To Helene quartnyextScta ano Uy atu Min-Kepdomkonunt Erapia “¥ Ena exteg me ExAGGag - Hellenica” Woxriirac: Hellenica exsome AnéEng Zipag ‘cotivrpie ka Urey cpove ie ror «Panne veo auka Kaxaauavem Zuvepyarng AieuBuvry: Faves tinaoxips Zuvroxraky erntponr: ova Ihivaxnyia-Alefavdponiouhou, Meng Dipag, Feipy0s Kopounds Fpy05 ManxsnotAo, Kevoravtivog Pryos, Eleva XouCoupn Agpdoies Eycoe1c. Opyavwon Teparoyic xe die Teno Oxoroucnosios (430877 soaeco, fat recon: opia Maa (+90945 055007) Eminwon: assis HELLENICA™ H EANBG extdg me ElAdbac. Awawouara nepexonerev (conyioh)Holenio Currey we 045 auyyBapSig O10 1 Bixawovaexeuv acoxvpae' Kove uua ng apo exten Bev popet vacvatapayGet va ctooncure pe omooiqnote odama uatapaytg xeie my deta ou ex FvBoon SSH 1708-345K Tuwodnxe omy E088, lovaios 2008 HELLENIC QUARTERLY Kaxkoyavden PotAa Fékwvoc 11, ABnya 115 21 TnFax (008210) 6411982 (003210) 2139835 e-mail: Kaklamanaki@ath forthnet.gr anoikon@otencl.grHELLENIC QUARTERLY is publsted by ‘tho aan-groft organisation ‘Greece outside Greece-H!lenica’ Pabisher; ‘Alexis Zias Editor responsible accomding ta Greek Law: Rule Keklamanaki Associate Editor: Yannis Bashozas Editorial Board Soni lnskeya-Alexandrogouiou, Alesis Zi, Giorgos Kourowpos. Giorgos Matkopoulos, Kons‘antnos Rigos, lena Houzouri Publis Relations. Organising of Produstion and Distribution: Tess0s Economopoulos (+36977 509800) An drection/o1: Sufia Michala (+36945 055007) Printing: Mavis Contents conyright © HELLENIC QUARTERLY for tho authors Al rights reserved No part of ths publicaron may be reproduced, stored in a etreval system, mechatica photecapy, recording or choise, thout the prior permission ofthe pusher Edition ISSN 1 108-948X Painted in Greece, uly 20037 EDITORIAL SOCIAL CONOMICS 9 Kostas Botopoulos: EU Enlargement and Integration: Natural ‘Twins or F tal Antagonists? 12 Stergios Babanassis: The Economic Role of Greece in Southeastern Europe, SOCIAL-ECONOMICS: SCENARIOS 20 A.D. Papayannidis: The World We're Going to Live In. A “foresight” exe ates scenarios and illuminates roads that leave the foggy today behind. 23 See- rario 1. "Garden”. 25 Scenario 2. “Twortier scenario or differentiation pock. Model”. 32 Scenario 4. Instability ets”, 28 Scenario 3. “Competitive - Lit Scenario (rnajor threat scenario). LANGUAGE AND CULTURE, 35 George Seferis: Greck Language. 47 Kostas Georgoussopoulos: A Word Suppliant of Sight and Hearing, 41D. N. Maronitis: A Special Relationship Between Readers and the Common Language. 47 Georgios Babiniotis: Lan ‘guage and Metalanguage in the Work of Odysseus Elvtis. 49 Alki Kyriakidou- Nestoros: “Writing Lesson”, 51 Elena Noussia: Languoge and Silence. 547. §. Eliot: The Social Function of Poctry, 59 Dimitris Koulourianos: "For Lan- nage They Gave Us the ..Euro-Greek", 67 Stamatis Mavroidis and Odette ‘Yaron Vessard : Translation Merits Attention. 63 Trenstating Political Philos ophy Texts, 65 European Translation Center. Literature and Human Sciences (@KEMEL). 66 Titike Dimitroulia: Variations From Postmodernism to the Decadence of Language in Mass Communication Discours and Language. Meilia and the Problems in Translation CULTURAL OLYMPIAD 68 Panos Skouroliakos: Solo Performances, FICTION 71 Pavlos Matessis: F1om the novel: Dark Driver. 72 Vassilis Vassilikos: Far, Very Far Away, { Exist, 76 Maria Mitsora: From the novel: The World in BrietNON-FICTION 81 Yannis Varveris: The Disk in Motion: Pavlos Matessis. 83 Kostas Geor- goussopoulos: Ten “Choruses" for the Work of Pavlos Matessis. 84 Yiannis Kontos: When We Were Still Growing Up... 86 Michail Mitras: Vassilis Vassi- likos: An Author of Our Times. 87 Nikos G. Xydakis: Maria Mitsora Rises Again, 88 Vassilis Amanatidis: Yannis Goumas. 90 Andonis Perandonakis: A Poetry Reading by Candietignt, 97 Thanassis Niarchos: M.D. Stassinopoutos: ‘The Poet President BOOKS AND AUTHORS 93 C.P. Cavafy: The Collected Poems. Introduced and Edited by Sonia Ilin- skaya, 96 Elena Howzouri: ‘The Army Was Passing By... (Modern Gree Lit erature in the Army), 97 Eleni G, Papaefthymiou: dessa de Macédoine. Etude Historique et Numismacique. 99 Antigoni Lyberaki - Theodoros K. Pelagidis: De-inctiminating Consumption, [dentity, Cornmunication, Cohesion. 100 Aris ‘Marangopoulos: Love, Gardens, Ingratitude, 107 Nikos Nikolacu-Hatz- imichail: The Dragoman’s Daughter. 102 Vassilis Karapostolis: Souls With a Mouth, Novel. 103 Michael Speggos: The Last Apology. 104 Niovi Liri: The Volunteers, 105 Popi Vernardou: Juznita. 