url: =Fórum » Kultúra, művelődés » Kultúra » ógörög tánc\nHozzászólások: 10739 | Hozzászólók: 25\n... | 228 | 229 | 230 | 231 | 232 | 233 | 234 | 235 | 236 | 237 | 238 | ... 103050100200500 db/lap spiroslyra\nNa, o Franklin ithele na mou steilei ti bibliografia pou tou eixa zitisei, alla epeidi exase tin electroniki mou dieythynsi tin esteile sto Stelio, me ton opoio milisa prin apo ligo. Mou milise ligo gia ton Franklin kai ti douleia tou, exei asxolithei me tin ennoia tou diatonikou kai mesa apo mia sygritiki meleti ypostirizei oti oi Ellines to ofeiloun stin Anatoli........... Omos tora exo na teleioso kati, tha ta poume isos argotera me perissoteres leptomereies, allios ayrio:) Előzmény: spiroslyra (3777)\nMeta tin proti amixania pos na mazeytoun me kapoio noima kai taxi ola ayta ta stoixeia gia to xoro apo ton Omiro, anadyontai ta prota stoixeia. Mi mas apasxolei ayti ti stigmi an einai liga i polla. As symfonisoume tora pos einai arketa gia na xekinisei mia ereyna. Kai giati me ton Omiro? Epeidi einai stin arxi kai sti synexeia ginetai syxna se ayton anafora. Me tin proti matia epibebaionetai pos ta keimena tautohrona lene polla kai liga. Ti kryvetai mesa sto mythiko plaisio gia ti zoi kai to horo? Pandos oso perisotero diabaseis, niotheis pos opou kai an angixeis, o,ti episodio exetaseis, anoigoun 'dromoi', esto san pseudaisthisi, gia ritorika tehnazmata. I Amalteia-aiga dinei trofi, amrosia kai nektar bgainoun apo ta kerata tou, to derma tis ginetai aspida, kai natoi oi Kourites, armatomenoi, me toribodi horo kryboun, prostateboun ton mikro Dia. Kanei kai autos polla thaumata argotera, ap to kefali tou xepida i oplizmeni Athina, stin aiga-aspida tis einai zografismeni i tromeri Medousa. Stin Pallada dinetai protia gia ton polemiko horo.[Endiaferon exigisi, pos efebre ton aulo.*] Uperboli an leme pos sta epomena "ouranos kai gi tha horevoun?"* As afisoume kalytera na mas odigisei o idios o Omiros se gamous kai giortes athanaton kai thniton, se polemo opou 'horevei' o Aris. Sto ergastirio tou Hefaistou, i aspida tou 'kathreutis', kozmohoreutiko mastoreuma, me horostasi san auto pou eftjaxe a Daidalos gia tin Ariadni. Ston omiriko kosmo horevoun oi enaretoi kai oi amartoloi, oi 'atimoi' mnistires pou theloun na 'kleboun tin Pinelopi, xoris na xeroun pos i Moira me ton Odussea tous etoimazei to teleutaio glendi, kai me to nima tou toxou tha ihisei thanatiforos mousiki. Apati-pagida perimenei tous apatilous, o zitianos-kamouflarismenos Odusseus deihnei tin proti parastasi. Apo ekei kai o "asemnos" horos ton akleiton? Opou koitas, englima kai timoria. Pos tha glitoseis? An o ponos pia einai aforitos, i oraia Eleni xerei na parigorei, rihnei sto krasi magika filtra, etsi xehnoun oi kalesmenoi ta basana,tora isiha hairontai, evruhoro to palati tou Menelaou, thaumazoun ta epidexia kinisi ton akrobaton. Oh ayti i Eleni, oi basilisses, kai oi doules! Akourastes me to adrahti, ton argalio, ftiahnoun me haroumeni porfira violettia nimata, ifasmata, rouha gia to horo sto gamo. Ravoun, plenoun adiakopa. Kapou, san ti Nausika, xekourazondai horeuontas me tin bala, to paihnidi ton Phaiakon. Posa herja prepi na pjanoume, papous, propaous..., mehri na ftasoume ston Omiro? Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Omerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Omero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Horis elpida, na exandlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti.As statoume ligo touto to sumeio, kanondas to proto cekarisma, horeutika, doi bima bros, ena piso...:)An xanakoitazoume to OCD, blepoume oti ayta pou leei isos einai kapos "palaioteres" apopseis, kai isos kapoia pragmata exoun anatheorithei i anatheorountai ... Etsi, gia paradeigma o Mazarakis-Ainian (Omeros kai Arxaiologia 2000) episimainei, stirizomenos stis arxaiologikes martyries, oti synyparxoun stoixeia apo tria istorika stromata: ena proistoriko, kyrios mykinaiko, ena endiameso ton Skoteinon Xronon (11os-9os ai. p.X.) kai ena tou 8ou aiona, tis periodou diladi kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). O Ainian ypostirizei oti ta omerika keimena symballoun idiaitera stin anasystasi tis eikonas tis koinonias ton mykinaikon, ton skoteinon, i ton ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou. Mila kai gia methomerikes paremboles(?)oi opoies apoteloun ena allo stroma... Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? ([Ekfrasi 'mistirio" o Brouno Snell exetazi sto biblio Anakalipsi tou peumatos. Blepe meta stin enotita mousiki.] Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? As rotisoume ton Apollona. Autos, mou makria toxeui, apagagi kritikous pirates kai me to kalo anemo den stamatai mehri den ftasoun sto iero topo pou idrii to nao tou. Oi proti ieris oi nautiki pythanon den xehasane ta tragoudja kai to horo ap to patrida , mehri oi makrini apogoni tous taumazonde auti tin mousiki ikanotita.(Blepe Panagopoulo.) Edo filoxenoun to pjo spoudeo mousiko agona, kai ektelite a 'pythikos nomos'. Lene pos itan mimisi, agona anamesa ton Apollona kai to drako. Ta meri tou targoudiou zondanevoun to mahi, arhizi me ton anihnevsi to pedio pou tha gini sungrousi, stadiaka prohorai... o drakos trizi ta dontja, xepsihai (syrigmos)... Meriki san na idane to prototipo to legomeni 'programatiki' mousiki. An kai den einai fronimo na paromjazoume me Ravel,- 'Apgeuma tou Drakou":)- axizi na skeftoume ligaki auto to 'programa'. Ti ekane enas horeutis an sunodeve tetio mousiki? Ta etrize ta dontja? Stringlize san diabolemeno surigx, hanondas tin psihu tou? Malon ohi, oi ekleti krites den epitrepane tetjes hondrades, alla oi mousiki panda eihane tropous,(kai akoloutos oi horeutes), idietera katalila gia auto ta 'magika' pneusta pou ligizoun eki pou theli o embiros mousikos, fernondas anemo, brohi, anasa, kraugi... Parafrasoume tous omorikous stiuhous: Kai autoi pou xortasan apo fai kai poto, palikaria, kai gemisan tous kratires me poto kai moirasan se olous afou prota erixan ligo sta potiria, kai oli ti mera exileonan to theo me tragoudi kai xoro(?), tragoudontas oraio ymno kai doxologontas ekeinon pou apo makria toxeyei, akoustikane ap ton Apollo, kai eyxaristiotan i psyxi tou.* Megali tuhi pos sotikan duo umnoi,kai etsi boroume na ipopsiastoume tetjous ihous. Ne men metagenesteri , alla den apokliete pos mesa apo makrohroni paradosi filaxane to iero, megalopnoi ufos, ithos. Pjon horo didete stin Pallada? Ti simeni Pallada? Ti mas leei to omeriko keimeno gia tous Kouretes? Oi Faiakes pou xoreyoun -(betarmones, perimenoume edo ti prosfati gramma tou idikou, me ti bibliografia...:)!- kata kapoion tropo kai symfona me ton Strabona pou parafrazei ton Skepsio sxetizontai me tous Kouretes-Korybantes (Strabo, Geographica, 10.3.21). O xoros ton Koureton einai polemikos xoros. O "xoros tou Are" mporei na exei sxesi? Ti symbolizei, kathreytizei, antiprosopeyei ? O Kretas Merionis pou ton "xoreyei" me epidexiotita mas paei kapou?.... Apo pjon matheni na horevi o Aris?Kala, o Aris kai i Afroditi ehoun kori tin Armonia. Kai tora ti tha gini, klini o kuklos, kai oi omorfes horautarades kopeles fernoun sto kozmo, genane mahites? O laos tou Ahillea anamfisbitita kamaroni me polemikes aretes. Tetjes polemistes zitane axious arhigous kai uparhigous otan shimatizoun penintameli tagmata. Enas ap autous o polemoharis Eudoros, pou ton genise agami kopela.I Polumele pou itan omorfi sto xoro, kori tou Fylanta. Ayti tin eroteytike o dynatos Argeirofontis otan tin eide me ta idia tou ta matia anamesa stis mainades pou tragoudoun sto xoro tis thorybodous Artemis me ti xrysi ti adrahti. Edo berdeutike ligaki pali to gi me ton ourano. Menades me tin Artemi? Isos mono tha teatrika erga boroun na mas diafotisoun ti egine edo? O mithos trefi to teheatro, to theatro efeuemenizi ti zoi, sizitjete i parastasi stin agora, pernoun paradigmata oi logi, dikogori, sofistes na girofernoun me auta ta themata, na dihnoun exipnada, kerdisoun entiposi, lefta. I anapoda, apo ti zoi perni dinami to theatro kai katreftisi to prosopo tou elina, dihnondas ipsos kai bathos? Oute to ena, oute to allo, ara aliloepidrasi...:)Horos dialektikos, tesis, anthitesis, sunthesis. Ti kanoun oi ellines otan den horeuoun? Mimitikos o arhaios horos? Me ti batmo katreftizi tin paragmatikotita? Ipirhane sumbasis? Pantos stin isteri arheotita thaumazondas tin ekfarsititita tis zitithike mia horeftria ga doulja dierminea-metafrasti. I aplos eina iperboli, anaxiopisto anekdoto? Ti lei o Platon kai o Aristoteles ga tin mimesis? Ara to horo tou psara dihni pos pjanis psari, o polemistis pos epitheti, aminete, skotoni, o arthopoios pos psini, i porni pos porneuete? Na o Ektoras, kamaroni pos xeri to horo tou Ari, den ine pedaki i ginekoula, sikoni aneta, giroferni aristera kai dexia to megalo aspida tou epidexia. Den itan mallon poupoulo, polla barja dermatina srtomata, entheta metallikes , an tripitikane ta prota, esvise ta epomena to dinami, sto ekto stamatise to foniko dori. Ti kanoun oi polemistes otan horeboun? Proetimazonde? Rihnonde sto glendi na xehasoun to Haro? Pantos o Achilleas katapraini to stenohoria tou me glikofoni forminga, apomakra, isiha, ti horos teriaze to iremo peximo tou? O iroas mas klei, o Aris trehi na vri maniasmena mahi allou, akontistes pou xeglistrane, den tus pjani, htipisi akonti, allogodamastes...O horos tou Ari nane agrios? I mipos einai monopleures, hondrokommenes oi synitismenes doxasies. Stin Sparti opjos prosehi, me ekplixi apokalipsi pos ipirhe dipla to sinitismeno akampto, akardo, amjialo ikona tou fonia, mia apisteuti leptotita sti mousiki kai sto horo. Arage i sofi demones, kentauri, pou