Greek poetry

Athen. XIII 599c-d. [Ov.] Her. XV 61s. 13 Sapph. frr. 5, 9a V.; vd. P.Oxy. XV 1800 fr. 1. 14 Cfr. P. Oxy. XXIX 2506, fr. 45, 4. ebbe un'unica figlia, chiamata Cleide. Compose canti lirici, epigrammi, elegie, giambi e monodie 15 ; inoltre avrebbe inventato il plettro e la πηκτίς, una sorta di arpa . Ebbe come compagne Attide, Telesippa e Megara, con le quali fu accusata di intrattenere turpi relazioni. Sue allieve furono Anagora (o Anattoria?) di Mileto, Gongila di Colofone ed Eunica di Salamina. Quest'ultima informazione è confermata da un papiro del II sec. d.C., in cui un anonimo commentatore afferma che Saffo trascorse la sua vita educando in serenità non solo le ragazze più nobili del luogo, ma anche quelle provenienti dalla Ionia, e che fu tenuta in altissima considerazione dai concittadini, i quali le avrebbero concesso a Mitilene la proedria della festa in onore di Afrodite 17 .

Η Ποίηση στην εποχή του κορωνοϊού και του εγκλεισμού: Αφήστε όλα τα λουλούδια να ανθίσουν | σχόλιο

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1984, pp. 414. dali aUe cerimonie matrinnoniali c funebri all'interno deH'ofÈos, conconwano. amaverso le peculiari [nDdalità del loro svolgimento e 'le specifidn finalità pa le quali si celebravano. a detenninare sia una figc» posa scelta dei contmud del ento e dei modi della loro trattazione. sia una selezione dei modula espressivi nell'ampia gamma padroneggiau da] poeta dopo un lungo appnndistato nel quale la memorizzazione di opere di alai cantori avea un ruolo deteminante

Tipo di tesi Tesi di dottorato di ricerca
Autore BENELLI, LUCA
URN etd-12092013-172526
Titolo SAPPHOSTUDIEN ZU AUSGEWÄHLTEN FRAGMENTEN
Settore scientifico disciplinare L-FIL-LET/02
Corso di studi DISCIPLINE UMANISTICHE
Commissione tutor Prof. Hammerstaedt, Jürgen
relatore Prof. Medda, Enrico
Parole chiave
Frammenti
Fragmente / Saffo
Sappho
Data inizio appello 15/01/2014;
Disponibilità completa
Riassunto analitico Commento filologico dettagliato ad una serie di frammenti di Saffo, con nuove proposte testuali.

