- Democritus University of Thrace, Philology, Alumnusadd
- Comparative Literature, Classics, French Renaissance Literature, Latin American literature, Soviet literature, Byzantine and Modern Greek Studies, and 26 moreHeterotopia, Carnival, Michel Foucault, Jacques Derrida, Continental Philosophy, Literary Theory, Philosophy Of Language, Karl Marx, Satire, Mikhail Bakhtin, René Descartes, Immanuel Kant, Ludwig Wittgenstein, Petronius, Space and Place, Phenomenology of Space and Place, Physics and philosophy, François Rabelais, Mikhail Bulgakov, Gabriel García Márquez, French Renaissance, Littérature française de la Renaissance, French Literature, Peter Burke, Greek Literature, and Modern Greek Studiesedit
- Philologue classique, docteure en littérature comparée, romancière. Intérêts scientifiques : l’œuvre de François Rabe... morePhilologue classique, docteure en littérature comparée, romancière. Intérêts scientifiques : l’œuvre de François Rabelais et son influence / réception dans la littérature du XXe siècle, la philosophie (notamment Kant, Foucault, Wittgenstein, Derrida) par rapport à la littérature et au cinéma, et le roman ultracontemporain européen. Intéressée à une opportunité de recherche interdisciplinaire.edit
- Emmanuelle Héninedit
Research Interests:
Research Interests:
For almost two centuries, Kozani’s literary scene has been dominated by novels, short stories, theatrical plays, and poems written in either Demotic Greek or Katharevousa, with the use of the local dialect, Kozani Greek, being limited to... more
For almost two centuries, Kozani’s literary scene has been dominated by novels, short stories, theatrical plays, and poems written in either Demotic Greek or Katharevousa, with the use of the local dialect, Kozani Greek, being limited to indicating a character’s origins or social class. However, after the Second World War, Kozani’s local literature undergoes a radical transformation, with more and more authors turning to the dialect, thus leading to a boom of literary texts written in Kozani Greek from the 1960s onwards. At the same time blossoms the genre of plays written in the dialect, leading to a large number of theatrical productions being staged in Kozani Greek. In this paper, I shall attempt to propose a canon of the local literary and theatrical works written and staged in Kozani Greek, while also reflecting upon questions regarding language and its perception, the construction of Modern Greek identity, and micro-history.
Research Interests:
This article studies two festive occasions taking place in Kozani, a city in northern Greece: firstly its carnival rituals and secondly some theatrical plays, both carried out entirely in the local dialect. In order to examine the... more
This article studies two festive occasions taking place in Kozani, a city in northern Greece: firstly its carnival rituals and secondly some theatrical plays, both carried out entirely in the local dialect. In order to examine the relationship between language and performance, this article proposes an analysis in three parts. The first section shall rapidly outline the city’s linguistic history with regard to national politics, the second shall describe the use of the dialect in the carnival rituals of the fanos, and the third shall study a historically-themed play performed in Kozani Greek.
Research Interests:
For almost two centuries, Kozani’s literary scene has been dominated by novels, short stories, theatrical plays, and poems written in either Demotic Greek or Katharevousa, with the use of the local dialect, Kozani Greek, being limited to... more
For almost two centuries, Kozani’s literary scene has been dominated by novels, short stories, theatrical plays, and poems written in either Demotic Greek or Katharevousa, with the use of the local dialect, Kozani Greek, being limited to indicating a character’s origins or social class. However, after the Second World War, Kozani’s local literature undergoes a radical transformation, with more and more authors turning to the dialect, thus leading to a boom of literary texts written in Kozani Greek from the 1960s onwards. At the same time blossoms the genre of plays written in the dialect, leading to a large number of theatrical productions being staged in Kozani Greek. In this paper, I shall attempt to propose a canon of the local literary and theatrical works written and staged in Kozani Greek, while also reflecting upon questions regarding language and its perception, the construction of Modern Greek identity, and micro-history.
