Journal articles: 'Nikos Kazantzakis'

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Kasotaki-Gatopoulou, Argyro. "Nikos Kazantzakis." International Journal of Foreign Studies 4, no. 1 (December 31, 2011): 57. http://dx.doi.org/10.18327/ijfs.2011.12.4.57.

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Owens, Lewis. "Nikos Kazantzakis." Philosophers' Magazine, no. 20 (2002): 52. http://dx.doi.org/10.5840/tpm20022022.

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Bobrova, Olga B. "Nikos Kazantzakis’ and Kostas Ouranis’ Travel Writings within the Context of Modern Greek Travelogues." Studia Litterarum 6, no. 3 (2021): 96–115. http://dx.doi.org/10.22455/2500-4247-2021-6-3-96-115.

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Nikos Kazantzakis is one of the most famous Greek authors of the 20th century known primarily for his novels. A significant part of Nikos Kazantzakis’s work is his travel writings. Whereas the novels of Kazantzakis are recognized as canonical Greek literature, it is difficult to pinpoint his travelogues, or Ταξιδεύοντας (Traveling) due to the ambiguity of their critical reception: assessments range from neutral or mildly negative to enthusiastic. Both critical and enthusiastic assessments usually lack in-depth analysis of poetic, thematic, compositional, and stylistic features of the Traveling cycle. This essay is an attempt at a more cogent and motivated assessment of Kazantzakis’s cycle of travel notes and his role in the development of this genre. In contrast to the general view in Greek criticism, I argue that the genre of travelogue had developed for an extended period before Traveling was published and that Kazantzakis’s predecessors and contemporaries had contributed to its development. Among them is Kazantzakis’s contemporary Kostas Ouranis whose work has aspects and features to be found in the later work of Kazantzakis as the comparative analysis of the travel notes by both authors demonstrates.

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González-Vaquerizo, Helena. "Nikos Kazantzakis. Almas rotas." Byzantion nea hellás, no. 37 (October 2018): 377–79. http://dx.doi.org/10.4067/s0718-84712018000100377.

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Mini, Panayiota. "O Nikos Kazantzakis ston kinimatografo (Nikos Kazantzakis in Cinema), Thanasis Agathos (2017)." Journal of Greek Media & Culture 4, no. 2 (October 1, 2018): 285–88. http://dx.doi.org/10.1386/jgmc.4.2.285_5.

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Anayat, Abdelkrim, and Zaid Al-Zuriqat. "Novel and Philosophy for Nikos Kazantzakis." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 458–70. http://dx.doi.org/10.35516/hum.v49i1.1670.

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The research extrapolates the great interconnectedness between literature and philosophy of Nikos Kazantzakis. We cannot lose sight of the great connection between literature and philosophy at the moment of the emergence of philosophical thought in the Greeks from the so-called moment of establishment, and this relationship continued until the current crisis, and this is evident in the use of existential philosophy of the novel and play as a means of reporting abstract philosophical ideas. The research found that, the contemporary Greek writer Kazantzakis is considered one of the greatest novelists who have not been separated from philosophical problems. This is due to his philosophical formation by Bergson and Nietzsche. The question of the truth of man, and the question of the body that extended through the history of philosophical and religious thought together, added to this the issue of the symbolic value of art in the human being, which is inseparable from the divine and moral problem. We can also observe Kazantzakis' involvement in postmodern discourse as a post-modern philosophy.

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Stephenson, Barry. "The Christ of Kazantzakis's Christ Recrucified." Christianity & Literature 67, no. 4 (August 21, 2018): 669–88. http://dx.doi.org/10.1177/0148333118763425.

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In the wake of Martin Scorsese's film adaption of the controversial novel The Last Temptation of Christ by the Greek writer Nikos Kazantzakis, Kazantzakis's work received a flurry of attention, but focused on The Last Temptation. The figure of Christ, however, is central to Kazantzakis's larger literary oeuvre, and a rounded picture of Kazantzakis's fictional Christology requires tending to these works. This article develops the central themes of the tacit Christology informing Kazantzakis's Christ Recrucified: crucifixion as an emblem of spiritual-moral struggle; motifs of adoptionism and exemplarism; spring/Easter as the agitation of matter to transubstantiate; the defiant, war-like “face” of Christ; and Christ's affinity to the broader pantheon of Greek gods and fertility myths.

