Η ψυχοδυναμική των διαπολιτισμικών επαφών

Please note: this article is in Greek. Psychodynamics of inter-cultural encounters (Greek presence in Australian society and the emergence of Greek/Australian subjectivity): The paper explores the discursive practices introduced by the Greek Australian communities over a long period of time in order to express their experience of migration and relocation. It observes that throughout the existing narratives the most obvious trope of articulation is that of “the rhetoric of the victim and of self-victimisation” which permeates most forms of historiography and literature which came out of the Greek-Australian experience. The paper analyses how this trope of representation incapacitated Greek language for establishing symbolic connections and places of convergence with the Australian otherness and consequently how otherness itself remained inarticulate within the creative imaginary of the community. The paper argues that such existential silencing of the Other was due to the interests of the Greek-Orthodox Church which imposed an introverted fear of the Other and to the inability of civil organisations to secularise the political discourses within the Greek-Australian community. Finally the papers cites two testimonies from an ordinary woman and from a prominent politician relocating the centre of the problematic relationship within the Greek-Australian subject itself and its inability to see the different social structure and political representation of the self in liberal democracies of the Anglo-Saxon tradition, having itself being formed under conditions of social oppression and psychological repression. It concludes that migration is an experience which alters both the migrating and the host traditions by fostering a creative osmosis of cultural variables and culture is the space between the institutions of the state which make possible the rise of individuating processes, giving thus the ability to fulfil and develop the potential of the individual

Disambiguating the Sublime and the Historicity of the Concept

In his article Disambiguating the Sublime and the Historicity of the Concept Vrasidas Karalis explores the notion of sublime or sublimity as the field of colliding signifiers and of experiential frameworks in conflict. Instead of treating the traditional notion as a structural element of style of ideology, he analyses it from the point of its contextual validation and its very historicity: what makes sublimity emerge is the extra-lingual unease, the existential dysphoria of the world outside the text, as refracted through specific works of art. Such dysphoria is expressed through ungrammatical language or/and through the attempt in specific moments in history to reclaim a totalising vision of experience. Through examples from various cultures Karalis addresses the difference of sublime perceptions that we see around the world. Ultimately, Karalis returns to Pseudo-Longinus\u27s Peri Hypsous in order to explore sublimity as an expression of cultural and existential othering as an attempt to foreground the innovative differentiation in experience

The Construction of Cinematic Realism in Mihalis Cacoyannis’ Early Films (1954-1959)

When Mihalis Cacoyannis (1922-2011) went to Athens from England in 1952, he immediately recognised the soft, luminous and still unscathed landscape of the city and its environs as his personal cinematic language. He hadn’t been in Athens or in Greece before, as he was born in Cyprus, in a genteel family of colonial officials. The Attic landscape was scarred by the ravages of two wars but not yet deformed by intense industrial development or inordinate urban sprawl. The successful translation of the landscape into a visual idiom which would represent the existential adventure of its inhabitants became one of the most emblematic achievements of Cacoyannis’ film-making throughout his life. At the same time the young cinematographer discovered the Greek film industry in a state of fer - vent reconstruction following the near destruction it had suffered during the previous decade. His immediate contribution can thus be seen both in the context of “film culture” and the “cinema industry” of the country