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Christoforou, Efthymia. "Nikos Kazantzakis : antinomies et unité d'une idéologie romanesque." Paris 10, 1987. http://www.theses.fr/1987PA100182.
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Nous avons essayé dans le présent travail de cheminer avec Kazantzakis en étudiant textuellement chacun de ses romans, afin de vivre au plus près sa déchirure et son angoisse. En nous introduisant au sein de différents textes, nous avons découvert une foule d'antinomies qui hantent Kazantzakis et qui sont les pôles sur lesquels pivote son œuvre. Le "mystère" où le mécanisme de cet univers mouvant réside dans un système idéologique préconçu par l'écrivain que nous trouvons dans ascèse et que nous avons tenté de reconstruire au fur et à mesure du déroulement de nos chapitresI have tried in the present work to approach Kazantzakis by studding textually each one of his six novels written between 1943 and 1955. By introducing myself within the different texts, I found a world of antinomies which haunt Kazantzakis and are as well the poles on which pivot its works. The mystery or the mechanism of this universe in movement resides in an ideological system preconceived by the author that we find in askitiki, and that I tried to reconstruct in due order in the four stages set forth by this essay
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Qiu, Kui. "Heroic nihilism: Buddhism in the work of Nikos Kazantzakis." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392113274.
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Bernardes, Carolina Donega [UNESP]. "A Odisséia de Nikos Kazantzakis: epopéia moderna do heroísmo trágico." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/106325.
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O tema da viagem de Odisseu foi largamente retomado pela tradição literária após a Odisséia de Homero, seja para confirmar o ideal do herói nostálgico, que anseia o retorno à pátria, seja para reafirmar o ímpeto do eterno navegador de mares. Nikos Kazantzakis (1883-1957) igualmente retoma o Odisseu lendário, insatisfeito com o retorno ao lar, como seu protótipo de herói e constrói, na modernidade, o poema épico Odisséia (1938), a partir do canto XXII no verso 477 do poema de Homero, sendo Odisseu levado a um novo itinerário ao deixar Ítaca definitivamente. Embora se baseie na obra clássica, recuperando personagens e a estrutura épica, Kazantzakis participa de seu tempo, compondo um novo Odisseu representante do mundo moderno, próximo das filosofias de Nietzsche e de Bergson. Como figura “entre mundos”, o Odisseu de Kazantzakis recupera as antigas delineações de Homero e incorpora as questões da modernidade: o niilismo, a desesperança, a multiplicidade. No entanto, além de prolongar os feitos de Odisseu e a narrativa de Homero, Kazantzakis compõe um poema épico de dimensões admiráveis – 33.333 versos de 17 sílabas poéticas, em 24 cantos – contrariando (e reafirmando) as intenções inovadoras de seus contemporâneos da primeira metade do século XX. A epopéia configura na modernidade um gênero considerado esgotado, que teria dado lugar ao romance como gênero mais apropriado às produções modernas. Esta investigação, no entanto, procura evidenciar que o épico de Kazantzakis, ainda que represente um anacronismo em tempos modernos e, para muitos, uma afronta às normas estéticas, é, assim como muitas das obras de sua época, a confirmação das intenções inovadoras em tempos de crise, por meio da incorporação de uma trajetória filosófica de Odisseu baseada no niilismo heróico de cunho nietzschiano e na evolução criadora de Bergson...
The theme of Odysseus‟ journey was broadly retaken by the literary tradition after Homer‟s Odyssey, whether to confirm the nostalgic ideal of the hero yearning to return to his homeland, or to reaffirm the impetus of the eternal navigator. Nikos Kazantzakis (1883-1957) also incorporates as his prototypical hero the legendary Odysseus, unhappy about returning home, and writes, in the modernity, the epic poem Odyssey (1938), based on the canto XXII and on the verse 477 of Homer‟s poem, and taking Odysseus to a new route when he leaves Ithaca for good. Although based on the classic work, restoring its characters and its epic structure, Kazantzakis takes part of his own time, creating a new Odysseus, now representative of the modern world, and close to the philosophies of Nietzsche and Bergson. As a figure “between worlds”, Kazantzakis‟s Odysseus recovers the old delineations of Homer and incorporates the issues of modernity: nihilism, hopelessness, and multiplicity. However, besides prolonging Odysseus‟ prowess and Homer‟s narrative, Kazantzakis wrote an epic poem of remarkable dimensions –– 33,333 verses of 17 poetic syllables, along 24 Cantos –– contradicting (and reassuring) the innovative intentions of his contemporaries in the first half of the 20th century. In the modernity, epic poetry configures a genre considered to be already exhausted, and which would have given rise to the novel as a genre much more suitable to the modern productions. This research, however, intends to show that the Kazantzakis‟s epopee, even being an anachronism in the modern times and, for many, an affront to aesthetic standards, is, like many of the works of his time, the confirmation of innovative intentions that take place in times of crisis, through the incorporation of a philosophical trajectory of Odysseus based upon Nietzsche‟s heroic nihilism and on Bergson‟s ...(Complete abstract click electronic access below)
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Palma, Paz Alejandro. "Arte y realidad en la tragedia Buda de Nikos Kazantzakis." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/110918.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura HispánicaFacultad de Filosofía y Humanidades
En base a esta breve exposición del argumento,propondremos en esta investigación que Buda, al contener diversas problemáticas que su autor compendia en la novela autobiográfica Carta al Greco, puede leerse como una obra que tensiona los elementos propuestos por la concepción artística que de ella se desprende. El escritor cretense fija su concepción artística en un absoluto que busca la síntesis de las distintas contradicciones que emanan de la vida. Por ello, la figura de Buda aparece como un camino de liberación y trascendencia de los fenómenos empíricos que sustentan la realidad. Esto adquiere un sentido mayor teniendo en cuenta los ejercicios espirituales que Kazantzakis profesa en Ascesis, donde presenta una serie etapas que llevan a la liberación búdica por medio de la renuncia.
