Comparat ive L i te ra tu re in Greece Revis i ted:

Ambigu i t i e s of the Past and Perspec t ives for the F u t u r e

Anna Tabaki*

1 he Greek world, "both continental and insular, a foyer from where

Hellenism was destined to spread over relatively large areas, according to

the ebb and flow of its expansion" ' constitutes a natural and symbolic

frontier in numerous ways (cultural, religious, ethnic frontier), a gateway

to Eastern Europe, uniting over the ages both East and West with North

and South in the Mediterranean basin.2

Anyone who wishes to capture the essence of this hybrid society a priori

over the centuries, reverting first to the classical period, passing from the

Hellenistic mirage to the transitional period of the Byzantine Empire,

spanning antiquity and the Middle Ages, then turning slowly to the Ottoman

peace, silent at the beginning, more turbulent at the end of the 17th century,

arriving finally at the cosmopolitan target-cities which flourished until the

* Professor at the University of Athens (Department of Theatre Studies), Associate

Researcher at the IRN/FNRS. E-mail : atabaki@thcatrc.uoa.gr, antabaki@cic.gr

1. In the Preface of his History of Neo-Hellenic Literature, C. TH. DIMARAS looks

at the diachronic aspect of the issue and wri tes : "La Grèce proprement dite - t a n t

continentale qu'insulaire— est le centre géographique de la présente Histoire, le foyer

d 'où l 'hellénisme était dest iné à s 'étendre en éventail sur des espaces plus ou moins

vastes, selon le flux et le reflux de son expansion" (I refer to the French edition: C.

TH. DIMARAS, Histoire de la littérature néo-hellénique. Des origines à nos jours,

Collection of the French Insti tute in Athens, Athens 1965, p. 14).

2. See Le Sud-Est Européen, Carrefour de civilisations, [Proceedings of the]

Conference "Le Sud-Est européen , carrefour de civi l isat ions" (UNESCO

Headquarters , Paris, 9th-10th February 1998), Bulletin de l'Association Internationale

d'Études du Sud-Est Européen, nos 28-29/1998-1999, special issue, in part icular the

introductory forewords by Prof. ANDRÉ GuiLLOU, "Frontières", pp. 19-24 and those of

RÄZVAN THEODERESCU, who repeats, among others, his earlier schema of South-

Eastern European "cultural corridors", pp. 26-27. By the same author, "Au sujet des

'corridors cu l tu re l s ' de l 'Europe sud-orientale"; Revue des Études Sud-Est

Européennes, 1(1983), p. 7-11.

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ANNA TABAKI

20th century, will be fascinated by its polymorphism and its capacity to

assimilate new elements. This alterity/diversity has always been present, the

same and the different have coexisted harmoniously and, as inseparable

elements, have established images of what is social. Indeed, a comparative

analysis can hardly be avoided; this urge to describe, to reflect on the other

can even be traced back to Plutarch's Parallel Lives. Parallelisms have

always played a key role in the formation of classical sophistry and rhetoric.

But let us leave this game of erudition aside.

Ambiguities in Comparitiveness before the term had been coined

If the first ambiguity lies in the nature of the Greek cultural

environment itself, making it thus attractive for a comparative study, an

attraction though that has for the most part gone unheeded and

remained unexplored, then the second ambiguity is the surprising fact

that the comparative approach in literature has often been adopted

prematurely and disproportionately. On this subject, Constantine

Dimaras suggested in one of his final papers prior to his death ("View­

points on Comparative Literature"),3 that it was thanks to Adamance

Coray's Parisian circle (beginning of the 19th century) that we owe the

impact of initial comparative concerns on Greek Literature, in the

epistemological sense of the term. Coray and his adepts borrowed from

the French Idéologues the notion of analysis in comparative study,

considering it to be an integral part of Humanities (comparative history,

comparative philosophy, comparative literary History).4 The first official

3. C. TH. DIMARAS, «Απόψεις γύρω στην συγκριτική γραμματολογία» [Viewpoints

on Comparative Literature], Ζητήματα ιστορίας των ελληνικών γραμμάτων [Historical

Aspects of (Modern) Greek Literature], Paratiritis, Thessaloniki 1994, p. 15 ff.