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Unuk, Lara. "Nikos Kazantzakis: Poročilo El Grecu (prevod)." Keria: Studia Latina et Graeca 16, no. 2 (December 31, 2014): 117. http://dx.doi.org/10.4312/keria.16.2.117-128.

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ROMANJE PO GRČIJITri mesece je trajalo moje romanje po Grčiji. Gore, otoki, vasi, samostani, obale, in še zdaj, ko se po toliko letih tega spominjam, mi srce utripa srečno in nemirno; veliko veselje je v tem, da lahko popotuješ in si ogleduješ Grčijo, veselje in muka.

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Quiroz Pizarro, Roberto. "El ojo hereje de Nikos Kazantzakis." Byzantion nea hellás, no. 37 (October 2018): 357–73. http://dx.doi.org/10.4067/s0718-84712018000100357.

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Hamilton-Arnold, Caroline. "The Selected Letters of Nikos Kazantzakis." European Legacy 18, no. 6 (October 2013): 770–71. http://dx.doi.org/10.1080/10848770.2013.818269.

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Antonakes, Michael. "Nikos Kazantzakis and Christ as Hero." Journal of Modern Greek Studies 22, no. 1 (2004): 95–105. http://dx.doi.org/10.1353/mgs.2004.0002.

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Morozova, Nataliia, and Andrii Savenko. "TRANSLATION CHALLENGES OF NIKOS KAZANTZAKIS' "AUTOBIOGRAPHICAL" NOVEL." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 112–17. http://dx.doi.org/10.17721/1728-2659.2022.31.23.

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Dávila Vargas-Machuca, Miguel. "Introducción a Nikos Kazantzakis: trasvases del papel a la gran pantalla." Trasvases entre la literatura y el cine, no. 2 (October 14, 2020): 119–21. http://dx.doi.org/10.24310/trasvasestlc.vi2.10406.

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Gonzalez Vaquerizo, Helena. "La adaptación de la Carta al Greco en el Kazantzakis de Smaragdís." Trasvases entre la literatura y el cine, no. 2 (October 14, 2020): 123–40. http://dx.doi.org/10.24310/trasvasestlc.vi2.9422.

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La película de Yannis Smaragdís Kazantzakis (2017) se analiza en este trabajo como una adaptación de la novela autobiográfica de Nikos Kazantzakis Carta al Greco (1957). Asumiendo que el texto literario debe ser visto como un hipotexto susceptible de alteraciones, el estudio se centra en la comparación entre la versión novelística y la fílmica. Como sugiere el trabajo, Kazantzakis se basa extensamente en la Carta al Greco, y esta cercanía a la novela a menudo resulta en artificiosidad. Estudiar el trasvase de la novela a la película permite, por otra parte, entender mejor los procesos de adaptación, y de alusión y cita cinematográficas, ya que la presencia de las adaptaciones de novelas de Kazantzakis al cine de Jules Dassin, Michael Cacoyannis y Michael Scorsese es prominente en el Kazantzakis de Smaragdís.

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Dombrowski, Daniel A. "Ultimate Reality and Meaning in Nikos Kazantzakis." Ultimate Reality and Meaning 21, no. 3 (September 1998): 177–94. http://dx.doi.org/10.3138/uram.21.3.177.

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Bzinkowski, Michał. ""Akritas" – Nikos Kazantzakis' Little-Known Unrealized Epic Project." Classica Cracoviensia 20 (March 30, 2018): 45–54. http://dx.doi.org/10.12797/cc.20.2017.20.02.