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Bernardes, Carolina Dônega. "A Odisséia de Nikos Kazantzakis : epopéia moderna do heroísmo trágico /." São José do Rio Preto : [s.n.], 2010. http://hdl.handle.net/11449/106325.
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Orientador: Marcos Antônio SiscarBanca: Miguel Castillo Didier
Banca: Constança Terezinha Marcondes Cesar
Banca: Arnaldo Franco Júnior
Banca: Orlando Nunes Amorim
Resumo: O tema da viagem de Odisseu foi largamente retomado pela tradição literária após a Odisséia de Homero, seja para confirmar o ideal do herói nostálgico, que anseia o retorno à pátria, seja para reafirmar o ímpeto do eterno navegador de mares. Nikos Kazantzakis (1883-1957) igualmente retoma o Odisseu lendário, insatisfeito com o retorno ao lar, como seu protótipo de herói e constrói, na modernidade, o poema épico Odisséia (1938), a partir do canto XXII no verso 477 do poema de Homero, sendo Odisseu levado a um novo itinerário ao deixar Ítaca definitivamente. Embora se baseie na obra clássica, recuperando personagens e a estrutura épica, Kazantzakis participa de seu tempo, compondo um novo Odisseu representante do mundo moderno, próximo das filosofias de Nietzsche e de Bergson. Como figura "entre mundos", o Odisseu de Kazantzakis recupera as antigas delineações de Homero e incorpora as questões da modernidade: o niilismo, a desesperança, a multiplicidade. No entanto, além de prolongar os feitos de Odisseu e a narrativa de Homero, Kazantzakis compõe um poema épico de dimensões admiráveis - 33.333 versos de 17 sílabas poéticas, em 24 cantos - contrariando (e reafirmando) as intenções inovadoras de seus contemporâneos da primeira metade do século XX. A epopéia configura na modernidade um gênero considerado esgotado, que teria dado lugar ao romance como gênero mais apropriado às produções modernas. Esta investigação, no entanto, procura evidenciar que o épico de Kazantzakis, ainda que represente um anacronismo em tempos modernos e, para muitos, uma afronta às normas estéticas, é, assim como muitas das obras de sua época, a confirmação das intenções inovadoras em tempos de crise, por meio da incorporação de uma trajetória filosófica de Odisseu baseada no niilismo heróico de cunho nietzschiano e na evolução criadora de Bergson... (Resumo completo clicar acesso eletrônico abaixo)
Abstract: The theme of Odysseus‟ journey was broadly retaken by the literary tradition after Homer‟s Odyssey, whether to confirm the nostalgic ideal of the hero yearning to return to his homeland, or to reaffirm the impetus of the eternal navigator. Nikos Kazantzakis (1883-1957) also incorporates as his prototypical hero the legendary Odysseus, unhappy about returning home, and writes, in the modernity, the epic poem Odyssey (1938), based on the canto XXII and on the verse 477 of Homer‟s poem, and taking Odysseus to a new route when he leaves Ithaca for good. Although based on the classic work, restoring its characters and its epic structure, Kazantzakis takes part of his own time, creating a new Odysseus, now representative of the modern world, and close to the philosophies of Nietzsche and Bergson. As a figure "between worlds", Kazantzakis‟s Odysseus recovers the old delineations of Homer and incorporates the issues of modernity: nihilism, hopelessness, and multiplicity. However, besides prolonging Odysseus‟ prowess and Homer‟s narrative, Kazantzakis wrote an epic poem of remarkable dimensions -- 33,333 verses of 17 poetic syllables, along 24 Cantos -- contradicting (and reassuring) the innovative intentions of his contemporaries in the first half of the 20th century. In the modernity, epic poetry configures a genre considered to be already exhausted, and which would have given rise to the novel as a genre much more suitable to the modern productions. This research, however, intends to show that the Kazantzakis‟s epopee, even being an anachronism in the modern times and, for many, an affront to aesthetic standards, is, like many of the works of his time, the confirmation of innovative intentions that take place in times of crisis, through the incorporation of a philosophical trajectory of Odysseus based upon Nietzsche‟s heroic nihilism and on Bergson‟s ...(Complete abstract click electronic access below)
Doutor
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Bogiatzis, Demetris. "Free spirit : a historical novel on the life of Nikos Kazantzakis." Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/849619/.
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The novel renames Nikos Kazantzakis as Cosmas Eleftherakis and follows him during the last six months of his life. It dramatises imaginary meetings between Eleftherakis and Albert Camus, Eleftherakis' trip to China, conspiracies against him orchestrated by the Church of Greece and the Greek Writers Society. The critical component surveys the historical novel and Kazantzakis' own historical novels.
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Kokkinidi, Evangelia. "The Modern Greek literary tradition in the major novels of Nikos Kazantzakis." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/the-modern-greek-literary-tradition-in-the-major-novels-of-nikos-kazantzakis(0abb6a70-ff32-4e79-b28c-3c9ce6d74a2a).html.