4. NASOS VAYENAS uses a succinct example, taken from the periodical Hermes ho

Loghios of the year 1813; consisting of a text published in series and titled, Χαρα­

κτήρες της παλαιάς και νεωτέρας φιλολογίας, δηλαδή της Ελληνικής, Λατινικής, Αγγλικής

και Γερμανικής, μετά κριτικής παραλληλίας αυτών [The character of ancient and

modern l iterature, that is Greek, Latin, Italian, French, English and G e r m a n

Literature, after a critical parallelism of them], « Η Συγκριτική Φιλολογία στην Ελλά-

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COMPARATIVE LITERATURE IN GREECE REVISITED

course in comparative Literature was introduced in the Ionian Academy

at Corfu; it was inspired and founded by the philhellene Lord Guilford

who in 1827 entrusted to Andreas Calvos, a poet and man of letters, the

teaching of the Belles-lettres, that is modern literature compared to

ancient literature and contemporary literature.5

Throughout the 19th century, Modern Greek culture was compelled to

define the components of its 'national character' (génie national),

regrouping all these elements dispersed in the past and in a particularly

varied space. This theoretical preoccupation in pursuit of Greekness

(hellinikotita) persisted even during the first decades of the 20th century

(in particular with the so-called 30s generation) and went hand in hand

with modernism. In this process, the influence of Western aesthetic

movements was decisive. Nevertheless, I am in complete agreement with

one of my Greek colleagues, when he writes that all the great literary

debates of 19th century, pleading the cause of romanticism or

disapproving its excesses (Dimitrios Vernardakis, Spyridon Vasiliadis),

the impact of other aesthetic movements, the dispute between Emm.

Roidis with Angelos Vlachos (1877), Spyridon Zambelios' essays on the

national historiography and in particular his essays on the Popular song

and the poetry of Dionyssios Solomos, possessed a powerful comparative

vision.6 Even the concept of Comparative Literature (grammatology

[συγκριτική γραμματολογία =synkritiki grammatologhia]), after its use with

a perjorative nuance, was introduced into the Greek vocabulary at an early

date, in 1860, by lakovos Polylas in an essay on Solomos' poetry.

As well as satisfying an extremely important ideological need, the

comparative method proved to be an effective tool in demonstrating, with

δα ως τη γενιά του '30» [Comparative Literature in Greece until the Generation of

the 30s], Σύγκριση / Comparaison, 1 (April 1989), p. 41, 45.

5. This plan was never realised; yet Calvos had already taught, the previous year,

at the Academy " t h e application of the philosophy in general l iterature", making

reference mainly to Dante's poetry. Cf. NASOS VAYENAS, « Η Συγκριτική Φιλολογία στην

Ελλάδα ως τη γενιά του '30», ρ. 42.

6. Ν. VAYENAS, « Η Συγκριτική Φιλολογία στην Ελλάδα ως τη γενιά του '30»,

ρ. 42-43.

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ANNA TABAKI

the aid of a solid scientific argument (exploiting mainly the comparative

linguistic and folklore domain), the dependency of modern times on

antiquity, or even in examining contacts with Western culture, an area

which was to engage almost exclusively the attention of specialists for a

long period of time.

The central issue which preoccupied most then was whether to

preserve cultural ties with Western Europe or to condemn these in­

fluences as harmful, presupposing above all that a comparative analysis

could be made. Certainly, what contributed to this bipolarity, traces of

which can be found in some important works, was on the one hand the

plethora of innovations radiating at that time in European letters and

which inundated peripheral Greece, and on the other, the fact that the

country possessed a rich heritage spanning many centuries whose

traditions it had never been able to renounce.7

In modern times, the literary explosion was subjected to Frankish and

Venetian influences in certain regions (Cyprus, Crete, Ionian Islands). It

was here that the post-Byzantine tradition (poetry and narration) came

into contact with mainly Italian and French models, through a number of

works containing vestiges of earlier morphological forms of a post-

Byzantine character as well as the aesthetics of the Late Renaissance and

Baroque. This current, which gave rise to a remarkable literary pro­

duction, was exploited by philologists such as Constantine Sathas, whose

monumental work resulted in the restoration of Cretan theatre.

However, it is interesting to note another paradox: Cretan literature

was not exempt from this obsession expressed in literary criticism at the

end of the 19th and beginning of the 20th century, that is integrating

national character in its system of values and rejecting all supposedly

foreign imitation. Some consider this part of Greek literature as a 'servile

imitation', while others, among them the eminent philologue and

comparatisi Emmanouil Kriaras, inspired by his own linguistic vulgarist

convictions, have insisted on the popular style of Cretan literature and

7. ANNA TABAKI, "La formation du 'génie nat ional ' en Grèce: Ambivalences

culturelles et esthétiques", Revue des Études Néohelléniques, V/l (1996), Daedalus,

Paris-Athens [March \999], p. 65-77.

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COMPARATIVE LITERATURE IN GREECE REVISITED

dispute the existence of a bond with the 'conventional style' of the Italian

Renaissance.8

Among the forerunners in comparative research, the great poet and

critic, Costis Palamas (1859-1943) must be included. He was heralded an

intellectual leader of the '80s generation and bequeathed to us a number

of important observations on the influence exerted among Greek poets

and foreigners.9 Nevertheless, it should be noted that for Costis Palamas,

the Greek genius could only be captured by displaying a bias towards

popular tradition, contempt for foreign ways and a rehabilitation of the

national heritage, with particular emphasis on the Byzantine legacy.