didaskane to pedi Ari, Irakli, Achillea, proetimasane emobora terrata? Giati i thei, imithei, kai iroes prota-prota matheoun mousiki kai horo, kai meta pane sto mahi? Makari na borusame na rotisoume ton piiti-stratioti Archiloho, opjos tautohrona ipiretise tin Mousa kai ton Ari. Giati ohi, bori na krivete kapja apandisi sta piimata tou. Pjos eina o aidos tou Odusseia? Ti theorite san pigi sto horo ton akliton? Pjes ousies borousan pithanon na epireazoun tous horeutes? Ti kanoun oi akrobates? Pos dinonde oi horeutes? Pos einai oi enfanisi tous? Ti einai i sfera? Pos pezete? Haraktirise to horo ton Phaikon, tin Nausika, ton Laodama, Polomidi? Ti 'axia' ehei to horo tou Pari? An kai zalistikate, oi erotisis den ehoun teliomo...:) Pos katarizete, epexergazete to linari? Htipjete, traujete alipita pano sta agathja tou sakandsohirou..:) Etsi katarisoun, eleuteronoun oi ines, etimo san aspro sinnefo sto adrahti, na strivis nima,bafis prfira, kitrina, ifenis oti hriazete. Paromja me ta erotimata, pou akoma 'ahtenista', berdemena perimenoun na vrun ti sosti tesi, morfi, apandisi. Pjos lei: uranos kai gi horeuei? Ston Omero ouranos kai gi mporei na mplekontai, alla telika emeis anazitontas-psaxnontas ton xoro theloume na xexorisoume to mythiko stoixeio apo tin alitheia? Alla isos na eimaste antimetopoi me perissotera stromata alitheias, kai tote xreiazomaste to xystri. Előzmény: spiroslyra (3778)\nMeta tin proti amixania pos na mazeytoun me kapoio noima kai taxi ola ayta ta stoixeia gia to xoro apo ton Omiro, anadyontai ta prota stoixeia. Mi mas apasxolei ayti ti stigmi an einai liga i polla. As symfonisoume tora pos einai arketa gia na xekinisei mia ereyna. Kai giati me ton Omiro? Epeidi einai stin arxi kai sti synexeia ginetai syxna se ayton anafora. Me tin proti matia epibebaionetai pos ta keimena tautohrona lene polla kai liga. Ti kryvetai mesa sto mythiko plaisio gia ti zoi kai to horo? Pandos oso perisotero diabaseis, niotheis pos opou kai an angixeis, o,ti episodio exetaseis, anoigoun 'dromoi', esto san pseudaisthisi, gia ritorika tehnazmata. I Amalteia-aiga dinei trofi, amrosia kai nektar bgainoun apo ta kerata tou, to derma tis ginetai aspida, kai natoi oi Kourites, armatomenoi, me toribodi horo kryboun, prostateboun ton mikro Dia. Kanei kai autos polla thaumata argotera, ap to kefali tou xepida i oplizmeni Athina, stin aiga-aspida tis einai zografismeni i tromeri Medousa. Stin Pallada dinetai protia gia ton polemiko horo.[Endiaferon exigisi, pos efebre ton aulo.*] Uperboli an leme pos sta epomena "ouranos kai gi tha horevoun?"* As afisoume kalytera na mas odigisei o idios o Omiros se gamous kai giortes athanaton kai thniton, se polemo opou 'horevei' o Aris. Sto ergastirio tou Hefaistou, i aspida tou 'kathreutis', kozmohoreutiko mastoreuma, me horostasi san auto pou eftjaxe a Daidalos gia tin Ariadni. Ston omiriko kosmo horevoun oi enaretoi kai oi amartoloi, oi 'atimoi' mnistires pou theloun na 'kleboun tin Pinelopi, xoris na xeroun pos i Moira me ton Odussea tous etoimazei to teleutaio glendi, kai me to nima tou toxou tha ihisei thanatiforos mousiki. Apati-pagida perimenei tous apatilous, o zitianos-kamouflarismenos Odusseus deihnei tin proti parastasi. Apo ekei kai o "asemnos" horos ton akleiton? Opou koitas, englima kai timoria. Pos tha glitoseis? An o ponos pia einai aforitos, i oraia Eleni xerei na parigorei, rihnei sto krasi magika filtra, etsi xehnoun oi kalesmenoi ta basana,tora isiha hairontai, evruhoro to palati tou Menelaou, thaumazoun ta epidexia kinisi ton akrobaton. Oh ayti i Eleni, oi basilisses, kai oi doules! Akourastes me to adrahti, ton argalio, ftiahnoun me haroumeni porfira violettia nimata, ifasmata, rouha gia to horo sto gamo. Ravoun, plenoun adiakopa. Kapou, san ti Nausika, xekourazondai horeuontas me tin bala, to paihnidi ton Phaiakon. Posa herja prepi na pjanoume, papous, propaous..., mehri na ftasoume ston Omiro? Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Omerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Omero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Horis elpida, na exandlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti.As statoume ligo touto to sumeio, kanondas to proto cekarisma, horeutika, doi bima bros, ena piso...:)An xanakoitazoume to OCD, blepoume oti ayta pou leei isos einai kapos "palaioteres" apopseis, kai isos kapoia pragmata exoun anatheorithei i anatheorountai ... Etsi, gia paradeigma o Mazarakis-Ainian (Omeros kai Arxaiologia 2000) episimainei, stirizomenos stis arxaiologikes martyries, oti synyparxoun stoixeia apo tria istorika stromata: ena proistoriko, kyrios mykinaiko, ena endiameso ton Skoteinon Xronon (11os-9os ai. p.X.) kai ena tou 8ou aiona, tis periodou diladi kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). O Ainian ypostirizei oti ta omerika keimena symballoun idiaitera stin anasystasi tis eikonas tis koinonias ton mykinaikon, ton skoteinon, i ton ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou. Mila kai gia methomerikes paremboles(?)oi opoies apoteloun ena allo stroma... Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? ([Ekfrasi 'mistirio" o Brouno Snell exetazi sto biblio Anakalipsi tou peumatos. Blepe meta stin enotita mousiki.] Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? As rotisoume ton Apollona.\nPos katarizete, epexergazete to linari? Htipjete, traujete alipita pano sta agathja tou sakandsohirou..:) Etsi katarisoun, eleuteronoun oi ines, etimo san aspro sinnefo sto adrahti, na strivis nima,bafis prfira, kitrina, ifenis oti hriazete. Paromja me ta erotimata, pou akoma 'ahtenista', berdemena perimenoun na vrun ti sosti tesi, morfi, apandisi. Pjos lei: uranos kai gi horeuei? Ston Omero ouranos kai gi mporei na mplekontai, alla telika emeis anazitontas-psaxnontas ton xoro theloume na xexorisoume to mythiko stoixeio apo tin alitheia? Alla isos na eimaste antimetopoi me perissotera stromata alitheias, kai tote xreiazomaste to xystri. Előzmény: spiroslyra (3773)\npoiimata tou epikou kyklou ===== Sunghroni:\nAris Ifestos Daidalos Ariadni\nOdusseas Eleni Menelaos\n“Skoteinon Xronon” mycenaikis katastrofis (teli 13ou)\nkoinonias tou 8ou aiona p.X. mykenaikis Iliada gyro sto 750\nOdysseia gyro sto 725 p.X. epoxi tou apoikismou Proklo (pithanos grammatikos tou 2ou ai\nistorika stromata: ~proistoriko, kyrios mykinaiko, ~endiameso ton Skoteinon Xronon (11os-9os ai. p.X.)\n~8ou aiona, periodou kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). anasystasi tis eikonas tis koinonias ton ~mykinaikon,\n~skoteinon, ~ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou methomerikes paremboles(?)\nIsagogi, proplazma diortosi\nerotisis emboles ananeosi\nMeta tin proti amixania pos na mazeytoun me kapoio noima kai taxi ola ayta ta stoixeia gia to xoro apo ton Omiro, anadyontai ta prota stoixeia. Mi mas apasxolei ayti ti stigmi an einai liga i polla. As symfonisoume tora pos einai arketa gia na xekinisei mia ereyna. Kai giati me ton Omiro? Epeidi einai stin arxi kai sti synexeia ginetai syxna se ayton anafora. Me tin proti matia epibebaionetai pos ta keimena tautohrona lene polla kai liga. Ti kryvetai mesa sto mythiko plaisio gia ti zoi kai to horo? Pandos oso perisotero diabaseis, niotheis pos opou kai an angixeis, o,ti episodio exetaseis, anoigoun 'dromoi', esto san pseudaisthisi, gia ritorika tehnazmata. I Amalteia-aiga dinei trofi, amrosia kai nektar bgainoun apo ta kerata tou, to derma tis ginetai aspida, kai natoi oi Kourites, armatomenoi, me toribodi horo kryboun, prostateboun ton mikro Dia. Kanei kai autos polla thaumata argotera, ap to kefali tou xepida i oplizmeni Athina, stin aiga-aspida tis einai zografismeni i tromeri Medousa. Stin Pallada dinetai protia gia ton polemiko horo.[Endiaferon exigisi, pos efebre ton aulo.*] Uperboli an leme pos sta epomena "ouranos kai gi tha horevoun?"* As afisoume kalytera na mas odigisei o idios o Omiros se gamous kai giortes athanaton kai thniton, se polemo opou 'horevei' o Aris. Sto ergastirio tou Hefaistou, i aspida tou 'kathreutis', kozmohoreutiko mastoreuma, me horostasi san auto pou eftjaxe a Daidalos gia tin Ariadni. Ston omiriko kosmo horevoun oi enaretoi kai oi amartoloi, oi 'atimoi' mnistires pou theloun na 'kleboun tin Pinelopi, xoris na xeroun pos i Moira me ton Odussea tous etoimazei to teleutaio glendi, kai me to nima tou toxou tha ihisei thanatiforos mousiki. Apati-pagida perimenei tous apatilous, o zitianos-kamouflarismenos Odusseus deihnei tin proti parastasi. Apo ekei kai o "asemnos" horos ton akleiton? Opou koitas, englima kai timoria. Pos tha glitoseis? An o ponos pia einai aforitos, i oraia Eleni xerei na parigorei, rihnei sto krasi magika filtra, etsi xehnoun oi kalesmenoi ta basana,tora isiha hairontai evruhoro palati tou Menelaou, thaumazoun epidexia kinisi ton akrobaton. Oh ayti i Eleni, oi basilisses, kai oi doules! Akourastes me to adrahti, ton argalio, ftiahnoun me haroumeni porfira violettia nimata, ifasmata, rouha gia to horo sto gamo. Ravoun, plenoun adiakopa. Kapou, san ti Nausika, xekourazondai horeuontas me tin bala, to paihnidi ton Phaiakon. Posa herja prepi na pjanoume, papous, propaous..., mehri na ftasoume ston Omiro? Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Oomerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Omero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Horis elpida, na exanlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti.As statoume ligo, kanondas to proto cekarisma, horeutika, doi bima bros, ena piso...:)An xanakoitazoume to OCD, blepoume oti ayta pou leei isos einai kapos "palaioteres" apopseis, kai isos kapoia pragmata exoun anatheorithei i anatheorountai ... Etsi, gia paradeigma o Mazarakis-Ainian (Omeros kai Arxaiologia 2000) episimainei, stirizomenos stis arxaiologikes martyries, oti synyparxoun stoixeia apo tria istorika stromata: ena proistoriko, kyrios mykinaiko, ena endiameso ton Skoteinon Xronon (11os-9os ai. p.X.) kai ena tou 8ou aiona, tis periodou diladi kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). O Ainian ypostirizei oti ta omerika keimena symballoun idiaitera stin anasystasi tis eikonas tis koinonias ton mykinaikon, ton skoteinon, i ton ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou. Mila kai gia methomerikes paremboles(?)oi opoies apoteloun ena allo stroma... Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? ([Ekfrasi 'mistirio" o Brouno Snell exetazi sto biblio Anakalipsi tou peumatos. Blepe meta stin enotita mousiki.] Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? Pjon horo didete stin Pallada? Ti simeni Pallada? Ti mas leei to omeriko keimeno gia tous Kouretes? Oi Faiakes pou xoreyoun (betarmones) kata kapoion tropo kai symfona me ton Strabona pou parafrazei ton Skepsio sxetizontai me tous Kouretes-Korybantes (Strabo, Geographica, 10.3.21). O xoros ton Koureton einai polemikos xoros. O"xoros tou Are" mporei na exei sxesi? Ti symbolizei, kathreytizei, antiprosopeyei o "xoros tou Are"? O Kretas Merionis pou ton "xoreyei" me epidexiotita mas paei kapou?.... Apo pjon matheni na horevi o Aris? Pjos eina o aidos tou Odusseia? Ti theorite san pigi sto horo ton akliton? Pjes ousies borousan pithanon na epireazoun tous horeutes? Ti kanoun oi akrobates? Pos dinonde oi horeutes? Pos einai oi enfanisi tous? Ti einai i sfera? Pos pezete? Haraktirise to horo ton Phaikon, tin Nausika, ton Laodama, Polomidi? Ti 'axia' ehei to horo tou Pari? Pos katarizete, epexergazete to linari? Htipjete, traujete alipita pano sta agathja tou sakandsohirou..:) Etsi katarisoun, eleuteronoun oi ines, etimo san aspro sinnefo sto adrahti, na strivis nima,bafis prfira, kitrina, kai ap to nima na ifenis oti hriazete. Paromja me ta erotimata, pou akoma 'ahtenista', berdemena perimenoun na vrun ti sosti tesi, morfi, apandisi. Pjos lei: uranos kai gi horeuei? Ston Omero ouranos kai gi mporei na mplekontai, alla telika emeis anazitontas-psaxnontas ton xoro theloume na xexorisoume to mythiko stoixeio apo tin alitheia? Alla isos na eimaste antimetopoi me perissotera stromata alitheias, kai tote xreiazomaste to xystri. Előzmény: spiroslyra (3772)\nMeta tin proti amixania pos na mazeytoun me kapoio noima kai taxi ola ayta ta stoixeia gia to xoro apo ton Homero, anadyontai ta prota stoixeia. Mi mas apasxolei ayti ti stigmi an einai liga i polla. As symfonisoume tora pos einai arketa gia na xekinisei mia ereyna. Kai giati me ton Homero? Epeidi einai stin arxi kai sti synexeia ginetai syxna se ayton anafora. Me tin proti matia epibebaionetai pos ta keimena tautohrona lene polla kai liga. Ti kryvetai mesa sto mythiko plaisio gia ti zoi kai to horo? Pandos oso perisotero diabaseis, niotheis pos opou kai an angixeis, o,ti episodio exetaseis, anoigoun 'dromoi', esto san pseudaisthisi, gia ritorika tehnazmata. I Amalteia-aiga dinei trofi, amrosia* kai nektar* bgainoun apo ta kerata tou, to derma tis ginetai aspida*, kai natoi oi Kourites*, armatomenoi, me toribodi horo kryboun, prostateboun ton mikro Dia. Kanei kai autos polla thaumata argotera, ap to kefali tou xepida i oplizmeni Athina*, stin aiga-aspida tis einai zografismeni i tromeri Medousa. Stin Pallada dinetai protia gia ton polemiko horo*. Uperboli an leme pos sta epomena "ouranos kai gi tha horevoun?"* As afisoume kalytera na mas odigisei o idios o Omiros se gamous* kai giortes* athanaton kai thniton, se polemo opou 'horevei' o Aris*. Sto ergastirio tou Hefaistou, i aspida* tou 'kathreutis', kozmohoreutiko mastoreuma, me horostasi* san auto pou eftjaxe a Daidalos* gia tin Ariadni*. Ston omiriko kosmo horevoun oi enaretoi kai oi amartoloi, oi 'atimoi' mnistires* pou theloun na 'kleboun tin Pinelopi, xoris na xeroun pos i Moira me ton Odussea tous etoimazei to teleutaio glendi, kai me to nima tou toxou tha ihisei thanatiforos mousiki. Apati-pagida perimenei tous apatilous, o zitianos-kamouflarismenos Odusseus deihnei tin proti parastasi, apo ekei kai o "asemnos" horos* ton akleiton*. Opou koitas, englima kai timoria. Pos tha glitoseis? An o ponos pia einai aforitos, i oraia Eleni* xerei na parigorei, rihnei sto krasi magika filtra, etsi xehnoun oi kalesmenoi ta basana, hairontai to horo, tin epidexia kinisi ton akrobaton. Oh ayti i Eleni, oi basilisses, kai oi doules! Akourastes me to adrahti*, ton argalio, ftiahnoun me haroumeni porfira* violettia nimata, ifasmata, rouha* gia to horo sto gamo. Ravoun, plenoun adiakopa. Kapou, san ti Nausika*, xekourazondai horeuontas me tin bala*, to agapimeno paihnidi ton Phaiakon. Posa herja prepi na pjanoume, papous, propaous..., mehri na ftasoume ston Omiro? Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Homerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Homero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Horis elpida, na exanlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti.As statoume ligo, kanondas to proto cekarisma, horeutika, doi bima bros, ena piso...:)An xanakoitazoume to OCD, blepoume oti ayta pou leei isos einai kapos "palaioteres" apopseis, kai isos kapoia pragmata exoun anatheorithei i anatheorountai ... Etsi, gia paradeigma o Mazarakis-Ainian (Omeros kai Arxaiologia 2000) episimainei, stirizomenos stis arxaiologikes martyries, oti synyparxoun stoixeia apo tria istorika stromata: ena proistoriko, kyrios mykinaiko, ena endiameso ton Skoteinon Xronon (11os-9os ai. p.X.) kai ena tou 8ou aiona, tis periodou diladi kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). O Ainian ypostirizei oti ta omerika keimena symballoun idiaitera stin anasystasi tis eikonas tis koinonias ton mykinaikon, ton skoteinon, i ton ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou. Mila kai gia methomerikes paremboles(?)oi opoies apoteloun ena allo stroma... Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? ([Ekfrasi 'mistirio" o Brouno Snell exetazi sto biblio Anakalipsi tou peumatos. Blepe meta stin enotita mousiki.] Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? Pjon horo didete stin Pallada? Ti simeni Pallada? Ti mas leei to omeriko keimeno gia tous Kouretes? Oi Faiakes pou xoreyoun (betarmones) kata kapoion tropo kai symfona me ton Strabona pou parafrazei ton Skepsio sxetizontai me tous Kouretes-Korybantes (Strabo, Geographica, 10.3.21). O xoros ton Koureton einai polemikos xoros. O"xoros tou Are" mporei na exei sxesi? Ti symbolizei, kathreytizei, antiprosopeyei o "xoros tou Are"? O Kretas Merionis pou ton "xoreyei" me epidexiotita mas paei kapou?.... Apo pjom matheni na horevi o Aris? Pjos eina o aidos ton Odusseia? Ti theorite san pigi sto horo ton akliton? Pjes ousies borousan pithanon na epireazoun tous horeutes? Ti kanoun oi akrobates? Pos dinonde oi horeutes? Pos einai oi enfanisi tous? Ti einai i sfera? Pos pezete? Haraktirise to horo ton Phaikon, tin Nausika, ton Laodama, Polomidi? Ti 'axia' ehei to horo tou Pari? Pos katarizete, epexergazete to linari? Htipjete, traujete alipita pano sta agathja tou sakandsohirou..:) Etsi katarisoun, eleuteronoun oi ines, etimo san aspro sinnefo sto adrahti, na strivis nima, kai ap to nima na ifenis oti thes. Paromja me ta erotimata, pou akoma 'ahtenista', berdemena perimenoun na vrun ti sosti tesi, morfi, apandisi. Pjos lei: uranos kai gi horeuei?\nSton Omero ouranos kai gi mporei na mplekontai, alla telika emeis anazitontas-psaxnontas ton xoro theloume na xexorisoume to mythiko stoixeio apo tin alitheia? Alla isos na eimaste antimetopoi me perissotera stromata alitheias, kai tote xreiazomaste to xystri. spiroslyra\nPosa herja prepi na pjanoume, papous, propaous..., mehri na ftasoume ston Omiro? Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Homerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Homero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Horis elpida, na exanlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti.As statoume ligo, kanondas to proto cekarisma, horeutika, doi bima bros, ena piso...:)An xanakoitazoume to OCD, blepoume oti ayta pou leei isos einai kapos "palaioteres" apopseis, kai isos kapoia pragmata exoun anatheorithei i anatheorountai ... Etsi, gia paradeigma o Mazarakis-Ainian (Omeros kai Arxaiologia 2000) episimainei, stirizomenos stis arxaiologikes martyries, oti synyparxoun stoixeia apo tria istorika stromata: ena proistoriko, kyrios mykinaiko, ena endiameso ton Skoteinon Xronon (11os-9os ai. p.X.) kai ena tou 8ou aiona, tis periodou diladi kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). O Ainian ypostirizei oti ta omerika keimena symballoun idiaitera stin anasystasi tis eikonas tis koinonias ton mykinaikon, ton skoteinon, i ton ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou. Mila kai gia methomerikes paremboles(?)oi opoies apoteloun ena allo stroma... Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? ([Ekfrasi 'mistirio" o Brouno Snell exetazi sto biblio Anakalipsi tou peumatos. Blepe meta stin enotita mousiki.] Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? Pjon horo didete stin Pallada? Ti simeni Pallada? Poi einai oi Kourites? Pjos lei: gi kai ourano horeuei? Apo pjom matheni na horevi o Aris? Pjos eina o aidos ton Odusseia? Ti theorite san pigi sto horo ton akliton? Pjes ousies borousan pithanon na epireazoun tous horeutes? Ti kanoun oi akrobates? Pos dinonde oi horeutes? Pos einai oi enfanisi tous? Ti einai i sfera? Pos pezete? Haraktirise to horo ton Phaikon, tin Nausika, ton Laodama, Polomidi? Ti 'axia' ehei to horo tou Pari? Pos katarizete, epexergazete to linari? Htipjete, traujete alipita pano sta agathja tou sakandsohirou..:) Etsi katarisoun, eleuteronoun oi ines, etimo san aspro sinnefo sto adrahti, na strivis nima, kai ap to nima na ifenis oti thes. Paromja me ta erotimata, pou akoma 'ahtenista', berdemena perimenoun na vrun ti sosti tesi, morfi, apandisi. Ston Omero ouranos kai gi mporei na mplekontai, alla telika emeis anazitontas-psaxnontas ton xoro theloume na xexorisoume to mythiko stoixeio apo tin alitheia? Alla isos na eimaste antimetopoi me perissotera stromata alitheias, kai tote xreiazomaste to xystri.\n-O xoros ton Koureton einai polemikos xoros. O"xoros tou Are" mporei na exei sxesi? Ti symbolizei, kathreytizei, antiprosopeyei o "xoros tou Are"? O Kretas Merionis pou ton "xoreyei" me epidexiotita mas paei kapou?....\nKai pali ap tin arhi...:) Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Homerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Homero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Horis elpida, na exanlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti. Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? Pjon horo didete stin Pallada? Ti simeni Pallada? Poi einai oi Kourites? Pjos lei: gi kai ourano horeuei? Apo pjom matheni na horevi o Aris? Pjos einao o aidos ton Odusseia? Ti theorite san pigi sto horo ton akliton? Pjes ousies borousan pithanon na epireazoun tous horeutes? Ti kanoun oi akrobates? Pos dinonde oi horeutes? Pos einai oi enfanisi tous? Ti einai i sfera? Pos pezete? Haraktirise to horo ton Phaikon, tin Nausika, ton Laodama, Polomidi? Ti 'axia' ehei to horo tou Pari?\nKoitaxa to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Homerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Homero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Tha synexiso se ligo...\nOmiros, muthos 'dromoi'\naspida Pallada polemikos horos\nGiati i bala einai to agapimeno paixnidi ton Phaiakon? Pos xereis oti ta magika botana tis Elenis tous kanoun na xairontai ton xoro? Telika ti krybetai piso apo ton "polemiko xoro tou Are"? Oi akrobates apo pou mas erxontai? Xexases ton xoreyti Pari, pou epaineitai (Afroditi) alla kai epikrinetai gi'ayto (Priamos)... Xexasame kai allous... Posa apo ayta pou mas leei o Homeros ta exei antlisei apo ti zoi? Kai poia zoi, poias koinonias kai poias epoxis? Mipos mas "paramythiazei" tragoudontas enan kosmo plasmatiko? I mporoume na diakrinoume stous mythikous heroes tou kai anthropines adynamies-stoixeia? Telika ti mporoume na mathoume gia to xoro? Poioi xoreyoun, pou, pote kai apo poion to didaxtikan stin alitheia? Oi epaggelmaties (akrobates...) emfanizontai apo tora, yparxoun idi, i i ennoia ayti mas apasxolei argotera? Ti krybetai piso apo tous "akleitous" kai ton zitiano Odyssea kai mporoume arage na empisteytoume tin protasi tou ...? oti edo diakrinoume tous fat-belly dancers, aytous tous xontrokoilarades pou figouraroun asemnes xoreytikes kiniseis sta aggeia tis arxaikis epoxis? O Homeros pantos edo de fainetai na milaei gia xoro, alla polles fores, lene oi eidikoi, entexnos aposiopa pragmata pou ennoountai.... Előzmény: spiroslyra (3725)\nKOURETES Greek Singular:\nKourętes Translation: Youths Latin Spelling: Curetes THE KOURETES were nine Kretan Daimones who cared for the infant Zeus. To keep the babe safely hidden from his cannabalistic father they drowned out the god's cries with their frenzied dance of clashing spear and shield.\n“The dance in armour was first invented and danced by the Kouretes.” -Greek Lyric II Thaletas Frag 10 (from Scholiast on Pindar) ”Ge (Earth), say the Greeks, was the first to produce man, having won that fine privilege, wishing to be mother not of senseless plants nor of unreasoning beasts but of a civilised, god-loving creature. But it is hard to discover, he says, whether Boiotian Alalkomeneus on the shore of the Kephissian lake was the first of men to appear, or if it was the Idaian Kouretes, divine race, or the Phrygian Korybantes that the sun first saw shooting up tree-like.” –Greek Lyric V Anonymous Fragments 985 (from Hippolytus, Refutation of all the Heresies)\n“[Pyrhikhos, Lakedaimon] according to another account Pyrrhikhos was one of the gods called Kouretes.” –Pausanias 3.25.2 "All these [Kouretes] came then from the famous island: Prymneus, and Mimas Waddlefoot, and Akmon the forester, Damneus and Okythoos the shielfman; and with them came flash-helm Melisseus as comrade to Idaios.” –Dionysiaca 13.135\nHesiod, Catalogues of Women - Greek Epic C8th-7th BC The Orphic Hymns - Greek Hymns C? BC Greek Lyric II Thaletas, Fragments - Greek Lyric BC Greek Lyric IV Corinna, Fragments - Greek Lyric C5th BC Greek Lyric V, Anonymous Fragments - Greek Lyric BC Euripides, Bacchae - Greek Tragedy C5th BC Apollodorus, The Library - Greek Mythography C2nd BC Strabo, Geography - Greek Geography C1st BC - C1st AD Pausanias, Guide to Greece - Greek Geography C2nd AD Apollonius Rhodius, The Argonautica - Greek Epic C3rd BC Callimachus, Hymns - Greek C3rd BC Aratus, Phaenomena - Greek C3rd BC Diodorus Siculus, The Library of History - Greek History C1st BC Hyginus, Fabulae - Latin Mythography C2nd AD Ovid, Fasti - Latin Epic C1st BC - C1st AD Statius, Thebaid - Latin Epic C1st AD Oppian, Cynegetica – Greek Poetry C3rd AD Nonnos, Dionysiaca - Greek Epic C5th AD Other references not currently quoted here: Dionysius of Halicarnassus 1.23.5 & 2.70.3; Statius Thebaid 2.274; Virgil Georgics 4.151\nNext message: Georges DEPEYROT: "Coin finds in Armenia: new book" Previous message: owner-bmcr-l_at_brynmawr.edu: "BMCR 00.03.16, Neudecker, Die Pracht der Latrine" --------------------------------------------------------------------------------\n@@@@00.03.17, Ceccarelli, La pirrica nell' antichita\_ greco romana Paola Ceccarelli, La pirrica nell' antichita\_ greco romana: Studi sulla danza armata. Pisa and Rome: Istituti Editoriali e Poligrafici Internazionali, 1998. Pp. 274; 24 b/w pls. ISBN 88-8147-140-X. Reviewed by Eva Stehle University of Maryland College Park, MD 20742 es39@umail.umd.edu word count: 2940 This is a very impressive book. Paola Ceccarelli (hereafter C.) has examined an enormous amount of evidence spanning a large geographical and chronological range in her quest to uncover the cultural meanings of the pyrrhic dance. C. finds initiation ritual for young men the key to its original character but traces variations and mutations. So rich and thorough is this work that summary is difficult, but I will begin with an outline. In commenting on her approach I will indicate my disagreement with her attempt to find a context in institutionalized initiations, but I will end by highlighting both an alternative thesis that she puts forward in her discussion of myth and the overriding value of the book. Dance, according to Greek thought, was educational and civilizing, as C. reminds us in her Introduction. Armed dances are attested early and continue throughout antiquity, but the names and types were legion. "Pyrrhiche" was (or became) both the name of a specific kind of dance and a general name for armed dance, which makes it difficult to isolate the distinctive character of the pyrrhiche proper. In an effort to do so, C. gives a geographical survey of the evidence in chapters 2-6. Chapters 7-9 then consider the pyrrhiche conceptually in terms of the meters associated with it, the mythic figures and themes that can be linked with it, and its genre and evolution over time. C. also includes a table of iconographic features on Attic vases, a catalog of iconographic documents with discussion, a chronology of ancient terminology, an index of passages cited, and a subject index. C. begins the geographical survey with Athens. At Athens the pyrrhiche was associated specially with Athena, for she was said to have invented it after her victory over the Giants or the Gorgon. At the Panathenaia, choruses of boys, of youths, and of men competed in separate pyrrhic contests. C. believes that these contests predate the Kleisthenic tribes, for there is no indication that the contest pitted the ten tribes against one another. In investigating other possible Attic contexts C. constructs a tenuous argument for connecting the pyrrhiche with the Athenian Apatouria. The Suda lists two dramatists under the name of Phrynichos. The first, son of Polyphradmon, must be the famous tragedian who produced the Fall of Miletos. The second Phrynichos, son of Melanthas, is otherwise unknown, and there are reasons to think that his entry refers to the first Phrynichos. Aelian, meanwhile, preserves the item that Phrynichos was elected general because one of his tragedies contained bellicose songs appropriate for pyrrhic dancers. Thus we have a dramatist known for pyrrhic songs who (C. suggests) acquired the nickname "son of Melanthas." C. sees in the nickname a hint of the subject of one of his pyrrhic songs: the duel of Xanthos and Melanthos on the border between Boiotia and Attica, which Melanthos, the Athenian hero, won by a trick. From Hellanikos on this story is given as the aition of the Apatouria. C. deduces that because the aition of the Apatouria was represented in a pyrrhiche, the pyrrhiche was associated with the Apatouria, the festival at which fathers registered their sons in the phratry. On this basis C. proposes her overall thesis that the pyrrhiche was originally connected with initiation into adulthood (something Angelo Brelich had suggested in connection with the Panathenaia). C. next discusses Attic vases illustrated with armed dances, of which she