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This doctoral thesis presents a comprehensive analysis of the novels of Kazantzakis‟ maturity in relation to Modern Greek literature. The extent of Kazantzakis‟ reading is explored as well as the views that he expressed in letters, essays and interviews on texts from the epic of Γηγελήο Αθξίηεο up to works of the Generation of the Thirties. When Kazantzakis wrote his major novels, he had a wide knowledge of the Modern Greek literary tradition and contemporary literature. The fruits of his engagement with Modern Greek literature are found in his own literary production. The novels that are studied are Βίνο θαη Πνιηηεία ηνπ Αιέμε Ενξκπά, Ο Υξηζηόο Ξαλαζηαπξώλεηαη, Ο Καπεηάλ Μηράιεο (Διεπηεξία ή Θάλαηνο) and Ο Σειεπηαίνο Πεηξαζκόο. The analysis detects the intertextual markers and illustrates the methods that are employed linking the novels‟ characters, themes, settings and stories with previous Modern Greek texts. A wide range of literary works is evoked or organically incorporated into the plot of the novels: folk poetry of the Akritic cycle, Cretan folk songs, the literature of the Cretan Renaissance, the poetry of Solomos, Palamas and Sikelianos, the ethographic novellas and short stories of Kondylakis and Vizyinos, fiction by Myrivilis, Prevelakis and Kosmas Politis. Kazantzakis‟ novels hold a pivotal place in the history of Modern Greek literature and, as this thesis proposes, it is also the Modern Greek literary tradition that constitutes an essential component of his fiction.
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Brncic, Becker Carolina. "Lectura comparada del Mito de Prometeo en el romanticismo y Nikos Kazantzakis." Tesis, Universidad de Chile, 2003. http://repositorio.uchile.cl/handle/2250/108785.
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Harrison, Jen. "Incarnations exploring the human condition through Patrick White's Voss and Nikos Kazantzakis' Captain Michales /." Connect to full text, 2004. http://hdl.handle.net/2123/671.
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Thesis (Ph. D.)--University of Sydney, 2004.Title from title screen (viewed 16 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Modern Greek. Includes bibliographical references. Also available in print form.
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Brncic, Becker Carolina. "Tragedia y existencia : Nikos Kazantzakis en el horizonte de la tragedia y lo trágico." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/111239.
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No autorizada por la autora para ser publicada a texto completoLicenciada en artes, mención en teoría e historia del arte
La interrogante que organiza este estudio es la pregunta por la vigencia y el sentido de la tragedia en una supuesta época postrágica a partir de la obra del escritor cretense Nikos Kazantzakis (1883-1956). Si la interrogación requiere antes que nada una indagación básica en el género como categoría transhistórica, con sus diversas actualizaciones empíricas, y como forma de significación que exhibe una experiencia trágica, surgen tres líneas de desarrollo que organizan y traman la reflexión a lo largo de este estudio: la relación entre tragedia y crisis histórica, el vínculo entre tragedia y experiencia existencial, y la delimitación del género como forma estética. Cada una de estas tres líneas es examinada y tramada para conformar un horizonte de inteligibilidad que permita discernir la especificidad de la tragedia y lo trágico, articulando ciertos momentos y genealogías históricas decisivas que llevan o se verifican luego de manera ejemplar en la escritura trágica de Kazantzakis. El vínculo entre tragedia y crisis histórica queda establecido como premisa inicial, postulándose a la tragedia como una forma de significación sincrética de la realidad exigida por coyunturas históricas que cabe llamar de crisis de mundo –verificadas puntualmente en los cronotopos o momentos trágicos del siglo VI a.C, el período renacentista inglés y la coyuntura existencial de 1850-1950–. Si estas crisis se caracterizan fundamentalmente por generar una experiencia de la fractura de lo humano y lo divino, la fractura es recreada en la tragedia, agudizándola y poniendo en escena la condición humana como problemática y dolorosa. Es así como esta primera premisa o línea de desarrollo se trama con un segundo postulado, a saber, el de la relación entre tragedia y experiencia existencial, la cual es delimitada postulando al género como forma de significación ejemplar que interroga y escenifica el proceso de constitución del ser. Es lo que se verifica tanto en la actualización empírica del género –la tragedia ática, la tragedia renacentista inglesa y la tragedia kazantzakiana– como en el discurso teórico sobre la tragedia y lo trágico –particularmente dentro del vasto proceso teórico en la reflexión que lleva desde Aristóteles hasta Kierkegaard, Nietzsche y Jaspers–. La tercera línea de trabajo, la demarcación del género, se establece delimitando las propiedades formales, temáticas y pragmáticas que distinguen al archigénero histórico, lo que permite proponer dos variantes para la tragedia de Kazantzakis: la especie patética y la especie trascendente. Estas tres líneas de interrogación cruzan pues todo el estudio, el cual se estructura en dos grandes partes: la primera, que abarca los tres primeros capítulos, traza el horizonte de la tragedia y lo trágico, iluminando su proceso histórico y teórico; la segunda parte, que comprende los capítulos cuarto y quinto, analiza la escritura trágica de Kazantzakis. Ésta es definida como praxis vital que arranca de una experiencia crítica y desgarradora –la crisis individual que surge como correlato de la crisis histórico-existencial que caracteriza al período 1850-1950–, lo que la lleva a manifestarse como una escritura sanguínea, teúrgica y resistente que busca la salvación de Dios, persiguiendo un absoluto espiritual y estético. La dimensión trágica de la escritura, como proyección de la “tragedia del escritor”, se analiza finalmente en tres piezas representativas de tres especies de tragedia: Juliano para la especie patética, Kouros para la especie trascendente y Buda como expresión de un metateatro que “resuelve” la tragedia representada en él.