106 Maria Kondyli: Rowga Copy- boot. PERSONALITIES 107 Iannis Nikou ~ Brief Biographical Nove AGENDA 108 Cultural Clympiad 2001 - 2004. The N. P. Goulandris Foundation - Mu- seum of Cycladic Art, 109 Cultural Olympiad. Programme of Events for 203, *The illustrations are paintings belonging to the painter Iannis Nikou. (Brie Bio. graphical Nove, in page 197)EDITORIAL & x é anguage is civilisation, culture, Language is man. A nation’s, | a people’s language — our so-called “mother tongue” ~any and all languages we learn so that we may communicate better with men, history, yesterday’s and today's culture at home and abroad. The world at large should concern us as itis constantly and rapidly chang- ing. Languages abound, but there is yet one and only: language per se, its function and its effect on whatever steps we take, large or small Language is the main theme of this issue, as is the basis of all oth- erthemes herein and in future editions of the Hellenic Quarterly. Lan- gvage and poetry; language and science; language and its problems, Language through literary examples, through articles on cultural, s0- cial and economic matters that currently reflect on us, and will engage usin “The World We ‘re Going to Live In” according to the four sce- narios presented here by a group of scientists, experts in their field of study. Having followed their researc and the problems involved, we wanted to make generally known their findings, and also observe the way they lighten the dark channels of the world's complex socio-po- litical process; to share the yield of their work, firmly believing that knowledge and dialogue is the only effective weapon in the hands of communication we serve. Apart from our yeaders, we should like to thank all our contribu- tors, and especially the economists Steryios Babanassis and Kostas Botopoulos, who were kind encugh to furnish us with articles for this issue withoutiany recompense. Trmelated by Yaris Cou HELLENIe quaRreety zGeorge Seferis Greek Language ee express his ideas, as long as, he gives us prior notice." This assertion by the “Port Royal- ists", which T happened 0 read by chance, made me think that in my previous note [ used, "without prior notice," an expression that may have taken people by surprise, T wrote that Solo- mos, Kalvos and Cavafy, “our three, no longer living, great poets didn’t know Greek." I hasten to say some- thing by way of explanation, before | am being asked For a start, a discrimination is in order, com- ‘monplace periaps, but it doesn’t do us any harm to remember it now and then, Although language and style are part and parcel of the art of writ- ing, it would be useful to consider them sepa- rately —and we can, at least in some measure ~ if we want to be more precise, It's possible to imagine man knowing no more than.a hundted ‘words in ten different languages and yet, despite this paucity, having style. “Style is man.” Whichever way we look at it, we can’t help ad- saiing this adage, Suifice itto bea true man, and style you bave. Good or bad ~ for me not being ‘a question of aesthetics ~ it matters not, style it is. On the contiar style, Non-style is non-human, ‘Thus, we can even imagine a human shadow (and in our wretched day and age, knowledge seems to produce many such shadows) being proficient in alanguage and Horse” pene 1986 @ neutral man is devoid of toally lacking in style. At the tail end of this dis. crimination, we find the distinction between hand- made and machine-made — humble art that lacks pretension, — wrote poignantly Karyotakis about his doomed plaster- work, ‘The hand knows and feels. A machine feels nothing; its toil neither, it is non-human; it has no style Solomos, Kalvos and Cavafy had move siyle than anybody else did. If style derives from man's power to express himself and from the obstacles this power encounters, if itis a combination of this action and those reactions, then each of our three poets had the qualities of a sepa rate style as far as idiosyneracy is concerned « style that demarcates and stants apart. This we discera ‘when we consider the influences they left, and the thoughts their works tegor. Be that as it may, I don't intend to ponder fur- ther on this weighty subject, On the contrary, I ‘want to avoid it as much as possible. Nor do Tin- tend to bring up the perennial language issac, which, as faras literature is concemed, does not exist, but concentrate solely on the question of educational policy, Nowaday’ cemented the conviction (though there remains ‘materia! yet 10 be exploited) chat the only thing available (0 us, for che purpose of conveying thoughts and feelings with colours, weight, lu- cidity and shadows, is the language we write in, which is not purist or demotic or modern Greek, we seem to have HAND GHLTUREbut current Greek If universities, academies, the government and newspapers find it more expe- dient to employ certain schematic idioms, this does not concern literature in any