1,277 research outputs found
Quelle est la spécificité des transitions balkaniques ?
No full textRizopoulos Yorgos. Quelle est la spécificité des transitions balkaniques ?. In: Revue d'études comparatives Est-Ouest, vol. 30, 1999, n°4. Les transformations économiques dans la péninsule balkanique, sous la direction de Yorgos Rizopoulos. pp. 5-13
Episode: Phaedrus (247c6-8) by Yorgos Kentrotis, translated and introduced by Paschalis Nikolaou
No full textYorgos Kentrotis was born in 1958 in Laconia, the Peloponnese. Following studies in Law at Greek and German universities, he was eventually won over by literature and translation. He is currently Professor in Translation Theory at the Ionian University in Corfu. Since the early 1980s he has steadily produced translations from ancient Greek, Latin, German and Russian–of works by, among others, Plato, Cicero, Robert Musil, Pablo Neruda, Vladimir Mayakovsky and Bertolt Brecht. His essays and monographs on comparative literature, poetics and translation are widely recognized. A first collection of his poems appeared in 2006; Kentrotis has published five collections since. In 2014, he put out a collection of no less than 500 of Brecht’s poems in Greek translation, as well as a selection of epigrams from the Palatine Anthology. A similar edition of Paz’s poetry is forthcoming. Most recently in 2015, he published the long-awaited Greek translation of Giambattista Vico’s (1668–1744) La Scienza Nuova (1725)
Episode: Phaedrus (247c6-8) by Yorgos Kentrotis, translated and introduced by Paschalis Nikolaou
No full textYorgos Kentrotis was born in 1958 in Laconia, the Peloponnese. Following studies in Law at Greek and German universities, he was eventually won over by literature and translation. He is currently Professor in Translation Theory at the Ionian University in Corfu. Since the early 1980s he has steadily produced translations from ancient Greek, Latin, German and Russian–of works by, among others, Plato, Cicero, Robert Musil, Pablo Neruda, Vladimir Mayakovsky and Bertolt Brecht. His essays and monographs on comparative literature, poetics and translation are widely recognized. A first collection of his poems appeared in 2006; Kentrotis has published five collections since. In 2014, he put out a collection of no less than 500 of Brecht’s poems in Greek translation, as well as a selection of epigrams from the Palatine Anthology. A similar edition of Paz’s poetry is forthcoming. Most recently in 2015, he published the long-awaited Greek translation of Giambattista Vico’s (1668–1744) La Scienza Nuova (1725)
La politeia aristotélicienne, Yorgos OIKONOMOU
No full textVient de paraitre le nouveau livre de Yorgos OIKONOMOU La politeia aristotélicienne Ed. Papazisi, Athènes, 2008, p. 16
La politeia aristotélicienne, Yorgos OIKONOMOU
No full textVient de paraitre le nouveau livre de Yorgos OIKONOMOU La politeia aristotélicienne Ed. Papazisi, Athènes, 2008, p. 16
Yorgos Lanthimos y su ojo de pez
No full textWhen the cinematic landscape is distorted and the image captured by a fisheye lens—a wide-angle lens that makes shapes appear reflected on a sphere—is presented
on screen, viewers are disconcerted. What did the director intend to tell us with such an
exaggerated and absurd premise? Yorgos Lanthimos’s filmography is uncomfortable but
far from innocent: the image deformation is his trigger for a deep and raw critique of
postmodernity. Yorgos and his fish-eye lens didn’t appear in contemporary filmmaking
by spontaneous generation; they are part of the “Greek Weird Wave” an intriguing Greek
movement that breaks with the canons imposed by the Hollywood machine. It places the
incorrectness of the frame at the service of meaning, inaugurates a return to surrealism,
and emphasizes the discursive capacity of the cinematic device, not only as spectacle but
as a privileged analyst of its time. This text offers a brief exploration of three of Yorgos’s
films: The Favourite (2018), Poor Things (2023), and Kinds of Kindness (2024).Quando a paisagem do filme é distorcida e nos é apresentada a imagem registrada
por uma fisheye - uma lente com características especiais de grande angular que faz com
que as formas pareçam ser refletidas em uma esfera -, nós, espectadores, ficamos perplexos.