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Kazantzakis’ Odyssey – apart from the abundance of philosophical as well as ideological influences of many different sources which the writer tried to unify into a universal cosmotheory – constitutes a large-scale attempt by a Modern Greek writer to respond to Homeric epic. Yet, the author of Zorba the Greek sketched another epic composition that, according to his vision, aimed at reaching further than his magnum opus. His ambition was to encompass the long-lasting period between Ancient and Modern Greece, namely that of the Byzantine empire and its radiating influence on Greek consciousness and identity. He entitled his project Akritas, thus directly alluding to the only epic poem in Byzantine Greek literature, Digenes Akritas, and its protagonist as well as to acritic songs from Cyprus, where the latter’s name appears. In the present paper I would like to shed some light on Kazantzakis’ approach to Byzantium and its significance in defining the Greek identity through this unfinished sketch that the writer in fact never began.

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Middleton, Darren J. N. "Kazantzakis among the postmoderns: some reflections." Byzantine and Modern Greek Studies 29, no. 1 (2005): 71–88. http://dx.doi.org/10.1017/s0307013100015172.

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Following Friedrich Nietzsche, Nikos Kazantzakis gives mythopoetic embodiment to a way of looking at life that anticipates what we now see — attention to evolution, language, truth, perspective, and world enthusiasm — in various postmodern philosophies of religion. To show this alliance, my essay facilitates a broad but illuminating exchange between Kazantzakis and recent postmodern thinkers from around the western-oriented world: John Caputo (North America), Don Cupitt (England), Lloyd Geering (New Zealand) and Gianni Vattimo (Italy). With the advent of Nietzschean-inspired postmodern philosophies of religion, it seems that rereading Kazantzakis, like recent rereadings of Nietzsche, creates intriguing possibilities for thought as well as for action.

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Christos Galanopoulos. "Anti-Nihilism in the Thought of Nikos Kazantzakis." Journal of Modern Greek Studies 28, no. 1A (2010): 7–37. http://dx.doi.org/10.1353/mgs.0.0083.

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Mathioudakis, N. "Aniforos / The Ascent — A “Lost” Work of Nikos Kazantzakis Nikos Kazantzakis: the Chronicle of the Writing, the Transcription and its Publication." Kathedra of Byzantine and Modern Greek Studies, no. 7 (November 26, 2020): 108–36. http://dx.doi.org/10.29003/m1731.2658-7157.2020_7/108-136.

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Nikos Kazantzakis in 1945(?) writes a work, which remains unknown to this day, entitled “O Aniforos”. The post-war novel is preserved in a manuscript, which is kept in the archive of the Nikos Kazantzakis Museum. The present study deals with the publication course of the work, and especially from its writing in the middle of the 20th century until its first scientific transcription, study and commented edition, which took place about eighty years after the conception of the idea by the Cretan author. It also outlines the literary context of the text, regarding Space, Time, Faces and Plot. In addition, a comparative approach of the “lost” novel is made on the one hand with the other works of the author and on the other hand with the works of Shakespeare, in order to reveal the intertextual hints. Finally, an attempt is made to present the references to the unknown novel, but also to determine the reasons that contributed to the “loss” of the work and to the fact it remained unpublished

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Venuso, Maria. "Zorba's Dance in Lorca Massine's Dancing Expression." Congress on Research in Dance Conference Proceedings 2016 (2016): 425–30. http://dx.doi.org/10.1017/cor.2016.56.

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In Nikos Kazantzakis’ novel, Zorba the Greek, dance has a great importance. The transposition of the novel into a ballet by Lorca Massine (1987) simplified the novel's complexity, thus “rejuvenating” the ancient world described by Kazantzakis. The contrast of Apollonian vs. Dionysian is entrusted to the style of the protagonists. They propose the modern heritage of traditional Greece, imposing a new dance tradition (syrtaki), based on ancient and popular reminiscences—a new myth. This contribution aims to analyze how dance becomes expressed thus revealing of collective identity, in the transposition from the novel into a ballet through the movie.

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Bobrova, Ol'ga Borisovna. "Russia in travelogues of Nikos Kazantzakis and Kostas Varnalis." Litera, no. 2 (February 2020): 102–11. http://dx.doi.org/10.25136/2409-8698.2020.2.29529.