provides good (if not large) photographs. Male dancers are identified wherever possible as ephebes, partly because the scene often shows a stool holding a piece of folded cloth, which C. interprets as the chlamys (ephebic cloak). Female pyrrhic dancers are depicted as dancing at symposia and occasionally in marriage contexts; the former may jokingly recall men's valor to themselves (or reflect actual symposium entertainment) while the latter perhaps portray a girl at the threshold of marriage. A fascinating if enigmatic pyxis in Naples shows a woman dancing in armor before an altar and a statue of Artemis in a temple. Satyrs dancing assimilate the pyrrhic to the realm of Dionysus, while Amazons suggest Artemis. Dionysus and Artemis: these gods reveal the arc of significations over which pyrrhiche extends. On the borders of Attica are signs of the pyrrhiche. An inscription from Halai Araphenides thanks a Philoxenos for sponsoring a chorus of pyrrhicists at an unnamed festival; C. suggests the Tauropolia for Artemis Tauropolis (a goddess who has been linked to initiations of young men), since the honor is to be announced at that festival. Close to Attica, the pyrrhiche was offered to Artemis Amarysia, recipient of an important cult in Euboia, and (by the first century BCE) to Artemis in Megara. Tracing the affinity of Artemis for the pyrrhiche is one of C.'s achievements. In Lakonia no early evidence exists for the pyrrhiche under that name, although armed dances were practiced. The Cretan armed dance associated with the Kouretes (called "prylis" in a few sources) was different in origin -- circular, danced with swords rather than spears and meant to induce fertility -- but was later identified with the pyrrhiche. In the Hymn to the Kouros C. finds initiatory (as well as fertility) themes, including the leap (a pyrrhic movement) that the "Great Kouros" is called on to make. An inscription from Itanos requiring oath-taking of all the citizenry perhaps provides a context for initiatory performance. In Asia Minor there is more evidence, but it is mainly Hellenistic and later. By then the variety of dances called pyrrhic had increased greatly. At Kos it was a circle-dance, like the dithyramb, at Rhodes apparently a military dance. At Aphrodisias it appears in a list of musical and theatrical events, while at Tripoli there is evidence of a professional pyrrhicist. C. does an excellent job of extracting information like this, and much more, from inscriptions. At Ephesos we find Artemis again: Kallimachos (Hymn. Art. 237-47) says that the Amazons founded the cult of Artemis and danced the prylis; perhaps this was the aition for a girls' dance. Finally, the West. Armed dances were popular in Etruria, but seem to mix native elements with Greek. At Rome the Salii performed an armed dance from early on, which Greek authors linked to Greek dances. An important indication of the appearance of the pyrrhiche in imperial times comes from Dionysios of Halikarnassos (Ant. Rom. 7.71-2), who compares it to a Roman procession inaugurated after the victory at Lake Regillus, of which he quotes a description from Fabius Pictor. In that procession choruses of men, youths, and boys dance with spears; a leader sets the dance movements, quick and bellicose, and the chorus follows. But then other dancers follow these, dancing the sikinnis (an undignified Dionysiac dance) and mocking the pyrrhic dancers. Here we see the ambiguous, Dionysiac aspect of the pyrrhiche. A brief chapter on onomastics shows that no conclusions can be drawn from the distribution of names like Pyrrhichos. At this point C. switches from a geographical inquiry to a thematic one. The first topic (Ch. 7) is music, including a technical discussion of meter. If the pyrrhiche utilized an anapestic meter, it was faster, with more resolutions, than the marching anapests of tragedy. Lines from Spartan military songs in anapests are known and may be the closest thing we have to pyrrhic songs. Massive Chapter 8 takes up the "mythic complex." Saying that she will seek the "potentialities" of the pyrrhiche, not always fully actualized, C. begins with "duels at the frontier" and Nestor's tale in Iliad 7.132-57 of fighting Ereuthalion ("Red"); in another version of this tale Nestor makes a great leap after victory. Accepting from H. Mu+hlestein the idea that Nestor was originally the hero of the Ionian Apatouria, C. conjectures that the Peisistratids (who claimed kinship with Neleus) established the Neleid Melanthos at Athens in conjunction with the Apatouria.[] This is the Pylian-Messenian then Ionic-Attic tradition. But the pyrrhiche was also tied to Achilles and Neoptolemos. Invention of the pyrrhiche was often attributed to Neoptolemos (with a pun on his other name, Pyrrhos). Achilles doing a pyrrhiche around Patroklos' pyre or Neoptolemos "leaping" from the wooden horse or doing a victory dance after killing Eurypylos represent transition (back) to battle or to adulthood. Neoptolemos at Delphi can be linked to the pyrrhiche via an image in Euripides' Andromache and a Delphic ritual described in Heliodoros' Aithiopika. C. traces many other mythic links among these figures and fire, "red," leaping, transitional moments, and other young men in myth. Violence and excess may lead to death, that is, failed initiation. As Homeric epic prevailed and Neoptolemos became the hero of Delphi, this "Trojan tradition" and the name "pyrrhiche" supervened on earlier versions of the initiatory armed dance (perhaps the prylis) over territory stretching from Euboia through Lakonia. Artemis, recipient of the pyrrhiche, is connected with the Trojan cycle via Iphigeneia. Prylis and pyrrhiche could be linked to funerals as well; they symbolize return to life. The pyrrhiche is often linked in later writers to Dionysus as inventor or to the sikinnis. C. gives two explanations, generic and historical: the sikinnis is the inverse of the pyrrhiche, permitting adults to return to the abandon of childhood; or the Dionysiac pyrrhiche is traceable to Alexander's expedition to India. In the conclusion to the chapter C. mentions the problem that the pyrrhiche is described not as a dance of transition but as a triumphal dance, which she interprets as a mark of warrior integration. She then remarks (217), "The totality of narratives examined inspires one to think that the dance itself in its duration represented the moment of alterity, of liminality, but also that it symbolized the cohesion of the group of participants . . . with respect to the spectators, and that the conclusion [of the dance] marked the integration - or reintegration - of the group of dancers into the collective." I will return to this. To the dominant meaning of reaffirming a collectivity of warriors a community may add themes such as renewal of nature, as the dance of the Kouretes does. The pyrriche, in sum, has the "predisposition" to transmit a thematic complex deeply linked with the schema of rites of passage (separation, liminality, reintegration), but its specific sense derives from the occasion. There is no pyrrhiche per se. In Chapter 9 C. considers the genre and evolution of the pyrrhiche, including its relationship with Dionysiac dance and tragedy. As a choreographic style it could be incorporated into dithyramb. Over time, the pyrrhiche lost its ritual meaning in many places and became entertainment, even pantomime. The Conclusion offers a reprise of C's main points. She scrupulously acknowledges that the connection between the pyrrhiche and rites of transition must have faded, for it cannot be found at the institutional level in the fifth century or later, but she believes that the evidence shows traces of an earlier stage in which the pyrrhiche was executed by a young warrior at a moment of initiation or at a funeral. C. thus follows a strong continental tradition in taking age-class initiation of the young as her frame of reference -- a tradition established for the Greek world by Henri Jeanmaire, taken up by Angelo Brelich, and followed more recently by Claude Calame and Pierre Brule/, among others.[] These scholars assume that, like other pre-urban cultures, early Greek culture must have had rituals for moving young men and women to adult status, and they look for such rituals, or their traces, in Greek religious practice and myth. The model can be combined with structuralism, as C. does to some extent, for the liminality and inversion associated with the period of initiation can be detected by its being coded as a series of oppositions (visual, linguistic, culinary, sartorial, etc.) to standard practices or values. There is, however, another school of thought that is sceptical of using initiation as an a priori framework. Simon Price, for instance, remarks in his recent book on Greek religion, "Initiation rituals or 'rites de passage' are held to underlie many if not all myths . . . . As a matter of fact classical Greece had very few initiation rituals and so the theory hypothesised that, while rituals had been lost or transformed, myths continued to be told in the classical and later periods. Compulsive detection of initiation rituals can be rather arbitrary and in the end casts little light on Greece of historic periods."[] According to this approach, which I share, the (earlier) existence of a relevant initiation ritual is something one must demonstrate before interpreting myths or gestures as a reflection of it; not all pre-urban cultures practiced initiation.