299: un caso di tracoma, pp. 6 ANGELA ANDRISANO, La lettera overo discorso di G. Giraldi Cinzio sovra il comporre le satire atte alla scena: Tradizione aristotelica e innovazione, pp. 9 MARIA GABRIELLA ANGELI BERTINELLI -MARIA FEDERICA PETRACCIA LUCERNONI, Centurioni e curatori in ostraka dall'Egitto, pp. 44 GINO BANDELLI, Medea Norsa giovane, pp. 32 GUIDO BASTIANINI, Frammenti di una parachoresis a New York e Firenze (P.NYU inv. 22 + PSI inv. 137), pp. 6 MARCO BERGAMASCO, ¥ ( Upereth\ j a) rxai= oj in POsl III 124, pp. 9 LAURA BOFFO, Per il lessico dell'archiviazione pubblica nel mondo greco. Note preliminari, pp. 4 FRANCESCO BOSSI, Adesp. Hell. 997a, 5 Ll.-J.-P., pp. 2 MARIO CAPASSO, Per l'itinerario della papirologia ercolanese, pp. 23 ANTONIO CARLINI, Papiri filosofici greci e tradizione dei testi, pp. 7 FILIPPO CÀSSOLA, Le parti del mondo nell'antichità, pp.7 GIOVANNI CERRI, Il giudizio di Aristotele sul finale dell'Iliade (Correzione testuale a Poet. XV 1454 b 2), pp. 12 ILEANA CHIRASSI COLOMBO, Parole di Mago. Riflessioni intorno a PMG XIII, pp. 7 FRANCO CREVATIN, Cimeli egiziani della collezione Malaspina dei musei civici di Pavia, pp. 6 PAOLA DAVOLI, Soknopaiou Nesos: i nuovi scavi dell'Università di Lecce, risultati e prospettive, pp. 18 STEFANO DE MARTINO, Un passo della versione in hurrico del "canto della liberazione" (KBo XXXII 14 I 46-47), pp. 3 MICHELE FARAGUNA, Terra pubblica e vendite di immobili confiscati a Chio nel V sec. a.C.: per un'interpretazione di SGDI 5653 (DGE3 688), pp. 8 MARIA ROSA FORMENTIN, Il Marc. gr. 273: stratificazione di scritture, lingue, testi, pp. 8 LUIGI GALASSO, Ovidio, Metamorfosi 13, 679-701: le figlie di Orione, pp. 8 GIAN FRANCO GIANOTTI, Odisseo mendico a Troia (PKöln VI 245), pp. 8 ALBERTO GRILLI, Su due frammenti di Cleante, pp. 2 DIETER HAGEDORN, Crusov " oder crusiv on? Regionale Besonderheiten des Wortgebrauchs im spätantiken Ägypten, pp. 7 HERMANN HARRAUER, Ein griechischer Grabstein, pp. 4 ALBERTO MAFFI, La clausola relativa all'interrrogatorio nell'arbitrato di Cnido (IK Knidos 221 A 67-72), pp. 4 ALDO MAGRIS, Il concetto di rivelazione nel codice manicheo di Colonia, pp. 12 FULVIA MAINARDIS -CLAUDIO ZACCARIA, Tra epigrafia e papirologia Q. Baienus Blassianus, cavaliere tergestino e prefetto d'Egitto, pp. 25 ENRICO V. MALTESE, Postille critico-testuali al Dynameron di Elio Promoto Alessandrino, pp. 3 GIOVANNA MENCI, Note su reperti antinoiti, pp. 10 GABRIELLA MESSERI, Un nuovo trierarco e la presenza della flotta romana nel Mar Rosso, pp. 4 FRANCA PERUSINO, I papiri di Aristofane e la colometria: nota al P. Oxy. 4510, fr. 6 (Aristofane, Acarnesi), pp.3 PAOLA PRUNETI, Osservazioni sull'uso e il significato di kastellon nella lingua dei papiri, pp. 5 PATRIZIA PUPPINI, Tratti cultuali egiziani nell' Elena di Euripide, pp. 9 LUIGI TARTAGLIA, Meccanismi di compilazione nella Cronaca di Giorgio Cedreno, pp. 7 GENNARO TEDESCHI, Medea e gli Argonauti nei poeti greci, pp. 32 303 Medea e gli Argonauti nei poeti greci Agli inizi gli uomini non solcavano il mare, ma, quando essi cominciarono a navigarlo, non usarono subito le triremi; inoltre, quando cominciarono a servirsi delle navi, i marinai erano inesperti di lunghi viaggi, cosicché per i Greci era temibile essere trasportati oltre Delo! (Libanio, In difesa dei danzatori, 19).

The faculty of memory, comprising memorization and remembrance, is often viewed as entirely rational. This paper focuses on three phenomena, poetry, mystery initiations, and Plato’s philosophy, in order to demonstrate that in some spheres, mania and mnêmê intertwined. The poet’s memory is only partially his own: he recalls and commemorates in the grip of divine inspiration, when he is out of his mind. Creation of the eternal memory of the life-changing ecstatic experience was the aim of mystery rites, whereas the mnêmê of the ceremony was enhanced by means of mania. Finally, in Plato, the philosopher’s recollection of his soul’s true knowledge is pictured as a seizure of mania.  Magic memory and inspired knowledge are present in all these phenomena. The ancient mingling of thinking, alteration of consciousness and remembering, expressed by means of the words deriving from the Indo-European root men-, denoting ‘active mental force,’ did not disappear in Greece.

Book five of the Greek Anthology gathers 310 epigrams united by their erotic subject. Taking the adjective “erotic” literally, it comprises both compositions of sexual theme and intention, with a more or less disguised obscene language, and others where a more or less violent expression of love can be read, similar to the one that would be found in medieval Iberian bards. Apart from a small group of epigrams that resort to Greek mythology, the poems address the most frequent and timeless symptoms and complains of the in loved subject, the often-contradictory feelings inspired by an Eros that Posidippus straightforwardly defines as bittersweet (num. 134).

