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Erotikos logos and paganism in the works of Papadiamantis: an interpretation of the female type

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dc.contributor.advisor Prof. B. Hendrickx Dr. Thekla Sansaridou-Hendrickx en
dc.contributor.author Athanasopoulou, Eleftheria N.
dc.date.accessioned 2009-05-21T08:13:23Z
dc.date.available 2009-05-21T08:13:23Z
dc.date.issued 2009-05-21T08:13:23Z
dc.date.submitted 2004
dc.identifier.uri http://hdl.handle.net/10210/2569
dc.description M.A. en
dc.description.abstract 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. en
dc.language.iso gre en
dc.subject Women in literature en
dc.subject Love in literature en
dc.subject Greek women en
dc.subject Alexandros Papadiamantes en
dc.title Erotikos logos and paganism in the works of Papadiamantis: an interpretation of the female type en
dc.type Thesis en

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