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This article is dedicated to compilation of travelogues “Ταξιδεύοντα&sigmaf;. Ρουσία” (Journey to Russia) by N. Kazantzakis and “Τι είδα ει&sigmaf; την Ρωσσίαν των Σοβιέτ” *What I discovered in Soviet Russia) by K. Varnalis. Similarity of theme of the texts (both authors describe their impression of visiting Russia as the reporters of the large Greek newspapers) allows tracing the impact of subjective factors upon the author’s perception of Soviet Russia and its representation in both texts. The research is based on the parallel review of the theme of both writings and the applied means of creation of the image of Russia. The conducted analysis demonstrates that Nikos Kazantzakis sees Russia and social experiments of the Soviet government in the mystical sense, perceiving the political coup and shift of power in the country as a testimony to the struggle of latent forces that move the human history. Kostas Varnalis in his notes appears as a communist-pragmatic, viewing Russia as an example of establishing just and perfect human society, success of which proves the failure of the bourgeois world order. The travelogues under consideration are insufficiently studied and have not been translated into the Russian language. Their parallel analysis is carried out for the first time, which defines the scientific novelty of this research.

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GONZÁLEZ VAQUERIZO, HELENA. "LA CIUDAD IDEAL EN LA ODISEA DE NIKOS KAZANTZAKIS." Byzantion nea hellás, no. 32 (November 2013): 247–68. http://dx.doi.org/10.4067/s0718-84712013000100013.

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Karagkiozopoulos, T. "Russia’s travel experience in the work of Nikos Kazantzakis." Kathedra, no. 8 (2021): 57–75. http://dx.doi.org/10.52607/26587157_2021_8_57.

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Bouteneff, Patricia Fann. "God's struggler. Religion in the writings of Nikos Kazantzakis." Byzantine and Modern Greek Studies 22, no. 1 (January 1998): 315–17. http://dx.doi.org/10.1179/byz.1998.22.1.315.

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Karagkiozopoulos, T. "Approaching the Revolution of 1821: Kapodistrias by Nikos Kazantzakis." Kathedra, no. 11 (2022): 7–18. http://dx.doi.org/10.52607/26587157_2022_11_7.

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Fonseca, Isis Borges Belchior da. "Ulisses na Odisséia de Kazantzakis." Classica - Revista Brasileira de Estudos Clássicos 2, no. 1 (February 3, 2018): 54–67. http://dx.doi.org/10.24277/classica.v2i1.624.

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Dans son long poème de 33.333 vers, Nikos Kazantzakis en s’appuyant sur la figure de l’Ulysses homérique, donne au héros des préoccupations tout à fait nouvelles. Ce sont maintenant des problèmes métaphysiques qui occupent son esprit. Après avoir détruit symboliquement les dieux olympiens, le hèros part à la recherche de son dieu. Qu’est-ce "dieu"? C'est la question qui l'obsède. "Dieu" c’est l'élan primitif qui amène l’homme à se dépasser et à accomplir des actions au-dessus de ses forces? Ou s'identifie-t-il avec le Néant? Pour le poète, tout en méprisant le culte ancien, on doit reprendre le cheminement à partir du néant, sans le moindre respect pour les nomes imposées par la société. Dans des rencontres symboliques avec de grandes figures de l’humanité, parmi lesquelles Hamlet, Bouddha et le Christ, le héros met en lumière les différents étapes de ses réflexions les plus profondes.

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Dombowski, Daniel A. "Neoclassical Theism and Spiritual Exercises: Pierre Hadot and Nikos Kazantzakis on Askesis." Process Studies 38, no. 1 (April 1, 2009): 93–107. http://dx.doi.org/10.2307/44799073.

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Abstract Relying on Pierre Hadot’s concept of philosophy as spiritual exercise, I examine Nikos Kazantzakis’magnum opus Askitiki: Salvatores Dei (transUted in English as The Saviors of God: Spiritual Exercises). Specifically, I examine the extent to which Kazantzakis offers a version of spiritual exercise appropriate for neoclassical theism, analogous to St. Ignatius version of spiritual exercise in the service of classical theism.

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Bobrova, Olga. "The MAN-OBJECT metaphor in “Ταξιδεύοντας. Ρουσία” by Nikos Kazantzakis." Stephanos. Peer reviewed multilanguage scientific journal 30, no. 4 (July 31, 2018): 143–50. http://dx.doi.org/10.24249/2309-9917-2018-30-4-143-150.