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Amavi, Ayité Ayi-Koutou. "Jésus, personnage de roman : chez Fédor Dostoïevski, Joseph Delteil, Robert Graves et Nikos Kazantzakis." Montpellier 3, 2005. http://www.theses.fr/2005MON30024.
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Jésus est au cœur d'une croyance religieuse. Fait personnage de fiction, il perd son caractère sacré pour devenir un héros de toutes les aventures possibles. Par une approche comparatiste des textes de Graves, de Kazantzakis, de Dostoïevski et de Delteil, on arrive aux conclusions suivantes : Graves plus mythologue qu'exégète, propose une relecture des Evangiles ; Kazantzakis crée un Christ communiste, héros légendaire qui tente de sauver le peuple grec continuellement menacé et qui meurt à la manière du Crucifié ; Dostoïevski ne fait pas confiance au catholicisme romain de l'Occident. Il crée un Christ russe, seul capable selon lui, de sauver l'humanité ; Avec son Jésus II gaulois, Delteil s'en prend au Pape auquel il reproche d'ignorer sa vraie mission. Il l'enrôle dans une mobilisation Générale. Conscient de son échec, il se retranche dans un maquis où le sort du Crucifié le rattrapeJesus is at the heart of a religious belief. Made fictional character, he loses his holy character and becomes a hero of all the possible fictional adventures. By an approach comparatiste of the texts of Graves, of Kazantzakis, of Dostoïevski and of Delteil of our corpus, we have come out these results: Graves more mythological than exegete suggests a rereading of the gospels, Kazantzakis creates a communist Christ, a legendary hero who tries to save the greek people continually threatened and who dies in the same way as Jesus. Dostoïevski does'nt trust the roman catholicism of the west. He creates a russian Christ, only capable, according to him, to save humanity. With his gallic Jesus II, Delteil takes it out on the pope to whom he reproaches to be unaware of his true mission. Jesus II enlist the pope in a General Mobilization. Conscious of his faiture, he takes refuge in his maquis where the fate of the crucified catches him
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Filias, Dimitris N. "Deux curés de campagne dans la littérature du XXème siècle étude sur le "Journal d'un curé de campagne" de Georges Bernanos et "Les Frères ennemis" de Nikos Kazantzakis." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375981290.
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Harrison, Jen. "Incarnations: exploring the human condition through Patrick White�s Voss and Nikos Kazantzakis� Captain Michales." University of Sydney. School of Modern Languages and Cultures, 2004. http://hdl.handle.net/2123/671.
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Nikos Kazantzakis� Captain Michales is a freedom fighter in nineteenth century Crete. Patrick White�s Voss is a German explorer in nineteenth century Australia. Two men struggling for achievement, their disparate social contexts united in the same fundamental search for meaning. This thesis makes comparison of these different struggles through thematic analysis of the texts, examining within the narratives the role of food, perceptions of body and soul, landscapes, gender relations, home-coming and religious experience. Themes from the novels are extracted and intertwined, within a range of theoretical frameworks: history, anthropology, science, literary and social theories, religion and politics; allowing close investigation of each novel�s social, political and historical particularities, as well as their underlying discussion of perennial human issues. These novels are each essentially explorations of the human experience. Read together, they highlight the commonest of human elements, most poignantly the need for communion; facilitating analysis of the individual and all our communities. Comparing the two novels also continues the process of each: examining the self both within and outside of the narratives, producing a new textual self, arising from both primary sources and the contextual breadth of such rewriting.
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Owens, Lewis. "Creative destruction : Nikos Kazantzakis, the abyss of rebirth and the transitional age to authentic existence." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621684.
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Aguer-Sanchiz, Mary. "D'Homère à Kazantzaki : pour une typologie de l'imaginaire odysséen : prolongements comparatifs, perspectives didactiques /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb41395304d.
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Middleton, Darren Jonathan Nicholas. "Process poesis : a comparison of the concept of God found in Whiteheadian process theology and in the narrative fiction of Nikos Kazantzakis." Thesis, University of Glasgow, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338812.
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Santos, José Renato dos. "UMA ESCRITA EM BUSCA DE REDENÇÃO Nikos Kazantzákis e a espiritualidade da luta e da liberdade em Ascese Os Salvadores de Deus." Universidade Metodista de São Paulo, 2014. http://tede.metodista.br/jspui/handle/tede/287.
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O escritor grego Nikos Kazantzákis (1883-1957) carrega as marcas de poeta e de pensador, e cuja obra é mais que expressão literária: revela sua busca por redenção. Inserido nesta perspectiva está o livro Ascese-Os Salvadores de Deus obra fundamental para compreender o pensamento do autor e que descreve o esforço que o ser humano deve empreender para adquirir uma nova concepção de vida. A presente pesquisa pretende investigar os elementos constitutivos desse livro e analisar sua profunda espiritualidade. Ao longo da obra termos como Deus, liberdade e luta se interpenetram e se confundem, formam um complexo conceitual e são constantemente reinterpretados. Complexidade é a sua marca: composta numa forma poética, nela interage os discursos literário, filosófico e religioso, constituindo, assim, uma tentativa de conciliação entre diversos pontos de vista. Dentre as muitas influências é possível vislumbrar indícios das filosofias de Nietzsche e de Bergson. Sua trajetória é uma ascese da afirmação da vida e do empenho por reelaborar incessantemente um novo rosto para Deus. Na perspectiva de Kazantzákis, Deus é sentido a partir de uma espiritualidade da luta e da liberdade. Uma luta permanente contra a imobilidade e em direção à espiritualização da vida: o desafio de transubstanciar a matéria em espírito . É o sentido da criação/liberdade no qual o ser humano deve lutar para salvar Deus.