Η συγκεκριμένη εργασία αποτελεί μέρος ευρύτερου μελετήματος με θέμα: ''Η παιδική ηλικία στην ποίηση της γενιάς του 1930: Η περίπτωση του Γιώργου Σεφέρη και του Γιάννη Ρίτσου''. Αυτή η ενότητα είχε διαπραγματευθεί ως μέρος των απαιτήσεων του Π.Μ.Σ. 'Ανάγνωση, Φιλαναγνωσία και Εκπαιδευτικό Υλικό' του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών.

Σ' αυτό το δεύτερο μέρος, συζητείται η παιδική ηλικία στο ποιητικό έργο του Γιάννη Ρίτσου. Αυτή η συζήτηση πηγάζει μετά από κριτική ανάλυση περιεχομένου και κοχλιώνεται γύρω από 3 ευρύτερες θεματικές όπως εντοπίζονται στο ογκώδες και πολύτομο ποιητικό έργο του δημιουργού. Αυτές είναι:
(α) Παιδική ηλικία και αυτοβιογραφικό στοιχείο. Σ' αυτή τη θεματική διαφαίνεται η σχέση του ποιητή με την οικογένειά του. Αναδεικνύονται τα μοτίβα της θλίψης, της μοναξιάς, της μελαγχολίας, χωρίς να απεμπολείται και το στοιχείο της χαράς και της τρυφερότητας. Το στοιχείο του θανάτου και της απώλειας έχει ιδιαίτερη θέση σε αυτή τη θεματική.
(β) Το παιδί ως πρωταγωνιστής της παιδικής σύνθεσης. Σ' αυτή τη θεματική εντοπίζεται πρώτα η στροφή του ποιητή σε μια εξωραϊσμένη παιδική ηλικία, η οποία αποτελεί ψυχικό και πνευματικό καταφύγιο από την αποπνικτική πραγματικότητα της δικτατορίας, της λογοκρισίας, και της ταλαιπωρημένης υγείας του ποιητή. Στη συνέχεια, διαφαίνεται μία συχρονική οπτική της παιδικής ηλικίας, άμεσα συνυφασμένη με προσωπικά βιώματα του δημιουργού, όπως τη γέννηση της κόρης του Έρης.
(γ) Παιδική ηλικία και κοινωνικά προβλήματα. Σε αυτή τη θεματική αναδεικνύεται το διαφορετικό παιδί, το παιδί που μελετά, που αγωνίζεται, που εργάζεται, που υποφέρει.
Η παιδική ηλικία στο έργο του Γιάννη Ρίτσου αναδεικνύεται μέσα από τον ουμανιστικό χαρακτήρα της ποίησής του. Οι οικουμενικές αρχές της ειρήνης, της αξιοπρέπειας και της αγάπης για τον άνθρωπο, αποτελούν τον κολοφώνα της ποίησής του. Αυτές οι αρχές διαπνέουν την ‘παιδική ηλικία’ όπως διαφαίνεται στο έργο του και της αποδίδουν συγχρονικό και ταυτόχρονα διαχρονικό χαρακτήρα.


Εκδοχή αυτού έχει δημοσιευθεί στο: 
Σάββα, Α. (2017). Η παιδική ηλικία στο ποιητικό έργο του Γιάννη Ρίτσου-διαχρονικές διαστάσεις και σύγχρονες προεκτάσεις. Διαδρομές στο χώρο της λογοτεχνίας για παιδιά και νέους. 123, 80-88.

This volume of the series Greek Anthology gathers, under the possible title
Miscellaneous Epigrams, books IV, XIII, XIV and XV of the collection. First,
the Prefaces written by the three primordial anthologists (Meleager, Philipp and Agathias). The remaining books, absent from the Cephalean garland as they seem to be, are mostly playful texts, poetic exercises on metrics (book XIII), arithmetic, riddles, enigmas, and oracles (book XIV). About book XV, it must be read as the locus spurius where the Palatine scribe put the pieces on whose poetic and semantic value he himself doubted. Special is the case for the technopaignia, ancient model of visual poetry.

un'amicizia vera, che risale indietro nel tempo di circa quarant'anni, mi impedisce di indirizzarti queste poche righe nella forma asettica e paludata prescritta, in tali circostanze, da un rituale accademico che conosciamo fin troppo bene; mi impedisce anche di riesumare l'iniziale maiuscola per pronomi e aggettivi riferiti al destinatario, che nella nostra corrispondenza abbiamo abolito da vari lustri.