[] Greek myth reveals concern with the transition of the young to warrior status, certainly, but such concern exists whether ritualized or not. Indeed, myth may substitute for ritual in expressing a culture's anxiety and interest in the process. C. does not discuss the category "initiation ritual" but relies on earlier scholars' interpretations of various festivals like the Apatouria as initiatory. She therefore gives the sceptic no new reason to accept the one-time presence of age-class initiation throughout Greece, necessary to her thesis. On the contrary, it seems to me that her effort to identify initiatory practices sometimes leads her to distortions. In discussing Athens, for instance, C. must weight evidence inappropriately, slighting the Panathenaia compared to the Apatouria, even though there is no real evidence for the pyrrhiche at the latter. Moreover, I have a different impression of the nature of these festivals. In a recent study of the Attic phratries Steven Lambert points out that the only connection ever drawn between the Apatouria and the myth of Xanthos and Melanthos is the punning false etymology of Apatouria from apate (deception). He thinks the connection is a scholar's invention, perhaps Hellanikos'. If so, ephebic ideology was not germane to the festival. The Apatouria, in any event, was a festival of kinship that linked generations and involved children of various ages.[] Similarly, the Panathenaic pyrrhiche was danced by boys and adult men as well as youths. In both cases C. describes the festivals as concentrated on a single moment of discontinuity (change of status for youths), whereas the festivals seem to me to celebrate a continuum of involvement for male citizens from boyhood on. Yet in spite of my resistance to claims that age-class initiation explains ritual or myth, I find C.'s discussion enormously valuable in ways that transcend this issue, for two reasons. First, she organizes a huge amount of evidence very skillfully and pursues many issues of interest; beyond those I have mentioned she discusses, e.g., pyrrhic and tragedy, Polybios on dance in Arcadia, maenads, the iconography of dance in Asia Minor. One of the best features of the book is that C. always provides the actual evidence for her conclusions and often discusses other possible interpretations. She has remarkable command of scholarship on a wide range of problems; for Americans the book is a goldmine of information on recent European scholarship on all these topics. Second, in chapter 8 C. broadens her thesis; as the sentence quoted above reveals she switches to a psychological view of the pyrrhiche. When C. describes the dance itself as the state of alterity and its conclusion as reintegration in the community she turns from age-class initiation to the idea of transition from one state of mind to another: the pyrrhiche as inducing or miming the warrior's shift into and out of intense battle-focus, "furious" yet coordinated with his fellow-soldiers. At this level the idea of transition is productive because it includes all dancers. It allows us to see dance and myth as complementary (as C. implies), for the dance represents successful negotiation of the transitions while myth warns of possible failures. In myth the outcome wavers between destructive violence and victory. C.'s discussion of Neoptolemos captures the problem of the "new warrior" -- his emotional intensity and potential isolation and the need to integrate him into a military structure. In the dance the discipline of the rapid, weapon-brandishing choral dance controls the fervid psychological state that it also evokes. The pyrrhiche can thus "educate" especially young men in controlled and coordinated aggressiveness. The psychological interpretation may explain the connection of Artemis with the pyrrhiche, for she oversees the wild and bounds it off from human culture. It accounts for the affinity of Dionysus and the pyrrhiche. Likewise, C.'s demonstration of the evolution of the dance in the Hellenistic period provides another way to glimpse the changed relationship of citizens to war. C.'s book is dense; her argument is complicated and sometimes difficult to follow since she takes on so much. I have presented only some of her conclusions and those in brutally condensed form. It is nonetheless an engrossing book to read and very rewarding for anyone interested in Greek cultural performances and their mythic projections. NOTES [] H. Mu+hlestein, Homerische Namenstudien, Frankfurt, 1987, 66-71.\net sur les rites d'adolescence dans l'antiquite/ helle/nique, Lille, 1939; A. Brelich, Paides e Parthenoi, Rome, 1969; C. Calame, Les choeurs de jeunes filles en Gre\_ce archai+que, Rome, 1977; P. Brule/, La fille d'Athe\_nes. La religion des filles a\_ Athe\_nes a\_ l'e/poque classique, Paris, 1987. [] S. Price, Religions of the Ancient Greeks, Cambridge, 1999, 17.\nStatus Dramatization, Indianapolis, 1965, on initiation, esp. 14-15 on the absence of such rituals in some societies. I thank Donna Kerner for this reference. [] S. D. Lambert, The Phratries of Attica, 2nd ed., Ann Arbor, 1998,\n144-52 on the myth, esp. 151-2 on the importance of kinship and the weakness of the connection between the ephebia and the Apatouria in the pre-Hellenistic period; 160-63 for children's participation. spiroslyra\nOther types of evidence do not fare any better. For example, Lonsdale states as though it were a fact (164) that the Panathenaic amphoras represent Athena as dancing the pyrrhic. This is, rather, a hypothesis, which not everyone is prepared to accept; see most recently J. Neils, Goddess and Polis (Princeton 1992) 197 n. 43. In the same way, it is asserted (71) that the words TE/RYIS and TROFH/ are etymologically related. They are not. We are told (240-41) that the athletic contests described in Iliad 23 serve a function similar to that of the death dances of the Lugbara of Uganda. But what can that tell us about the function of Greek dances, particularly when, as we have seen, dances are not mentioned in Iliad 23? spiroslyra\nThe Pyrrhic Dance -- most likely named for Achilles' son Pyrrhus ('Fiery Red') who later became Neoptolemus ('New War') -- was a series of stylized defensive and offensive movements performed to the accompaniment of a flute. (The flute was used in other military settings as well, such as to accompany hymns or paeans (songs of praise) before battle or to help keep hoplites in order during an advance.) Similar techniques exist in contemporary martial arts. For example, those who've trained in karate will be familiar with "kata," a series of increasingly complex formal movements that have to be learned for the student to rise in rank. Training such as this is thought to increase reaction time and of course the repertory of moves available to a fighter. Notice that the warrior here once again carries the basic hoplite equipment of helmet, shield, spear, and greaves, and notice too the phallic position of his spear. It's likely that the Pyrrhic Dance would have been presented at festivals, such as the Spartan Gymnopaedia, or Festival of the Naked Youths, sacred to Apollo, which included choral dancing. veii The Greeks were not alone in having this sort of exercise. These terra cotta figures, performing a similar sort of dance and dating from the 5th century BCE, are from a tribe called the Veii, an Italic people eventually absorbed by Rome. And Tacitus speaks of a naked war dance among Teutonic tribal youth in the 1st century AD. As in the first painting in The Warrior Bond, "Achilles and Patroclus," which has the appearance of a Japanese woodcut, it's interesting to see here an ancient Greek variant on a present-day east Asian martial art, another example of cultural convergence among warrior societies. ... | 228 | 229 | 230 | 231 | 232 | 233 | 234 | 235 | 236 | 237 | 238 | ... 103050100200500 db/lap Index Fórumok


timestamp: tn

url: =Athens News Agency: News in Greek, 01-04-12\n Pasxalinh ejodos-Ayjhmenh kinhsh kai stis dyo eqnikes odoys\n Anoixta ews tis 9 to brady ta katasthmata.\n Synenteyjh Mhtsotakh-Ojeia kritikh ston prwqypoyrgo\n G. Papandreoy -PGDM.\nSe ejelijh einai apo to prwi h megalh ejodos twn katoikwn twn astikwn perioxwn gia tis eortes toy Pasxa, enw h troxaia exei labei ektakta metra kai stis dyo eqnikes odoys. Ayjhmenh einai kai h kinhsh sto aerodromio, ta limania, alla kai toys staqmoys twn yperastikwn lewforeiwn, enw ta eisithria exoyn ejantlhqei kai h plhrothta ftanei to 100%. Symfwna me th Metewrologikh Yphresia, apo to apogeyma anamenontai broxes kai kataigides, kyriws sta boreia kai dytika, oi opoies qa epektaqoyn se oloklhrh th xwra. Beltiwsh toy kairoy anamenetai apo to brady ths Megalhs Paraskeyhs, enw o kairos qa xalasei apo to apogeyma ths Kyriakhs toy Pasxa.\nAyjhmenh einai kai h kinhsh sthn pasxalinh agora, enw synergeia ths Agoranomias, ths Eforias kai toy SDOE synexizoyn toys elegxoys. Ta emporika, ta soyper market kai ta polykatasthmata qa einai shmera anoikta ews tis 9 to brady, enw ayrio qa anoijoyn sth 1 meta to meshmeri kai qa kleisoyn stis 9 to brady. Oi armodioi diabebaiwnoyn oti yparxei eparkeia agaqwn kai to kostos gia to pasxalino trapezi qa kymanqei sta persina epipeda.\nThn ektimhsh oti h ND qa htan hdh kybernhsh an h kinhsh gia thn epistrofh toy Giwrgoy Soyflia ginotan egkairws, diatypwnei o prwhn prwqypoyrgos Kwnstantinos Mhtsotakhs, se synenteyjh toy sto EQNOS. Askei epishs ojytath kritikh sthn kybernhtikh politikh, enw den apokleiei to endexomeno prowrhs prosfyghs stis kalpes. Anaferomenos sta eswkommatika toy PASOK shmeiwnei oti ayth thn wra den blepei kapoion kalytero apo ton k. Shmith, alla qewrei oti o prwqypoyrgos exei termatisei th diadromh toy.