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Dewas, Céline. "Le devenir-Dieu des personnages kazantzakiens : l'oeuvre de Kazantzaki à la lumière de la philosophie bergsonienne." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30038/document.
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Dans l’Évolution créatrice, Bergson émet l’idée d’un sur-homme, individu qui prolongerait l’effort que la vie a fixé dans l’évolution des espèces, et qui s’élèverait vers une liberté divine incessamment actualisée. L’œuvre littéraire de Kazantzaki apparait dans notre étude comme le lieu de matérialisation de ce sur-homme à l’histoire singulière. La notion bergsonienne de durée, utilisée comme méthode d’approche du texte, révèle à l’intérieur des textes de l’auteur grec une façon particulière de penser la création, dans l’œuvre et en soi. Celle-ci est présentée comme la fixation progressive d’une maturation de l’auteur, ralentie par des formes matérielles qui ne la contiennent plus : en particulier celle du langage et d’une perception trop intellectuelle, et pas assez intuitive, du monde. Inspiré par le modèle bergsonien, Kazantzaki essaie d’imprimer la mobilité ascendante de l’esprit à ses personnages en les affranchissant au fur et à mesure de leur montée, de toutes ces clôtures qui morcellent la réalité fluente et indivisible et réduisent la puissance de l’âme. A l’idée d’un personnage émergeant comme une création ex nihilo, on substitue l’idée bergsonienne d’une nouveauté apportée par un effort éprouvant la liberté de l’individu, celle de l’écrivain et celle du personnage, qui concentrerait dans le cas du sur-homme l’histoire humaine et pré-humaine. Suivant ainsi ces deux lignes d’évolution propres à Kazantzaki et à Bergson, chacun dans leur domaine, confrontés à différents obstacles, nous les voyons converger par le mouvement similaire de leur pensée et interroger finalement l’effort d’un même type d’homme, le mystiqueIn Creative Evolution, Bergson has put forward the idea of a super-man, who would continue the effort that life has fixed in the evolution of species, and would rise toward a constantly actualized divine freedom. The work of Kazantzaki appears in our study as a creation where the super-man, whose story must remain singular, is materialized. The bergsonian notion of duration used as a method to approach the text, reveals within the text a particular way of thinking the creation in the work and in oneself. It is presented as the continuous fixation of a maturation, slowed by material forms, that can not contain it anymore : in particular the language and the intellectual, and not sufficiently intuitive, vision of the world. Inspired by the bergsonian philosophy, Kazantzaki tries to imprint the spirit’s ascending mobility to his characters, by liberating them from all those closures that divide up the moving reality and reduce the power of the soul. We oppose to the idea of a character emerging like a creation ex nihilo, the bergsonian idea of novelty which would result from an effort testing the writer and the character’s freedom, and which would concentrate in the case of the super-man the human and pre-human history. Following those two lines of evolution which are particular to Bergson and Kazantzaki, each one in his area and confronted to different impediments, we see them converging by the similar movement of their thought and interrogate finally one type of man’s effort : the mystic
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Filias, Dimitris N. "Deux cures de campagne dans la litterature du vingtieme siecle. Etude sur le journal d'un cure de campagne de georges bernanos et les freres ennemis de nikos kazantzakis." Paris 3, 1986. http://www.theses.fr/1986PA030084.
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La these commence avec une reference a certains pretres dans les deux litteratures (francaise et grecque) avant les oeuvres etudiees. Le deuxieme chapitre vise a situer les deux romans dans leur epoque et le troisieme est une reflexion sur les influences possibles exercees sur les auteurs. Le quatrieme chapitre est un parcours des romans permettant de mieux connaitre les deux pretres a travers differentes questions telles que le reve et la priere. Le cinquieme chapitre presente deux cures tourmentes par le vide provoque par le silence divin. Pourtant a la fin des oeuvres l'epreuve de la dereliction semble etre depassee. Dans le sixieme chapitre on voit comment les auteurs arrivent a creer un type de pretre qui, pour bernanos, est proche du "saint" et pour kazantzakis proche du "combattant". La these s'acheve sur une lecture des deux oeuvres en tant que tragedies contemporaines et en tant que "transfigurations romanesques" du personnage de jesus-christ. Les deux heros sont des "christs" contemporains qui acceptent d'assumer le role du "bouc emissaire" de leurs societes dominees par la violence. L'execution des pretres fait penser a un certain retour du sacre et du tragique. On trouvera dans cette these deux appendices. Le premier constitue une reference a certains romans sacerdotaux posterieurs a ceux de bernanos et de kazantzakis. Le second regroupe les textes grecs figurant en traduction francaise dans la these. A ajouter l'existence d'une importante bibliographie ainsi qu'un index des noms des personnesThis study starts with a reference to some priests in french and greek novels before those of bernanos and kazantzakis. The second part of this study is an effort to place the two novels in their time and the third one is a thought about the possible influences. In the forth part we have the opportunity to know the two priests by a reading of the two novels based on different subjects as the dream, the prayer and the death. In the fifth part we see the two priest's torment before a god who remains silent. In the sixth part we see how bernanos gets to a model of "saint" by presenting the cure d'ambricourt; we also see how kazantzaki's priest is a "combatant". This study ends with a reading of the novels as contemporary tragedies and "fictional transfigurations of jesus". The two priests-heros are "christs" accepting to be the "scapegoat" of their society which is dominated by violence. The execution of these two priests is a return of the "sacred" and the "tragic". We can find two appendices in this study. The first is a reference to some sacerdotal novels posterior to those of bernanos and kazantzakis. In the second one we find the greek textes figurating in french in this study. We also find an important bibliography and a name's index
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Georgiadou, Eleni. "Nikos Kazantzaki et la culture française." Thesis, Avignon, 2014. http://www.theses.fr/2014AVIG1137/document.