Research Interests:
Even though 20th-century writers Yiorgos Theotokas and Mikhaïl Bulgakov ignored, in all likelihood, each other’s existence, they posed a number of strikingly similar questions in their works regarding politics, ethics, and metaphysics. In... more
Even though 20th-century writers Yiorgos Theotokas and Mikhaïl Bulgakov ignored, in all likelihood, each other’s existence, they posed a number of strikingly similar questions in their works regarding politics, ethics, and metaphysics. In both cases, these questions revolved around, or were in some way connected to, the figure of Pontius Pilate, who served as an inspiration for Theotokas’s Argo at some point in the narration, and as the protagonist of his one-act play With Night Falls, and appears as an important character in Bulgakov’s The Master and Margarita. Inspired by Pilate’s figure, the writers expressed their thoughts around the concept of moral obligation and the debt of the author, while also reflecting upon the idea of freedom and its relation to literature. This paper shall try to address all of these matters, in an attempt to reconstruct an intertextual literary dialogue which was actually ignored by both parties.
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If we were to consider the stereotypes of his time, emperor Claudius was in no way an example of virilitas romana; according to Suetonius, even his own mother called him “a monster of a man, not finished but merely begun by Dame Nature”.... more
If we were to consider the stereotypes of his time, emperor Claudius was in no way an example of virilitas romana; according to Suetonius, even his own mother called him “a monster of a man, not finished but merely begun by Dame Nature”. Because of his corporeal vulnerability, his stutter, and his behavior, Claudius was considered a fool by his family, who tried to stay away from him as much as possible. In his Apocolocyntosis, Seneca describes how, after his death, Claudius was not deified like all the emperors before him but was rather sent to the underworld and “pumpkinified”, thus confirming the rumor that he was foolish. In this paper, I attempted to study how Claudius is represented as the “Other”, both in historical accounts by Suetonius and Tacitus and in Seneca’s satirical Apocolocyntosis. My analysis revolved around the notion of vulnerability, through which I attempted to study how Claudius’s corporeal vulnerability and stutter made him a target of discrimination and led to his isolation. In Seneca’s Apocolocyntosis Claudius’s “voce confusa” is a constant object of satire, while the organs of speech are assimilated to the large intestine; the narrator even hints that Claudius expressed himself better through his anus than he did through his mouth. Because of his corporeal characteristics, Claudius’s worth as emperor was challenged: the phrase “non semper Saturnalia erunt” in the Apocolocyntosis seems to suggest that Claudius, a true Saturnalicus princeps, was incapable of ruling in the real world and could only reign within a carnival. The study of Seneca’s Apocolocyntosis, Tacitus’s Annales and Suetonius’s De vita Caesarum, is accompanied by the study of Robert Graves’s novel I, Claudius (1934) and its adaption to the small screen, where a more humane side of the “Other” Claudius is explored.
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In pre-crisis Greece, during the years of the so-called “artificial prosperity” (1990s–2008), the figure of the intellectual, in its dominant perception (e.g. in mass media, popular culture and school textbooks), was criticized for being... more
In pre-crisis Greece, during the years of the so-called “artificial prosperity” (1990s–2008), the figure of the intellectual, in its dominant perception (e.g. in mass media, popular culture and school textbooks), was criticized for being estranged from current social, political and economic issues. Upon the outbreak of the 2008 financial crisis and on to its unfolding, we observe a shift in the image of the intellectual, whose presence and engagement in public dialogue gradually increases: writers, scientists, philosophers and artists leave their ivory towers in order to fulfill their role of an intellectual authority, amidst a crisis that has often been thought of as “primarily moral”. However, the role and discourse of modern-day Greece intellectuals is seemingly different from the one of early and mid-20th century politically engaged thinkers; therefore, in order to describe their specific characteristics, we may have to modify classical analyses and typologies of intellectuals, such as Gramsci’s distinction between organic and traditional intellectuals. If we were to formulate a typology of contemporary Greek intellectuals, we would indeed come across the anticipated type of openly politically affiliated thinkers or artists but also another type of intellectuals that declare to reject affiliation to current political parties. The latter, combining the thinker’s traditional moral obligation of being independent with the post-Cold War narrative of the “end of all ideologies”, tend to substitute the need of a public dispute with the “obviousness” of what is referred to as “common sense”. This new perception of the intellectual is strongly linked to the change that occurred in the field of mass communication; the establishment of social networks as politically neutral platforms of communication that supposedly give anyone access to a broad audience, contributes to the formation of a discourse that presents itself as reluctant to use “traditional” or “systemic” media. The latter have been largely criticized during the crisis for justifying the political establishment, consequently providing the space for social and alternative media to grow. At the same time, the “systemic” media still provide much coverage to present-day intellectuals, underlining their own ongoing transformation towards the more participative model of the social networks which nevertheless is not necessarily politically innovative.
