Monthly Archives: January 2016

The most innovative part of the large-scale literary, critical, and translingual project in which the Generation of the 2000s has been consistently engaged for some ten years now is the performative production of poetry. When presenting their work, these new … Continue reading →

In an earlier post I argued that traditionally Greek poets have had very little to say about music, and even less about musicians, because they valued the Being of painting (image) more than the Becoming of music (sound).  However this … Continue reading →

A distinguishing feature of the new generation of Greek poetry, the one I have been calling the “Generation of Left Melancholy,” is its collective work on a poets’ common. Its project of creating, sustaining, and participating in a shared world of … Continue reading →

If interpreters of classical music are free to ignore at will repeats of any kind, then interpreters of, say, modern Greek culture, should perhaps feel equally free to omit in their anthologies, textbooks, festivals, or exhibits comparable repeats such as … Continue reading →

Performances of classical music* can inspire literary interpretation, and more broadly cultural studies, to rethink not just its methods but its very objects:  What exactly is a musical or literary interpretation interpreting? I was reminded of this matter while reading … Continue reading →