Gregory of Nazianzus and Theodore Prodromos are two of the most influential poets of Byzantium. And yet, no study has examined the various intertextual correspondences between their poetic works. This article is the first to demonstrate the extensive appropriation of Gregory's work by Prodromos. It is divided into three parts:1 the first discusses poems composed by Prodromos in praise of Gregory; the second part attempts to show which of Gregory's poems Prodromos read and his technique of ‘plundering’ words from Gregory's corpus; the third part concentrates on Prodromos’ creative imitation of Nazianzus’ poetry in terms of wording, genre and sentiments, which eventually enabled him to craft part of his authorial self-portrait.

A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença.

A Antologia de Planudes, conservada no autógrafo Marcianus gr. 481 do século XIV, foi durante os séculos XVI-XVIII a única recensão do epigrama grego conhecida e divulgada e exerceu, por isso mesmo, uma influência notável na poesia e na cultura moderna em geral. Texto pedagógico nuclear para alunos renascentistas de grego e latim, com frequência constituía o seu primeiro contacto com a literatura grega. Poetas e escritores de todos os tempos dela se serviram. Erasmo, que copia e comenta nos Adagia cerca de cinquenta componentes, mas também os Emblemmata de Alciato, pela primeira vez publicados em 1492, que ilustram, traduzem para latim e comentam um muito maior número de epigramas. O presente volume oferece em tradução os epigramas transmitidos por Planudes que estão ausentes do Palatinus, nas edições modernas publicados como Livro XVI da Antologia Grega. A grande maioria destes textos (356 de um total de 392) provém do capítulo IV do Marcianus, recolha de epigramas descritivos ou ecfrásticos.

Ο όρος διακειμενικότητα, σε ό,τι αφορά την ποίηση, αναφέρεται συνήθως σε συνειδητή χρήση, από την πλευρά ενός ποιητή, με τον ίδιο ή με ανάλογο τρόπο, λέξεων ή εκφράσεων που έχουν ήδη χρησιμοποιηθεί σε προγενέστερο έργο άλλου ποιητή ή σε δημοτικά τραγούδια. Παρ' όλο που υπάρχουν διαφορετικές μορφές διακειμενικότητας, δεν μπορούμε να είμαστε πάντοτε σίγουροι για το είδος της σχέσης που συνδέει δύο κείμενα διαφορετικών εποχών και διαφορετικής κοσμοαντίληψης δημιουργών. Μπορεί ο συσχετισμός να περιορίζεται στις λέξεις ή να αφορά και τη δομή, το περιεχόμενο, τις ιδέες, τους συμβολισμούς κλπ. Όταν η διακειμενικότητα δεν είναι εμφανής, συχνά αμφιβάλλουμε εάν πρόκειται για αναφορά στο παλαιότερο έργο ή για ένα από τα θέματα, τρόπους ή εκφράσεις που αποτελούν κοινό τόπο στη σκέψη και στην ποίηση και συμπτωματικά μόνο υπάρχουν και στα δύο έργα. Εάν ωστόσο πρόκειται για ποιητές των οποίων το έργο έχει διαβαστεί από τους νεότερους (αυτό συνήθως μπορεί να αποδειχτεί με διάφορους τρόπους), τότε δύσκολα θα μπορούσαμε να αρνηθούμε τις συγκεκριμένες οφειλές των νεότερων ποιητών στους ποιητικούς τους προγόνους. Σε ό,τι αφορά τον Ανδρέα Εμπειρίκο και τους άλλους έλληνες υπερρεαλιστές ποιητές, είναι γνωστή η αγάπη τους για τον Διονύσιο Σολωμό. Ο Ελύτης και ο Εγγονόπουλος το έχουν δηλώσει επανειλημμένως, ενώ ο Εμπειρίκος, που δεν συνήθιζε να γράφει θεωρητικά κείμενα ούτε να δίνει συνεντεύξεις, το δείχνει με πλήθος αναφορών στο έργο του. Ο Εμπειρίκος, στο κείμενο με τίτλο «Αφροδίτη» (από την ενότητα «Τα γεγονότα και εγώ» της συλλογής Γραπτά ή Προσωπική Μυθολογία), παραθέτει αυτούσιο έναν ολόκληρο στίχο από τους Ελεύθερους Πολιορκημένους («Νύχτα γιομάτη θάματα, νύχτα σπαρμένη μάγια») δείχνοντάς μας έναν δρόμο για την ερμηνεία και την κατανόηση του κειμένου του. Ο στίχος ενσωματώνεται στο κείμενο λειτουργικά, ως απάντηση σε μια ρητορική ερώτηση: «Και όμως, έξω ήτανε νύκτα. Αλλά τι νύκτα; Νύχτα γιομάτη θάματα, νύχτα σπαρμένη μάγια.» Παρατίθεται εδώ ένα μέρος από το σχετικό απόσπασμα του Σολωμού

