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Based on a bibliography of translations from Czech into Modern Greek created by the author of the article, the text offers insights into the appearance of Czech literature on the Greek book market since the beginning of the 20th century. It first briefly compares the book markets in both countries and subsequently analyses the content of the bibliography from the following angles: The existent translations are projected onto a timeline with a historical explanation of the resulting pattern. An overall commentary is given on the publishers involved in producing these translations, the source languages with which the translators worked and the subsequent editions and new translations that have appeared in Greece. The final chapter presents the most significant translations and the possible motivation for their creation, the most translated authors and the most active or otherwise important translators.

This paper attempts to provide a descriptive analysis of the newly coined [Ν. + Ν.] compound lexemes in Constantine Manasses's Synopsis Chronike (12th cent.) with a view to tracing the innovations and similarities to the Ancient Greek compound system. First, it provides a brief outline of the main types of Greek compounds according to the underlying syntactic relations between the immediate constituents, referring to the related notion of 'syntagma' (Section 1). Then, it deals with the phonological and morphosyntactic criteria that distinguish compounds from syntactic groups (Section 2). The subsequent section addresses the stress patterns of compounds (Section 3). The final section gives a description of the compounds based on i. the morphemic status of the immediate constituents, namely whether they are free or bound elements, ii. the linear order of the determinatum (dm) and determinant (dt) inside the combination, and iii. the lexical class of the compound as a whole, and equally the class of the compound components (Section 4).

The current face of the Greek community in Hungary was undoubtedly shaped by the political refugees who arrived in Hungary due to the Greek Civil War and their descendants. However, this Greek community recognises the legacy of the Greek merchant diaspora of the 18th and 19th centuries, which played a decisive role in the modernisation of Hungary as its own heritage. Therefore, I will briefly describe what this heritage consists of and how contemporary Greeks relate to it. I will then review the history of the resettlement of Greek political refugees in Hungary, with a particular focus on Greek children who arrived in Hungary without parental care. I will present their forced departure from Greece, their arrival in Hungary, their settlement, and their integration, partly based on archival materials and mainly on life history interviews.

The article discusses Andreas Empeirikos' poem titled "The White Whale" and examines it as a poetic response to Herman Melville's novel Moby Dick. In this poem, Empeirikos portrays an "epiphany of the past recaptured", which is experienced by Ishmael, the narrator of both Melville's and Empeirikos' works. Through his deep connection with the ocean and the world around him, Ishmael, Empeirikos' poetic persona, recaptures the emotional richness inspired by the sight of a re-enchanted world and seeks to glorify the white whale. This pursuit involves a rejection of materialism and an embrace of a visionary and idealised surreal world embodied by the white whale - a symbol of a New Jerusalem.

The apparent or latent French notes-citations in the manuscripts of Solomos's The Free Besieged reveal both the multilingual nature of Solomos as a reader-copyist and the translingual character of his writing process. Relevant to the latter is the fact that Solomos often proceeds in translating the French passages he reproduces into Italian, without necessarily the context revealing the existence of the French original. More specifically, in recording the notes-citations, Solomos exhausts both the monolingual option of copying (French) and the interlingual possibilities of translating word for word into Italian or of faithfully rendering it in a mixed language (French-Italian). The target of this paper is to compare the Italian translations to the French original texts, aiming on the one hand to identify any discrepancies in Solomos's translation options, and on the other, to examine Solomos's interlingual, if not translingual, process of translating as well as the phenomena of code switching and cross-linguistic influence resulting from it.

By the end of the Greek Civil War (1946–1949), about 50,000 Greeks had fled to Eastern Europe. The complex conditions of this massive exodus have been thoroughly discussed by historians and social scientists. However, much less is known about the conditions under which a large number of political refugees eventually returned to Greece. The few available studies on the repatriation of such refugees have shown that returning home was a more complicated and demanding process than adjusting to a "host" country. Repatriation was the primary desire of the majority of Greek refugees. However, as the years in Czechoslovakia passed, the hopes of free repatriation diminished. What the refugees were most fearful of was dying in a foreign country, away from their homeland and relatives, something they considered to be a "double death". Thus, some refugees expressed a "last wish" that at least their bones would be taken back home. The work I present here concerns the difficulties that this kind of repatriation faced. I attend to the meanings as well as the hopes and fears attached to the notion of "home" as a place of origin to which one yearns to return.

