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Reviews 177 Merlier's study contains numerous interesting views concerning the diverse and extremely difficult problems occasioned by this work. The editor's love for Solomos is evident throughout, as is his enthusiasm for this particular text—the motive that prompted him to undertake and to bring to fruition this edition of The Woman of Zákynthos in such a suitable manner. Although certain lapses in translation are evident (pp. 153 and 223, 157 and 224: with or without Attention; Solomos writes Bada bene on p. 152 and Pensa on p. 156), as well as certain repetitions (pp. 12 and 21), inconsistencies in the transcription of proper names (pp. 21 and 23), etc., these weaknesses in no way lessen the late French neohellenist's great contribution to modern Greek literature. Let us hope that in the future the Center of Asia Minor Studies may offer us additional studies on Solomos from Octave Merlier's unpublished papers, prepared with the same exemplary care. P. D. Mastrodimitris University of Athens Translated by Peter Bien G. Farinou-Malamatari, ΑφηγηματικÎ-Ï‚ τεχνικÎ-Ï‚ στον Παπαδιαμάντη, 1887-1910. Athens: Redros. 1987. Pp. 323. GeorgeRehayioglou,«ΟΈϕωταςσταΧιόνια»τουΑλÎ-ξανδϕουÎαπα- διαμάντη: Μια ανάγνωση. Edited by Andia Frandzi. Sira Neoellinikes Psifides 5. Athens: Polytypo. 1984. Pp. 132. Papadiamandis has in recent years drawn considerable critical attention in Greece and abroad. The two books reviewed here are among the most important of these publications which also include N. D. Triandafyllopoulos' excellent edition of the complete works, three substantial collections of essays on the author and his works, and a number of translations—especially into English. Farinou-Malamatari's book is the first long scholarly work on the Skiathote since the appearance of G. Valetas' literary biography more than 40 years ago. Her study is one that no serious student of modern Greek fiction can afford to overlook. In its meticulous handling of some fifty of Papadiamandis' most important stories, its acute analyses and the good sense of its general conclusions, it makes a major contribution to Papadiamandis scholarship. Of particular interest, the 178 Reviews author uses as her principal theoretical model the analysis of narrative fiction set forth in Genette's "Dücours du récit" from his Figures HI (1972; In English, Narrative Dücourse: An Essay in Method 1980). Farinou -Malamatari divides her book into chapters covering time, description , speech (narrative "distance" and "perspective") and firstperson narration. Under the rubric "Time" Farinou-Malamatari, following Genette, examines the relationship between temps de l'hütoire (the chronological course of events) and temps du récit (the order of these events as presented in the text). Disruption of the chronological sequence (anachronie), such as the familiar beginning in medias res, is frequent in Papadiamandis. The marked anachrony of some stories has a direct effect on their "message." For example, the successive recollections of the past (analepses) in the opening of / Fonissa, where repeated references to the same events give ever more precise information , make the reader reevaluate Frangoyiannou's motives, and illustrate what Farinou-Malamatari considers a principal theme of the story—the difference between appearance and reality. She also takes up the idea of "duration of time," defined as the relationship between the length of time during which an action takes place and the number of pages devoted to that action. She points out that Papadiamandis prefers description to dramatic action. Description of course slows down the narrative and Papadiamandis has been criticized on this score, but Farinou-Malamatari convincingly shows that his descriptive passages may carry the meaning of a story. His wish is to validate the unchanging patterns of life rather than a particular moment. Concerning narrative "frequency" Papadiamandis chooses certain techniques to enhance his themes. In "Eros-Iros," for example, the repeated mention of the same action (Genette's récit répétitif) from a slightly different point of view illustrates, on the one hand, the hero's gradual realization of what is happening and, on the other hand, his inability to make a decisive move. In "Horis Stefani" and "O Kakomü," moreover, the simple mention of an action that takes place many times (récit itératif) emphasizes the cyclical, extra-historical aspect of life that is closer to the eternal world of spiritual values. Farinou...


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