O Livro XII da Antologia Grega contempla cerca de 260 epigramas unidos pela temática homoerótica que desenvolvem. À parte um conjunto escasso de componentes dedicados ao amor heterossexual, erroneamente introduzidos pelos copistas na coleção e que aqui são também traduzidos, versam sobre o modelo da relação amorosa entre um homem adulto (o assim  designado erastes, o “amante” ) e um adolescente (o eromenos). A Musa dos rapazes tem, como contraponto imediato, o livro V da Antologia, coletânea mais extensa de epigramas sobre o amor heterossexual. Uma leitura de ambos permite no entanto, em primeira instância, detetar um grupo de tópicos e imagens que se repetem, prova em si de que ambos celebram uma mesma realidade – as benesses (mais bem escassas) e as agruras do amor.

Greek funerary inscribed poetry is anonymous and shared
by a whole community of language and literature; its variety
of themes is impressive; the monumental con-text –
including the inscribed object, the layout of the inscribed
text, the form of its letters, the lectional signs – vehicles an
important part of the message, therefore it should be taken
into consideration when we translate this poetry. A few
examples are examined. The separation of the inscribed
text from its material context took place already in antiquity,
when verse inscriptions were transcribed from stone into
books and begun to circulate in this form.

Cavafy travelled for the first time in Greece in the summer of 1901 during a period of leave from his job. The poet was 38 years old and was accompanied by his brother Alexandros. Travelling to Athens with Cavafy is a fascinating experience. We above all discover that despite the fact that a hundred and ten years have gone by and even dramatic changes have occurred in the capital, especially after the arrival of the million and a half refugees of Asia Minor, the city centre has preserved the broad outline of its physiognomy. The urban grid, shaped like a large isosceles triangle and dating from the time of King Otto is still the most obvious trait of Athens, while the large public buildings that are visited today would have been seen by Cavafy in the same way. The majority of changes have occurred in the archaeological zone which at the time of Cavafy was still partially inhabited, and in human geography. Many theatres, cafes and buildings mentioned by Cavafy no longer exist, being unable to survive the historical watershed between 1922 and 1949, which effectively marks the start of a new chapter in the history of “Athens the Capital” but above all marks the demographic and urban boom of the city.

The map that is attached to this edition has among other things, the intent to introduce the reader to this dual path between the Athens of today and the Athens of yesterday, the one described by Cavafy. The game of comparisons will be a further element of discovery for the curious traveller who is willing to experiment. To see Athens with Cavafy’ eyes and compare it with their own experience of the modern city, will give an unexpected force to the reader’s Athenian experience, to discover a city of many faces, simultaneously being the cradle of ancient civilisation and a modern Mediterranean capital.

Abstract: This essay examines  the poetic production connected to the occasion of the symposium (seventh ‒ fifth cent. BCE), a production that underwent different stages of submersion determined by diverse cultural and political factors, and further examines the lullaby as a different type of monodic poetry, composed by and large by women. The author argues that lullabies are a perpetually emergent typology of text on the synchronic level, due to the recursive nature of their compositional occasion, and explores the dynamics which conversely resulted in the total submersion of the individual texts on the diachronic level, partly due to the failure to secure their written transmission.

Riassunto. L'articolo intende proporre un percorso didattico interdisciplinare rivolto agli alunni dei licei, nel quale, attraverso l'analisi di passi della poesia greca di età arcaica e classica (tratti dai poemi omerici, da poeti lirici quali Ibico e Pindaro e dal tragediografo Eschilo), si giunga al riconoscimento delle funzioni che in essi svolgono le indicazioni numeriche (o genericamente quantitative) e i riferimenti all'attività di contare, nonché dei valori retorici delle affermazioni relative all'impossibilità di contare. Finalità del percorso è l'acquisizione della consapevolezza delle intersezioni esistenti tra letteratura (in questo caso greca) e matematica.
Abstract. The paper aims to propose an interdisciplinary educational path for high school students, which, through the analysis of some passages from Greek poetry of the archaic and classical age (taken from Homeric poems, from lyric poets such as Ibycus and Pindarus and from the tragedian Aeschylus), leads to recognize the roles played by the numerical (or generally quantitative) indications and by the references to the activity of counting, as well as the rhetorical values of the statements about the impossibility of counting. The purpose of the path is the acquisition of awareness of the intersections between literature (in this case the Greek one) and mathematics.