From the perspective of areal linguistics, Modern Greek, along with several other languages, is specific in that its involvement in three linguistic areas is being considered: the Balkan, European and Mediterranean. However, these three research areas differ in the length of the research tradition, the degree of both the theoretical elaboration and the descriptive and interpretative work carried out, and consequently in the power of their statements. This paper aims to briefly summarize and critically assess the history of research on Greek from these three perspectives, including the mutual intersections between the three linguistic areas (sections 1 and 2). Placing these research areas side by side and comparing them allows us to better understand the methodological problems faced by areal linguistics. Some of these (the synchronic vs diachronic view, the number of features constituting a linguistic area and their different explanatory value, centre vs periphery approach) are pointed out in section 3 in the discussion of the new way of modelling and visualizing linguistic areas (maps of isoglosses and isopleths) that emerged at the turn of the 20th century. After discussing these questions, together with an examination of the place that Greek occupies in the mentioned linguistic areas, we conclude in section 4 by suggesting the method of research that we consider to be the most promising at present in areal linguistics. This is the classification of features in linguistic areas based on three dimensions: 1) the diachronic dimension, 2) the synchronic dimension (tracking the synchronic dynamics of the phenomenon under investigation), 3) the stratification dimension (not only standard but also nonstandard/colloquial/territorial varieties should be investigated). We consider Seiler's (2019) model to be the best approach in this regard so far since it comes up with a classification of Standard Average European (SAE) features in a particular language into certain types based on the three dimensions mentioned above. Our ambition is to show the necessity of such a more fi ne-grained analysis also for Greek in Standard Average European.

The research of the expedition of Paul Kretschmer (1866–1956) to Lesbos in 1901 brought into focus the person of Michail K. Stefanidis (1868–1957), who was a scientist, professor at the University of Athens and an ordinary member of the Athens Academy. The most important person in the network of Kretschmer in Lesbos, Stefanidis supported the Viennese professor in collecting his linguistic material and evaluating the data. As a result of the expedition, Kretschmer published a monograph about the dialect of Lesbos in 1905. This study seeks to analyse Stefanidis' various activities during this expedition, when he was in the early stages of his career as a grammar school teacher in Mytilini. Previously unknown archive material, such as the travel diaries and historical photographs, were investigated to achieve the goal of the present paper. This valuable material can be found in Kretschmer's estate in the Austrian National Library and the Austrian Academy of Sciences.

Kyriakos Charalambides' references to primeval myth, vivid images and eloquent linguistic choices aim to renew things in a magical way. This article focuses, first, on showing the richness of the vocabulary of the erudite poet and on exploring how the poem Dionysus is framed by carefully chosen words that create striking images which mark the rhythmic character of the poem. Second, this article sheds light on intertextual connections. These semantic bridges take the reader on an intertextual stroll where the most unexpected encounters with poetic forefathers transpire: there are intertextual references to Aristophanes, more specifically his play The Birds, to Dionysios Solomos and also to the concept of the "idea that rises steeply" and whose "rings gradually ripple outwards" (Politis 1961: 208) that is none other than Poetry. Concurrently, the sounds that can be heard bring to mind the Dionysian throb, the frenzied dance, the exhilaration. Moreover, Dionysus constituted a hymn to the joy of living. And it is precisely this that the poet wants to make manifest through the symbolism of Dionysus: 'the pulse of life'.

The aim of this article is to examine the Greek and international aesthetic reaction to the phenomenon of the economic crisis. By examining Greek and international literary texts that depict Greece during the era of austerity, I attempt to explain how crisis is perceived in the literary field. Thus, I aspire to analyse the way in which this literature negotiates the terms economy, crisis, Europe, power and past. At the same time, I discuss contemporary literary images of the Greek Other; through a comparative study of Greek and international relevant texts, I aim to highlight the political and ideological rhetoric of the texts under examination, as well as the perception of crisis as a global issue, rather than a 'Greek adventure'. In that sense, the authors under examination do not simply dramatise the traumatic events of the recession, but they also suggest a broader definition of crisis, as a global phenomenon, discussing aspects of the contemporary European South and its balance with the European North.

