Dissertation committee:
Ευριπίδης Γαραντούδης, Καθηγητής Νεοελληνικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ.
Δημήτρης Αγγελάτος, Καθηγητής Νεοελληνικής Φιλολογίας και Θεωρίας της Λογοτεχνίας, Τμήμα Φιλολογίας, ΕΚΠΑ.
Εύα Στεφανή, Αν. Καθηγήτρια Ιστορίας και Θεωρίας Κινηματογράφου, ΕΜΜΕ, ΕΚΠΑ.
Θανάσης Αγάθος, Επίκουρος Καθηγητής Νεοελληνικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ.
Λητώ Ιωακειμίδου, Επίκουρη Καθηγήτρια Συγκριτικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ.
Χριστίνα Ντουνιά, Καθηγήτρια Νεοελληνικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ.
Γιάννης Λεοντάρης, Αν. Καθηγητής, Τμήμα Θεατρικών Σπουδών, Πανεπιστήμιο Πελοποννήσου.
Summary:
This thesis explores the impact of cinema on postwar Greek fiction. As an essay in comparative literature it poses questions regarding the nature and function of filmic writing. The method of analysis is mainly based on comparative poetics, with an emphasis on intertextuality, interarts studies, and intermediality. Genette’s narratological poetics, and especially the definition of the narrative mode of showing, were valuable in defining the poetics of filmic writing. The interrelations and convergences between postwar Greek prose and cinema are described as different themes and modes of representation. Thus each chapter analyses a dominant narrative (i.e. literary and cinematic) trope for each period. The socially concerned realism of Greek postwar fiction (1949-1967) is compared to the themes and tropes of Italian neorealist cinema. The disruption of the prose narrative in the following decades (1967-1981) is explored with help of the experimentations of the French New Wave, as well as the Nouveau Roman. Greek postmodernist fiction of the last decades of the twentieth century is examined in the light of its interarts dialogue with the cinema of late century Hollywood.
Keywords:
Postwar greek fiction, Cinema, Interarts, Intermedia, Narrativity