Other viewpoints of a comparative nature, such as that of Ilias Voutieridis,

who was particularly active intellectually in the early decades of the 20th

century, were also expressed although they were of an empirical and

amateur character.

The Birth of a Discipline: Ambiguities and Limits

Comparative Literature appeared officially in Greece in the 1930s. The

long presence of C. Th. Dimaras and the doctrines he had developed

8. Kriaras considers that even inferior Cretan works possess a 'popular colour',

a 'national character ' which has roots in the Byzantine cultural heritage. Never­

theless, as a Byzantine heritage, he perceives not only elements surviving from

popular l i terature but also some intellectual notions derived from the erudite

tradition. See by this author, « Ο λαϊκότροπος χαρακτήρας της κρητικής λογοτεχνίας.

Οι λογοτεχνίες της Αναγέννησης και η βυζαντινή λαϊκή παράδοση» [The popularising

character in Cretan l i terature. Literature of the Renaissance and the Byzantine

popular tradit ion], Κρητικά Χρονικά, vol. 7(1953)1, p. 298-314; b y the same author,

« Η γραμματολογική τοποθέτηση της βυζαντινής δημώδους και της κρητικής λογοτε­

χνίας» [A historical and literary evaluation of popular Byzantine l i terature and

Cretan l i terature], Νέα Εστία vol. 58 (1955), p. 1554-1557. Cf. ANNA TABAKI, Le théâtre

néohellénique. Genèse et formation. Ses composantes sociales, idéologiques et

esthétiques, Paris, EHESS, 1995, vol. I (Diffusion Septentrion, Presses Universitaires,

Thèse à la carte, Lille 2001), p. 51 ff.

9. ZACHARIAS I. SIAFLÉKIS, "La présence de la Lit térature Comparée en Grèce",

Comparative Literature Worldwide : Issues and Methods, Editor TANIA FRANCO

CARVALHAL, Porto Alegre 1997, p. 253.

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ANNA TABAKI

dominated the intellectual life of the country, moving gradually from his

'shifts of interest' towards a 'history of ideas' and later 'history of

consciences', a term he coined himself.10 Dimaras, of his own accord

pursued the French School in what was known as Literary History

(histoire littéraire), and was instructed by Gustave Lanson. As one of the

founders and instigators of the National Hellenic Research Foundation

(NHRF), he introduced into the Centre for Neohellenic Research the

instruments for comparative research when he was Director in the 1960s,

through an appraisal of the major works on Modern Greek studies.11

Although moderate and discrete, C. Th. Dimaras's strategy in the

Foundation did produce some tangible results: the creation of research

programmes of the CNR, making provisions for grants through the

National Foundation for Scholarships and his appointment at the Sorbonne

in the 1970s as Director of the Neohellenic Institute.

Moreover this success helped to increase his influence on later

generations. The broad scope of his activities was precisely what made a

striking difference while the specificity of his contribution differentiated

him from other acclaimed researchers, such as Emmanouil Kriaras, Linos

Politis, Stylianos Alexiou, or Alkis Anghelou, who through their works and

academic positions also played a key role in comparative research in

Greece. Among these literati, it was Kriaras (a student in his youth of

Jean-Marie Carré and of Paul Van Tieghem at the Sorbonne and auditor of

Paul Hazard at the Collège de France) who first occupied at the Aristotle

University of Thessalonika a Chair created after his recommendation and

which was based on the French model for 'General and Comparative

Literature [of Modern Europe]'. In January 1968, the Military Junta

forced him to abandon the post. Following the fall of the dictatorship, the

10. See « Ω ς η διψώσα έλαφος...». Interview with C. T H . DIMARAS, Σύγχρονα Θέμα­

τα, special issue 35-36-37 (Dec. 1988), p. 24. Cf. ANNA TABAKI, " L a méthode

comparatiste dans l 'œuvre de C. Th. Dimaras", Synthesis, XX, 1993, Bucharest, p .

95. Also my essay "Κ. T. Dimaras", Encyclopedia of Greece and the Hellenic

Tradition. Editor Graham Speake, Volume I, A-K, Fitzroy Dearborn Publishers,

London-Chicago, 2000, p. 478-481.

