ÌÐÏÔÏÕÑÏÐÏÕËÏÕ
ÂáóéëéêÞ ËáëáãéÜííç, ÏäïéðïñéêÜ ãõíáéêþí óôçí ÁíáôïëÞ
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ÂÁÓÉËÉÊÇ ËÁËÁÃÉÁÍÍÇ
Anissa Talahite-Moodley (ed.), Problematiques identitaires et discours de l' exil dans les litteratures francophones
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Ôåý÷ïò Áñ. 20, ÖåâñïõÜñéïò 2010
ÐÅÑÉÅ×ÏÌÅÍÁ
| Áðü ôåý÷ïò óå ôåý÷ïò. ÅðÝôåéïò. |
5 |
- ÅÕÑÉÐÉÄÇÓ ÃÁÑÁÍÔÏÕÄÇÓ
ÅëëçíéêÞ ðïßçóç êáé êéíçìáôïãñÜöïò. Ôï ðáñÜäåéãìá ìéáò óýãêñéóçò: ÔÜêçò Óéíüðïõëïò, Íåêñüäåéðíïò - Alain Resnais, Hiroshima, mon amour.
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- ÈÁÍÁÓÇÓ ÁÃÁÈÏÓ
Áðü ôï êåßìåíï óôçí ïèüíç: Æ, öáíôáóôéêü íôïêéìáíôÝñ åíüò åãêëÞìáôïò ôïõ Âáóéëéêïý êáé Æ ôïõ ÃáâñÜ.
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- PASCAL VACHER
Lectures et voix litteraires dans Pierrot le fou, de Jean-Luc Godard.
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- ELENA CAPPELLARO
H ðñþôç íåïåëëçíéêÞ ìåôÜöñáóç ôïõ ÂïêêÜêéïõ.
Ï Èçóåýò êáé ïé ãÜìïé ôçò Áéìéëßáò (1340-1370).
Ìéá õðüèåóç ãéá ôç ÷ñïíïëüãçóç.
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- ÅËÅÕÈÅÑÉÏÓ ÌÕÓÔÁÊÁÓ - ÁËÉÊÇ ÔÓÏÔÓÏÑÏÕ
Ï Äéïíýóéïò Óïëùìüò êáé ïé åõñùðáßïé åéêáóôéêïß êáëëéôÝ÷íåò:
ÐáñÜëëçëåò åéêüíåò ôçò ÅëëçíéêÞò ÅðáíÜóôáóçò.
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- ÁÍÍÁ ÊÁÔÓÉÃÉÁÍÍÇ
Ï ÂÜãêíåñ óôï ðñþéìï áöçãçìáôéêü Ýñãï ôïõ Íßêïõ ÊáæáíôæÜêç.
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- ×ÑÇÓÔÏÓ ÌÐÉÍÔÏÕÄÇÓ
Leopardi, ÊáæáíôæÜêçò êáé ôï ôáîßäé ôïõ ×ñéóôüöïñïõ Êïëüìâïõ.
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- ÉÖÉÃÅÍÅÉÁ ÌÐÏÔÏÕÑÏÐÏÕËÏÕ
Ï áðüç÷ïò ôçò Åvolution creatrice ôïõ Bergson óôçí êßíçóç ôùí éäåþí
óôç Ãáëëßá êáé ç õðïäï÷Þ ôïõ öéëïóüöïõ óôçí ÅëëÜäá
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- ÓÔÅÓÇ ÁÈÇÍÇ
ÓôñáôÞò Ôóßñêáò- ÑåíÝ ÅôéÜìðë. ¸íá ìéêñü êåöÜëáéï
áðü ôçí éóôïñßá ôùí ëïãïôå÷íéêþí áíôáëëáãþí.
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ÉÖÉÃÅÍÅÉÁ ÌÐÏÔÏÕÑÏÐÏÕËÏÕ
Ãëþóóá êáé éóüôçôá ôùí öýëùí óôç óýã÷ñïíç Ãáëëßá:
ðïëéôéêïúäåïëïãéêïß ðñïâëçìáôéóìïß.
Ìáñßá ÌåíåãÜêç, Ëïõêßá Åõèõìßïõ, ¼ôáí ïé ãõíáßêåò
ôçò Ãáëëßáò áíáæçôïýóáí ôï üíïìá... Þ ãéáôß ç ãëþóóá
ôéò Þèåëå áüñáôåò
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ÅÕÇ ÐÅÔÑÏÐÏÕËÏÕ
"Ç÷ïýò ×þñá". ¸íá óõãêñéôïëïãéêü ôáîßäé ìÝóá áðü ôÝóóåñéò
áéþíåò ëïãïôå÷íßáò. Gerald Gillespie, Echoland.
Readings from Humanism to Postmodernism.
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- Ïé óõããñáöåßò ôïõ ôåý÷ïõò
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Ôåý÷ïò Áñ. 21, ÖåâñïõÜñéïò 2011
ÐÅÑÉÅ×ÏÌÅÍÁ
- ÄÇÌÇÔÑÇÓ ÁÑÌÁÏÓ
Ç ïìéëïýóá êåöáëÞ óôçí Ýîïäï ôïõ ïñöéêïý ìýèïõ.
ÅíáôÝíéóç ìéáò ðôõ÷Þò áðü ôç ëïãïôå÷íéêÞ ôý÷ç ôïõ ÏñöÝá
óå óõíÜñôçóç ìå êÜðïéåò áðü ôéò åéêáóôéêÝò ôçò áðïôõðþóåéò
óôïõò íåüôåñïõò êõñßùò ÷ñüíïõò.
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- ÁÍÁÓÔÁÓÉÁ ÁÍÔÙÍÏÐÏÕËÏÕ
Ç üðåñá ùò ôüðïò äéáêáëëéôå÷íéêüôçôáò.
Ç óõíåñãáóßá ôùí Ïýãêï öïí ×üöìáíóôáë - Ñß÷áñíô ÓôñÜïõò
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- ÏËÃÁ ËÁÓÊÁÑÉÄÏÕ
Ëïãïôå÷íßá êáé öùôïãñáößá.
Ï Öùôåéíüò èÜëáìïò ôïõ Roland Barthes.
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- MICHAEL PASCHALIS
"I Remover the Mist that Clouded your Eyes":
Supernatural Vision from Homer to Sikelianos
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- ÁÃÃÅËÉÊÇ ÓÐÕÑÏÐÏÕËÏÕ
ÁéóèçôéêÞ áíáéóèçóßá; Ç ôÝ÷íç ùò áíáéóèçôéêü
óôïí áéóèçôéóìü ôïõ ôÝëïõò ôïõ áéþíá.
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- ÊÁÔÅÑÉÍÁ ÊÁÑÁÔÁÓÏÕ
Õðáñîéóìüò êáé ÊáâÜöçò óôçí õðåñêåéìåíéêÞ ðïßçóç
ôçò õðüóôáóçò ôçò ÆùÞò ÊáñÝëëç.
