M.A. / Our main objective in this M.A. dissertation was to explore the position of women in Greek folk songs and examine if these folk songs are representative of the social environment which created them or they oppose to it. For this purpose, we carefully studied a wide variety of folk songs and selected a number of songs concerning women in different phases of their lives. These songs belong to the kleftic songs and the songs of the cycle of life. They are widespread all over Greece with slight differences. To support our arguments we also used a wide range of studies concerning our subject. Thus, following the planned scheme of the work and applying the methodology and approaches we defined in the introduction, this study has taken the following form. We divided this study in three parts. The first one consists of two chapters. In the first chapter we defined the socio-historical framework of the Tourkokratia, the era of which the songs we used. In the second chapter we gave general information about the folk songs concerning their origin, characteristics, language and their place in literature, tradition and laography. The second part consists of four chapters. Here we examine the woman as a daughter, wife, mother, mother-in-law, widow. The first chapter includes the love songs and the wedding songs. We saw the woman as a maiden and a would-be wife. We explored the social framework of marriage, the match-making and the issue of dowry. In the second chapter, which includes lullabies, we saw the woman as an affectionate mother, projecting her love but also all her unfulfilled dreams or ideals regarding her child. In the third chapter, where we analysed five paraloges, we witnessed the transformation of this loving mother into a possessive mother and an evil mother-in-law. We saw the way she builds up her world and establishes her position within the family. In the fourth chapter, studying laments, we saw how her world can collapse with the death of one of the members of the family, especially her husband’s. But we also saw the alternative mechanisms she invents and uses to relieve the pain and continue her social existence. The third and last part consists of two chapters. In the first chapter we examine the unfaithful wife and why adultery is such a capital crime in the traditional Greek society. We also examined the social and psychological dimensions of the issue. In the last chapter we examined the heroine and going back in time we began with an akritic song. Finally we placed the heroine in the general spirit of the kleftic songs. In the epilogue, the conclusions of this study are presented. The conclusions prove that these songs, which we studied and compared with the existing social institutions of those times, can sometimes depict reality and sometimes not. A great number of songs give voice to women but at the same time another great number of songs deprive her of her voice. Some praise her, some condemn her. But through the fantasy, the myth, the metaphors, the allusions they ease off the tensions and conflicts inherent in the traditional Greek society always maintaining a balance.

M.A. / The purpose of this study is to introduce to the reader to meaning of erotikos logos in Papadiamantis’ prose. Special attention is also paid to the female type, as it was formed at the end of the 19th century and the beginning of the 20th century in Greece. The theme of paganism with special reference to the erotikos logos is examined in Preface as well. The examination is based on Triantafillopoulos’ edition, the Άπαντα. In Introduction the theoretical framework is discussed, which is a mixture of formalism, structuralism, Marxism and feminism. The plurality of Papadiamantis work is shown by this manner. Besides, the general approach is mentioned, which is based on a modern system of literary criticism. The main questions which have been posed in this reasearch have been connected to the emergence of the female model in reference to the socio -cultural role, both in that time and in Papadiamantis’ work. Furthermore, the narrative forms and the motives used by the author are mentioned. In addition, the natural, supernatural and linguistic factors effective in erotikos logos are examined. The stucture of the study is as follows: Part I, Chapter A΄, 1, contains a detailed description of the most important events which took place at the end of the 19th century and in the beginning of the 20th century. The influence of the social and historical context is obvious to Papadiamantis’ character and writings. His artistic creativity started early, with translation novels. The social rules and the woman’s sexual identity are examined in Chapter Α΄, 2. Greek society limited woman to domestic activities. Her destiny was to be a dedicated mother and a good wife. The socialization of the female is a great factor which influences her stereotype. It is analysed in Chapter A΄, 3 and focuses on the role of family, religion and education. Τhe traditional female type is given analytically in Chapter A΄, 4. Nethertheless, the differences of the above mentioned type are pointed out in the same chapter. The theme of love and marriage are examined in Chapter A΄, 5. Economic and social criteria make dowry a specific custom and a basic requirement for an arranged marriage, as mentioned in the same chapter. The theme of love appears for first time in Papadiamantis’ novels and is examined in Chapter B΄, 1. In Μετανάστις, his first novel, the traditional type is given in Chapter B΄, 2, according to the techniques of romanticism. In Έμποροι των Εθνών, a revolutionary feminine type is presented in Chapter B΄, 3, with in the historic frame work of the Venetian invasion in the Greek islands. In Γυφτοπούλα, a moderate female type is analyzed in the context of the fall of Constantinople (Chapter B΄, 4). In 1887, Papadiamantis ceased writing romantic novels and turned to country life, as is mentioned in Chapter C΄, 1. He analyzed the social reality, looking inward into the human being, thus experiencing life and pain and not simply theorizing about them. Ιn Chapter C΄, 2, the theme of Platonic love is expressed dramatically. His female heroes usually come from a low class, bear many children, yet suffer from poverty, as is illustrated in Chapter C΄, 3. The majority belong to the traditional woman’s stereotype. Only several go against to the status quo but finally turn back to the traditional way of thinking, as is observed in Chapter C΄, 4. A few go further and refuse to obey the rules. These women become the pioneers of woman’s equallity (Chapter C΄, 5). New facts are added to the existing descriptions of the motif of love in Chapter D΄. The written dialogue Πόσις και Δάμαρ is an example of the difficulty in communication between a married couple. The male is the protagonist and the female the antagonist. The Erotikos logos is a battle between them. The winner is the woman, like Eve in the lost Edem. The theme of nature and paganism in Papadiamantis’ work is described in Part II, Chapter E΄, 1. The triangle woman-magic-erotikos logos is analysed in Chapter E΄, 2. The language of Papadiamantis’ writtings is a mosaic of dimotili, katharevousa, the language of church hymns and of Homer’s work. This post-modern strategy plays an important role in describing erotikos logos (Chapter E΄, 3, 4 ). In Papadiamantis’ times, the woman was taught to channel her libido towards the interests of childbirth and the needs of her husband. She also had to be submissive and quiet by fulfilling roles prescribed in a patriarchal society of domestic duties and child rearing. A close yet negative association between the female and the magic power arises. The man is overpowered by the woman as love through magic seems to be a guided story. On the one hand, Papadiamantis’ work shows the otherness of the female in comparison to the theory of social rules and practise. The Erotikos logos is a dialectical interaction between emotion and language, a great power that stirs everything. On the other hand, it comes to light that the Erotikos logos overcomes pleasure and pain, good and evil and is close to the lost paradise. A bibliography concludes the study. Finally, it is hoped that the findings of the research may lead to a better understanding of Papadiamantis’ writings.