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Cette thèse propose un parcours biographique et littéraire autour de la vie et de l’oeuvre de Nikos Kazantzaki (1883-1957), ses contacts avec la langue et la culture françaises et leur influence sur sa vision du monde. C’est une recherche des éléments de la culture française dans l’oeuvre de Kazantzaki et plus précisément dans les deux ouvrages écrits directement en français, Toda-Raba et Le Jardin des Rochers. Kazantzaki, tel un Ulysse contemporain, voyage émerveillé dans l’oecoumène, afin de découvrir les richesses de la réalité humaine, pour agir au lieu d’être agité par elle! Ouvrier insatiable de l’esprit, il ne cesse de proclamer, jusqu’à la fin de ses jours, les belles vertus universelles: Liberté, Égalité, Fraternité, Dignité Humaine! Sa préoccupation primordiale : transformer la chair en esprit, transmettre la semence de ses écrits, riche héritage d’amour, à la postérité, ne rien laisser à Charon si ce n’est quelques os! Il tisse le cocon de sa poésie, pareil à un ver de soie, laissant la semence d’une création immortelle, trait d’union entre le passé et le futur. La joie d’apprendre, l’amour des langues, la beauté, l’art, la grâce, la tendresse, se rejoignent dans ce bijou multiculturel kazantzakien, pour danser au rythme du souffle de la vie! Bergson est la colonne dorsale de la création kazantzakienne. Ses théories de la durée réelle, de la matière et de l’esprit, de l’évolution créatrice et de l'élan vital, du langage, de l'art comme moyen de communication entre la nature et Dieu, forment le fleuve de la culture française qui traverse l’oeuvre kazantzakienne pour la conduire à la liberté : à Dieu! Le dieu de Kazantzaki évolue et est réinventé dans les fables humaines. C’est un Dieu qui attend l'homme pour le sauver, afin qu’ensemble ils puissent créer la vie !This thesis proposes a bibliographic and literary journey in the life and work of Nikos Kazantzaki (1883-1957), his relation to the French language and culture, their influence on his vision of the world and his creation. It is a research on the elements of French culture in the work of Nikos Kazantzaki and more specifically in the two novels written directly in French, Toda-Raba and The Rock Garden. Kazantzaki, a contemporary Ulysses, travels in the world with amazement, discovering the richness of the human reality, acting instead of being acted by it! An insatiable worker of the spirit, he does not stop proclaiming the beautiful universal virtues: Freedom, Equality, Brotherhood, and Human Dignity! His essential concern: to transform the flesh into spirit; to transmit the seed of his writings, that rich inheritance of love, to the posterity, leaving nothing to Charon, except a few bones! He weaves his cocoon of poetry, similar to a silk worm, and leaves the seed of its immortal creation as a link between past and future. The joy of learning, the passion for languages, beauty, art, grace and tenderness, join in that multicultural jewel , Kazantzaki’s work, to dance on the rhythm and breath of life! Bergson is the central figure of the French culture in Kazantzaki’s creation. His theories on real duration, on matter and spirit, on creative evolution and the élan vital, on language and art as a means of communication between nature and god, a god who changes and is reinvented in the human fables, a god who waits for men in order to save them, to create life together with them, will be the river of French culture crossing Kazantzaki’s work and leading him to freedom, to God!
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Christoforou, Efthymia. "Nikos Kazantzaki antinomies et unité d'une idéologie romanesque." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37596734r.
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Vouyouca, Athena. "Fables, paraboles, anecdotes et rêves dans l'oeuvre romanesque de Nikos Kazantzaki." Université Marc Bloch (Strasbourg) (1971-2008), 1987. http://www.theses.fr/1988STR20010.