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- ÄÇÌÇÔÑÇÓ ÁÃÃÅËÁÔÏÓ
Ç åõÜãùãç èåùñßá (åíôüò) ôçò ëïãïôå÷íßáò:
Èåùñßá êáé ëïãïôå÷íßá óôï êñéôéêü Ýñãï ôïõ Ä. Í. Ìáñùíßôç.
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Æ. É. ÓÉÁÖËÅÊÇÓ, ÄÇÌÇÔÑÇÓ ÁÃÃÅËÁÔÏÓ, ÏÕÑÁÍÉÁ ÐÏËÕÊÁÍÄÑÉÙÔÇ
ÅëÝíç Ðïëßôïõ-Ìáñìáñéíïý,
ÓõãêñéôéêÞ Öéëïëïãßá. Áðü ôç èåùñßá óôçí ðñÜîç.
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ÄÇÌÇÔÑÇÓ ÁÃÃÅËÁÔÏÓ, ÂÉÊÕ ÐÁÔÓÉÏÕ, ÁËÅÎÇÓ ÆÇÑÁÓ, ÓÏÖÉÁ ÍÔÅÍÉÓÇ
Ôï äéÞãçìá óôçí åëëçíéêÞ êáé óôéò îÝíåò ëïãïôå÷íßåò.
Èåùñßá - ÃñáöÞ - Ðñüóëçøç
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GABRIELLA MACRI
ÃåñÜóéìïò Æþñáò, Ç Éôáëßá ôïõ Âáóßëç Âáóéëéêïý.
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ËÇÔÙ ÉÙÁÊÅÉÌÉÄÏÕ
Ìéá ðïëõöùíéêÞ ìåëÝôç ôçò èåùñßáò ôçò ëïãïôå÷íßáò.
Marc Angelot, Jean Bessiere, Douwe Fokkema,
Eva Kushner (åðéì.)
Èåùñßá ôçò ëïãïôå÷íßáò. ÐñïâëÞìáôá êáé ðñïïðôéêÝò.
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- Ïé óõããñáöåßò ôïõ ôåý÷ïõò.
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Ôåý÷ïò Áñ. 22, ÖåâñïõÜñéïò 2012
ÐÅÑÉÅ×ÏÌÅÍÁ
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Áðü ôåý÷ïò óå ôåý÷ïò
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¶ííá ÔáìðÜêç
ÓôÝóç ÁèÞíç,¼øåéò ôçò íåïåëëçíéêÞò áöçãçìáôéêÞò ðåæïãñáößáò, 1700-1830. Ï äéÜëïãïò ìå ôéò åëëçíéêÝò êáé îÝíåò ðáñáäüóåéò óôç èåùñßá êáé óôçí ðñÜîç, Éíóôéôïýôï Íåïåëëçíéêþí Åñåõíþí, Åèíéêü ºäñõìá Åñåõíþí 115, ÂéâëéïèÞêç ôçò Éóôïñßáò ôùí Éäåþí - 7, ÁèÞíá 2010, óåë. 576
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Ïõñáíßá Ðïëõêáíäñéþôç
Ernest Renan, ÐáéäéêÝò êáé íåáíéêÝò áíáìíÞóåéò, ÅéóáãùãÞ-ÅðéìÝëåéá ÉöéãÝíåéá Ìðïôïõñïðïýëïõ, Åêäüóåéò Ä. ÊïñïíôæÞò, 2010, óåë. 172
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Ålena Papalexiou
Anna Tabaki & Walter Puchner (eds.), First International Conference. Theatre and Theatre Studies in the 21st Century
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Ôåý÷ïò Áñ. 23, ÖåâñïõÜñéïò 2013
ÐÅÑÉÅ×ÏÌÅÍÁ
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ÂáóéëéêÞ ËáëáãéÜííç
Éphigenie Boutouropoulou, ROSMAPAMON, Maison de Ernest Renan: du passe au present
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Âßêõ ÐÜôóéïõ
Ç íïóôáëãßá ôçò ìíÞìçò êáé ç áñ÷áéïëïãßá ôçò ãñáöÞò. ÃñáöÝò ôçò ìíÞìçò. Óýãêñéóç-ÁíáðáñÜóôáóç-Èåùñßá
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Ôåý÷ïò Áñ. 24, ÌÜñôéïò 2014
Â. ÐÑÁÊÔÉÊÁ ÓÕÍÅÄÑÉÙÍ
ÐñáêôéêÜ Á´ Äéåèíïýò Óõíåäñßïõ ÓõãêñéôéêÞò Ãñáììáôïëïãßáò, Ó÷Ýóåéò ôçò åëëçíéêÞò ìå ôéò îÝíåò ëïãïôå÷íßåò, 28 Íïåìâñßïõ - 1 Äåêåìâñßïõ 1991, ÁèÞíá, Åêäüóåéò Äüìïò 1995
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ÐÑÏÓÖÙÍÇÓÅÉÓ ÊÁÉ ×ÁÉÑÅÔÉÓÌÏÉ |
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Ðñïóöþíçóç ôïõ Áíôéðñýôáíç ôïõ Ðáíåðéóôçìßïõ Áèçíþí ê. Êùíóôáíôßíïõ Åõáããåëßäç |
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Ðñïóöþíçóç ôïõ ÐñïÝäñïõ ôçò ÅëëçíéêÞò Åôáéñåßáò ÃåíéêÞò êáé ÓõãêñéôéêÞò Ãñáììáôïëïãßáò ê. Êþóôá Óôåñãéüðïõëïõ |
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29 |
×áéñåôéóìüò ôçò ÐñïÝäñïõ ôçò Äéåèíïýò Åôáéñåßáò ÓõãêñéôéêÞò Ãñáììáôïëïãßáò ê. Maria Alzira Seixo |
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33 |
Ðñïóöþíçóç ôçò Õðïõñãïý Ðïëéôéóìïý ê. ¶ííáò Øáñïýäá - ÌðåíÜêç |
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ÏÌÉËÉÅÓ |
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ÅììáíïõÞë ÊñéáñÜò, ÁíáìíÞóåéò êáé âéþìáôá áðü ôçí ðñïúóôïñßá ôçò ÓõãêñéôéêÞò Ãñáììáôïëïãßáò óôïí ôüðï ìáò |
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39 |
Jacques Body, Grece antique et Grece contemporaine, ou l' image de la distance historique chez Girandoux, Sartre et Yourcenar |
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49 |
ÅÉÓÇÃÇÓÅÉÓ |
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×áéñåôéóìüò ôïõ Ãåí. ÃñáììáôÝá ôçò Äéåèíïýò Åôáéñåßáò ÓõãêñéôéêÞò Ãñáììáôïëïãßáò ê. Manfred Schmeling |
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63 |