way. Literature is much move interested in discovering its mate- rials, its sources and how to enrich them; what virtues and extravagances past generations made use of; and what is still alive of that significant ‘work, [fear we don'theve much more time to di est hese matters as a matter of course It is risky to make discriminations, because this implies distorting. When I made my first dis- crimination, [had in mind two theoretical scopes, In reality, when sivle exists, it's almost impossi- ble to distinguish it both fom the author's lin- guistic idiosyncracy and the cultivation of his idioxyneracy. Nevertheless, we can regard lan- guage separately, to the point it’s no longer a per: sonal matter and constitutes a common nature, born when we are born. This given common emotional fect, indispensable 10 man’s c nication, we shape with our faculties and short comings. Or, better still, only recently have we be- gun functioning thus. Only a few years ago we did all we could to negate a dominant feeling, by implementing 2 distortional system perfected by an old tradition, And it was so resistant, when things came toa head and the struggle for the de- motic language began, this “marvellous” system, con the peril of vanishing, managed to worm its ‘way into the ranks of its rivels. Thus, we arrived at aleftowing purst language, as we nad come to know the purist language of erucites, Both art- ficial idioms, with the only difference that the emotional base of the former was broader than the bedrock of the latter and that the former, if not actually true, at least fought for truth. Natu- rally, every written language is artificial, as they say, [take it that to write is an art, But even ran- ning isan art, without being able 10 say, if we are ‘good runners, that we are running artificially, We run artificially waen we drive a car Qur art in- variably selies on a nature, and this nature is what counts. Everything is a question of balance; na- ture is necessary, art is necessary, in fact for art ® to develop it requires to be estezmed anew every so often, But it's bad art when something artif- cal gives the impression of artificiality, imaging, therefore, that we'll always need to ‘check what is the nature of our language, not by looking at ourselves unaided ~ a lone, helpless rman soften bad tempered, and rarely does he see things clearly ~ hat by discovering our ego with the aid of the few texts (I mean the demotic texts), which have proved, at least hitherto, the only authentic ones. Although they appear facile, in time we shall need to cultivate ourselves more, if we are to fathom their teachings, Because, ¢s time passes, on the one hand we shall require to be disencumbered of an increasing number of crystals. left by the semi-barbarous idioms whistling around us, and on the other hand, be rd of all intrusions between these texts and us. I's one thing to get the help you, yourself, need directly from the demotic song, and another to get such help as, for example, Solomos did As regards said texts, we are at least assured that nothing eludes us; that their every word covers with precision a particular emotional space, much like the motionless leaves of a tree before us, after the sun has set, which cover a smaller or larger part of the sky and nothing more. We also know that the interconnection of these words constitutes pure Greek language. OF the two following examples, the frst one is from. NN, Polits’ poetry collection Red were the lips I kissed, which reddened mine, and red tumed the handkerchief’ on which F wiped them, red, too, the river wherein | washed it, and the coast reddened, as did the middle of che sea. Down came an eagle to drink water, and his wings were dyed, dyed were half de sun and the moon entire, ‘The second one is ken from the end of Makriyanais’ Memoirs:And what I write, Ido so because I cannot sul {fer seeing wrongness throttling righteousness. It ts this that made me literate in my old age, and I can now write, albeit encouthly, not means to be educated as a child. I was poor, and Tbecamea servant, and Hamed horses, and I did all sorts of jobs to repay my paternal debt to ne’e: do-wells, that I may also five in this society for as long as Fam pawned to God. And since it was God throw off the Turkish yoke, may Talso be vouch- safed 19 labour less than the worst Greek. Many leamed men, local typogrephers, and foreign write about Only one thing prompted me to write: that this motherland belongs fo all of us, sa and iblterates, rich will that this nation be resurvected, 10 and poor, clans and the mili ary, and the fowli- est of people. All of tus who fought, each polit: in his way, have a place here. Since we siruggied together, we should p) her