11. ANNA TABAKI, " L a méthode comparatiste dans l 'œuvre de C.Th. Dimaras", p. 97.

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COMPARATIVE LITERATURE IN GREECE REVISITED

Chair was given to Alkis Anghelou (1975-1984). Thus a wide circle had

been drawn.1 2

Before passing on another level of reflection, I feel there are two points

worth bringing to one's attention. Firstly, despite the initiatives taken by

a core of few intellectuals who were active in the 30s and 40s, these works

were largely contested by an academic majority who remained con­

servative and essentially introverted:

For me personally -Dimaras confessed- there were moments when I felt

something like remorse w h e n I saw with what coldness our established culture

regarded research on foreign sources of such and such a work, foreign

influences on such and such a writer. But first, we have good guides along this

path - Palamas at the beginning, and for always. Second, we were young then,

this branch was also young and attracted us because of its original aspect and

new ideas. Our concerns and impatience seemed justified when faced with this

sudden abundance, this brooding over the study and analysis of our literature

and history as it was conducted by our country : we knew already from the

masters we had chosen, that our culture belonged to a larger cycle, not only in

terms of time, that is towards antiquity, but also of space, that is the Western

World and as a result in order to perceive the meaning in our expression, it was

indispensable to know about its counterparts abroad. 1 3

This says it all: not only the method that prevailed for decades (study

of sources and influences received), but also the precise area for the scope

of possible research. Apparently, two paths were deemed legitimate: that

which united Modern Hellenism with ancient tradition and that which

confronted Western culture. Naturally these schools of thought were

inherited from the nationalist ideology of the 19th century, traces of which

I have tried to reveal at the beginning of my analysis.

In retrospective, this vision lead to considerable restrictions in the

comparative domain ; it was an inflicted mutilation, ideologically expli­

cable but which removed from Greek science a part of its flexibility. This

12. Cf. my study, « Η Συγκριτική Φιλολογία στην Ελλάδα: ένας σημερινός απολογι­

σμός» [Comparative Literature in Greece. A Contemporary Appraisal] Σύγκριση /

Comparaison, 10 (1999), p. 21.

13. C. T H . DIMARAS, «Συγκριτισμός» [Comparativeness], Μνήμων, 8 (1980), p. Π7-Π8.

Cf. ANNA TABAKI, "La méthode comparatiste dans l'oeuvre de C. Th. Dimaras", p. 98.

65

ANNA TABAKI

flexibility was due to its fortunate position as a centre for different cultural

practices that over the centuries had intermingled on territory under

Hellenic influence.

Without wanting to underestimate a posteriori the other channels of

intellectual communication, it is certain that Greek comparative science was

for a long time frustrated in its right and duty to contemplate neighbouring

cultural traditions or to confront them (namely Arabic, Turkish, Slavic and to

a large extent Balkan), and this occurred even though Hellenic culture found

itself consciously or not, in constant dialogue with them. This reasoning was

the same for the other South-East European countries, which shows that the

Greeks do not know their own neighbour as well as the great Western

cultures,14 without mentioning the non-existence of studies which could have

interpreted certain parallelisms generated by the essentially multicultural

specificity of South-East Europe.15 Studies that reveal a comparative interest

in India16 or the Far East are even scarcer, while those which show an interest

in other continents are practically non-existent, with the exception of the

Maghreb. This is all the more remarkable if one considers that in the last few

14. Cf. TABAKI, « Η Συγκριτική Φιλολογία στην Ελλάδα: ένας σημερινός απολογι­

σμός», ρ. 24.

15. See relevant remarks made recently by other colleagues, such as VICTOR

IVANOVICI, "Pour u n comparatisme des Balkans", as well as by myself "Pour une

reconsidération comparative des courants esthétiques", in Relations Gréco-roumaines.

Interculturalite et identité mationale. Sous la direction de P. M. KITROMILIDÈS et ANNA

TABAK i / Greek Romanian Relations. Intercultural ism and National Identity. Edited by

P. M. KITROMILIDES and ANNA TABAKI, Institute for Neohellenic Research, The National

Hellenic Research Foundation, Athens 2004, p. 105-111 and 95-104, together with useful

suggestions by R. L. STANTCHÉVA, "L'étude des littératures balkaniques modernes en

contexte européen", 16th International Congress on Comparative Literature (Pretoria,

13-19 August 2000), which highlighted the existence of certain parallelisms. R.

Stanchéva notes with reason that "without forgetting the similar historic rhythm of

Balkan cultures, the parallels have become possible due to contact with other European

Literature". That is why the recently founded (Pretoria 2000) Research Committee on

Central and Southeast European Literatures of AILC/ICLA, presided by Prof. MONICA

SPIRIDON, fills a gap, which will in all likelihood explore exhaustively a collective work

which is both fertile and interesting.

16. Let us re ta in though, the case of Demetr ius Galanos, a precurser in the

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COMPARATIVE LITERATURE IN GREECE REVISITED

years we have seen a new focus on Mediterranean Studies17 and American

Literature, which has also been officially incorporated into University

curricula.