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La presente these examine le fonctionnement dans les romans de kazantzaki de brefs recits inseres sous forme de fables, de paraboles, d'anecdotes et de reves. Apres une etude preliminaire de leur forme de base et de leur origine, vient l'etude de leurs relations formelles avec le texte des romans. Sont examines en particulier l'inscription des fables etc. Dans un discours vehiculant une pensee philosophique ; l'elaboration de leur forme en raison de leur fonction d'illustration de cette pensee ; la question de leurs narrateurs et de leurs destinataires ; la rupture qu'ils produisent dans le texte englobant. Suit l'etude des relations semantiques entre les fables etc. Et les textes romanesques, relations qui consistent essentiellement en un rapport d'analogie entre le sens litteral des fables etc. Et le sens reel se situant non seulement dans le texte englobant mais aussi dans un discours speculatif en dehors de celui-ci. Il est montre, enfin, que le procede d'utilisation des fables etc. Appartient au cadre plus general d'une poesie de la proseThis thesis examines how short narratives inserted in the form of tales, parables, anecdotes and dreams function in kazantzakis' novels. Their basic form together with their origin are firts considered : and then their formal relation to the enveloping texts. This discussion concerns in particular their insertion in a discourse which carries a philosophical stance ; the elaboration of their form by virtue of their function in illustrating this stance ; the question of the narrators and the receivers of the tales, etc. ; and the resultinf discontinuity in the enveloping text. This is followed by ac study of semantic relations between the tales etc. And the enveloping texts : a litteral sense on one hand and a referential sense on the other. Our notion of referentiality is justified by an appeal to objects existing outside the texts themselves. In conclusion it is demonstrated that kazantzakis use of tales. Has its place in the more general frame of a lyricism conveyed in prose
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Petitjean-Lioulias, Sophie. "Albert Camus - Nikos Kazantzaki : D'une rive à l'autre ou l'itinéraire méditerranéen." Angers, 1998. http://www.theses.fr/1998ANGE0009.
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Alors que Nikos Kazantzaki, auteur grec, naquit en Crète en 1883, Albert Camus, auteur français, vit le jour en Algerie en 1913. Tandis qu'ils grandissent sur des rives opposées, leur commune appartenance au monde méditerranéen suffit-elle à asseoir leur parenté ? De l'enfance à l'âge d'homme, de la vie instinctive a la formation d'un certain type de rapport au monde, jusqu'aux choix éthiques et philosophiques, c'est l'itinéraire méditerranéen d'Albert Camus et de Nikos Kazantzaki, sous ses différents aspects, que nous tenterons de suivre afin de mettre en évidence le rapport qu'ils entretinrent avec leur terra mater, la terre de leurs origines. Furent-ils indéfectiblement fidèles à cette mare nostrum au bord de laquelle ils virent le jour ? Héritiers ou enfants prodigues, jusqu'où les conduisit leur périple ulysséen à travers une méditerranée affective, morale et intellectuelle ? Et, puisqu'elle est au commencement de leur histoire personnelle, la méditerranée restera-t-elle, au coeur de leur réflexion d'homme et d'écrivain, telle une source vive et jamais tarie ?Whereas Nikos Kazantzaki, a greek author, was born in Crete in 1883, albert camus, a french author, came into the world in Algeria in 1913. Although they grew on opposite shores, both belong to the mediterranean world. Is this common heritage sufficient to establish a hiriship between them ? From childhood to manhood, from instinctive life to the shaping of a certain type of relationship to the world, also taking into account their ethical and philosophical choices, it is the mediterranean itinerary of Albert Camus and Nikos Kazantzaki that we have attempted to follow, in order to determine how they related to their terra mater, their homeland. Were they faithful to the last to that mare nostrum on the shores of which they were born ? Inheritors or prodigal sons, where did their ulyssean voyage eventually lead them, across an affective, moral and intellectual mediterranean sea ? And, since it is at the origin of their personal history, did the mediterranean remain at the heart of their reflection as men and writers, a living source that never dried up ?
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Grigoropoulou, Marina. "Mémoire et imagination dans « Le labyrinthe du monde » de Marguerite Yourcenar et la « Lettre au Greco » de Nikos Kazantzaki." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030031.
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« Le labyrinthe du monde » de Marguerite Yourcenar et la « Lettre au Greco » de Nikos Kazantzaki constituent les récits personnels et familiaux des auteurs, rédigés vers la fin de leur vie, et appartiennent généralement à la littérature personnelle. Entre la volonté de vérité, d’un côté, et l’érosion du temps et les transformations de la conscience de l’autre, la réminiscence objective et l’intervention imaginaire y coexistent. La mémoire et l’imagination sont donc les composantes constitutives des œuvres, en rendant délicate la détermination exacte de leur genre. Dans cette thèse, nous explorons chacune de ces deux résultantes ainsi que leurs rapports. Pour l’analyse de la mémoire, du temps, de la conscience et de la phantasia, nous faisons appel à la philosophie et surtout à l’approche phénoménologique ; pour l’étude des images d’expérience élaborées par l’inconscient, nous nous dirigeons vers la psychanalyse et précisément vers les apports freudien, jungien et lacanien. Ainsi, en évaluant l’importance de chaque composante pour la construction du symbolique, nous essayerons de déterminer la dominante afin de décrire finalement le statut générique des œuvresMarguerite Yourcenar’s The Labyrinth of the world and Nikos Kazantzaki’s Report to Greco constitute the personal and familial narratives of the authors, written around the end of their lives and belonging generally to personal literature. Between a desire for the truth on one hand, and the erosion of time and the transformations of the conscience on the other, objective reminiscence and imaginary intervention coexist. Memory and imagination are therefore constitutive components of the Works, making difficult a determination of their exact genre. In this thesis, we explore each as well as their connections with each other. For the analysis of memory, of time, of consciousness and of fantasia, we will call upon philosophy and above all a phenomenological approach ; for the study of images of experience elaborated by the unconscious, we will direct ourselves to psychoanalysis and more precisely to the Freudian, Jungian and Lacanian contribu! tions. Thus, by evaluating the importance of each on of these components for the symbolic construction, we will try to determine the dominant with a view to finally describe the generic status of the Works
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Klosi, Ardian. "Mythologie am Werk, Kazantzakis, Andrić, Kadare : eine vergleichende Untersuchung am besonderen Beispiel des Bauopfermotivs /." München : O. Sagner, 1991. http://catalogue.bnf.fr/ark:/12148/cb35688946g.