together; and let say ‘T", nor the weakest, Such is the na- ture of our tongue. The element that cleanses us and guides us, and which, by developing our expres we should imiata, not superficially, to the point of abuse, es once, but inwardly, the way Solomps applied intellectual form to horticulture, 110 enrich our language, either by bo rowing from the ancients or foreign languages, if ‘we want (0 see how much colour it caa contain LaNcUACE AND CULTURE or what degree of precision it can reach, thea ‘we've omly 10 resort fo these texts: the rule and basis That’s the direction weshould take, if we want to learn the biological features of ourspeech, My outlook may appear exiremely constricted 19 those who rejoice at the sight of the celebrated Greek variety. [eg their forgiveness. 11's only. natural, I believe, that there are people wh gard balance asa great asset, exactly because they feel the di isions that shaiter us more than those who stir them. However, T hope 10 compensate them in the few lines that remain, If the nature of @ Language is the nature of a corporate idio- syneracy af people dead or alive that contains us and allows but very little laticude for personal ac tion to chat it, on the contrary, the way we de- velop this natuce is subject fo our individual idio~ syneracy. Here any attempt at recitation would be futile. Racine exploited his language, retaining 37Tyxet ack asp Gore only five thousand words; Shakespeare enriched his with valimited parlance. Bata of them éevel- coped their tongue with equal power; dicis value remains the same. Though foreigners, we can Jearn much fFom them, as we can leara from cur own authors, the Greek language so descuibed be sng natural to some and not to others. OF the lat ter, no more than three remain: Solomos, Kalvos, and Cavafy. ‘What we call modern Greek literature, being the total yield of literary works of a period be- ing with Solomos and sil continuing, has a characteristic at once impressive: rarely was it written in Greek, and if so, by authors under spe cial circumstances. Only in the last Few years, since the debut of Palamas ~ so to speak ~ has this more of less c2ased to be the case Another characteristic: the precursor of this literature knew n0 Greek, but learn it he did, and vwent on learning i 1 his dying day. Relatively speaking, Solomos earn and wrote in Greek the acre way that Papadiamantopoulos learnt and ‘wrote in French, the latter also leaving the marks of his linguistic traits on French letters, albeit of restricted effect. I’m not disregarding the differ- ences between the t¥0 poets, which sometimes tead to counterbalance; but the common factors of theirlinguistic stance leap to the eye at once, and are easy to perceive, Let them be Iconly remains for one to scrutinize the man- script af The Waman of Zakinthos, for exam- ple ~ one of the most enlightening writings of Solomos’ nique personality ~ that we may ac- claim him for his effort to overcome « language 0 strange to him, compared wits his Itaisa background. And one is amazed when one thinks how mow natural ic would have been if bur Titerature began with authors of she tike of Kristal’, rather than a poet whose navura inc nation threw him out of the arena of his stena- (ous enceayour, and whose only means, to this end, were his mental cistinction and spistual stamina. And the spirit of this geeat man often yielded, and dicn't help him to the end. He lef usillustrious remnants of his hard-fought battles, and chasms, which are possibly the finest exci plars to those who know what it means 1 fight ‘or expression in Greece, and a great help to them in the'r isoltation, Fora long time to come, Solo- ‘mos’ chasis will also be our own, and of those who will follow us, He fought, to the very end, between his Halian expression and his Greek one. ‘The chasms in his works are incermittences of a soul, which, when at its acme, gave way under the strzin of insurmountable dichotomy. Because he was a man who knew how to store things in his soul. Not many such men aze (0 be found. “Chi- udi nella tua anima la Grecia (0 altra cesa)...” Certain things about kim are more typical than the words in parenthesis, “Altra cosa’ is the rval; it's even: Atdawn I followed the peth of the sun, with the lyte of justice on my shoulder. ané: J was fi midnighy, So much se, that I stretched ove my arms like 4 sightless person, And I found myseif behind a mirvor, between it and the wall. And the mirror was as tall as the chamber ightened, because it was close «0 Anita loud, sisident voiee deafened me, say ing: “O friar Dionysios, the future is about to bo ‘your present, Wait and see God's weit And another voice stammered the same words And this second voice