The generation of C. Th. Dimaras remained firmly attached to its

principles. It was unaffected by the 'crisis in Comparative Literature'.18

The new tendencies that were to determine literary theory, structuralism

and poetics made a rather belated appearance in Greece, towards the end

of the 1970s and were imported by students engaged in doctoral studies in

Universities outside Greece. Yorgos Kehagioglou, for example, applied the

Vladimir Propp 'morphological' method19 in his doctoral thesis, to analyze

a Byzantine and post-Byzantine text. He then proceeded with

'experimentations', as he called them, applying propositions put forward

by Claude Bremond and A.-J. Greimas for narrative (Al. Papadiamantis)

and poetic texts (A. Embiricos).20 Eratosthenis Kapsomenos was one of

European context, who practised as a translator and lexicographer (Comparative

Dictionary for Persian-Hindu-Arab-Greek) towards the end of the 18th - beginning

of the 19th century, of Nikolaos Kephalas, finally of Lorentzos Mavilis and

Constantine Theotokis, Heptanesian Letters , and who were the translators of the

Mahabharata at the beginning of the 20th century.

17. See as an example VASSILIKI LALAGIANNI (ed.), Femmes Écrivains en

Méditerranée, Publisud Publishers, 1999. Also, TAKTS THEODOROPOULOS - RAMA

PoLYCANDRiOTi, La Méditerranée grecque, in Les Représentations de la

Méditerranée, under the direction of ROBERT ILBERT et THIERRY FABRE, vol. 6. coll.

"Monde Médi terranéen", Maisonneuve & Larose, Paris 2000. Cf. Expressions et

représentations littéraires de la Méditerranée: Iles et Ports, 16e-20e siècles. Actes

du Colloque, Centre Culturel Européen de Delphes, 5-6 novembre 1999. Edited by

Z.I. SiAFLEKis and RANIA POLYCANDRIOTI, Patakis Publishers, Athens 2002.

18. Dimaras followed the new tendencies in li terary criticism and theory but he

disapproved of them and declared his absolute loyalty to diachrony. See TABAKI, "La

méthode comparatiste dans l 'oeuvre de C. Th. Dimaras", p. 99-101, where there is the

respective documentation.

19. YORGOS KEHAGIOGLOU, Κριτική έκδοση της Ιστορίας Πτωχολέοντος. Θέματα Υστερο­

βυζαντινής και Μεταβυζαντινής Λογοτεχνίας [A Critical edition of the History of

Ptocholeon. Subjects of the Late and Post Byzantine Literature] doctoral thesis,

Thessaloniki, 1978.

20. YORGOS KEHAGIOGLOU, «Ελληνικές τύχες της Μορφολογίας του παραμυθιού»

[Greek fortunes in the 'Morphology of the Folktale '] . A d d e n d u m to the Greek

6 7

ANNA TABAKI

the most important and active representatives (both in the academic

context of Ioannina University and outside the university) of semiology in

Greece.21 In the 1980s, the concepts of intertextuality and the aesthetics of

reception were introduced into comparative literature but these

innovations did not win many followers. Despite everything, the classic

formula of the type 'X and Y' seemed to persist,22 as has been borne out

by recent studies and many theses on the subject, albeit injected with a

new issue.2 3

The Present State of Affairs and the Future

Today, however, productivity in this area is indeed apparent at numerous

levels, not only within the institutional framework itself but also in

written publications where a renewed and deeper reasoning has

crystallized. Moreover this has occurred even though a department or

section devoted to Comparative Literature is absent, all the more

surprising as academic bodies in Greece have been multiplying (the

establishment of new universities in the periphery, the creation of new

departments in the large universities), as have the posts for the teaching

of Comparative Literature. These posts either have been created in

traditional disciplines, namely the Departments of Modern Greek

Literature (at the University of Athens, Thessalonika, Ioannina, more

recently at the Democritus University of Komotini), and at the University

of Patras or in Departments for the Study of Foreign Literature (French,

English, Italian, German, Spanish etc.). Attaching Comparative

Translation of Morphology of the Folktale by VLADIMIR PROPP. Translated by

ARISTEA PARISSI (Kardamitsas, Athens 1987, p. 331-368).

21. See by this author, Κώδικες και Σημασίες [Codes and meanings], Arsenidis,

Athens 1990, in which he also makes a n appraisal of semiological studies in Greece.

22. ZACHARIAS I. SIAFLÉKIS, "La présence de la Littérature Comparée en Grèce", p. 356.

23. In this context, among the deep roots of a traditional comparatism and

tendencies towards renewal, some recent theses can be placed, such as that by

ALEXANDRA SAMOUIL, Ο βυδός του καδρεφτη. Ο André Gide και η ημερολογιακή μυθο­

πλασία στην Ελλάδα [The depth of the mirror. André Gide and the fictional journal

in Greece], University of Crete Press, Herakleion 1998.

