Ancient &Medieval History, Philology

In 1807 Demetrios Guselis from Zante, author of the famous comedy “Ο Χάσης” publishes at Venice one translation in verses of Torquato Tasso’s "Gerusalemme Liberata" as «Η Ιερουσαλήμ Ελευθερωμένη». Guselis followed in this translation Korai’s linguistic theories and used an archaic language. His text is known until now in one edition. The most literary critics consider this translation as unsuccessful or bad.  Maybe this fact is not irrelevant with the language of the translation.
  However, Guselis had a good level of knowledge as a scholar that lived before the national revolution of Greeks in 1821, he is connected with the cycle of the authors before Dionysios Solomos («προσολωμικοί»). At his text there is a part of one unpublished translation of the same poem by Antonios Martelaos, one respectful scholar of the 18th century, some notes about linguistic theories, a dedication to Napoleon I and also a prologue about the life and works of Tasso that brings us to the atmosphere of Romanticism.
  From my side I consider that we have to examine this translation through the period it had been published, not only with aesthetic criteria. I examine this aspect of the translation in my work. Furthermore I publish the first two “Odes” or “Cantos”, the dedication to Napoleon I and Guseli’s prologue. I have added an apparatus criticus, glossary and an index of proper names.


To view the paper visit the page of the digital library of University of Crete (e-locus): http://elocus.lib.uoc.gr/hierarchy/collection/?search_type=simple&search_help=&display_mode=overview&wf_step=init&show_hidden=0&number=10&keep_number=&cclterm1=&cclterm2=&cclterm3=&cclterm4=&cclterm5=&cclterm6=&cclterm7=&cclterm8=&cclterm9=&cclfield1=&cclfield2=&cclfield3=&cclfield4=&cclfield5=&cclfield6=&cclfield7=&cclfield8=&cclfield9=&cclop1=&cclop2=&cclop3=&cclop4=&cclop5=&cclop6=&cclop7=&cclop8=&display_help=0&offset=1&search_coll[metadata]=0&search_coll[dlib]=1&&stored_cclquery=&skin=&rss=0&show_form=&clone_file=&export_method=none&display_mode=detail&offset=1&number=1&keep_number=10&old_offset=1&search_help=detail

Kazantzakis wrote Toda-Raba in 1928-1929 as a bildungsroman to show the passage of the Cretan protagonist from communism to post-communism. This book also indicates Kazantzakis' similar passage at the same years  from communism to budhism and other philosophical theories.

Kazantzakis presents King Idomeneus and Minoic Crete through his "Odyssey" and "Kouros" ("Theseus") as the person and the place of the ultimate corruption. I want to show with my paper that this vision has it's roots at the Romantic Decadence and the philosophy of Nietzsche as well as the political aspect of Oswald Spengler. (The text is in Greek)