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PALMA PAZ, ALEJANDRO. "SENTIDO Y TRASCENDENCIA EN LA TRAGEDIA BUDA DE NIKOS KAZANTZAKIS." Byzantion nea hellás, no. 32 (November 2013): 269–79. http://dx.doi.org/10.4067/s0718-84712013000100014.

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Arampatzidou, Lena. "Nikos Kazantzakis and Travel Writing: Innovating in Poetics and Politics." Historical Review/La Revue Historique 8 (July 6, 2012): 179. http://dx.doi.org/10.12681/hr.281.

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Vrasidas Karalis. "Broken Hallelujah: Nikos Kazantzakis and Christian Theology (review)." Journal of Modern Greek Studies 28, no. 1A (2010): 273–76. http://dx.doi.org/10.1353/mgs.0.0089.

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Kokkinidi, Eva. "Nikos Kazantzakis, The Selected Letters of Nikos Kazantzakis, edited and translated by Bien Peter. Princeton & Oxford: Princeton University Press, 2012. Pp. xxvii, 875." Byzantine and Modern Greek Studies 37, no. 2 (2013): 297–98. http://dx.doi.org/10.1017/s0307013100006881.

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Snigovska, Oksana, and Andriy Malakhiti. "“RED” ODESSA IN THE EYES OF N. KAZANDZAKIS: DOCUMENTARY-ARTISTIC TWO of the AUTHOR’s worlds (based on the travelogue «Traveling: Russia»)." Studia Linguistica, no. 15 (2019): 235–49. http://dx.doi.org/10.17721/studling2019.15.235-249.

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The article explores the features of documentary works of art, in particular letters, articles, travel notes, newspaper publications, photo and video materials, which formed the basis of the travelogue «Travelling: Russia» by the Greek writer Nikos Kazantzakis. It describes his trips to the Soviet Union in the 20s of the XX century. A complex of themes and motives typical of travelogue, topos is considered, topographic plots focused on the presentation of facts and situations are highlighted. The subject of the image in travel notes and feature articles by N. Kazantzakis is practically everything that he sees and realizes / perceives and, of course, describes: topographic environment, the beauty of nature, mode of life, social relations and the psychology of people. The wandering figure, breaking away from usual life, overcoming the barrier of existence, which forces the author and readers to experience borderline states, ask extreme questions, seek for the answers, fulfilling the mission of the travelogue. Getting into other, unfamiliar conditions, the traveller either gets used to them, or evaluates them, transforming them for himself and for the others. Travelogue N. Kazantzakis «Traveling: Russia» does not always adequately reflect the real space of travel. The repeating routes of Greece – Odesa – Kiev trips by sea and further by rail receive different irradiation depending on optimistic (at the beginning of his philosophical and religious journey) or catastrophic with a touch of disappointment (at the end of his ideological search) premonitions of the author. So, the construction of the travelogue of the Greek writer was greatly influenced by previous trips to the same places. Nikos Kazantzakis often refers reader to facts of history, to cultural codes, to ideological oppositions, to personal memory. Oppositions Europe/Greece – Russia, Vienna – Odesa, Greeks – Russians / Ukrainians – Jews are interpreted nominally in the article, the main task of the writer seems to be a way out to the existential principles of the structure and transformation of person.

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Chryssavgis, John. "Book Review: God's Struggler: Religion in the Writings of Nikos Kazantzakis." Journal of Modern Greek Studies 15, no. 2 (1997): 392–94. http://dx.doi.org/10.1353/mgs.1997.0022.

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Middleton, Darren J. N. "Nikos Kazantzakis and Process Theology: Thinking Theologically in a Relational World." Journal of Modern Greek Studies 12, no. 1 (1994): 57–74. http://dx.doi.org/10.1353/mgs.2010.0139.

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Bien, Peter. "Nikos Kazantzakis. Beiträge zu seinem Werk und Leben (review)." Journal of Modern Greek Studies 5, no. 1 (1987): 123–25. http://dx.doi.org/10.1353/mgs.2010.0141.