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COMPARATIVE LITERATURE IN GREECE REVISITED

Literature to Foreign Literature Departments has been a widespread

practice and continues to be so absorbing many comparatists in the

process. The usual model followed in teaching has been as follows:

French and Comparative Literature, American and Comparative Literature,

Spanish and Comparative Literature and so on. In some institutions, such

as the University of Thessalonika and even Athens, the courses offered

also cover the theoretical aspect of Literature as well as Comparative

Poetry. In addition, with the emergence of some relatively new

Departments, such as a Department of Foreign Civilizations or even the

more dynamic Department of Theatre Studies, Comparative Literature

has been entered their curricula. Moreover, attention should de drawn

to two more cases: firstly, the University of Athens whose Department of

Theatre Studies offers, in addition to numerous courses on Comparative

Theatre, a course on the Criticism and Theory of Literature, and

secondly, the University of Patras where Stylistics, the Theory of

Literature and Semiology in Dramatic texts are taught. New interests,

such as translation studies, which have been housed in the Departments

of Foreign Literature and Language, 2 4 as well as in the Interpreting

School, at the Ionian University in Corfu, offer courses in the Theory of

Literature and Translation.2 5 The introduction of a sense of comparative

approach in the School for Mediterranean Studies at the University of the

Aegean is also significant. Finally, the integration of anthropological

studies (Social, Cultural Anthropology etc.) in the University system

with the establishment of independent departments (Aegean University

at Mytilene, Democritus University at Komotini and Alexandroupolis,

24. It should be noted, that following an initiative by the University of Athens

(French Language a n d Literature Depar tment) , an Inter-university, Interdepart­

mental Project for Postgraduate Studies in Translation Studies, has been established

as a pilot programme and whose first phase 1998-2000 was funded by the European

Union.

25. See as a n example VASSILIS KOUTSIVITIS, Θεωρία της Μετάφρασης [Theory of

Trans lat ion], Athens 1994 ; MARIA TSOUTSOURA, Μετάφραση και Ερμηνευτική

[Translation and Hermeneut ics] , Athens-Corfu 1997 ; Centre [for the Study] of the

Greek Language, Η γλώσσα της λογοτεχνίας και η γλώσσα της μετάφρασης [The

Language of Literature and the Language of Translation], Thessaloniki 1998.

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ANNA TABAKI

the University of Thessaly at Volos) has created favourable conditions for

the introduction of Comparative Literature courses as well as courses

which focus on Cultural Studies and Women Studies.

Notwithstanding this evident growth in institutional structures, it would

be interesting to examine the actual research areas with which the

comparatisi community in Greece is preoccupied. It appears that, apart from

the multitude of different methods being used, there has been a shift in time,

a new chronological focus. Whereas in the past, the 20th century was the

culminating point and constituted the main study for the majority of new

research projects and doctoral theses,26 at present the 18th and 19th centuries

are being re-evaluated and revised.27 Not only have time barriers become

more flexible but we can also see new orientations. We have the beginnings

of a serious attempt to study the relations with Arabic Literature, for

example (in particular by Yorgos Kehagioglou) or even the unusual path that

translation in South Eastern Europe has taken.28 Hitherto, unknown literary

genres are being examined, such as personal or autobiographical

26. An interesting example is provided by the thesis submitted by THEOCHAROULA

NIFTANIDOU, Georges Perec et Nikos-Gabriel Pentzikis: Une poétique du minimal

(January 2000, Paris III - Sorbonne Nouvelle, under the supervision of Prof. Jean

Bessière).

27. I would like to restrict myself to a succinct example, provided by Micros

PECHLIVANOS, a follower of Hans Robert Jauss, who examined in his thesis the Εκδοχές

της νεωτερικότητας στην κοινωνία του Γένους: Νικόλαος Μαυροκορδάτος-Ιώσηπος Μοι-

διόδαξ-Αδαμάντιος Κοραής [Aspects of Modernity in the Society of Ghenos : Nikolaos

Mavrokordatos. Iossipos Moisiodax. Adamantios Kora'is], Thessaloniki 1999. For a

background three 'gardens ' are either real or fictitious, the phanariot garden of Mavro­

kordatos, the 'newtonien' garden, the fictitious garden of Moisiodax and finally the

Parisian garden of the Tuileries where Coray would often walk, the author tries to

reinstate in comparative terms the debate between the old and the modern in Greek

culture during the age of the Enlightenment (first half of the 18th century - early

decades of the 19th century).

28. I would like to refer to my own study, "Identité et diversité culturelle: Le

mouvement des traductions dans le Sud-Est de l 'Europe (XVIIIe siècle - début du

XIXe)", Σύγκριση /Comparaison, 9 (1998), p. 71-91, which also looks retrospectively at

the issue.