Ãéþñãïò Êå÷áãéüãëïõ, ÍåïåëëçíéêÞ áöçãçìáôéêÞ ëïãïôå÷íßá êáé îÝíåò ðáñáäüóåéò. Ç ðïéêéëßá ôùí «áíáôïëéêþí» êáé «äõôéêþí» óõìâüëùí êáôÜ ôïí 18ï áéþíá |
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67 |
ÅëÝíç Ðïëßôïõ-Ìáñìáñéíïý, Ç íåïåëëçíéêÞ ëïãïôå÷íßá ìÝóá áðü ôç óõãêñéôéêÞ ìáôéÜ ôïõ ÊùóôÞ ÐáëáìÜ |
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85 |
ÖÜíçò É. ÊáêñéäÞò, Ç åöáñìïãÞ ôçò óõãêñéôéêÞò ìåèüäïõ óôç ìåëÝôç ôùí ïìçñéêþí åðþí. Åðéôåýãìáôá êáé ðñïïðôéêÝò |
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99 |
Miguel Castillo Didier, Óôï÷áóìïß ãéá ìéá óôñáôçãéêÞ ìåëÝôç ìåôáîý ôïõ Ýðïõò ôïõ ÄéãåíÞ (Å) êáé ôïõ ðïéÞìáôïò ôïõ Gid |
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107 |
Alexis Eudald Sola, Ï ÊÜñëåò Ñßìðá êáé ç ÅëëÜäá |
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125 |
Robert Jouanny, Ritsos et la France |
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133 |
ÅëÝíç Ôáôóïðïýëïõ-Ðïëõ÷ñïíïðïýëïõ, Ï Ãéþñãïò ÈåïôïêÜò êáé ôï ãáëëéêü ðíåýìá |
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151 |
Jacques Bouchard, La reception des «Maximes» de la Rochefoucauld chez les Grecs au XVIIIe siecle. L' oeuvre des Mavrocordatos |
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169 |
×ñÞóôïò ÐáðÜæïãëïõ, Ç äõôéêÞ ìõóôéêÞ áíôßëçøç ðåñé «ðáãêïóìßïõ áñìïíßáò» êáé «ï íáüò ôçò öýóçò» óôï «Carmen seculare» ôïõ Ä. Óïëùìïý |
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181 |
Caterina Caprinato, ÌáôéÝò óå ìåôáöñÜóåéò ôïõ Alessandro Manzoni êáé ôïõ Giovanni Verga óôá åëëçíéêÜ |
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217 |
ÁèçíÜ ÃåùñãáíôÜ, Ïé áìáñôùëïß êáëüãåñïé ôïõ åëëáäéêïý âõñùíéóìïý |
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233 |
Ôæßíá Ðïëßôç, Äáñâéíéêü êåßìåíï êáé «Ç Öüíéóóá» ôïõ ÐáðáäéáìÜíôç. Ðñüôáóç áíÜãíùóçò |
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253 |
Ãéþñãïò ÖñÝñçò, Ôï ðïëåìéêü ìõèéóôüñçìá óôçí ÅëëÜäá êáé óôçí Åõñþðç |
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271 |
Óüíéá Éëßíóêáãéá, Ï Ê. Ð. ÊáâÜöçò êáé ï óõìâïëéóôéêüò êýêëïò ôïõ ðåñéïäéêïý «Æõãüò» (Ìüó÷á, 1904-1909). ÔõðïëïãéêÝò ðñïóåããßóåéò |
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285 |
Æ. É. ÓéáöëÝêçò, Áðü ôï óýìâïëï óôïí øõ÷éêü áõôïìáôéóìü |
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ÉùÜííá ÊùíóôáíôïõëÜêç-×Üíôæïõ, Ï õðåññåáëéóìüò óôï Ýñãï ôïõ ÍÜíïõ Âáëáùñßôç |
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319 |
ÂÜëôåñ Ðïý÷íåñ, ÅõñùðáúêÝò åðéäñÜóåéò óôçí åëëçíéêÞ äñáìáôïõñãßá ôïõ 19ïõ áéþíá. Ìéá âáëêáíéêÞ óýãêñéóç |
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329 |
¶ííá ÔáìðÜêç, Ðñïóåããßóåéò ôïõ ìïëéåñéêïý Ýñãïõ óôïí áñ÷üìåíï 19ï áéþíá |
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367 |
Èüäùñïò ÃñáììáôÜò, ÄñáìáôïõñãéêÜ ðñüôõðá êáé ðñùôïôõðßá óôï óýã÷ñïíï åëëçíéêü èÝáôñï |
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387 |
Áöñïäßôç Óéâåôßäïõ, Ðåñé ãåíåáëïãßáò ôïõ íåïåëëçíéêïý äñÜìáôïò. Ïé «Íõ÷ôïöýëáêåò», ç «ÔåëåôÞ», ï ÌðÝêåô êáé ï ÉïíÝóêï |
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399 |
¶ëêçóôéò Ðñùßïõ - Angela Armati, Ï Luigi Pirandello êáé ç åëëçíéêÞ êñéôéêÞ |
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413 |
Áéê. Äïýêá Êáìðßôïãëïõ, «Ðñïìçèåýò Äåóìþôçò» / «Prometheus Unbound». Ï ÓÝëëåû áíÜìåóá óôïí Áéó÷ýëï êáé ôïí ÐëÜôùíá |
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ÄçìÞôñçò ÁããåëÜôïò, «Disjecta membra»: Ôï ðïëõöùíéêü ìõèéóôüñçìá. M. Shelley, «Frankenstein» (1818/1831) - Í. Êá÷ôßôóçò, «Ï Þñùáò ôçò ÃÜíäçò» (1976) |
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449 |
Roger Milliex, Ï ÊùóôÞò ÐáëáìÜò ìåôáöñáóôÞò ôïõ «Åëëçíéêïý ýìíïõ» ôïõ ÌéóôñÜë |
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461 |
Ëýíôéá ÓôåöÜíïõ, Ç õðåññåáëéóôéêÞ «ãéïñôÞ» êáé ôï êáñíáâÜëé ôïõ Ðéåññüôïõ. Ï ìïíôåñíéóìüò áðü ôïí Ëáöüñãê óôïí ¸ëéïô êáé óôïí ÓåöÝñç |
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481 |