This short Karagkiozis play, by the writer and Resistance fighter Elli Alexiou, was discovered in the archives of the Greek Communist Party. Karagkiozis, the Greek popular shadow theatre, was used during the Resistance (1941–1944) to promote the struggle against the German occupiers. Here, the main hero, who, for some researchers, symbolizes the low-class Greek citizen, abandons his eternal hunger to join the Resistance movement. But he never abandons his playfulness and jokes, even during the darkest times of the Greek history.

The present article explores the usage of the historical present tense in the narration of the Early Modern Greek romance Erotokritos. Focusing on both the shape and the semantics of present indicatives designating past events in a narrative context, the analysis investigates the phenomenon from the perspective of diegetic and mimetic narrative modes and the respective discourse-pragmatic functions. First, the examination demonstrates the diegetic quality of the historical present tense in summary narratives to foreshadow cognitively salient events in the story and focalize referents important to the plot. Second, it elucidates the tense's mimetic ability in scenic narratives to create a dramatic atmosphere, and third, it illuminates the static dimension of this technique with the tendency to express mental states and psychological expressions of the protagonists. The analysis provides evidence of the use of the historical present tense as a cultivated literary device from both narratological and philological points of view, shedding new light on the diachronic development of this phenomenon.

Katerina Anghelaki-Rooke attempts in her poetry to achieve a pioneering revival of female mythological figures, revising well-known myths. This paper examines how such a revision serves the structuring of a post-surrealist poetic discourse, experiential and body-centered, which liberates the female poetic subject from the dictates of patriarchal poetry, presents a feminine perspective, and redefines female identity and women's stereotypical gender role. Such an approach also includes a comparison of her innovative use of female mythological figures with the way the same figures have been treated by other Modern Greek and European poets. The paper explains how the subversive review of specific mythical symbols (Iphigeneia, Helen, the Sphinx, Magdalene, Penelope) allows the expression of a multidimensional female psychosynthesis facing the issues of love, life and death, war and peace, poetical art, and tradition, which constitute the main thematic axes of her poetry. Most of the selected mythical symbols function as the poet's alter ego in a meta-feminist era, driving her to attempt t he reconstruction of herself. The re-evaluation of mythical elements in her poems reveals internal processes that respond to the need to project a subjective biotheory, reflecting the poet's personal struggle to balance opposing forces while trying to define and interpret the world. Taking into account the elements that contemporary feminist theory identifies as constituents of "écriture feminine", the investigation focuses mainly on analyzing within several of her poems the experimental attitude towards mythical context and meaning. It also reconsiders the response of specific features of myth to an ambiguous and timeless poetic speech and presents how Anghelaki-Rooke rewrites mythology as a means of challenging dominant male discourses and redefines the mythical method in the context of post-surrealism.

This article deals with the development of the love relationships between the protagonists in the romances Livistros and Rodamni and Byzantine Achilleid. Focusing on the female protagonists and their characters, it pursues the potential shifts in their demeanours towards their male counterparts. The method used for the analysis of the characters is the actantial model by A. J. Greimas. Firstly, the article shows how the process of courtship transformed from an act of persuading the female protagonist in Livistros and Rodamni to the rather straightforward wooing in the Achilleid, despite the use of similar courtship methods. Second, it shows that the behaviour of the female protagonists also shifted; the complexity and craftiness of Rodamni contrasts with the much more direct and decisive character of Polyxeni. The article provides evidence of a shift in the portrayal of the love relationships in erotic fiction as well as a tendency to portray the female protagonists of such works as being more self-reliant and open-hearted.

This paper focuses on the design principles and features of the 'Digital Solomos' project, a digital edition of the corpus of Dionysios Solomos' manuscripts that is currently being developed at the Aristotle University of Thessaloniki. The digital edition in question will include digital facsimiles of almost all of Solomos' draft manuscripts (provided by the institutes where they are housed) as well as digital tools to enhance the reader's interaction with the digital surrogates and the transcribed text. After a brief overview of the editing traditions developed around the editorial problem of Solomos' unfinished works, the paper focuses on the relationship between the digital edition under development and the groundbreaking diplomatic edition that Linos Politis envisioned and compiled in 1964. The features of the diplomatic digital edition are then described, namely its layout and the options it provides for manipulating the document facsimiles and analyzing the texts contained within them. Finally, the paper's closing section refers to the design and characteristics of the digital genetic edition of Funeral Ode II, a small poem by Dionysios Solomos, which will be the first (experimental) genetic edition to be included within the 'Digital Solomos' project.