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Aguer-Sanchiz, Mary. "Structures de l'imaginaire odysséen, prolongements comparatifs et perspectives didactiques." Perpignan, 2006. http://www.theses.fr/2006PERP0681.
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Après avoir fait le point sur le contexte historique de production, et évoqué rapidement, en les reclassant, les travaux les plus marquants, nous nous sommes demandé quelles constellations d'images symboliques pouvaient sous-tendre l'imaginaire odysséen (la terre natale, les figures monstrueuses et aquatiques, un voyage initiatique aux confins du royaume des morts). Nous avons observé aussi comment les images d'un voyage dans un espace maritime glissaient insensiblement vers des images temporelles. Nous avons alors proposé quelques pistes d'interprétation autour des visages du temps. Il nous a semblé intéressant, ensuite, de confronter cette source à des textes contemporains pour essayer de comprendre comment un texte fondateur peut, dans un autre contexte, nourrir encore l'imaginaire. Il fallait fair un choix : l'Odyssée de Nikos Kazantzaki. Nous avons prolongé notre réflexion en explorant un genre qui a toujours facilité l'adaptation des grands mythes : le théâtre, et ainsi "revisité" deux adaptations récentes. Par ailleurs, depuis près de trois mille ans, l'Odyssée d'Homère est support d'enseignement : en Grèce, bien sûr, depuis sa rédaction, mais aussi en France. Nous avons donc tenté de confronter diverses approches dans les prgrammes et les manuels des trente dernières années environ avant de poser quelques jalons qui puissent rendre encore présent et attachant le texte homérique, sans l'enfermer dans une image obsolète de "culture antique" mais au contraire en essayant de prouver combien il pouvait encore avoir de résonances dans notre école du XXIeme siècleAfter focusing on the historical context in which was conceived then evoking and classifying the most significant works, we have dealt with the question of the type of symbolism discernable in the underlying imagery in this work (the native land), the representations of monsters and aquatic figures, an initiatory journey to the borders of the kingdom of the dead). We have also observed how the imagery of a journey on the seas slips imperceptibly into a journey in time. At this point we have tried to suggest various interpretations of how time is represented. Thereafter, it seemed interesting to us to compare this source with contemporary texts in order to understand how a founding text can, in another context, still nourish our imagination today, choices had to be made : the Odyssey by Nikos Kazantzaki. We have continued our analysis by exploring a genre which has always lent itself to the adaptation of the great myths, namely the theatre, and thus we have revisited two recent adaptations. Moreover, the Odyssey has been at the basis of teaching for almost three thousand years, in Greece, of course, since it was written, but also in France. So, we have tried to compare the different approaches present in the syllabuses and textbooks to be found in a period covering the last thirty years or so, before making some suggestions about how Homer's text could still be perceived as attractive to us today without confining it to an obsolete image of "ancient culture". On the contrary, we have attempted to prove how it could still have meaning in our schools in the 21th century
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Constantinou, Maria. "La connotation à l'épreuve de la traduction littéraire. Une oeuvre romanesque de N. Kazantzaki et "ses autres versants" : essai de sémantique textuelle." Besançon, 2006. http://www.theses.fr/2006BESA1016.
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La thèse articule analyse textuelle et linguistique contrastive autour des problématiques croisées de la traduction (du grec vers le français et l’anglais). Elle a un double objectif: a) faire le point sur le concept de connotation de façon à conclure sur sa valeur opératoire notamment en matière de traduction littéraire b) mettre la connotation à l’épreuve de la traduction en cernant comment les réseaux connotatifs se déploient respectivement dans un texte original et dans les textes traduits. La première partie est théorique. Elle porte, dans un premier temps, sur la traduction, ses enjeux et ses problèmes et, dans un second temps, sur le concept de connotation. Elle essaye de revisiter la connotation dans le temps, et de la reconfigurer au sein des sciences du langage pour la replacer ensuite dans une sémantique englobante. Elle montre que le concept de connotation, en dépit de son statut controversé, peut être un outil opératoire pour prendre en compte l’unité littéraire du texte. La deuxième partie est consacrée à l’analyse. Elle se veut un essai de sémantique textuelle dans une perspective traductologique et littéraire qui s’attache à la pluralité des sens, des voix et des lectures. Le corpus d’exploration est l’œuvre romanesque de N. Kazantzaki et plus particulièrement La Dernière Tentation du Christ, traduit en français par M. Saunier, et en anglais par P. A. BienThe thesis combines textual analysis and contrastive linguistics, clustering around intersected problems and theories of translation (from Greek into French and English). It has a double objective: a) to update the concept of connotation, in order to prove its applicability, especially for the analysis of literary translation, b) to put the concept of connotation to the test of translation by observing how connotations constructed on textual networks are transferred from one language into another. The research is divided into two parts: theory and analysis. The first part deals, initially, with theoretical and practical problems of translation. It also traces a historical background of connotation and reshapes it within the different fields of Language Sciences (Pragmatics, Stylistics, Semantics), so as to resituate it into an integrative approach of Semantics. It shows that connotation despite its controversial status can be a functional and useful concept for a literary and textual approach. The second part is an essay of textual semantics from a translation and literary perspective, focusing on plurality of meaning, voices and interpretations. It takes as corpus Kazantzakis' novels and more precisely The Last Temptation of Christ, translated into French by M. Saunier and into English by P. A Bien