ÅëÝíç Óêïýñá, Ñßôóïò-Áñáãêüí - ÅëõÜñ. ¸íá ðïéçôéêü áíèñùðéóôéêü üñáìá |
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509 |
Paola Maria Minucci, «To see through the eye». Ôï üñáìá óôçí ðïßçóç ôïõ Blake êáé ôïõ Åëýôç |
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517 |
Íéêüëáïò Ì. ÐáíáãéùôÜêçò, Ôï ðñüôõðï ôïõ «Öáëëßäïõ» |
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529 |
Henri Tonnet, Sources Europeenes de «Leandre» (1834) de Panayotis Soutsos |
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555 |
Anna Zimbone, Ç «ÐÜðéóóá ÉùÜííá» êáé ôï éôáëéêü ôçò ðñüôõðï |
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567 |
Âßêõ ÐÜôóéïõ, Ôï ìõèéóôüñçìá ôïõ ÆïëÜ, ïé áíáãíþóôåò ôïõ êáé ç êñéôéêÞ óôçí ÅëëÜäá (1880-1930) |
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589 |
ÏìéëçôÝò êáé åéóçãçôÝò |
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601 |
ÅëëçíéêÞ Åôáéñåßá ÃåíéêÞò êáé ÓõãêñéôéêÞò Ãñáììáôïëïãßáò, ´ ÄéåèíÝò ÓõíÝäñéï, ÁèÞíá, 8-11 Íïåìâñßïõ 1998, Ôáõôüôçôá êáé Åôåñüôçôá óôç Ëïãïôå÷íßá, 18ïò-20üò áé., 1. Ç ÓõãêñéôéêÞ Öéëïëïãßá óôï êáôþöëé ôïõ 21ïõ áé. ÉÉ. ÉóôïñéêÝò, èåùñçôéêÝò, áéóèçôéêÝò äéáäéêáóßåò, ÐñáêôéêÜ, ÅðéìÝëåéá: ÅëÝíç Ðïëßôïõ-Ìáñìáñéíïý, Óïößá Íôåíßóç, ÁèÞíá, Åêäüóåéò Äüìïò 2000
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13 |
Preface |
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15 |
Avant-Propos |
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17 |
ÅÉÓÁÃÙÃÇ |
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ÅëÝíç Ðïëßôïõ-Ìáñìáñéíïý, Óïößá Íôåíßóç, É. Ç ÓõãêñéôéêÞ Öéëï-
ëïãßá óôï êáôþöëé ôïõ 21ïõ áéþíá - ÉÉ. ÉóôïñéêÝò, èåùñçôéêÝò, áéóèçôéêÝò äéáäéêáóßåò |
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ÌÅÑÏÓ ÐÑÙÔÏ
Ç ÓÕÃÊÑÉÔÉÊÇ ÖÉËÏËÏÃÉÁ ÓÔÏ ÊÁÔÙÖËÉ ÔÏÕ 21ïõ ÁÉÙÍÁ |
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ÅëÝíç Ðïëßôïõ-Ìáñìáñéíïý, Ç ôáõôüôçôá ôçò íåïåëëçíéêÞò ëïãïôå÷íßáò: ¸íá óôáõñïäñüìé åôåñïôÞôùí |
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43 |
Jean Bessiere, De Valery a John Ashbery: Modes de reference, modes de pertinence poetiques: D' um passage du modernisme au post-modernisme |
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59 |
ÁëÝîçò ÆÞñáò, Ç êñßóç ôïõ ìïíôåñíéóôéêïý ðñïôýðïõ óôçí åëëçíéêÞ ðåæïãñáößá ìåôÜ ôï 1975: Áðü ôï õðáñîéáêü äñÜìá óôçí áôïìïêåíôñéêÞ ðáñùäßá |
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71 |
Èåï÷áñïýëá Íéöôáíßäïõ, Ôñüðïé óõãêñüôçóçò ôçò ëïãïôå÷íéêÞò ïìïéüôçôáò |
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83 |
Zofia Mitosek, Penser la difference. La terminologie en theorie de la litterature: Imitatio moderne |
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91 |
Eduardo F. Coutinho, Comparativism and the construction of the discourses on litterature: Theory, criticism and literary historiography |
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103 |
Zulma Palermo, Sur le genotexte litteraire et le sujet culturel |
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115 |
Jeanne J. Smoot, Simone Weil and Mikhail Bakhtin look at the classics: Alterity as aesthetic principle in Homer's Iliad and Virgil's Aeneid |
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125 |
Mario J. Valdes, Identity and alterity in literary history: The comparative history of central east European literary cultures |
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135 |
ÍÜíïò Âáëáùñßôçò, Áõôïíïìßá, ìïíôåñíéóìüò êáé ï ðáíéêüò ôçò ðñïóäïêßáò ôïõ Ýñãïõ |
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145 |
| Maria-Alzira Seixo, La litterature postcoloniale et la pensee de l'autre: Recherche de l'identite dans les univers de la fiction |
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155 |
| Douwe Fokkema, The critical discourse of identity and its literary counterpart |
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165 |
ÌÅÑÏÓ ÄÅÕÔÅÑÏ
ÉÓÔÏÑÉÊÅÓ, ÈÅÙÑÇÔÉÊÅÓ, ÁÉÓÈÇÔÉÊÅÓ ÄÉÁÄÉÊÁÓÉÅÓ |