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Ball, Eric L. "Guarding the Wild: Place, Tradition, Literature, and the Environment in the Work of a Cretan Folk Poet." Journal of American Folklore 119, no. 473 (July 1, 2006): 275–300. http://dx.doi.org/10.2307/4137638.

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Abstract This article engages in a close reading of the mandinadha (rhyming couplets) of a Cretan folk poet. I argue that the poet’s texts negotiate the conventions of the mandinadha genre in order to promote an ethic of "the wild" and reinterpret Cretan masculine rebellious identity in the service of an environmentally minded place awareness. This reinterpretation involves a particular reading of Cretan tradition, Cretan folk literature, and the writings of Cretan-born novelist Nikos Kazantzakis.

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LASKARIS, Paola. "La última tentación de la libertad: vida y andanzas de la obra de Nikos Kazantzakis en tiempos de censura." Creneida. Anuario de Literaturas Hispánicas 5 (December 30, 2017): 198–238. http://dx.doi.org/10.21071/calh.v5i.10373.

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Del célebre escritor y traductor griego Nikos Kazantzakis –creador del mítico Zorba– quizás se conozca su intensa relación con España, su cultura y su historia. Sin embargo, poco o nada se sabe del largo y atormentado periplo de sus obras en plena dictadura franquista, cuando su pluma, vibrante y heterodoxa, se enfrentó con el riguroso dogmatismo de la censura. El rico e importante caudal de documentos conservados en el Archivo General de Administración de Alcalá de Henares nos permite, por un lado, reconstruir con precisión el complejo entramado de la circulación de su obra a partir de los años cincuenta y, por otro, brindar un ejemplo más de las modalidades de la censura editorial y sus repercusiones a medio y largo plazo, descubriendo que hasta los años ochenta un lector español accedía a la obra de Kazantzakis casi exclusivamente a través de las Obras selectas de la editorial Planeta, variamente enmendadas e intervenidas.

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Vangelis Calotychos. "Kazantzakis the Greek?: Travel and Leisure, Hunger and Pathos, Localism and Cosmopolitanism in Nikos Kazantzakis's Journeying." Journal of Modern Greek Studies 28, no. 1A (2010): 189–217. http://dx.doi.org/10.1353/mgs.0.0097.

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DÔNEGA BERNARDES, CAROLINA. "ENTRE LA AUTORÍA Y LA REDENCIÓN: ABORDAJES CRÍTICOS ACERCA DE NIKOS KAZANTZAKIS." Byzantion nea hellás, no. 35 (November 2016): 255–68. http://dx.doi.org/10.4067/s0718-84712016000100013.

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Murray, Peter Durno. "Nikos Kazantzakis, Friedrich Nietzsche on the Philosophy of Right and the State." New Nietzsche Studies 8, no. 3 (2011): 192–96. http://dx.doi.org/10.5840/newnietzsche2011/201283/418.

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Lư, Phạm Ngọc, and Phạm Ngọc Lư. "TIỂU THUYẾT GIA NIKOS KAZANTZAKIS VÀ HÀNH TRÌNH ĐI TÌM ĐỨC TIN." Hue University Journal of Science: Social Sciences and Humanities 126, no. 6B (September 21, 2017): 155. http://dx.doi.org/10.26459/hueuni-jssh.v126i6b.4409.

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Mathioudakis, N. "Ximeroni / Day is Breaking ― The fi rst theatrical play of Nikos Kazantzakis." Kathedra of Byzantine and Modern Greek Studies, no. 6 (April 15, 2020): 74–96. http://dx.doi.org/10.29003/m1366.2658-7157.2020_6/74-96.

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Vasileva, Irina, and Maxim Kisilier. "Where does Odysseus sail to? About a mythmaking project of Nikos Kazantzakis." Indo-European Linguistics and Classical Philology XXIV (June 2020): 157–80. http://dx.doi.org/10.30842/ielcp230690152450.

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Owens, Lewis. ""Does This One Exist?" The Unveiled Abyss of Nikos Kazantzakis." Journal of Modern Greek Studies 16, no. 2 (1998): 331–48. http://dx.doi.org/10.1353/mgs.1998.0041.