This article presents the critical edition of eight hitherto unpublished poems by Manuel Philes together with a translation and a commentary. The poems are verse letters addressed to various high-ranking individuals. Poem 1 is addressed to the emperor, whose power is emphasised in a request to help Philes escape from his misery. Poem 2 is a fragment likewise addressed to the emperor. Poem 3 is a consolatory poem for a father whose son has died. In poem 4, Philes addresses a patron whose wife hurried to Constantinople after she had become the object of hostility of unknown people. Poem 5 is addressed to the month of August and deals with the return of a benefactor of Philes to Constantinople. In poem 6, Philes writes on behalf of an unnamed banker and asks the megas dioiketes Kabasilas to judge the latter justly. Poems 7 and 8 are tetrasticha
including a request for wine.

The paper aims to recognize "the poetic achievement" (to use the paradigm made familiar by J. D. C. Frendo) of Emperor Heraclius' court poet, George of Pisidia, within the Encomium of St. Anastasius, his only prose work based on the Acts of the Saint's martyrdom. A detailed analysis dwells over the function, both literary and liturgical, of the text; the metaphrastic technique, involving a skilful reuse of classical models; and the series of poetic motifs George employs to shape his 'art prose'.

Musée du louvre volume pubblicato con il contributo dell'università degli studi di Messina tutti i diritti riservati © 2012. dipartimento di scienze dell'antichità -università degli studi di Messina distribuzione: dipartimento di scienze dell'antichità -Facoltà di lettere e Filosofia polo dell'annunziata -università degli studi, i-98168 Messina [email protected] Fotocomposizione e stampa: Futura print service srl -Messina isBn 978-88-8268-030-5

This paper studies the reception of the Homeric Hymns in
some pagan and Christian poets of Late Antiquity. It offers
some methodological remarks on ‘quotations’ or ‘allusions’
and re-use of epic code; and on the need to distinguish
between instances of epic language reused by Late Antique
poets and actual quotations or borrowings from the Homeric
Hymns. After an overall view on the presence of the Hymns in
some major poets of Late Antiquity (especially Nonnus of
Panopolis, Proclus, the Orphic Argonautica), I deal with the
reception of the Hymns to Hermes, whose presence can be
detected in papyri, inscriptions and highbrow poems (either
pagans or Christians) from the second century until the fifth
century AD. I argue that in Late Antiquity the concept of epic
code was extended to the whole Homeric corpus, probably by
the influence of school education.

Η μελέτη κομίζει στοιχεία για την επαγγελματική δράση του Σπ. Αντύπα αλλά και για το ήθος του, με ανέκδοτο αρχειακό υλικό και άγνωστες μαρτυρίες από τον τύπο της εποχής του. Ο Αντύπας ήταν ένας ανθρώπος που ήταν εραστής του Ερμή, τόσο του Κερδώου όσο και του Λογίου, καταφέρνοντας κατά την άποψή μας να παραμείνει άνθρωπος και κυρίως φίλος του ποιητικού λόγου.  Στον τόμο περιλαμβάνονται παλαιότερα δημοσιευμένες εργασίες για τη ζωή και το έργο του καθώς και νέες μελέτες, που φέρνουν στο φως νέα στοιχεία για τη δράση του και το ποιητικό του έργο. Η έρευνα έφερε στο φως άγνωστα ποιήματά του, καθώς και πολύτιμες πληροφορίες για την επιχειρηματική του δραστηριότητα.

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Mathioudakis, Ν. (2014). The Fuzzy Areas of Guessing or Inferencing the Idiosyncratic Vocabulary of Kazantzakis’s "Odyssey". In G. Kotzoglou, K. Nikolou, E. Karantzola, K. Frantzi, I. Galantomos, M. Georgalidou, V. Kourti-Kazoullis, Ch. Papadopoulou & E. Vlachou (eds.), Selected Papers of the 11th International Conference on Greek Linguistics (11th ICGL), pp. 1054-1069. Rodes/Greece: University of Aegean.