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Eugene Chen Eoyang, Other as self: Identity as sameness and as difference in poetry |
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175 |
Paul Cornea, «Identite» de l'ouvre litteraire et interpretation |
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195 |
Áéêáôåñßíç ÊáëÝñç, Ôï ýöïò óå ìéá åñãïêåíôñéêÞ åñìçíåõôéêÞ áéóèçôéêÞ ôçò ëïãïôå÷íßáò |
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207 |
Monica Spiridon, Un stereotype de l'identite dans la culture roumaine du X×e siecle: L'Orient et l'Occident |
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221 |
Maria Ciesla-Kotytowska. La specificite du romantisme polonais |
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235 |
É.Á. Óêïýñôçò, Ïéêåéïðïßçóç ôçò åôåñüôçôáò: ÐíåõìáôéêÝò ó÷Ýóåéò Ðáíáãéþôç ÌáôáñÜãêá êáé Luise Colet óôï ðëáßóéï ôïõ öéëåëëçíéóìïý |
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245 |
Sophia Denissi, The ideal "other" as expressed in an English and a Greek nineteenth-century novel for ladies |
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261 |
Svend Erik Larsen, The tacit other: Identity and otherness in two
texts by Henry James |
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273 |
ÄéáìÜíôç Áíáãíùóôïðïýëïõ, Ç áíáæÞôçóç ôçò åôåñüôçôáò ôáïõ Üëëïõ ùò áíáãêáßá ðñïûðüèåóç äéáìüñöùóçò ôçò ôáõôüôçôáò óå ãáëëéêÜ êáé åëëçíéêÜ õðåññåáëéóôéêÜ ëïãïôå÷íéêÜ êåßìåíá |
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287 |
Sylvie Andre. Dire l'autre mieux que lui-meme: un vertige de l'imaginaire francais au debut du XXe siecle |
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303 |
Ina Grabe, The myth of the Rainbow Nation: Colouful diversity in the depiction of identical "others" and "other identities" in contemporary South African writing |
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321 |
Theo D'haen, Revolutionary crossings: Caribbean identities and Caribbean forms |
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335 |
Uchang Kim, Extravagance and authenticity: Romantic love and the
self in early modern Korean literature |
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351 |
ÐåñéëÞøåéò / Abstracts |
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375 |
Ïé óõããñáöåßò ôïõ ôüìïõ É / Authors of volume I |
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395 |
Åðßìåôñï |
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403 |
ÅõñåôÞñéï |
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447 |
ÅëëçíéêÞ Åôáéñåßá ÃåíéêÞò êáé ÓõãêñéôéêÞò Ãñáììáôïëïãßáò, ´ ÄéåèíÝò ÓõíÝäñéï, ÁèÞíá, 8-11 Íïåìâñßïõ 1998, Ôáõôüôçôá êáé Åôåñüôçôá óôç Ëïãïôå÷íßá, 18ïò-20üò áé., 2. Ìýèïé, ÃÝíç, ÈÝìáôá, ÐñáêôéêÜ, ÅðéìÝëåéá: Æ. É. ÓéáöëÝêçò, ÑÜíéá Ðïëõêáíäñéþôç, ÁèÞíá, Åêäüóåéò Äüìïò 2000
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11 |
Preface |
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13 |
Avant-Propos |
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15 |
ÌÕÈÏÉ, ÃÅÍÇ, ÈÅÌÁÔÁ: ÅÉÓÁÃÙÃÇ |
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Æ.É. ÓéáöëÝêçò, ÑÜíéá Ðïëõêáíäñéþôç |
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19 |
ÌÕÈÏÉ, ÃÅÍÇ, ÈÅÌÁÔÁ: ÁÍÁÊÏÉÍÙÓÅÉÓ |
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Pierre Brunel, Identite et alterite en Litterature: Approche mythocritique |
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35 |
¶ííá Âïõãéïõêëßäïõ, Ï ìýèïò ôçò Âáóßëéóóáò ôïõ ÓáâÜ óôï Ýñãï ôïõ Nodier êáé ôïõ Nerval. Ìýèïò õðÝñâáóçò êáé óõãêñçôéóìïý |
|
51 |
Dorothy Figueira, Text-centered myths of Aryan identity |
|
63 |
Athena Coronis, Saturn's Children and Stevan Arbona's stage adaptation of the myth |
|
75 |
Lia Hadzopoulou-Karavia, Les mythes Grecs Anciens dans le theatre contemporain: Les Erinyes sur la scene chez les Atrides: Eschyle, J. Giraudoux, J.P. Sartre, T.S. Eliot |
|
87 |
ÖÜíçò ÊáêñéäÞò, Åëëçíéêïß ìýèïé óôïí Pierre de Ronsard |
|
95 |