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COMPARATIVE LITERATURE IN GREECE REVISITED

discourse.29 There is likewise a tendency to move more systematically

towards issues of comparative aesthetics; several researchers (both senior

and junior) have orientated their research towards narratology,30 the study

of genres (in particular the novel31 and the short story), issues in poetry

(poems in prose or pure poetry),32 or towards the literary myth.33 Domains

formerly neglected, such as Children's literature or Women's literature, are

now developing rapidly.34 Research on the theme of otherness, the image of

the other, has flourished without though overlooking more theoretical

issues,35 or failing to review the intellectual background of their authors,

as has been the case with some more recent works.36

29. See RANIA POLYCANDRIOTI, Étude de lecriture autobiographique, fondée sur

des textes contemporains des femmes écrivains en Grèce et en France, doctoral

thesis, Paris Ili-Sorbonne Nouvelle, 1990.

30. I would like to mention in the context of translation the work of FRANZ K.

STANZEL, Theorie des Erzählens by KYRIAKI CHRYSOMALLI-HENRICH (University Studio

Press, Thessaloniki 1999). Mrs Chrysomalli-Henrich, who lives and wri tes in

Germany, examines narratological issues in her own research.

31. See as an example the doctoral thesis of SOPHIA DENISSI, To ελληνικό ιστορικό

μυδιστόρημα και ο Sir Walter Scott (1830-1880) [The Greek historical novel and Sir

Walter Scott (1830-1880)], Kastaniotis, Athens 1994.

32. I would like to mention in this context the thesis of AGORI GREKOU, Ηκαδαρή

ποίηση στην Ελλάδα από τον Σολωμό στον Σεφέρη [Pure Poetry in Greece from

Solomos to Seferis], Alexandria Publishers, Athens 2000.

33. I will restrict myself to two examples: Z. I. SIAFLEKIS, Η εύδραυστη αλήδεια.

Εισαγωγή στη δεωρία του λογοτεχνικού μύδου [The Fragile Truth. Introduction the

theory of the literary myth] Gutenberg, Athens 1994. Also, ANGELICA MARIE

KOUMANOUDIS, Le mythe de Pan dans la littérature grecque et française des XIXe et

XXe siècles, a thesis which was vivaed in February 2000 at Paris IV-Sorbonne

(under the supervision of Pierre Brunei) .

34. ANNA ΤΑΒΑΚΙ, « Η Συγκριτική Φιλολογία στην Ελλάδα: ένας σημερινός απολογι­

σμός», ρ. 26, 32.

35. Ζ. I. SIAFLEKIS, Συγκριτισμός και Ιστορία της Λογοτεχνίας [Comparativeness and

the History of Literature], Epikairotita, Athens 1988 ; by the same author, « Η χαμέ­

νη λογοτεχνικότητα και οι μεταμορφώσεις του λογοτεχνικού συγκριτισμου» [Lost

Literacy and transformations in l iterary comparatism] Σύγκριση / Comparaison, 10

(1999), p. 7-17.

36. See, for example, LISY TSIRIMOKOU, Εσωτερική ταχύτητα. Δοκίμια για τη λογοτε-

7ΐ

ANNA TABAKI

Theatre studies have today taken a new turn in the academic milieu

giving rise to many comparative theatre applications (semiological

approaches,3 7 theory of aesthetics and reception - Jauss, the study of the

notions of theatre as a spectacle and mass media,3 8 sex/gender,39 colour,40

re-examination of the ancient tragedy using 20th century theories,

reconsideration of theatre translation in the light of contemporary

trends).4 1

As a form of epilogue, I will say a few words on translation, the child

prodigy of classical Comparative Literature. At the centre of inter-

cultural relations, translation has followed a dynamic course within the

context of Greek comparatism and continues to evolve. As a versatile

entity, many research teams are engaged in the study of translation and

translation theory, covering a wide range of issues and converging

interests, from the history of the theory of translation to Translation

χνία [Internal Speed. Essays on literature] Agra, Athens 2000, the whole of the work

sketches the comparative trajectory of the author during the 20 years of her university

career.

37. I refer as an example of the latest works of Yorgos P. PEFANIS, TO δεατρο και

τα σύμβολα. Διαδικασίες συμβόλισης του δραματικού λόγου [The Theatre and

Symbols. The Process of symbolisation on Dramatic Speech], Ellinika Grammata

Publishers, Athens 1999, as well as recent work by D M I T R I S TSATSOULIS, Σημειολογικές

προσεγγίσεις του δεατρικού φαινομένου. Θεωρία και κριτική ανάλυση της σύγχρονης

δεατρικής πρακτικής [Semiological Approaches to the theatrical phenomenon. Theory

and Critical Analysis of Contemporary Theatrical Practice], Ellinika Grammata

Publishers, Athens 1999.

38. THODOROS GRAMMATAS, Θέατρο για παιδιά και νεανικό κοινό [Fantasyland.

Theatre for Young Audiences], Gutenberg Publishers, Athens 1996.