\nO ypoyrgos Ejwterikwn Giwrgos Papandreoy metabainei shmera sta Skopia, opoy qa pragmatopoihqei atyph synanthsh twn ypoyrgwn Ejwterikwn twn 12 xwrwn ths notioanatolikhs Eyrwphs, sthn opoia qa parastei kai o Amerikanos omologos toys Kolin Paoyel. Antikeimeno ths synanthshs einai h ejeyresh politikhs lyshs meta tis prosfates biaiothtes poy shmeiwqhkan sthn PGDM.\nMeta thn koinh synedriash poy qa exoyn thn Pempth meta to Pasxa 19 toy mhnos h Kybernhtikh Epitroph kai to Ektelestiko Grafeio toy PASOK qa oristei to plaisio toy koinwnikoy dialofoy gia to asfalistiko. O o kybernhtikos ekproswpos Dhmhtrhs Reppas,xarakthrise prowrh tis opoies qeseis sxetika me to asfalistiko dedomenoy otih kybernhsh den exei labei to synolo ths meleths apo to bretaniko oiko poy exei analabei na th syntajei .\nMe ton proedro ths Boylhs Apostolo Kaklamanh synantatai shmera o prwqypoyrgos Kwstas Shmiths sto plaisio twn epafwn poy exei me ypoyrgoys kai kommatika stelexh gia thn prowqhsh toy kybernhtikoy ergoy. Xqeso prwqypoyrgos synathqhke me toys ypoyrgoys Dhmosias Tajhs\nk. Xrysoxoidh, Politismoy k. Benizelo kai me ton grammatea toy PASOK Kwsta Skandalidh, o opoios ejefrase thn aisiodojia toy oti amesws meta to Pasxa to PASOK qa bgei mprosta dynamika, epiqetika kai enwtika.\nSynanthseis me koryfaia stelexh ths ND, prin anaxwrhsei gia tis diakopes toy Pasxa, eixe xqes sth Rhgillhs o proedros toy kommatos Kwstas Karamanlhs. O k. Karamanlhs synanthqhke me ton Stayro Dhma, ton prwhn proedro toy kommatos Miltiadh Ebert kai ton Prokoph Paylopoylo .Shmera to meshmeri o proedros ths ND qa anaxwrhsei gia th Sparth kai sth synexeia qa metabei sth Monembasia opoy qa perasei tis giortes toy Pasxa.\nana2html v2.01 run on Thursday, 12 April 2001 - 11:30:21 UTC


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TI2 RSAM TI2 RSAO TI2 RSAP TI2 RSAT TI2 RSAX TI2 RSAY TI2 RSAR TI2 RSAU TI2 RSAS TI2 RSA0 TI2 RSA1 TI2 RSA2 TI2 RSA3 TI2 RSA4 TI2 RSA5 TI2 RSA6 TI2 RSA7 TI2 RSA8 TI2 RSA9 TI2 RSA\nTI2 RSBA TI2 RSBB TI2 RSBC TI2 RSBE TI2 RSBH TI2 RSBI TI2 RSBK TI2 RSBM TI2 RSBO TI2 RSBP TI2 RSBT TI2 RSBX TI2 RSBY TI2 RSBR TI2 RSBU TI2 RSBS TI2 RSB0 TI2 RSB1 TI2 RSB2 TI2 RSB3 TI2 RSB4 TI2 RSB5 TI2 RSB6 TI2 RSB7 TI2 RSB8 TI2 RSB9 TI2 RSB\nTI2 RSCA TI2 RSCB TI2 RSCC TI2 RSCE TI2 RSCH TI2 RSCI TI2 RSCK TI2 RSCM TI2 RSCO TI2 RSCP TI2 RSCT TI2 RSCX TI2 RSCY TI2 RSCR TI2 RSCU TI2 RSCS TI2 RSC0 TI2 RSC1 TI2 RSC2 TI2 RSC3 TI2 RSC4 TI2 RSC5 TI2 RSC6 TI2 RSC7 TI2 RSC8 TI2 RSC9 TI2 RSC\nTI2 RSEA TI2 RSEB TI2 RSEC TI2 RSEE TI2 RSEH TI2 RSEI TI2 RSEK TI2 RSEM TI2 RSEO TI2 RSEP TI2 RSET TI2 RSEX TI2 RSEY TI2 RSER TI2 RSEU TI2 RSES TI2 RSE0 TI2 RSE1 TI2 RSE2 TI2 RSE3 TI2 RSE4 TI2 RSE5 TI2 RSE6 TI2 RSE7 TI2 RSE8 TI2 RSE9 TI2 RSE\nTI2 RSHA TI2 RSHB TI2 RSHC TI2 RSHE TI2 RSHH TI2 RSHI TI2 RSHK TI2 RSHM TI2 RSHO TI2 RSHP TI2 RSHT TI2 RSHX TI2 RSHY TI2 RSHR TI2 RSHU TI2 RSHS TI2 RSH0 TI2 RSH1 TI2 RSH2 TI2 RSH3 TI2 RSH4 TI2 RSH5 TI2 RSH6 TI2 RSH7 TI2 RSH8 TI2 RSH9 TI2 RSH\nTI2 RSIA TI2 RSIB TI2 RSIC TI2 RSIE TI2 RSIH TI2 RSII TI2 RSIK TI2 RSIM TI2 RSIO TI2 RSIP TI2 RSIT TI2 RSIX TI2 RSIY TI2 RSIR TI2 RSIU TI2 RSIS TI2 RSI0 TI2 RSI1 TI2 RSI2 TI2 RSI3 TI2 RSI4 TI2 RSI5 TI2 RSI6 TI2 RSI7 TI2 RSI8 TI2 RSI9 TI2 RSI\nTI2 RSKA TI2 RSKB TI2 RSKC TI2 RSKE TI2 RSKH TI2 RSKI TI2 RSKK TI2 RSKM TI2 RSKO TI2 RSKP TI2 RSKT TI2 RSKX TI2 RSKY TI2 RSKR TI2 RSKU TI2 RSKS TI2 RSK0 TI2 RSK1 TI2 RSK2 TI2 RSK3 TI2 RSK4 TI2 RSK5 TI2 RSK6 TI2 RSK7 TI2 RSK8 TI2 RSK9 TI2 RSK\nTI2 RSMA TI2 RSMB TI2 RSMC TI2 RSME TI2 RSMH TI2 RSMI TI2 RSMK TI2 RSMM TI2 RSMO TI2 RSMP TI2 RSMT TI2 RSMX TI2 RSMY TI2 RSMR TI2 RSMU TI2 RSMS TI2 RSM0 TI2 RSM1 TI2 RSM2 TI2 RSM3 TI2 RSM4 TI2 RSM5 TI2 RSM6 TI2 RSM7 TI2 RSM8 TI2 RSM9 TI2 RSM\nTI2 RSOA TI2 RSOB TI2 RSOC TI2 RSOE TI2 RSOH TI2 RSOI TI2 RSOK TI2 RSOM TI2 RSOO TI2 RSOP TI2 RSOT TI2 RSOX TI2 RSOY TI2 RSOR TI2 RSOU TI2 RSOS TI2 RSO0 TI2 RSO1 TI2 RSO2 TI2 RSO3 TI2 RSO4 TI2 RSO5 TI2 RSO6 TI2 RSO7 TI2 RSO8 TI2 RSO9 TI2 RSO\nTI2 RSPA TI2 RSPB TI2 RSPC TI2 RSPE TI2 RSPH TI2 RSPI TI2 RSPK TI2 RSPM TI2 RSPO TI2 RSPP TI2 RSPT TI2 RSPX TI2 RSPY TI2 RSPR TI2 RSPU TI2 RSPS TI2 RSP0 TI2 RSP1 TI2 RSP2 TI2 RSP3 TI2 RSP4 TI2 RSP5 TI2 RSP6 TI2 RSP7 TI2 RSP8 TI2 RSP9 TI2 RSP\nTI2 RSTA TI2 RSTB TI2 RSTC TI2 RSTE TI2 RSTH TI2 RSTI TI2 RSTK TI2 RSTM TI2 RSTO TI2 RSTP TI2 RSTT TI2 RSTX TI2 RSTY TI2 RSTR TI2 RSTU TI2 RSTS TI2 RST0 TI2 RST1 TI2 RST2 TI2 RST3 TI2 RST4 TI2 RST5 TI2 RST6 TI2 RST7 TI2 RST8 TI2 RST9 TI2 RST\nTI2 RSXA TI2 RSXB TI2 RSXC TI2 RSXE TI2 RSXH TI2 RSXI TI2 RSXK TI2 RSXM TI2 RSXO TI2 RSXP TI2 RSXT TI2 RSXX TI2 RSXY TI2 RSXR TI2 RSXU TI2 RSXS TI2 RSX0 TI2 RSX1 TI2 RSX2 TI2 RSX3 TI2 RSX4 TI2 RSX5 TI2 RSX6 TI2 RSX7 TI2 RSX8 TI2 RSX9 TI2 RSX\nTI2 RSYA TI2 RSYB TI2 RSYC TI2 RSYE TI2 RSYH TI2 RSYI TI2 RSYK TI2 RSYM TI2 RSYO TI2 RSYP TI2 RSYT TI2 RSYX TI2 RSYY TI2 RSYR TI2 RSYU TI2 RSYS TI2 RSY0 TI2 RSY1 TI2 RSY2 TI2 RSY3 TI2 RSY4 TI2 RSY5 TI2 RSY6 TI2 RSY7 TI2 RSY8 TI2 RSY9 TI2 RSY\nTI2 RSRA TI2 RSRB TI2 RSRC TI2 RSRE TI2 RSRH TI2 RSRI TI2 RSRK TI2 RSRM TI2 RSRO TI2 RSRP TI2 RSRT TI2 RSRX TI2 RSRY TI2 RSRR TI2 RSRU TI2 RSRS TI2 RSR0 TI2 RSR1 TI2 RSR2 TI2 RSR3 TI2 RSR4 TI2 RSR5 TI2 RSR6 TI2 RSR7 TI2 RSR8 TI2 RSR9 TI2 RSR\nTI2 RSUA TI2 RSUB TI2 RSUC TI2 RSUE TI2 RSUH TI2 RSUI TI2 RSUK TI2 RSUM TI2 RSUO TI2 RSUP TI2 RSUT TI2 RSUX TI2 RSUY TI2 RSUR TI2 RSUU TI2 RSUS TI2 RSU0 TI2 RSU1 TI2 RSU2 TI2 RSU3 TI2 RSU4 TI2 RSU5 TI2 RSU6 TI2 RSU7 TI2 RSU8 TI2 RSU9 TI2 RSU\nTI2 RSSA TI2 RSSB TI2 RSSC TI2 RSSE TI2 RSSH TI2 RSSI TI2 RSSK TI2 RSSM TI2 RSSO TI2 RSSP TI2 RSST TI2 RSSX TI2 RSSY TI2 RSSR TI2 RSSU TI2 RSSS TI2 RSS0 TI2 RSS1 TI2 RSS2 TI2 RSS3 TI2 RSS4 TI2 RSS5 TI2 RSS6 TI2 RSS7 TI2 RSS8 TI2 RSS9 TI2 RSS\nTI2 RS0A TI2 RS0B TI2 RS0C TI2 RS0E TI2 RS0H TI2 RS0I TI2 RS0K TI2 RS0M TI2 RS0O TI2 RS0P TI2 RS0T TI2 RS0X TI2 RS0Y TI2 RS0R TI2 RS0U TI2 RS0S TI2 RS00 TI2 RS01 TI2 RS02 TI2 RS03 TI2 RS04 TI2 RS05 TI2 RS06 TI2 RS07 TI2 RS08 TI2 RS09 TI2 RS0\nTI2 RS1A TI2 RS1B TI2 RS1C TI2 RS1E TI2 RS1H TI2 RS1I TI2 RS1K TI2 RS1M TI2 RS1O TI2 RS1P TI2 RS1T TI2 RS1X TI2 RS1Y TI2 RS1R TI2 RS1U TI2 RS1S TI2 RS10 TI2 RS11 TI2 RS12 TI2 RS13 TI2 RS14 TI2 RS15 TI2 RS16 TI2 RS17 TI2 RS18 TI2 RS19 TI2 RS1\nTI2 RS2A TI2 RS2B TI2 RS2C TI2 RS2E TI2 RS2H TI2 RS2I TI2 RS2K TI2 RS2M TI2 RS2O TI2 RS2P TI2 RS2T TI2 RS2X TI2 RS2Y TI2 RS2R TI2 RS2U TI2 RS2S TI2 RS20 TI2 RS21 TI2 RS22 TI2 RS23 TI2 RS24 TI2 RS25 TI2 RS26 TI2 RS27 TI2 RS28 TI2 RS29 TI2 RS2\nTI2 RS3A TI2 RS3B TI2 RS3C TI2 RS3E TI2 RS3H TI2 RS3I TI2 RS3K TI2 RS3M TI2 RS3O TI2 RS3P TI2 RS3T TI2 RS3X TI2 RS3Y TI2 RS3R TI2 RS3U TI2 RS3S TI2 RS30 TI2 RS31 TI2 RS32 TI2 RS33 TI2 RS34 TI2 RS35 TI2 RS36 TI2 RS37 TI2 RS38 TI2 RS39 TI2 RS3\nTI2 RS4A TI2 RS4B TI2 RS4C TI2 RS4E TI2 RS4H TI2 RS4I TI2 RS4K TI2 RS4M TI2 RS4O TI2 RS4P TI2 RS4T TI2 RS4X TI2 RS4Y TI2 RS4R TI2 RS4U TI2 RS4S TI2 RS40 TI2 RS41 TI2 RS42 TI2 RS43 TI2 RS44 TI2 RS45 TI2 RS46 TI2 RS47 TI2 RS48 TI2 RS49 TI2 RS4\nTI2 RS5A TI2 RS5B TI2 RS5C TI2 RS5E TI2 RS5H TI2 RS5I TI2 RS5K TI2 RS5M TI2 RS5O TI2 RS5P TI2 RS5T TI2 RS5X TI2 RS5Y TI2 RS5R TI2 RS5U TI2 RS5S TI2 RS50 TI2 RS51 TI2 RS52 TI2 RS53 TI2 RS54 TI2 RS55 TI2 RS56 TI2 RS57 TI2 RS58 TI2 RS59 TI2 RS5\nTI2 RS6A TI2 RS6B TI2 RS6C TI2 RS6E TI2 RS6H TI2 RS6I TI2 RS6K TI2 RS6M TI2 RS6O TI2 RS6P TI2 RS6T TI2 RS6X TI2 RS6Y TI2 RS6R TI2 RS6U TI2 RS6S TI2 RS60 TI2 RS61 TI2 RS62 TI2 RS63 TI2 RS64 TI2 RS65 TI2 RS66 TI2 RS67 TI2 RS68 TI2 RS69 TI2 RS6\nTI2 RS7A TI2 RS7B TI2 RS7C TI2 RS7E TI2 RS7H TI2 RS7I TI2 RS7K TI2 RS7M TI2 RS7O TI2 RS7P TI2 RS7T TI2 RS7X TI2 RS7Y TI2 RS7R TI2 RS7U TI2 RS7S TI2 RS70 TI2 RS71 TI2 RS72 TI2 RS73 TI2 RS74 TI2 RS75 TI2 RS76 TI2 RS77 TI2 RS78 TI2 RS79 TI2 RS7\nTI2 RS8A TI2 RS8B TI2 RS8C TI2 RS8E TI2 RS8H TI2 RS8I TI2 RS8K TI2 RS8M TI2 RS8O TI2 RS8P TI2 RS8T TI2 RS8X TI2 RS8Y TI2 RS8R TI2 RS8U TI2 RS8S TI2 RS80 TI2 RS81 TI2 RS82 TI2 RS83 TI2 RS84 TI2 RS85 TI2 RS86 TI2 RS87 TI2 RS88 TI2 RS89 TI2 RS8\nTI2 RS9A TI2 RS9B TI2 RS9C TI2 RS9E TI2 RS9H TI2 RS9I TI2 RS9K TI2 RS9M TI2 RS9O TI2 RS9P TI2 RS9T TI2 RS9X TI2 RS9Y TI2 RS9R TI2 RS9U TI2 RS9S TI2 RS90 TI2 RS91 TI2 RS92 TI2 RS93 TI2 RS94 TI2 RS95 TI2 RS96 TI2 RS97 TI2 RS98 TI2 RS99 TI2 RS9\nTI2 RS A TI2 RS B TI2 RS C TI2 RS E TI2 RS H TI2 RS I TI2 RS K TI2 RS M TI2 RS O TI2 RS P TI2 RS T TI2 RS X TI2 RS Y TI2 RS R TI2 RS U TI2 RS S TI2 RS 0 TI2 RS 1 TI2 RS 2 TI2 RS 3 TI2 RS 4 TI2 RS 5 TI2 RS 6 TI2 RS 7 TI2 RS 8 TI2 RS 9 TI2 RS\nTI2-RSAA TI2-RSAB TI2-RSAC TI2-RSAE TI2-RSAH TI2-RSAI TI2-RSAK TI2-RSAM TI2-RSAO TI2-RSAP TI2-RSAT TI2-RSAX TI2-RSAY TI2-RSAR TI2-RSAU TI2-RSAS TI2-RSA0 TI2-RSA1 TI2-RSA2 TI2-RSA3 TI2-RSA4 TI2-RSA5 TI2-RSA6 TI2-RSA7 TI2-RSA8 TI2-RSA9 TI2-RSA\nTI2-RSBA TI2-RSBB TI2-RSBC TI2-RSBE TI2-RSBH TI2-RSBI TI2-RSBK TI2-RSBM TI2-RSBO TI2-RSBP TI2-RSBT TI2-RSBX TI2-RSBY TI2-RSBR TI2-RSBU TI2-RSBS TI2-RSB0 TI2-RSB1 TI2-RSB2 TI2-RSB3 TI2-RSB4 TI2-RSB5 TI2-RSB6 TI2-RSB7 TI2-RSB8 TI2-RSB9 TI2-RSB\nTI2-RSCA TI2-RSCB TI2-RSCC TI2-RSCE TI2-RSCH TI2-RSCI TI2-RSCK TI2-RSCM TI2-RSCO TI2-RSCP TI2-RSCT TI2-RSCX TI2-RSCY TI2-RSCR TI2-RSCU TI2-RSCS TI2-RSC0 TI2-RSC1 TI2-RSC2 TI2-RSC3 TI2-RSC4 TI2-RSC5 TI2-RSC6 TI2-RSC7 TI2-RSC8 TI2-RSC9 TI2-RSC\nTI2-RSEA TI2-RSEB TI2-RSEC TI2-RSEE TI2-RSEH TI2-RSEI TI2-RSEK TI2-RSEM TI2-RSEO TI2-RSEP TI2-RSET TI2-RSEX TI2-RSEY TI2-RSER TI2-RSEU TI2-RSES TI2-RSE0 TI2-RSE1 TI2-RSE2 TI2-RSE3 TI2-RSE4 TI2-RSE5 TI2-RSE6 TI2-RSE7 TI2-RSE8 TI2-RSE9 TI2-RSE\nTI2-RSHA TI2-RSHB TI2-RSHC TI2-RSHE TI2-RSHH TI2-RSHI TI2-RSHK TI2-RSHM TI2-RSHO TI2-RSHP TI2-RSHT TI2-RSHX TI2-RSHY TI2-RSHR TI2-RSHU TI2-RSHS TI2-RSH0 TI2-RSH1 TI2-RSH2 TI2-RSH3 TI2-RSH4 TI2-RSH5 TI2-RSH6 TI2-RSH7 TI2-RSH8 TI2-RSH9 TI2-RSH\nTI2-RSIA TI2-RSIB TI2-RSIC TI2-RSIE TI2-RSIH TI2-RSII TI2-RSIK TI2-RSIM TI2-RSIO TI2-RSIP TI2-RSIT TI2-RSIX TI2-RSIY TI2-RSIR TI2-RSIU TI2-RSIS TI2-RSI0 TI2-RSI1 TI2-RSI2 TI2-RSI3 