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Voutsa, Styliani. "Salamanca y helenismo. Intelectuales griegos que pasaron por la ciudad de Salamanca a lo largo de los siglos." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 33, no. 1 (2021): 227–35. http://dx.doi.org/10.25145/j.fortunat.2021.33.11.

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The city of Salamanca and its historical University with tradition in classical studies has always attracted the presence of Greek and Cypriot teachers and intellectuals. This study focuses on four of them who have been in Salamanca over the centuries as academic teachers or as admirers of the famous University and its great figures: Diogenes Paraponaris, Neofitos Rodinos, Nikos Kazantzakis and Kostas Tsiropoulos. The reached conclusion that from 16th century until 20th century the bond between Salamanca and Hellenism has been very strong and present in various ways

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Corrêa, Graça P. "Longing and belonging through migration: Otherness and empathy in theatre and philosophy." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (November 1, 2019): 55–66. http://dx.doi.org/10.1386/peet_00005_1.

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Abstract This article examines how theatre and philosophy may critically contribute to discussing empathy towards otherness in the context of the ongoing massive surge of migration across the globe. Drawing on concepts from philosophical works by Baruch Spinoza, Henri Bergson and Jacques Derrida, it investigates how different dramaturgical techniques and aesthetics ‐ namely in Euripedes' Children of Heracles (c.430 BCE), Roland Schimmelpfennig's The Golden Dragon (2009) and Nikos Kazantzakis and Graça P. Corrêa's Christ Recrucified (1954/2018) ‐ address ethical-affective percepts such as empathy and hospitality in a theatre dealing with migration experiences.

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Podmore, Simon D. "Lazarus and the Sickness Unto Death: An Allegory of Despair." Religion and the Arts 15, no. 4 (2011): 486–519. http://dx.doi.org/10.1163/156852911x580801.

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AbstractThis article explores the religious symbolism of death and resurrection in works by Dostoevsky, Holbein, Kazantzakis, and Kierkegaard, examining the imaginative correlation between the death of God and the sickness of the soul. Exploring the symbolic analogy between the death of the self and the death of God evoked by these works, I offer an existential reading of the death and raising of Lazarus as an allegory of despair over the possibility of salvation. I illustrate this existential dis-ease via a symbolic reading of two artistic depictions of death and resurrection. Beginning with reference to Nikos Kazantzakis’s account of the death of Lazarus in The Last Temptation, and proceeding to Fyodor Dostoevsky’s famous description in The Idiot of Hans Holbein the Younger’s The Body of the Dead Christ in the Tomb (1521), I endeavor to articulate a constructive existential and psychological analogy between the death of the self and despair over the death of God (interpreted as an expression of the loss of hope in salvation). Finally, by reading such despair with imaginative-symbolic reference to Lazarus, I return to Kierkegaard’s The Sickness Unto Death in search of hope in the “impossible possibility of salvation.”

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Osborne, Virginia Nickles. "Judas, My Brother: Nikos Kazantzakis' The Last Temptation of Christ with Slavoj Žižek." Comparatist 43, no. 1 (2019): 194–208. http://dx.doi.org/10.1353/com.2019.0011.

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Valverde García, Alejandro. "Zorba el griego o cuando Nietzsche bailó el syrtaki." Trasvases entre la literatura y el cine, no. 2 (October 14, 2020): 161–74. http://dx.doi.org/10.24310/trasvasestlc.vi2.9444.

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Tras el éxito obtenido a nivel internacional por su trasposición fílmica de la tragedia de Eurípides Electra, el director Michael Cacoyannis adapta para el cine una famosa novela del escritor cretense Nikos Kazantzakis, logrando crear una obra de arte completamente independiente de su fuente literaria, a la que supera incluso en popularidad. En este artículo se analiza esta película, Zorba el griego, a la luz de la lectura del texto que la inspira, pero también de otros referentes culturales presentes en ella, como son el antiguo drama ático, representado en la pantalla a través de la actriz griega Irene Papas, el pensamiento existencialista de Nietzsche, el neorrealismo italiano y el cine de la época dorada de Hollywood.

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Journal articles on the topic 'Nikos Kazantzakis'

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