O que o diretor quis dizer quando apresentou uma premissa tão exagerada e absurda? A
filmografia de Yorgos Lanthimos é incômoda, mas de modo algum inocente: a deformação
da imagem é seu gatilho para uma crítica profunda e crua da pós-modernidade. É preciso
dizer também que Yorgos e sua fisheye não aparecem na filmografia atual por geração
espontânea; eles fazem parte da “Greek Weird Wave”, um interessante movimento grego que rompe com os cânones impostos pela maquinaria hollywoodiana, coloca a incorreção
do enquadramento a serviço dos efeitos de significação, inaugura o retorno ao surrealismo
e pontua os i’s e cruza os t’s na valorização da capacidade discursiva do dispositivo
cinematográfico, não apenas como espetáculo, mas também como analista privilegiado
da época. Neste texto, daremos uma olhada, certamente escassa, em três filmes do grego
Yorgos: The Favourite (2018), Poor Things (2023) e Kinds of Kindness (2024).Cuando el paisaje fílmico se distorsiona y en pantalla se nos propone la imagen
registrada por un ojo de pez -lente con características especiales de gran angular que hace
que las formas parezcan reflejadas sobre una esfera-, los espectadores nos desconcertamos. ¿Qué nos quiso decir el director cuando introdujo tan exagerada y absurda premisa?
La filmografía de Yorgos Lanthimos es incómoda pero para nada inocente: la deformación
de la imagen es su disparador hacia una crítica profunda y cruda sobre la posmodernidad.
También decir que Yorgos y su ojo de pez no aparecen en la filmografía actual por generación espontánea, son parte de la “Greek Weird Wave” interesante movimiento griego que
rompe con los cánones impuestos por la maquinaria hollywoodense, pone la incorrección
del encuadre al servicio de los efectos de significación, inaugura el retorno al surrealismo
y coloca los puntos sobres las íes en la puesta en valor de la capacidad discursiva del dispositivo cinematográfico, no solamente como espectáculo sino como analista privilegiado
de época. En este texto un, seguramente escaso, recorrido por tres películas de Yorgos, el
griego: The Favourite (La Favorita, 2018), Poor Things (Pobres criaturas, 2023) y Kinds of
Kindness (Tipos De Gentileza, 2024)
Surveillance, resistance, and the politics of love: On Yorgos Lanthimos’ The Lobster
No full textYorgos Lanthimos’ The Lobster, a surrealist black comedy that satirises the ideological formation of the couple, portrays three different spaces to represent the conformism of political alliances in contemporary culture. This tripartite structure ⎯ a Pythagorean theorem ⎯ is composed by a city-space, a hotel-space, and a forest-space; the latter two being micro-segments of the city that, by way of antagonistic ideologies, are placed in war against each other. By mapping this system of relations, I seek to connect the normalising powers of society in the film with the issue of surveillance as developed by both Michel Foucault’s disciplinary modernity and Gilles Deleuze’s subsequent paradigm of information. In a second section, and thinking about the tactics that the film’s characters employ to mock the conventions set up by dogmatic administrations, I draw on the notion of resistance as an act that defies the city-Law as well as on the politics of love as a reciprocal law that goes beyond any other law; one that remains hidden, or blinded, for characters to see, for as Shakespeare suggests: ‘love is blind, and lovers cannot see’
La vita è un esperimento (Poor Things di Yorgos Lanthimos)
No full textRiflessione sul film Poor Things di Yorgos Lanthimo
Yorgos Kehayadopulos ile sözlü tarih görüşmesi
No full textBu görüşme, Lozan Mübadiller Vakfı tarafından İstanbul 2010 Avrupa Kültür Başkenti Ajansı’nın desteği ile gerçekleştirilmiştir. Bu proje kapsamında yapılan görüşmelerin sayısı 47’dir.[Özet Yok]Lozan Mübadilleri Vakfıİstanbul 2010 Avrupa Kültür Başkenti AjansıHasretim İstanbul İstanbul Rumlarının Göç Öyküleri ve Özlemleri. editör Çimen Turan, Müfide Pekin, Sefer Güvenç. İstanbul: Lozan Mübadilleri Vakfı Yayınları, 2010
- …