belonged to a dead ofa. ster whom Thad known, And | was awed, for it was the first time J heard # maa’s sou! stammer ang. ‘Things stored in the soul. In no one else but Solomos do we see the weight a crafisman's soul can bear. No one but his immediate predecessor,the great Greek painter, Domenikes Theo- wkopoulos. Earthquake’s lacuna in which flowers bloom and tremble tn the a He was of a dying breed of men; he was fat ced to be positioned there where one starts all over again. ‘Vizyinos, for example, knew Greek; and Pala mas knows Greek. If, in time, we can look more dlispassionarely at the aesthetic differences that di- vide by natural Taw the youngest ftom the oldest, # we can be more assiduous when contemplat. ing the work that abso:bed half of our literature; we shall also be able languagewise, the influential extent of Palamas’ idiosyn- eracy and work in our intellectual lite. For now, suffice it to say that ever since his first ap- pearance, writing in Greek is not an exception to the rule in Greek tet- ters, However, the course of Greck language was firm ly cet by Solomos? ingenuity. And maybe because now and then he came from afas, be could look at things with a fresh and confident eye, It's difficult to reach an opinion of Kalvos. He is the most mysterious of our authors. In 1826, aged thisty-four, he dhtew his.last bottles in the sea, his last odes, There's no indication of whet ensued in the next forty-three years that he lived. Six years older than Solomos, he died evelve years after him, Solomos left no other mark. Nothing. Alone. His idiom isn’t even purist. This, is quite evident. Purists have a settled sentiment when they write, The likes of Soutsos have i; the likes of Paraschos have it; as has The vast expanse of the Aegean is asleep. Kalvos never had it. His language is one of loneliness, reticence end incommunicability. One fancies him cast on a cesert island in the Pacific, studying his verb endings that he may hear a voice better, if not his own; that he may humour his solitude, See, girls and mothers are passing, Swarms of them used fo shine like stars; they were so happy when deathly hour carried them off© LINCUAGE AND CULIURE Neither girls normothersare passing. Nothing passes, From the seattered whispers oF this stra. phe, only one voice is discernible; a few syllables like a desperate ery like sears deathly kour carried chem off t's worthwhile taking up Kalvos from the be- sinning and studying carefully his sensibility, aid- ed and abetted by his spicited words. One could well attire at an unexpecied conclusion. Last is Cavafy, From the known things J re counted above, from his early doomed poems, from the echo of his entire oeavie, from the bi: graphical data we have of him, it wasn't hard 69 form an opinion. There’s no reason to tax your patience further. It would be moze useful to de- “The Second Horerman of te Apocalypse - The Allegory of Wat’ 1992 termine in what way Cavafy was beneficial to Janguage that he wrote as a stranger observing his expression, fiom those early verses and up ¢0 the vasied section of our choughtti! adapea- ‘ions, in the last but (wo poems he puilished. Such a study is beyond the nazrow and scholastic scope of these pages, which has al- ready overstepped the mark. Fromthe volume Bisa lwey 2009CINEMA Verte, Tm in the bathroom. Opposite me - cinema verite - the large mirror. With both hands I stretch back my face to the age of thirty. J leave it thus for « few seconds as if to revive the rest of that in me Iwas never to enjoy. Yannis GoumasSCINTILLATION 5 the moon, The mast of a caique tickl but it’s the stars that ave ticklish. Yannis GoumasA Sap Lirrue Stony Mua is always grumbling about the heat, Grumbling about the cold. She wants December lemperatures in Augnsi, August temperatures in December. Her nameday is in December My nameday falls in August Room temperature is never right For opening a boltle of wine. Yannis GoumasTANGO OXYMORON, Buenos Aires in the winter month of August. Men and women in 4/4 time: Long pauses and stylized body stances. The guys who like me I can't have. The girls I like can't have me. Yannis GoumasTo A TRAVELLING SALESMAN (PERHAPS) A finger is feeding the doorbell My eye gives sight to the peephole. A homesick émigré? A prodigal son? A doormat? rs for E never lend myself, but give and distribute myself freely, “No thank you,” I say — inwardly — but thank you for getting in the way of all my good-byes. I shaw’t let you go grey into my hearl 1 don't ansu Yannis GoumasIN ANTICIPATION OF A LiPE To COME, To those who've read my poems, ho've seen me acting, who've enjoyed my music, let me say this: all I had to wller I ulteved just before the umbilical cord was cut Yannis Goumas