Jacques Bouchard, Le mythe canadien dans l'ouvre d'A. Embiricos |
|
105 |
Ëßæõ Ôóéñéìþêïõ, Óêõëßóéá æùÞ |
|
113 |
Georges Freris, L'image de l'autre a travers le roman de guerre |
|
129 |
Rania Polycandrioti, Alterite, intertextualite, litterarite. Lecture(s) et ecriture(s) du voyage litteraire |
|
141 |
Z.I. Siaflekis, La constitution de l'autre dans le discours parodique |
|
155 |
Dimitris Angelatos, Le dialogue conflictuel de la memoire generique et la distance: La Femme de Zante de Dionysios Solomos |
|
167 |
Åõñéðßäçò Ãáñáíôïýäçò, Ï Manzoni, ï ÐïëõëÜò êé ï ÌáñêïñÜò: Ôï êïéíü íÞìá ôçò åðéìíçìüóõíçò ðïßçóçò |
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181 |
Èüäùñïò ÃñáììáôÜò, Åññßêïò ºøåí - ÉÜêùâïò ÊáìðáíÝëëçò: Âñéêüëáêåò - Óôç ÷þñá ºøåí |
|
197 |
¶ëêçóôéò Ðñùßïõ, Ê. ×áôæüðïõëïò, Ï ðýñãïò ôïõ áêñïðüôáìïõ - ¶íôïí ÔóÝ÷ùö, Ïé ôñåéò áäåëöÝò: Ìéá ðáñÜëëçëç áíÜãíùóç |
|
205 |
Ñßôóá ÖñÜãêïõ-Êéêéëßá, ¶ããåëïò Óéêåëéáíüò êáé Saint-Yves
d'Alveydre |
|
215 |
Henri Tonnet, Traits picaresques dans la fiction grecque du XIXe
siecle. Le cas d'Hermilos de Michel Perdikaris |
|
225 |
Calin-Andrei Mihailescu, Exile ain't the same |
|
241 |
×ñÞóôïò ÓáëôáðÞäáò. Ï ÏäõóóÝáò Åëýôçò êáé ï Pierre Jean Jouve |
|
255 |
Gerald Gillespie, Identity and otherness in Joyce's Ulysses |
|
271 |
ÐåñéëÞøåéò / Abstracts |
|
279 |
Ïé óõããñáöåßò ôïõ ôüìïõ 2 / Authors of volume 2 |
|
295 |
Åðßìåôñï |
|
303 |
ÅõñåôÞñéï |
|
347 |
ÅëëçíéêÞ Åôáéñåßá ÃåíéêÞò êáé ÓõãêñéôéêÞò Ãñáììáôïëïãßáò, ´ ÄéåèíÝò ÓõíÝäñéï, ÁèÞíá, 8-11 Íïåìâñßïõ 1998, Ôáõôüôçôá êáé Åôåñüôçôá óôç Ëïãïôå÷íßá, 18ïò-20üò áé., 3. ÌåôÜöñáóç êáé äéáðïëéôéóìéêÝò ó÷Ýóåéò ÐñáêôéêÜ, ÅðéìÝëåéá: ¶ííá ÔáìðÜêç, ÓôÝóç ÁèÞíç, ÁèÞíá, Åêäüóåéò Äüìïò 2001
| ÐÅÑÉÅ×ÏÌÅÍÁ |
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| |
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| Ðñüëïãïò |
|
11 |
Preface |
|
13 |
Avant-Propos |
|
15 |
ÌÅÔÁÖÑÁÓÇ ÊÁÉ ÄÉÁÐÏËÉÔÉÓÌÉÊÅÓ Ó×ÅÓÅÉÓ: ÅÉÓÁÃÙÃÇ |
|
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¶ííá ÔáìðÜêç, ÓôÝóç ÁèÞíç |
|
19 |
Ãéþñãïò Êå÷áãéüãëïõ, Ïé åèíéêÜ/åèíïôéêÜ êáé èñçóêåõôéêÜ «Üëëïé» óôá ðñùôüôõðá íåïåëëçíéêÜ ðåæïãñáöÞìáôá êáé óôéò ðåæÝò ìåôáöñÜóåéò (18ïò áé.-1821) |
|
35 |
ÓôÝóç ÁèÞíç, ÌåôÜöñáóç, ðáñÜäïóç êáé áíáíÝùóç: ôá íåïåëëçíéêÜ óýììåéêôá áíáãíþóìáôá (18ïò áé.) |
|
49 |
Lucia Marcheselli Loukas, Èåùñßá êáé ðñÜîç ôçò ìåôÜöñáóçò óôïí Ä. ÊáôáñôæÞ |
|
67 |
Anna Tabaki, Jeu d'identite et d'alterite a l'ere des Lumieres. L'aventure de la traduction dans le Sud-Est de l'Europe |
|
81 |
Ãéþñãïò ÁíäñåéùìÝíïò, Óõãêñßíïíôáò ôéò ôñåéò ðñþôåò ðëÞñåéò ìåôáöñÜóåéò ôïõ ¾ìíïõ åéò ôçí Åëåõèåñßáí ôïõ Äéïíõóßïõ Óïëùìïý (1825) |
|
97 |
Vicky Patsiou, Constitution nationale et alterite. Le cas de la revue Evropaikos Eranistis (1840-1843) |
|
115 |
Despina Provata, Le discours prefaciel des traducteurs grecs du XIXe siecle: La formation des mentalites |
|
133 |
Áëßêç Ôóïôóïñïý, Ïé åëëçíéêÝò ìåôáöñÜóåéò ôùí ðïéçìÜôùí ôïõ Paul Eluard |
|
147 |
Óüíéá Éëßíóêáãéá-Áëåîáíäñïðïýëïõ, Ïé áéóþðåéïé ìýèïé ôïõ Êñéëüö óôá åëëçíéêÜ ëïãïôå÷íéêÜ óõìöñáæüìåíá ôïõ 19ïõ áé.: ÌåôÜöñáóç êáé áðïäï÷Þ |
|
167 |
Amiya Dev, Translators' location |
|
179 |
Manfred Schmeling, Auto-traduction: Reflexions sur le bilinguisme litteraire et le transfert culturel |
|
187 |
Mihaly Szegedy-Maszak, Translation and canon formation |
|
199 |
Monika Schmitz-Emans, Fictitious translations: Literary reflections upon the tension between identity and otherness |
|
207 |
Sugawara Katsuya, Devising a context: R.H. Blyth's translation of haiku |
|
227 |
Tania Franco Carvalhal, Le meme et le divers: Machado de Assis en France |
|
239 |
Steven P. Sondrup, Bei Dao and the challenge of translating culture |
|
249 |
ÐåñéëÞøåéò / Abstracts |
|
259 |
Ïé óõããñáöåßò ôïõ ôüìïõ 3 / Authors of volume 3 |
|
273 |
Åðßìåôñï / Addendum |
|
281 |
ÅõñåôÞñéï / Éndex |
|
325 |
Ã. ÁËËÅÓ ÅÊÄÏÓÅÉÓ