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Petronius’ Satirica has long been thought of by academic research as a criticism of the corrupt Neronian period. It has also been suggested that, in the missing part of the novel, social order is restored and the main characters finally... more
Petronius’ Satirica has long been thought of by academic research as a criticism of the corrupt Neronian period. It has also been suggested that, in the missing part of the novel, social order is restored and the main characters finally comply with the moral virtue of pietas. In order to support this hypothesis, researchers point out the excessive use of scatological language and the detailed descriptions of orgies, as well as the Rabelaisian Cena Trimalchionis, all of which help create an extravagant world of hyperbole. In that context, the desires expressed by the main characters could be described as “over-the-top” or “sadist” and one could argue that they are by-products of the general corruption brought by Nero’s reign. In this paper, I attempted to study the main characters’ desires not as results of sociopolitical degeneration but as wishes that exist independently from the Roman moral code ; therefore, my interpretation of Satirica, was largely based on queer theory. I also studied the way in which the characters’ desires are captured on screen and, specifically, in Federico Fellini’s Satyricon (1969).
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The Platonic Symposium is often regarded as the literary model par excellece for the ideal philosophical banquet. In that sense, Cena Trimalchionis, the symposium that takes place in Petronius's Satirica, can be interpreted as its polar... more
The Platonic Symposium is often regarded as the literary model par excellece for the ideal philosophical banquet. In that sense, Cena Trimalchionis, the symposium that takes place in Petronius's Satirica, can be interpreted as its polar opposite, an anti-banquet. In this paper, we examine the structural similarities between the two banquets, and studied all the ways in which the Cena reverses the Platonic text: even though seven speeches are articulated in both cases, and one guest (Alcibiades and Habbinas) is late, Petronius uses the Platonic archetype in order to satirize the Roman society of the Neronian era, therefore reflecting upon its degeneration and corruption. Published in the conference proceedings, Volume of Latin, pp. 140-150.
Research Interests:
La position de ma thèse de doctorat, soutenue le 25 novembre 2022 à la Sorbonne. Des « utopies réelles », des « lieux absolument autres » ; ainsi décrit les hétérotopies Michel Foucault en 1966, lors d’une conférence radiophonique. Deux... more
La position de ma thèse de doctorat, soutenue le 25 novembre 2022 à la Sorbonne.
Des « utopies réelles », des « lieux absolument autres » ; ainsi décrit les hétérotopies Michel Foucault en 1966, lors d’une conférence radiophonique. Deux textes de Foucault seront ensuite dédiés aux hétérotopies, dont l’un date de 1966 et constitue la version écrite de cette conférence, tandis que l’autre, publié en 1984, prend ses distances de la théorie présentée en 1966, sans toutefois en introduire des modifications radicales. En prenant comme point de départ les deux textes de Foucault, ce travail propose une application du concept d’hétérotopie à un corpus de littérature comparée, composé par les quatre premières chroniques de François Rabelais (1532-1552), Le Maître et Marguerite de Mikhaïl Boulgakov (écrit pendant les années 1930 et publié pour la première fois, censuré, en 1967), et Cent Ans de Solitude de Gabriel García Márquez (1967). À travers la transformation de ce concept philosophique en outil d’analyse littéraire, nous étudierons les hétérotopies littéraires dans les univers romanesques de nos trois auteurs, tout en examinant leurs dimensions sociales, politiques et théoriques.