Univ., Akad. avh.--Göteborg, 2006.

D.Litt. et Phil.

No description available.

Pretendemos neste trabalho avaliar os modelos iconográficos de cenas de banquete que contem com a participação de mulheres, travando um diálogo com as principais correntes de interpretação de imagética vascular grega. Para isso, buscamos compreender como se estabeleceram os parâmetros iconográficos reproduzidos pelos artesãos áticos em uma análise comparativa com a cultura material de figuração semelhante de outras regiões e de períodos diferentes. Com base num corpus de cenas de mulheres em sympósia, os estudos são feitos em paralelo com os atuais debates sobre o tema e levam em considerção as abordagens arqueológicas para estudo de documentos figurados. / Our goal in this research is to evaluate the iconographic models of banquet scenes with women, dialoguing with the main theories on Greek vases imagery. In this way, we try to understand how the iconographical parameters reproduced by Attic craftsmen were built, and we compare the Greek artifacts with material culture of different places and periods. Based on a corpus with scenes of women at symposia, our study takes in account the modern debates about this subject and the archaeological approaches on the figured documents.

Pretendemos neste trabalho avaliar os modelos iconográficos de cenas de banquete que contem com a participação de mulheres, travando um diálogo com as principais correntes de interpretação de imagética vascular grega. Para isso, buscamos compreender como se estabeleceram os parâmetros iconográficos reproduzidos pelos artesãos áticos em uma análise comparativa com a cultura material de figuração semelhante de outras regiões e de períodos diferentes. Com base num corpus de cenas de mulheres em sympósia, os estudos são feitos em paralelo com os atuais debates sobre o tema e levam em considerção as abordagens arqueológicas para estudo de documentos figurados. / Our goal in this research is to evaluate the iconographic models of banquet scenes with women, dialoguing with the main theories on Greek vases imagery. In this way, we try to understand how the iconographical parameters reproduced by Attic craftsmen were built, and we compare the Greek artifacts with material culture of different places and periods. Based on a corpus with scenes of women at symposia, our study takes in account the modern debates about this subject and the archaeological approaches on the figured documents.

The myth of the Amazons began in Ancient Greece. Renditions of the myth were found in art and literature of the Greeks and Romans in the ancient world. The image of the Amazons changed with the culture and ideology that discussed them. The Amazon myth reflected Greek and Roman views of women. Through looking closely at the three stages of the myth of the Amazons one can determine the myth strengthens the image of women that was held by men of the ancient world. The Amazons were connected with the heroes Heracles, Theseus, and Alexander the Great. Individual Amazons such as Antiope, Penthesilea, and Camilla were also dominant in the mythology of the Amazons. By completing a literary analysis of the myths of the Amazons beginning in the eighth century B.C. and through the fourth century A.D. one is able to see what was expected and deemed acceptable of women.