(Flinders University Department of Languages - Modern Greek, 2005) Karalis, Vrasidas
Please note: This article is in Greek. This paper deals with the rather neglected poetry of Athos Dimoulas (1921-1985) and addresses two central dimensions of its poetics. First the invention of the “deep image” in order to depict the open nature of representational language and its culmination in the gradual self-signification of poetic text. Second, the existential reality of kenosis as poetic material and the way such complete and utter self-emptiness was expressed in the last phase of his artistic development. Dimoulas is one of the most important post-war poets of contemporary Greece who struggled with the idioms of the great predecessors of high modernism; namely C. P. Cavafy and Giorgos Seferis. Against their presence and under the “anxiety of influence”, Dimoulas and his generation tried to undermine the representational codes and the formal devices employed by high modernism in order to give mythopoetic coherence to the vicissitudes of history. Thus his poetry is crystallised around images in the making, fluid depictions of evanescent feelings which are articulated through a macroscopic self-presentation of their own creation and referential indexicality. By doing so, Dimoulas emptied his language from any kind of emotion, creating an idiom of absence and silence, based on geometric abstraction and almost Euclidian linearity. His poetry became the liminal form of expression in Greek beyond which language nullifi es itself as both form and articulation. This papers attempts to explaining such “negativity” as a structural principle of his poetry and contextualises its function within post-war poetics in Greece.