Expressions et representations litteraires de la Mediterranee: Iles et ports, XVIe-X×e siecles, Actes du Colloque, Centre Culturel Europeen de Delphes, 5-6 novembre 1999, Ouvrage publie avec le concours financier du Ministere hellenique de la Culture, Editeurs: Z. I. Siaflekis, Rania Polycandrioti, ÁèÞíá, Åêäüóåéò ÐáôÜêç 2002
| TABLE DES MATIERES |
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|
| AVANT-PROPOS |
|
9 |
1. Shmuel MOREH, The Egyptian scholar Hasan al-Attar
(d. 1834) and bis journey from Cairo to Izmir |
|
19 |
2. Magdi ABDEL-HAFEZ, Alexandrie: mosaique de peuples
et de cultures a travers le regard d'une jeune Suissesse
entre 1934 et 1950 |
|
33 |
3. Jean BESSIERE, Note sur Lawrence Durrell et les iles mediterra-
neennes. Pour repondre a une question |
|
49 |
4. Sylvie ANDRE, De quelques representations litteraires
du port d'Alger |
|
57 |
5. Z.I. SIAFLEKIS, Transparences mediterraneennes:
symbolique insulaire et espace poetique |
|
73 |
6. Eleni POLITOU-MARMARINOU, Les iles grecques:
transformations de leur representation litteraire |
|
95 |
7. Rania POLYCANDRIOTI, Les representations de l'espace mediterraneen dans la litterature neohellenique: presence d'un non-lieu |
|
113 |
8. Massimo SCOTTI, Eco della canzone mai cantata. L' ile de Capri dans la litterature europeenne |
|
129 |
9. Epifanio AJELLO, Petits naufrages en face des Cinque Terre |
|
143 |
LES AUTEURS |
|
163 |
ÅëëçíéêÞ Åôáéñåßá ÃåíéêÞò êáé ÓõãêñéôéêÞò Ãñáììáôïëïãßáò, Ï Íáôïõñáëéóìüò óôçí ÅëëÜäá, ÄéáóôÜóåéò- Ìåôáó÷çìáôéóìïß- ¼ñéá, åðéìÝëåéá ÅëÝíç Ðïëßôïõ- Ìáñìáñéíïý, Âßêõ ÐÜôóéïõ, Ìåôáß÷ìéï, ÁèÞíá 2007
|
| ÐÅÑÉÅ×ÏÌÅÍÁ |
|
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ÅéóáãùãÞ |
|
11 |
YVES CHEVREL, Une litterature sans mythes ni tabous? |
|
25 |
ÅËÅÍÇ ÐÏËÉÔÏÕ- ÌÁÑÌÁÑÉÍÏÕ, Íáôïõñáëéóìüò êáé æùãñáöéêÞ Þ ç åîïñßá ôçò ðïßçóçò |
|
43 |
HENRI MITTERAND, Pour liberer Zola du "naturalisme" |
|
65 |
MARIO VITTI, Íáôïõñáëéóìüò Þ/ êáé çèïãñáößá: Ìéá åðéóêüðçóç |
|
82 |
ÃÉÙÑÃÏÓ ÊÅ×ÁÃÉÏÃËÏÕ, Åëëçíéêüò íáôïõñáëéóìüò êáé óýã÷ñïíÝò ôïõ êñéôéêÝò ðñïóëÞøåéò: Ç ðåñßðôùóç ôïõ ÐáëáìÜ |
|
96 |
ÉÙÁÍÍÇÓ Å. ÃÁËÁÉÏÓ, Ëüãïò êáé áíôßëïãïò ãéá ôïí íáôïõñáëéóìü: Êñéôéêüò ó÷ïëéáóìüò ôùí áðüøåùí ôùí Á. ÂëÜ÷ïõ, Áã. Ãéáííüðïõëïõ êáé Ãñ. Îåíüðïõëïõ |
|
112 |
ÔÆÉÍÁ ÐÏËÉÔÇ, Ç ðáãßäá ôçò ìßìçóçò óôïí ÆçôéÜíï ôïõ Á. Êáñêáâßôóá |
|
130 |
ÂÉÊÕ ÐÁÔÓÉÏÕ, Ï Ãñçãüñéïò Îåíüðïõëïò êáé ç íïóôáëãßá ôïõ íáôïõñáëéóìïý |
|
144 |
LUCILE FARNOUX, Constantin Theotokis, romancier naturaliste |
|
167 |
ÁÍÁÓÔÁÓÉÁ ÁÍÔÙÍÏÐÏÕËÏÕ, Ï ãåñìáíéêüò íáôïõñáëéóìüò |
|
191 |
ÓÏÍÉÁ ÉËÉÍÓÊÁÃÉÁ- ÁËÅÎÁÍÄÑÏÐÏÕËÏÕ, ÍáôïõñáëéóôéêÝò åêäï÷Ýò ñåáëéóôéêþí áíáæçôÞóåùí. Ï ÆçôéÜíïò ôïõ Á. Êáñêáâßôóá êáé ïé ×ùñéêïß ôïõ Â. Ó. ÑÝõìïíô |
|
209 |
ÁËÅÎÇÓ ÆÇÑÁÓ, Ç "Íáíüôá" ôïõ Îåíüðïõëïõ ùò äéáêåéìåíéêÞ ìïñöÞ ôçò ÍáíÜò ôïõ ÆïëÜ |
|
220 |
ÏÕÑÁÍÉÁ ÐÏËÕÊÁÍÄÑÉÙÔÇ, ÅëëçíéêÞ ôáîéäéùôéêÞ öéëïëïãßá êáé íáôïõñáëéóìüò: Ôï ðáñÜäåéãìá ôïõ ÁíäñÝá Êáñêáâßôóá |
|
230 |
ÂÁËÔÅÑ ÐÏÕ×ÍÅÑ, Ï "ïñèüäïîïò" íáôïõñáëéóìüò óôï íåïåëëçíéêü èÝáôñï: Ôï éóôïñéêü ìéáò áðïõóßáò |
|
249 |
ÏËÕÌÐÉÁ ØÕ×ÏÐÁÉÄÇ- ÖÑÁÃÊÏÕ, Íáôïõñáëéóìüò, ñåáëéóìüò, âåñéóìüò: Ç óõãêñéôéêÞ äéÜóôáóç óôç ëïãïôå÷íßá êáé óôç ìïõóéêÞ ìå Ýìöáóç óôá Ýñãá ôçò åëëçíéêÞò ìïõóéêÞò |
|
274 |
Âéâëéïãñáößá |
|
297 |
Ïé óõããñáöåßò ôïõ ôüìïõ |
|
305 |
|
ÅëëçíéêÞ Åôáéñåßá ÃåíéêÞò êáé ÓõãêñéôéêÞò Ãñáììáôïëïãßáò, Ôï ÄéÞãçìá óôçí åëëçíéêÞ êáé óôéò îÝíåò ëïãïôå÷íßåò, Èåùñßá- ÃñáöÞ- Ðñüóëçøç, åðéìÝëåéá- åéóáãùãÞ ÅëÝíç Ðïëßôïõ- Ìáñìáñéíïý, Óïößá Íôåíßóç, Gutenberg, ÁèÞíá 2009
| ÐÅÑÉÅ×ÏÌÅÍÁ |
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| |
|
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| ÅéóáãùãÞ |
|
11 |
ÄçìÞôñçò ÁããåëÜôïò, Åíôüò êáé åêôüò ôçò áëçèïöÜíåéáò: Ç èåùñßá êáé ç êñéôéêÞ ôïõ äéçãÞìáôïò óôï â' Þìéóõ ôïõ 19ïõ áéþíá |
|
29 |
ÁëÝîçò ÆÞñáò, Ôï åëëçíéêü äéÞãçìá óôçí ðåñßïäï 1870-1950: Ïé ðñïûðïèÝóåéò êáé ïé ðáñáíïÞóåéò ôïõ |
|
44 |
ÅëÝíç Ðïëßôïõ- Ìáñìáñéíïý, ÊùóôÞ ÐáëáìÜ, "Ôá ìÜôéá ôïõ ÊïõíÜëá" (1897): ÄéÞãçìá åëëçíéêü, áí êáé ìå èÝìá "åî áðùôÜôùí ÷ùñþí êáé ÷ñüíùí" |
|
66 |