Des « utopies réelles », des « lieux absolument autres » ; ainsi décrit les hétérotopies Michel Foucault en 1966, lors d’une conférence radiophonique. Deux textes de Foucault seront ensuite dédiés aux hétérotopies, dont l’un date de 1966 et constitue la version écrite de cette conférence, tandis que l’autre, publié en 1984, prend ses distances de la théorie présentée en 1966, sans toutefois en introduire des modifications radicales. En prenant comme point de départ les deux textes de Foucault, ce travail propose une application du concept d’hétérotopie à un corpus de littérature comparée, composé par les quatre premières chroniques de François Rabelais (1532-1552), Le Maître et Marguerite de Mikhaïl Boulgakov (écrit pendant les années 1930 et publié pour la première fois, censuré, en 1967), et Cent Ans de Solitude de Gabriel García Márquez (1967). À travers la transformation de ce concept philosophique en outil d’analyse littéraire, nous étudierons les hétérotopies littéraires dans les univers romanesques de nos trois auteurs, tout en examinant leurs dimensions sociales, politiques et théoriques.
Research Interests:
L'introduction et table des matières de mon mémoire de Master 2, rédigé pendant l'année académique 2016/17 et soutenu en juin 2017 à l'Université Paris-Sorbonne (note de soutenance: 17.5/20). Directrice de recherche : M. Adeline... more
L'introduction et table des matières de mon mémoire de Master 2, rédigé pendant l'année académique 2016/17 et soutenu en juin 2017 à l'Université Paris-Sorbonne (note de soutenance: 17.5/20).
Directrice de recherche : M. Adeline Lionetto.
The introduction and table of contents of my MA Thesis, written during the academic year 2016/17 and defended in June 2017 at Paris-Sorbonne University (defense grade: 17.5/20).
Supervisor: Adeline Lionetto.
Directrice de recherche : M. Adeline Lionetto.
The introduction and table of contents of my MA Thesis, written during the academic year 2016/17 and defended in June 2017 at Paris-Sorbonne University (defense grade: 17.5/20).
Supervisor: Adeline Lionetto.
Research Interests:
L'introduction et table des matières, aussi bien que l'Annexe qui comprend la traduction de quelques chansons carnavalesques de Kozani du grec en français, de mon mémoire de Master 1, rédigé pendant l'année académique 2015/16 et soutenu... more
L'introduction et table des matières, aussi bien que l'Annexe qui comprend la traduction de quelques chansons carnavalesques de Kozani du grec en français, de mon mémoire de Master 1, rédigé pendant l'année académique 2015/16 et soutenu en juin 2016 à l'Université Paris-Sorbonne (note de soutenance: 16/20).
Directrice de recherche : M. Adeline Lionetto.
The introduction and table of contents, as well as the Annex that includes the translation of some of Kozani's carnival songs from Greek to French, of my M1 Thesis, written during the academic year 2015/16 and defended in June 2016 at Paris-Sorbonne University (defense grade: 16/20).
Supervisor: Adeline Lionetto.
Directrice de recherche : M. Adeline Lionetto.
The introduction and table of contents, as well as the Annex that includes the translation of some of Kozani's carnival songs from Greek to French, of my M1 Thesis, written during the academic year 2015/16 and defended in June 2016 at Paris-Sorbonne University (defense grade: 16/20).
Supervisor: Adeline Lionetto.
Research Interests:
Λόγοι περί Ετερότητας: Όψεις του άλλου στην αρχαία ελληνική και λατινική γραμματεία
Research Interests: Classics, Greek Tragedy, Reception, Ovid, Greek Epic, and 13 moreAeschylus, Hellenistic poetry, Ancient Greek Language, Latin poetry, Otherness, Latin Prose, Other, Ancient Greek Comedy, Aristotle University of Thessaloniki, Philospohy, A Song of Ice and Fire, ετερότητα, and 2nd Conference of Postgraduate Students and PhD Candidates in Classics
''Μορφές και Τρόποι της Επιθυμίας στην αρχαία ελληνική και λατινική γραμματεία''
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Presentation of Eleni Gora's book "Quarantine Days".
Παρουσίαση του βιβλίου "Μέρες Καραντίνας" της Ελένης Γκόρας που πραγματοποιήθηκε στο Μπλε Ελάφι, στην Κοζάνη, στις 17/06/2020.
Παρουσίαση του βιβλίου "Μέρες Καραντίνας" της Ελένης Γκόρας που πραγματοποιήθηκε στο Μπλε Ελάφι, στην Κοζάνη, στις 17/06/2020.
Research Interests:
International Workshop (8-11 September 2021)