TI2-RSI4 TI2-RSI5 TI2-RSI6 TI2-RSI7 TI2-RSI8 TI2-RSI9 TI2-RSI\nTI2-RSKA TI2-RSKB TI2-RSKC TI2-RSKE TI2-RSKH TI2-RSKI TI2-RSKK TI2-RSKM TI2-RSKO TI2-RSKP TI2-RSKT TI2-RSKX TI2-RSKY TI2-RSKR TI2-RSKU TI2-RSKS TI2-RSK0 TI2-RSK1 TI2-RSK2 TI2-RSK3 TI2-RSK4 TI2-RSK5 TI2-RSK6 TI2-RSK7 TI2-RSK8 TI2-RSK9 TI2-RSK\nTI2-RSMA TI2-RSMB TI2-RSMC TI2-RSME TI2-RSMH TI2-RSMI TI2-RSMK TI2-RSMM TI2-RSMO TI2-RSMP TI2-RSMT TI2-RSMX TI2-RSMY TI2-RSMR TI2-RSMU TI2-RSMS TI2-RSM0 TI2-RSM1 TI2-RSM2 TI2-RSM3 TI2-RSM4 TI2-RSM5 TI2-RSM6 TI2-RSM7 TI2-RSM8 TI2-RSM9 TI2-RSM\nTI2-RSOA TI2-RSOB TI2-RSOC TI2-RSOE TI2-RSOH TI2-RSOI TI2-RSOK TI2-RSOM TI2-RSOO TI2-RSOP TI2-RSOT TI2-RSOX TI2-RSOY TI2-RSOR TI2-RSOU TI2-RSOS TI2-RSO0 TI2-RSO1 TI2-RSO2 TI2-RSO3 TI2-RSO4 TI2-RSO5 TI2-RSO6 TI2-RSO7 TI2-RSO8 TI2-RSO9 TI2-RSO\nTI2-RSPA TI2-RSPB TI2-RSPC TI2-RSPE TI2-RSPH TI2-RSPI TI2-RSPK TI2-RSPM TI2-RSPO TI2-RSPP TI2-RSPT TI2-RSPX TI2-RSPY TI2-RSPR TI2-RSPU TI2-RSPS TI2-RSP0 TI2-RSP1 TI2-RSP2 TI2-RSP3 TI2-RSP4 TI2-RSP5 TI2-RSP6 TI2-RSP7 TI2-RSP8 TI2-RSP9 TI2-RSP\nTI2-RSTA TI2-RSTB TI2-RSTC TI2-RSTE TI2-RSTH TI2-RSTI TI2-RSTK TI2-RSTM TI2-RSTO TI2-RSTP TI2-RSTT TI2-RSTX TI2-RSTY TI2-RSTR TI2-RSTU TI2-RSTS TI2-RST0 TI2-RST1 TI2-RST2 TI2-RST3 TI2-RST4 TI2-RST5 TI2-RST6 TI2-RST7 TI2-RST8 TI2-RST9 TI2-RST\nTI2-RSXA TI2-RSXB TI2-RSXC TI2-RSXE TI2-RSXH TI2-RSXI TI2-RSXK TI2-RSXM TI2-RSXO TI2-RSXP TI2-RSXT TI2-RSXX TI2-RSXY TI2-RSXR TI2-RSXU TI2-RSXS TI2-RSX0 TI2-RSX1 TI2-RSX2 TI2-RSX3 TI2-RSX4 TI2-RSX5 TI2-RSX6 TI2-RSX7 TI2-RSX8 TI2-RSX9 TI2-RSX\nTI2-RSYA TI2-RSYB TI2-RSYC TI2-RSYE TI2-RSYH TI2-RSYI TI2-RSYK TI2-RSYM TI2-RSYO TI2-RSYP TI2-RSYT TI2-RSYX TI2-RSYY TI2-RSYR TI2-RSYU TI2-RSYS TI2-RSY0 TI2-RSY1 TI2-RSY2 TI2-RSY3 TI2-RSY4 TI2-RSY5 TI2-RSY6 TI2-RSY7 TI2-RSY8 TI2-RSY9 TI2-RSY\nTI2-RSRA TI2-RSRB TI2-RSRC TI2-RSRE TI2-RSRH TI2-RSRI TI2-RSRK TI2-RSRM TI2-RSRO TI2-RSRP TI2-RSRT TI2-RSRX TI2-RSRY TI2-RSRR TI2-RSRU TI2-RSRS TI2-RSR0 TI2-RSR1 TI2-RSR2 TI2-RSR3 TI2-RSR4 TI2-RSR5 TI2-RSR6 TI2-RSR7 TI2-RSR8 TI2-RSR9 TI2-RSR\nTI2-RSUA TI2-RSUB TI2-RSUC TI2-RSUE TI2-RSUH TI2-RSUI TI2-RSUK TI2-RSUM TI2-RSUO TI2-RSUP TI2-RSUT TI2-RSUX TI2-RSUY TI2-RSUR TI2-RSUU TI2-RSUS TI2-RSU0 TI2-RSU1 TI2-RSU2 TI2-RSU3 TI2-RSU4 TI2-RSU5 TI2-RSU6 TI2-RSU7 TI2-RSU8 TI2-RSU9 TI2-RSU\nTI2-RSSA TI2-RSSB TI2-RSSC TI2-RSSE TI2-RSSH TI2-RSSI TI2-RSSK TI2-RSSM TI2-RSSO TI2-RSSP TI2-RSST TI2-RSSX TI2-RSSY TI2-RSSR TI2-RSSU TI2-RSSS TI2-RSS0 TI2-RSS1 TI2-RSS2 TI2-RSS3 TI2-RSS4 TI2-RSS5 TI2-RSS6 TI2-RSS7 TI2-RSS8 TI2-RSS9 TI2-RSS\nTI2-RS0A TI2-RS0B TI2-RS0C TI2-RS0E TI2-RS0H TI2-RS0I TI2-RS0K TI2-RS0M TI2-RS0O TI2-RS0P TI2-RS0T TI2-RS0X TI2-RS0Y TI2-RS0R TI2-RS0U TI2-RS0S TI2-RS00 TI2-RS01 TI2-RS02 TI2-RS03 TI2-RS04 TI2-RS05 TI2-RS06 TI2-RS07 TI2-RS08 TI2-RS09 TI2-RS0\nTI2-RS1A TI2-RS1B TI2-RS1C TI2-RS1E TI2-RS1H TI2-RS1I TI2-RS1K TI2-RS1M TI2-RS1O TI2-RS1P TI2-RS1T TI2-RS1X TI2-RS1Y TI2-RS1R TI2-RS1U TI2-RS1S TI2-RS10 TI2-RS11 TI2-RS12 TI2-RS13 TI2-RS14 TI2-RS15 TI2-RS16 TI2-RS17 TI2-RS18 TI2-RS19 TI2-RS1\nTI2-RS2A TI2-RS2B TI2-RS2C TI2-RS2E TI2-RS2H TI2-RS2I TI2-RS2K TI2-RS2M TI2-RS2O TI2-RS2P TI2-RS2T TI2-RS2X TI2-RS2Y TI2-RS2R TI2-RS2U TI2-RS2S TI2-RS20 TI2-RS21 TI2-RS22 TI2-RS23 TI2-RS24 TI2-RS25 TI2-RS26 TI2-RS27 TI2-RS28 TI2-RS29 TI2-RS2\nTI2-RS3A TI2-RS3B TI2-RS3C TI2-RS3E TI2-RS3H TI2-RS3I TI2-RS3K TI2-RS3M TI2-RS3O TI2-RS3P TI2-RS3T TI2-RS3X TI2-RS3Y TI2-RS3R TI2-RS3U TI2-RS3S TI2-RS30 TI2-RS31 TI2-RS32 TI2-RS33 TI2-RS34 TI2-RS35 TI2-RS36 TI2-RS37 TI2-RS38 TI2-RS39 TI2-RS3\nTI2-RS4A TI2-RS4B TI2-RS4C TI2-RS4E TI2-RS4H TI2-RS4I TI2-RS4K TI2-RS4M TI2-RS4O TI2-RS4P TI2-RS4T TI2-RS4X TI2-RS4Y TI2-RS4R TI2-RS4U TI2-RS4S TI2-RS40 TI2-RS41 TI2-RS42 TI2-RS43 TI2-RS44 TI2-RS45 TI2-RS46 TI2-RS47 TI2-RS48 TI2-RS49 TI2-RS4\nTI2-RS5A TI2-RS5B TI2-RS5C TI2-RS5E TI2-RS5H TI2-RS5I TI2-RS5K TI2-RS5M TI2-RS5O TI2-RS5P TI2-RS5T TI2-RS5X TI2-RS5Y TI2-RS5R TI2-RS5U TI2-RS5S TI2-RS50 TI2-RS51 TI2-RS52 TI2-RS53 TI2-RS54 TI2-RS55 TI2-RS56 TI2-RS57 TI2-RS58 TI2-RS59 TI2-RS5\nTI2-RS6A TI2-RS6B TI2-RS6C TI2-RS6E TI2-RS6H TI2-RS6I TI2-RS6K TI2-RS6M TI2-RS6O TI2-RS6P TI2-RS6T TI2-RS6X TI2-RS6Y TI2-RS6R TI2-RS6U TI2-RS6S TI2-RS60 TI2-RS61 TI2-RS62 TI2-RS63 TI2-RS64 TI2-RS65 TI2-RS66 TI2-RS67 TI2-RS68 TI2-RS69 TI2-RS6\nTI2-RS7A TI2-RS7B TI2-RS7C TI2-RS7E TI2-RS7H TI2-RS7I TI2-RS7K TI2-RS7M TI2-RS7O TI2-RS7P TI2-RS7T TI2-RS7X TI2-RS7Y TI2-RS7R TI2-RS7U TI2-RS7S TI2-RS70 TI2-RS71 TI2-RS72 TI2-RS73 TI2-RS74 TI2-RS75 TI2-RS76 TI2-RS77 TI2-RS78 TI2-RS79 TI2-RS7\nTI2-RS8A TI2-RS8B TI2-RS8C TI2-RS8E TI2-RS8H TI2-RS8I TI2-RS8K TI2-RS8M TI2-RS8O TI2-RS8P TI2-RS8T TI2-RS8X TI2-RS8Y TI2-RS8R TI2-RS8U TI2-RS8S TI2-RS80 TI2-RS81 TI2-RS82 TI2-RS83 TI2-RS84 TI2-RS85 TI2-RS86 TI2-RS87 TI2-RS88 TI2-RS89 TI2-RS8\nTI2-RS9A TI2-RS9B TI2-RS9C TI2-RS9E TI2-RS9H TI2-RS9I TI2-RS9K TI2-RS9M TI2-RS9O TI2-RS9P TI2-RS9T TI2-RS9X TI2-RS9Y TI2-RS9R TI2-RS9U TI2-RS9S TI2-RS90 TI2-RS91 TI2-RS92 TI2-RS93 TI2-RS94 TI2-RS95 TI2-RS96 TI2-RS97 TI2-RS98 TI2-RS99 TI2-RS9\nTI2-RS A TI2-RS B TI2-RS C TI2-RS E TI2-RS H TI2-RS I TI2-RS K TI2-RS M TI2-RS O TI2-RS P TI2-RS T TI2-RS X TI2-RS Y TI2-RS R TI2-RS U TI2-RS S TI2-RS 0 TI2-RS 1 TI2-RS 2 TI2-RS 3 TI2-RS 4 TI2-RS 5 TI2-RS 6 TI2-RS 7 TI2-RS 8 TI2-RS 9 TI2-RS


url: =21 Our bedroom ideas | bedroom design, home decor, bedroom decor\nCollection by Angela Markwick\nBedroom FurnitureModern BedroomBedroom Girls\nBedroom SmallFurniture Plans\nBedroom BeachBeach Theme Bedrooms\nHeadboard IdeasHome Decor Ideas\nGlam BedroomRoom Decor For Girls\nBedroom Ideas For Small Rooms CozyPink Bedroom WallsShabby Bedroom\nSerene BedroomBedroom Ideas\nReclaimed Wood HeadboardDriftwood HeadboardBeach HeadboardHeadboard IdeasWooden HeadboardsReclaimed LumberHome Bedroom\nModern Master BedroomMaster Bedroom DesignTrendy BedroomContemporary BedroomMaster Bedrooms\nMaster SuiteBedroom Romantic\nSerena & Lily on Instagram: “Hoping your weekend plans look a little bit like @purejoyhome’s. #regram #serenaandlily #bedroomdecor (Tap to shop)”\n3,685 Likes, 25 Comments - Serena & Lily (@serenaandlily) on Instagram: “Hoping your weekend plans look a little bit like @purejoyhome’s. #regram #serenaandlily…”\n8,476 curtidas, 198 comentÃ¡rios - Tarina Lyell (@oh.eight.oh.nine) no Instagram: âYay for Friday! On the blog today I've listed 5 @etsyau home decor stores you'll absolutely want toâ¦â


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url: =Games I’m Playing: Xenoblade, RE: Revelations, Kid Icarus: Uprising | Bitcoon Games\nGames I’m Playing: Xenoblade, RE: Revelations, Kid Icarus: Uprising\nTagged gaming, horror game, resident evil 4, wii games\tMy very first GIP! This is technically a re-post from my art site journals, but it’ll be nice to archive it here.\nGames I’m Playing: Suikoden 2 »


url: =Avant 40 TDI design XENON-PLUS, AHK, ACC, NAVI-PLUS, PDC-PLUS, SHZ, GRA, LM17\nInkl. 19% MwSt.: 4.829,03 €\n31.555 € **\nEhemaliger Listenneupreis am Tag der Erstzulassung: 58404.99.


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url: = Xr. Spirtzhs: Qa kaqarisoyme to radiothleoptiko topio\nEinai etoimo to katastatiko ths etaireias ERT-NET prokeimenoy na dhmioyrghsoyme mia antagwnistikh etaireia sthn DIGEA kai na yparjei mia ygihs agora ston xwro twn radiothleoptikwn syxnothtwn, anefere o ypoyrgos, Ypodomwn, Metaforwn kai Diktywn Xrhstos Spirtzhs milwntas ston radiostaqmo ``Sto Kokkino''.\nGia to qema toy ESR dhlwse oti o ypoyrgos Epikrateias Nikos Pappas exei deijei enan politiko politismo spanio, kai kaythriase th stash twn kommatwn ths antipoliteyshs sth sygkrothsh ths anejarthths arxhs kai kyriws ths ND. Wstoso, emeis qa kaqarisoyme to radiothleoptiko topio, tonise o k. Spirtzhs.\nO ypoyrgos Ypodomwn shmeiwse oti sta daneia twn thleoptikwn staqmwn oi trapezes krathsan "dyo metra kai dyo staqma"se sxesh me tis ypoloipes kathgories daneiolhptwn kai ayto einai kati poy to ereyna h Dikaiosynh, tonizontas oti melhma ayths ths kybernhshs einai na stamathsei o sygkekrimenos tropos leitoyrgias kai toy trapezikoy systhmatos, alla kai aytes oi "parajenes"diasyndeseis, opws eipe, toy trapezikoy systhmatos kai twn kanalarxwn.\n``To mhnyma mas pros toys agrotes einai: Apofasizoyme gia emas kai ta paidia mas'', dhlwse o ypoyrgos Ergasias Koinwnikhs Asfalishs kai Koinwnikhs Allhleggyhs G.Katroygkalos sth diarkeia synenteyjhs Typoy,apo koinoy me ton ypoyrgo Agrotikhs Anaptyjhs kai Trofimwn Eyaggelo Apostoloy kai ton anaplhrwth ypoyrgo Oikonomikwn Tryfwna Alejiadh, me thn paroysia ths kybernhtikhs ekproswpoy Olgas Gerobasilh.\nana2html v2.01 run on Friday, 22 January 2016 - 23:32:35 UTC


url: =The Physio | Football Poets\n¶ 1 Leave a comment on verse 1 0 The glory of football\nIn the matches we love\nThe breath-taking goals\nThe tip of the glove\n¶ 2 Leave a comment on verse 2 0 But a club is a body\nOf myriad parts\nThe backroom the boot room\nNot just its stars\n¶ 3 Leave a comment on verse 3 0 The steel of the midfield\nBut the back of the physio\nFor Gavin Blackwell.\nInspired by the Bob and Emlyn statue. https://www.liverpoolfc.com/news/announcements/384696-bronze-statue-unveiled-at-anfield-to-celebrate-bob-paisley-legacy


url: =pergamonto @ 17.11.2014 23:47\nεγω κριος 01/04/1990 10:00 το πρωι αθηνα και αυτος καρκινος 23/06/1990 10:45 το πρωι αθηναπως το βλεπετε εξπερ των συναστριων?????\nTI SUMVAINEI ME TOUS KARKINOUS??\nmarikamarigoula @ 05.11.2014 09:00\nGeia sas, 8a h8ela na me diafwtisei, opoios kserei, gia to ti skeftontai autoi oi karkinoi... gnwrisa enan prin apo duo mhnes... apo thn arxh ths gnwrimias mas me flertare me polu wraio tropo k den mou eixe afhsei peri8oria na mh katalavw oti goustarei.. otan kapoia stigmh tou edwsa to prasino fws oti k emena mou aresei, xa8hke.. eixa ...