39. SAVAS PATSALIDIS, TO 'άλλο' δεατρο. Σπουδή στις φεμινιστικές και αφρο-αμερι-

κανικες δοκιμές [The " O t h e r " theatre. A Study of Feminist and Afro-American

Performances], Tolidis Publishers, Athens 1993.

40. Among others, SAVAS PATSALIDIS, (Εν)τάσεις και (Δια)στάσεις. Η Ελληνική Τραγω­

δία και η δεωρία του Εικοστού αιώνα [Tensions/Tendencies and Dissensions/Attitudes.

Greek Tragedy and 20th century Theory], Gutenberg Publishers, Athens 1997.

41. WALTER PUCHNER, «Για μια θεωρία της θεατρικής μετάφρασης. Σύγχρονες σκέψεις

και τοποθετήσεις και η εφαρμογή τους στις μεταφράσεις του αρχαίου δράματος» [For a

theory on theatre translation. Contemporary reflections and considerations and their

application to translations of ancient drama] special edition, Athens 1995, p. 107-149.

72

COMPARATIVE LITERATURE IN GREECE REVISITED

studies (Centre for Neohellenic Research at the FNRS, Centre for Literary

Translation at the French Institute of Athens, an active group from which

the 'National Centre for Literary Translation (EKEMEL) was later

founded under the auspices of the National Book Centre etc.). 4 2

We can therefore conclude without exaggeration that the ambiguities of

the past are slowly disappearing and there are perspectives that seem to

hold promise for the future as regards Comparative Literature in Greece.

The Risks of Globalisation

While a favourable climate is being created in the domain of Greek

comparative studies, the crucial question is on the direction that it will

eventually take? Will globalisation bring together all of these disparate

elements and to what extent ? Will it, or even should it, determine the

present and future of Comparative Literature in Greece ?

At the beginning of my analysis, I stressed within reason the frontier

position of the Hellenic culture as well as its ancient character. In this

respect, there are two parameters worth mentioning and which are

undoubtedly at the origin of an intrinsic peculiarity.

Firstly, let us return to the frontier position : it seems to me that at the

moment, the idea of cultural corridors which was formerly explored in a

diachronic study on South-Eastern Europe is highly pertinent in view of

the multiculturalism that is rapidly sweeping in waves across Greek

territory, transforming from one day to the next everyday life, as well as

collective imagination, and shaping thus Greek literary fiction. Greece is

in the grips of a crisis in cultural values, and is surrounded by a

polymorphism that has at times overhauled with a certain aggression the

traditional way of life, and has as a result influenced considerably the

Greek way of thinking. Coming to terms with this otherness/diversity is

henceforth an urgent need. The study of literature, in this case Greek

Comparative Literature, is not only affected by globalisation, which

provides almost infinite access to a global society of infinite information,

42. ANNA TABAKI, « Η Συγκριτική Φιλολογία στην Ελλάδα: ένας σημερινός απολογι­

σμός», ρ. 26-27.

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ANNA TABAKI

but it makes it vulnerable to numerous encroachments as there were

discussed at length during the Pretoria 2000 Congress of the AILC/ICLA.

One such encroachment that is extremely visible in Greece has been the

phenomenon of multiculturalism in an acute form. Frontier encroach­

ments between European countries (North-South), between Balkan

countries but also between continents (East-West), is, according to my

opinion, today the major issue concerning the Greek case, as opposed to

the problems common throughout the world (that is in developed

countries), imposed by the media and information technology.

It is, therefore, necessary that Greek comparative science, given the

vast scope of issues it encompasses, abandons its former stagnation. It

must become involved in all types of literary interactions, acquaint itself

better with its Mediterranean and South-Eastern neighbours as well as

the literary peculiarities created by contemporary social and cultural

practices. As for the second parameter concerning the ancient character of

the Hellenic civilization, it is evidently not just a cheap antidote or a

cliché. "In taking the road to Troizina",43 we should concede to the notion

of heritage, its own dynamism and freedom, a critical dimension, a fresh

and new approach which preserves its own flavour.

We must also bear in mind that in this heady acquisition of knowledge

without limits, leading to comparative practices almost without evident

restrictions, it is also constructive as well as indispensable to re-establish

our ties with the past, to look at its comparative study, enriching thus

profoundly our vision of reality. As well as using new theoretical

instruments, a visit to the past will enhance our vigilance towards a

monstrous unifying globalisation, capable of sweeping away national

traditions and causing them to disappear. By gaining awareness of the

richness of Pandora's Box and the essentially multicultural nature of

today's society, we can then take note of the different literary layers in

time and space, and Comparative Literature in Greece could secure the

present and build its future for the new millenium.

43. Column signed by CHARLES DÉDÉYAN, published in the Le Figaro Littéraire,

in the issue of 2nd March 2000.

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