This article examines queer Cyprus issues in terms of national and sexual identity politics, queer historiography and a transgressive aesthetic of desire. It relies on the premise that focusing on the personal experience of desire offers a mode of narrative that may mitigate the displacement of queer experience and subvert systemic oppression. At various moments and most prominently in Part D, the writing attempts a discursive performance whose context, tone and character adjust themselves to the article’s engagement with queer politics of Cyprus. As an ultimate goal, this performance seeks to contribute less to the much-rehearsed debates on sexual identities and more to their attendant politics of power and to the poetics of desire. Along with the pursuit of sexual fulfilment, the poetics of desire become fundamental elements in constructing a sense of personal sexual history. As I examine the legacies of colonial orientalism within the context of queer desire, I explore the possibility of spaces where dissenting sexualities may inscribe a trajectory while in the grip of strictures that determine gender, sexual and national performance. By turning attention to personal spaces, this article delineates a subjective consciousness whose personal imaginings expand into queer embodiments that unfold across and beyond.
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Hip hop culture in Greece – and especially rap music – seems to be going through a period of bloom. Since 2010, a new generation of Greek-based non-commercial rap artists has surged in popularity, making rhymes and tunes about their everyday experiences (drugs, sex, nightlife, violence, poverty), while self-producing their records and maintaining a critical stance towards mainstream culture and media. In the lyrics of most artists of the genre, misogynist and homophobic assumptions are frequently reproduced, despite the rappers’ expressed militancy against all forms of authority. The article examines this dissonance – created when sexist language is employed in critiques against power – and traces the intersections of gender, sexuality and political resistance within contemporary non-commercial rap in Greece. The authors focus on the produced masculinities and femininities, on the political subjects interpellated by the lyrics and on points of destabilizing regulatory gender norms. More specifically, they highlight the ways in which heteronormative masculinity is reinforced (even) in ‘politically conscious’ Greek-speaking rap and, within the same music genre, we look for its undoing.
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Lament in Greece has been historically linked to notions of cultural continuity and national belonging. As a literary genre or mode of performance, but also as a rhetorical trope, it has had a constitutive role in shaping national identity. Within this ideological context, Greek laments were strategically used by nineteenth- and early twentieth-century folklorists as survivals of an uninterrupted oral tradition, and hence as original proofs of continuity between modern Greeks and their supposed ancestors. Yet, the archives of oral poetry in general were extensively edited – but also partially constructed – by early folklorists in order to serve ideological purposes related to the construction of national identity, and to the promotion of the nation’s image according to Western European notions of Hellenism. Furthermore, it was not unusual for these scholars to create themselves quasi-demotic songs, in the manner and style of oral tradition. This was the case, for instance, of Georgios Tertsetis, whose quasi-demotic song ‘The Fair Retribution’ (H Δικαία Eκδίκησις) raises issues regarding desire between men, but also upon the impossibility of the subjects of such a desire to be mourned and lamented. Departing from an analysis of ‘The Fair Retribution’, and after offering a selective overview of the discourses of early folklorists regarding the use of Greek laments in the nationalist project, this article proceeds with a self-reflexive account of my lecture-performance Poustia kai Ololygmos: Selections from the Occult Songs of the Greek People. Enacting a pseudo-scientific persona, in this performance I announced the fictive discovery of an archive of Greek laments, which addresses issues of queer mourning and desire, while also bringing to the fore the absence of lament when it comes to queer subjectivities, in the past, but also in the present.
希腊的悲歌在历史上一直与文化连续性和民族归属感的概念联系在一起。作为一种文学类型或表现方式，也作为一种修辞修辞，它在塑造民族认同方面发挥了基础性作用。在这种意识形态背景下，希腊哀歌被19世纪和20世纪早期的民俗学家策略性地用作一种不间断的口头传统的遗存，因此作为现代希腊人和他们所谓的祖先之间连续性的原始证据。然而，口头诗歌的档案总体上是由早期民俗学家广泛编辑的，但也有部分是由民俗学家构建的，目的是为了服务于与国家身份建设有关的意识形态目的，并根据西欧的希腊主义观念提升国家形象。此外，这些学者以口头传统的方式和风格创作自己的准通俗歌曲并不罕见。例如，乔治·特尔塞蒂斯(Georgios Tertsetis)的歌曲《公平的报应》(H Δικαία eκ δ末梢κησις)提出了关于男人之间欲望的问题，但也提出了这种欲望的主体不可能被哀悼和哀叹。从对《公平的报应》的分析出发，在对早期民俗学家关于在民族主义项目中使用希腊哀歌的话语进行选择性概述之后，本文继续对我的演讲表演《Poustia kai Ololygmos:希腊人民神秘歌曲选集》进行自我反思。在这场表演中，我扮演了一个伪科学的角色，宣布了一个虚构的希腊哀歌档案的发现，它解决了酷儿哀悼和欲望的问题，同时也突出了在过去和现在，当涉及到酷儿主体性时，哀歌的缺失。
{"title":"Queering the archive of Greek laments","authors":"Marios Chatziprokopiou","doi":"10.1386/JGMC.4.2.223_1","DOIUrl":"https://doi.org/10.1386/JGMC.4.2.223_1","url":null,"abstract":"Lament in Greece has been historically linked to notions of cultural continuity and national belonging. As a literary genre or mode of performance, but also as a rhetorical trope, it has had a constitutive role in shaping national identity. Within this ideological context, Greek laments were strategically used by nineteenth- and early twentieth-century folklorists as survivals of an uninterrupted oral tradition, and hence as original proofs of continuity between modern Greeks and their supposed ancestors. Yet, the archives of oral poetry in general were extensively edited – but also partially constructed – by early folklorists in order to serve ideological purposes related to the construction of national identity, and to the promotion of the nation’s image according to Western European notions of Hellenism. Furthermore, it was not unusual for these scholars to create themselves quasi-demotic songs, in the manner and style of oral tradition. This was the case, for instance, of Georgios Tertsetis, whose quasi-demotic song ‘The Fair Retribution’ (H Δικαία Eκδίκησις) raises issues regarding desire between men, but also upon the impossibility of the subjects of such a desire to be mourned and lamented. Departing from an analysis of ‘The Fair Retribution’, and after offering a selective overview of the discourses of early folklorists regarding the use of Greek laments in the nationalist project, this article proceeds with a self-reflexive account of my lecture-performance Poustia kai Ololygmos: Selections from the Occult Songs of the Greek People. Enacting a pseudo-scientific persona, in this performance I announced the fictive discovery of an archive of Greek laments, which addresses issues of queer mourning and desire, while also bringing to the fore the absence of lament when it comes to queer subjectivities, in the past, but also in the present.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JGMC.4.2.223_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47868857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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