'Áííá ×ñõóïãÝëïõ- ÊáôóÞ, Ãéá ôçí ðïéçôéêÞ ôïõ çèïãñáöéêïý äéçãÞìáôïò: ÓêÝøåéò êáé ðñïâëçìáôéóìïß |
|
88 |
Ìáñßá ÊáñáÀóêïõ, Áíáæçôþíôáò ôïí åéäïëïãéêü ÷áñáêôÞñá ôïõ äéçãÞìáôïò: Ç óýãêñéóç ìå ôï ìõèéóôüñçìá óå êñéôéêÜ êåßìåíá äçìïôéêéóôþí (1903-1928) |
|
110 |
Æ. É. ÓéáöëÝêçò, Óôá üñéá ôùí ëïãïôå÷íéêþí ìïñöþí: ÄéÞãçìá, áöÞãçìá, ðïßçìá êáé ïé åðéôáãÝò ôïõ ìïíôåñíéóìïý |
|
127 |
ÂáããÝëçò Áèáíáóüðïõëïò, Ãéá ìéá áóêçôéêÞ ôçò áöÞãçóçò: Ï áöçãçìáôéêüò ìéíéìáëéóìüò êáé ôï äéÞãçìá |
|
150 |
ÓôÝóç ÁèÞíç, Ôï åõñùðáúêü äéÞãçìá ôïõ 18ïõ áé. êáé ïé ìåôáöñáóôéêÝò ôïõ ôý÷åò (1790-1884): Ðñüäñïìç áíáêïßíùóç |
|
164 |
Óïößá Íôåíßóç, 1830-1880: Ç ðñïðáñáóêåõáóôéêÞ ðåíôçêïíôáåôßá ôïõ íåïåëëçíéêïý äéçãÞìáôïò: Ìéá ðñþôç ðñïóÝããéóç |
|
189 |
ËÜìðñïò ÂáñåëÜò, Ðñùôüôõðá êáé ìåôáöñáóìÝíá äéçãÞìáôá óôïí åëëçíéêü ôýðï ôçò äåêáåôßáò ôïõ 1840: Ðñþôá ðïñßóìáôá åíüò åñåõíçôéêïý ðñïãñÜììáôïò |
|
206 |
Ãåùñãßá Ãêüôóç, Ç ìåôáöñáóôéêÞ äñáóôçñéüôçôá ôïõ Í. Ã. Ðïëßôç êáé ôï äéÞãçìá |
|
225 |
¸ñç Óôáõñïðïýëïõ, ÓõìâïëÞ óôçí éóôïñßá ôïõ íåïåëëçíéêïý äéçãÞìáôïò: Ðñùôüôõðá êáé ìåôáöñáóìÝíá êåßìåíá óôï ðåñéïäéêü ÅâäïìÜò |
|
250 |
Henri Tonnet, Áðü ôïí Retif óôïí ÉùÜííç ÊáñáôæÜ: Óôáèìïß ôçò äçìéïõñãßáò ôïõ êùíóôáíôéíïõðïëßôéêïõ äéçãÞìáôïò |
|
272 |
Âïýëá ÐïóÜíôæç, Ôï íåïåëëçíéêü äéÞãçìá óôçí Êùíóôáíôéíïýðïëç (1880-1922): Áðü ôç ëáúêÞ öáíáñéþôéêç çèïãñáößá óôçí áóôéêÞ ðåæïãñáößá |
|
284 |
ÂáóéëéêÞ ËáëáãéÜííç, ¸ìöõëåò ôáõôüôçôåò êáé áíáðáñáóôÜóåéò ôçò óùìáôéêüôçôáò óôá äéçãÞìáôá ôçò ÁëåîÜíäñáò Ðáðáäïðïýëïõ |
|
304 |
ÉùÜííá ÊùíóôáíôïõëÜêç-×Üíôæïõ, Ã. Øõ÷Üñçò êáé Ê. Ð. ÊáâÜöçò Þ Ï áöçãçìáôéêüò ëüãïò ôçò åëëçíéêÞò äéáóðïñÜò |
|
325 |
Âáóßëåéïò ÔùìáäÜêçò, Ðåñß ôïõ äéçãÞìáôïò "ÐáôÝñá óôï óðßôé!" ôïõ ÁëÝîáíäñïõ ÐáðáäéáìÜíôç êáé ðåñß ôçò ðñþôçò, ôçò áñ÷éêÞò ìïñöÞò ôïõ |
|
335 |
Åýç ÂïãéáôæÜêç, Íåùôåñéêüôçôá êáé åãêéâùôéóìüò óôï "Åíýðíéï" ôïõ Íßêïõ Êá÷ôßôóç (1960) |
|
341 |
ÁëåîÜíäñá ÓáìïõÞë, Ðåæïãñáößá êáé áíôéáðïëõôáñ÷éêüò áãþíáò: Ç ÷ñÞóç ôçò "ìõèéêÞò ìåèüäïõ" óôçí ÁèÞíá ôçò äåêáåôßáò ôïõ 1840 |
|
358 |
Ìé÷áÞë Ðáó÷Üëçò, Ï ÑïÀäçò, ï Baudelaire êáé ôá ðáñáéóèçóéïãüíá |
|
371 |
×ñéóôßíá ÍôïõíéÜ, Ï ¸. ¶. Ðüå êáé ôï åëëçíéêü "ðáñÜîåíï" äéÞãçìá: Ç ðåñßðôùóç ôïõ Í. Åðéóêïðüðïõëïõ |
|
390 |
Êáôåñßíá ÌçôñáëÝîç, Ôï äéÞãçìá ôïõ Ãåùñãßïõ Âéæõçíïý êáé ï ãåñìáíéêüò ðïéçôéêüò ñåáëéóìüò |
|
406 |
Áëßêç Ìðáêïðïýëïõ-×ùëò, Ôï äéÞãçìá óôçí åëëçíéêÞ êáé ôéò îÝíåò ëïãïôå÷íßåò. Ernest Hemingway- F. Scott Fitzgerald- Ãñçãüñéïò Îåíüðïõëïò: ÅêëåêôéêÝò óõããÝíåéåò |
|
421 |
ÅëÝíç Ôóáôóïðïýëïõ, Ôï ãáëëéêü êïóìïðïëßôéêï äéÞãçìá êáé ï áðüç÷üò ôïõ óôçí íåïåëëçíéêÞ ëïãïôå÷íßá ôïõ ÌåóïðïëÝìïõ |
|
432 |
Ëçôþ Éùáêåéìßäïõ, Ïé ÄïõâëéíÝæïé ôïõ ÔæÝçìò Ôæüõò êáé ïé Ôñåéò Ãõíáßêåò ôïõ ÊïóìÜ Ðïëßôç: Áðü ôïí ñåáëéóìü óôçí áðïôýðùóç ôçò åóùôåñéêüôçôáò |
|
446 |
Áíôéãüíç Âëáâéáíïý, Pier Paolo Pasolini- Ãéþñãïò ÉùÜííïõ: Áðü ôç äéÞãçóç êáè' õðåñâïëÞí óôçí áöÞãçóç êáè' õðÝñâáóéí |
|
462 |
Áíáóôáóßá Áíôùíïðïýëïõ, Ôï óýã÷ñïíï ãõíáéêåßï äéÞãçìá óôçí ÅëëÜäá êáé ôç Ãåñìáíßá: Ãõíáéêåßá åìðåéñßá êáé ãõíáéêåßá ãñáöÞ |
|
476 |
×ñéóôßíá Íôüêïõ, Öáêåëþíïíôáò áèþïõò: Ôï åðéóôïëïãñáöéêü äéÞãçìá ôùí ¶íôïí ÔóÝ÷ùö êáé Ãêñåãêüñéï Ëüðåæ õ ÖïõÝíôåò |
|
491 |
ÁèçíÜ Êïñþíç, Ç èåáôñéêüôçôá ôùí äéçãçìÜôùí ôïõ Tennessee Williams |
|
504 |
Gabriella Macri, Ôï äéÞãçìá óôç óýã÷ñïíç éôáëéêÞ ëïãïôå÷íßá (1970-2000): ÌåñéêÝò ðáñáôçñÞóåéò |
|
520 |
¶ããåëïò ÁöñïõäÜêçò, Óõíçãïñßá äéçãÞìáôïò: Äéáðéóôþóåéò áðü êåßìåíá ôçò åëëçíéêÞò êáé äéåèíïýò ðáñáãùãÞò ôùí ôåëåõôáßùí äåêáåôéþí |
|
536 |
Áíáóôáóßá ÍÜôóéíá, Õðåñêåßìåíï: ¸íáò åíáëëáêôéêüò ôñüðïò èåþñçóçò ôùí óõëëïãþí äéçãçìÜôùí |
|
550 |
Áðüóôïëïò Ëáìðñüðïõëïò, Óýíôïìåò éóôïñßåò óôï Äéáäßêôõï: ÄçìéïõñãéêÞ ãñáöÞ, ðáãêüóìéá ëïãïôå÷íßá, èåùñßá |
|
564 |
ÂéïãñáöéêÜ óçìåéþìáôá |
|
581 |
ÅõñåôÞñéï ïíïìÜôùí |
|
597 |
ÅõñåôÞñéï ôßôëùí (Ýñãùí, åöçìåñßäùí, ðåñéïäéêþí ê.ëð.) |
|
625 |
| |
|
|
| |
|
|
| ÌÝëç-Êáôáóôáôéêü , ÅëëçíéêÞ Åôáéñåßá ÃåíéêÞò êáé ÓõãêñéôéêÞò Ãñáììáôïëïãßáò, ÁèÞíá 2004. (Áñ÷åßï PDF äéáèÝóéìï åäþ) |
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